Volume 5, Issue 2 — February 26, 2016
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House of Worship Trends The Future of HOW
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Attendance Growth Surging to Mid-Size Churches
By Anthony Coppedge House of Worship Technology Consultant
A new 2015 study showing attendance at mid-size churches growing rapidly is big news for a vertical market known mostly for the extremes of tiny and massive congregations. This study confirms my own anecdotal findings that have been presented here on rAVe for years, suggesting a shift for the House of Worship (HOW) market towards more Audio/Video/Lighting (AVL) technologies due to the growth of mid-size to large churches.
Though it is estimated that 90 percent of the approximate 300,000 Protestant churches in the US average attendance of less than 100 people, the other 10 percent of the market — about 30,000 churches — has more than provided enough market opportunity for an entire sub-industry to spring up that serves this niche vertical. According to church researcher Dr. Scott Thumma, there are roughly 30,000 Protestant churches with weekly worship attendances (adults and children) of 500-1,799, which account for over 40 percent of all worship attendees (those above 1,800 account for another 10 percent of all weekly worshippers).
The new research (2015 Study of Large Churches 500 – 1,800 attendance) shows that more than half of all weekly attendees go to churches that are larger than 500 weekly worshippers in size. The vast majority of these congregations are growing quite rapidly compared to smaller churches at a median five-year growth rate of 17 percent.
Why This is Big News for the AVL Market
Much has already been made about the mega church (>2,000 weekly attendance) and giga church (>7,000 weekly attendance) subset of the HOW market. The overall decline of church attendance in America has also made the news, but this study shows that even though smaller churches are continuing to decline, the steady and significant growth of this mid-size market represents a shift in attendance patterns. And that’s a big deal because larger attendance yields an increase in annual budgets, especially in double-digit growth churches.
Following this simple logic points to another reality: with larger attendance comes either larger facilities or more emphasis on additional venues – and both require more (or upgraded) AVL technology!
Interestingly, the 40 percent of weekly church attendance at churches running between 500 and 1,799 also yields some insightful demographic information. Key findings revealed:
- Just over two-thirds of the weekly attendees are under age 50
- Of this group, multi-site churches are growing at a far faster rate than single-site churches
- Seemingly less importance is placed on denominational connections with an intentional migration out of denominations, making autonomy for budgeting and purchases easier
From a sales and marketing standpoint, these younger churches are far more likely to be tech-native, not just tech-savvy. It’s not a question of ‘if’ they use more AVL technology, it’s a question of ‘how much’ more they’ll use as a natural part of their demographic users and audience. And with multi-site once again taking a prominent role in a church growth trend and strategy, the opportunities for multiple sales and equipment standardization and training come right along with the growth curve of this research.
Demographic Trends Influence AVL Technology Purchases
Understanding the demographic makeup of these churches provides helpful insight into how to position products and services to these church leaders. According to the research, “Those persons attracted to large churches are youthful, family-oriented and solidly middle class. The highest percentage of attendees are in their 30s to 40s, and a full 68 percent are under the age of 50. This means the large churches are not just filled with middle-aged or younger adults but with significant numbers of children and teens.” And where you find an emphasis on family, teens, and kids, you’ll find a proportionate emphasis on excellent AVL technology to maximize the experience and keep them coming back.
The study also captured a fascinating trend: the use of organs has decreased dramatically while the use of video projection has increased exponentially, a signal in the massive shift of church service styles. Interestingly, just over half of these churches use live video for image magnification (IMAG), an expensive and labor-intensive technology play that requires significant lighting and solid audio support.
The church leaders themselves also provide a clue in the growth trends:
- Nearly seven out of 10 of these churches (69 percent) are under the leadership of the senior pastor under whose tenure the most dramatic growth occurred
- These clergy are, on average, 52 years old, male and have a Masters or Doctoral degrees
- Half of them have become the senior leader of the church since 2004
That kind of insight helps define the persona for marketing purposes and is a key bit of information for salespeople calling on this church market segment.
Do the Math
Since there are 300,000 Protestant churches in the US, and 10 percent of the HOW market accounts for 50 percent of weekly church attendance in the US, and 40 percent of those are in churches averaging attendance between 500 and 1,799, and the majority of those are (or are considering) multi-site, and the use of video is skyrocketing — well, how much more incentive does a manufacturer or systems integrator need to fully invest in serving this market? The business case could not be more solid to serve the nearly 14,000 churches in this category alone!
If you still need more data to convince your marketing teams and sales managers to help you target this market, be sure to also read my insights on:
The HOW vertical market used to be a best-kept secret of a small number of niche integrators and a few savvy manufacturers. Today, especially in light of these stats, the field is wide open for those with the sense to serve this underserved market.
Share your views and opinions 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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Predicting the Future of Video in Churches
By Anthony Coppedge House of Worship Technology Consultant
Back in 2002, I wrote a widely-publicized article about all churches needing to make the move to 16:9 aspect ratio widescreen. Nearly 15 years later, it turns out I was right — well, almost right. I saw dimly into the future of church video technology and was ahead of the curve in predicting the future of widescreen. But what I didn’t foresee was what would happen with display technology over the next decade and a half.
Here’s the excerpt from my original article from 2002:
There is a mindset in churches that the 16:9 aspect ratio is primarily for video. More specifically, that it is for Home Theatres almost exclusively. I wanted to offer my insight on an application where 16:9 should be used nearly all the time: churches.
Probably the most often used function of a projector in church auditoriums today is for song lyrics. I’ve been in literally hundreds of churches and have seen a common problem with the 4:3 aspect ratio for these song lyrics: It doesn’t read the way it sings. While the type of songs and the style of music may be widely different, the basic verse and chorus structure remains about the same. Here is an example:
4:3 lyrics can’t be sung like they’re typed
Now, the same song in 16:9 not only takes one less screen, but the breaks at the end of the sentences are typed like it is sung. For people visiting a church for the first time, a common problem is not knowing the songs, which can make these guests uncomfortable – and may even make them feel awkward for not singing along. With the 16:9 version though, the song “sings” the way it “reads” on the screen thereby allowing someone who doesn’t know a song to join right in with the long-time members in singing along.
Then And Now
The idea that 16:9 aspect ratio allows for the width to type in song lyrics “more like they’re sung” without as many odd line breaks and kerning contortions is still true today. It’s as if 16:9 was made for church song lyrics, nevermind the change from Standard Definition (4:3 aspect ratio) television to Widescreen TV (16:9) – much less the rise of high resolution and beyond.
But, what I didn’t see happening as much at the time was how even wider screens than the ‘old’ 16:9 standard could benefit churches. The creative minds in churches have continually been adding more impressive display technology as technology improves and the price drops. Well beyond 16:9, superwide edge-blended screens and even environmental projection (which 15 years ago was reserved for only churches with massive tech budgets) are a rising trend.
Back in the day, 4:3 meant huge lyrics and sermon notes to ensure people in the cheap seats could easily follow along. Here’s a visual throwback to some very basic examples below (thanks to ProPresenter, a favorite of mine) to help serve as visual examples of my now decade-old advice to churches.
16:9 Is Now The Old Standard
As I’ve written about before here on rAVe, the shift to black-box theatre style venues and the explosion of large churches has opened up avenues for display technology that I didn’t envision back in 2002 when I wrote my original article about shifting from 4:3 to 16:9. Toto, we’re not in song lyric Kansas anymore!
I’m curious to see what the future holds. It’s my current thought that mere screens are only a part of the technology, with other technologies (OLED, anyone? Modular LEDs? Or projection onto fog or haze or translucent materials?) re-imagining the very concept of what a display really is, anyway.
Without question, the future of displays will far exceed video, song lyrics and sermon notes. We already have church pioneers exploring options that change the way information and even the environmental effect of a service is accomplished with technology. Far be it for me to predict ahead again, as the rate of change is too great and the technology shift exponential.
Here’s what I will predict: manufacturers and systems integrators that creative market and sell into the House of Worship market with inventive and flexible display solutions will be the early adopters that will soon cross the chasm to the early majority.
What are new technologies, layouts, and formats for unusual aspect ratios would benefit churches like 16:9 did from the old 4:3 ratio?
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Radial Announces the Di-NET DAN-TX and DiNET DAN-RX, Dante Enabled Direct BoxesRadial Engineering has introduced the DiNET DAN-TX and DiNET DAN-RX, Dante-enabled direct boxes. The Di-NET DAN-TX is the world’s first Dante enabled stereo direct box. Equipped with ¼”, RCA and stereo 3.5-millimeter input jacks, the DAN-TX allows the user to connect instruments or line level sources directly to networked audio systems using the Dante protocol. The DAN-TX features 24bit/96kHz analog to digital conversion to provide the highest audio quality, and a local 3.5-millimeter headphone output provides the means to quickly test audio.
The DiNET DAN-RX is a 24bit/96kHZ digital to analog endpoint that allows the user to output audio from a Dante network to stereo systems. The DAN-RX is equipped with left and right balanced XLR outputs with a level control that allows for connection to microphone inputs up to +4dBu line level systems. A local 3.5 mm headphone output is provided to test or monitor audio before connection to the PA System.
Both the DiNET DAN-TX and DiNET DAN-RX are here. Leave a Comment
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Audio-Technica Unveils New E-Series Professional In-Ear Monitor HeadphonesAudio-Technica has debuted its new E-Series Professional In-Ear Monitor (IEM) Headphones. Bringing the sonic signature of the M-Series to an in-ear design, the three models in the E-Series have been designed to fully answer the needs of demanding sound professionals and musicians from the studio to the stage to the DJ booth. E-Series headphones are compatible with A-T’s M2 and M3 in-ear monitor wireless systems — together offering a comprehensive in-ear monitoring solution from Audio-Technica.
The ATH-E70 is the flagship in-ear monitor model in the E-Series. Its accuracy and detail allow precise balancing of the mix, making it the perfect choice for monitoring on stage and ENG mixing in the studio. Offering high-resolution audio and an accurate sound stage, this model is designed for sound professionals who demand the best.
ATH-E70 features:
- Three balanced armature drivers provide accurate and extended response across the entire frequency range
- Flexible memory cable loops over ears for a custom fit and long-wearing comfort
- Specially designed housing provides maximum isolation, allowing you to focus on the music
- Detachable cable offers exceptional durability and optimized audio performance
- Includes a carrying case, silicone eartips and Comply foam eartips
The ATH-E50 features excellent isolation that ensures confident, comfortable stage performance. To address the evolution of modern music production, this model also excels at providing a consistent reference in every sonic environment, making it the ideal choice for the producer on the road.
ATH-E50 features:
- Powerful single balanced armature drivers provide an accurate full-range response
- Flexible memory cable loops over ears for a custom fit and long-wearing comfort
- Specially designed housing provides maximum isolation, allowing you to focus on the music
- Detachable cable offers exceptional durability and optimized audio performance
- Includes a carrying case and silicone eartips
The ATH-E40 has a proprietary dual phase push-pull driver design which improves fidelity and efficiency. The ATH-E40 delivers powerful bass along with balanced mid and high frequencies to convey the full emotion of the music from the stage to the street.
ATH-E40 features:
- Proprietary dual phase push-pull drivers excel in monitoring applications by providing exceptional accuracy and clarity
- Flexible memory cable loops over ears for a custom fit and long-wearing comfort
- Specially designed housing provides maximum isolation, allowing you to focus on the music
- Detachable cable offers exceptional durability and optimized audio performance
- Includes a carrying case and silicone eartips
Audio-Technica’s new E-Series professional in-ear monitor headphones will be available March 2016 and will list as follows: ATH-E70 $399.00, ATH-E50 $199.00 and ATH-E40 $99.00. All the details are here. Leave a Comment
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Contemporary Research Introduces the QMOD-SDI-HDMI HDTV Modulator Contemporary Research just released the QMOD-SDI HDMI Modulator-IPTV Encoder. The QMOD-SDI HDMI is a totally new product aimed at Houses of Worship, combining the two most popular applications – an SDI input for the live sanctuary video, and an HDMI input for digital signage. Small to medium-sized sites can now support both applications with one HDTV modulator.
The QMOD-SDI HDMI has dual encoders to process two MPEG video streams, each supported by a hardware scaler that can accept and format virtually all video between 1080p and 480i in NTSC, VGA and PAL standards. Audio can be embedded, or fed separately to digital SPIDF or analog stereo inputs. Two NTSC inputs support composite video or video with closed captioning data.
The new QMODs are fully convergent, able to output the video streams as a dual program digital RF channel or as an IPTV stream. An upcoming firmware update will support a variety of configurations for MPEG2 and MPEG4 streaming, and can output two independent single-program IPTV streams.
Here are the tech details. Leave a Comment
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Focusrite Introduces RedNet A16R 16-Channel Analog I/O Focusrite has added the RedNet A16R 16-Channel Analog I/O to its range of Dante-based audio-over-IP interfaces. Packaged in a rugged, 1U all-metal enclosure, it features 16 channels of network-connected 24-bit, 192kHz A/D-D/A conversion and line-level analog audio in and out with full network and power supply redundancy. RedNet A16R carries on the legacy and exceptional sound quality of its predecessor, the RedNet 2 sixteen-channel I/O unit.
Analog inputs and outputs are accessed via four rear-panel DB25 connectors wired to AES59 specification, while two XLR connectors provide additional AES 3/AES 11 (digital audio/DARS) I/O connectivity. Word Clock I/O connections are made via BNC sockets and permit switchable termination. Dual network connections are provided on locking etherCON connectors and the dual PSU power inputs include cable-retaining clips.
The A16R operates at standard sample rates up to 192kHz, 24-bit, including pull up/down, with sample rate and operating levels selected remotely via host computer software. The unit offers a dynamic range of 119dB A-weighted, A/D and D/A, with a frequency response of 20Hz-20kHz ±0.15dB.
Front panel indicators include triple-color LED level indication along with sample rate, clock source, PSU and network status indicators and features include:
- 16 channels of high-quality line-level analog I/O with 24-bit conversion up to 192kHz
- 119dB dynamic range, response flat from 20Hz – 20kHz, ±0.15dB
- Dante-based remote-controlled audio-over-IP connectivity
- Dual power supplies, with full power and network redundancy including locking connectors for maximum reliability
- Word Clock and AES I/O for increased flexibility
- Analog I/O to AES59 standard on DB25 connectors
- Comprehensive front-panel indicators
The A16R will begin shipping summer 2016. Here are all the tech specs. Leave a Comment
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Extron Introduces eBUSExtron just launched something cool called eBUS – a family of button panels and accessories. eBUS button panels are fully-customizable AV system control interfaces that utilize a unique digital bus architecture designed to allow for easy control system expansion, more design options, and future upgrades. Button panels are connected to each other and an IPCP Pro control processor with a single cable that carries both power and communication.This efficient, expandable design allows a button panel to be used as a single user interface in a smaller system or combined with other button panels and touchpanels when a more elaborate control system is required.
The EBP 100 and EBP 200 eBUS Button Panels are part of the growing eBUS family. These are two and three-gang pushbutton control interfaces that perform a wide variety of AV system functions such as display On/Off, input switching, volume control, and much more. They feature dual-colored, backlit buttons that provide easy operation in low-light environments and a volume knob for smooth, precise volume adjustments. Two eBUS ports are available for easy system expansion. The EBP 100 mounts in a two-gang junction box, and the EBP 200 mounts in a three-gang junction box. Included mud rings provide convenient mounting in lecterns, tabletops, or other flat surfaces.
Since eBUS button panels have the same physical appearance as Extron’s range of MediaLink controllers, they can be used alongside these controllers throughout a facility while preserving a consistent look and user experience. Buttons can be easily customized using Extron Button Label Generator software or by using the online Custom Button Builder application.
You can see them all here. Leave a Comment
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Audio-Technica Intros ATM230 Hypercardioid Dynamic Instrument MicrophoneAudio-Technica introduces the ATM230 Hypercardioid Dynamic Instrument Microphone. The ATM230 brings a model ideal for capturing drums and percussion to Audio-Technica’s popular Artist Series line. The mic’s proprietary capsule is designed to excel in high SPL applications, delivering full, well-rounded audio with an exceptional low-end. The hypercardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source – directionality that is aided by the mic’s low-profile design, which allows it to be placed in a wide variety of setups. ATM230 is ideally suited for miking toms, snare and other percussion instruments.
ATM230 features:
- Big, warm low-frequency response with excellent attack
- Handles very high SPL at close range
- Rare earth magnet for improved output and transient response
- Low-profile design permits versatile placement around drum kit
- Hypercardioid polar pattern reduces pickup of sounds from the sides and rear, improving isolation of desired sound source
- Rugged, all-metal design and construction for years of trouble-free use
ATM230 specifications:
- Element: Dynamic
- Polar Pattern: Hypercardioid
- Frequency Response: 20 – 12,000 Hz
- Output Connector: Integral 3-pin XLRM-type
- Accessories Included: AT8665 drum mount; soft protective pouch
The Audio-Technica Artist Series ATM230 Hypercardioid Dynamic Instrument Microphone will be available March 2016 and list for $139.00. Also available will be the ATM230PK pack with three ATM230’s with a list price of $349.00. Here are the details. Leave a Comment
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Barco Adds 19K Lumen Projector Aimed at Rental and StagingBarco has added a new projector to its HDX line that’s aimed at large venues and events with a 3-chip DLP, 19,000-lumen 4K resolution model. The HDX-4K20 FLEX shares its lens range, ease of use, and modularity with the other HDX models and includes Barco’s FLEX feature have been expanded to offer both flexible brightness and flexible resolution on the new HDX-4K20 FLEX model. Shipping in June 2016, the HDX-4K20 FLEX is the first HDX projector with 4K resolution that’s being introduced, followed by the HDX-4K12 and HDX-4K14 models later this year.
The HDX-4K20 FLEX is delivered with Barco’s flexible brightness feature, which allows users to tune and lock the brightness level for a specific application – from 10,000 to 19,000 lumens in incremental steps. To make this projector even more versatile, the FLEX feature has been expanded to include flexible resolution, allowing customers to choose and lock in WUXGA, WQXGA or 4K UHD resolution.
Equipped with 3-chip DLP technology, a single high-brightness Xenon lamp, and a high-contrast optical engine, the HDX-4K20 FLEX has an all-new single-step processing technology that handles all of the latest resolutions and offers advanced image warping and edge blending with zero additional latency. Input capability includes HDMI 2.0, DisplayPort 1.2, HDBaseT and quad 6G HDSDI.
Barco’s HDX, HDF, and HDQ ranges are aimed at events and large venues and are considered rugged projectors in a modular design of only five building blocks makes them easy to service. Equipped with rental frames, the projectors can easily be stacked or rigged. And, just like the other members of the RLM, HDX, HDF, and FLM projector families, the HDX-4K20 FLEX uses the TLD lens suite, so there’s no need for rental companies to replace their existing lens fleet. The new TLD+ 0.8-1.16:1 lens offers extreme 120% vertical lens shift capability, just like all current TLD+ lenses.
Barco will debut the HDX-4K20 FLEX projector at the ISE trade show, RAI Amsterdam, The Netherlands, from 9 – 12 February. You will find Barco at Hall 11, booth F100 or here. Leave a Comment
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Auralex Offers Studio6 Bass TrapAuralex Acoustics introduced a new Studio6 Bass Trap. Low-frequency sound waves are extremely long, and thus very strong, which Auralex says means they are the toughest to control. This is true no matter whether you’re attempting to block their transmission to a neighboring space or trying to absorb them to clean up the low frequency response within a room. Controlling low frequency sound is harder than controlling mid- or high-frequency sound and generally requires more effort and expense.
In order to address these concerns, Auralex developed the Studio6 Bass Trap, which provides effective broadband control from 40 Hz and up, providing low-frequency control in a 2′ x 4′ footprint with slim 6″ profile. In order to address a growing need requested by Auralex customers, the Studio6 is stand-mountable, using the optional ProMAX stands, allowing the panels to be used in a number of temporary recording and mixing situations or where a permanent installation is not possible or desired. The Studio6 also mounts to room walls and corners using Auralex FoamTak or TubeTak Pro.
Here is more info. Leave a Comment
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Bogen Introduces New Class-D Public Address AmplifiersBogen Communications is introducing a new series of Class-D amplifiers with 150-watt and 250-watt output and each with exactly the same features. The GS150D and GS250D models include a newly developed Class-D amplifier which enables less heat dissipation than previous Bogen Gold Seal Series models, saving cooling costs. They are up to 50 percent more efficient than previous models and including an upgraded contemporary set of screw terminal connections. The use of Class-D amplifiers also enables very low thermal emissions of 239.1 BTU/hour for the GS250D and 136.6 BTU/hour for the GS150D.
The Bogen Gold Seal Series Class-D amplifiers are an addition to Bogen’s line of high-quality audio amplifiers. With the incorporation of the Class-D amplifier, the GS250D (at 320W of power consumption and weighing just 19.5 lbs.) is 42 percent more efficient and 55 percent lighter than previous 250-watt models, while the GS150D (at 190W of power consumption and weighing in at 18.5 lbs.) is 50 percent more efficient and 65 percent lighter than previous 150-watt models. Another benefit for rack installations is that the GS250D and GS150D have the same chassis dimensions as Bogen’s previous GS250 model. (GS150D chassis height and width are the same as GS150, while the length is 1.5″ longer.)
Features include:
- Two-piece pluggable Euro block-type connectors enable signal cables to be more quickly connected/disconnected from the amp
- Four dedicated MIC inputs
- One selectable MIC/TEL input
- One selectable MIC/AUX input
- One dedicated AUX input
- 4-ohm, 8-ohm, 25V, 25VCT and 70V transformer-coupled outputs
The Gold Seal Series Class-D amplifiers are listed to UL standard 60065 and here are the specs. Leave a Comment
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Epson Debuts EB-L25000 25K Lumen 3LCD Projector, Targets Install Market With Plethora of Projectors Epson is unveiling two new ProAV projector ranges as well as its first 25,000 lumen 3LCD laser projector at ISE 2016 (9-12 February 2016) in Hall 1 Stand H90. The new models include the company’s first laser-based installation models.
Dubbed the EB-L25000U, the 25,000 lumen laser-light source projector that marks a clear focus on the install market with it and multiple other install-focused products including the EB-L1000U series (EB-L1500U, EB-L1505U, EB-L1405U, EB-L1300U, EB-L1200U, EB-L1100U). In fact, the EB-L1500U, the world’s first 12,000 lumen WUXGA 3LCD laser projector.
The EB-L25000U is native UWXGA and uses both inorganic LCD panels as well as an inorganic phosphor wheel to produce color-accurate color. Spec’s at 20,000 hours of operation, they warranty the complete projector for 20K hours — not just the mechanical aspects of it. Inputs include HDMI, HDBaseT, VGA and 3G-SDI and there are nine different lenses (with memory). We actually recorded a videocast about this projector last week. You can view it here.
Alongside these new laser models, Epson is exhibiting its new EB-G7000 (EB-G7800, EB-G7200W, EB-G7000W, EB-G7905U, EB-G7900U, EB-G7400U) lamp-based range of high-quality corporate and higher education installation projectors. Ideal for use in office meeting rooms, lecture theaters or large classrooms, the new range features a host of quality, functionality and usability improvements to help transform large-venue spaces with high-quality, professional-looking presentations.
The products were launched at ISE here in Amsterdam along with some cool demos (you can see all of them by going here and typing EPSON in the video search window as she shot videos inside their booth at ISE).
The EB-L25000U will start to ship in late 2016. The EB-L1300U, EB-L1200U, EB-L1100U, EB-L1405U will be available from July 2016 and the EB-L1500U and EB-L1505U from October 2016. The new EB-G7000 series (EB-G7800, EB-G7200W, EB-G7000W, EB-G7905U, EB-G7900U, EB-G7400U) will be available from May 2016.
All of them are here at the North American site and EMEA site Leave a Comment
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Sony’s New Laser Projectors Include 4K and 6K Lumen ProductsSony is broadening its line of laser light source (Z-Phosphor) projector line in the mid-brightness range with three new models between 4,100 and 6,000 lumens. The new models are the VPL-FWZ65 (6,000-lumen WXGA); VPL-FWZ60 (5,000-lumen WXGA); and the VPL-FHZ57 (4,100-lumen WUXGA).
Designed for commercial applications including education, corporate, large venue and entertainment, the new models expand Sony’s laser-based professional projector family to a total of nine, starting at 2,000 lumens and going up to 7,000 lumens, in WXGA, WUXGA and 4K resolutions.
Sony is also adding two new lamp-based models (VPL-FW65, 6,300lm WXGA, and VPL-FW60, 5,200lm WXGA), for installation applications better-suited to lamp-based projection.
The new projectors share many features with the existing models in Sony’s line. Each uses BrightEra panel technology to reproduce natural-looking and vivid colors.
The new models are designed to deliver enhanced picture quality with features such as “Reality Creation,” a technology already in use by Sony’s home theater projection systems for high-end consumer entertainment. The Reality Creation engine analyzes and processes every input signal to refine detail, clarity and sharpness for naturally up-scaled images. This provides higher-resolution perspective, even with the lower-resolution WXGA series.
Sony’s laser light source means there’s no lamp that needs to slowly warm up or cool down, no lamp to limit tilt angle and no trade-off between high brightness and high resolution. The laser projectors are designed for up to 20,000 hours of maintenance-free operation, depending on the usage environment, which contributes to reducing users’ total cost of ownership.
In addition to the long-life laser light source design, the projectors are designed for energy efficiency due to the 3LCD engine. The VPL-FHZ57 operates at 370W power, making it the most energy-efficient laser light source projector. The low power consumption also reduces heat dissipation, in turn lowering fan noise. The VPL-FHZ57 laser projector has the quietest operation in its class (32dB, 28dB at Standard Brightness mode).
The new models have a wide powered lens shift, which can help in challenging installation environments, for example maintaining audiences’ site lines by installing the projector above a screen, or horizontally avoiding HVAC ducts on the ceiling.
The new models can be combined with a variety of optional lenses, including a short throw and tele-zoom covering up to 4.84:1 throw range, and they use a bayonet lens mounting system for easier and quicker lens changes.
Sony’s newest lens option is the VPLL-3003 ultra-short throw lens, the first-interchangeable ultra-short throw lens for 3LCD projectors. This lens offers sharp focus and minimized picture distortion due to a large mirror system, and easy adjustment of lens shift and focus via remote control. Its 0.33:1 throw ratio allows it to be used in tight spaces with no clearance from the wall.
The lens can project an 80” to 300” diagonal image with minimal throw distance (39” throw distance for 140” diagonal image), making it ideal for small meeting rooms, as digital signage or use in museums.
The new models all have built-in HDBaseT interfaces, enabling easier connectivity and reducing total system costs by using a single cable which runs all the video, audio, control and IP signal up to 328 feet (100m).
All of them are here. Leave a Comment
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Barco Launches 13K Lumen 4K Laser-Phosphor Projector in F90The new Barco F90 series projectors are solid-state laser-phosphor light source projectors spec’d at 40,000 hours of operation time without need for lamp changes. The line includes both 2K and 4K projectors.
The F90-4K13 is native 4K UHD (3,840 x 2,400) resolution projector and the WUXGA resolution (2,560 x 1,600) F90-W13 both meet the Rec. 709 color space.
The solid-state Barco laser light engine allows the projectors to run in any orientation. This gives system designers extended flexibility in projector location and orientation for complex setups, demanding applications, and blends. Coupled with a wide array of high-resolution Barco FLD and FLD+ lenses – ranging from ultra-short throw (0.28:1) to long throw (9.75:1) – each providing a wide lens shift range, the F90 series can accommodate almost any projector configuration. What’s more, these lenses are compatible with the Barco F32 and F35 projectors.
The entire F90 line is here. Leave a Comment
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Bose Pro Expands the F1 Loudspeaker FamilyBose Professional has expanded its F1 Flexible Array Loudspeaker product line, to include a new passive full range model and a full suite of mounting brackets. Together with a powered model introduced in 2015, both Bose F1 loudspeaker models are ideal for portable and installed applications. The F1 Model 812 Loudspeaker is the first portable loudspeaker offering “FLEX array technology,” which lets installers focus sound to target listening areas with four different patterns, offering exceptional power and clarity for a wide range of applications and venues.
Engineered with an array of eight Bose proprietary 2.25-inch drivers, 100-degree horizontal waveguides, a high-powered 12-inch woofer and a lower crossover point, F1 Model 812 loudspeakers deliver high SPL performance while, according to Bose, maintaining vocal and midrange clarity.
F1 Model 812 loudspeakers include M8 top and rear hang points along with three dedicated brackets for easy and flexible mounting. Pan and tilt, yoke and U bracket options are available.
When extended bass response is needed for portable applications, the optional Bose F1 Subwoofer packs all the power of a larger bass module into a more compact design. The active loudspeaker and subwoofer have a combined 2,000 watts of power (1,000 watts each), able to fill nearly any venue with immersive sound. A Bose proprietary mounting stand for the loudspeaker is integrated right into the body of the subwoofer, making setup fast and easy. The stand even includes cable channels to neatly hide the wires. Additionally, the loudspeaker and subwoofer feature strategically placed handles for stress-free transportation (the system easily fits in a car), made with highly durable materials to ensure years of reliability.
The powered and passive F1 loudspeakers is designed for live music venues, sports bars, clubs, schools, houses of worship and any small to medium size venue requiring a high performance loudspeaker solution with precise control and directivity.
Bose F1 Model 812 specifications:
- F1 Model 812 loudspeaker (active): 26.1″ H x 13.1″ W x 14.6″ D (664.66 x 334.3 x 372.5mm); 44.5 lbs (20.18 kg)
- F1 Model 812 loudspeaker (passive): 26.1″ H x 13.1″ W x 14.6″ D (664.66 x 334.3 x 372.5mm); 47.5 lbs (21.55 kg)
- Bose F1 Subwoofer: 27″ H x 16.1″ W x 17.6″ D (688 x 410.16 x 448.5 mm); 55 lbs (24.9 kg)
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Christie HS Series Is 12K Lumen 1DLP Laser Phosphor ProjectorChristie just introduced the brightest 1-chip 1DLP laser phosphor projector in the Christie HS Series. Featuring what they are calling ‘BoldColor Technology’ it has a color wheel that spins at 3x speed or normal 1-chip DLPs. The Christie D12HD-HS and Christie D12WU-HS, respectively, are HD (1080p) and WUXGA 1920×1200 resolution in a compact chassis.
Aimed at both installs and the rental staging market, the Christie HS Series is capable of 360-degree orientation and portrait mode with color matching and advanced blending, warping and stacking software built in. The Christie HS Series also offers a full (six) lens suite covering 0.84:1 up to 7.2:1, 3GSDI and DVI-D loop through connections so signals can be daisy chained without external boxes, and optional fog filters. It also has a bottom-side HDMI connection and rear input cover.
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Sound Devices Adds Features to CL-12 Linear Fader ControllerSound Devices has expanded support for its CL-12 Linear Fader Controller with the release of Firmware Version 2.11, which offers compatibility to both the 664 and 633 Field Production Mixers. Initially introduced only for the 688 mixer/recorder, the CL-12 is an optional accessory that features smooth-gliding 100 millimeter linear faders and is ideal for live mixing of multiple audio signals.
In addition to CL-12 support, firmware v2.11 brings several new features to the 664 and 633 mixer/recorders, one of which is QR Codes for quick smartphone access to important online documentation, such as an approved media list and the user guide for that product. It also offers a new User Bits mode that allows jamming of external timecode user bits. With the CL-12, the 664 and 633 gain sunlight-viewable, 22-segment LED metering, plus 7-segment PFL metering with limiter activity and also offers three user-programmable buttons as well as numerous dedicated back-lit buttons for quick access to key functionalities; such as metadata entry, transport controls, track arming, routing, and more.
When working with the CL-12, the 664 has a 54dB linear fader range across 12 linear faders, High Pass Filter control on channels 7-12, and Input Phase control on channels 2, 4, and 6. When attached to a CL-12, the 633 has a full 96dB linear fader range available across six linear faders, High Pass Filter control on all channels, and Input Phase control on channel 2. The CL-12 also includes two additional USB ports — one for a USB keyboard connection for efficient metadata entry, and one for powering an optional USB lamp. The CL-12 comes in two models: the standard CL-12, with aluminum sides, and the CL-12 Alaia. The CL-12 Alaia features smooth-gliding Penny & Giles faders and custom hardwood side panels in either Blonde Maple or Red Mahogany.
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Clear-Com Ships DX410 Wireless IntercomClear-Com has announced that its DX410, two-channel 2.4 GHz digital wireless intercom system is now shipping. The new system which features 7 kHz wideband audio for exceptional audio clarity is the first DX Series wireless intercom system to offer this level of audio frequency range. The company says it’s easy to set up and configure, the DX410 also features lightweight yet rugged beltpacks and All-in-One wireless headsets.
Each BS410 base station can support up to 15 registered BP410 wireless beltpacks and/or WH410 All-in-One wireless headsets. In a single-channel operation, any four beltpack users can engage in simultaneous, full-duplex (talk-listen) communication, while three users may be in full-duplex mode in a dual-channel operation. The BP410 and WH410 have rugged, reinforced casings and long-lasting keypads with no mechanical switch, proven to withstand harsh production environments. Fast charging Li-Ion batteries takes only 2.5 hours to provide up to 12 hours of battery life.
The DX410 system features 7 kHz wideband audio. The high quality audio expands audio range and increases intelligibility in high RF environments so even soft whispers can be heard clearly. With an upgraded radio and a lost packet concealment capability, the DX410 delivers an improved experience in performance, range and sound.
DX410 also features 2-wire and 4-wire bridging and 2-wire auto-nulling. The bridging capability allows the option for combining the 2-wire and 4-wire ports together on either channel A or B, allowing operators to use a 4-wire out to send all the audio to a mixer, matrix intercom or other audio source. Two-wire auto-nulling enables fast and accurate integration with Clear-Com or TW wired partyline systems.
The DX410 uses a frequency hopping system (FHSS), and offers spectrum-friendly and Adaptive Frequency Hopping (AFH) modes, to avoid interference with Wi-Fi, while operating in the 2.4GHz band means that DX410 does not require radio licensing for use.
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Tally Adds TimeSync to TallyTec Pro SystemTally Technologies has added TimeSync to the TallyTec Pro system, enabling users to synchronize multiple cameras and external recorders, either wirelessly or wired, with timecode generated from the TallyTec Base Transmitter.
TimeSync is a huge time-saver for anyone involved with multi-cam recordings, from DSLRs and camcorders to high-end broadcast cameras. Many external field recorders, for example the Atomos Shogun and Convergent Design 7Q+, also feature timecode input as standard, making it a simple task to connect a TallyTec Pro Receiver.
The ability to provide timecode to cameras and external recorders, either wirelessly or wired, means a multi-cam shoot can be extremely flexible, mixing high-end professional cameras and HDMI cameras equipped with external recorders, in the certain knowledge that all material shot is in sync and ready for post-production.
The TallyTec Base Transmitter can be set to run Time of Day, or manually configured to Record Run. It sends out a signal to frame accurately synchronize all Wireless Pro Receivers attached to cameras or external recorders. Up to sixteen cameras/recorders can be synchronized with the TallyTec Base Transmitter.
The Transmitter and Receivers are synchronized every 25 frames; in the event that a Receiver loses signal from the Base Transmitter, it will continue to run clocked timecode to ensure that the attached device is always in sync. Once the signal is re-established, the Receiver will re-synchronize with the Base Transmitter timecode.
TallyTec’s Wireless Pro Receivers have a 2km line of sight range from the Base Transmitter, allowing camera operators to work some distance apart, yet still maintain fully synchronized recording. Batteries and media in camera and recording equipment can be swapped on the fly without losing sync, thanks to the long-life battery run time of the Pro Receiver.
Initially TimeSync will support PAL at 25fps. Support for 24fps, 29.9fps, 30fps and 50/60 frames will be provided through a future software update, along with the ability to sync to external timecode, or house reference.
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Proxima Debuts 1920×1200 5K-Lumen LCD ProjectorProxima Displays Corporation is back and their newest projector is the M1030U, a WUXGA (1920 x 1200) resolution LCD projector. Spec’d at 5,000 lumens, it includes VGA, HDMI, BNC, DVI and RJ45 inputs. The M1030 ships with the standard lens, and offers four additional lens options, from rear projection through short-throw lens capability.
The M1030U is Crestron RoomView, AMX and Extron certified and tested and it is aimed at education, HOW and rental/staging applications. More details are 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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