Volume 3, Issue 6 — June 27, 2014
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House of Worship Trends The Future of HOW
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The Matrix of Church AVL Systems
By Anthony Coppedge House of Worship Technology Consultant
There are many A/V/L systems in place at churches of every size, location and style. Many are there because they were the lowest bid price point; others are stitched together over time, mostly borne out of necessity — and yet others are in place because an integrator specified what worked in other churches. Finally, there are those A/V/L systems that are well designed for the venue, the needs of the church, and perhaps most importantly, the culture of the church. This can be visualized in a four-quadrant matrix. The diagram below illustrates the how this the matrix of church A/V/L systems works:
For this matrix, I define “systems” as the integrated A/V/L equipment; the “fit” is a combination of the church’s needs and culture. There are four outcomes based on how this matrix plays out:
1) Client-focused: Right Fit + Right Systems = Consistent Results
2) Wants-focused: Right Fit + Wrong Systems = Frustration
3) Technology-focused: Wrong Fit + Right Systems = Inconsistent Results
4) Price-focused: Wrong Fit + Wrong Systems = Poor Outcomes
Price Focused
No doubt your firm has been in the situation where a church client came to you with a pre-determined budget number that had no bearing on the venue or the desired performance. As happens in every vertical market when a bureaucrat number-cruncher sets a budget limit without first considering and consulting with others on a realistic scope of work, churches that toss out a paltry financial allocation will almost always end up with something that cannot possibly meet realistic requirements and saddle their tech staff and volunteers with a no-win scenario. This all but guarantees a poor outcome.
But, what to do? I, too, have been on the systems integrator and consultant side of this discussion, when it becomes clear that the cash allocation is woefully insufficient for the venue, much less the specific goals of the church from a technical standpoint. I pulled from my own church staff experience to help in these situations, understanding the never-ending demand for finances from each of the ministries within the organization asking for funds to accomplish their own goals. By re-framing the conversation around expectations and priorities, I was often able to help define a simple scope with reasonable minimum calculations for the technology required to achieve the scope.
All too often, the pressure is on the salesperson to hit their quote and push for a sale that “value engineers” (a horrible euphemism that has nothing to do with value or engineering) the technology to meet the sparse financial allocation. I can’t count how many times I would run into one of these churches a year (or less) down the road who were looking to “fix” their system. Invariably, I’d be told how the system integrator put in a system that didn’t work well, only to find out that the church had been price-focused and their A/V/L dealer didn’t have the pluck to either walk away or define a realistic scope and budget.
When price is the focus, everyone loses. Reframe the conversation.
Technology Focused
We almost expect manufacturers to be biased in this way, as their goal is to create technology they think is great and will serve markets well. But when a church technical director comes back with stars in her eyes after attending a trade show, the next-big-thing in technology is sure to be on their wish list or even on the next purchase order. Even more likely is what happens after the same tech director visits a larger church that has equipment installed to fit their venue, context, and culture and then wants what they big boys have.
It’s not too terribly often that one particular tool is a quantum leap beyond the competition (at least not without astronomical price differences), so this obsessive focus on technology can blind the church buyer from making the best decisions for their own venue, context, and team culture. I can buy top-of-the-line equipment and it will work in venues that need 1/100th of the features and power. It’s not about if it’s enough technology, but if it’s too much technology.
This may sound strange, but I think the systems integrator needs to see the value in helping the church see the real value of technology within those three parameters. Their venue is unique in some way. Which technology will be the right fit? Their context is important. Which technologies will work they way they do and achieve the results they really need? Their team culture is incredibly unique. Who will be operating this technology and who will be performing on or through this technology? These questions ground the conversation on a realistic, level playing field and help to both ensure the church gets what they need and reinforces the value of an honest integrator.
Wants Focused
The opposite of being technology focused is when the clients wants trump necessary performance. If the venue, context, and culture are all identified well and understood by the church, then it’s generally easier to define a very specific scope of work that ensures their objective is defined and goals are established.
Where things get tripped up is when the expectations are only defined around minimum viability. The reality is that what a client wants on day one is not what they will expect 90 days later. Planning for expansion, adding in options for phased in technology, and listing what’s not included in the scope are helpful for church buyers to see in print so they understand and can sign off on both their minimum expectations and future needs.
Client Focused
When a manufacturer has done a good job of educating the church buyer and the systems integrator has taken the time to understand and define the venue, context, and team culture of the church, a win-win-win is likely. The combination of right systems and right fit are aligned, allowing for the greatest opportunity for immediate success and long-term satisfaction (which leads to referrals).
Does your sales process include a needs analysis to define the one-sentence objective and the stated goals of church leadership? Does your website offer a way to existing clients to provide feedback that is accessible by product engineers? Do your salespeople understand how to ask questions that determine the team culture before recommending complex technology solutions?
Churches are increasingly staffed by tech directors with professional experience, but their knowledge needs to be honed and the conversations still need to be had in order to properly qualify your clients.
What is your organization doing to address the right systems and the right fit for the house of worship market?
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The True Cost of A/V/L for Churches
By Anthony Coppedge House of Worship Technology Consultant
Is it better to spend more on a higher priced technology than to go for the cheaper alternative? This is a question of the ages that has been exploited on both sides of the same coin by the marketing teams at manufacturers, seemingly forever. We’ve all had situations where the axiom “you get what you pay for” has rung true, but when it comes to entire A/V/L systems integration, the actual value of equipment is a bit more complex, though not often mentioned during the recommendation or buying phase. This could be a mistake on the part of both manufacturers and dealers.
The True Cost of Technology
The further ahead of the technology curve you purchase, the more less likely you are to have tax depreciation values work for you (especially if you update these items frequency), so there’s a trade-off between bleeding-edge and equipment that’s been on the market for a couple of years. From a church’s perspective, being able to take advantage of the depreciation of assets can can change their willingness to rethink their A/V/L budgets.
Depreciation happens over time. The amount of time allowable is based on the type of asset, so you’ll need to check (in the U.S.) the IRS regulations on the length of time that each asset can be depreciated. Because of this, two different assets with the same dollar value could have differing accumulated depreciation due to their depreciation schedule.
In the finance world, depreciation is applied to tangible assets, whereas intangibles are amortized over time. The principle, however, is that the true cost of technology is a combination of factors, including the purchase price, the expected lifespan of the equipment, the ongoing maintenance cost, and the amortization/depreciation schedule.
Explaining the Cost vs. the Value
When a church forays into the world of A/V/L technology, there needs to be an understanding of the never-ending financial black hole that opens up. Far beyond the initial purchase, the costs continue through upgrades, maintenance, training, and replacement – and these costs don’t ever really end. I once watched a television show about super yachts, and wealthy yacht owner made the comment that owning a yacht was not about if you could afford a yacht or not, but if you could afford to keep a yacht. In a similar sense, the A/V/L world is about being able to keep systems up-to-date and performing consistently.
In the constant internet-fueled price wars, the race to the bottom is a losing one for all involved. I’ve written extensively here at rAVe (Self-Calculating R.O.I., The Day the A/V/L Industry Changed, Inversely Proportional R.O.I.) about the importance of defining value over price, so I won’t rehash those thoughts here. I will, however, point out the benefit of understanding the depreciation values of key components when designing a system for a church, as this calculation can often be eye-opening for the pastors who are typically focused on the bottom line dollar amount.
When line item bids or proposals are submitted, the church will almost always look at individual costs and then drift their eyes towards the final, summed number at the bottom of the row.
Your firm may or may not choose to provide line item pricing, but it’s important to describe estimated or actual depreciation values that the church can use in the long-term approach to investing in systems integration.
The value of an A/V/L system is not at the end of a summated equipment list; it is defining the objective of the system, the goals of the church for the system, and the culture of the team operating the system and performing on the system. The net effect is greater than the sum of the parts. If this is not a part of the value proposition sales process, price will invariably become the sticking point. But, with a value proposition and estimated depreciation schedule over a five to 10 year period, the church can better understand the value of their invested dollars.
The Secret of the A/V/L Industry
Some may scoff at the idea of bringing depreciation values into the sales process, saying that it devalues their expensive equipment. I think this is a smoke-screen for the real issue: there’s no lifetime plan for most units anyway.
Planned obsolescence is the secret not admitted, even in the private demo rooms of InfoComm, AES, LDI, or NAB.
I believe part of a notable trend of five-plus year old equipment not having spare parts in inventory by some (many?) manufacturers is due partly to the advancement of technology. The rate of change may be so fast that companies are outdoing themselves every other year, making huge leaps that require a higher turnover in inventory.
And yet, there are far too many instances in the A/V/L space, particularly in the house of worship market, which often sees less annual usage than corporate, education or government due to weekend-focused usage — of units being sent to EOL (End Of Life) status within four or five years, leaving clients with limited options for on-going maintenance. And even when parts are not the issue, I’ve personally been involved in situations where church have spent hundreds of thousands of dollars on a multitude of similar/same products from a manufacturer, only to find that a wholesale swap out of five-year old equipment with the hours of a two-year old product was necessary because the products had been EOL’d.
There was a time when a product might be installed and left alone to work quietly for a decade or more. That’s become the story of near legendary gear that’s still made today with little changes because it was so well made the first time. And it is these very cases that make make the axiom of “you get what you pay for” to ring true.
My question is this: How much of the higher dollar equipment, in lieu of depreciation values and EOL transitions, can this axiom be applied to today?
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Chief Adds Height Extenders for Select Fusion Video Wall MountsChief has designed new height extender accessories to allow higher sight-lines on all Fusion bolt-down video wall mounts.
“Almost immediately after we released the bolt-down video wall mounts, we were getting requests from customers for the option to raise the height of the walls,” said Kathryn Gaskell, product manager. “These accessories will meet that demand without compromising the safety of the installation.”
The extenders come in two lengths and are designed to safely raise the height of the lowest display row of bolt down mounts by 18 or 36″ (457 or 914 millimeters). Larger configurations like the 3×3 landscape and 3×2 portrait are limited to 18″ (457 millimeters) of height extension.
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Audinate Announces Dante HC Audinate has introduced the Dante HC, a high-capacity networked audio solution for commercial AV systems. Dante HC supports up to 512×512 redundant bi-directional uncompressed audio channels on a single Xilinx FPGA.
Dante is an audio-over-IP networking solution offering what the company calls “virtually perfect synchronization, ultra-low deterministic latency and plug-and-play configuration management.” Dante’s real-time streaming is designed for live broadcast, commercial installation, live sound, public address, intercoms and transportation communications deployments.
Dante HC expands Audinate’s broad portfolio of audio networking choices, which OEMs may build upon, to create cost effective AV products. The Dante HC reference design is ideal for AV equipment products requiring high channel capacity, such as audio matrix routers, large format consoles, public address and evacuation systems and large scale DSPs.
“Audinate is the only company that offers OEMs simple-to-deploy audio networking solutions to cover their complete product range, beginning from 2 x 2 channel Dante Ultimo chips, through mid-range Dante Brooklyn modules, which operate up to 64 x 64 channels, to 128 x 128 channel Dante PCIe Cards,” said Gary Southwell, Audinate’s vice president of product management. “The launch of Dante HC, which quadruples the maximum channel count for a single device to 512 x 512 channels, enables our OEMs to design a new generation of highly scalable networked products.”
Dante HC offers a wide selection of interface options including SPI, I2C, RS232 and configurable GPIO. A powerful onboard microprocessor allows local control and management without the need for any additional CPU. Dante HC benefits from the same advanced robust feature support that is included across Audinate’s portfolio of Dante-enabled solutions, as well as future support for the AES67 standard.
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Mackie Extends SRM Professional Line with Two New Dual-Woofer DesignsToday Mackie launched two new additions to the SRM family of powered loudspeakers — the SRM750 1600W Dual 15-inch High-Definition Powered Loudspeaker and the SRM2850 1600W Dual 18-inch Powered Subwoofer.
Both new models include a 1600-watt amp platform paired with custom transducers housed within professional-grade, internally-braced all-wood cabinets.
The new Mackie SRM750 and SRM2850 will be available soon and list for $1,499.99 and $1,999.99, respectively. More information is here. Leave a Comment
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Crimson AV to Add to DSA Series of Spring-Loaded Monitor Arms at InfoComm Crimson AV told us today it will add to its DSA Series of spring-loaded monitor stands specifically designed for challenging commercial AV applications at InfoComm next week. Aimed at the hospitality, entertainment, retail, education, healthcare facilities, houses of worship and digital signage markets, the stands are meant for cost-conscious buyers of ProAV gear.
The new DSA Series are articulating monitor arms can be used in landscape or portrait orientation and can accommodate monitors and accessories weighing up to 30-pounds and include VESA compatible mounting up to 100x100mm. Once set in the chosen position, tilt and rotation mechanisms can be locked in place and the monitors will remain in the selected position until physically unlocked and moved to a new position.
There are four models:
- DSA11 is a single monitor, single link mount for monitors sized from 10-32”
- DSA12 is a single monitor, dual link mount for monitors sized from 10-32”
- DSA21 is a dual monitor, single link mount for monitors sized from 10-32”
- DSA22 is a dual monitor, dual link mount for monitors sized from 10-32”
All models in the DSA Series feature heavy-duty spring mechanisms to accommodate a wide range of monitors and attached accessories and arms are available with a variety of attachment points including Edge clip, Flat base, Through-hole, and Vertical pipe-mounted adapter styles.
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Barco Debuts 35K Lumen Projector Barco has expanded its projection portfolio for rental and staging and house of worship markets with a brand-new three-chip DLP projector with a specified brightness level of 35,000 lumens. Dubbed the HDQ-4K35, this projector is capable of showing native 4K content at 60 Hz frame rates. It has an integrated design with internal power supply, rental frame and no external chimney fan.
The HDQ-4K35 is equipped with a Xenon 6.5 kW lamp and a high-contrast optical engine. Rental companies that already own a fleet of HDQ-2K40 projectors can reuse their XLD lenses for the HDQ-4K35 projector or opt for dedicated 4K lenses if higher lens shifts are needed to achieve the right image.
Designed with the rental and staging market in mind, the HDQ-4K35 comes with a rugged metal chassis to withstand the challenging conditions of continuous shipping.
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DPA Microphones d:fine 66 and 88 Miniature Headset Mics Makes InfoComm DebutDPA Microphones’ new d:fine 66 and d:fine 88 Miniature Headset Microphones will debut at InfoComm 2014 next week. Aimed at productions involving presenters and performers needing to move a lot stage without obstructions from a handheld mic or mic stand, the d:fine 66 and d:fine 88 are part of DPA’s d:fine Headset Microphone family, which now addresses a variety of sound handling and size options, depending on the intended application.
With a contemporary look and classic sound, the d:fine 66 and d:fine 88 combines the 4066 Omni and 4088 Cardioid microphone capsules with features of the modern d:fine headsets, such as an advanced mount and flexible ear hooks. The new DPA d:fine 66 Omnidirectional Headset Microphone and d:fine 88 Directional Headset Microphone, which are recognized by their rounded capsules, are intended for use by actors, musicians and singers who require optimal sound and grid cleaning/changing options.
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Earthworks Debuts IML Installation Series with LumiComm Touch RingThe LumiComm Touch Ring series of mics are designed for permanent table top installation. Seamlessly integrated into the microphone, the LumiComm Touch Ring consists of a dual-color LED light ring and a touch sensor output, providing integrators the ability to custom-assign function and LED color with a media control system.
The IML microphone is a back-electret condenser that features a cardioid polar response and a flat 30Hz-30kHz frequency response, allowing orators to maintain the same intelligibility at the front and sides of the microphone without a reduction of high frequencies.
IML models come standard with RF shielding, cardioid polar pattern, a 4.5″ body, black finish, touch sensitive surface, and dual-color (red and green) LED light ring. They are available with 3″, 6″, 10″ or 12″ goosenecks.
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L-ACOUSTICS Introduces K2 and PANFLEX Technology at InfoCommL-ACOUSTICS’ new K2 line source array loudspeaker system featuring PANFLEX technology will make its U.S. debut at InfoComm.
The replacement to L-ACOUSTICS’ V-DOSC system, K2 offers K1 performance in a rescaled package. It’s being aimed at both the installation and touring markets. The primary system components include:
- K2 full-range element with PANFLEX horizontal steering, operating from 35 Hz to 20 kHz
- K1-SB low-frequency element reinforcing LF contour down to 30 Hz or LF throw down to 35 Hz
- SB28 low-frequency element extending the operating bandwidth down to 25 Hz
- LA4X / LA8 amplified controllers or LA-RAK touring rack fitted with three LA8
K2 employs L-ACOUSTICS’ new PANFLEX, a horizontal steering technology that combines mechanically adjustable fins with DSP algorithms effective from 300 Hz. Four different settings are possible: two symmetric (70 or 110 degrees) and two asymmetric (90 degrees as 35/55 or 55/35). Narrowing or widening the horizontal directivity can serve many purposes: adapt to the width of the listening area, fit long and short distance coverage/SPL requirements, reduce or extend overlapping areas, and avoid reflecting surfaces.
Using a three-way quad-amplified design, the K2 enclosure can be deployed as a standalone line source. For applications demanding extreme LF impact (contour mode), or maximized LF projection (throw mode), K2 can be arrayed with its dedicated and flyable K1-SB LF extension. The K2 system can also address applications with demanding infrasonic reproduction when combined to the SB28 subwoofer. Before installation, any system configurations can be acoustically and mechanically modeled with L-ACOUSTICS’ SOUNDVISION 3D simulation software.
For touring applications, K2 can be associated to the LA-RAK, a universal distribution platform for power, audio signals and network that facilitates cross rental between rental companies. LA-RAK houses three LA8 amplified controllers and can be flown onto a K2 array. Other applications can feature LA8 amplified controllers. For high-end installation projects, K2 can also be driven by the LA4X amplified controller. The scheme authorizes fully discrete DSP treatment per section and maximum power headroom for the best possible sonic performance.
Up to 253 LA8/LA4X amplified controllers can be connected together via the Ethernet-based L-NET protocol. LA NETWORK MANAGER software allows online remote control and monitoring of all the connected units and features their Array Morphing EQ. This tool allows the engineer to quickly adjust the tonal balance of the system to reach a reference curve or to ensure consistency of the sonic signature.
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Stewart Debuts 90-foot Seamless Screen at InfoCommStewart Filmscreen announced the formalization of three new screen-size categories at InfoComm — Standard, Large, and Stewart Large. All are seamless projection screens at extra-large sizes for any commercial venue, including hospitality, house of worship, education, entertainment, restaurants, corporate, government, military and more.
Stewart’s three new size categories are Standard, which includes screens that offer images up to 12 feet wide; Large, which includes screens that have an image width of up to 24 feet; and Stewart Large, which boasts screens up to 90 feet wide and 40 feet high.
For custom solutions, those submitting design requests will be contacted within 24 hours to review and refine the design proposal.
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XTA Launches New APA Series at InfoComm 2014 XTA is debuting the APA series (Adaptive Processing Amplification) at this year’s InfoComm show. According to XTA, APA’s new power and DSP platforms have been designed to interact intelligently and adapt to prevailing conditions, protecting drivers and significantly enhancing performance from all speaker systems.
Using what XTA claims is studio-quality analog-to-digital converters at the outputs as well as the inputs, real-time audio currents and voltages presented at the speaker terminals can be fed back into the DSP in addition to processing the incoming audio, allowing the amplifier to adapt and correct its performance continuously. The coupling of the power supply’s behavior through real-time monitoring of the mains supply, as well as over ten temperature sense points means that the amplifier can adjust its power consumption and output drive to ensure that maximum permissible power is always available.
A Class D amplifier design, the APA has a quick start mode and an ultra low power stand-by mode (with a power consumption of under 0.75W) that mean reduces the running costs.
The first model — the APA-4E8 — features four channels of power totaling 20kW peak output into four ohms, and continuous power available of 3400W per channel into four ohms. Four audio inputs allow all four amplifier channels to be individually utilized if required with a full suite of XTA’s world-renowned DSP, including dynamic EQ, FIR (and phase linearization) and classic IIR filtering, mix matrix and the manufacturer’s famously transparent limiters and soft knee compressors.
The APA-4E8 can route audio from analog, AES or network sources with automatic fallback. USB and internal SD cards offer additional audio choices for playback of emergency evacuation messages, and quick upload of presets or download of performance logging data. The APA series also includes extensive GPIO and remote control covered by Ethernet, USB and RS485.
Housed in a 2U chassis and weighing 28.2 pounds (12.8 kg), the APA-4E8 sports an elegant front panel interface with a large color LCD, which, in combination with innovative user selectable metrics and tricolor multimode panel metering, offers reassuring feedback of the amplifier status from any distance.
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Atlas Sound Announces Flyable Line Array Atlas Sound has announced the release of its Atlas A-Line Acoustics AL123A-B and AL218A-B network configurable, flyable line array speaker and subwoofer. These new speakers are designed to provide high intelligibility and high output sound for large format installations including arenas, theaters, houses of worship and auditoriums.
The AL123A-B is a three-way line array speaker that features and integrated amplifier with DSP network control. The unit includes dual 12″ woofers, four 6″ mid-range drivers, and dual 1.4″ high frequency compression drivers. The AL123A-B features an integrated amplifier that delivers 2000-watts to the woofers, 800-watts to the mid-range drivers, and 400-watts to the high frequency drivers. The amplifier also includes on-board DSP software that allows the unit to be configured using the network to maximize the sound quality in the space.
The AL218A-B is a dual 18″ subwoofer enclosure that includes an integrated amplifier capable of producing 3000-watts RMS power. Both the EL123A-B and AL218A-B include the patent pending EZAL rigging system that enables them to be flown or stacked easily and securely. The units include a universal power supply that auto selects between 85V and 268V, 50Hz-60Hz.
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Audinate Announces Dante ViaAudinate’s new software application, Dante Via, has made its debut at InfoComm 2014.
Dante Via transforms Macs and PCs into networked I/O devices. With Dante Via, you can now build a complete, standalone audio system of networked PCs without the need for any dedicated Dante-enabled hardware to be present on the network. Any computer instantly becomes a networked audio I/O device.
Dante Via allows you to create an audio bridge for your computer to connect with legacy USB, FireWire and Thunderbolt audio interfaces and transform them into networked devices. Without the need for additional hardware, Dante Via transmits and receives professional quality audio via your Ethernet port to and from such endpoints, opening up endless new possibilities.
With Dante Via you can easily distribute or loopback audio via the network from any application such as Cubase, Pro Tools, Nuendo, Logic, Reaper or even Skype.
Dante Via will be commercially available in Q4 2014 and here are all the details.
Live InfoComm14 Coverage
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Epson Expands Large Venue and Meeting Room Projector Line Today, Epson significantly expanded its lineup of corporate and large venue projection solutions with three new announcements:
BrightLink Pro-Series: The BrightLink Pro 1430Wi and 1420Wi transform any flat surface, such into digital whiteboards and interactive spaces by using built-in tools that don’t require a computer or software. The new series feature a new Whiteboard Sharing Tool that allows up to 15 participants to join a whiteboarding session directly from any mobile device with a web browser or from another BrightLink Pro – without using a software or app.
PowerLite Pro Z-Series: Comprised of nine new models, the series offers high resolution, more powerful performance features and advanced display capabilities for virtually any venue including corporate, house of worship, rental and staging, galleries, auditoriums, and digital signage. These new installation projectors deliver up to 11,000 lumens of color brightness and 11,000 lumens white brightness, up to WUXGA resolution with native full HD 1080p support, HDBaseT connectivity, and portrait mode projection.
PowerLite 1900-Series: Designed for boardrooms, lecture halls and houses of worship, the PowerLite 1900-Series provide outstanding image quality, a wide range of connectivity options and up to WUXGA resolution with native full HD 1080p support. In addition, two of the new models feature wireless full HD video transfer via Intel WiDi and Android Miracast, as well as two HDMI ports, one with MHL (Mobile High-Definition Link) for connecting multiple digital devices.
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Atlas Sound Adds Two New Power Conditioners Atlas Sound has released two new power conditioners that expand its Atlas Power product category. The AP-S15HR and AP-S15RTHR are half width rack 15-amp power conditioners designed to protect critical rack mounted components from electrical surges and spikes.
The AP-S15HR is a half width rack power conditioner that features six total outlets, four-rear panel switched outlets, one-rear panel un-switched outlet, and one-front panel un-switched outlet. The unit includes circuit breaker protection at 15-amps, with a front panel mounted circuit breaker reset, radio frequency interference filtering, an Earth ground fault indicator. A removable IEC power cord allows the cord to be switched for a smaller or longer size based on need.
The AP-S15RTHR includes all of the features found in the AP-S15HR with additional benefits. The major difference is the Remote Activation circuitry. This Phoenix style connection enables the four-switched units to be remotely activated using a push button or key switch wall plate. Additionally, the AP-S15RTHR includes electromagnetic interference filtering and a 24VDC 2000mA DC output that could be used to power Atlas Time Saving Devices. Units can be mounted in a full width rack using a rack mount adapter available from Atlas Sound.
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Extron Introduces DisplayPort to HDMI Scaler with Audio De-Embedding Extron has launched the DSC DP-HD A, an HDCP-compliant scaler that converts DisplayPort signals to HDMI. It accepts DisplayPort video at resolutions up to 2560×1600, and offers high performance scaling with multiple output rates up to 1920×1200, including HDTV 1080p/60 and 2K. The DSC DP-HD A features advanced Extron video signal processing with 1080i deinterlacing and Deep Color processing for optimal image quality. It includes many integrator-friendly features such as auto-memory presets, on-screen display, test patterns, EDID Minder, stereo audio de-embedding, and a DisplayPort input loop-through, while the compact enclosure simplifies installation. The DSC DP-HD A is ideal for interfacing high resolution DisplayPort signals into AV systems with an HDMI switching and distribution infrastructure.
The DSC DP-HD A offers several features that enhance and simplify AV system integration. EDID Minder automatically manages EDID communication between the source and display to ensure reliable operation. The DSC DP-HD A includes a buffered DisplayPort input loop-through that provides an output signal for a local monitor at a PC workstation. Additional audio capabilities include selectable audio muting and output volume control. The DSC DP-HD A includes a convenient analog two channel audio output, for sending de-embedded audio to a sound system or other audio destination. This output can be set for stereo or dual mono.
For more information on the DSC DP-HD A, click here. Leave a Comment
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HARMAN’s Crown Debuts Its XLC Series Power Amplifiers Featuring DriveCore Technology at InfoComm 2014 HARMAN’s Crown Audio today announced the introduction of its XLC Series XLC2800 and XLC2500 Power Amplifiers, two cost-effective, two-channel models that offer a host of useful features for installed sound applications. The new amplifiers incorporate proprietary DriveCore technology for high efficiency with lighter weight.
The XLC2800 and XLC2500 can operate into impedances from 8 ohms to 2 ohms using stereo, parallel or bridged mono outputs. Although extremely powerful at 775 watts and 500 watts per channel respectively (at 4 ohms; 2400 watts and 1550 watt into 4 ohms in bridged mode), both amplifiers are lightweight and measure only 2U rack spaces high.
Both models feature HARMAN’s proprietary DriveCore amplifier IC chip, which combines the amplifier driver stage into the power output stage along with additional audio-signal functions — yet is about the size of a postage stamp.
Designed for easy installation, the XLC2800 and XLC2500 feature Power, Signal, Clip and Fault indicators and limited front panel control. The XLC series is contractor friendly with input/output connectors, and supports parallel connections to multiple speakers, an advantage in applications where available amplifier channels are limited. XLC Series amplifiers also feature rear-panel volume controls for each channel.
The Crown XLC Series XLC2800 and XLC2500 Power Amplifiers are available immediately and specs are here. Leave a Comment
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DPA Microphones Unveils Latest
d:screet Miniature Solutions at InfoComm 2014 DPA Microphones just launched its new d:screet Omnidirectional Miniature Necklace Microphone at InfoComm 2014.
Especially useful for instances when mounting and consistent audio output are the primary requirements, the d:screet Necklace Mic is ideal for quick costume changes. Featuring DPA’s legendary d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace, the d:screet Necklace Mic offers fast, repeatable, “do-it-yourself” mounting and is designed specifically for use by non-technicians. It is available in black, white and brown and in lengths of either 18.3 or 20.9 inches.
During the show, the company is presenting at is booth two options that address these needs. Incorporated on all d:screet Miniature Microphones, the robust strain relief version ensures that people who are not used to handling miniatures can feel reassured by the increased reliability. The heavy-duty 4060 and 4061 microphones, which are ideal for people who require even more enhanced security and for whom the visual appeal is of less importance, are perfect for placement in rigorous production situations, such as incorporated into a combat suit for a fight scene or under a horse saddle in a period piece. It features a stainless steel housing, sturdy cable relief and a thicker .08-inch cable. Both enhanced versions are exceptionally durable and ideally suited to the rigors of various productions.
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StudioLive AI Mixers to Add CascadingPreSonus has announced a new digital mixing solution that provides up to 64-channels, multi-track recording, networked remote control for under $8,000 U.S. This solution will be available via an upcoming firmware upgrade for all StudioLive AI-series Active Integration digital mixers. Users will be able to start with 16, 24, or 32 channels, then cascade a second mixer of any frame size to create custom-sized mixing consoles with all the hardware and software advantages of StudioLive Active Integration systems.
Cascading mixers functionally creates a single large-format console with full recording and remote-control capability by simply connecting a FireWire 800 cable between the two mixers. For example, combine two StudioLive 32.4.2AI to get a 64-channel system with 32 mix buses that can record 80 simultaneous streams and play back 66 on any FireWire 800- or Thunderbolt-equipped computer.
Cascading mixers of different frame sizes is great for special events that require a few extra recording channels that don’t need to be in every monitor mix. For example, a StudioLive 16.4.2AI can be cascaded to a 32.4.2AI and form a single 48-channel console with 6 global aux buses, as well as 8 local aux sends that are available to the channels on the 32.4.2AI.
This firmware upgrade is part of PreSonus’ continuing series of free updates to its StudioLive-series mixers and will be available to all registered StudioLive AI mixers owners as a free download from their My PreSonus accounts later this summer. It follows hard on the heels of a firmware update that enables StudioLive AI mixers to directly download future firmware updates over any network with Internet access.
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PreSonus and OBEDIA Offer PreSonus-Certified Music ComputersPreSonus has announced the PCAudioLabs PSc Rok and PSc Rak computers powered by OBEDIA. These new music-production computers are loaded with PreSonus Studio One Professional 2 DAW, Capture live-recording software for StudioLive mixers, and drivers for every PreSonus FireWire and USB interface and for all StudioLive and StudioLive AI-series digital mixers.
Each system is backed by OBEDIA, the first name in audio industry training and support services, and includes a one-year warranty and a free 30-minute remote desktop training session for any PreSonus product. Additional training and an extended warranty are available.
The PSc Rok is a compact, expandable mini-tower that is optimized for studio applications. Three models are available:
- PSc Rok 3 – Intel i3 Dual Core, 4 GB RAM, 500 GB hard drive, FireWire 400, DVD-RW drive, Windows 8.1 64-bit
- PSc Rok 5 – Intel i5 Quad Core, 8 GB RAM, 500 GB system and 1 TB audio hard drives, FireWire 400 and 800, DVD-RW drive, dual video ports, Windows 8.1 64-bit
- PSc Rok 7 – Intel i7 Quad Core, 16 GB RAM, 500 GB system and 2 TB audio hard drives, FireWire 400 and 800, DVD-RW drive, dual video ports, Windows 8.1 64-bit
The PSc Rak is a mobile PC solution that’s ideal for StudioLive and StudioLive AI systems. Two models are available:
- PSc Rak 5 – Intel i5 Quad Core, 8 GB RAM, 500 GB system and 1 TB audio hard drives, FireWire 400 and 800, DVD-RW drive, dual video ports, Windows 8.1 64-bit
- PSc Rak 7 – Intel i7 Quad Core, 16 GB RAM, 500 GB system and 2 TB audio hard drives, FireWire 400 and 800, DVD-RW drive, dual video ports, Windows 8.1 64-bit
PSc-series computers will be available in the U.S. only with the following pricing: PSc Rok 3, $999; PSc Rok 5, $1,499; PSc Rok 7, $1,999; PSc Rak 5, $1,499; and PSc Rak 7 $1,999. More information is here.
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Barco Introduces HD Digital Mirror System for Large-Venue Projectors Barco showed at InfoComm the MMS (Moving Mirror System), a new projector accessory that empowers show designers with HD images anywhere on stage or within an exhibit. From installations to rental and staging, the new MMS is integrated with options for programming dynamic, artistic shows. Using a large, custom front surface and optically flat mirror, the MMS quickly and easily delivers pristine HD images at the command of the designer.
The MMS augments Barco’s large-venue projectors with the capability to broadcast a variety of pre-programmed images. Eliminating the need for custom rigging frames and heavy yokes to position visuals where desired, the MMS system enables the projector to be rigged in its natural position, with the mirror doing all the work remotely. Then, it can be controlled either via the layout of the projector, the Barco Projector Toolset, or with an external lighting DMX desk.
The MMS System was developed by High End Systems. The high-definition digital mirror system attaches to Barco’s HDX, HDF and HDQ series large-venue projectors, and is available in two versions: the MMS-100 includes an Axon HD media server onboard with the mirror and the MMS-200 features only the mirror component.
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HARMAN’s dbx Debuts Its AFS2 Advanced Feedback Suppression ProcessorHARMAN’s dbx last week announced the introduction of its AFS2 Advanced Feedback Suppression Processor, designed to completely eliminate feedback from a PA system. The AFS2 is aimed at bands, DJs, live sound and fixed installation applications and offers a host of upgraded features including a Wizard auto-setup function, a completely re-designed Advanced Feedback Suppression module, and a large LCD display.
Successor to the popular AFS224, the AFS2 provides state-of-the-art feedback elimination, yet is simple to use, thanks to its one-button Wizard function that automates key setup parameters and walks the user through the configuration process. The AFS2 offers a full LCD display and 24 LED meters per channel for setup and monitoring. The AFS2 can be added to a system in minutes, thanks to its easy rear-panel connectivity and its optimized front panel.
The AFS2’s all-new DSP module takes dbx Advanced Feedback Suppression (AFS) to an entirely new level. This new module provides for faster and more focused filter sets in both fixed and live mode. While 10- and 12-filter feedback-elimination processors are commonplace, the dedicated processor in the AFS2 provides up to 24 programmable filters per channel with filter Qs up to 1/80 of an octave. This level of extreme precision, previously available only in high-end processors, enables the AFS2 to zero in on the exact frequencies needed to attenuate feedback. The AFS2 offers application-specific filter types including Speech and Music Low, Medium and High.
The AFS2 offers selectable Live and Fixed (installed sound) filter modes, selectable filter lift times, live filter lift and more, all of which are available via the intuitive front panel user interface. The AFS2 can be used in either stereo or dual independent channel mode. It includes XLR and TRS inputs and outputs and a USB jack to enable firmware updates when they become available.
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Brick & Bullet Wants to Bring Affordable AVB Audio to the Connected HomeA Kickstarter campaign has been launched by AVB.io, a company founded by CE veteran John Gildred, formerly of Pioneer, in order to bring to market the Brick & Bullet — what the company describes as a “low-cost Ethernet AVB switch and 24/96 live audio adapter.” The company’s goal is to bring affordable, high resolution audio, including that of live performance audio, to the home and small commercial live-venue installations via the network.
The system has a “brick,” which is basically the router, allows uncompressed audio signals to travel up to a total of 300 feet. It’s built on the IEEE 802.1 standards. The other piece is the “bullet,” a small endpoint that can be connected to both the network, and then to any source or speaker that does not already have AVB built in. (MacBook Pros, for example, already have native Ethernet AVB support via Thunderbolt.) This allows you to mix and match AVB and non-AVB equipment while still using digital audio signals and keeping them on the network. Bricks can be daisy-chained together so signals can travel as long a distance as needed.
Control of the products seems to currently only be done via Macs at the moment, and not through a user-friendly interface at that. (This may present an integrator opportunity.) But these products will still appeal to audiophile clients that want to get uncompressed audio all over their houses, and also to small recording studios and live venues for which digital audio was previously an expensive impossibility.
Final pricing isn’t determined yet, but via the Kickstarter campaign, you can get one Brick for $300, or a Brick and two bullets for $850.
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