Volume 12, Issue 23 — December 4, 2014
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Industry News Control & Signal Processing Displays
Digital Signage Audio Projection
Staging & Live Events Unified Collaborative Conferencing
Media Players, Recording & Distribution Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories
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This System Sucks
By Mario Porto Director of Strategic Accounts, HB Communications
“THIS SYSTEM SUCKS! NOTHING WORKS!!!” How many times have you heard that comment? If you’re like most of the people I’ve spoken to over the years, you’ve heard it more times than any of us would have liked. I recall meeting an architect from a very large global firm at a social event and when he learned what I did, he looked me right in the eye and said, “Oh yeah, AV, I know all about it. I know it never works.”
So, I’ve spent quite some time thinking about why this happens and I think it can all be summed up in two phrases that we all know well:
- Manure flows down hill.
- The Emperor wears no clothes.
The Dynamics of Manure Flow
If you look at the genesis of every AV project, they all start pretty much the same way. A group of people within an organization has a need, so they seek out the appropriate “experts” to advise them on filling that need. The process of assessing then begins, etc… you know the drill. The problems start when the conversation turns to money: How much is this going to cost and who’s going to pay for it? That’s when things get real interesting.
In most organizations, anything that involves doing something to a building has to go through the facilities group (or whatever name they give the people responsible for the proper operation of the systems within a building). The facilities folks often carry the budget for the building’s improvements and maintenance and if they don’t, every other group WANTS them to: Makes sense, right?
OK, so the facilities folks now need to build a building (or improve an existing one), so they need to find out what’s going to happen inside that building. Who are they going to ask — the people that came to them to build the building in the first place, right? Well… not so fast. The facilities people are pretty smart and they’ve figured out that if they ask the people that are going to actually use the buildings what they would like the building to do, they’re going to ask for EVERYTHING including the kitchen sink, thus blowing their budget out of the water. So what often happens instead is that the actual end users of the systems being put into the building are left out of the conversation about what should be included in the new building that they asked to be built in the first place. Sounds crazy right? Well, ask anyone in the higher education space and you’ll see that it happens more often than you’d think logical.
Now you have a design team, assembled by the facilities group, that goes about designing a building and its systems. AV consultants are hired, and when they ask to speak to the end users to do “Need Analysis,” more often than not, they are told that they can’t: The facilities guys or whoever else has been assigned the task of representing the users. Another one that I’ve heard often is, “Well, we’re looking to you to make recommendations based on your experience and expertise. What are other organizations like ours doing?”
The design consultant is designing in a vacuum more often than not. Too often, the group that’s been identified as “the end users” doesn’t even know what AV means, let alone being capable of deciding how they’d like their new control system to work. So their decisions are too often based on one criteria: What’s the least expensive way to do it?
The design process continues and then the project is put out to bid, lowest-qualified bid wins (I love that one but that’s for another article), etc. and we now have an AV integrator on board. The integrator has a set of documents that are his (or her) marching orders but a funny thing happens: the integrator is pretty smart too and he (or she) recognizes that there may be a better/faster/easier/cheaper way to accomplish the task described in the documents. So, what to do? If he makes a recommendation that will increase the cost of the project, it will most likely be refused because by the time AV came along, the budget had long been spent. If he makes a recommendation that will save money, the client will want a credit and the cost of the project goes down: not so good for him. So, for the sake of expediency and business preservation, he says nothing and builds the project the way it was designed.
Project is finished, documentation is complete, etc. Now it’s time to close the loop and bring in the end users (remember them?) for training. The integrator’s trainer starts to show them their new systems, of which the trainer is very proud, but then the users say, “Huh, this isn’t going to work. We don’t do things like that here, etc.” Now the fun REALLY begins.
The users go back to their bosses, who go to the facilities people, who go to the design team, who go to — you guessed it — the integrator and say, “WTF, this system is no good; it sucks; nothing works.”
So, as you see, the manure does indeed, flow downhill. We’ll deal with the emperor’s clothes in the next article. Until then, wear high boots.
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Pulled Up By the Roots
By Joel Rollins rAVe Columnist
Well, time for another article that makes me feel old.
Believe me, I don’t do this on purpose. I usually do it because one of the young(er) people who works for me asks a question that prompts me to wax philosophical. I try to pretend that this makes me feel like an elder statesman, when in fact it usually just makes me feel elder.
Today’s question, from a new technician, was essentially a simple one: “I never knew this industry existed. Where did it come from?”
This, of course, sent me off into a flight of old stories, about our industry, its history, our associations and, by extrapolation, our future. It also sent me off thinking about the history of our companies, and some of the legacy issues that can result from long conditioning to that history.
We talk often about where we as individuals come from, and there are of course some commonalities, or at least there have been over the 20 years or so that I have been involved in the industry. When I got involved, I was enthusiastic about the AV and projection industry because of my history as an enthusiastic amateur photographer. Many of my colleagues had gotten into the industry from being musicians, television repair, film students and amateur theatrical buffs. If you look around the business, this is the background of many of the senior people, and indeed many of our new people still come from these backgrounds. Because of this, we bring to the industry varying kinds of experience, and contribute it to the strength of companies in a niche industry where those parts come together in a cohesive whole.
So, this got me to thinking. Much like AV personnel as individuals, the companies in our industry have a tendency to have evolved out of a number of different backgrounds. And, like individuals, this gives them some general sets of strengths and weaknesses that are legacy of their history. So, over the next couple of articles, let’s take a look at the background that these companies come from and see if any of our stereotypes hold true. As I have collected these over the years from a number of different colleagues around the world, don’t be surprised if you think I’m talking about your company. I probably am.
This week: The “Stereotypical” Audiovisual Company
Our industry was largely born as a separate industry following the second world war. The principles of staff command and the requirements that soldiers in a new kind of war had new kinds of training made the use of audiovisual equipment more widespread, both in the military and in all of the industries that the returning G.I. went to work in. Throughout the 1950s and 1960s, the use of audiovisual grew in schools as these new instructional methods were adopted. I fell in love with audiovisual in school in the ’60s and ’70s, where I was the kid who raised my hand and jumped up and down to be allowed to advance the filmstrip projector when the record went beep. Later on, I was the only kid in my junior high school who could thread a 16mm projector, which got me a blanket hall pass and got me out of study hall.
During that time, we saw the emergence of truly separate audiovisual companies that were formed to satisfy that demand for audiovisual equipment. Names like Kodak, Dukane, Bell & Howell, Eiki, etc. were prominent on their walls.
At first, those companies were mostly very small companies, run by entrepreneurs taking advantage of early title money flowing into schools. The company I first went to work for, Audio Visual Systems, (Dayton, Ohio) was one of these. I went to work for them in the mid-80s as one of the first employees in a brand-new rental department, which was formed to take advantage of the growing pool of demo equipment that our company had to have to represent these lines.
And this was not unusual. Many of the companies that were members of the National Audio Visual Association (NAVA, later ICIA and now InfoComm) came from the same background. In those days, most audiovisual fans and business cards carried three words: Sales, Service and Rental.
This background gave us a number of advantages, such as access to manufacturing lines at dealer cost, and the demo room populated with equipment that we could steal in the middle of the night. We used to refer to this process as a midnight inventory transfer, although it drove our owner and the salespeople crazy when they would come in the morning and find a gap in the demo rack. The first time we did this, our lead salesperson thought we had been burglarized.
So if they gave us some advantages, it also gave us some disadvantages. The rental department often felt like a redheaded stepchild. We didn’t go to InfoComm, and weren’t included in a lot of meetings. At least not at first. Our rapid growth rate changed all that, along with an internal rental department philosophy that said that it was easier to apologize for something you had already done that it was to get permission to do it. This story will be familiar to a lot of you.
In fact, in an organization where the rental department grew out of a sales organization, a common feeling is that the rental department is treated as a way to do expensive and time-consuming demonstrations for the sales department. We often referred to this derisively as a “freebie.” In organizations that were accustomed to deriving most of their revenue from sales of equipment, the rental department is often treated as a pool of technicians that the sales department can call on whenever they like, and the internal cost of that labor is often not transferred, producing some friction between the departments. The rental departments customers are also often seen as a source of leads for the sales department, especially if they are commissioned, and I have seen several repeat customers move from being rental customers to purchasing setups of their own. This is natural but in many organizations is treated by the rental department as an undesirable result.
In fact, I have worked in several companies that originated in this mold. Each of them had the problem in common that the rental and sales departments felt that the other side of the aisle didn’t understand what they do. In every instance, I have eventually found it necessary to separate the disciplines into separate operating groups each with their own budget and bottom line in order to maintain a happy family and the feeling that the various disciplines were being paid attention to. This separation is often dismissed by owners as being unnecessary and a creation of internal paperwork shuffling between departments, but I have always found the difference worth having.
I can see that I’m already running out of space for this article so I’m going to leave this open for next month when we will discuss the good and bad points of a company that grew up as a pure rental and staging company. in the meantime, I look forward to your comments, especially from those of you who have been around long enough to recognize the companies that I’m talking about. Leave a Comment
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InfoComm Announces ISE 2015 Education Plan InfoComm International, co-owner of the Integrated Systems Europe (ISE 2015) tradeshow, has announced its most comprehensive InfoComm University training to date at ISE 2015. ISE 2015 takes place from 10-12 Feb. 2015, at the Amsterdam RAI.
As in previous years, InfoComm is contributing to the drive for increase knowledge by providing Members and guest members with unlimited free access to its on-site InfoComm University education program. Members and guests who pre-register for ISE 2015 using an invitation code will receive complimentary access to seminars of their choice on a first come, first serve basis. Two courses not eligible under the free voucher program are CTS Study Session and the new Master Class.
Non-InfoComm members must purchase vouchers during ISE registration and then register for specific classes.
Professional Development Seminars
Among the courses that attendees can take for free at ISE 2015 are:
- Needs Analysis for End-User Requirements – What Are They Really Saying?
- Digital Audio Protocols – What Are Your Options?
- Design Documentation and Tendering
- Understanding Multi-Channel Projection
- 4K and Streaming
- Collaboration in the BYOD Era
- Network Administrators – Cracking the Code
- Instore Analytics – Improve the ROI of your Digital Signage Solution and Enhance Your Customer Experience At The Same Time
Education Technology Managers
Also free to register, InfoComm is repeating the successful Special Sessions for Education Technology Managers. Aimed specifically at higher education professionals, the first session titled Destination 2020: Future Trends in AV and Electronic Systems will explore the influence and future of IT, consumer electronics, smartphones and the Internet. The second is Building Large Scale, Low Cost Lecture Capital — The Norwegians’ Story and will focus on digitizing higher education.
EDID Lab
New for ISE 2015, a special EDID lab course has been introduced aimed primarily at providing systems integrators with a practical understanding of EDID management and implementation for HDMI. The EDID Lab is valid under the free voucher scheme.
Master Class
A new Master Class category for ISE 2015 focuses on ‘Displays for Today and Tomorrow’. The session presented by industry veteran, Robert Simpson of Electrosonic, will be divided into four sessions and aimed at experienced AV professionals with around 8-10 years’ experience. Attendees can sign up for the Master Class during registration at a cost of €150 (for InfoComm members) or €200 (non-members).
CTS Study Session
As in previous years, a Certified Technology Specialist (CTS) class will be held. CTS is recognized worldwide as the industry’s leading AV professional qualification. Interested parties are encouraged to register early. Attendees can sign up for the CTS Study Session during registration at a cost of €99 (for InfoComm members) or €150 (non-members). Attendees can also register to take the CTS exam onsite at the RAI 10-12 February. Please visit infocomm.org/ise for more information.
All InfoComm University education will be held in the Elicium building, conveniently located amongst all show halls during ISE 2015.
View the speaker line up and sign up here. Leave a Comment
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ISE 2016 to Be Four-Day Event Integrated Systems Events has announced that its 2016 event will take place over four consecutive days at the RAI exhibition centre in Amsterdam — an increase of one day on previous exhibitions held at the venue.
This decision, stated ISE Managing Director Mike Blackman, was largely due to the exhibition’s “rapid rise in size and prominence.”
ISE is recognized as the world’s largest event for professional AV and electronic systems integration, though InfoComm is not far behind. With 950+ exhibitors already booked for ISE 2015, attendance is expected to rise above the 51,000 people that came to the 2014 show.
At ISE 2015, a wide range of events will be taking place before and during the show. Pre-show on February 9, visitors can attend the third annual Smart Building Conference, which will explore the continued evolution of smart building technology in the commercial and residential sectors.
On the same day the keynote address will be presented by renowned futurist Lars Thomsen. Thomsen specializes in advising businesses strategically on anticipated 10 year shifts in society and markets. The keynote will explore: 520 Weeks into The Future: Trends and Tipping Points in the Electronic Systems Industry.
During the show, The Capital Summit conference on Feb. 11 will bring together AV/IT industry entrepreneurs seeking investment capital with financial and business professionals from the worlds of investment, mergers and acquisition.
The popular ISE Theatres will return to the show floor with the addition of the Unified Communications Theatre. The Theatres will complement the wide range of training courses being hosted by ISE co-owners InfoComm and CEDIA.
The ISE Show can be found here. rAVe’s comprehensive show coverage from the 2014 event can be found here. Leave a Comment
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NSCA Now Accepting Applications for Excellence in Business Awards NSCA is looking for potential applicants for its NSCA’s 2015 Excellence in Business Awards. Integrators can submit themselves. Submissions will be accepted through Jan. 23, 2015. Winners will receive one free admission to NSCA’s 17th annual Business & Leadership Conference (a $1,199 value), as well as recognition throughout the year in various NSCA and industry publications.
Companies with solid business sense and creative tactics continually beat their competitors to the finish line – whether it’s through successful strategies in fiscal responsibility, marketing, training, or strategic advancement. NSCA’s Excellence in Business Awards recognize integrators that address challenges head-on by implementing tactics and strategies to improve business performance.
Integrators can apply in one of six all-new categories:
- Business Performance (establishing methods for accurate job costing, introducing new ways to trim operating expenses, etc.)
- Employee Engagement (corporate culture exercises, increasing job satisfaction, etc.)
- Differentiating Strategies (implementing new sales strategies, growth strategies, etc.)
- Strategic Transformation (entering new markets, increasing RMR, etc.)
- Customer Experience (increasing customer satisfaction scores or repeat business, etc.)
- Talent Development (cross-training, on-boarding, recruiting, career development, etc.)
Download a free application here.
The Excellence in Business Awards will be presented at NSCA’s Business & Leadership Conference, Feb. 26-28, 2015, in Tampa, FL. Winners will be honored during the Welcome Reception, where they will discuss their winning strategies and techniques. For more information, or to register, go here. Leave a Comment
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Liberty AV Solutions Releases DL-USB2 Long-line Extenders Liberty AV Solutions is shipping their new DigitaLinx Hi-Speed USB extender, the DL-USB2.
Liberty says the DigitaLinx DL-USB2 products will extend a Hi-Speed USB 2.0 signal (480 Mbps) up to 100 meters (328 feet). The modular extenders may be powered on either end for low power devices such as keyboards or mice. For remote devices which require more power, the client side extender will require to be powered.
Initial offerings in the product line include a modular USB host transmitter (DL-USB2-H), a modular USB client receiver (DL-USB2-C), a wall plate USB host transmitter (DL-USB2-WP-H) and a wall plate USB receiver (DL-USB2-WP-C). All combinations of host and client are compatible with each other.
Here are specs of the entire line. Leave a Comment
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FSR Ships HDBaseT 70-Meter Transmitter/Receiver Set FSR has started shipping its new HD-H70-SP HDBaseT Extender Set. The extenders are designed to send uncompressed full HD digital HDMI video, audio and IR and RS-232 control signals up to 70-meters via a single CAT-5e / CAT-6 / CAT-6A / CAT-7 cable. Input resolutions include 4K (2160p @30 Hz), 1080p, 1080i, 720p, 576p, 480p, 576i and 480i.
Powered from a single power supply via bi-directional PoE, the extenders can control the source from the display’s location or vice versa via the IR pass-through or bi-directional RS-232 control functions. The compact unit measures 5.3” wide x 3.0” long x 0.6” high. The package ships with a transmitter, receiver, power supply, four mounting ears, two IR emitter cables and two IR receiver cables.
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ARX Intros Remote Switcher for EWIS, Console Switching or Broadcast Applications ARX Systems’ Remote Switcher is designed to externally control a stereo input signal switcher for use in EWIS (Emergency Warning and Intercommunications System) emergency announcements, console switching and remote control of signal sources in broadcast applications.
Other applications include remote switching between FOH or Monitor Consoles, Main and DJ consoles when one main loudspeaker system is being used, and also remote broadcast signal source and transmitter switching. The Remote Switcher silently switches between two pairs of A or B female XLR inputs to a stereo pair of XLR male output connectors. ARX ‘SoftSwitch’ technology achieves this with no loud bangs through the audio system when switching.
Input Channel control can be selected in two ways. Mode 1 by remote switch / relay closure (using an external power pack / wall wart), or Mode 2 by 12 – 24VDC supplied from an EWIS panel or similar.
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Barco Develops Portable Simulation Dome Barco just introduced a new range of dome displays for the training and simulation market. Using high-tech screens and optics, and lightweight support structures, Barco says these new simulation domes are easy to transport and to set up. Available in different configurations, with varying number and type of projectors, the TD series brings high quality simulation to any location.
The new TD series are basically transportable domes have been developed for fast deployment with an absolute minimum of adjustment and can fit and operate in a standard ISO container.
The TD series is available in configurations with one, three or five specialized projectors, all with a diameter of 2.3 meter. The one-projector models have a horizontal field of view (HFOV) of 160° and a vertical field of view (VFOV) of +54° to -42.5°. The available models are the TD-135 (powered by a Barco F35 projector) and the TD-150 (with a Barco F50) which use just a single projector combined with an advanced optical mirroring system to minimize the installation and adjustment time. The TD-322 and TD-350 use three F22 or F50 projectors respectively. The HFOV amounts to 180°, the VFOV is +54° to -42.5° (for the TD-322) and +43° to -30.5° (TD-350) and the system resolution can be as low as 5.6 arcmin/OLP. The flagship model is the five-channel TD-522 with F22 projectors, covering a HFOV of 220° and a VFOV or +54 to -42.5°.
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Philips Signage Solutions Debuts OPS HDBaseT Receiver Module Philips Signage Solutions today announced the HDBaseT receiver in Intel’s Open Pluggable Specification (OPS) form factor module, CDR25. Philips’ CDR25 HDBaseT OPS module is designed to be integrated with Philips’ OPS-ready commercial EL and VL series displays as well as the zero-bezel XL and XH series displays.
With CDR25 plugged in, Philips commercial digital signage displays act as an all-in-one display that is able to playback the content from a remote media player up to 100 m (328 feet) away over industry standard CATx cables. Any uncompressed ultra-high-definition video (up to 4K), audio, and power over HDBaseT (PoH — up to 100W) will be transmitted to Philips commercial digital signage displays from the remote media player.
Philips’ CDR25 HDBaseT OPS module is certified by HDBaseT Alliance and is fully compatible with all HDBaseT certified transmitters in the market today and is already shipping.
The CDR25 HDBaseT OPS module supports Philips Signage displays commercial 42”, 46”, 55”, 65” of 60 EL series, the high brightness 42”, 46” of 71VL and 80VL series, and all Video Wall XL and XH series.
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BrightSign Overhauls Entire Digital Signage Media Player Portfolio BrightSign just launched all new HD and XD digital signage players as well as introduced a new line, dubbed the LS, of “affordable” media players for commercial DS applications.
BrightSign’s portfolio of digital signage media players now consists of 10 players across four product lines:
BrightSign LS: BrightSign’s new LS series players are for customers who require the affordability of a low-cost solution as the LS422 ($250) is capable of 1080p30 single video decoding, with features such as GPIO and USB interactivity, and S/PDIF for digital sound to easily outperform any similarly priced device. And, the LS322 ($200) is a commercial audio device with S/PDIF connectivity capable of handling any audio-only installation.
BrightSign HD: Taken down from three models down to two, and updated with a new feature set that now supports HTML5 and 1080p60 content, both the HD222 ($350) and HD1022 ($500) deliver networked content updates and live data feeds, along with GPIO interactivity, UDP support and video wall synchronization. Both models are updated with a new “remote snapshot” feature that provides a snapshot view of your running presentation using local networking and the BrightSign App, or via the BrightSign Network. Additionally, the HD1022 delivers supplemental interactivity options via USB 2.0 and serial connectivity.
BrightSign XD: All three of BrightSign’s XD models have been updated with an even faster graphics and HTML5 engine and Power over Ethernet (PoE) and remote viewing capabilities – the price didn’t change. The XD232 ($450) claims a faster graphics and HTML5 engine and PoE, as well as interactive capabilities via UDP commands and the BrightSign App, plus GPIO controls and video wall synchronization. The XD1032 ($600) also includes S/PDIF output for pure digital and surround sound audio, and additional interactive controls via serial and dual USB 2.0 ports. And the XD1132 ($650) adds Live TV playback via HDMI, even HDCP-protected content.
BrightSign 4K: The 4K capable 4K242 ($600) offers PoE, as well as the capability of dual decoding of one 4K video and one Full HD video simultaneously. It includes abundant content support such as HTML5, live media feeds and IP streaming. The GPIO port offers basic interactivity, while the Ethernet port supports networked interactivity for synchronized video walls, mobile device interactivity and messaging between BrightSign and third-party devices using UDP commands. The 4K1042 ($700) adds S/PDIF output for pure digital surround sound audio and a multitude of interactive controls for engaging interactive displays including GPIO, serial, USB and UDP. Rounding out the 4K lineup, BrightSign’s top-of-the-line 4K1142 ($850) also delivers Live TV playback via the HDMI input, even HDCP-protected content.
All of them are here. Leave a Comment
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MRI Intros ThruVu Transparent Digital CoolerThe ThruVu Digital Cooler from MRI is a transparent digital cooler product, what MRI says is the first fully integrated and complete solution of its kind. The free-standing cooler solution allows for Full HD images, graphics and videos to be displayed on the front door assembly of the cooler, while simultaneously allowing clear viewing of the product within the cooler. A 55”” transparent LCD replaces the traditional front cooler glass, and a customized electronics assembly provides the necessary technology backbone.
The ThruVu product is a complete digital cooler solution that includes the free standing cooler, LCD front door assembly, media player, and all required software integration. The design provides superior visual image quality on the LCD itself through a backlighting enhancement that MRI calls TransVu. This feature, they claim, provides 78 percent color saturation and allows for viewing the image on the screen when the door is both open and closed. The product has also met U.S. Department of Energy compliance standards for commercial coolers. Additions such as a 4G cellular modem allow for remote content uploading and back-end hardware monitoring.
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New Master Fader v3.0 for Mackie DL Series Mixers Mackie has announced the availability of Master Fader v3.0. Built specifically for commercial applications, Master Fader v3.0 works with their new DL32R as well as the DL1608 or DL806 (but some features are specific to the 32-channel DL32R).
Master Fader v3.0 is now available for free download from the App Store.
New features include the addition of four subgroups and four VCAs. Subgroups can be stereo-linked and feature dedicated processing. VCAs offer flexible control over groups of channels. Users can dial in the mix and get single-fader control over groups like drums, guitars and more. There’s also a new overview screen which includes information for all input and output channels.
Info on the DL32R is here. Leave a Comment
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Sennheiser’s Digital 9000 Series Now has a Dante Card Sennheiser has announced the availability of its Dante card for the EM 9046 receiver that makes the Digital 9000 wireless microphone system, capable of being integrated into Dante audio-over-IP networks. Also available as free downloads are the associated new Digital 9000 firmware version 3.0.3 and the new Wireless Systems Manager 4.2 with a set of optimized monitoring functions.
The EM 9046 DAN extension card is inserted into the expansion slot of the EM 9046 eight-channel receiver. Internally, the card features sixteen audio inputs to send the digital audio and command signals over the Dante network. Connection is via two Gbit RJ45 sockets that serve to either establish two redundant network circuits or daisy-chain the signals. The card works with sampling rates of 44.1/48/88.2 and 96 kHz at a resolution of 24 bits.
The new firmware version 3.0.3 for Digital 9000 can be downloaded free of charge here. With this firmware update, the receiver’s clock menu will be expanded to include a “MAN” (multichannel audio network) option, enabling the receiver to synchronize to the word clock of the Dante network.
Additional benefits of the new firmware version include the monitoring of up to four daisy-chained receivers via any of the receivers’ monitoring outputs and the automatic assignment of frequencies after a scan. Engineers are now also able to scan just a 24 MHz portion of the spectrum instead of the entire booster range of 168 MHz. This increases speed in critical frequency situations.
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Three Upgraded Christie Twist Options Provide Enhanced Image Quality for Multiple Projector Setups Christie is launching three upgraded versions of its Christie Twist technology this week. The Christie Twist solution allows for full image warping and advanced edge blending in Christie 3-chip DLP projectors using software that controls and edge-blends multiple curved images seamlessly on any surface.
Easier to use and with better, more precise pixel-to-pixel alignment than previous versions, the upgraded Christie Twist product family includes three tiers of specialized Twist software each for different application requirements. ‘Christie Twist’ software is a free download from the Christie website. ‘Christie Twist Premium’ and ‘Christie Twist Pro’ are paid upgrades and provide additional functionality for more complex projects.
Christie Twist and Christie Twist Premium are ideal for live theater and events, projection mapping, trade shows, large classrooms, corporate boardrooms, museums, house of worship, casinos and entertainment facilities and more. For more intricate projects – including flight simulators, virtual caves and domes Christie Twist Pro delivers unlimited arbitrary placement points for even greater accuracy. When purchasing Pro or Premium, customers can buy a dongle to attach to a PC running Twist software or license individual projectors and eliminate the need for a dongle.
Christie Twist technology also provides networked projector control by allowing the user to launch a virtual remote from within the twist software with all the functionality of standard Infrared remotes.
Here are the three versions:
Christie Twist
Maximum Projectors – 6
Control Points – Up to 81 Grid control Points
Brightness Uniformity – No
Auto Blending (Wallpaper) – No
Auto Blending (Field of View) – No
Arbitrary Point Placement – No
Christie Twist Premium
Maximum Projectors – 18
Control Points – Up to 87 Grid control Points, including six arbitrary points
Brightness Uniformity – Yes
Auto Blending (Wallpaper) – Yes
Auto Blending (Field of View) – No
Arbitrary Point Placement – Maximum 6
Christie Twist Pro
Maximum Projectors – Unlimited
Control Points – Up to 1,500 arbitrary or grid control points
Brightness Uniformity – Yes
Auto Blending (Wallpaper) – Yes
Auto Blending (Field of View) – Yes
Arbitrary Point Placement – Yes – Unlimited
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JVC Launches New BLU-Escent Laser Hybrid Projector Line JVC Visual Systems Division just launched its new BLU-Escent laser hybrid illumination projector technology today. As we all know, projectors used in simulation operate for long periods, so there is a desire to move away from lamp-based projection to solid state illumination. The DLA-VS2500 and DLA-VS2300 represent the first three-chip laser hybrid projectors specifically designed for simulation (we checked, it’s true), and have been designed to meet both FAA Level D and ICAO regulatory requirements.
JVC says they have paid particular attention to the design of the new BLU-Escent illumination system, the key point to high performance, motion compatibility, and long lifetime. The JVC BLU-Escent hybrid technology features a blue laser diode array that provides the blue light and excites a yellow phosphor, which is applied to a high-speed, reflective rotating aluminum disc. The yellow light is then combined with the blue light to create white light. The environmentally friendly technology is mercury-free.
BLU-Escent projectors reduce maintenance and lower the cost of ownership by increasing the illumination and optical system life. The new projectors have increased light output, more consistent colorimetry, and greater light output adjustment range including auto intensity function. The new light source also removes orientation restrictions, allowing mounting in landscape or portrait mode at any pitch angle.
The DLA-VS2500 and DLA-VS2300 use three, 0.7-inch 1920×1080 D-ILA imagers. The VS2500 comes equipped with JVC’s e-shift technology, which shifts the image by 1/2 pixel in the diagonal direction at 120Hz, achieving 3840×2160 resolution.
The product launch includes the following four BLU-Escent models:
- DLA-VS2300G: 1920×1080: Optional Fixed Lens
- DLA-VS2300ZG: 1920×1080: Zoom Lens
- DLA-VS2500G: 3840×2160 e-shift: Optional Fixed Lens
- DLA-VS2500ZG: 3840×2160 e-shift: Zoom Lens
All four projectors will be available in January 2015. Here are the specs. Leave a Comment
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Christie Expands 1-Chip DLP Lineup With Q Series Additions Christie has added three new projectors to their Christie Q Series family. The new so-called “whisper-quiet” Christie DWX851-Q, Christie DHD851-Q and Christie DWU851-Q models deliver 7900, 7500 and 7900 ANSI lumens, respectively, and are usable in either single or dual-lamp mode. Operational in portrait or landscape setup and suitable for auditoriums, board and conference rooms, government, video mapping, rental staging and more, the three new models provide 2500:1 contrast ratio, Christie eClarity for improved control over image sharpness, gloss and shading, and built-in High Dynamic Contrast Range (HDCR) that eliminates image washout in high ambient light conditions while preserving image clarity.
With two color wheels built-in, users can select the one that best suits their content and application. The High-Brightness color wheel provides superior whites for enhanced graphic presentations while the Ultra-Rich color wheel delivers an expanded color gamut and lifelike images. The Q Series is equipped with a software function that allows for easy switching between the color wheels.
Features of Christie DWX851-Q, Christie DHD851-Q, and Christie DWU851-Q include:
- Two HDMI inputs
- Dual 350W UHP lamps
- Christie eClarity and HDCR
- Built in Ultra-Rich and High Brightness color wheels
- HDBaseT
- Portrait mode capable
- Edge blending and Geometric correction
- DICOM (Digital Imaging and Communications in Medicine) Simulation Mode for training
- Status monitor display
- Motorized zoom, focus and lens shift with memory
- PC-less presentation
- Black or white design
- 3G-SDI (HD model only)
Christie Q Series models ship this month. Here are all the specs. Leave a Comment
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BenQ’s Target’s Pro AV Install Market with New Projector Line BenQ America has introduced three new projectors aimed at the ProAV market in the PX9710, PW9620 and PU9730, spec’d at 7,700, 7,000, and 6,700 ANSI lumens and XGA (1024×768), WXGA (1280×800), and WUXGA (1920×1200) resolutions, respectively. All the projectors have a 2800:1 contrast ratio.
To increase setup convenience for installers, the P-Series models are equipped with two interchangeable color wheels (RGBYCW and RGBYCM) that allow users to pick between brightness or color accuracy and also seven optional interchangeable lenses are offered ranging from wide fix to long zoom sizes. In addition, the projectors offer 360-degree horizontal projection, motorized zoom, focus and lens shifting, built-in test patterns, integrated filtration system, LED indicators, and multi-projector management via LAN.
Inputs include HDMI, DisplayPort, USB, RS-232 (control), RGBHV on BNCs and HDBaseT connectivity which transmits audio and video over a single cable across distances up to 328 feet. Taking the setup simplicity even further, the projectors provide installers with a lens-memory option for instant storage of up to 10 different settings, a center-lens hotkey to centralize the units’ lenses, and mechanical shutter capabilities that turn today’s fast-moving images into more fluid content. Managers can also change the units’ color wheels and 350W dual lamps from a top access door while the series’ optimized 10-fan cooling system ensures that the high brightness projectors always run at optimum temperatures.
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Barco Unveils 12K Lumens Single-Chip DLP Projector Barco just launched a single-chip DLP projector outputting 12,000 center lumens light output. The brand-new RLS-W12 offers WUXGA (1,920×1,200) resolution, extended warping and blending, and HDBaseT technology to provide video over a single Cat 5 cable. This new projector is the perfect choice for small- to medium-sized venues, and its optional rental frame makes it equally suited for the rental and staging market as well. The projector will be commercially available next month.
Featuring both HDBaseT and BarcoLink technology, the RLS-W12 supports point-to-point transmission of video signals — up to WUXGA (1,920×1,200) at 60 Hz — from source to projector, over distances of more than 70 meters, via a single Cat 5 cable or a single BNC cable.
The RLS-W12 features a rugged design that reduces noise and minimizes power consumption and it gets its 12,000 center lumens with twin 465W NSH lamps, which provide a 40,000-hour life. What’s more, the RLS-W12 operates at full brightness on a voltage range of 110V – 240V, so that users who are based in the U.S. or Japan won’t require an extra adapter to use it.
The RLS-W12 can be easily controlled in multiple ways: via the new wired or wireless remote control, the projector control app for Android and iOS devices, and the user-friendly Barco Projector Toolset software.
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Zylight Debuts Long Throw Black Light Version of F8 LED Fresnel Zylight just debuted the F8-U, a black light version of its LED Fresnel that offers a continuously adjustable beam angle (16-70 degrees).
The F8-U features an ultraviolet chip for what Zylight says is true black light applications, such as specialized lighting requirements for amusements park attractions or theatrical productions. It provides four times the fluorescent brightness of a traditional 400-watt Fresnel black light at the same distance, but only draws about one quarter of the electrical power as it’s LED. Integrated with a patented flat focusing system and eight-inch SCHOTT glass lens, the F8-U is one of the only dedicated LED UV instruments on the market that delivers variable zoom control.
The compact F8-U collapses to four inches thick for transport and storage. It is also water resistant (IP54) for use in challenging environments, and can be powered by a worldwide AC adapter or even standard 14.4V camera battery. Like other Zylight models, the F8-U features ZyLink wireless technology, which makes it easy to link multiple Zylights for simultaneous remote control and full DMX operation.
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elektraLite Intros Three New LED Fixtures elektraLite launched three new LED fixtures today: elektraBar, Dazer RGBA and MJ Parcan.
The elektraBar ($899) is a 43-inch linear LED fixture that can be linked end-to-end or side-to-side for seamless, continuous coverage. Using 18 12-watt, 25-degree LEDs (10- and 40-degree lens kits available), the product’s six-in-one LEDs (RGBAWI) deliver the full color spectrum as well as a greater color palette than gels can provide. Combining high-performance with very little power draw (300VI), the elektraBar doesn’t generate any heat, unlike conventional current fixtures that can turn a downstage area into an oven. With no lamps or gels to replace, the elektraBar offers full-range dimming, strobe, DMX control, built-in auto program features, silent operation and an IP65 rating. An optional four-inch adjustable glare shield and beam trim flange is additionally available.
New to elektraLite’s popular Dazer line is the Dazer RGBA ($849), which pairs the same intensity of the Dazer RGB with added Amber for warmth and toning. Featuring 36 powerful, five-watt LEDs, the Dazer RGBA’s design allows it to serve as a workhorse in stage, studio, live event, production, installation and architectural environments. The product’s sophisticated, proprietary diffraction lensing system provides a packed punch of color in a variety of beam spreads, and four interchangeable optics are included giving the flexibility of 15-, 25-, 40- and 60-degree beam spreads.
Offering a choice of 200-watt output in Warm White (3,200K) or RGBAW Color options, the new MJ Parcan ($479) brings all the power, output and performance one would expect from elektraLite to the traditional PAR64 form factor.
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Sennheiser Adds D 10 Headset Designed for Conference Calls and Webcasting Sennheiser’s new D 10 Series wireless headset was created specially for office professionals who use either a desk phone or a softphone/PC for their calls. D 10 Series headsets provide exceptional sound quality and a streamlined design that brings DECT headset solutions within reach of even more business users. Together with Sennheiser’s existing wireless DECT portfolio of DW and SD headsets, the D 10 Series delivers the benefits of wireless freedom and flexible working to contact centers, large and small offices and unified communications environments.
The D 10 Series is comprised of the Sennheiser D 10 Phone, a single-sided wireless DECT headset for direct connection to desk phones; the Sennheiser D 10 USB ML, a single-sided wireless DECT headset which works on a ‘plug and play’ basis with Microsoft Lync; and the Sennheiser D 10 USB, a single-sided wireless DECT headset that connects directly to softphone/PC and is suitable for unified communications environments.
The D 10 Series uses a noise-canceling microphone and a design that offers 2-in-1 wearing style (headband or ear hook) and ensures user comfort suitable for day-long use. Focusing on user needs, the headsets include ‘one touch’ call management, ActiveGard hearing protection against acoustic shock, and headsets being chargeable to 50 percent of full battery life in only 20 minutes. In addition, all variants provide 8 hours of wideband talk time (12 hours for narrow band) and long distance talk range — up to 55 meters (180 feet) in a typical office building and 180 meters (590 feet) with line of sight.
The D 10 Series’ single connectivity to either a desk phone or softphone/PC makes it simple to roll out and install ‘plug and play’-style, ensuring a perfect headset solution for all sizes of companies. For audio conferencing requirements, users can pair up to three additional headsets with one base station, while they can pair unlimited numbers for hot-desking needs. In addition, the D 10 USB variants have a built-in ringer with three ring tones and adjustable call volume.
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New H.264 Streaming Media Processor With FlexOS Now Shipping Extron is shipping its new SMP 351 Streaming Media Processor with FlexOS, an H.264 streaming media processor that captures and distributes live AV sources and presentations. With five available inputs, the SMP 351 creates high-impact content by combining two high resolution signals, a background image and metadata into dynamic layouts that enhance a presentation’s message. It supports both live streaming and recording capabilities, delivering presentations to anywhere a network can reach. With Extron’s FlexOS embedded operating system, the SMP 351 adapts to new requirements. Extron FlexOS applications on the SMP 351 can be configured to interface with control ports and automate system operation.
The SMP 351 offers extensive streaming capabilities in that you can stream and record simultaneously and can stream concurrently at two different resolutions and bit rates using a range of transport protocols and session management options. The SMP 351 creates MP4 media files that are directly compatible with virtually any software media player and popular content management system. MP4 recorded media can be saved to the internal solid state drive, a USB thumb drive, or a network storage directory to meet different application requirements. Designed for use in professional AV systems, the SMP 351 can be controlled using serial RS-232, Ethernet, and four digital I/O ports. Extron FlexOS applications installed on the SMP 351 interface with control ports and automate system operation.
The SMP 351 uses the Extron Streaming Content Manager – SCM software – that can be used to administrate users, groups, and recordings produced by the SMP 351. SCM also processes the recorded media into file packages that provide a data-rich playback experience using the Extron Media Player – EMP, a browser based media player that can be operated from virtually any computer or mobile device.
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Pakedge Intros Fiber Optic Cables Pakedge Device & Software is launching its own brand of fiber-optic cables for residential and commercial AV projects. Designed specifically to work with Pakedge routers, switches and GBICs, the new cables offer multiple benefits over copper Ethernet cables, including less electromagnetic interference, greater speed capabilities (up to 10 Gbps), greater bandwidth, greater durability, less signal degradation, elimination of heat dissipation and less transmission power.
Pakedge-Compatible Fiber Optic Cables are supplied in lengths of 1, 2, 3, 4, 5, 10, 25, 50, 75, 100, 200, 300 and 400 meters as well as in custom-lengths. Pakedge doesn’t have a photo yet and its not on the company’s website yet, but they will be here. Leave a Comment
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Screen Innovations Ships Zero Edge Screen Screen Innovations (SI) is now shipping its new Zero Edge FLEX projection screen — the video industry’s first projection screen that claims a flexible form factor and a Zero Edge appearance.
Zero Edge FLEX is a flexible projection screen available in sizes up to 250” diagonal and is available in the ambient-light-rejecting Slate, acoustically transparent Maestro Weave, and traditional Pure White, and Pure Gray, and acoustically transparent Maestro Weave (coming soon) projection screens.
Screen Innovations says Zero Edge FLEX easily breaks down into a compact, traditional fixed-frame box and assembles on-site, making it simpler to ship AND allows integrators to navigate tight spaces, elevators and stairways. SI says the new design will dramatically cut down on freight damage and make international shipping easier.
When it’s on their website, it will be here. Leave a Comment
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For all you REGULAR readers of rAVe ProAV Edition out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: We run what we want to run and NO ONE is going to pay us to write anything good (or bad).
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Everything we publish is opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship publication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition is co-published with CEDIA, covering 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: https://www.ravepubs.com
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