Volume 15, Issue 14 — July 19, 2017
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Control & Signal Processing Displays Projection Audio Unified Collaborative Conferencing Media Players, Recording & Distribution Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories
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Best of InfoComm 2017 Awards Announced
By Gary Kayye rAVe Founder
We’re back from InfoComm 2017 and we saw a lot of products. A lot. It’s tough to pick out the best and the brightest from the thousands of products and hundreds of exhibitors introduced on the ortow floor. But after much consideration, our entire team picked what we thought were the best things on the show floor. Congratulations to all the winning companies!
To see videos of all the products from the show floor, check out our complete InfoComm 2017 coverage.
Click each link below to see the winner and watch a video or read a story about the product.
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Resolution: The Wrong Spec
By Mark Coxon rAVe Blogger
I was talking to a friend and industry colleague the other day who was a little frustrated with the way a recent project had gone.
The AV design included a large 1.9 mm dot pitch direct view LED screen in a large presentation space. Based on viewing distances from the seated positions in the room, all the math checked out and the screen should look great in the space.
Then at zero hour, the client related that they wanted to be able to have people come up to the screen and collaborate. This meant that the dot pitch on the 1.9 mm solution was going to become very apparent. Realizing this, the client asked for the solution to be upgraded to 4K.
Hmmm.
For any of you that sell or manufacture direct view LED, you most likely already see the issue with the request. Changing a 1.9 mm solution to “4K” requires the screen to get wider and taller. Adding “resolution” to this solution just makes the screen BIGGER, it doesn’t actually add any detail.
What the client actually needed was more “pixel density.” The only way to accomplish this with direct view LED was to use tiles with a smaller dot pitch, which was cost-prohibitive based on the budget, or to go to an LCD based video wall, which introduced some bezel interruptions and changed the infrastructure and mounting needs.
The problem with the resolution spec is that it doesn’t actually relay “perceived” resolution.
Question 1 – What looks better from 3 feet away: a 42″ 1080p LCD display or an 84″ UHD LCD display?
Most people would lean toward answering the UHD display given it is 2160p vs. 1080p, but the truth is the pixels are exactly the same size on both displays.
A 42″ 1080p display and an 84″ 2160p display have identical pixel densities, about 2751 pixels per inch (PPI). Many of you may have already known this or been able to conclude it rather quickly, so let me give you a harder one.
Question 2 – What looks better from 3 feet away: a 2×2 video wall made with 80″ 1080p LCD displays or a 160″ diagonal 1.2 mm direct view LED array?
This immediately becomes harder to figure out as we know the resolution spec alone tells us little about the perceived resolution, and the LED arrays are typically referred to by dot pitch, a spec not used in LCD displays at all.
The answer is that an 80″ 1080p LCD display would look better from a perceived resolution perspective. It has a pixel density of 758 PPI, whereas a 1.2 mm direct view LED array has a pixel density of around 410 PPI. You’d need to upgrade to a .9 mm dot pitch direct view LED solution (735 PPI) in order to get the same perceived resolution.
To the credit of the direct view LED community, they seem to realize that “dot pitch” doesn’t readily convey resolution, and they do utilize “pixel density” as a specification on their data sheets. They include it in the form of “pixels per square meter,” allowing one to easily differentiate between different direct view LED solutions.
I would suggest that it may be time for LCD display manufacturers to start doing the same, and include pixel density as a specification. As I’ve illustrated, it can be ascertained from all the other data on the spec sheet but it takes a little math. Currently, an integrator or consultant would have to determine the area of an LCD display, divide the number of pixels in the display by the total area in square inches to get pixels per inch. Then they would have to multiply that by 1550 in order to get to the “pixels per square meter” specification included by the direct view LED crowd for a direct comparison.
Regardless of whether LCD display manufacturers include this or not, designers should be paying more attention to the pixel density of their solutions than the “resolution.” It can assist in determining whether or not direct view LED arrays will meet the clients expectations for perceived resolution, as well as determine whether that video wall should be a 3×3 constructed of 55″ 1080p dispays, or a 2×2 constructed of the 84″ UHD version.
Are you considering pixel density in your solutions? I’d love to hear your take in the comments below. Leave a Comment
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AV Insider Spotlight: Chuck Wilson – NSCA Executive Director
By Ajish Raju
Each week, I am highlighting on some of the incredible people who are in the audiovisual industry. As this blog is mostly about AV insiders, today we are profiling Chuck Wilson.
Chuck Wilson has worked in the audiovisual industry for over 20 years. He is currently executive director of NSCA.
Please drop your questions in the comments below and I will make sure that he sees them.
1. Describe your journey in the AV industry. How did it start?
Ironically, I started with a very small systems integration company as a summer intern while still in college. That seems kind of strange now, as I spend much of my time dealing with things like internships and mentoring programs with ESPA and IGNITE. About 35 years ago, I helped start NSCA as a charter member. Fifteen years later, I was offered the best job in the entire industry: running the organization as the first full-time employee. A few issues quickly surfaced: NSCA was nearly broke and no member database. (And I, of course, had no idea how to run a trade association.) Fast forward 20 years, and you can see that we managed to figure it out.
2. What challenges face a new person who wants to join the industry?
It depends on their entry point and what role they start in. For most, it’s knowing what is expected of them. Many integration firms are still unrefined in their talent management practices. It’s also difficult for young people to know how assertive they should be. Many firms have little or no formal onboarding practices to guide people through their first year on the job, so NSCA has been working to put resources together to help integrators with that challenge.
3. What are the positives of working in this industry?
Knowing so many great people, and seeing the extreme loyalty people have to the industry. I travel a lot; every trip I take allows me to meet incredible people. Each day a blessing; the kindness and humanity we have in this industry, even amongst competitors, is extraordinary. This makes the good days great, and makes even the worst days tolerable.
4. What, in your opinion, would you change in the industry? What negatives are prevalent?
Understanding values and value: In my remaining years with NSCA, I’d like to be a stronger advocate for our members so they can stop undervaluing themselves and one another. That starts with us all focusing on being of greater value rather than just offering a lower price to earn business. I can’t change how people determine their own value, but I can certainly do a better job of advocating for positive change.
[RELATED]: If you have missed any of the previous interviews, please click here.
5. Describe your ideal client. What do you wish clients knew before hiring you?
We don’t have clients, but we do have members. Our ideal member is one who is highly involved and wants to make their people and their company better. Fortunately, that is almost every one of our members. The members who prioritize leadership development, business performance, best practices, process improvement, and defined success measures – those are the companies that have emerged as ideal members, and the ones that end-users select to complete their projects.
6. If you were going to start over, what would you do differently?
I wish I had been a better listener when I was new to the industry. I was a better talker than listener in my younger days. As I look back on the many opportunities I had to be mentored by some of the best people in the industry, I wish I would have been quiet. I missed out on some great storytelling by trying to prove too much too fast.
7. Describe a typical work day for you. What are your daily disciplines?
I have very little schedule discipline unless I’m traveling. My day generally consists of speaking with members (yes, on the phone) all day long. I also write and create videos to offer business suggestions and answer members’ questions. One topic I consistently discuss is relevance. Integrators fight competitiveness and relevance issues as they envision their futures. None of us can be certain that the business practices of today will fit with the integration world of tomorrow. When a customer can do for themselves what we can do, our relevance must be proven. The vast majority of NSCA members are prepared for that moment of relevance. My job is to make sure that 100% of us are ready.
8. Describe the apps and gear that you use daily to make you more productive.
The NSCA website is my go-to business tool. I spend hours with our members going over all the great resources we built for them. A great example is the Project Contribution Simulator, which is a web app that allows members to go step by step through the process of pricing their projects. It is great for training new salespeople and for job-costing training. These tools help us covey the NSCA brand. I love that so many members have become the co-owners of this brand by embracing our “trusted advisor” role and extending that to their customers. It’s become the brand of our entire community.
9. How do you stay relevant in this industry?
I’ve always been “over-employed,” and have worked on the fringe of my comfort zone. Our members force me to stay relevant. I have no choice. That has driven me to keep pushing harder to give our members more than they expect from NSCA. I enjoy working with integrators of all sizes and scopes. That daily member interaction helps me tremendously. I find that, no matter the company size, most of the business issues are similar.
In my role, I fight every day to ensure that the channel is strong, and that manufacturers and end-users see our members as the undisputed best choice for product and service delivery. I’ll always see myself at the bottom of the industry org chart. I’m here to empower and prop up the people who get the real work done.
For more information about Chuck, check out his LinkedIn profile or the NSCA website.
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Extron Ships Industry’s First Control Processor With AV LAN Ports and PoE+ In a move to, no doubt, be watched by both Luxul and Pakedge, Extron’s new IPCP Pro 360 is a control processor with three dedicated AV LAN ports and one standard Ethernet port. The control processor provides PoE+ to external devices, eliminating the need for additional power supplies. It features security standards and Gigabit Ethernet ports, which ensure compatibility with multiple TouchLink Pro touchpanels using a standard network infrastructure. The AV LAN ports are designed to control local AV devices, and safeguard them from outside intrusion or interference. The IPCP Pro 360 can be used with Extron LinkLicense, which further enhances the capabilities of Extron Pro Series control systems. The IPCP Pro 360 is an ideal choice for controlling multiple devices and control signal types within AV systems requiring an isolated AV network.
The Extron IPCP Pro 360 can be configured using Global Configurator Plus or Global Configurator Professional software or programmed using Extron Global Scripter. Here are the specs. Leave a Comment
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Atlona to Expand OmniStream AV-over-IP Capabilities Atlona has announced a firmware update to its OmniStream AV-over-IP platform that will add 4K and HDR compatibility, video wall processing, HDCP 2.2 compliance and AES67 audio over IP interoperability.
Topping the list of new features is the addition of encoding and decoding of UHD @ 60 Hz 4:4:4 (8-bit color) chroma sub-sampling. This feature will be available as an optional licensed upgrade for the OmniStream 111 (AT-OMNI-111) single-channel encoder, but will be standard with the OmniStream 112 (AT-OMNI-112) dual-channel encoder as well as the OmniStream single and dual-channel decoders (AT-OMNI-121 and AT-OMNI-122).
The firmware upgrade also adds support for HDR formats, including HDR10. In particular, the OmniStream platform will now handle 4K @ 60 Hz with 4:2:0 chroma subsampling, 10-bit color, and HDR, making it compatible with Ultra HD Blu-ray, streaming media players and other emerging consumer video sources that deliver HDR content.
The upcoming OmniStream firmware update will also allow encoded video to be delivered to an array of video walldisplays, regardless of size. Additionally, the newly expanded video wall processing capabilities include bezel compensation and image rotation, as well as frame-accurate synchronization between decoders.
The AES67 standard enables audio over IP streaming interoperability between OmniStream and a wide range of AES67-enabled professional audio products from other manufacturers.
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Altinex Debuts HM200-100 Sports Bar Video Distribution SystemAltinex has introduced the HM200-100 Sports Bar Video Distribution System. With support for 12 inputs, 48 outputs and four audio zones right out of the box, Altinex says the HM200-100 provides all the infrastructure to implement a large-scale sports bar AV system.
The Altinex HM200-100 provides 12 video inputs for satellite receivers and 48 video outputs for displays; along with four audio outputs that can be routed to any zone. The system can be expanded to 20 inputs, 120 outputs and eight zones. Each video output can be extended to 100 meters (328 feet).
The HM200-100 comes pre-configured with all inputs and outputs pre-defined. All IP addresses are assigned to work with 1GBaseT and 10GBaseT routers and the HM200-100 optionally includes a 48-port router that is expandable to 64 and 96 ports. In addition to a hardwired router, a wireless access point can be setup to control the system through a web interface.
The Altinex HM200-100 Sports Bar Video Distribution System is shipping, lists for $29,950. Here are the details. Leave a Comment
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Atlona Ships 4K HDR-Capable HDMI Audio De-Embedder and DownmixerAtlona is now shipping its new AT-HDR-M2C audio converter. Designed for commercial or residential playback of multi-channel source content via displays, distributed audio systems, and whole-house audio systems, the AT-HDR-M2C extracts, decodes, and downmixes multi-channel PCM, Dolby and DTS audio from HDMI sources.
The AT-HDR-M2C delivers stereo downmixed audio over HDMI, analog unbalanced audio, and TOSLINK digital audio outputs. It also simultaneously passes through the HDMI input with no downmixing. The successor to Atlona’s popular AT-HD-M2C and AT-UHD-M2C-BAL, the AT-HDR-M2C is compatible with HDMI signals up to 4K/UHD at 60 Hz with 4:4:4 chroma sampling and supports HDR10 plus other HDR formats. The new audio converter is compatible with HDMI data rates up to 18 Gbps and is HDCP 2.2 compliant.
Compatible with current and emerging 4K/UHD and HDR sources and displays, the AT-HDR-M2C supports all video resolutions, audio formats – including all Dolby and DTS formats – and color spaces encompassed in the HDMI 2.0a specification, and can pass metadata for HDR content. The device can serve both surround-sound and two-channel audio systems from a multi-channel audio source, and can de-embed HDMI audio with or without being connected to a display or other HDMI destination.
Integrated EDID management features and audio volume, bass, and treble adjustments can be controlled through the device’s graphical web interface, third-party control systems, or the free Atlona Management System (AMS) network software platform. AMS enables systems integrators and users to set up, manage and monitor multiple Atlona solutions over a LAN, WAN or VPN.
The AT-HDR-M2C is $449.99. Here are all the details.Leave a Comment
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LG Unveils World’s Thinnest Hotel TV
LG Electronics USA Business Solutions today unveiled the LG OLED “Wallpaper” Hotel TV. The world’s first 65-inch class OLED Wallpaper Hotel TV (model 65EV960H) combines LG’s hotel TV technology with the sleek aesthetic of the LG SIGNATURE OLED TV W, now available on the consumer market.
At just 3.86 millimeters (0.15 inches) thick, the 65EV960H can be installed in luxury hotel suites using ultra-slim mounting brackets with a magnetic mat to create a truly seamless design that becomes one with the wall. Its electrical components are housed in the device’s Media Box, connected through an ultra-thin flat cable, which allows the panel to lie flush against the wall like a piece of art and makes installation a breeze. Even more, the Ultra HD OLED display’s inventive technology can be seen from wide viewing angles, so guests can enjoy the TV’s rich color and crisp picture regardless of their seat in the room.
The LG OLED Wallpaper Hotel TV comes equipped with the Pro:Idiom digital rights management system and the flexible LG Pro:Centric Smart applications platform, which makes navigating LG’s vast content options within the interactive platforms simple and fast. The state-of-the-art display also supports leading high dynamic range (HDR) formats, including HDR 10, Dolby Vision and HLG. The TV’s powerful 4K upscaler enhances the details and colors of non-4K content on the screen’s 8 million-plus pixels. The 65EV960H is one of the first TVs in the world to incorporate Dolby Atmos sound, allowing viewers to hear surround sound like never before with overhead audio for a theater-like experience in the comfort of their hotel room.
The new 65-inch LG OLED Wallpaper Hotel TV joins 55- and 65-inch class LG OLED hotel TVs (models 65EW960H and 55EW960H respectively) for the premium in-room guest experience. In addition, a host of LG OLED commercial displays are now available for hotel public spaces. They include Dual-View Curved Tiling, Dual-View Flat, Video Wall, Open Frame, Wallpaper Digital Signage and In-Glass Wallpaper LG OLED displays.
Here are all the detailed specs. Leave a Comment
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Optoma Debuts 4000 Lumen Education and Meeting Room ProjectorsOptoma today announced three new projectors designed for large classroom, corporate meeting room and training lab settings. The Optoma EH400+, W400+ and X400+ all feature a spec of 4,000 lumens and 22,000:1 contrast ratio and are integrated with Wall Color Adjustment Allowing you to adjust the projected image to accommodate different color walls — so you don’t have to use a screen. With a 1.3x zoom, the new line of proAV projectors are designed for installation. Inputs include two HDMI ports, VGA-in, composite video, USB power and content for legacy sources. A VGA Wireless Dongle and HDCast Pro are optional for wireless streaming and mirroring. All of them are single-chip DLP projectors.
The EH400+ is a native 1080p projector (1920×1080) and lists for $799. The W400+ is a WXGA projector (1280×800) and is $699. And, the X400+ is an XGA projector (1024×768) for $599. Here are links to more detailed specs for the EH400+, W400+ and X400+ Leave a Comment
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VUE h-208 Loudspeaker DebutsVUE Audiotechnik debuted the next addition to its h-Class family of ultra-high-definition, full-range loudspeaker systems. The h-208 includes a custom-designed 3-inch diameter large-format compression driver that features a Truextent beryllium diaphragm and a powerful Neodymium magnet. VUE says this combination allows the HF unit to deliver dramatically better high-frequency extension and response linearity than more traditional aluminum or titanium-based designs. A precision engineered 70° x 45° (HxV) horn ensures predictable coverage.
The compression driver is joined by two custom-designed and manufactured 8-inch transducers. These transducers have large, 3-inch (75 millimeters) voice coils that increase power handling while minimizing losses due to power compression.
A 64-bit digital processor handles EQ, time alignment, crossover management, speaker protection, and complete SystemVUE network control and monitoring functions. A dual-channel, high-efficiency amplifier delivers 1600 watts LF, and 275 watts HF power long-term with more than 3,000 watts output. What’s more, the Class D design eliminates the need for noisy cooling fans, while a lightweight, fully protected, switch-mode power supply provides worldwide compatibility with universal mains operation from 85V to 260V.
All transducers and VUEDrive electronics are housed in a birch enclosure that includes integrated M10 hanging points as well as the h-Class’ distinctive, deep red multi-layered powder coated grill. A U-bracket yoke is provided as standard for easy installation and aiming. The h-208 also features a built-in stand mount for portable applications.
The h-208’s unique enclosure is the perfect marriage of form and function. Due to its low-profile design and rear-cabinet slant, the h-208 can be easily hung from the ceiling at steep angles while maintaining a very profile. The unique cabinet shape also allows the h-208 to serve as a high-output stage monitor for applications where stage depth is limited, but sound quality and output are critical.
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RCF Introduces MZ8060 8×6 Matrix MixerRCF just introduced the MZ8060, an 8×6 digital audio matrix mixer built on the company’s RDNet DSP platform. RDNet is a proprietary protocol for RCF loudspeaker products that provides dedicated networking software that makes is possible to control and monitor all system components and parameters. The DSP allows for configurable system programming including room combining, automatic level control, along with all audio input and output criteria including EQs, gates, compressors, limiters, delays, priorities and levels.
The MZ8060 features eight universal mic/line inputs with six balanced outputs along with 10 programmable logic inputs and six programmable logic outputs. In addition it includes these features:
- Eight universal mic/line inputs with 48V phantom power and audio processing
- Six hi-level routable balanced outputs with audio processing
- 10 programmable logic inputs (GPI), six programmable logic outputs (GPO)
- 40-bit floating point processing DSP and 48 kHz 24-bit HI-Q Analogue/Digital Conversion, dynamic range > 112 dB.
- Configurable parametric EQs, gates, compressors, limiters, delays, priority levels, automatic gain control, levels, gains on in-out and cross points, auto-mixer operation.
- Room Combiner — each unit can work as a dual-room combiner with independent auto-mixer facility for each room.
- Configurable ALC (Automatic Level Control) by using Input 8 to connect a noise detection microphone.
- The control is then assignable to any output or group of outputs.
- Serial port for control
- USB connectivity on the front panel
- Linkable – Allows for two units to be linked in master/slave configuration to create a 16-input, 12-output matrix
- Compact one-rack unit design
- Up to 12 BM 3003 mics can be daisy-chained to the system via dedicate RJ45 port
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Fulcrum Acoustic Unveils New CCX Subcardioid Coaxial Loudspeaker Fulcrum Acoustic has announced the CCX1295 12-Inch Subcardioid Coaxial Loudspeaker. The CCX1295 marks Passive Cardioid Technology’s first application in Fulcrum’s TQ Install line of installation loudspeakers. Combining the benefits of this technology with Temporal Equalization (TQ), the single-amplified CCX1295 delivers LF directional control, improved intelligibility, sonic accuracy, and the output capability and, they claim, a pattern control of normal premium 2-way systems in a considerably lighter and more compact enclosure than those with offset drivers.
The CCX1295 features a single 12-inch 90° x 45° horn-loaded woofer and a 3-inch compression driver in a compact enclosure designed for permanent installation in a wide range of applications. This passive subcardioid coaxial loudspeaker provides 9 dB of low frequency attenuation in the rear hemisphere. As the first member of our CCX12 family, the CCX1295 will soon be joined by 12-inch models offering a full range of horn patterns.
Passive Cardioid Technology was first introduced in Fulcrum’s FL283 Line Array Module, is the basis for their Cardioid Subwoofers product line, and is a technology they continuously develop and evolve into new applications.
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PreSonus Ships Ultra-High-Def Studio 2|6 and 6|8 Interfaces PreSonus is now shipping its Studio 26 and Studio 68 USB 2.0 audio/MIDI interfaces. Both interfaces record at up to 24-bit, 192 kHz resolution and feature PreSonus’ XMAX microphone preamps, audiophile-grade digital converters, ultra-low-jitter clocking, and MIDI I/O.
As with all PreSonus recording systems, Studio-series interfaces come with the company’s Studio One Artist DAW software and Studio Magic Plug-in Suite for Mac and Windows. The Studio Magic bundle includes seven popular plug-ins in VST, AU and AAX formats.
The Studio 26 2×4 bus-powered audio/MIDI interface features two front-panel combo mic and switchable line/instrument inputs with +48V phantom power for condenser mics. In addition to the L/R main outputs, you get two balanced line outputs for monitor mixing, while LED meters indicate input and output levels. A Cue Mix A/B function lets you toggle between two mixes while monitoring through headphones.
Designed for small studios, the Studio 68 six-in, six-out audio/MIDI interface sports two front-panel combo mic/line/instrument inputs and two rear-panel mic/line inputs. In addition to the L/R main outputs, you get two balanced line outputs for monitor mixing or speaker switching plus S/PDIF I/O. A Cue Mix A/B function lets you toggle between two mixes while monitoring through headphones — perfect for DJs and to listen in on a performer’s monitor mix.
Both PreSonus Studio-series audio/MIDI interfaces are available immediately and the Studio 26 is $199 while the Studio 68 is $299. All the details are here. Leave a Comment
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Mackie Launches Redesigned MR Series Studio MonitorsMackie today announced a complete refresh of its affordable powered studio monitors, the MR Series Powered Studio Monitors. Designed for home studios, content creators and multimedia, the MR Series is available in the 5-inch MR524, 6.5-inch MR624 and the 8-inch MR824 plus the 10-inch MRS10 companion powered subwoofer.
Equipped with Acoustic Space Control and HF filters, MR monitors can be easily optimized for your environment to ensure a flat response. There are three different acoustic space settings that adjust for monitor placements close to walls, in corners, etc. Plus, the high-frequency EQ control allows for further adjustment to ensure an accurate response for your room. Included with each monitor is an acoustic isolation pad that decouples the monitor from the desk or stand for increased performance and accuracy.
The Mackie MR Series includes the 5-inch MR524, 6.5-inch MR624, 8-inch MR824 and the 10-inch MRS10, and are available worldwide for $209.99, $279.99, $349.99 and $559.99 respectively. Here are the detailed specs. Leave a Comment
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Synthax and Ferrofish Announce New Verto Series Dante Digital Converters Synthax, the Americas distributor for Ferrofish, has introduced the new Ferrofish Verto 32, Verto 64 and Verto MX Dante format converters. The Verto 32 and Verto 64 offer ADAT (32×32 or 64×64 channels) while the Verto MX has MADI. With the ability to easily integrate ADAT and MADI into an existing Dante network, the Verto converters feature word clock I/O for external synchronization and can be remotely controlled.
The Ferrofish Verto series can be remotely controlled via the Dante Network. If all devices are connected via MIDI, the Verto converts all Dante audio streams to ADAT or MADI and the control commands are sent over Dante into MIDI remote control messages. The Verto MX offers an additional feature. Instead of a separate MIDI port, the MIDI messages are extracted from the MIDI-over-MADI port.
For recording studio applications, the new Verto 32 and Verto 64 are the ideal solutions for converting both ADAT and MADI to the Dante format while the Verto MX is well-suited to broadcast environments where 64 MADI channels can be easily converted and placed on a Dante network. The Verto 32 and Verto 64 models support sampling frequencies ranging from 44.1 kHz – 96 kHz while the Verto MX supports sampling frequencies from 44.1 kHz – 192 kHz.
Depending upon the sampling frequency one has selected, channel count varies with each Verto device. The Verto 32 supports 32 I/O channels at 48 kHz or 16 I/O channels at 96 kHz. By contrast, the Verto 64 supports 64 I/O channels at 48 kHz or 32 I/O channels at 96 kHz while the Verto MX supports 64 I/O channels at 48 kHz, 32 I/O channels at 96 kHz, or 16 I/O channels at 192 kHz.
All three Ferrofish Verto devices offer one 5-pin MIDI port each for input and output. Similarly, all three models provide one BNC word clock input and one BNC word clock output for synchronization purposes. Equally notable, each model is housed in a compact 1RU / half space enclosure.
The Verto 32 is $1,299, the Verto 64 is $1,599 and the Verto MX is $1,999. Here are all the specs. Leave a Comment
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GoToMeeting Adds Team Collaboration Along the lines of AVaaS, LogMeIn, Inc. today announced GoToMeeting has released a new feature, InRoom Link, which they say enables integration of existing conference room equipment with GoToMeeting’s leading web conferencing solution at no additional cost for GoToMeeting Plus and GoToMeeting 100 customers. InRoom Link and the recently released GoToConference “conference room in a box” system provide two affordable and turnkey ways to help companies turn any meeting space into a high-quality group video and audio conference to further unlock the value of team collaboration. GoToMeeting InRoom Link and GoToConference solve common problems for companies of all sizes:
InRoom Link:
- Built for larger businesses that have invested thousands of dollars in conference room equipment and find that over time these pricey systems get pushed aside. InRoom Link is a new feature built into GoToMeeting to help bring utilization back to legacy conference room hardware.
- InRoom Link supports H.323 enabled systems from multiple manufacturers such as Polycom, Lifesize, and Cisco, to integrate GoToMeeting technology into existing device equipment.
- Users just need to enter their meeting info to join the meeting as an attendee. The camera and microphone on the existing conference room system will automatically share audio and video, while screen-sharing content will load on the room’s display, all backed by the reliability and ease-of-use of GoToMeeting.
- InRoom Link is available now for GoToMeeting Plus and GoToMeeting 100 customers at no additional cost.
GoToConference:
- Released earlier this year, GoToConference is built for businesses that have historically found existing conference room systems too expensive, hard to install and difficult to support with their stretched IT resources.
- GoToConference includes all the high-quality video and audio equipment needed to easily start or join a GoToMeeting to help turn any room into a conference room at a fraction of the price of cost of most in-room systems at just $999.
Details are here and here. Leave a Comment
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Yamaha Announces YVC-1000MS Speakerphone for Skype for BusinessYamaha today announced the Yamaha YVC-1000MS, a USB speakerphone solution engineered with Yamaha’s quality audio technology and expertise to enhance the Skype for Business meeting user experience. Available in October 2017, the Yamaha YVC-1000MS microphone and speaker system has passed Skype for Business’ Certification Version 3 tests, meeting the high standards that define the Skype for Business meeting experience.
The YVC-1000MS is a scalable solution engineered to support the audio requirements of large meeting rooms, rooms with special table configurations, and even remote education classes or seminars within the Skype for Business application. The YVC-1000MS features separate microphone and speaker units.
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BenQ Launches 4K Collaboration BoardsBenQ America announced the addition of the RP654K, RP704K and RP750K to its Interactive Flat Panel (IFP) lineup. Using native 4K LCD panels (3840×2160), the 65″ RP654K, 70″ RP704K and 75″ RP750K IFPs feature a pen tray and 20-point touch capabilities with fast, smooth response that allows multiple users to participate. Like operating a tablet or smartphone, users can use the screen’s pen or touch gestures to zoom, click and rotate objects, with infrared technology.
The BenQ IFPs also uses tempered glass that is covered with a bacteria-resistant, nano-silver coating to help reduce the spread of germs. The display also uses BenQ’s Eye-Care features, including anti-glare glass to minimize light reflections and improve readability, as well as Low Blue Light and ZeroFlicker backlight technologies to help reduce eye fatigue during long hours of viewing.
Available with DisplayNote, the RP Series 4K touch-enabled displays permit participants to stream content and collaborate. The BenQ InstaQShare app provides seamless wireless streaming and mirroring of all digital content from devices including smartphones, tablets and laptops, empowering contributors to enrich their sessions with a variety of multimedia resources.
The IFPs also come equipped with a built-in Android operating system that includes a suite of apps and games, such as a WPS Office document reader, built-in web browser and an EZWrite instant digital blackboard annotation tool and media player app. Moreover, its touch-enabled OSD menu is extremely user-friendly. Compatible with Windows, Mac, Linux and Chrome, each IFP is built to work seamlessly with a wide range of computing and mobile devices.
In classrooms and meeting rooms, the IFPs’ Near Field Communication (NFC) pen makes setting up different colors and sizes of text simple and quick. The “BenQ Suggest” function recommends useful apps and simplifies downloads, ensuring a hassle-free and high-tech collaboration experience. For administrators, the BenQ Multiple Display Administrator software adds remote monitoring and control of all displays, in addition to administering instant equipment performance and providing status alerts for IT staff, eliminating the burden on resources and time when displays are deployed across a network.
The BenQ RP654K, RP704K and RP750K 4K IFPs are now shipping. Here are all the specs. Leave a Comment
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multiCAM Systems Intros Integrated IP Input Support for All-In-One Production Systems multiCAM Systems is launching a new IP interface feature that receives IP video streams directly from the local area network. The new capability, which requires no additional hardware or software, works with the company’s entire product line as well as any PTZ camera available today.
multiCAM Systems’ integrated IP interface supports a much greater number of cameras than is traditionally available through SDI capture cards. The IP functionality also reduces the size and cost of the central server, as all video streams and PTZ camera control are managed over the network without the need for special IT equipment. Customers retain the flexibility to use IP or SDI for each input to support mixed camera environments.
Available immediately, the IP input feature works in Visual Radio applications using MULTICAM RADIO, and it offers native IP connectivity for Visual Radio. On the commercial AV side, the new IP interface is ideal within classrooms, corporate AV environments (meeting and huddle rooms, large conference spaces) and theaters/auditoriums using MULTICAM CONF, MULTICAM E-LEARNING or MULTICAM TRACKING to produce and stream lectures, presentations and live events.
In addition to immediately adding multiple high-quality camera signals to the network, the IP interface enables full PTZ control and power over a single network cable. The latter is possible when using a Power over Ethernet-enabled (PoE) network switch or PoE injector.
Here are all the details. Leave a Comment
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Luxul Ships Epic 5 Gigabit RouterLuxul has announced today the availability of its new Epic 5 router. The new Epic series of routers are available in two basic configurations: The Epic 4 Series and the Epic 5 Series. While the Epic 4 released earlier this year is designed to offer 600+ Mbps WAN to LAN performance, the new Epic 5 supports gigabit WAN to LAN (900+ Mbps) speeds for those customers with access to gigabit service, or for future-proofing for when the local ISP does offer gigabit service. The Epic 5 also features Dual-WAN capability with load-balancing and failover control, advanced security and remote access features, and a console port for local configuration.
In addition to being commercial-grade routers, the Epic series offers a platform for optimizing the user experience in smart homes, workplaces, retail establishments and more. This experience is delivered through Luxul and third-party applications running on the Epic platform, the first of which is enhanced content filtering from Router Limits. Additional applications including Domotz remote network monitoring are planned for future development. The applications also offer the perfect base upon which to build recurring revenue.
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