Volume 4, Issue 4 — April 28, 2015
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House of Worship Trends The Future of HOW
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AVL Safety Needed in Churches
By Anthony Coppedge House of Worship Technology Consultant
Audio. Video. Lighting. Budgets. Safety? When churches think about audio, video and lighting (AVL) technology, safety isn’t on the radar for the vast majority of pastors. However, with the exponential increase in the use of flown speaker arrays, screens, and lighting fixtures, keeping the technical staff and congregants who sit below these devices safe needs to be a discussion point brought up by the internet ‘box sales’ houses and systems integrators alike. Virtually all churches could use a safety inspection of all of their gear’s hang points, load ratings, shackles, safety wires/harnesses, spansets and trusses, adding a valuable introduction for systems integrators to help churches avoid accidents (and lawsuits) and make needed upgrades to system components while the lift systems are in place anyway.
The Low-Hanging Fruit
Quite literally, there are so many low-hanging lights, trusses and projectors that are easy to inspect without bringing in expensive lifts or cranes that the most common DIY-installed technology components would require nothing more than a short step ladder. Starting with the work that churches often do themselves is a great way to introduce simple safety features, such as safety wires for lighting instruments hung on pipe or truss.
Working with the United States Institute for Theatre or the Entertainment Services and Technology Association (IATSE) to hire professional, certified riggers will typically cost $800 to $1,600 — a tiny fractional cost easily covered by any church. This should be a helpful sales tool to encourage churches to have their venues certified. It further provides the opportunity to train staff on proper rigging safety apparatus and techniques for future technology additions.
The simplicity of helping church pastors understand the easy addition of safety components to their existing technology is a key introduction to the credibility and professionalism of a systems integrator. And while on site with the cranes or lifts to make safety adjustments, it’s a clear sales opportunity to replace old lighting fixtures, replace lamps, repair speakers and add additional technology. The value proposition of maximizing the cost of labor for safety rigging by also adding new components to the mix is one even the bean-counters understand.
Keep People Safe
Sadly, there have been many accidents involving improper rigging, inadequate training, and faulty equipment. Perhaps the worst accident happened during a Christmas production in 2008 at Crossroads Church in Cincinnati, Ohio when 23-year-old volunteer performer feel to her death from a flying harness. Countless other situations involving light fixtures falling and trusses collapsing have demonstrated the risks involved with the higher production values desired by churches.
I don’t believe pastors don’t care about safety; it’s simply not in their realm of experience so they don’t think about it. And with the vast majority of churches using volunteers or minimally trained technical staff, rigging is a potentially huge issue looming — literally — over the heads of the singers, musicians, pastors, and congregants.
Safety training for church staff and volunteers is a significant opportunity, especially in the ramp up prior to Easter and Christmas, where churches tend to pull out the production stops to create impressive experiences. The costs are not only easily understood by church pastors, the opportunity to extend training to AVL usage is an easy value add while you have the teams together onsite.
Don’t Underestimate Nature In August of 2011, a wind gust hit the Indiana State Fair’s temporary staging roof structure causing it to collapse and land on the audience, killing seven people and injuring 58 others. Churches often plan outdoor concerts and events such as Easter sunrise services using portable staging and AVL — often opting for do-it-themselves setup. Without proper training and experience, considerations for ballasts and counterbalances are often neglected out of ignorance.
In certain areas of the country, extra design considerations are essential in the event of earthquakes, something anyone living in a fault zone will understand, but seemingly few will appropriate into their staging and AVL designs in DIY installations. Beyond the consequences of the initial crash comes the potential for panic as people try to exit the venue.
Safety First; Not Scare-tactic Sales
These are not conjured fears or scare tactics for sales, but valid concerns that need to be addressed by a vertical market that has rapidly increased the complexity of their productions without the corresponding emphasis on safety. It is helpful to present churches with a tiered plan for safety checks and implementation. For example, start by identifying the increased liability churches face as they’ve added AVL technology and rigging over the years and offer a simple safety inspection for all mounted and flown audio, video, and lighting equipment, as well as the supporting truss and hang points. The peace of mind and a documented inventory of what is deemed safe is helpful insurance.
However, it is entirely reasonable to also offer additional services, such as rigging training, safety checklists, additional purchase for safety augmentation and even the re-hanging of certain lighting fixtures, speakers, projectors, truss and/or screens. If you have a certified rigging specialist on staff, find out about IATSE certification options to further enhance the value proposition and additional peace of mind for church business administrators.
Finally, the labor expense of bringing in certified rigging specialists and the associated lifts or cranes makes for a good opportunity to make recommended updates and upgrades while the gear and people are on-site. For quite a few churches, this would be a worthwhile investment in updating their speaker systems and lighting infrastructure while the labor costs are already on the table.
Of all of the articles I’ve written about reaching churches with a strong value proposition, perhaps none can compare to the significance of life safety as the ultimate way to begin a dialogue with new clients and re-engaging existing clients for additional work.
What has been your experience with raising safety concerns about rigging to churches? Share your views in the comments below and be sure to click the share buttons for social media to put this in front of your church clients. Leave a Comment
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Churches and the Electronic Canvas Instead of IMAG
By Anthony Coppedge House of Worship Technology Consultant
I posted an article here on rAVe I wrote about IMAG (Image Magnification — live video projected onto a screen) and stated that it was overused in small venue churches where it wasn’t difficult to see the action on the stage without a live video image. There are times where limited usage of live video for infrequent events can help, such as a hard-to-see baptistry. But to try and use IMAG for the majority of each service in anything less than a huge venue? That’s where I’m saying let’s rethink IMAG and use those screens more effectively as an electronic canvas.
What could churches put on the screens during the sermon instead of IMAG?
IMAG is limiting
When using live video of the singer or pastor projected up on the screen, the ability to creatively use the available screen space is suddenly very limited. You can replace the image, add lower-third or side-third graphics or even use DVE (digital video effects) for a picture-in-picture effect for trying to juggle content. In each of these cases, the tools necessary for quality video and overlays is exponentially more expensive and volunteer-intensive than simply using the screen as an open canvas.
There’s a limitless amount of content that can be displayed on a screen at any given time. So in order to best answer the question “What could churches put on the screens during the sermon instead of IMAG?”, let’s think through how our answers can fit into the context of a service.
There has been a ton of research that shows how people best retain information. In each of these studies, a significantly larger proportion of them retain the most information when it is presented in a way where they see, hear and experience the information. With that being the case, if there’s a visual way to reinforce the spoken word, then the electronic canvas is an obvious choice.
Text Reinforcement
When a significant point is being presented, reinforce it with text! Some people will even make some of the text fill-in-the-blank style and reveal the missing text as the point is discussed. Another creative way to reinforce text is to tie in an electronic whiteboard that takes what is written/drawn in real time and projects it up on the screen. In this way, the teaching pastor can use the white board interactively for even more retention-building power.
Sermon Starters Rolling in a video animation with a soundtrack and subtle effects has, on more than a few occasions, set the tone for the message series in a way that would be hard to duplicate with mere words, text or graphics. There are entire libraries of content available on church resources sites such as Worship House Media, Sermon Spice and Sermon Central.
Man-On-The-Street Videos
Sometimes rolling in a video of short interviews with people on sidewalks, at parks or other public places can help explore what ‘the average person’ thinks about a topic. “What happens when you die?” “Who is a ‘Christian’?” “When did you last do something selfless?” “Why do bad things happen to good people?” “Where do you turn when things are at their worst?”
The answers given to questions like these give us a glimpse into the people in their communities.
Often times the electronic canvas can do more than just reinforce a message. In the same way a great TV series or intense movie can capture our imaginations and draw us into the story, we can use the same emotive responses to propel a message, open up someone’s mind and even tear down a defensive wall. Used before, during or after a message, these tools are begging to be lit up on the electronic canvas.
Art Sometimes the electronic canvas is really a true, physical canvas. Artwork can speak volumes and help to give substance to a metaphor. In one sermon series at Fellowship Church, a bunch of huge (5-8′ tall by 4-8′ wide) ‘picture frames’ (see below) were spread across the stage. On the front of each was stretched white fabric (scrim material), front projected with artwork.
During one song, the top center ‘picture frame’ (see below) showed the singer in a music video walking toward the camera. As his image filled the ‘painting’ head-to-toe, the lights changed, the projected image faded out and the actual singer stepped through a slit in the canvas of the top center ‘picture frame.’ It was as if he came right out of the video. Simultaneously, the projected artwork on the other picture frames faded out and back lights revealed that the live band was actually inside each ‘picture frame’ box behind the now translucent screen material.
I remember another sermon series where the pastor painted a picture while he taught. In this instance, live video was a great asset — but it wasn’t IMAG of the pastor; instead it showed the painting in progress so all could easily see the artwork progress up close.
Nature
With the proliferation of good quality film and video of nature’s beauty, it’s possible to have the scenic images represent the song lyrics. Most church presentation software comes bundled with stock footage and looped content of nature as a backdrop for adding song lyrics right on top of the video. Systems integrators should consider becoming a reseller of the top software tools such as ProPresenter, Media Shout, or Easy Worship, too.
Help Churches Use Their Electronic Canvas
There’s not a valid reason for churches miss taking full advantage of display technology for digitally painting on their existing screens — their electronic canvas. The examples and ideas could go on and on, but I hope that what I’ve written has helped each of you to understand that IMAG isn’t the ultimate use of screens, but instead is a more difficult and limiting use of the electronic canvas.
Have you helped a church steer clear of IMAG when they didn’t need it? Have you seen examples of using projection as the electronic canvas? Leave a Comment
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HARMAN’s dbx Ships 676 Tube Mic Pre Channel StripHARMAN-owned dbx today announced the 676 Tube Mic Pre Channel Strip is now shipping. The dbx 676 is a vacuum tube-based microphone preamplifier that employs a high-gain, Class preamp section based around a 12AU7 vacuum tube that can be adjusted to be clean and pure-sounding or dirty and full of harmonic character. The 676 incorporates the Compressor/Limiter design from the highly sought-after dbx 162SL and a three-band parametric EQ, enabling exacting control of dynamics and tonal balance.
The dbx 676 offers ¼-inch and XLR inputs and outputs, a front-panel instrument input and a side chain insert. An optional digital output card is available. The 676 allows for precise tailoring of input and output levels, which can be monitored by its large multi-function VU meter.
The compressor/limiter section provides extremely flexible control of dynamics including threshold, attack, gain and release, auto attack and release, hard and soft knee compression, dbx-exclusive AutoVelocity manual and OverEasy modes and PeakStop limiting algorithm and many additional functions. The 676’s three-band parametric EQ allows adjustment of level and bandwidth at frequencies that have been carefully chosen for maximum musical effectiveness.
The dbx 676 Tube Mic Pre Channel Strip lists for under $1,000 U.S. and here are all the specs. Leave a Comment
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Extron Introduces HDBaseT Recommended Twisted Pair Cable Assemblies Extron has launched a new cable line called the XTP DTP 24 Series that are precision-terminated shielded twisted pair cables in lengths from three feet (90 cm) to 100 feet (30.4 m). Available in both non-plenum and plenum-rated versions, the cables are constructed with the company’s HDBaseT Alliance-recommended XTP DTP 24 bulk cable and factory-terminated with XTP DTP 24 Plugs. The cable assemblies are certified to 475 MHz bandwidth at distances up to 330 feet (100 meters), and engineered and tested to exceed HDMI error rate specifications of less than one pixel per billion at 100 meters.
Extron XTP DTP 24 Series cables are constructed with 24 AWG shielded twisted pair cable that they say are specifically engineered to Extron’s exacting standards of performance. The cable utilizes an SF/UTP Shielded Foil/Unshielded Twisted Pair design for superior performance in digital video and audio distribution system applications.
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Hitachi Intros New PTZ Cameras Hitachi America’s Digital Media Division and Security Solutions Group is introducing the PTZ Series Full HD Camera Series. The PTZ Series cameras support clear and lively video conferencing, video recording and net broadcasting, and are aimed at a variety of applications that include boardrooms, classrooms, auditoriums and houses of worship.
The PTZ Series is comprised of six models: the VZ-HD3600A; VZ-HD3650A; VZ-HD3700A; VZHD3780A; VZ-HD4000A; and VZ-HD4900A. All of the PTZ Series cameras feature an optical lens for Full HD with 10x zoom, while the VZ-HD4000A and VZ-HD4900A also have a 25x zoom. Four of the six models offer a wide horizontal viewing angle of 70 degrees, making them perfect for classroom recording. A direct drive motor pan/tilt mechanism provides non-distracting smooth and quiet functionality.
For needs in large venues, the PTZ Series features seven-daisy-chain control for low-light shooting. The PTZ Series also offers 32 preset memories for pan/tilt/zoom and other settings using the remote control unit, and up to 127 presets using external control via RS-232C or RS-422. Various digital video interfaces are available, including 3G-SDi, HD-SDI and DVI-I.
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Vaddio Expands RoboSHOT Camera Lineup with New RoboSHOT 12 HDMI and RoboSHOT 30 HDMI Vaddio has added two new cameras to the RoboSHOT series, the RoboSHOT 12 HDMI and RoboSHOT 30 HDMI. Both feature HDMI out, Ethernet for IP control, a better image signal processor (ISP) and Vaddio’s Tri-Synchronous Motion.
The RoboSHOT HDMI series is designed for simplicity in applications that only need HDMI video. Control functionality is accomplished via Telnet, RS-232, IR remote and the camera’s built-in web server, which allows users to control the camera functions on a web page with any browser over the IP network.
Vaddio’s RoboSHOT 12 HDMI camera features a 12x optical zoom with a 73-degree wide horizontal field of view, perfect for small to medium sized conference rooms, training rooms or classrooms in a wide variety of applications including UC conferencing, videoconferencing, distance learning, lecture capture, telepresence and ProAV while the RoboSHOT 30 HDMI features a powerful 30x optical zoom with a 65-degree wide end to 2.3 tele end horizontal field of view, ideal for medium to large rooms including house of worship, large auditoriums, theaters, IMAG performances, lecture theaters and more.
Like all RoboSHOT series cameras, the RoboSHOT 12 HDMI and RoboSHOT 30 HDMI comes fully equipped with Vaddio’s Tri-Synchronous Motion technology, a silent, direct drive motor system that allows all three axes of the camera (pan, tilt and zoom) to move simultaneously for ultra smooth, natural camera motion.
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TASCAM DP-24SD Digital Portastudio Is Truly a Portable Studio TASCAM has introduced the DP-24SD, a 24-track Digital Portastudio that’s has eight XLR mic inputs with phantom power provide enough pre-amps to record a full band, and each input has available compression and limiting during recording. In addition, it includes a color LCD display, channel control strip and integrated solid-state media (SSD) inputs.
Built into the DP-24SD are three types of effects. Up to eight dynamics effects can be routed to any or all inputs during recording for polished-sounding tracks. A multi-effects processor provides amp simulation, delay, chorus and more, ideal for using with the direct guitar input. And a adjustable reverb is available on send and return.
Features:
- 24-track / 24-bit Digital Portastudio
- Color LCD display
- 12-encoder channel strip
- Eight microphone inputs on combo XLR-1/4” jacks with phantom power
- 1/4” instrument level input
- Up to eight-track simultaneous recording at 48kHz/24- bit audio resolution
- Solid-state recording to SD Card media for better shock resistance than hard drive recording
- Send effect
-Two effects sends
-Multi-effect processor with guitar amp simulation
- Mastering effect
- Virtual tracks for alternate takes and undo
- Built-in chromatic tuner and metronome
- 1⁄4″ monitor, effect send and headphone outputs
- USB 2.0 connection to computer
Here are the full details. Leave a Comment
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Meyer Sound Announces New LEOPARD and 900-LFC Line Array System Meyer Sound introduced two new line array systems in the form of the LEOPARD and the 900-LFC as part of their LEO Family; these two are its smallest and most versatile members. Boasting what Meyer claims as tremendous power-to-size ratio with ultra-low distortion, the patent-pending LEOPARD line array loudspeaker and the 900-LFC low-frequency control element offer an unprecedented level of clarity, power, precision, and ease of use. With state-of the-art design, groundbreaking engineering, and premium quality components, LEOPARD AND 900-LFC are designed to create an exceptional listening experience across a wide variety of applications from rental to install and rock ‘n’ roll to classical.
System highlights:
- Newly designed and highly efficient class-D amplifiers that virtually eliminate distortion while consuming less power and generating less heat.
- LEOPARD can both anchor a main system in a medium-sized venue or integrate seamlessly with LYON in down- and out-fill systems.
- Six LEOPARD and two 900-LFC loudspeakers can be flown using a ½ ton motor.
- 900-LFC offers exceptional low frequency, clarity and impact inherited directly from its big brother, the 1100-LFC.
- A complete system solution with MAPP XT for acoustic prediction, Compass RMS for real-time system performance monitoring, the Galileo Callisto loudspeaker management system, and the new MDM-5000 distribution module for routing AC power, audio, and RMS signals.
The LEOPARD is here. The 900-LFC is here. Leave a Comment
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Vaddio Announces a New and Enhanced ZoomSHOT 20 POV Camera Vaddio has announced its latest point-of-view camera, the ZoomSHOT 20. Based on Vaddio’s ClearVIEW HD-20SE PTZ camera technology, the ZoomSHOT 20 is fully equipped with an advanced image signal processor, 20x optical zoom and native 1080p/60 high definition video. Manual pan and tilt positioning allow for simple, precise control.
The latest 1/2.8-Type Exmor CMOS high speed, low noise image sensor processor combined with the advanced ISP of the ZoomSHOT 20 provides exceptional low-light performance rated at 0.3 Lux making this camera ideal in low-light applications including house of worship, ProAV system integration, distance learning classrooms, live events, IMAG systems, UCC applications and more.
In addition to the advanced ISP, the ZoomSHOT 20 comes equipped with a 20x auto-focus zoom lens, providing a 63-degree wide to 3.47-degree, tele-horizontal field-of-view for a wide range of applications.
Like all Vaddio cameras, the ZoomSHOT 20 is designed to work with Vaddio’s Quick-Connect camera interface systems that allow integrators the ability to run power, video and control over Cat5 cabling. Full image color control is available for a built-in internal On-Screen Display.
Here are all the specs. Leave a Comment
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Panasonic Claims Lightest 3-Chip DLP Laser Projector with PT-RZ12KU Panasonic’s new PT-RZ12KU laser projector is a three-chip DLP that’s specified at 12,000 lumens at native 1920×1200 resolution with a 120 Hz frame-rate. Integrate with two DIGITAL LINK (HDBaseT) ports, the PT-RZ12KU is aimed at the rental and staging markets but can be used in auditoriums, bars and even lecture halls. One unique features with the projector is it allows for vertical, horizontal and tilting 360-degree projection because of the laser light source.
The PT-EX12KU incorporates two 380-watt lamps to get the 12,000 lumen spec with a 4000:1 contrast ratio. The image quality is also supported by the Pure Color Control function and full 10-bit image processing system. The Pure Color Control function independently controls the light intensity of yellow coloring. This provides rich overall color expression while maintaining brightness. It’s also integrated with an Eco Filter which minimizes the need for filter maintenance for up to 12,000 hours. It weighs in at just under 95 pounds.
All the detailed specs are here. Leave a Comment
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Christie Debuts Five New 3LCD D Series Projectors Christie unveiled five new 3LCD digital projectors today spec’d with brightness ranges of 6,000 to 8,000 lumens with a single lamp (and an optional 0.38:1 Ultra Short Throw lens). The D Series are all 10,000:1 contrast ratio and come in resolutions of XGA (1024×768), WXGA (1366×768) and WUXGA (1920×1200).
Christie D Series are what the company calls “whisper-quiet,” aimed at higher education, corporations, museums, houses of worship, government facilities and selected rental and staging environments. Christie’s totally new aesthetic is used on all five new D Series models.
The new Christie Connect option with Wireless USB option provides monitoring and collaboration capabilities in multi-user environments. Users also benefit from professional tools including HDRC-Liteloc for “stunning images” even as the lamp ages, and the new Advance Color Management system provides separate controls for hue, saturation and luminance to create lifelike images.
Christie D Series features include:
- Optional* Ultra Short Throw (UST) lens with a 0.38:1 throw ratio
- Portrait or landscape mode provides installation flexibility
- XGA, WXGA and WUXGA resolutions
- Single-Connect cable option: Christie OneConnect — via HDBaseT
- 3G-SDI (WUXGA only)
- Multiple lens options
- Third party control system integration via AMX and Crestron
Christie D Series ships in May 2015 and here are all the specs. Leave a Comment
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PreSonus Ships AVB Networking for StudioLive Active Integration Mixers PreSonus is now shipping its SL-AVB-MIX Audio Video Bridging (AVB) audio networking option card for StudioLive AI-series console and StudioLive RM-series rack-mount Active Integration mixers. These options allow you to create a complete, networked live-sound solution, using CAT5e or CAT6 cables instead of a snake—and that’s just the beginning.
AVB enables precisely synchronized, real-time, low-latency, streaming of audio across an Ethernet network with no-hassle, self-configuring, true plug-and-play convenience. All StudioLive RM-series mixers already have the SL-AVB-MIX option card installed and just need a firmware update to enable the new AVB networking functionality. The card is offered as an upgrade option for StudioLive AI console mixers.
With this first phase of AVB support, you can use the StudioLive RM32AI or RM16AI as a stage box and monitor mixer for any StudioLive AI-series front-of-house (FOH) console mixer. Remote-control the StudioLive RM-series mixer’s recallable, Class A XMAX preamps from the console; take advantage of the RM mixer’s 16 additional aux mixes; and use the RM mixer’s Fat Channel processing and FX buses for independent monitor mix processing from the FOH mix.
Thanks to PreSonus Active Integration technology, the mixers on the AVB system can be set up, and your mixing workflows synchronized, in a single step. All input routing to and from the onstage RM mixer and the AI console mixer at FOH is configured automatically. You simply change the channel source from “analog” to “network” on the channels you want to source from the other mixer.
In addition, the talkback and main L/R mix from FOH are set up as the talkback input and main L/R outputs on the RM mixer onstage. The talkback on/off at FOH also engages the talkback onstage, making it easy to communicate with the band. PreSonus Active Integration also keeps your scene save and recall in sync between the mixers in the system.
Both mixers can be controlled using PreSonus UC Surface touch-control software or VSL-AI and SL-Remote AI for Mac, Windows, and iPad, and all aux mixes can be wirelessly controlled using PreSonus QMix-AI for iPhone / iPod touch. All audio and control data flows over one slender Ethernet cable, so you can shed that heavy, noisy analog copper snake.
The SL-AVB-MIX option card for StudioLive AI Console Mixers is available now for a U.S. retail price of $399.95
Here are all the specs [PDF]. Leave a Comment
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Adamson S-Series Makes Debut Adamson Systems Engineering introduced the S-Series this week — a new sub-compact line array system consisting of the S10 line array enclosure, S119 subwoofer, Blueprint AV and the E-rack, Adamson’s new unified rack solution.
The S10 is a two-way, full range, sub-compact line array enclosure ideal for mid-size arenas, theaters, churches and dance clubs, as well as outdoor festivals. It is loaded with two newly designed 10” ND10-LM Kevlar Neodymium low frequency drivers and an NH4TA2 1.5” exit high frequency compression driver mounted to a wave shaping sound chamber which produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (H x V). The compact solution – 265/10.4 x 737/29 x 526/207 (mm/in) — weighs in at a mere 27/60 (kg/lbs).
Adamson’s Controlled Summation Technology is a design method that brings the LF drivers as close together as possible, while symmetrically outwardly splaying them, which enables what the company says is an “amazingly clean” overall sonic characteristic for the S10 enclosure. The end result increases usable frequency range while decreasing summation at the crossover point, reducing interference. The LF drivers are also recessed behind the exit of the HF sound chamber, so as to not limit the size and shape. A small amount of delay aligns the lows to the high frequency energy, with some dynamic overlap control in place as well to diminish any remaining noticeable interference.
The S119 subwoofer has a light-weight, long excursion, 19” ND19 Kevlar Neodymium driver with Adamson’s Advanced Cone Architecture and a 5” voice coil for power handling. It is mounted in an “ultra-efficient front-loaded enclosure, designed to reproduce clean, musical low frequency information.”
The cabinets for both the S10 and S119 enclosures are constructed out of marine grade birch plywood, aircraft grade steel and aluminum and feature Speakon NL8 connectors. The S-Series utilizes Adamson’s new SlideLock Rigging System that allows angles to be set prior to lifting, which then fall into place when weight is taken. A stacking pin is also present to maintain proper enclosure angles when ground stacked. The S10 enclosure is also available as the S10i, utilizing a plated rigging system for permanent installation. The S10i’s slimmed down rigging reduces the weight and cost of the enclosure.
The S-Series is designed to be powered by the E-Rack, Adamson’s unified rack solution that interfaces with and powers the S Series as well as the full range of Adamson loudspeaker products. The E-Rack incorporates Lab.gruppen amplification, combined with versatile I/O and industry standard power connections, as well as a 20 port managed Ethernet switch to route dual-redundant Dante and control signal. E-Racks are sold in eight-channel or 12-channel configurations with Lab.gruppen’s PLM 12K44 amplifiers — one 12 channel E-Rack can power up to 24 S10 enclosures. A personal license for Adamson’s Blueprint AV software is included with each E-Rack.
S-Series accessories include the S10 Support Frame, S10 Extended Beam, S10 Underhang (to adapt S10 to fly as an underhang with either the E15 or E12), S10 Dolly, S10 4up Cover and Dolly Stacking Legs (also used to increase or decrease tilt in either the E15 or E12 dolly).
More information on the S-Series is here. Leave a Comment
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HARMAN’s JBL Professional Debuts VTX V25-II Loudspeaker JBL Professional, a subsidiary of HARMAN, has just announced the VTX V25-II, the successor to the V25 line array loudspeaker. It features a brand-new waveguide for what JBL Pro says is improved long-throw performance, improved wavefront control and improved power matching with the companion Crown I-Tech 4x3500HD four-channel amplifier.
VTX V25-II maintains the same outstanding horizontal coverage performance of the original V25 and current V25 owners can upgrade their cabinets to the new V25-II performance standard in a matter of 10 minutes with the VTX-V25-WG-UK Waveguide Upgrade Kit.
The new V25-II waveguide features design improvements that were motivated by the highly-effective VTX V20 waveguide and differs from its predecessor with revised internal acoustical path geometry and double the number of acoustic transmission paths. In addition, the V25-II waveguide’s exponential geometry assists with wavefront expansion while providing improved wavefront control and line source array coupling in the vertical plane at higher frequencies.
The V25‐II waveguide provides better acoustic loading conditions for JBL’s D2 dual diaphragm, dual voice coil compression drivers, resulting in over 10 dB higher sensitivity above 10 kHz. This sensitivity increase means that less high frequency shelving equalization is required in order to achieve the same acoustic output response and, as a result, there is a significant increase in amplifier headroom. Limiter thresholds can also be adjusted so there is less peak limiting activity and reduced distortion. All of this combines to provide higher maximum SPL and improved system packaging density since there is a better power match when V25‐II is used with Crown Audio I-Tech 4x3500HD four channel amplifiers.
Improved polar characteristics and wavefront control are also obtained with the new waveguide which translate to improvements in long-throw performance and overall, V25-II offers more even coverage, front to back. Improvements can also be found underneath and behind the array, where V25-II focuses significantly less high-frequency energy.
Also new at Prolight & Sound, JBL is introducing the VTX V25-II-CS, which includes the optional V25-CS-K compression suspension kit pre-installed at the factory and is intended for use with VTX V25-VTC Vertical Transporters and accessories.
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Mackie Upgrades and Expands ProFX Series Mackie today announces the launch of ProFXv2 Series Professional Effects Mixers. The redesigned ProFXv2 series features an all-new preamp design and powerful new effects engine, delivering unmatched sonic performance for live sound applications. The series has been expanded with two new models, the four-channel ProFX4v2 and the 30-channel ProFX30v2, opening up the no-compromise ProFX toolkit to a wider range of applications.
To achieve the performance that ProFXv2 claims, Mackie has designed the all-new Vita preamp, designed specifically for the highly-dynamic world of live sound. A huge step up from the original ProFX series, Vita preamps are virtually noiseless, even at high gain levels. The Vita design features a Class-A front end, dual feedback stabilization and bias current optimization for unmatched low-noise performance.
Also contributing ProFXv2’s excellent sonic performance is the all-new ReadyFX effects engine. This new engine employs floating-point DSP, designed for the processing of high-quality audio signals. With more horsepower and all-new algorithms, ReadyFX delivers results that add depth to any mix, with premium sound that elevates live performances. Each ProFXv2 mixer features a choice of 16 reverbs, choruses and delays, each extremely useable for a wide array of sonic applications.
Each ProFXv2 mixer features multi-band GEQ, critical for tuning mains to get the best possible sound in any venue. Onboard GEQs are also great for eliminating nasty feedback from stage monitors. Each model features a flexible mix of I/O and, with six models available, covering applications ranging from 4 to 30 inputs, there is always a ProFXv2 mixer right-sized for your application.
The ProFXv2 Series features a wide range of models, each with their own complement of I/O and features to suit nearly any live sound application. There are three compact models – ProFX4v2, ProFX8v2 and ProFX12v2. These utility workhorses deliver professional live sound features in compact designs perfect for smaller applications. The ProFX16v2, ProFX22v2 and ProFX30v2 not only offer the higher-channel count needed for bands, Houses-of-Worship and more, they include additional features for professional applications. They each feature 4-bus architecture for additional mix management and dedicated inline channel compression on select channels that add life and punch to guitars or bass and increase the presence of any voice.
The ProFXv2 series expands on the models available in the line with the new ProFX4v2 and ProFX30v2. The ProFX4v2 is the most feature-rich ultra-compact mixer on the market. No other mixer of this size and price features the comprehensive toolkit that ProFX4v2 provides. It’s ideal for cafès and other small performance venues. It’s also perfect for vocal-only reinforcement in band rehearsal spaces. The ProFX30v2 extends the line into truly professional applications. It’s ideal for live sound venues looking for a higher-channel count solution without needing excess outboard gear. Bands that bring their own PA to the venue will also appreciate the flexibility and power of the ProFX30v2.
Mackie ProFXv2 series mixers will be available beginning May 2015. The series includes six models that range in list from $169.99 to $1149.99 and all are here. Leave a Comment
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HARMAN’s dbx Introduces PowerRack8 Power Supply for 500 Series Processors dbx recently introduced the PowerRack8 power supply for its new 500 Series processors. The PowerRack8 is an eight-slot, 19-inch rack-mount power source designed to hold up to eight 500 Series processors in a vertical configuration.
The dbx PowerRack8 provides eight slots of balanced XLR inputs and outputs along with eight slots of unbalanced 1/4-inch inputs and outputs. A 48V phantom power switch is located on the front panel, along with switches for the unit’s flexible, digitally controlled on-board signal routing with memory function. The PowerRack8 supplies 350mA per module slot and features rugged, all-metal construction.
The dbx PowerRack8 will be available in August 2015 at a suggested retail price of $699.95. Complete specs are here. Leave a Comment
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Auralex Ships New Deep6 Low-Frequency Absorber Auralex Acoustics is now shippping its new Deep6 Low-Frequency Absorber, a 2′ x 4′ x 6″ powder-coated, black steel frame-enclosed absorption device. The Deep6 Low-Frequency Absorber is specifically designed to be installed on a wall or across a vertical corner to improve low-frequency absorption throughout the room and accuracy at the mix position, but without the sonic artifacts of competing products. This solidly constructed acoustical treatment is the perfect choice for rooms where corner-fitted bass traps are not possible due to doors or windows, and provides usable broadband control down to 40Hz.
The Deep6 is Class A fire rated for commercial and residential applications. It complements a wide range of acoustical products and turns mid-high absorbers into a complete broadband system.
Available in Sandstone and Obsidian fabric colors, each Deep6 comes fully assembled and ready to install with the included wall mounting brackets. Additional corner mounting brackets are available. More information is here. Leave a Comment
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JBL Professional Intros VTX V20-DF Down Fill Adapter JBL Professional is introducing its VTX V20-DF Down Fill Adapter, which JBL Pro says makes it easier to cover audiences more accurately, powerfully and economically in terms of VTX V25-II and V20 cabinet counts. The adapter frame is purposefully designed and engineered as an easy attachment of up to six V20 loudspeakers to larger V25 line arrays.
JBL Pro says the V20-DF guarantees precise alignment and optimum line source array coupling of the vertical wavefronts of the V20 and V25 loudspeakers with minimum physical gap when attached, while offering four variable attachment angles (0, 3.5, 7.5 and 11 degrees) between the V20 down fill block and lower V25 enclosure. For added flexibility, the V20-DF can be used as a pullback accessory when deployed as part of the compression suspension systems on VTX V25-II-CS or VTX V25-CS and can also be used with VTX V25-II or V25 enclosures in fixed angle tension suspension mode.
Sonic consistency between the large and small format D2 dual diaphragm, dual voice coil drivers employed in VTX V25 and V20 as well as dedicated OEM factory V5 presets for V20 when used in down fill mode ensure a seamless transition from V25 to V20 in terms of sound quality. The 105-degree nominal horizontal coverage of V20 provides an excellent complement to the 90-degree coverage of V25-II and V20’s ability to achieve higher inter-enclosure angles (up to 12.5 degrees tightly wrapped) provides an effective, visually discrete and economical down fill solution for the short throw portion of a given audience area to be covered.
More information is here. Leave a Comment
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For all you REGULAR readers of rAVe HOW out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).
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A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GHGav [Green, Healthcare & Government AV] in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: https://www.ravepubs.com
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