Volume 12, Issue 3 — March 26, 2018
|Lost in Virtual Space|
By Joel Rollins
Last month, we talked about AVaaS, (Audio Visual as a Service) and how it relates to the future of the rental and staging segment of our industry. My basic premise was that the current wave of cloud-based digital offerings has distorted our definition of the word “service,” much as social media has distorted our definition of the word “friend.”
Apparently, it provoked a response in our readers, because I got a lot of email (both pro and con), along with quotes from Alvin Toffler, Ayn Rand, Robert Heinlein, Gary Kayye and Dilbert.
So, while we are discussing our Brave New World (Huxley, anyone?) let us talk about all the other factors that obscure our future in clouds of, well, The Cloud.
We are told by the pundits that AI, or artificial intelligence, is the force that will change nearly every job on the planet. My personal feelings about artificial intelligence are similar to my attitude about artificial respiration — given a choice, I’d vastly prefer the real thing.
Now, I can see a number (alright, a lot) of uses for artificial intelligence in our industry, from the optimized loading and routing of trucks to the predictive ordering of supplies and scheduling of support staff. But how close will AI come to the actual show? Personally, I have never seen a show staged identically in any two venues and they very often change during multiple runs in the same house. Can Siri call a show? Can Watson compensate on the fly for the three pages of cues the presenter just skipped? Or will our new generation of clientele just change the requirements of a presentation so that they can? We’ll see.
I’ve run a large rental company, with over 60 delivery vehicles scattered across 14 cities. And there was rarely a week when I wasn’t called about one, either by a branch manager who wanted to report some type of accident or incident, or by a disgruntled motorist who got our 800 number off a truck that they thought cut them off on a highway ramp. So I am an enthusiast about the use of autonomous vehicles, because I would then be able to forward those calls to the vehicle’s manufacturer.
But can an autonomous vehicle talk its way onto a union loading dock ahead of schedule? Or deal with the crowds and chaos that surround many public events?
I once worked with a field technician (for the purposes of this column, we will refer to him as “Ron Sakki”) who could reach any location in downtown Toronto, from our warehouse outside the city, in 20 minutes. However, many of the routes took him through vacant lots and parking garages. Now that’s autonomous.
One of the earliest things I can remember as a young child was a black and white television series called “Lost in Space,” which featured a robot named “Robot,” whose principal function was to wobble around the set, waving its robotic arms and repeating “Warning! Danger!”, over and over again. So I can easily foresee the use of robots as hotel management.
But seriously, robots are already having an effect on our industry and are poised to have even more. I use a conferencing robot at my office to allow remote associates to tour the facility. One of my clients, a utility company, recently showed me a robot they use to inspect and pull underground cables and all I could think of was how great it would be to have one around for that cable somebody forgot to run under the stage. And three years ago I interviewed a guy at ISE who was already renting and selling robot security guards.
OK, so we’ll be working with robots. But how do we know what they’re doing when we’re not around?
Our industry went drone-happy years ago. I can’t remember the last large event I was at that didn’t somehow use an overhead drone shot. Most corporate event videos now look as if we have repealed the Law of Gravity. And, go ahead: Try explaining the damage the drone did to a chandelier to a hotel manager (who is waving his arms and yelling “Warning! Danger!”).
Technologies are a-changin’, and rather than try to define the differences between VR and AR, we’ve just decided to create an umbrella term in Mixed Reality (MR), the ability to interact with objects, creatures and situations that don’t exist. Back when I lived in Boston, we called it St. Patrick’s Day.
All kidding aside, VR and AR are already changing the way we present information, educate people, and even play games. Both technologies are really waiting for a “hero device” — superior imagery in eyewear that is lightweight, wireless and comfortable. But we delay in learning about these technologies at our peril, lest we be left behind when Tim Cook announces “iWear.”
It is well said that genetic technology is the most dangerous field our species has ever ventured into. The ability to splice the gene is something each of us should be concerned about. Because somewhere out there, in a secret laboratory, an evil mastermind is working to create the autonomous hotel manager.Leave a Comment
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|Datapath Wall Designer Now Available for MacOS|
Datapath is already shipping its Wall Designer software for the MacOS platform. The software has been completely recreated for the MacOS platform taking advantage of Apple’s Mac 64-bit architecture and multi-core processing. The software is available as a free download for Datapath’s customers.
Wall Designer works to provide what the company says is an easy and intuitive visual interface for the Fx4, Fx4-SDI and Hx4 multi-screen display wall controllers offering an advanced video wall design and Implementation suite. It enables users to place projects across a virtual canvas. Adjusting the input resolution ensures the project matches the content, with Wall Designer automatically arranging the capture regions or adjusting each region to suit.
Wall Designer takes the stress out of configuring hardware for a project by automatically adding one of Datapath’s award winning range of multi-display controllers, projects and assigning each output to a monitor. Re-drawing screen assignments to suit the project's needs and help installation builds. Connecting a number of wall controllers to your Mac and Wall Designer will allow users to assign the wall controller to monitor and program them. Full monitor EDID management is available for timing adjustments.
One of the benefits of the Wall Designer software is the information it provides to enable easy configuration. Information such as screen dimensions — in pixels and millimetres, bezel sizes and refresh rates are all included. The ability to choose from a list of previously used monitors as well as adding other monitors and even bespoke RGB LED configurations has created software which makes display wall configuration and implementation a joy, rather than a chore.
A unique feature of Wall Designer is its user-driven monitor database. The range of monitors in the application’s database has grown to cover an enormous and constantly growing number of unique devices, as users have added their own monitors and submitted these back to Datapath for inclusion.
Wall Designer for the MacOS is available now as a free download from the Datapath website for Apple desktops and laptop computers running MacOS version 10.12, High Sierra and above. Further details can be found here.Leave a Comment
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|Complex Launches Ruggedized 24-Channel Small Diameter Fiber Optic Cables for Live Events and Sporting Event Signage|
Camplex today announced the availability of a new 24-channel, small-diameter tactical fiber cable series for harsh environments where size and weight are concerns.
Camplex 24-channel single-mode tactical fiber optic cable (HF-TS24) with a polyurethane jacket can be used for temporary deployment directly on the ground in all terrains. The cables meet outdoor tactical needs for broadcast and pro-audio applications that require outdoor-rated crush and impact resistance. The helically stranded core provides flexibility, deployment ruggedness and mechanical protection for the optical fibers. Fan-outs are protected by polyurethane furcation tubing.
Cables are available with LC, SC or ST connectors and in a variety of lengths. The cable series meets MIL-PRF-85045 specification and are also available on reels (HF-TR24) which feature storage for safely transporting the fan-outs.
All the detailed specs are here.Leave a Comment
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|VITEC Intros the MGW Diamond Encoder, Expanding Its HEVC Ecosystem|
VITEC has expanded its ecosystem of HEVC video distribution solutions with the new MGW Diamond Encoder and the VITEC Playout Server, a point-to-point HEVC distribution solution, which is being announced at NAB. The MGW Diamond Encoder adds quad-channel HEVC encoding in what VITEC says is a compact and portable form factor to the VITEC HEVC family. The all-new VITEC Playout Server provides an efficient platform to manage, capture, preview and distribute IPTV streams, complementing VITEC’s point-to-point HEVC contribution ecosystem.
VITEC’s point-to-point/point-to-multipoint HEVC streaming offering, featuring the MGW Ace hardware-based HEVC encode/decode solution. VITEC’s MGW Diamond is a compact HEVC and H.264 HD/SD encode designed for any multichannel broadcast application. The MGW Diamond delivers HEVC encoding in a fraction of the footprint of comparable encoders, with the ability to capture up to four 3G/HD/SD-SDI or composite inputs and live stream up to eight channels.
Complementing the VITEC HEVC ecosystem, the new VITEC Playout Server provides an efficient platform to manage, capture, and preview IPTV-protected streams transmitted by VITEC encoders from any location and distribute them within a target network, whether for rebroadcast, video-on-demand or any other application. The server is the perfect solution to enable high-quality, low-bandwidth, reliable contribution over the internet while avoiding the use of expensive and less flexible fiber or satellite transmission infrastructure, leading to a dramatic reduction of operating expenses (OPEX).
Here are all the specs.Leave a Comment
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|Laird Ships 12G-SDI Single Link BNC Camera Cables, Now Pre-Loaded on Reels|
Laird Digital Cinema is now shipping its 12G-SDI Single Link BNC Camera Cables pre-loaded on reels, available in six models and a variety of lengths.
Reel-loaded Laird single-channel, 12G-SDI camera cables save time and maximize broadcast signal integrity featuring a military grade reel with a spool brake and a 4K/8K chassis mount BNC connector. SMPTE compliant Belden and Canare low-loss coax cables terminate with high quality BNC connectors and deliver 12G-SDI signal transmission up to 328 feet, depending on model, as well as 3G up to 686 feet.
Designed for high bandwidth, 12G-SDI critical equipment connectivity between cameras, switchers and other 4K video apparatus, these sturdy cable assemblies ensure secure equipment connections for broadcast use for OB trucks, ENG, live events and studios.
Available models: LCR-4855-B-B, LCR-4505-B-B, LCR-4694-B-B, LCR-4794-B-B, LCR-RT4855, LCR-12G-B-B. Specs are here.Leave a Comment
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|Pliant Technologies CrewCom Wireless Intercom System Is Now Shipping|
Pliant Technologies is now shipping its professional wireless intercom system, CrewCom. CrewCom features the industry’s smallest fully-featured professional full-duplex wireless radio packs, multiple simultaneous frequency bands, as well as a host of user features. With CrewCom, production crews of all sizes can easily and quickly deploy communications solutions to connect more people in more places than ever before.
CrewCom offers 1,024 Conferences that provide the flexibility of a matrix/party-line without the cost or limitations of either system. Unlike a matrix-based architecture, CrewCom is based on a decentralized platform that puts system resources where they are needed. This entirely innovative approach to professional wireless intercoms enables CrewCom to handle almost any application-from out-of-the-box solutions to large-scale designs-for a range of installation projects for live sound, broadcast, industrial, and more.
CrewCom wireless products are available in 2.4GHz and 900MHz models (900MHz are limited to where this band is legal). Any combination of these frequency bands may be simultaneously used on the same CrewCom system, giving the ability to easily put global-friendly, dependable RF coverage where needed, all while employing a consistent user interface throughout the system. This enables the system to easily adapt to the RF challenges facing production and entertainment professionals.
All the specs are here.Leave a Comment
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|MultiDyne Intros BullDog II Field Fiber System|
MultiDyne Fiber Optic Solutions just debuted a second-generation BullDog II platform. The BullDog II will eclipse the current MultiDyne family of field fiber units, which includes the LightBox, LightCube and current-generation BullDog. To date, these have been MultiDyne’s three foundational systems to support long-distance signal distribution between trucks, studios and hard-to-reach locations in broadcast, live production and commercial AV applications.
With the versatile BullDog II platform, broadcasters, content producers and commercial AV users (corporate, medical, venues) retain the benefits of a purpose-engineered solution from a durability perspective, yet can scale up and down for any configuration and signal count that were traditionally spread across various product lines.
To create even more flexibility, MultiDyne will initially roll out three different frame sizes for applications ranging from single-camera standup interviews to the largest-scale sporting events, with additional frame sizes to follow. User can add Pelican cases or other accessories, such as handles and rackmount kits, for protection and transport in studio environments and the harshest weather elements. Its ability to interoperate with MultiDyne openGear cards, the MultiDyne VF-9000 rackmount fiber transport frame, and other BullDog systems ensure the ultimate in Field Fiber flexibility for users.
As an example, users can easily change video signal counts from one event to the next by simply adding or removing cards.At the same time, new cards can be inserted to increase audio density or Ethernet capacity, among many additional signals and applications.
The BullDog II adopts a very compact design that is much smaller and lighter than other systems, reducing weight for easier portability on board trucks and out in the field. The design integrates a monitor and touchscreen to enhance signal control and status monitoring between two points.
The new BullDog platform will accommodate multiple video formats (12G, 4K, 3Gb/s, HD/SDI, composite) as well as mic/line audio, intercom, tally, Ethernet, genlock and data. Additionally, full camera control is supported using the camera manufacturer’s RCP via serial or a 10/100GigE Ethernet connection.
Here are the tech specs.Leave a Comment
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|Zoom’s New H1n Handy Recorder Debuts|
Zoom NA just launched the H1n, dubbed a Handy Recorder, as a portable audio recorder the can be used to capturing audio for film, music, podcasts and other applications.
The H1n’s design features a protective mic enclosure, an LCD screen, an analog-style gain control, built-in X/Y microphones and a stereo 1/8-inch mini phone jack mic/line input. An onboard limiter enables distortion-free recording up to 120 dB SPL and a new low-cut filter features selectable cut-off points and helps eliminate pops, wind noise, and other unwanted low-frequency rumble. Functions like Playback Speed Control and A-B Repeat provide flexibility during playback and an Overdubbing feature allows the user to layer audio. Auto-Record and Pre-Record settings mean audio is always captured at 24-bit/96 kHz while a Voice Emphasize filter is designed specifically for dictation. For filmmakers using DSLRs, the H1n is equipped with a Test Tone and Slate Tone generators to calibrate levels and mark audio start and stop points for easily syncing audio to video.
And, the whole system runs on two AAA batteries providing up to 10 hours of recording time.
The Zoom H1n Handy Recorder lists for $119.99. Here are all the specs.Leave a Comment
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|Altinex Introduces TE460-137 HDMI Signal Generator and AnalyzerAltinex just launched the TE460-137 HDMI Signal Generator and Analyzer, which is designed for installers and consultants for testing and verifying all aspects of an HDMI signal path. Altinex says the TE460-137 is portable and can test and verify compliance with HDMI specification regardless of what is used between inputs and outputs.
The TE460-137 has both HDMI input and output with 18Gbps (600MHz) 4K UHD support and with 4K to 1080p scaling to support and complies with the HDMI 2.0a and HDCP 1.4/2.2 standards. An Analyzer mode is compliant with the CEA standard and HDR static metadata extensions CEA-861-F and CEA-861.3 for EDID analysis and it has an integrated OLED display to see the current signal state and results of signal analysis.
In its stock configuration, the TE460-137 comes with a rechargeable lithium-ion battery, a USB charging cable with power supply that powers the unit and recharges the battery, an HDMI cable for testing purposes and a hard-plastic travel case.
The Altinex TE460-137 HDMI Generator and Analyzer is $595. Here are the details.Leave a Comment
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|Osprey Video Announces Raptor 12G and HDMI 2.0 PCIe Capture Cards|
Osprey Video today announced the launch of the Raptor I/O family, the newest generation of Osprey’s PCIe cards. The Raptor family includes an array of solutions, from 3G-SDI to 12G-SDI cards with up to eight inputs to HDMI 1.4 and 2.0 cards in single- and multi-input configurations. With Raptor, users can ingest video from SD to 4K UHD/DCI, depending upon the card series selected.
Each SDI input will support 16 embedded SDI audio channels, while the HDMI series will support eight channels per input. As with earlier Osprey offerings, some models of the Raptor SDI card will offer programmable loop-outs and true I/O capability. In a new feature for Osprey, many of the multi-input SDI cards will offer bidirectional I/O ports, allowing each port to be used as either input or output. Also added are analog black burst and HD tri-level reference connections.
Raptor has a unified driver that supports DirectShow, Windows Media Foundation, Medialooks and NewTek NDI (Windows), as well as Linux V4L2 and Advanced Linux Sound Architecture.
All Raptor cards are fanless. They are also available in a ruggedized version that features passive cooling, a high-humidity coating for outdoor applications and are all here.Leave a Comment
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|Peerless-AV Launches New HDS-WHDI100 PeerAir System|
Peerless-AV just launched its next generation of its PeerAir Wireless HD Multimedia System (HDS-WHDI100). Upgraded with a new metal case design, integrated with 802.11n technology (5.745GHz) and external directional antennas that are spec’d to penetrate multiple walls, floors, and ceilings to offer complete wireless coverage, the PeerAir HDS-WHDI100 is also an IR extender for the receiver, ensuring a clean aesthetic where the receiver can be stored out of sight. It can send HDMI, audio (LPCM, PCM Stereo) and control over 100 feet. It has two HDMI inputs so it can act as a switcher for 1080p, 1080i, 720p, 576p, 576i, 480p, 480i resolutions.
The new PeerAir is being marketed for homes, corporate settings, classrooms and rental and staging.
The new PeerAir is available now and here are all the tech specs.Leave a Comment
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|Epson Announces Projector Control Software to Manage Multiple Projectors SimultaneouslyEpson today announced the Epson Projector Professional Tool (EPPT), a software utility that helps users set up multiple Epson projectors and allows easy access to advanced features such as edge blending, geometric correction and auto image calibration. The software is free to download and is designed for use with Epson’s Pro L-Series large venue laser projectors.
The Epson Projector Professional Tool automatically finds and displays all projectors on the network and makes changes easy by allowing users to adjust focus and lens shift and control basic projector functions, such as turning power on and off or displaying a test image. In addition, the software offers a straight forward graphical interface for the installer right out of the box and allows the user to drag and drop individual projectors to change the image layout.
Key Software Features:
- Auto calibration and screen matching – to adjust the brightness and color of networked Pro L-Series projectors via their built-in cameras
- Intuitive operation and control – manage multiple networked projectors
- Save time – spend less time making adjustments via the remote control
- Easily access tools such as geometric correction, point correction and edge blending
- Simple setup – projectors in the same network are automatically found and displayed
- Compatible – works with Windows 7/8.1/10 devices and displays with WXGA or higher resolution; supports Epson Pro L1000-Series projectors and the Pro L25000U
- Free download – available via the Epson website
- Convenient – supports wired and wireless networks
Here are all the details on the software.Leave a Comment
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|Gig Gear to Make InfoComm Debut in Innovations Showcase|
Gig Gear LLC, known for its unique Gig Gloves (protective work gloves designed specifically for live event and entertainment production professionals), has been selected for the InfoComm 2018 Innovations Showcase which highlights new, hi-tech companies and products to the commercial AV market.
While not a technology-based enterprise like most companies traditionally selected to the Innovations Showcase, the innovative design of Gig Gear’s Gig Gloves provides an invaluable service to the professionals that work within the AV industry — helping them complete their jobs more safely and effectively.
“Gig Gear is very excited to have been one of the few companies selected to participate as an exhibitor at the 2018 InfoComm Innovations Showcase,” said Danny Shatzkes, founder of Gig Gear. “We’re aware that the Innovations Showcase has been very selective and includes mostly tech companies showing their cutting-edge technology products and services. However, behind all of the technology in pro and commercial AV, installation and integration, there are actual human beings that need to do the physical work required to get these systems working flawlessly. Gig Gear manufactures products that make the actual physical jobs and work of the people in the industry safer, easier and more efficient. This recognition of the human component is just as important, if not more so, than quoting, installing, and integrating the latest and greatest technology for each job. I’m sure that professionals in the industry would agree and I invite all attendees to visit the Innovations Showcase and check out what we have to offer. They will be surprised at the incredibly high value our Gig Gloves provide.”
Featuring strong nylon threading throughout, Gig Gloves boast TPR molding on the back of the hand and fingers to ensure ultimate protection against impact, abrasions or pinching. Fold-over fingertips allow for use of smaller tools and items, and Gig Gloves work with touchscreen devices without needing to remove the gloves. They are available in three models: Original Gig Gloves, all-black Gig Gloves ONYX and fleece-lined THERMO Gig Gloves and come in dix sizes (XS-XXL).
Here are the details.Leave a Comment
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|Ross Video Launches New Workflow Automation Production Solution Bundle for Smaller Productions|
Ross Video will be launching a new solution bundle, this week, that combines OverDrive Express with Ross Video’s Graphite integrated production vehicle; designed for smaller productions looking to cost-effectively improve production values.
Launched in 2017, Graphite is an integrated, all-in-one production powerhouse that combines a real Carbonite production switcher with XPression graphics, two channels of clip server and a brand new 28-channel RAVE audio engine. Unlike most all-in-one solutions, Graphite offers unrivalled reliability because the Carbonite switcher functions are built on a separate PCIe card and directly powered by the system, making it immune to any possible computer sub-system reboots, crashes or updates.
OverDrive is the broadcast industry’s preferred production automation solution and the 2016 launch of OverDrive Express – a more cost-effective yet totally scalable version – proved that workflow automation is not just a requirement for larger broadcasters and studios; even smaller productions can use the operational benefits that come from automation, with demonstrable improvements in consistency and quality.
Here are all the known details.Leave a Comment
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|Roland Ships V-60HD Multi-Format Video Switcher|
Roland Professional A/V is now shipping the V-60HD, a compact, integrated video switcher and audio mixer. Its feature set is designed for live event production as well as broadcast, recording and streaming. The V-60HD supports SDI camera inputs plus scaled HDMI inputs for data, computer, tablet and other video sources via a variety of video connections, plus a Program and independent AUX bus for confidence, downstage monitor or side screens. The V-60HD also offers advanced audio functionality including multi-channel embedded audio, XLR/TRS and RCA analog inputs and multi-channel embedded audio to two SDI outputs, plus comprehensive dynamics and auto-mixing.
Compact, portable and easy to operate, the V-60HD supports six video channels from a variety of inputs, including 3G-SDI, HDMI and RGB sources with scaling on HDMI and RGB inputs to support both video and VESA resolutions from 480i up to WUXGA. A de-interlacer enables 1080i and 1080p SDI video sources from multiple fixed-lens, PTZ or ENG-style cameras to be used simultaneously without the need for an external signal converter. The V-60HD also supports still image capture and import with two dedicated cross-points to have images ready to go and easy to switch to.
Program, Preview and AUX bus sources enable flexible outputs for multi-screen environments such as churches, conference centers, hotels and trade show facilities, supporting a confidence monitor, presenter notes, plus a main output for IMAG. The dedicated AUX bus may be assigned to any of the four discreet SDI or HDMI outputs providing seamless switching from the eight input channels, including four SDI, two HDMI or one RGB and two still images uploaded via the USB port.
A front-panel 3-inch LCD display allows quick access menu navigation and access to switcher parameters. A multiviewer supports Program and Preview feeds and up to eight video sources with audio meters and labels. A free software application, V-60HD RCS (Mac or PC), provides setup and control information for the unit through a network port. For fixed installations, the V-60HD can be remotely controlled through the LAN or RS232 port using touch panel or other programmable interface devices.
The LAN port also supports Roland’s new Smart Tally system for PC, iOS and Android devices, providing wireless tally to mobile devices from a Wi-Fi access point. In addition to enabling still image uploads, the USB port allows the user to save program files and memory settings plus software updates.
The V-60HD also features a 18-channel audio mixer with four TRS/XLR combo jacks with 48V phantom power, an RCA stereo pair, plus audio de-embed from the six video inputs. Audio processing capabilities include powerful dynamics and effects, such as a high-pass filter, gate, compressor/limiter, three-band EQ, delay and the ability to select audio-follows-video channels. The unit’s innovative discreet multi-channel audio embedding function allows users to select which audio source to embed separately to SDI outputs 1 and 2, for example, to fix audio issues or separate multi-language audio sources post event. An auto-mixing function automatically adjusts the audio level based on weighting, ensuring even levels for the room mix, recording and web streaming.
Here are the details.Leave a Comment
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|Stage Tec Publishes 4.4.1 Software Release for AURUS and CRESCENDO|
Stage Tec published software release 4.4.1 today, which provides a feature of interest to AURUS customers in recording and post production. The new software release enables the use of true peak metering and true peak limiters in AURUS mixing console configurations equipped with the RMDQ DSP boards. Measurements are made with eight times oversampling, enabling more precise control of the signal to be processed. The true peak limiter and metering are available in all channel types.
Software Release 4.4.1 also brings some improvements for customers with AURUS and CRESCENDO systems. Channel configuration templates can now be saved after editing and used as templates in new projects. The GUI interface has also been revised and now displays consoles operating in parallel and virtual interfaces. With the new software release, customers with AURUS mixing desks can now enjoy improved handling of timecode automation. Operational workflow has been optimized.
Stage Tec’s flagship AURUS was launched in 2002 and has evolved continuously ever since. The console has made quantum leaps in development and is now in its fourth generation. From extensive control functions to intelligent audio editing features for particularly efficient operation, to integration of third-party products — each of the many software releases has added new functions to AURUS to satisfy the ever-increasing requirements of broadcast, theatre, recording and live environments. On the hardware side, the display technology has been further refined. The software update is now available here.Leave a Comment
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|RCF Adds to TT+ Theater & Touring Series with New TTS15-A and TTS18-A MK2According to RSF, the design philosophy for the RCF TT+ Series is based on offering the sound engineer solutions with the ability to provide controlled and consistent sound definition at high output levels for applications ranging from concert halls and houses of worship to touring and stadium situations. The strength of the product is based on the fact that RCF is one of the few loudspeaker manufacturers worldwide who completely design and manufacture the transducers, cabinets, amplification and control electronics. This control allows RCF to offer the TT+ Series offering maximum output efficiency in sound pressure levels, minimum mechanical weight ratio and extremely compact dimensions of the products.
The process starts with the transducers. The RCF design features lightweight neodymium magnet, inside-outside cooper voice coil and dual-forced hyperventing system for heat dissipation, dual silicone spider which provides strength and stability under large excursion conditions for tight response and water treated cone for weather and high humidity environment protection.
The success of the RCF TT+ Series has relied on providing total system design capabilities. Complementing the line array products, RCF has offered the TTS26-A dual 15” subwoofer, TTS36-A dual 18” subwoofer and TTS56-A dual 21” subwoofer.
Now RCF expands the low frequency offerings with the TTS15-A single 15” and TTS18-A MK2 single 18” products. The 15” woofer is powered by an onboard 1100-watt RMS Class-D amplifier with a frequency response from 40-400 Hz and 134 dB SPL maximum output. The TTS18-A MK2 is an upgrade to the original TTS18-A with new amplifier and transducer technology. This enabled RCF to increase the power by 40 percent to 1400-watts with frequency response down to 35Hz and ability to achieve 136 dB max SPL. The transducer is an 18” hypervented woofer with 4” voice coil.
RCF’s propriety RDNet onboard allows for integration in total system design as well as the abiity to remote monitor all components in the cabinet with DSP to incorporate into system audio control functionality.
The design of the subwoofer cabinets allow them to be positioned vertically or horizontally, with M20 pole receptacles on both top and side. The cabinets are heavy duty multi-ply birch with weatherproof finish. For transport, RCF offers an optional detachable front wheelboard with 100-millimeter casters. You can find information on the RCF TTS15-A here and on the RCF TTS18-A MK2 here.Leave a Comment
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|Second Warehouse Wants to Reinvent Pro AV Cross-Rental|
Second Warehouse, founded by touring engineer and industry veteran Stuart Kerrison, is a new web-based service that will change the essential but time-consuming and costly activity of equipment cross-rental.
Rental companies of all sizes will be able to trade with one another in what Second Warehouse says is a safe, fast, monitored and cost-effective environment. Second Warehouse only costs you money when it makes you money and even then many transactions are entirely free of charge.
Cross-rental, often referred to as sub-hire, has always been an essential part of how AV rental companies make money and find AV equipment. As a source of revenue, it has long been considered not only a powerful method of achieving quick return on investment, but a lifeline for smaller businesses experiencing quieter months. Before Second Warehouse, however, pro AV cross-rental relied upon members of staff spending hours or even days making phone-calls, writing emails and searching social media to reach even the beginnings of an agreement. Second Warehouse says it will change that.
A rental company searching Second Warehouse for AV equipment will find what they need quickly, while every item returned in their search will be from a fellow rental company whose gear would otherwise remain unused. Both companies can negotiate the equipment sub-hire and arrange transport without ever having to leave the Second Warehouse environment via direct messaging. All transactions are safe thanks to Second Warehouse’s vetting procedures (including a full identity and credit check upon sign-up) and a built-in user-rating system. It only takes a few minutes to do a deal.
For the supplier, the only cost is a small percentage commission, while for the hirer, the process is free. Companies are also able to select up to two ‘Preferred Users,’ with whom they can trade on Second Warehouse as much as they like without any commissions to pay. There are no sign-up or subscription fees.
Users can quickly and simply expand their cross-hire network, get quotes, negotiate prices and organize transport, prioritize existing relationships via the ‘preferred users’ feature; trade commission-free with high volume use; and use the direct messaging system to ensure transparent communication throughout. As an option, Second Warehouse can also directly communicate with many rental management software applications, meaning users can choose to let Second Warehouse track their available inventory and keep it booked out and busy. The system is completely web-based and works on all devices from mobile to tablet to desktop.
Second Warehouse is launching in Europe during Q1, 2018, with expansion planned for the U.S. and Asia by Q3, 2018. For more information or to sign up, click here.Leave a Comment
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|Roland Professional Ships the XS-62S Six-Channel Video Switcher and Audio Mixer|
Roland Professional is now shipping the XS-62S, an integrated six-channel video switcher and audio mixer with PTZ camera control capabilities in a space-saving design, optimized for installed or portable live event, recording, broadcast and streaming productions. The XS-62S delivers a powerful feature set in a compact 1RU form factor and can be operated by a single user from easy-to-use front panel controls or remotely from a Mac or PC or programmable interface.
The Roland XS-62S supports seamless six-channel switching between four SDI inputs, featuring de-interlacer along with scaled HDMI and RGB inputs from computer, tablet and other video sources, plus two still images stored in internal memory. Two SDI and two HDMI outputs may be assigned to program (PGM), preview (PVW) or auxiliary (AUX) buses. The multiview output displays all six video input sources, two still images and PGM and PVW outputs with audio meters. Three video switching modes are available, enabling the XS-62S to handle a wide range of applications, including presentations, performances and special events, corporate AV conferences and distance learning.
In PGM/PST Mode, the XS-62S operates as a traditional video switcher, enabling the grouping of multiple images on a single screen, with independent assignment to the AUX bus supporting confidence, downstage monitor or additional presentation screens. Downstream keyer (DSK), which supports both luminance (black/white) and chroma (blue/green) keying, plus PinP (picture-in-picture) functionality, enables compositing of titles, graphics and inset video. PinP may be selected in circle, heart or diamond shapes in addition to the typical square or rectangle.
Dissolve Mode offers video switching and composition with cross-dissolve to the PGM bus and is suitable for a system where the user directly operates the main unit in a meeting space or event. The separate AUX bus is also available in Dissolve Mode.
In Matrix Mode, the XS-62S allows individual video input signals to be assigned to three different destinations on three buses with fade-to-black seamless switching. This mode is effective for routing signals in applications using multiple screens while simultaneously mixing program audio and controlling PTZ remote cameras.
The XS-62S features an 18-channel audio mixer with four TRS jacks and an RCA stereo pair, plus audio de-embed from the six video inputs. Roland’s innovative discreet eight-channel analog audio embedding enables the operator to select which audio source to embed separately to SDI outputs 1 and 2, for example, to fix audio issues or separate multi-language audio sources when editing after an event.
In addition to the high-quality preamps, powerful on-board audio processing includes a high-pass filter, gate, compressor, three-band EQ and delay, plus the ability to select audio-follows-video channels. Processing may be controlled from the front panel screen menus or using Roland’s powerful Remote Control Software (RCS) for PC or Mac. Integrated auto-mixing automatically adjusts the audio inputs based on weighting, ensuring even levels for the room mix, recording and web streaming even from hard-to-manage sources as multi-microphone discussion panels.
The XS-62S is designed for direct control and intuitive operation by a single user in any AV application, with a dedicated menu screen and audio volume knobs easily accessible on the front panel. Programmable PTZ camera control eliminates the need for individual camera operators through one-touch recall of preset camera positions and angles, combined with the audio auto-mixer, allows the operator to focus on switching video. Professional broadcast-quality crosspoint buttons are back-lit with brightness control for use in bright daylight or dark performance spaces.
An RS-422 port provides PTZ control (VISCA) along with an RS232 connector for remote control from a touch panel or other programmable interface device. A USB port is included for still image uploads and for saving program files. Here are the details.Leave a Comment
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|Arista Corporation Announces the RS-121 Rackmount Computer With an HDBaseT KVM Extender|
Arista Corporation announced the RS-121 — a 1RU Rackmount Computer with Integrated HDBaseT KVM Extender, designed for control rooms, live event production signage and AV rooms.
The RS-121 houses two swappable modules: the MicroBox-1100A-E01 computer module and the ARD-1006-A07-TX HDBaseT KVM transmitter module. These two modules are inter-connected internally via HDMI, USB and RS232.
Arista’s RS-121-E01 integrates an Intel Atom E3845 1.9GHz quad-core CPU and up to 8GB DDR3 memory. The system is capable to run either Microsoft Windows or the Open Source Linux operating system. Accessible ports on the front of the RS-121 include a four port USB 3.0 hub, dual Gigabit Ethernet, one RS232/422/485 BIOS selectable COM port, a CFast slot and a VGA port.
The HDBaseT transmitter module on the RS-121 provides an HDMI loop-out, a 2-port 10/100 Mbps Ethernet pass through hub, plus a Power over HDBaseT output. With a single CAT6 cable, the unit transmits video signals, RS-232, USB and 10/100 Ethernet, as well as PoE. Equally notable, the RS-121 provides the ultimate integrator-friendly installation experience.
The Arista RS-121 will be available by the end of March 2018 for $845. Here are the tech specs.Leave a Comment
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|TASCAM Intros New Rackmount Analog MixersTASCAM has introduced the new MZ-223 and MZ-372, which are both rackmount analog mixers offering flexible inputs, mixing and routing. TASCAM says they are well suited for installs in small to mid-size venues such as restaurants, hotels, ballrooms, meeting rooms and schools, as well as residences.
The compact, 2U rack-mount TASCAM MZ-223 offers five audio channels, each with a dedicated Gain potentiometer and two stereo sets of RCA line-level inputs (ten RCA inputs, total), that can be mixed, segregated and routed to three independent zones or destinations. Channels 1 and 2 can also accommodate phono-level signals for use with a turntable, making the MZ-223 suitable for DJ and residential applications. Two convenient front-panel, balanced XLR inputs handle microphone signals.
Each of the MZ-223’s three stereo output zones present balanced XLR and unbalanced RCA line-level outputs, enabling long cable runs or connection to residential power amplifiers or powered speakers. A slider switches the RCA outputs between 0.75V and 1.5V. The MZ-223 also provides stereo unbalanced RCA master Record outputs, switchable for use with or without microphones, that enable recording the main mix to an external recording device for capturing events. With the MZ-223’s flexible design, for example, you could route music to Zone 1, ambient noise or natural sounds to Zone 2, and a separate music track or a voice announcement to Zone 3. The front panel also includes a ¼-inch stereo headphone output with level control.
An assortment of front-panel volume sliders, routing switches and buttons, EQ knobs and mute buttons enable simple, fast setup and operation. A Talkover function automatically lowers other source levels when microphones are in use.
The 3U rack-mount MZ-372 enables audio signals to be mixed, muted and routed to 2 redundant outputs or destinations. Each of its 6 audio channels has an independent volume control and features 2 stereo sets of unbalanced RCA line-level inputs (12 RCA inputs, total) and 6 balanced XLR mic/line (switchable) inputs on the rear panel, plus a mic-level XLR input on the front panel. Channels 1, 2, and 3 can be switched to accommodate phono-level signals for use with a turntable. A pair of unbalanced RCA Booth outputs provide an additional feed with independent control for monitoring and can be switched between stereo and mono operation.
Each of the MZ-372’s dual outputs offer balanced XLR and unbalanced RCA jacks, enabling long cable runs or connection to a main mixer and monitor mixer, professional power amplifier or residential power amplifier or powered speaker. A Talkover function automatically lowers other source levels when microphones are in use. A separate pair of unbalanced, line-level RCA recording outputs make it simple to capture events.
Like the MZ-223, the MZ-372 employs front-panel volume sliders, routing switches and buttons, EQ knobs, and mute buttons for simple, fast setup and operation. The front panel also includes a ¼-inch stereo headphone output with level control.
The TASCAM MZ-223 and MZ-372 are available immediately at TASCAM dealers at MAP/street prices of: MZ-223 $399.99 and MZ-372 $499.99. More information is here.Leave a Comment
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|Delvcam 12G-SDI Monitor Supports 4K Single Link and Features a Four Screen Multiviewer|
Delvcam introduces a new rack-mountable LCD monitor with 12G-SDI interfaces that supports 4K single link connections. The Delvcam DELV-12GSDI-15 6RU rack mountable broadcast monitor features a 15.6-inch IPS LCD screen with split, quad and full screen viewing options, as well as a picture-in-picture function and a high contrast display. With multiple 12G-SDI, 3G-SDI, and HDMI interfaces, this monitor is ideal for ENG news crews, TV stations, production studios and directors, in live and post-production applications.
The 3840×2160 resolution supports 4K UHD signals with a 16:9 IPS LCD display and 176° wide viewing angles for consistent images from any perspective. The monitor is mounted in a removable reinforced case with a hinged, lockable door for access to the back of the monitor and fits into a standard 19″ 6RU equipment rack without the case.
Here are the details.Leave a Comment
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|Fulcrum Acoustic Unveils Subcardioid Coaxial Loudspeaker Product Line|
Fulcrum Acoustic has launched the CCX12, a 12-Inch Subcardioid Coaxial Loudspeakers. Joining the CCX1295 (90° x 45°) announced last summer, the line now features a full range of horn patterns allowing coverage to be tailored for a wide range of applications. New models include the CCX1265 (60° x 45°), CCX1277 (75° x 75°), CCX1200 (100° x 100°) and CCX1226 (120° x 60°).
The CCX12 product family marks the first application of Fulcrum’s Passive Cardioid Technology in their extensive TQ Install line of versatile installation loudspeakers. CCX12 loudspeakers provide 9 dB of low frequency attenuation in the rear hemisphere without requiring additional cancellation drivers, amplifiers or signal processing channels.
Fulcrum Acoustic says the CCX12 subcardioid coaxial loudspeakers are effective for high-fidelity, foreground distributed systems, as well as for systems requiring targeted pattern control. Their unique trapezoidal shaped enclosures allow for mounting very close to ceilings with minimal effect on sight lines, which facilitates acceptance by interior designers and architects.
Details on the CCX12 loudspeakers are here.Leave a Comment
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