Volume 15, Issue 21 — November 1, 2017
|A Visit with Microsoft|
By Leonard Suskin
Pixel and Ink-Stained Wretch
When we think conference room and collaboration technology, we too often think of audiovisual collaboration technology, and when we think about that we think of a small set of traditional AV manufacturers, largely unknown to those outside of the industry. We think of control system manufacturers such as Extron and Crestron, of Vaddio and its PTZ camera technology. Of QSC and Biamp and Shure, perhaps Revolabs (now Yamaha).
We think of what we do.
Today I spent the morning with what might not be the biggest vendor of conference room tech, but one of the largest tech vendors with a foothold in the conference room. Today, along with my team, I visited Microsoft for a discussion of its Surface Hub. That discussion ended up being less about the hardware and more about the things of which I’ve been speaking for years now: about culture, about workflow and about ecosystems.
Even if it Isn’t About the Hardware – It’s About the Hardware
I can’t help it; I’m a technologist. I love hardware, especially well-made and carefully thought-out hardware. Hardware with solid build quality, hardware that’s easy to integrate. Hardware that does what it should do.
As I said last month, software runs on hardware.
You all know the specs of the Surface Hub by now. Either a 55″ HD display or 84″ 4K. Dual 1920×1080 cameras. Four microphones. Integrated PC running Microsoft Windows 10 Team (NOT the Windows 10 you know and love from your desktop, but a close cousin). Seeing it in person confirms what anyone who’d seen the Surface tablet would guess: Microsoft makes nice, solid-feeling hardware. In fact, our friendly Microsoft rep demonstrated just how solid by repeatedly punching it with a closed fist. Thankfully, the gorilla glass-clad screen neither fell off of the wall nor shattered.
That glass is part of a very nice capacitive-touch display with as many points of multi-touch as one could possibly want. Writing is very smooth and comfortable; note how clearly differences in pen-texture translate as my colleagues and I signed-in on the device.
You can clearly see the difference between my fellow systems designer, myself and an account executive whose handwriting is expected to be actually legible. This is much better than the experience one gets from an optical touch-overlay, which will register touches but not tell how hard one is pressing.
So yes, the hardware is quite good.
But, as I said, it isn’t really about the hardware.
Teams, Office 365 and the Same Conversation
One thing to note is that the Hub is NOT a Windows 10 device; it runs a custom version of Windows 10 called Windows 10 Teams that’s designed for the type of environment and workflow in which the Hub is expected to work. The most interesting facet of this is how it handles login management; the Surface Hub itself will have its own non-password protected account for whiteboarding and local presentations. One can walk up to it, draw one of the capacitive-touch pens from its holster on either side of the device and start whiteboarding. One touch can lead you to the Skype application where you would join a meeting under the Hub’s account. Or one can sign in with ones own Microsoft account, either from the home screen or the Skype meeting page. The team at Microsoft sketched some quick “home page” splash screens with arrows and instructions for the various choices.
Why is this interesting? The biggest reason is that it solves the “guest access” problem; a third-party presenter can use the device without having to be given a login which might compromise security. Better yet, they can access their own calendar and contacts via a sign-in to Microsoft Live. On sign-out all of the session data is deleted, adding another layer of security and protection.
This is part of the conversation about workflow, the other part being tight integration with Microsoft applications, especially the new “Teams” collaborative tool. For those who don’t know, Teams is Microsoft’s answer to Slack or Cisco’s Spark. It is a lightweight tool for asynchronous collaboration including threaded messaging and document-sharing. Document editing – at least for documents generated by the MS Office suite of products — is more seamless in Teams than in competitor products. If a client uses, say, the Google GSuite products then the experience would be less well-integrated. Whiteboard notes can be exported directly into Microsoft’s OneNote notetaking program. Again, great integration for those who work that way.
This is the biggest point – designing and recommending AV systems is no longer only about content and video sources and viewing distance. It is now more than ever about workflow and about ecosystem. It’s about what people do and how they do it. The Surface Hub is a tool optimized for certain applications – specifically Skype for Business and Microsoft Office. Users who use Cisco for videoteleconferencing and GSuite for mail and document creation will not get a positive enough experience with the Surface Hub to be worth the price tag. Those who use Microsoft products AND use them to collaborate will likely find value here.
One Thing It Doesn’t Do – and What That Says
Two years ago, I wrote about voice control as one of the “shiny toys” the home tech market is developing and of which we still don’t see much in the boardroom. Given that the Surface Hub has integrated microphones and runs a Windows 10 variant, I took the opportunity to ask about Microsoft’s digital assistant, Cortana. The answer is that Microsoft DID conceive of Cortana voice-integration as a means of interface, but that in practice it worked neither consistently nor helpfully enough to be usable. Part of the issue may be the aforementioned security features; as session data is not recorded (for security), the Cortana assistant in a Surface Hub doesn’t have the ability to learn the voices of its most frequent users. In each interaction, Cortana is hearing you for the first time. This makes the experience less than ideal.
It raises a question about when — or if — the world of digital voice assistants will make the move from living room to boardroom. Certainly in Microsoft’s experience they aren’t there yet, though they remain on the roadmap for home use.
For the nonce, the Hub remains an interesting tool for a certain ecosystem and workflow.Leave a Comment
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|Barco’s UniSee Could Take a Big Chunk of the Video Wall Market By Next Year|
By Sara Abrons
This week I went to New York City for the global unveiling of a new product from Barco, UniSee, which signals Barco’s entry into the LCD video wall market. The Barco people had described this product as “disruptive” to the video wall market. I think “game-changing” was also mentioned. This made me a bit skeptical.
Like many press people, I don’t like these words. You see, I think that you should never describe your own product as either of those things — if your product is indeed disruptive or game-changing, let someone else call it that. I have also over the years had many a PR person tell me that their product had the thinnest bezel, the quietest fan, the longest life, the smallest pixel pitch and so forth, which upon investigation turned out to not be true at all.
But Barco, particularly for a “display company,” does have a history of unique product entries. Barco’s ClickShare is actually a disruptive product, arguably the most game-changing in our market for the last decade. (I hated writing that sentence so, so much.) With all that in mind, I headed to New York to see UniSee.
At first glance, it looks almost like any other video wall, although the bezel is indeed very thin. It’s not invisible, although Barco calls it bezel-less. There is a gap of 1.09 millimeters between pixels. This can be a bit confusing — other manufacturers will list the thickness of the actual bezel on the display and some list the thickness of the gap between bezels. Barco lists the gap between actual pixels. So the space from where the color pixels of one display ends and the other begins is 1.09 millimeters on UniSee. I will say that the lines are visible, even from a distance of 20 or 30 feet, but they are very, very thin. Each 55-inch panel is 1080p HD and has a brightness of 800 nits.
But onto the good stuff. UniSee becomes way more interesting when you take it apart.
In designing a video wall, Barco wanted to rethink how a video wall should work. In the end, they built an entire system, including the mount and cabling.
The mounting system is probably the most revolutionary part because it totally changes — and simplifies — how a video wall is put up. The mount goes up first, in a few pieces. The very first thing is these corner pieces (see photo), which include a red flexible center that is key — it gives the mount flexibility on the wall for easier alignment. It allows the video wall to kind of snap into place, using “the power of gravity” — a common refrain in Barco’s marketing materials for UniSee. After the corner pieces go up, then the main part of the mount, which also includes the display guts (power supply and cabling), then finally, the panel. The system is modular.
The panel is really just a panel. The rest of the display is actually in the mount, including the power supply. The power supply is magnetic so when you put the panel on the mount, the power supply magnetically snaps into place. There’s a space for a redundant power supply as well.
UniSee comes with a simple wrench that fits into the mount and cranks the screens into place. I did this myself while at the event for a wall that was three displays high and was able to do it pretty easily. (Barco has tested this manual wrench system for video walls up to ten displays high.) There’s also a place on the mount you can push the wrench in and it brings the display column down and to the right, giving you an access gap of two inches or so for servicing. It’s hard to describe without seeing, so I recommend you watch one of the videos I shot while there. I interviewed UniSee designer Tom Dewaele, and shot a video of Tom and Corwin Hamm, Barco’s business development manager for Barco control rooms and virtual reality solutions, demonstrating in detail how UniSee works. I’d also really encourage you to see it in person when you can. Barco says that from its testing, it anticipates dealers being able to save at least 20 percent on labor and install time versus other video wall systems.
UniSee also uses Barco’s SenseX technology for real-time calibration of color and brightness, so the video wall panels will match, even if you have to replace one. Speaking of replacement, UniSee panels also come with a standard five-year warranty (instead of the more common three-year warranty) after the integrator registers the panels online.
For now, UniSee is really just one SKU – the panel plus mounting system are only available in the 55-inch, 800 nit, wall-mount version. Barco is working on a free-standing floor model that can be used in lieu of mounting on a wall, and to accommodate curved video walls.
UniSee will initially be available through Almo Pro A/V and Starin only. The panel system has a list price of $8,500 USD and will be available by the end of the year, according to Barco.
So is UniSee really that big of a deal? I think so — mainly because I actually felt like I could potentially put this video wall up myself. I am very interested to see what you, the integrators, think. Will this replace your other video wall products? Do you think it will be a big time-saver? Is it well-priced? We’d love to know your thoughts.
You can learn more about UniSee here.
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|#MeToo and the AV Industry|
By Scott Tiner
Like so many other people, I have read about the Harvey Weinstein scandal over the past several weeks with disgust. As the story grew and the #MeToo campaign went viral, I forced myself to listen to statements from women around the country and to read their messages. I say “forced” because it is not easy to read about these acts being committed on other people. But I realized that by not doing so, by taking the easy road, we only continue to perpetuate the problems that exist. I will readily admit that I did not realize how rampant the issue of sexual harassment is across the country. I am proud, that some in our industry, such as Leonard Suskin, have been raising such issues of sexism and harassment for years.
For me, hearing the stories of women who were pressured to act specific ways (e.g., attracted to the boss) or pressured to engage in any type of physical activity not only disgusted me, but angered me. While I use the word women, we also know that this happens with men as well. The simple truth is that no person has the right to make another person feel that way. Our jobs provide us with the security to feed and secure our families. They provide us with the ability to do things that excite and interest us. The thought of being forced to engage in any type of sexual activity in order to do those things is incomprehensible. People who perpetrate those acts are bullies.
Throughout the past month my mind has gone back to 2014 and the discussion of “booth-babes” and using sex appeal to sell at shows at InfoComm that was raised primarily by Leonard Suskin. At the time David Labuskes responded by saying “in the market environment that we live within, the voice of the industry influencers, the sound of your feet and weigh of your wallets carry far greater weight than the sound of my voice.”
With those thoughts in mind, I hope that we as an industry can continue to step up and put an end to the silent acceptance of the behavior. As a male dominated industry, I think we have a particular moral imperative to make sure all people are safe and respected in the industry. We can do this by practicing exactly what Labuskes suggested. We can respond with our behaviors, with our wallets and with our voices. Here are some steps that I think can turn the tables, and put the fear back where it belongs, on the backs of the perpetrators of such behavior. We do this by:
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- Committing to NOT purchase equipment from companies that use any type of sexual innuendo or body image to sell products. While the use of “booth-babes” does seem to have declined since 2014, I still have witnessed companies using sex appeal to draw customers to their booth. This commitment would be a difficult one. Deciding to substitute a critical product is difficult and may cost you money. Whenever you doubt that decision, search the internet for #MeToo. Listen to a few of the stories and you will strengthen your resolve.
- Commit to NOT being quiet about it. When you see or hear of any type of sexism or harassment, speak out about it and BE LOUD. Our industry is very active on social media and companies react to it! Many from the entertainment industry have come forward to say they knew something about what Weinstein was doing. Let’s not let this happen in our industry. Snap a picture if you are at a trade show and feel a certain company is pushing sex appeal as a booth lure. Post that to social media and let others know.
- Commit to keeping your eyes open around your own company and workplace. Encourage the company to bring on women and treat them respectfully. If you see harassment, speak up about it. Make sure people know they can trust you and turn to you if they feel harassed.
- Push for training in your company on issues surrounding harassment and gender discrimination.
- Let others know (again, social media is great for this) if your company is doing great things on this front. After all, if we have committed to #1 above, we will be needing new suppliers of equipment!
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|Google Enters the Videoconferencing Market With Hardware KitGoogle has had Hangouts — a software-based SORT-OF videoconferencing suite for years. But hardly anyone uses it. But now the company’s launched a hardware kit hardware including an ASUS Chromebox, USB camera (10.1” diagonal, IPS, 16:10, 1280×800 resolution), controller, speaker and mic set, known as the Speakermic. The Speakermic, custom designed and built by Google, claims to intelligently reduces echoes and actively manages background noise to deliver rich, immersive, 360˚ sound. The whole hardware kit is called the Hangouts Meet Kit.
Google told rAVe that the camera is 4K and designed for huddle rooms. It automatically zooms and crops based on the number of people in the room. The camera has a 120-degree field of view and both it and the Speakermic are designed for rooms of up to 250 square feet. For customers with larger conference rooms, you can daisy chain up to five Speakermics together.
It also has a touch-screen control system integrated into it. It’s purpose-built for Google Hangouts and the kit, but can also control the room and Nest gear too.
It seems as though Google is simultaneously targeting ZOOM Rooms and Skype with a hybrid-hardware approach more like those from Polycom and Cisco. The $2,000 kit is here.Leave a Comment
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|Audio-Technica Ships U841R Boundary Microphone|
Audio-Technica is now shipping its new U841R Omnidirectional Condenser Boundary Microphone. A new addition to Audio-Technica’s UniPoint line of microphones, the U841R is an update to and replacement of A-T’s U841A microphone. While retaining the feature set that has made the U841A such a successful tool, the new U841R microphone is enhanced with the addition of internal electronics that do not require an external power module. The mic features an integral TA3M output connector and includes a 25′ TA3F-to-XLRM cable.
The U841R delivers exceptionally intelligible audio reproduction in a super-compact, low-profile design. Equipped with UniGuard® RFI-shielding technology, this omnidirectional condenser boundary microphone is designed to capture audio for clear, highly intelligible sound reinforcement, professional recording, television and conferencing in surface-mount applications. The U841R has a 360° pickup angle and operates on phantom power.
U841R features include:
- UniGuard RFI-shielding technology offers outstanding rejection of radio frequency interference (RFI)
- Small-diameter capsule near boundary eliminates phase distortion and delivers clear, high-output performance
- Heavy die-cast case and silicone foam bottom pad minimize coupling of surface vibration to the microphone
- Low-profile design with low-reflectance black finish for minimum visibility
Operates on phantom power
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U841R specifications include:
- Element: Fixed-charge back plate permanently polarized condenser
- Polar pattern: Omnidirectional in hemisphere above mounting surface
- Frequency response: 40-20,000 Hz
- Open circuit sensitivity: ‒35 dB (17.7 mV) re 1V at 1Pa
- Impedance: 200 ohms
- Maximum input sound level: 130 dB (1 kHz at 1%THD)
- Dynamic range: 105 dB (1 kHz at Max SPL)
- Signal-to-noise ratio: 69 dB (1 kHz at 1Pa)
- Phantom power requirements: 11-52V DC, 2mA typical
- Weight: 3.0 oz (84 g)
- Dimensions: 2.56″ (65.0 mm) diameter, 0.59″ (15.0 mm) height
- Cable: 25.0′ (7.6 m) long (permanently attached to microphone), 0.13″ (3.2 mm) diameter, 2-conductor, shielded cable with TA3F-type connector
The U841R Boundary Microphone is $199. Here are the details.
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|TASCAM Unveils New TM-90BM and TM-90GN Mics and Stands|
TASCAM has introduced three new TM-series condenser microphones and the new TM-AM-series microphone stands and booms. The new products have multiple applications but are ideal for podcasters and videographers.
Primarily intended for personal podcasting and other talk shows but also useful for recording group interviews and corporate meetings, the new TM-90BM boundary condenser microphone is perfect for picking up multiple voices. Instead of setting up separate microphones for each speaker, simply place one unidirectional (half supercardioid) TM-90BM in the center of the table, supply it with phantom power and you’re ready to go. Only 24 millimeter (0.95 inches) high, the TM-90BM’s flat, compact, sleek black design minimizes its visibility so people won’t be distracted by the presence of a microphone. Yet it can record sources as loud as 140 dB SPL without distorting. A Bass Tilt switch can attenuate bass frequencies for better speech intelligibility or boost low frequencies when recording pianos, drums or other musical sources. The TM-90BM comes with a handy carry case and 2.9 m (9.5 ft) cable with XLR connector.
TASCAM’s new TM-95GN gooseneck electret condenser microphone is another solution for podcasts and meetings. The unidirectional (cardioid) TM-95GN comes with a dedicated, extremely stable mic stand with on/off switch, making it easy to set up, position and custom-adjust for show hosts, guests and meeting participants. A windscreen is included for reducing vocal pop noise. You also get a 2.4-meter (7.9-foot) XLR microphone cable. Pair a TM-95GN for the show host with a TM-90BM for guests to get a complete, professional-quality podcasting mic system.
Videographers and filmmakers can capture focused audio from a distance using TASCAM’s new TM-150SG supercardioid shotgun microphone. With the included microphone clip with shoe mount, you can easily mount the mic to compatible DSLR cameras. It can handle up to 124 dB SPL and its included windscreen and built-in low-cut filter make it an excellent choice for outdoor applications. Use the TM-150SG’s XLR output to mate it with a TASCAM digital audio recorder (e.g., the DR-701D or DR-70D), combining the electret condenser shotgun mic and the recorder’s built-in omnidirectional condenser mics to capture voices and ambient sound. A hard carry case and 5/8-to-3/8-inch mic screw adapter are included.
The TM-AM stand series starts with the TM-AM1 microphone stand, which includes a counterweight for the stability to support the heavier professional microphones many budget mic stands can’t handle. The height of the main pole can be adjusted between 90 and 142 centimeters (35.4 to 56 inches), and an expandable second boom can be connected to the center shaft, which is especially useful when stand space is limited, such as in a small vocal booth. The second boom’s height can be adjusted between 58 – 90 centimeters (23 – 35.5 inches). A 5/8 inch-to-3/8-inch mic screw adapter enables connection of virtually any standard microphone cradle.
TASCAM’s TM-AM2 adjustable broadcast-style microphone boom stand is a desk- and table-mounted solution, clamping to tabletops up to 55 millimeters (2.2 inches) thick. Its 520 millimeters (20.5 in) scissor-type boom arm reliably keeps your microphone positioned just where you want it for hands-free recording and podcasting. When not in use, it easily swings out of the way. When dismounted, it can be folded for storage or transport. The TM-AM2 comes complete with 5/8-to-3/8-inch mic screw adapter.
When you need maximum stability, choose the new TM-AM3 tripod microphone stand. Similar to speaker and camera tripods, the TM-AM3 easily sets up among existing gear, such as cymbal stands, cables and other mic stands. The main pole’s height can be adjusted between 114 – 162 centimeters (45 – 64 inches). A counterweight balances the weight of microphones and prevents the expandable second boom from moving. As with the TM-AM1, the second boom can be connected to the center shaft, and its height can be adjusted between 58 – 90 centimeters (23 – 35.5 inches). As with the other TM-AM series stands, the TM-AM3 includes a 5/8-to-3/8-inch mic screw adapter.
The three newest TASCAM TM-series microphones and TM-AM-series stands are available immediately and here are the detailed specs.Leave a Comment
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|Klipsch Designer Series Architectural Speakers Claim Reduced Installation Time|
Klipsch today announces the debut of its Designer Series Architectural speakers with tool-free technology that is designed to simplify and reduce installation time by up to 75 percent.
The patent-pending Sky Hook by Swarm technology is a tool-free, fully automatic, self-adjusting installation system that allows integrators to simply cut a hole, attach wires and insert the speaker into the hole. Sky Hook automatically engages the doglegs, adapting to the surface thickness with a preset clamping force that virtually eliminates the possibility of breaking the dog leg or cracking drywall, while locking in place for an ultra-secure, ultra-fast installation. Removals are just as easy with a quarter turn of a screwdriver.
The Klipsch Designer Series Architectural speaker line is made up of five in-ceiling (DS-160C, DS-160CDT, DS-180CDT, DS-160CSM, DS-180CSM) and two in-wall speakers (DS-160W, DS-250W-LCR). The CDT models use proprietary Controlled Dispersion Technology (hence, CDT), allowing the tweeter and woofer can be aimed up to 15° in any direction, creating maximum installation and placement flexibility.
Here are all the specs.Leave a Comment
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|Audio-Technica Ships Spectrum-Efficient 6000 Series Wireless System|
Audio-Technica is now shipping its 6000 Series High Density Wireless System, a spectrum-efficient solution that allows users to use 31 channels in 4 MHz of bandwidth. The 2016 FCC Incentive Auction has resulted in a repack of the broadcast spectrum, reducing the amount of spectrum available for wireless microphone operations and driving the need for spectrum-efficient technology to operate a high number of simultaneous channels in today’s market. To address this issue, Audio-Technica developed the 6000 Series, which has channels that are spaced at 125 KHz intervals and can all be used simultaneously. The system operates in the 944-952 MHz band, which is free of broadcast TV. The FCC has expanded license eligibility for this band beyond broadcasters and content creators to include sound companies and venues that routinely operate 50 wireless microphones or more.
The 6000 Series system consists of the following components: the ATW-R6200 receiver, the ATW-T6001 body-pack transmitter, an optional ATW-DA410 antenna distribution system, and a number of compatible Audio-Technica lavalier and headworn microphones. Audio-Technica describes key features as high-performance filtering to remove external noise; clear, easy-to-read displays; transmitter frequency setup from receiver via IR sync; network monitor and control; durable, compact body-pack transmitter design; and a reliable new miniature input connector.
ATW-R6200 receiver specifications:
- Receiving system: True diversity
- Operating frequency: 946.125 to 949.875 MHz
- Simultaneous channels: Total of 31 channels (125 kHz intervals)
- RF sensitivity: 20 dBμV (at 60dB S/N ratio)
- Total harmonic distortion: <1 percent (63 dBμV input, 1 kHz, frequency deviation ±10 kHz)
- SN ratio: 110 dB or more
- Audio output level: XLR balanced +6 dBV (LINE) -13 dBV (MIC) (frequency deviation ±15 kHz, 600 ohm load)
- Antenna input jack: BNC type (50 ohm) DC 12V OUT (max 60 mA x 2)
- Audio output terminal: XLR 3-pin male (balanced) 1/4″ (6.3 mm) standard stereo jack (balanced)
- Headphone OUTPUT jack: 1/4″ (6.3 mm) standard stereo jack; max power output: 100 mW + 100 mW into 32 ohms
- Power: AC 120V 60 Hz
- Operating temperature range: 41°F (5°C) to 113°F (45°C)
- Power consumption: 25 W
- External dimensions: 18.97″ (482 mm) W × 1.69″ (43 mm) H × 14.21″ (361 mm) D (excluding protrusions)
- Weight: 10.4 lbs (4.7 kg)
ATW-T6001 body-pack transmitter specifications:
- Operating frequency: 946.125 MHz to 949.875 MHz (31 channels)
- Frequency step: 125 kHz
- Spurious emissions: Following federal and national regulations
- RF power output: 50 mW / 10 mW / 2 mW
- Normal deviation: ±5 kHz
- Maximum deviation: ±16.25 kHz
- Frequency response: 70 to 15 KHz
- Batteries: Two 1.5V AA alkaline (not included)
- Battery life: Approx. 6 hours (using two alkaline batteries at 50 mW)
- Current consumption: 230 mA or less (at DC 3V)
- External dimensions: 2.44″ (62 mm) W x 2.76″ (70 mm) H x 0.67″ (17 mm) D (excluding protrusions)
- Weight: Approx. 3.2 oz (90 g) (excluding batteries)
The Audio-Technica 6000 Series wireless system is available with the following components and pricing:
- ATW-R6200 receiver: US $2,999
- ATW-T6001 body-pack transmitter: US $1,299
- ATW-DA410 antenna distribution system: US $4,349
- ATW-F948 pair of antenna filters: US $189
- AT898cH subminiature cardioid condenser lavalier microphone: US $179
- AT899cH subminiature omnidirectional condenser lavalier microphone: US $179
- BP892cH MicroSet subminiature omnidirectional condenser headworn microphone: US $309
- BP893cH MicroEarset omnidirectional condenser headworn microphone: US $259
- BP894cH MicroSet subminiature cardioid condenser headworn microphone: US $359
All the applications details are here.Leave a Comment
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|Extron Ships 16 Output Audio Expansion Interface for DMP 128 Plus Audio DSP Processors|
Extron announced the availablity of its new AXI 016, a sixteen output audio expansion interface for DMP 128 Plus audio DSP systems. The AXI 016 connects to the EXP expansion port on the DMP 128 Plus, transforming the matrix from an eight-output device into a 24 output device. Since all of the high performance, low-latency DSP processing occurs within the attached DMP 128 Plus, no separate configuration is needed for the AXI 016. The AXI 016 audio expansion interface also supports audio DSP systems that integrate a DMP 128 Plus and a DTP CrossPoint matrix switcher.
The AXI 016 provides a powerful tool for AV system designers to create DMP 128 Plus systems that support larger distributed audio applications that were previously not possible using a single DMP 128 Plus DSP processor. The DMP 128 Plus models feature an extensive mix matrix allowing all outputs, including the 16 expansion bus outputs used by the AXI 016, to be discretely sourced and routed from any input. When used with a DMP 128 Plus AT model, Dante audio sources can also be processed and routed to the outputs of the AXI 016.
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|LynTec Offers Whole Venue Control Capabilities|
LynTec today announced its new Whole Venue Control offering. Whole Venue Control gives customers the option to mix and match LynTec’s RPC Remote Control Breaker Panels, RPCR Automated Relay Panels and new NPAC Multi-Circuit Rackmount units within the same network on a single interface.
LynTec’s Whole Venue Control capabilities allow system designers to create a completely tailored AVL power control system. They can mix and match LynTec’s leading line of electrical power control solutions to address the unique infrastructure requirements across a broad range of applications. By accessing a single IP address, customers can set up, control and monitor all their AVL sequences or DMX lighting zones across the facility, making LynTec the ideal power control and management solutions provider for mega churches, theaters, stadiums and arenas, conference centers and other large venues.
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|AC-MX44-AUHD-HDBT AVProConnect Is 18Gbp Switcher|
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AVProConnect’s 18Gbps AC-MX44-AUHD-HDBT is a 4×4 HDBaseT matrix switcher. Each output block switch contains both a mirrored HDMI and HDBaseT port capable of handling full 18Gbps video signals with HDR metadata.
Along with high bandwidth distribution, features include IR and RS232 control, EDID management, scaling, audio matrixing, audio delay and more. This matrix supports HDMI 2.0(a/b), HDCP 2.2, up to 4K video resolution, and up to 18 Gbps bandwidth via category cable by using a proprietary HDBaseT technology called ICT (Invisible Compression Technology). This matrix equalizes and amplifies the output to ensure the HDMI signal can be transmitted through long HDMI cables without loss of quality. This matrix features:
- HDMI 2.0(a/b)
- 18Gbps uncompressed bandwidth support on HDMI
- 18 Gbps with ICT on HDBaseT outputs
- 4K60 4:4:4 support
- Full HDR Support (HDR 10 & 12 Bit)
- Dolby Vision, HDR10+ and HLG Support
- HDCP 2.2 (and all earlier versions supported)
- 1080p > 4K up-scaling on HDMI outputs
- 4K > 1080p down-scaling on HDBaseT outputs
- Advanced EDID management
- IR, RS232 and LAN control options
- Digital Toslink Out (7CH PCM, DD, DD+, DTS, DTS-MA)
- Built-in Test Pattern on each output to verify infrastructure
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|Extron Introduces Two Input DTP Wallplate Transmitters for 4K Video|
Extron just introduced the DTP T UWP 4K 232 D and the DTP T UWP 4K 332 D two input decorator-style transmitters. These new DTP products send HDMI, VGA, audio, and control signals up to 230 feet or 330 feet over a shielded CATx cable to a DTP-enabled product. They support video resolutions up to 4K (@30 Hz 4:4:4), are HDCP compliant, and include independent analog stereo audio connections. The two-input transmitters also offer many integrator-friendly features such as analog stereo audio embedding, EDID Minder, auto-switching between inputs, remote power capability and bidirectional RS232 pass-through for remote AV device control. The wall-mountable design provides the convenience of placing input connections precisely where they are needed. HDMI specification features include data rates up to 10.2 Gbps (3.4 Gbps per color).
The DTP T UWP 4K 232 D and DTP T UWP 4K 332 D provide reliable switching and transmission of HDMI and VGA signals. For added installation flexibility, a single external power supply may be connected at either the transmitter or the receiver in point-to-point installations. When connected with larger DTP-enabled switchers, such an IN1608 xi or DTP CrossPoint 4K matrix switcher, no local power connection is necessary at the transmitters.
For details on the DTP T UWP 4K 232 D and the DTP T UWP 4K 332 D, go here.Leave a Comment
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|Luxul Announces New XAP-1440 Dual-Band AC1200 Outdoor Access PointFor the extension of Wi-Fi coverage to outdoor areas, Luxul today announced a new dual-band AC1200 outdoor wireless access point. Compatible with the company’s XWC-1000 wireless controller, the IP-65-rated XAP-1440 employs multi-stream 802.11ac technology to deliver high data rates up to 1200 Mbps. For smaller networks where budgets are a concern, Luxul has also introduced the XAP-810, something they are pitching as a “cost-effective” access point for excellent coverage indoors.
Both the XAP-1440 and XAP-810 can be easily set up on a network with Luxul’s XWC-1000 wireless controller, taking advantage of the controller’s Roam Assist feature to provide a continued, seamless roaming experience for users.
The new Luxul XAP-1440 and XAP-810 access points ship mid-November. Here are the more detailed specs.Leave a Comment
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|Allen & Heath’s New SQ Series Is a Compact, 96kHz Digital Mixing SolutionWith its 96kHz XCVI FPGA engine, Allen & Heath’s new SQ Series Digital Mixers bring the high-resolution audio performance of the company’s dLive Digital Mixing System to a compact, cost-effective and customizable platform.|
SQ Series mixers are designed for a wide range of applications. Live sound engineers can customize the mixer’s workflow using a capacitive touchscreen, illuminated rotary controls and softkeys with custom naming on fader strips. Houses of worship can use scenes and layers to configure the mixer for worship, broadcast and special events while simplifying setup for volunteers. Rental and production companies will find SQ Series mixers well suited to music festivals and touring artists and can use the integrated auto-mixer for corporate events and conferences.
With the built-in “SQ-Drivem,” recording engineers can capture high resolution stereo and multitrack to a USB drive. In the studio, an SQ Series mixer can become a plug ‘n play, Core Audio or ASIO compliant, 32×32 96kHz audio interface, with MIDI and DAW control capabilities. To complement the SQ Series built-in EQ, compression and effects, users can add Allen & Heath’s optional boutique plug-ins while the mixer’s DEEP processing architecture maintains class-leading <0.7ms latency.
Two models offer a choice of size and control configuration. The rack-mountable SQ-5 has 16 onboard preamps, 17 faders and 8 softkeys while the SQ-6 provides 24 preamps, 25 faders, 4 assignable rotary controls and 16 softkeys. Both models support up to 56 input channels via remote expanders and both feature a networking slot for optional Dante, Waves and other cards, expanding the applications for installed systems, FOH-to-monitor splits and multitrack recording. An ecosystem of apps, remote expanders, networking cards and personal mixers multiply the SQ Series’ expansion and integration possibilities. The new SLink intelligent port allows connection to Allen & Heath’s 96kHz and 48kHz expanders and can link to another SQ Series mixer or to a dLive system.
SQ Series pricing starts at $2,999. Here are all the specs.Leave a Comment
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