Volume 16, Issue 6 — March 27, 2018
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Industry News Displays Unified Collaborative Conferencing Audio Control & Signal Processing Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories Staging & Live Events
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If It’s Too Loud, It’s Too Loud!
By Dr. Frederick Ampel President & Principal, Technology Visions Analytics
Some four decades ago, loudspeaker technology and the ability to generate sound pressure levels (SPL) above the recognized threshold of human hearing damage collided. As an industry, we had finally reached a level of electroacoustic and mechanical performance that was the audio equivalent of mutually assured destruction in nuclear warfare terms.
Not only could manufacturers deliver hardware and electronics capable of reaching well into the 120+dB realm, but increasingly they could do so with less and less recognizable audible distortion.
Let me be extremely clear here. I am excluding from this discussion the entire live tour sound segment, which has been at that audible DefCon level for quite a while and has helped the rest of the sound reinforcement industry reach ever high SPL capability, much like racing helps car companies produce ever faster civilian vehicles. The subject of exposure of ticket holders to 120dB+ concert sound levels is a whole article (or perhaps a large book) on its own. Additionally, there are specific operational and artistic issues unique to tour/live sound that affects SPL requirements, and those are not usually present outside that segment of the industry.
The next quarter century or so has enabled extensive refinement and further technological progress, including the use of new materials, innovative manufacturing processes and increasingly sophisticated electronics and DSP, until we have now reached the point that it is almost child’s play to deploy a sound system capable of 130+dB without significant audible distortion.
But Why?
Why is the issue of high SPL without significant distortion so enormously critical?
Because the distortion produced by high SPLs acts as a warning flag to our brains that something dangerous is happening. Much like the “pull up” warning that a pilot gets when too close to the ground at the wrong time, the ability to sense distortion tells us that either the system itself is breaking up or our hearing system has reached its tolerable safety limit regarding total SPL at the ear. In either case, the warning is unequivocal — IT’S TOO LOUD!
If the distortion is in the system, the likelihood of component failure or permanent damage is probably close to 100 percent. If the distortion is at the ear/brain interface the likelihood of permanent, irreversible, hearing damage is also pretty close to 100 percent.
The gigantic difference is that sound system components can be replaced or repaired. Your hearing system cannot. Once you have done permanent damage to your ears it is precisely that — permanent. It won’t get better and it won’t recover or heal over time — it’s forever.
How Loud and How Long
There are literally exabytes (EB or 10006 bytes) of data on noise exposure and the effects of high SPL on the human auditory system. Medical science, regulatory agencies and countless others have produced data on how loud is safe for how long. Regrettably, it seems that because much of the original data (like the OSHA charts) was aimed at exposure from/to ‘industrial or impact generated’ noise sources, it has been if not ignored, at least discounted by our profession as not directly applicable.
In one word: WRONG!
Regardless of any intellectual desire to be separated from industrial noise, Sound Pressure Level is Sound Pressure Level — period. To the human auditory system, it does not matter how the high SPL is created — it could be a gunshot, a 25-ton punch press or a 125dB PA system. The measured level and the spectral content/balance of that signal is what impacts the ear.
In reality, a single very short term loud noise (130dB or higher) will absolutely cause damage, but hearing damage can also occur gradually at much lower levels of exposure. It is a time cumulative effect. Recognizing the exposure level and the danger it poses is essential to protecting your one and only hearing system. You MUST limit your exposure to even moderately high noise levels and give your ears a chance to recover after any period of noise exposure.
For example:
- At 91 decibels, your ears can tolerate up to two hours of continuous exposure but damage will occur beyond that time frame.
- At 100 decibels, damage can occur within 15 minutes of exposure.
- At 112 decibels, damage can occur in only one minute of exposure.
- At 140 decibels, immediate, permanent and un-recoverable nerve damage will occur.
Noise Exposure Formula
The established standard to diminish hearing risk is based on an exposure to 85 dBA for a maximum limit of eight hours per day, followed by at least ten hours of recovery time at 70 dBA or lower (at which the risk of harm to healthy ears is negligible). For every 3 dB above 85 dBA, the maximum exposure time is cut in half. Note that +3dB is TWICE the sound power level!
The table here shows the acceptable exposure time frame for various SPL levels. Please take note that once the level exceeds 107dB, safe (no damage) exposure time decreases into the seconds range very, very quickly. While extremely short duration peaks above 105dB (as in a few milliseconds long explosion in a motion picture soundtrack, for example) is not likely to cause harm, repeated exposure to such levels absolutely will.
It is important to understand when reading the table above that each line represents 100 percent of the allowable noise dose per 24-hour day. To simplify this, if you’ve already had 15 minutes at 100 dBA, you’ve maxed out your safe exposure window for that day!
The rest of that day (24 hours) should have NO exposure above 85 dBA and preferably should be below 70 dBA. (Note: If you spend a lot of time in environments with high noise levels you should consider getting a noise dosimeter and let it monitor the noise levels and exposure times and calculate the noise dose you’re getting.
Let us be sure that the following point is clear. You cannot and will not get used to high levels. If a certain level doesn’t seem to bother you as much as it did before, it’s not because your ears have toughened up to it; it’s because you’ve lost some of your hearing. If this is the situation, it’s all the more critical to protect the hearing you have left.
How Loud for How Long?
In our research for this article, we spoke with a number of system operation professionals and venue sound folks. Averaging their responses and comments produced the following recommended SPL windows to consider:
1. Background music and similar sources should not exceed 85dBA with 6dB of headroom to accommodate ambient crowd/environmental noise. In no case should it exceed 91dBA outdoors, less in an enclosed space (88dBA or lower max).
2. General SR levels for indoor spaces (Auditoria, etc.) should not exceed 91dBA with 6dBA of headroom to accommodate crowd or environmental background noise. Under no conditions is it considered safe to exceed 103dBA for any length of time.
(NOTE: The ONLY exception to this recommendation is for emergency evacuation or hazard warning systems, where sufficient level and intelligibility to ensure comprehension is required by the various codes and regulations governing such systems. These must be adhered too by law in most jurisdictions.)
3. For most outdoor spaces and performance venues, it’s recommended that a max of 95dBA with 6dBA of headroom be planned for. As per the chart above, exposure to levels above 95dBA for more than one hour will max out the time window for safe exposure. Great care in maintaining safe operating levels in such situations is required. This is especially crucial if the audience or patrons include children under the age of 10 as their tolerance to high SPL is much lower and they are potentially more susceptible to damage as they do not know how to or when to protect their ears.
Get an SPL Meter and Use It
Despite your assumption that you know how loud it is, the odds are you’re wrong. There is only one way to be sure and that is to buy and use an accurate and calibrated SPL metering system — 100 percent of the time. Using it with an A-weighting is recommended as that is the weighting curve used in most exposure rules and recommendations. But having one that also allows looking at C weighted levels, which will include more LF info is highly recommended as those frequencies can and do contribute to high SPL a lot more that is generally recognized. (For more on weighting curves, go here.)
Given that the damage you do to your ears at high SPLs is forever, don’t take chances — know what level you’re being exposed to and if it’s too loud, WALK AWAY! This is not a debatable point — if it’s too loud, it’s too loud.
Note: It is highly recommended that you get and use a really good set of level reduction ear plugs (-20DB or better) if you expect to be exposed to levels above 105DB for any length of time. A good listing of available products can be found here or here. Leave a Comment
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Extron’s Global Scripter and the Value of Being Non-Proprietary
By Scott Tiner rAVe Columnist
Recently, Extron has become more public about its Global Scripter programming features. I believe that this new path that Extron is taking is going to be a major change for the AV industry. The biggest piece of news is that the Global Scripter uses Python as its base for programming. The potential that this opens for the AV industry is incredible.
First, the popularity of Python is very high. Most professional programmers understand the language or are very easily able to learn it. It looks and functions like other common professional languages. This allows professional programmers to begin programming in our world. I understand that some AV programmers could see this as a threat, because it opens up what was previously a walled garden. For an future-sighted person, it actually presents flexibility and growth for our industry. It opens up a much broader base of applicants for programming jobs and brings in a trained programming mind to firms. This is not meant as an insult to the hundreds of very talented AV programmers in our industry — but many of these people are trained in the specific programming application, as opposed to being trained in the study of programming.
Many businesses already employ talented programmers; this includes education as well as other sectors. By using the knowledge these programmers already have and partnering with your AV programmers, you also open options as to what systems can be integrated. Using the various APIs of building automation systems, calendaring systems, security systems and any other type of networked systems, integrating AV systems becomes much easier. Something that has long bothered me is when interesting new products come out, but they tie into other proprietary systems. Some examples of this are touch panels that sit outside of rooms and tell you if the room is available and allow you to schedule events in the room right from the panel. But those systems are typically tied into one or two scheduling systems. Also, all of the remote monitoring systems produced by AV manufacturers are proprietary. They need to provide a link into other systems. With Python, which is open source, designers are able to tie into any other system that has APIs. You don’t have to rely on a vendor creating that link for you.
A significant push in our industry has been to market ourselves to high schools, colleges and tech schools. I think we have struggled in many ways with that because we had to work to prove we were more than just an industry that sold and mounted televisions. This move, and hopefully future similar moves by other companies, makes it much easier to recruit computer science majors, engineers and other technology focused students. At a recruiting fair, open AutoCad and show the students the schematic drawings, talk to them about programming in a language they know and suddenly they can begin to see a future in the industry.
Not only will this bring new opportunities and new ideas to to our industry, it will also bring some challenges, and of course with that, even more opportunities. One of the biggest challenges will the be security, which is perhaps the biggest issue with this move by Extron. By implementing such a popular and well known programming language, it opens the industry up to more security threats. This is something that Extron will need to deal with, and so will support programmers and their customers. But it also presents the opportunity for integrators to provide cybersecurity services to their customers.
I can only hope that more and more of our industry makes a similar move. The more open we are to alternative ways of thinking about and performing our jobs, the more sustainable we are as an industry. Leave a Comment
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TFCinfo’s Annual Projector Brand Strength Report Highlights Winners And Improvements in the Projection Industry TFCinfo today announced the release of its “Projector Brand Customer Perception and Preference Study 2018.” This report marks the 16th year that this annual projector brand benchmarking study has been conducted. TFCinfo’s report not only measures the strength of multimedia projector brands in the five most important market segments in the AV industry (large corporations, SMB-small and medium business, SOHU-small office/home user, education and government), but also analyzes important trends in customer perceptions which can have significant influence in their purchase decisions.
In this year’s installment Epson is a clear winner in the eyes of experienced projector end users and purchasers. Not only has Epson remained solid in their brand awareness and their image, but they are even continuing to improve upon many of their dominating scores. Other brands such as Sony, NEC, BenQ, Optoma, Panasonic, Hitachi and InFocus are noted for their strength and improvements in other key areas and market segments.
Awareness, Image and Intent are three main elements of brand strength that continuously need to be monitored. In this research, TFCinfo shows how individual brands perform on each of these important measures and in comparison to other brands. This allows readers to form a complete picture of where their brand is and where their brand needs to go to stay competitive.
Epson, Sony, NEC, BenQ and InFocus are the top five most recognized (aided awareness) projector brands in the industry overall. Epson has solidified their position and has a solid lead of at least 10 percent above the next highest ranked brand in every segment surveyed. While other brands may not have ranked among the top five overall, they post some of the strongest improvements and ranked among the top five in certain market segments. BenQ and Optoma are important to note on this measure as these brands have each increased their awareness as a projector brand greatly over the past few years. Optoma places among the top five for aided brand awareness among those in SMB and SOHU, while BenQ places among the top five among those in education, government and large corporations. Unaided free recall is another measurement this research analyzes and is extremely important to monitor to ensure that your brand comes to mind to be included in the important pre-purchase research.
Awareness for some brands, while still considered low in comparison to their position in total projector sales and current market share, have continued to show great improvement.
A clear picture is forming with regard to some of the most important projector purchasing factors and the brands that are being associated with them. Some of the most important factors to look at when purchasing a projector are overall image quality, reliability/build quality and price. Experienced projector users and purchasers name Epson, Sony, Panasonic, NEC and Hitachi as the top brands they associate most with having an excellent image quality.
These same brands are also named as brands that represent projectors that offer superior reliability and build quality. Respondents name BenQ, InFocus, Optoma, Dell, and Epson as the brands that offer the best price (value), while on the polar end Epson, Panasonic, Sony, NEC and Hitachi are named as offering a better investment (higher price/higher quality). This leaves Epson in a phenomenal position as end users are viewing the brand as both a great value and a high quality investment.
“Measuring brand strength and tracking your position in relation to your competitors is crucial in today’s projector market. Understanding customer perceptions, preferences and the factors that are driving their purchase decisions is critical to the brand management process and therefore to the growth and profitability of your brand,” states Tanya Lippke, TFCinfo director of survey market research. “These customer perceptions can have significant influence in their purchase decisions.”
Epson, Sony, NEC, BenQ, and Optoma are the top five brands being considered for purchase most overall, although some of these brands are being pushed by their dominance in particular market segments. Panasonic, InFocus, Viewsonic, Hitachi and Eiki hold their own on this measure posting some important consideration gains in certain market segments this year.
While Hitachi may not be one of the most considered brands for purchase, Hitachi has posted an increase in purchase consideration each year for the past six years now, and is high relative to their overall brand awareness. BenQ and Optoma are also brands where their momentum cannot be ignored. Both brands have done a great job with their awareness and image in this category and it shows. This yearly tracking study reveals that BenQ and Optoma have improved their numbers, gaining more than 25 percent in consideration each since 2013.
“Many brands post great scores this year, even some of the lesser known brands,” states Tanya Lippke, “In order for brands to turn this consideration into an actual purchase, consumers must have a clear understanding as to what your brand offers in correlation to the purchasing factors that are most important to them. This report reveals what messages the major brands are delivering and how these perceptions are affecting them in the market-place.”
Many brands were researched in-depth and each show significant strengths and weaknesses in certain areas. Brands that are analyzed in depth in this report include: BenQ, Dell, Dukane, Eiki, Epson, Hitachi, InFocus, NEC, Optoma, Panasonic, Runco, Sony and Viewsonic.
Here are the details. Leave a Comment
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Wainhouse Releases Evaluation of Zoom Rooms for Touch, Digital Signage and Scheduling Display
Considering adding video-enabled collaboration spaces to your enterprise for conference rooms, huddle rooms, or other areas? Check out this Wainhouse Research Report, authored by Wainhouse senior analyst and partner Ira M. Weinstein.
This report focuses on Zoom Rooms, Zoom’s all-in-one conference room solution, and covers Zoom Rooms’ specifications, uses and off-the-shelf hardware compatibility. Weinstein also gives an in-depth evaluation based on extensive testing of three Zoom Rooms features: Touch/Whiteboarding, Digital Signage and Scheduling Display.
Zoom Rooms for Touch allows users to easily interact with the Zoom Rooms user interface and each other. “Throughout our testing, Zoom Rooms’ touch UI worked perfectly… the whiteboarding and annotation features offer customers a cost-effective alternative to dedicated ideation/digital whiteboarding solutions,” says Weinstein.
Zoom Rooms Digital Signage comes free to customers with at least one Zoom Rooms license and offers a cost-effective method to create dynamic workplace signage. Fully customizable with the ability to display images or URLs and even join meetings, Zoom Rooms Digital Signage is perfect for all workspaces including lobbies, cafeterias and conference rooms.
“The digital signage functionality was quick and easy to configure… the ability to use this same system to join meetings and for wireless content sharing is a major plus,” says Weinstein.
Zoom Rooms Scheduling Display is a convenient way to check the status and schedule of any Zoom Room or any other meeting space. Scheduling Display works through a simple app and can be installed outside the room on an iPad with a housing case. The intuitive app clearly shows if a room is available or busy, and allows users to reserve a room in seconds.
The entire report is here.
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Prysm Adds the LPD 6K, an Interactive Single Panel Large-Format DisplayPrysm is creating a new category in the display market by unveiling its latest – the Prysm Laser Phosphor Display (LPD) 6K Series. These interactive large-format single panel displays offer a panoramic image with no seams or bezels with, what they are saying is, the power consumption similar to a commercial coffee maker. The displays are shatter-resistant, flexible and offer rollability for transport.
The new modular design uses a durable front screen — made of a specialty coated polycarbonate layer – that is rolled into a cylinder for easy transport. This allows integrators to negotiate tight corners and enter through standard doors and passenger elevators during set-up — something that is nearly impossible for traditional large-format displays.
The LPD 6K display is available with Prysm’s visual collaboration platform known as the Prysm Application Suite. The Prysm Application Suite consolidates applications, content, video conferencing and the web into a touch-interactive workspace. This combination is known as the LPD 6K Series and is made up of the following components:
- 190-inch or 135-inch LPD-powered single panel large-format display and Prysm collaboration appliance
- 90-day Prysm software trial license (optional)
The LPD 6K Series is currently in general availability and shipping to partners and customers. All the specs are here. Leave a Comment
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Sony Upgrades Vision Exchange Classroom Collaboration System Today, Sony announces version 1.1 of its interactive collaboration and active learning solution Vision Exchange. The upgrade adds Skype for Business (but, weirdly, no Zoom support) and something they are calling Personal Note Taker. The updates to Vision Exchange aim to eliminate any logistical remote learning issues and applies to the two main unit series PEQ-C100, PEQ-C130 and Pod PC Software PES-C10.
This update to Vision Exchange will improve educational workflows and will be available at no additional cost for the first year of purchase. This will ensure that existing V1.0 owners can seamlessly take advantage of the new V1.1 software. For future updates, Sony offers the Software Upgrade Program (SUP) that will provide users with an annual subscription.
Skype for Business is one of the most popular remote communication tools within both education and business environments, and as such, will be natively integrated into Vision Exchange. Using Vision Exchange, students can work collaboratively with one another, without having to be in the same room. They can also wirelessly share content from a multitude of devices. Wherever they are working, seamless collaboration on a global level can be achieved.
Vision Exchange’s existing Interactive Mirroring function enables users to connect and share any source within the classroom. The new Personal Note Taker takes this one step further which enables students to easily refer, capture, write and save the main screen content using their own devices, for their later review. There is no need for students to take photos with their devices to capture information for later use; it can all be captured using the new Personal Note Taker.
Additional new features:
- HDMI input has been added to support Pod PC software PES-C10 and with the addition of a 3rd party HDMI capture box, AverMedia’s DarkCrystal CD750.
- BYOD screen mirroring is now enabled with major OS platforms. Sony-unique “Quality of Service (QoS)” mechanism enhances their stable mirroring connectivity.
- Multi-language support (German, French, Spanish in addition to Japanese, Chinese and English).
- Streaming Option support for Pod PC software PES-C10 (requires optional license PEQA-C30).
- The content area of the primary display can now be streamed out for recording, lecture capture or live distribution with the optional license PEQA-C30.
Here are all the specs. Leave a Comment
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Marshall Electronics Releases New AR-DM61-BT Multi-Channel Digital Audio Monitor Marshall Electronics announces the release of a new multi-channel digital audio monitor, the Marshall AR-DM61-BT. Packed into a 1 RU design, the Marshall AR-DM61-BT allows users to monitor up to 64 channels of audio vertically, or two detailed audio channels horizontally and also includes a live video confidence monitor. It also is equipped with two powerful stereo speakers that feature a max volume of 100 dB.
The AR-DM61-BT has two dedicated 3GSDI inputs with loop through (MADI compatible), and one additional HDMI input. It has four stereo AES inputs and outputs, supports eight channels on “D” input and output (-10 dB or +4 dB switchable), and has speakers powerful enough to be heard even in a noisy control room environment. The 10-inch LCD intuitive touchscreen panel uses Loudness, K-weighted, relative to full scale (LKFS) bars and peak indicators and is the first-of-its-kind to include a live video confidence monitor.
The AR-DM61-BT is fully compatible with the latest Dolby and Dante formats, and has a built-in Web server for software updates, storing and retrieving presets, making the AR-DM61-BT a “future proof” solution. It is AES67 compliant and accepts inputs from multiple signal types with format conversion and matrix routing.
The Marshall AR-DM61-BT is here. Leave a Comment
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Yamaha DXS12mkII and DXS15mkII Powered Subwoofers DebutYamaha today announced the DXS12mkII and DXS15mkII portable powered subwoofers that combine a super-efficient Class-D amplifier putting out 1,020 watts of peak power (as compared with 950 watts in the originals) with a unique bandpass cabinet design. This configuration helps the subwoofers achieve remarkable sound pressure levels (SPL) from compact enclosures; the DXS12mkII and DXS15mkII are capable of a maximum SPL of 134dB and 135dB, respectively. Low-frequency response has also been improved, with the DXS12mkII going down to 42Hz and the DXS15mkII to 40Hz. Compared to the competition, the DXS12mkII essentially offers the performance of a 15” powered subwoofer, while the DXS15mkII provides that of an 18” unit. Because the amplifiers do not require active cooling, the DXSmkII subs can be run at high volume for extended periods and not risk the thermal shutdown or distortion issues that plague much of the competition.
On the original DXS models, the XLR thru outputs simply passed the full-range audio from the inputs to any connected speakers. On the DXSmkII models, these outputs have a high-pass filtered option, meaning that all crossover work is done within the subwoofer. In this configuration, connected full-range powered speakers (such as the Yamaha DXR or DBR Series) can devote their full output power to amplifying only those frequencies the DXSmkII subs are not.
For mounting a full-range speaker on a pole atop the subwoofer, both models now have an M20 threaded socket in addition to the standard 1-3/8” (35mm) non-threaded socket, resulting in increased stability. For stacking speakers directly, insets on the top of the cabinet minimize unwanted vibration in even the highest SPL-use cases. Plywood construction decreases weight compared to the original models by approximately six pounds.
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Zoom’s New H1n Handy Recorder Debuts Zoom NA just launched the H1n, dubbed a Handy Recorder, as a portable audio recorder the can be used to capturing audio for film, music, podcasts and other applications.
The H1n’s design features a protective mic enclosure, an LCD screen, an analog-style gain control, built-in X/Y microphones and a stereo 1/8-inch mini phone jack mic/line input. An onboard limiter enables distortion-free recording up to 120 dB SPL and a new low-cut filter features selectable cut-off points and helps eliminate pops, wind noise, and other unwanted low-frequency rumble. Functions like Playback Speed Control and A-B Repeat provide flexibility during playback and an Overdubbing feature allows the user to layer audio. Auto-Record and Pre-Record settings mean audio is always captured at 24-bit/96 kHz while a Voice Emphasize filter is designed specifically for dictation. For filmmakers using DSLRs, the H1n is equipped with a Test Tone and Slate Tone generators to calibrate levels and mark audio start and stop points for easily syncing audio to video.
And, the whole system runs on two AAA batteries providing up to 10 hours of recording time.
The Zoom H1n Handy Recorder lists for $119.99. Here are all the specs. Leave a Comment
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Altinex Adds Control Capabilities to MultiTaskerAltinex just introduced the Neutron MT312-104 Digital MultiTasker Control Card for use with the MultiTouch family of touch panels for boardrooms, lecture halls, residential control systems, among others. It is designed with sensory inputs to control any third-party equipment and provides unlimited possibilities in designing audiovisual systems when combined with the power of the AVSnap software. The MT312-104 is equipped with two bi-directional RS232 ports, two IR ports, two relay ports and two sensor ports. When MT312-104 is combined with 12 or 20 slots enclosures it provides an unlimited control options and system design flexibility. The relays can be used to independently control lights, screens, shades and system power, while the sensor inputs trigger events based occupancy, noise, light, video and audio sensors. They can handle up to 1 amp at 30V DC and can be program as momentary or latching relays. The RS232 ports are equipment agnostic and can control any type of equipment with various baud rates from 9600 to 115K. The sensor inputs will respond to contact closures and voltage outputs from other equipment. The threshold is programmable to accommodate specific sensor. The two supplied voltages, +12VDC and +24VDC add additional flexibility and convenience when configuring sensor inputs. The MT312-104 combines all the necessary functions to design and implement small and large AV systems. Just like other MultiTasker cards, the MT312-104 must be installed in an enclosure to provide a complete control system. The Neutron MT312-104 Digital MultiTasker Control Card is $250. Leave a Comment
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RTI Ships XP-6s Control Processor RTI today announced that the company is now shipping the second generation of its XP-6 advanced control processor. Designed for both smart homes and corporate environments as well as sports bars, the XP-6s features a faster i.MX53 CPU for increased processing power. RTI upgraded it with eight times more RAM memory and four times more internal nonvolatile Flash memory (512MB). The XP-6s’ new rack-mountable design includes two-way RS‑232, routable IR and Ethernet. It also features three programmable relays, three voltage trigger outputs, and three voltage sense inputs. The processor’s Ethernet port provides IP control in addition to support for RTI’s RTiPanel app for smartphones, tablets and PCs. Additionally, the XP-6s incorporates an astronomical clock, allowing time-based events and timers to trigger commands and macros.
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Osprey Video Announces Raptor 12G and HDMI 2.0 PCIe Capture Cards Osprey Video today announced the launch of the Raptor I/O family, the newest generation of Osprey’s PCIe cards. The Raptor family includes an array of solutions, from 3G-SDI to 12G-SDI cards with up to eight inputs to HDMI 1.4 and 2.0 cards in single- and multi-input configurations. With Raptor, users can ingest video from SD to 4K UHD/DCI, depending upon the card series selected.
Each SDI input will support 16 embedded SDI audio channels, while the HDMI series will support eight channels per input. As with earlier Osprey offerings, some models of the Raptor SDI card will offer programmable loop-outs and true I/O capability. In a new feature for Osprey, many of the multi-input SDI cards will offer bidirectional I/O ports, allowing each port to be used as either input or output. Also added are analog black burst and HD tri-level reference connections.
Raptor has a unified driver that supports DirectShow, Windows Media Foundation, Medialooks and NewTek NDI (Windows), as well as Linux V4L2 and Advanced Linux Sound Architecture.
All Raptor cards are fanless. They are also available in a ruggedized version that features passive cooling, a high-humidity coating for outdoor applications and are all here. Leave a Comment
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B-Tech Launches New Heavy Duty Projector MountB-Tech AV Mounts has launched a new projector mount, purposely designed for today’s larger, heavy duty projectors. B-Tech’s latest mount, the BT893, can handle projectors up to 70kg and can be mounted to ceilings directly or with B-Tech’s ø50mm pole system for suspended installations. The BT893 boasts easy adjustment to tilt, yaw and roll – allowing for perfect projector alignment. Also featured is tried and trusted micro-adjustment technology borrowed from their installer favoured BT8310 video wall mount, for precision alignment of projected images. Micro-adjustment is altered using handwheels for better grip and a more controlled adjustment.
Designed for live event and staging applications, as well as large scale projection mapping use, the BT893 has been developed with input from some of the world’s largest projection manufacturers.
The BT893 is available now. Here are all the tech specs. Leave a Comment
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TechLogix Intros Fiber Cabling LineupTechLogix Networx is expanding its Media over Fiber Optics lineup with a new offering of bulk fiber cabling, connectors and accessories.
The initial TechLogix fiber line includes riser-rated OM3 multimode fiber, plenum-rated OM3 multimode fiber, LC and SC style connectors, termination kits and test kits. All products are compatible with TechLogix’s existing line of HDMI extenders, USB extenders, DVI extenders and AV over IP distribution systems.
TechLogix fiber cabling employs SSF technology to streamline the installation process by spec’d that it can handle a 220-pound pull rating, has a micro bend radius and polymer coating to ensure cable integrity and safety when handling.
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Spectrum Introduces Pivot Jr. WorkstationSpectrum Industries has introduced the Pivot Jr. Workstation which offers height adjustable features, mobility and flexibility for this product to be used as a student desk or small lectern.
The Pivot Jr. features a backpack and cup holder that provides storage and more work room. The height of the Pivot Jr. can adjust from 27-42 inches making this small footprint the perfect piece of furniture for any student’s or teacher’s height. Available with either casters or glides, mobility in any area with this product will never be a problem.
The Pivot Jr. is made of a scratch-resistant powder coat and high pressure laminate worksurface. In addition, the worksurface is available in a variety of Spectrum’s full expression colors including dry-erase. With the Pivot Jr’s height adjustable features and effortless mobility, this product will be a great fit for collaboration in the classroom.
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Altinex Introduces TE460-137 HDMI Signal Generator and AnalyzerAltinex just launched the TE460-137 HDMI Signal Generator and Analyzer, which is designed for installers and consultants for testing and verifying all aspects of an HDMI signal path. Altinex says the TE460-137 is portable and can test and verify compliance with HDMI specification regardless of what is used between inputs and outputs.
The TE460-137 has both HDMI input and output with 18Gbps (600MHz) 4K UHD support and with 4K to 1080p scaling to support and complies with the HDMI 2.0a and HDCP 1.4/2.2 standards. An Analyzer mode is compliant with the CEA standard and HDR static metadata extensions CEA-861-F and CEA-861.3 for EDID analysis and it has an integrated OLED display to see the current signal state and results of signal analysis.
In its stock configuration, the TE460-137 comes with a rechargeable lithium-ion battery, a USB charging cable with power supply that powers the unit and recharges the battery, an HDMI cable for testing purposes and a hard-plastic travel case.
The Altinex TE460-137 HDMI Generator and Analyzer is $595. Here are the details. Leave a Comment
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Waves MultiRack and Plugins Power the KN-DSP100 Kramer Network Server Waves Audio has now integrated Waves MultiRack and Waves plugins in the KN-DSP100 Kramer Network Server from Kramer Electronics.
Waves MultiRack is a software host used by FOH and monitor engineers to run multiple simultaneous instances of the same plugins used in recording studios and mixing rooms the world over.
The Kramer Network Server, with Kramer Network and DSP functionality for large-scale audio deployments, provides DSP-over-IP and enables simultaneous processing of 64 of its more than 1000 input channels – and distribution to over 1000 outputs. The unit is fully compatible with any Dante audio signal and provides auto-detection of all Kramer devices and their functionality. The KN-DSP100’s processing is powered by Waves and seamlessly integrates with all standard IT infrastructures.
With Waves MultiRack and plugins now integrated, the KN-DSP100 brings the same tools that live sound engineers rely upon daily to AV professionals at large-scale system deployments such as airports, hotels, courtrooms and hospitals, providing seamless processing of up to 64 channels over a Dante network.
Here are all the details. Leave a Comment
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