Volume 13, Issue 8 — April 23, 2015
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Editorial Editorial Editorial
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Projection
Audio
Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories
Control & Signal Processing
Media Players, Recording & Distribution
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Instant Replay, Microphones, and When It’s Wrong to Be Right
By Leonard Suskin Pixel and Ink-Stained Wretch
How is instant replay like a gooseneck microphone?
As some of you might know, I’m a dedicated baseball fan – specifically of the New York Mets. In recent years, Major League Baseball has added an instant replay system in which a dedicated team in a remote location are available to review close plays if a manager challenges them. Today, however, we’re not talking about the technical aspects of replay, but about how a play reviewed yesterday made me think of discussions I’ve had about gooseneck, ceiling, and boundary microphones.
The Play
This was a close play at home plate – one of the more exciting moments in a ballgame. The Mets were leading by a single run when Marlins outfielder Ichiro Suzuki tried to score from third base on a sharp ground ball. A quick throw to the play just beat him, and he was tagged out by Mets catcher Travis d’Arnaud, preserving the Mets lead.
Or was he?
The Marlins challenged the call, and the TV audience got to watch almost six minutes of the officiating crew listening for an answer on the phone while we watched the same replay over and over and over again. Five minutes and 45 seconds later, the officials gave the final answer: d’Arnaud’s tag had just missed Ichiro on his way to the plate, and the second tag attempt was a heartbeat too late. He was safe, the score was tied (don’t worry – there is a happy ending. The Mets scored again and went on to win).
There was some anger from Mets fans over what might be a bad call, some relief that “we” won anyway. What do I think? And what does this have to do with a gooseneck microphone? Before I answer, watch the play at full speed. Don’t watch the replays. Forget what I just said.
Was he safe or out? The truth is that in real-time it happened so quickly that you could tell me either and I’d believe you. Watch five minutes of instant replays — and we can still debated it. Perhaps we’re a bit more likely to have the right answer. Either way, however, it is not so egregious an error as to hurt my enjoyment of the game. I’d argue that my enjoyment was hurt more by having to wait for the results. Replay made the game more “fair” but less “fun.”
Microphones and Microphones and Microphones
We AV professionals are often in conflict with the interiors part of design teams regarding microphones, speakers, and any other AV elements which might have to be more visible than would be ideal for aesthetics. What makes matters worse is that the best solutions from an audio perspective are often the most problematic aesthetically. Recently I had a discussion with the manufacturer of a “delegate system” consisting of free-standing little boxes with gooseneck microphones and some simple controls. Their argument is that it made a better solution than a boundary mic or a ceiling mic. I agreed, but pointed out that whenever I propose such a thing in a high-profile boardroom with expensive furniture, the architect would most certainly complain. The response: “I hope you set them straight.”
This is a problem some of us in the industry have. Like the well-meaning baseball executives who insist on making sure the calls are right, we can become obsessed with finding the best solutions. At best, this leads to excellent performance. At worst, it creates a kind of tunnel vision in which the enjoyment of a space is harmed by a lack of attention to overall experience (which includes how a space looks).
The truth is that for simple conferencing applications boundary or even ceiling microphones are adequate. They’re the experienced umpire’s best judgement at game-speed. A 12-inch gooseneck? That’s a team in a control room with five minutes to view super-slow-motion from multiple angles.
Last year, I posted about a mad-science experiment in which several mics were compared for use with a soft-codec. This is something about which I’ve been thinking more — especially as expectations have shifted.
Sliding Expectations
Not many years ago, if you said “videoconference” to an executive, they would think of a dedicated conference room, with integrated microphones, a DSP capable of being tuned for the specific room conditions, and possibly acoustic treatments to maximize performance. The idea would be a space built and designed for that function.
Now if you say “videoconference,” most people will think of the Google Hangouts or Apple FaceTime app on their phones. Does a room system need to be better than this to accommodate a dozen or more people? Absolutely. Is the expectation an immersive experience with the best-quality audio and video? Only in the most specialized spaces.
I’m no longer in the business of setting anybody straight; I do educate, and I do try to guide clients to the right answer.
What I’ve learned is that sometimes the right answer is to let the call on the field stand to preserve the flow and experience of the game, even at the expense of some measure of accuracy.
It’s good to be right, but sometimes being right is not enough.
Sometimes it’s even wrong. Leave a Comment
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Projection Screens in Education Installs: To Skimp or Not to Skimp?
By Scott Tiner rAVe Columnist
Every year colleges and universities spend millions of dollars on AV for their presentation spaces and their classrooms. We specify HD projectors with lumens rated from 4,000-8,000. Touch panels and control systems make the technology go, while computers, Blu-Ray players and document cameras create the content. In short, we put a lot of time, thought and money into the entire system.
Then we drop $200 on a pull down screen and call it good.
This has been rattling around my mind for a while. Why do we spend all this time, money and effort to put together rooms, and then skimp on arguably the most important piece — the screen? It really sunk in during a recent conversation with members of our art history department. We had worked to color calibrate all their projectors, and they mentioned that a screen in one of their rooms had a wrinkle in it. It turns out that this particular screen simply had a pencil sharpener sticking in the back of it, which caused the wrinkle. Yet, even after taking the pencil sharpener off the wall the picture was not great. The sides of the screen bent in a little bit and certainly the slightest movement of air would cause the screen to wiggle. I took a minute to contemplate the amount of money we had invested in these rooms, but had largely ignored the screens, simply out of habit and to save some money.
So I learned my lesson, almost. We met recently with the people in our facilities department. They wanted a system to meet with architects, designers and consultants. I put my CTS skills to use and made sure they had a system designed with proper sizes for the detailed view. Then, I was ready to stick in the old pull down screen. Luckily, I was smart enough to have our AV analyst with me on the walk through. He suggested we look into a fixed surface screen. This is one of the few rooms on campus where a fixed screen would work. The results are absolutely amazing. The screen looks fabulous, there are no wrinkles and it does not move a bit with air circulation.
Certainly, not all rooms can take a fixed screen. I cannot think of a single classroom on campus that would use one, as it would block the blackboard or whiteboard. Most of our meetings spaces are the same way. So, why don’t more of us think about tab tensioned screens? I wrote a blog a couple years ago about the frustration I had with tab tensioning (all the tabs were popping off). However, I spoke with a representative from one of the major screen manufacturers about this. He explained that that was a problem in the past with the glue they used, but they now use a different technology to attach the tabs. I have purchased a couple of these new screens and they do, in fact have better adhesiveness.
The other issue we have all the time is with lighting. Whether it is with artificial lighting or natural lighting leaking in, lights on regular screens are a problem. If the lights do not completely wash out the image, they always remove the contrast. But, Draper (and probably other manufacturers) have technology on their screens now that both defray the excess lights, and reflect the projected image, magnifying that light. Draper calls their product TecVision and from the demo I received, it is very impressive. In recent years they have worked particularly hard and getting good contrast and wider viewing angles from their screens. It costs more than your standard pull down screen, but also provides a lot more value.
As the saying goes, you are only as strong as your weakest link. The next time you design a room, think about where your weakest link may be. If it is in your screen, you may be saving pennies by throwing away dollars. InfoComm is right around the corner and that’s a great time to stop by the screen manufacturer booths and talk to them about their new technology. I am interested to hear from others. What do you do for screens? Do you spec out high quality screens that have been planned for the specific design and environment of the room, or do you just put up the cheapest one you get? Leave a Comment
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Extron Attempts to Set Standard for Claiming 4K Compatibility – Offers it Up to All 4K Manufacturers There is no doubt that the next battleground for signal routing and distribution will be in the realm of 4K resolution gear. Consumer TVs, Netflix broadcasts, digital signage and commercial AV applications are all pushing 4K resolutions from everything from improving the movie watching experience to full-screen collaboration in BYOD Huddle Rooms.
And, there are dozens of manufacturers out there that have launched 4K resolution switchers, cables, distribution amplifiers, splitters, signal boosters and anything else you can imagine that’s required for getting a signal from one place to another.
But not all 4K is equal. In fact, just a simple Wikipedia search will tell you that 4K includes six different resolution standards from 3840×2160 through to 4096×2160 up all the way to 5120×2160 (yes, even that is technically part of the 4K plethora of standards). But, it isn’t as simple as resolution — what about frame rates, color bit depth, etc.? Why do you think that nearly all 4K you’ve seen so far at trade shows is done at 30 Hz and not 60 Hz or 120 Hz? Simple: bandwidth.
In fact, nearly all of the 4K demos you’ve seen thus far are either direct from the source to the display (without any signal roughing in-between), compressed, or actually 30 Hz. Hardly any hardware has even attempted to do uncompressed 4K any other way — until 2015. And now, we have a handful of manufacturers specifying 4K resolution capability — but at what frame rate? At what color bit depth? What’s their sampling rate? Most manufacturers don’t give us those specs.
Extron says it always will. Calling its 4K guarantee a True4K Specification, the company hopes to help the industry, overall, to adopt a standard-way to get all manufacturers to spec 4K performance the same — thus, as the product is specified by an integrator or systems designer, they know what it is capable of doing.
In fact, for each of Extron’s 4K solutions, they’ll see the True4K logo and True4K specification that includes the technical information they need to know about product performance. Extron says that the True4K specs will include complete information regarding resolution, color sampling and color bit, sampling and frame rate.
In addition to True4K specifications, Extron Institutes (their educational offerings) now include new training that provides vital information that AV system designers need to know in order to successfully design 4K video systems that perform reliably and meet customer expectations. And, they’ve made available a free technical white-paper that you can get here called “Hitting the Moving Target of 4K” that is an in-depth discussion and explanation of 4K video in its current state, and what’s to come as technologies and industry standards continue to evolve.
Finally, Extron is challenging the other industry manufacturers to adopt this standard and add these specifications to their 4K products. It’s time to be truthful and help the industry be successful with 4K. We can’t imagine any manufacturer wouldn’t do this. But, it will take you, the integrators, pushing them. Doesn’t it make sense? Don’t you want to know which 4K signals your 4K-capable systems are really able to route?
Here is an example of how the True4K spec reads in product literature on Extron’s website. Leave a Comment
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Christie to Debut 60,000 Lumen Projector Next Week Christie is setting a new visual display standard at NAB in Las Vegas with a brand-new 60,000 lumens using 3P laser. Yes, 60,000. It will be demo’d in the Christie Innovation Theater where — using RGB laser technology in a large, open theater — Christie will demonstrate Rec2020 content and 60,000 lumens of brilliant light using 3P laser. Rec2020 color provides a better representation of real world color than the commonly used color spaces for television and cinema.
Also at NAB, the Christie D Series 3LCD single-lamp digital projector series with brightness ranges of 6,000-8,000 lumens and 10,000:1 contrast ratio, will debut in the USA. A new 0.38:1 Ultra Short Throw (UST) lens with an all-glass element lens that Christie says offers greater thermal stability and reduced image drift compared to lenses using plastic lens elements for greater flexibility in designing panoramic multi-projector displays, while providing high brightness and lifelike images.
We will report more on those as they are officially rolled out, but this is a heck of a scoop!
Christie is here. Leave a Comment
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Panasonic Claims Lightest 3-Chip DLP Laser Projector with PT-RZ12KU Panasonic’s new PT-RZ12KU laser projector is a three-chip DLP that’s specified at 12,000 lumens at native 1920×1200 resolution with a 120 Hz frame-rate. Integrate with two DIGITAL LINK (HDBaseT) ports, the PT-RZ12KU is aimed at the rental and staging markets but can be used in auditoriums, bars and even lecture halls. One unique features with the projector is it allows for vertical, horizontal and tilting 360-degree projection because of the laser light source.
The PT-EX12KU incorporates two 380-watt lamps to get the 12,000 lumen spec with a 4000:1 contrast ratio. The image quality is also supported by the Pure Color Control function and full 10-bit image processing system. The Pure Color Control function independently controls the light intensity of yellow coloring. This provides rich overall color expression while maintaining brightness. It’s also integrated with an Eco Filter which minimizes the need for filter maintenance for up to 12,000 hours. It weighs in at just under 95 pounds.
All the detailed specs are here. Leave a Comment
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Christie Debuts Five New 3LCD D Series Projectors Christie unveiled five new 3LCD digital projectors today spec’d with brightness ranges of 6,000 to 8,000 lumens with a single lamp (and an optional 0.38:1 Ultra Short Throw lens). The D Series are all 10,000:1 contrast ratio and come in resolutions of XGA (1024×768), WXGA (1366×768) and WUXGA (1920×1200).
Christie D Series are what the company calls “whisper-quiet,” aimed at higher education, corporations, museums, houses of worship, government facilities and selected rental and staging environments. Christie’s totally new aesthetic is used on all five new D Series models.
The new Christie Connect option with Wireless USB option provides monitoring and collaboration capabilities in multi-user environments. Users also benefit from professional tools including HDRC-Liteloc for “stunning images” even as the lamp ages, and the new Advance Color Management system provides separate controls for hue, saturation and luminance to create lifelike images.
Christie D Series features include:
- Optional* Ultra Short Throw (UST) lens with a 0.38:1 throw ratio
- Portrait or landscape mode provides installation flexibility
- XGA, WXGA and WUXGA resolutions
- Single-Connect cable option: Christie OneConnect — via HDBaseT
- 3G-SDI (WUXGA only)
- Multiple lens options
- Third party control system integration via AMX and Crestron
Christie D Series ships in May 2015 and here are all the specs. Leave a Comment
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Meyer Sound Announces New LEOPARD and 900-LFC Line Array System Meyer Sound introduced two new line array systems in the form of the LEOPARD and the 900-LFC as part of their LEO Family; these two are its smallest and most versatile members. Boasting what Meyer claims as tremendous power-to-size ratio with ultra-low distortion, the patent-pending LEOPARD line array loudspeaker and the 900-LFC low-frequency control element offer an unprecedented level of clarity, power, precision, and ease of use. With state-of the-art design, groundbreaking engineering, and premium quality components, LEOPARD AND 900-LFC are designed to create an exceptional listening experience across a wide variety of applications from rental to install and rock ‘n’ roll to classical.
System highlights:
- Newly designed and highly efficient class-D amplifiers that virtually eliminate distortion while consuming less power and generating less heat.
- LEOPARD can both anchor a main system in a medium-sized venue or integrate seamlessly with LYON in down- and out-fill systems.
- Six LEOPARD and two 900-LFC loudspeakers can be flown using a ½ ton motor.
- 900-LFC offers exceptional low frequency, clarity and impact inherited directly from its big brother, the 1100-LFC.
- A complete system solution with MAPP XT for acoustic prediction, Compass RMS for real-time system performance monitoring, the Galileo Callisto loudspeaker management system, and the new MDM-5000 distribution module for routing AC power, audio, and RMS signals.
The LEOPARD is here. The 900-LFC is here. Leave a Comment
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PreSonus Ships AVB Networking for StudioLive Active Integration Mixers PreSonus is now shipping its SL-AVB-MIX Audio Video Bridging (AVB) audio networking option card for StudioLive AI-series console and StudioLive RM-series rack-mount Active Integration mixers. These options allow you to create a complete, networked live-sound solution, using CAT5e or CAT6 cables instead of a snake—and that’s just the beginning.
AVB enables precisely synchronized, real-time, low-latency, streaming of audio across an Ethernet network with no-hassle, self-configuring, true plug-and-play convenience. All StudioLive RM-series mixers already have the SL-AVB-MIX option card installed and just need a firmware update to enable the new AVB networking functionality. The card is offered as an upgrade option for StudioLive AI console mixers.
With this first phase of AVB support, you can use the StudioLive RM32AI or RM16AI as a stage box and monitor mixer for any StudioLive AI-series front-of-house (FOH) console mixer. Remote-control the StudioLive RM-series mixer’s recallable, Class A XMAX preamps from the console; take advantage of the RM mixer’s 16 additional aux mixes; and use the RM mixer’s Fat Channel processing and FX buses for independent monitor mix processing from the FOH mix.
Thanks to PreSonus Active Integration technology, the mixers on the AVB system can be set up, and your mixing workflows synchronized, in a single step. All input routing to and from the onstage RM mixer and the AI console mixer at FOH is configured automatically. You simply change the channel source from “analog” to “network” on the channels you want to source from the other mixer.
In addition, the talkback and main L/R mix from FOH are set up as the talkback input and main L/R outputs on the RM mixer onstage. The talkback on/off at FOH also engages the talkback onstage, making it easy to communicate with the band. PreSonus Active Integration also keeps your scene save and recall in sync between the mixers in the system.
Both mixers can be controlled using PreSonus UC Surface touch-control software or VSL-AI and SL-Remote AI for Mac, Windows, and iPad, and all aux mixes can be wirelessly controlled using PreSonus QMix-AI for iPhone / iPod touch. All audio and control data flows over one slender Ethernet cable, so you can shed that heavy, noisy analog copper snake.
The SL-AVB-MIX option card for StudioLive AI Console Mixers is available now for a U.S. retail price of $399.95
Here are all the specs [PDF]. Leave a Comment
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Sennheiser Launches AVX Wireless Microphone Systems for XLR-Based Video Cameras Sennheiser just debuted the AVX wireless microphone systems for video cameras and the receiver plugs directly into the XLR port of a camera, where it automatically pairs with the microphone and switches on when the camera does. The system automatically adjusts the correct audio levels and transmits using a specially protected link in the license-free 1.9 GHz range. Setting up and recording high-quality audio for video has never been faster or more convenient.
Convenience starts with not having to register the system or pay for its use: AVX operates in the license-free 1.9 GHz frequency range, which can be used in many countries worldwide. The convenience continues in operation: the plug-on receiver automatically switches on with the phantom powering of the camera, and automatically pairs with the transmitter. The system immediately sets the correct audio level, perfectly matching it to the camera’s input sensitivity, selects a free frequency – and is ready for the job at hand. If a source of interference appears, AVX will inaudibly shift to a new frequency.
AVX is equipped with adaptive transmitting power, meaning that the system always uses the power that is required to maintain a reliable connection between the microphone and the camera receiver. This not only ensures a stable link, it also reduces battery power consumption — as does the automatic on/off function.
The AVX receiver and transmitter are powered by special lithium-ion batteries, which can be recharged via a USB port. To avoid nasty surprises when filming for a long time, the transmitters display the amount of battery life remaining.
For DSLRs with a jack audio input, the AVX systems include an XLR-3/mini-jack adapter cable and the mounting accessories needed to attach the receiver to the camera hotshoe.
AVX is available in three different sets: with a handheld transmitter (evolution microphone head); with a bodypack transmitter and ME 2 clip-on microphone; and in a special professional version with a bodypack transmitter and an MKE 2 clip-on microphone, the benchmark product for film and TV productions.
For the USA, a special combo pack is issued, which includes both a bodypack and a handheld. The microphone head is an MMD 42, the capsule of Sennheiser’s long-standing MD 42 reporter’s microphone. All system components ‑ plus additional items such as a handheld transmitter with on/off switch -‑ are available separately so that users can put together their own tailor-made AVX systems.
The AVX systems and components will be available in June 2015. Specifics are here. Leave a Comment
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L-Acoustics Makes Soundvision 3.0 FreeIn 2004, L-Acoustics released Soundvision, the first 3D sound system design program capable of operating in real time. Today, the company announced the release of Soundvision 3.0, fully re-designed on a new architectural platform and up to 40 times faster when calculating the most complex files. The new release is fully compatible with the most recent graphic cards and with PC operating systems from Windows Vista and above and will be available as a free download.
While Soundvision’s code has been fully updated, the user interface has been kept identical to previous versions so that current users will be able to apply the updated software instantly. The updated version is also retro-compatible, meaning all files from preceding versions of the software can benefit from the upgrades in Soundvision 3.0.
Soundvision 3.0 will be available online April 15th here. Leave a Comment
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Meyer Sound Debuts New System Design Tool
Meyer Sound has announced MAPP XT, claiming it to be the first audio system design tool that allows users to design systems with truly useful loudspeaker headroom information. In addition to an updated user interface and new features that streamline workflow, MAPP XT shows the maximum levels to which Meyer Sound loudspeaker systems can be driven while maintaining linear performance, empowering customers to specify high-performance systems that reflect the needs of their shows.
Headroom information is the most significant new feature in MAPP XT, and can be viewed from the perspectives of two different input signals. They include the traditional broadband pink noise and B-Noise, a new input signal designed to better represent the most common input spectrum in real-world applications.
Other new features in MAPP XT include:
- The Auto-Splay feature allows users to select the starting and finishing angles and automatically calculates the optimum splay angles between cabinets.
- Factor of Safety shows whether a proposed LEO or LYON array is within limits for the given configuration and angle to help users meet safety standards including 5:1, 7:1, and BGV-C1.
- The Gradient Subwoofer Array Tool quickly and accurately configures cardioid low-frequency arrays with the 500-HP, 900-LFC, and 1100-LFC models, saving valuable time for system designers.
- Trace Store and Recall provide fast comparisons of different configuration options.
- Relative Phase Response data allows users to combine different elements more easily.
- PDF Export promotes easier sharing of system designs among project team members.
MAPP XT is launched in conjunction with the new, patent-pending LEOPARD and 900-LFC linear line array system. To register or to learn more about MAPP XT, go here. Leave a Comment
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Pivitec Adds New CMx64io-AVB Network Card Pivitec has introduced the new CMx64io-AVBTM Ethernet AVB network card. The card is designed to add AVB connectivity to professional audio equipment that supports the industry standard CM-1/CM-2 card format.
The network card is a complete off-the-shelf solution that features a USB 2.0 interface and 10/100/1000 Ethernet. USB 2.0 allows the host device to act as a USB audio interface for Mac and PC computers with simultaneous Ethernet AVB audio streaming. It also facilitates “daisy-chaining” of multiple audio devices to a single Gigabit Ethernet connection. As a result, installers can employ a much simpler network topology, dramatically reducing the cabling and installations costs for an AVB network.
The CMx64io-AVB hosts a variety of audio and control I/O signals which permits customization for numerous applications in pro audio, recording and broadcast. The board supports 802.1Ba, 802.1AS, 802.1Q, 1722.1 and 1722 Ethernet AVB Standards.
The network card, which can manage up to 64×64 channels, is field firmware updateable and provides Wi-Fi control and configuration. Sample rates range from 44.1k to 192k.
The CMx64io-AVB is available as part of Pivitec’s complete Ethernet AVB Hardware Reference Design Kit (XRDK). The AVB Endpoint hardware reference design is also available for licensing as is Ethernet AVB software/firmware stack licensing. Pivitec can provide custom OEM engineering design services and support to interested manufacturers.
Here are the specs. Leave a Comment
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NewTek Adds Dante to TriCaster Audinate and NewTek announced an expansion of their partnership to enable Dante support in the TriCaster product line. As part of the new TriCaster Advanced Edition, customers will have the ability to install Dante Virtual Soundcard to enable seamless audio connectivity to other Dante-enabled products.
TriCaster has changed the way producers cover and distribute live events. TriCaster set a new industry standard as an innovative, easy-to-use appliance for portable live production and streaming, it has become the choice for video producers worldwide. TriCaster customers will now be able to download and install Dante Virtual Soundcard on the TriCaster platform. This transforms the production system into an end-to-end digital audio workflow seamlessly integrating TriCaster with Dante audio devices on the network.
Dante is a complete, reliable solution for high-performance audio distribution over standard IP networks, supporting hundreds of simultaneous channels of uncompressed audio with ultra-low latency and sub-microsecond synchronization accuracy. Dante provides manufacturers and users alike with a full suite of tools and capabilities for full plug-and-play operation, including automatic device discovery, software-based signal routing, and complete integration with PCs.
NewTek is here. Leave a Comment
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Mackie Upgrades and Expands ProFX Series Mackie today announces the launch of ProFXv2 Series Professional Effects Mixers. The redesigned ProFXv2 series features an all-new preamp design and powerful new effects engine, delivering unmatched sonic performance for live sound applications. The series has been expanded with two new models, the four-channel ProFX4v2 and the 30-channel ProFX30v2, opening up the no-compromise ProFX toolkit to a wider range of applications.
To achieve the performance that ProFXv2 claims, Mackie has designed the all-new Vita preamp, designed specifically for the highly-dynamic world of live sound. A huge step up from the original ProFX series, Vita preamps are virtually noiseless, even at high gain levels. The Vita design features a Class-A front end, dual feedback stabilization and bias current optimization for unmatched low-noise performance.
Also contributing ProFXv2’s excellent sonic performance is the all-new ReadyFX effects engine. This new engine employs floating-point DSP, designed for the processing of high-quality audio signals. With more horsepower and all-new algorithms, ReadyFX delivers results that add depth to any mix, with premium sound that elevates live performances. Each ProFXv2 mixer features a choice of 16 reverbs, choruses and delays, each extremely useable for a wide array of sonic applications.
Each ProFXv2 mixer features multi-band GEQ, critical for tuning mains to get the best possible sound in any venue. Onboard GEQs are also great for eliminating nasty feedback from stage monitors. Each model features a flexible mix of I/O and, with six models available, covering applications ranging from 4 to 30 inputs, there is always a ProFXv2 mixer right-sized for your application.
The ProFXv2 Series features a wide range of models, each with their own complement of I/O and features to suit nearly any live sound application. There are three compact models – ProFX4v2, ProFX8v2 and ProFX12v2. These utility workhorses deliver professional live sound features in compact designs perfect for smaller applications. The ProFX16v2, ProFX22v2 and ProFX30v2 not only offer the higher-channel count needed for bands, Houses-of-Worship and more, they include additional features for professional applications. They each feature 4-bus architecture for additional mix management and dedicated inline channel compression on select channels that add life and punch to guitars or bass and increase the presence of any voice.
The ProFXv2 series expands on the models available in the line with the new ProFX4v2 and ProFX30v2. The ProFX4v2 is the most feature-rich ultra-compact mixer on the market. No other mixer of this size and price features the comprehensive toolkit that ProFX4v2 provides. It’s ideal for cafès and other small performance venues. It’s also perfect for vocal-only reinforcement in band rehearsal spaces. The ProFX30v2 extends the line into truly professional applications. It’s ideal for live sound venues looking for a higher-channel count solution without needing excess outboard gear. Bands that bring their own PA to the venue will also appreciate the flexibility and power of the ProFX30v2.
Mackie ProFXv2 series mixers will be available beginning May 2015. The series includes six models that range in list from $169.99 to $1149.99 and all are here. Leave a Comment
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HARMAN’s Crown Introduces XLS DriveCore 2 Amplifiers With Upgraded Features and FlexibilityHARMAN’s Crown Audio today announced the introduction of the XLS DriveCore 2 Series two-channel power amplifiers, offering a host of upgraded features including more flexible DSP band pass filtering, selectable input sensitivity, remote sleep mode trigger and sleek new styling.
Four new XLS DriveCore 2 models are available including the XLS 2502, XLS 2002, XLS 1502 and XLS 1002, with power ratings from 350 to 775 watts per channel at 4 ohms and 1100 to 2400 watts at 4 ohms bridged. Setting new performance and value benchmarks at their respective price points, Crown’s XLS DriveCore 2 Series amplifiers feature HARMAN’s exclusive DriveCore amplifier circuitry that combines high power output with exceptional energy efficiency, all under 11 lbs (5 kg).
Crown XLS DriveCore 2 amplifiers now offer a bandpass filter on each channel in addition to the previous low and high pass filters, enabling more precise DSP tuning. All models allow the front-panel LED indicators (except the clip and thermal indicators) to be turned off if desired, reducing distraction in dark venues. All the amplifiers have selectable input sensitivity of either 1.4 Vrms or .775 Vrms, facilitating their use in a wider variety of applications and enabling the amplifiers to be driven at full power no matter what the input is.
XLS DriveCore 2 amplifiers now offer a remote sleep modetrigger function, to reduce power consumption from a distance. The amplifiers also feature a display sleep mode that turns the display lighting off after a specified time. All models provide a security setting that disables the front-panel menu buttons; the menu is locked and unlocked by entering a simple button combination. In addition, a system reset function enables all factory settings to be restored.
Power ratings of the XLS DriveCore 2 models (per channel into 4 ohms) are as follows: XLS 2502, 775 watts; XLS 2002, 650 watts; XLS 1502, 525 watts; XLS 1002, 350 watts. All incorporate Crown’s DriveCore Class D amplifier design, which is the size of a postage stamp yet combines the amplifier driver stage into the power output stage along with additional audio-signal functions to provide remarkably efficient, cool-running operation that conforms to HARMAN International’s GreenEdge environmental initiative. All the amps are just 2U rack spaces high.
Crown XLS DriveCore 2 amplifiers can power 8- 4- or 2-ohm loads and can be bridged for 8- or 4-ohm mono operation. Additional features include:
- Peakx limiters that deliver maximum output while protecting the speakers
- balanced XLR
- 1/4-inch and RCA inputs
- touchproof binding post
- Speakon outputs
Crown XLS DriveCore 2 Series amplifiers will be available in June 2015 at prices ranging from $299 to $599. All the details are here. Leave a Comment
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Extron Adds Audio Embedding to Select DTP Transmitters Extron has told rAVe that four of its DTP twisted pair transmitters now feature analog stereo audio embedding. These include the DTP T HWP 232 D and DTP T HWP 332 D two-input, Decora-style transmitters for HDMI, as well as the DTP T UWP 232 D and DTP T UWP 332 D two-input, Decora-style transmitters for HDMI and VGA. The added capability of embedding stereo analog audio onto the digital video output signal for transport over DTP streamlines integration by eliminating the need for a separate audio connection at the receiver. The transmitters support signal extension up to 230 feet (70 meters) or 330 feet (100 meters) over a shielded CATx cable. A free firmware upgrade allows you to take advantage of this new feature in existing DTP Systems deploying these transmitters.
Extron says the DTP Systems product family is the industry’s most comprehensive integration platform for small to medium-sized AV systems. This family includes numerous different extender models in a wide variety of form factors and video formats, plus a broad offering of distribution amplifiers, switchers, and matrix switchers with essential AV signal processing and control features.
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Vaddio Expands RoboSHOT Camera Lineup with New RoboSHOT 12 HDMI and RoboSHOT 30 HDMI Vaddio has added two new cameras to the RoboSHOT series, the RoboSHOT 12 HDMI and RoboSHOT 30 HDMI. Both feature HDMI out, Ethernet for IP control, a better image signal processor (ISP) and Vaddio’s Tri-Synchronous Motion.
The RoboSHOT HDMI series is designed for simplicity in applications that only need HDMI video. Control functionality is accomplished via Telnet, RS-232, IR remote and the camera’s built-in web server, which allows users to control the camera functions on a web page with any browser over the IP network.
Vaddio’s RoboSHOT 12 HDMI camera features a 12x optical zoom with a 73-degree wide horizontal field of view, perfect for small to medium sized conference rooms, training rooms or classrooms in a wide variety of applications including UC conferencing, videoconferencing, distance learning, lecture capture, telepresence and ProAV while the RoboSHOT 30 HDMI features a powerful 30x optical zoom with a 65-degree wide end to 2.3 tele end horizontal field of view, ideal for medium to large rooms including house of worship, large auditoriums, theaters, IMAG performances, lecture theaters and more.
Like all RoboSHOT series cameras, the RoboSHOT 12 HDMI and RoboSHOT 30 HDMI comes fully equipped with Vaddio’s Tri-Synchronous Motion technology, a silent, direct drive motor system that allows all three axes of the camera (pan, tilt and zoom) to move simultaneously for ultra smooth, natural camera motion.
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IC Realtime Unveils 4K Video Surveillance LineIC Realtime is debuting a lineup of 4K video surveillance products this week that includes a 360-degree x 360-degree Virtual PTZ camera and NVRs.
As you likely already know, Ultra HD 4K display has 3,840 x 2,160 pixel resolution with an expanded color space, in a 16:9 format, and uses progressive scanning at 25/30 Hz. This equates to four times the resolution of 1080p HDTV. All IC Realtime 4K products comply with the UHD standard.
IC Realtime’s dual-sensor 24-megapixel Virtual PTZ (pan, tilt, zoom) camera together with the company’s proprietary IC720 software app, gives the user the ability to pan from floor-to-ceiling and completely around the camera — including zoom and freeze options — in a smooth fashion, free of blind spots or distortion. This yields fields-of-view that until now required several cameras to achieve. Navigation is achieved by simply pointing the display device in the desired directions, or via finger touch of the display screen. The app (available as a free download here) is presently compatible with iPad and iPhone. Versions for Android and a variety of mobile devices, tablets and laptops, are in development. List will be $3,000.
IC Realtime is now offering 4K in a 360-degree dome as well as several standard wide-angle lens varieties. Each claim 4,000 x 3,000 resolution, 4K @ 15FPS recording and is powered by the IC720 software platform which works with a smart device’s built-in sensors and gyros to permit users to review events from inside of the action. Additional capabilities of the cameras include infrared night vision and audio. The 360-degree 4K dome camera (model # ICIP-360L12) has list of $1,598. The wide-angle versions are expected to range from $900 to $1,400 list and will be available in bullet, dome and box styles.
IC Realtime’s 4K NVR is the next step in the evolution of high-performance 4K resolution network video recorders. This ONVIF-compatible unit boasts an Intel i7 quad-core processor, can store up to 96TB internally and is capable of outputting 4K from 4-channels to 128. List for the NVR (model # NVR-8256DR) starts at $13,998.
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Vaddio Announces a New and Enhanced ZoomSHOT 20 POV Camera Vaddio has announced its latest point-of-view camera, the ZoomSHOT 20. Based on Vaddio’s ClearVIEW HD-20SE PTZ camera technology, the ZoomSHOT 20 is fully equipped with an advanced image signal processor, 20x optical zoom and native 1080p/60 high definition video. Manual pan and tilt positioning allow for simple, precise control.
The latest 1/2.8-Type Exmor CMOS high speed, low noise image sensor processor combined with the advanced ISP of the ZoomSHOT 20 provides exceptional low-light performance rated at 0.3 Lux making this camera ideal in low-light applications including house of worship, ProAV system integration, distance learning classrooms, live events, IMAG systems, UCC applications and more.
In addition to the advanced ISP, the ZoomSHOT 20 comes equipped with a 20x auto-focus zoom lens, providing a 63-degree wide to 3.47-degree, tele-horizontal field-of-view for a wide range of applications.
Like all Vaddio cameras, the ZoomSHOT 20 is designed to work with Vaddio’s Quick-Connect camera interface systems that allow integrators the ability to run power, video and control over Cat5 cabling. Full image color control is available for a built-in internal On-Screen Display.
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dnp Intros WVF Screen dnp just launched a new product in the rear projection product line for video wall cubes called the WVF. The dnp WVF Screen (short for Wide View FEL Screen) fills out the gap in the product range of the dnp Ultra Contrast Screen, dnp Cross Prism Screen, dnp FXS Screen, dnp CSI Screen and dnp Black Bead Screen. It’s available from 50″ to 80″ sizes.
The dnp Ultra Contrast Screen is the entry level screen offering, with a relatively high peak brightness but limited viewing angles. The dnp Cross Prism Screen, dnp FXS Screen, dnp CSI Screen and dnp Black Bead Screen are high-end products offering improved viewing angles.
The new dnp WVF Screen fills out the gap in between these two product groups, and with a peak gain of 2.0, a horizontal ½-gain angle of 38° and a vertical ½-gain angle of 21°, this new screen is perfect for small and mid-size display walls, where a superb image quality is required at limited costs.
The design of the dnp WVF Screen is, like all other dnp cube screens, based on an advanced Black Stripe lens technology, which absorbs the majority of ambient light, while transmitting the majority of the projector brightness. dnp is the only screen manufacturer offering this advanced Black Stripe lens technology.
The dnp WVF Screen is available in all sizes up to 1600×1200 millimeters, with a variety of Fresnel focal lengths to fit the actual projection engine optics.
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Chief Expands Fusion Bolt-Down ConfigurationsChief has expanded its available line of configurations for bolt-down video wall and single display mounts.
The new options include portrait and landscape single XL mounts, portrait and landscape 1×2 mounts and a landscape 1×3 mount.
The freestanding solutions include ControlZone micro-height and leveling capabilities as well as plumb and lateral shift adjustment knobs make precise screen alignment both fast and simple. Other features include:
- Independent adjustments for height and plumb to easily align displays without tools
- Infinite vertical and lateral adjustments for tight display rows and columns
- Integrated cable management
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The World’s First 50 Gbps Digital Backplane Comes from Extron’s New XTP II Switchers Extron’s new XTP II CrossPoint matrix switchers claim the world’s first 50 Gbps digital switching backplane (think: uncompressed 4K).Extron says the XTP II enables the deployment of an AV system infrastructure with a switching bandwidth that exceeds the data rate required to distribute 4K/60 video with 4:4:4 chroma sampling at 16 bits per color. These matrix switchers can be configured with a variety of boards, including the new XTP II HD 4K PLUS input and output boards that support HDMI 2.0 and HDCP 2.2, a new family of XTP 4K fiber optic boards and endpoints, or any of the existing products in the XTP Systems family.
XTP II CrossPoint matrix switchers are engineered to exceed the bandwidth required by HDMI 2.0 and DisplayPort 1.3 signals. Three modular frames are available for 16×16, 32×32, as well as larger 64×64 I/O sizes, and can be configured with XTP II HDMI input and output boards, which offer the highest level of HDMI 2.0 performance with a full 18 Gbps data rate throughput at each port. The XTP II boards are also HDCP 2.2 compliant, ensuring reliable switching of encrypted, 4K video content. To streamline integration, all products within XTP Systems are compatible with one another. This enables complete end-to-end system solutions, and provides a wide range of possibilities for future system upgrades to support emerging video standards and formats.
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Kramer Intros Combined HDMI and VGA Over HDBaseT Wall Plate and Auto Switcher Kramer announced today the release of the WP-5VH2 ultra HD HDBaseT active wall plate auto-switcher — specified to manage 4K with EDID management, HDMI, VGA, unbalanced stereo audio, plus HDMI audio embedding and de-embedding and stretching.
In spaces where power sources are difficult to reach, the unit can be powered remotely via HDBaseT using a Power over Ethernet injector (e.g., Kramer PSE-1).
The Kramer specifies that the WP-5VH2 can transmit data to a compatible receiver (e.g., the Kramer TP-588D or Kramer TP-580RXR) up to 100 meters with 4K and up to 180 meters with 1080p60 via an CAT6a twisted pair cable.
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IHSE USA Adds 4K to 480 XV Series of KVM Matrix Switchers IHSE USA has added 4K capability to its 480 series of Draco compact matrix switchers in a new XV (eXtreme Velocity) fiber optic version. The 480 XV models are offered in frames sized for 8, 16, 32 and 48 ports in 1RU and 64 and 80 ports in only 2RU. These compact sizes make them a perfect solution where rack space is limited and 4K distribution is planned. The 480 XV supports all the Draco vario extenders for Dual Link DVI, HDMI and 4K DisplayPort as well as auxiliary bi-directional data transports for audio, USB and RS232 serial interfaces.
The 480 XV compact is specifically designed for small to mid-sized KVM requirements using the latest in high speed backplane technology. Building on field proven technology, the 480 XV series provides a full set of high performance features at an affordable price. It is a simple operation to set up and configure the matrix with the on-screen display (OSD) or through the included Draco tera tool software for configuration and real-time diagnostics. For those who prefer a third party control application, the 480 XV compact can be configured to operate with many popular control systems using the IHSE API protocol package.
A wide selection of outboard extenders can be connected with fiber optics up to 10km from any port to support signals formats for DisplayPort, DVI, HDMI or DVI-I. Optional extender daughter cards for USB 2.0, analog audio, digital audio, RS232 and RS422 are available for add-on formats. The 480 XV can auto-sense the extender type through any available port on the chassis. By simply connecting the extender to the chassis, the internal control software will recognize and auto configure the port as an input or output device. I/O ports on the frame are based on standard MSA compliant SFP modules for single-mode and multi-mode fiber using Duplex LC connections.
IHSE’s Flex-port technology provides a huge time savings for system installers who normally have to pre-configure ports to specific I/O requirements. The 480 XV compact switch system includes instant switching technology for all the popular video formats up to and including 3840×2160 for DisplayPort at 4K. With incredible speed, switching between sources is glitch-free and instantaneous thus reducing eye strain and annoying video tearing found with other systems. With the small footprint and ruggedized chassis design, the 480 XV compact is the perfect KVM space-saving solution where centralized switching of KVM is necessary. It is especially suited for mobile broadcasting, command and control systems, board rooms, production studios and small class rooms.
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Extron XTP Now Does Long Haul 4K Video Extension Over Fiber Extron has added fiber optic products to the XTP Systems family. The new XTP 4K Fiber input and output matrix boards, transmitters and receivers enable long haul extension of 4K video, multi-channel audio, bidirectional control, and Ethernet over one fiber optic cable. The XTP CP Fiber 4K I/O boards and XTP 4K Fiber extenders are HDCP‑compliant, and enable high performance transmission of computer and video resolutions up to 4K with 4:4:4 chroma sampling. Shared capabilities include support of data rates up to 10.2 Gbps, 12‑bit Deep Color, 3D content, and HD lossless audio formats. Extron’s proven EDID Minder and Key Minder technologies ensure quick and reliable signal switching and distribution. XTP matrix switchers can be configured with XTP Fiber 4K I/O matrix boards to support XTP fiber optic transmitters and receivers installed at remote endpoints.
The XTP fiber optic products are compatible with the XTP Systems family, and share many of the features and capabilities found on other XTP boards and extenders. For streamlined integration, the XTP FT HD 4K transmitter includes an HDMI Loop‑through with selectable audio control and enables embedding of analog stereo audio signals while the XTP FR HD 4K receiver provides selectable HDMI audio pass‑through, audio de‑embedding to digital S/PDIF or analog stereo audio outputs, and relays for environmental control at the destination. The XTP SFR HD 4K fiber optic scaling receiver also features Extron Vector 4K scaling technology to support modern and legacy display devices. All XTP devices are compatible with one another. This compatibility enables complete end-to-end system solutions, and provides a wide range of possibilities for future system upgrades to support video standards and formats of 4K and beyond.
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Lumens Intros New VS-LC101 Compact CaptureVision Lecture Capture Station Lumens Integration today introduced the VS-LC101 CaptureVision lecture capture station. The VS-LC101 can capture up to four different signals while synchronously recording, broadcasting and streaming up to 1080p.
The VS-LC101 CaptureVision Station is compatible with HDMI, VGA and RJ45 (networked content) and it can capture and record each of the inputs synchronously in the classroom, including Full-HD network cameras, a PowerPoint presentation from a laptop while using a document camera, digital microscope and DVD player, for example.
Lumens’ claims that a proprietary so-called, Signal Separation Technology, allows the flexibility of a single or dual source front stage (live lecture) display while simultaneously performing multi-source and multi-screen recording.
The VS-LC101 CaptureVision Station comes with an internal GUI and a remote control. The administrator of the CaptureVision can comletely control it either live or remotely via the network.
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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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