Volume 5, Issue 3 — March 29, 2016
|Solve One Problem for Churches|
By Anthony Coppedge
House of Worship Technology Consultant
To ensure your technology solution ends up in more churches, you simply must solve the one problem all churches have. And to do that, you’ll need to understand why, exactly, they’re having the problem in the first place.
It’s not that technology hasn’t been widely adopted, or that the exponential increase in performance coupled with the overall decrease in costs hasn’t allowed more churches to add in technology that was only for the largest and wealthiest congregations a scant decade ago. No, for all of the advancements that have been made and the rapid growth of technology within the house of worship market, the biggest swing-and-a-miss has been that manufacturers and systems integrators haven’t yet solved this single issue in every church.
The problem is hard to solve. The problem is even harder to understand. The problem, dear readers, is that until and unless you identify why churches are looking for technology to solve a non-technical problem, you’ll never build the right box or sell the right solution because gear can’t solve it.
What if the Problem Isn’t the Problem?
While all churches have struggled (or still struggle) with common issues such as poorly designed rooms, or acoustical challenges, or limited tech infrastructure, the common theme is that more technology cannot solve the problem that technology began. In the never-ending quest for the technology that makes everyone happy, no one is happy.
It’s ironic, but the very first step into technology is a step into a black hole for time, training, technology, and budget; it will never, ever be enough. And not because there isn’t a point where technology can’t meet the technological requirements (I think we’ve exceeded that point for most audio, video, and lighting technology), but because adding technology adds complexity to the human element.
Identifying the pain points of a church are correct, but being able to step back and ask ‘why are those pain points?’ is a part of the sales process few ever dare to tread. To really help churches use AVL technology well, the question must be raised so that the church can re-think their assessment that more technology will truly solve – once and for all – the problem they’re facing: the illusion created by post-production perfection.
Our Culture Demands Perfection
Any casual consumer of iTunes, television, or movies has heard and seen the very best production and post production known to man. The polished results of massive technology, talent, and time are, quite frankly, impossible to recreate in the live venues of local churches.
And yet, the advertisements still promise the possibilities of everything while the actual technology can only ever deliver under the laws of physics in live environments.
I once attended a church where every weekend, or, at least, every sermon series, was bigger and better. It was a glorious time to be video director when we went High Definition before more most network television affiliates did. We had, literally, the very best technology at our fingertips. I distinctly recall learning from the manufacturers rep that the broadcast switcher I was directing on was the exact same model as the one used in the NFL Super Bowl just weeks before. It was a bit surreal.
And then something happened: the line between bigger and better became thinner and harder. The paradox was that it was only possible to get bigger, better, or more and sustain it until the line becomes asymptote; that is, the point of diminishing returns smacked us right in the face.
Following this season, I looked back and wondered where things had gone wrong. The answer was that we were trying to solve the wrong problem. Technology couldn’t solve it, only we could.
Realize the Truth: There Is No Spoon
The blockbuster movie The Matrix, depicted a key point in which the main protagonist, Neo, realized how to beat the technological world in which people were unwittingly trapped. It happened when a young boy seemingly bent a metal spoon using only his mind. When Neo asked how this was possible, the young boy sagely and simply gave him the answer.
Spoon boy: Do not try and bend the spoon. That’s impossible. Instead, only try to realize the truth.
Neo: What truth?
Spoon boy: There is no spoon.
Neo: There is no spoon?
Spoon boy: Then you’ll see, that it is not the spoon that bends, it is only yourself.
The problem wasn’t the problem at all. The problem was that by understanding that it was not possible to do what was physically not possible, it forced Neo to re-evaluate why the issue existed in the first place. The answer was that his ability to perceive the problem affected his ability to solve the problem. And so it goes with churches and technology.
The problem is not insufficient or inadequate technology. Churches don’t need more of your tools unless and until they understand how to first address the problem they’re trying to solve. When they do, then and only then will certain applications of technology, in concert with how the church addresses the problem, be wise purchases.
Will you help churches redefine the problem they’re trying to solve so that when it is identified, your technology can help them approach the solution differently?
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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|Church Online: AVL Upgrades Needed|
By Anthony Coppedge
House of Worship Technology Consultant
Church online: where local churches are hosting either live or video on demand services for attendees who are not at their physical church campuses. Yep, thanks to the technology the Audio/Video/Lighting (AVL) industry manufactures, a rapidly growing number of churches have taken their church services to the congregant, online.
In my study of this growth, I’ve found some helpful stats and enlightening points that should help manufacturers and systems integrators alike tap into the church online technology gap.
About Church Online
In my research, I have found over 150 churches that have full church online services, complete with an online campus pastor, technical volunteers, software technology for online chat and prayer requests and online giving. These are the churches going all-in with church online and staffing it to build community and have real-time or near real-time engagement with the viewers. Of this group, the average number of online church services held per week was six. This is similar to the multi-site church phenomenon I’ve written about, where multiple services are held across multiple venues and campuses.
For a much larger number of churches, online streaming or video-on-demand of their church services also falls under the title ‘church online,’ though it’s a passive experience for the viewer.
It is estimated that over 25 percent of churches now have some level of online church service option, with nearly 60 percent of mega churches (more than 2,000 in weekly attendance) offering a church online option.
I reached out to several dozen larger churches to gain insight on their experiences with church online. The churches I interviewed have an average attendance of about 2,600 (weekend physical campus, adults plus children), with the notable exception of three churches that have 10,000, 12,000 and over 30,000 in weekend attendance across multiple physical campuses. On average, all of these churches had about the equivalent of 45 percent of their typical weekend attendance in their online church campuses. So, as an example, a church running 1,000 at their physical campuses would see an additional 450 people attending the online campus.
Roughly 60 percent of the churches interviewed did not actively measure specific types of engagement. More often than not, they are aware of only ‘unique IP addresses,’ which is roughly indicative of between two and three viewers per IP address, according to the responses from my research. Of those that try to understand engagement, the results are usually limited to prayer requests (from chat, email or social media). A few churches are trying sophisticated response mechanisms based on how often they see a particular recurring IP address or the recurrence of specific people when they have software that allows them to track users based on their church online software. One church goes so far as to compile the list of users who logged in through Facebook to generate an email for those who have attended as a means of creating a connection and follow-up opportunity.
Among the churches that have been online the longest (to date, over four years seems to be a “long time”), it was noted that they de-emphasized numeric viewership growth, focusing instead on creating relational connections (online and offline, when possible) and service opportunities to connect the virtual community to a physical community.
The Opportunity for AVL
Clearly, the growth of technology in the house of worship market continues to find new ways to meet the needs of churches. This opportunity comes with many of the same upgrades in audio, video and lighting a broadcast video system. From the lighting upgrades necessary to create depth/separation from the background for the video camera to the audio-for-video mixing requirements, the technology in play for church online follows many of these familiar upgrade paths.
The differences are in the production style of the church, though the trend is for a multi-camera IMAG (Image Magnification — mostly medium to tight shots projected onto side screens to recreate the experience of sitting in the first few rows of a church service). This is a departure from the typical broadcast video setup, where wide shots of the auditorium and even audience participation/reaction shots are shown to a television audience. With church online, the tight and medium shots are used so that the online viewer has a ‘you’re here with us’ kind of visual vibe and not a detached ‘here’s what it looks like if you’re watching TV and not attending.’
From a vendor perspective, this is a ripe opportunity to be the expert and educate churches on the various pros and cons of audio (audio-for-video feed vs. a front-of-house mix feed), video (IMAG vs. Broadcast), and lighting (environmental vs. video lighting).
These are not small distinctions, as the technology requirements vary greatly, which is another way to say that the staffing demands or training demands also vary greatly. Again, it’s yet another chance to sell service and not just technology.
Not a Replacement Technology
While a growing number of churches are moving to some variant of church online, there are many that view it with skepticism. This is not an automatic sale, as many churches see the physical gathering as a key point of their culture and will not quickly step into a virtual space. For churches that are ready to make this leap, the investment is not insignificant and requires the same level of education and needs assessment as a church in a building program looking to add in AVL technology. Manufacturers have the distinct opportunity of positioning some of their technology for this growing niche within the house of worship market, while systems integrators can address turn-key solutions that allow for a church online experience.
Even for churches, like those I interviewed, that are all-in with church online, this is not a shift away from physical church locations; it’s the next phase of creating connections with people and inviting them into physical community. Take care to position your messaging and advertising accordingly.
Church online is relatively new, but it has roots in multi-site; and that’s a paradigm that has seen exponential growth. See my previous articles about 4K in multi-site churches, the $580MM annual church spend for multi-site, the issues facing multi-site churches, and the growth of multi-site as examples of how manufacturers and integrators need to be paying attention to this massive opportunity.Leave a Comment
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|Delvcam Intros Two New Multi-Format 3G-HD Rackmount Video MonitorsDelvcam introduces two multi-format 3G-HD rackmount video monitors.
The Delvcam DELV-3LCD-3GHD features triple 5-inch LCD screens with individual monitor menu control. With a lightweight and sleek design, it’s suitable for use in limited space areas in flypacks, TV broadcasting trucks, low-profile consoles and mobile applications. The DELV-3GHD-17RM 17.3-inch monitor features a black powder-coated steel housing with grip handles and a convenient adjustable tilt function for changing viewing angles.
Designed for a wide range of broadcast applications, both monitors feature inputs with looping outputs and 3G-HD broadcast quality with VIDEO, AUDIO, HDMI and 3G-SDI inputs with additional YPbPr inputs on the DELV-3GHD-17RM.
To learn more about Delvcam products, go here.Leave a Comment
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|Vivitek Ships New DU8090Z Laser-Phosphor ProjectorVivitek announced that the DU8090Z laser projector, using a laser light source spec’d at 20,000 hours of operation time and 8,000 ANSI lumens of brightness. The projector is aimed at installs for conference halls, auditoriums and theaters.
With built-in edge-blending, warping and portrait mode projection with 360 degrees, the Vivitek DU8090Z is a versatile projector, designed for multiple applications. The DU8090Z is native WUXGA (1920×1200) resolution and includes the DLP and BrilliantColor technologies from Texas Instruments. The DU8090Z specs a contrast ratio of 10,000:1.
In addition to the 3D compatibility and a wide range of interchangeable optical lenses, the DU8090Z features a full suite of connectivity options including HDMI 1.4a, DVI-D, component 5BNC, 3G-SDI and HDBaseT interface support for the distribution of HD video contents over a standard CAT5e/6 LAN cable.
Easy to set up and install, the Vivitek DU8090Z has a wide range of interchangeable lenses available to choose from, as well as motorized focus and zoom in addition to horizontal and vertical lens shift for greater installation flexibility and 10 predefined lens positions which are registered in the Lens Position Memory (LPM).
All the specs are here.Leave a Comment
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|RTS Debuts DKP-4016 Intercom KeypanelRTS’ new DKP-4016 desktop intercom key panel was launched at the ISE show in Amsterdam. The KP-Series is designed for a wide range of intercom applications such as broadcast production studios, theater and sports venues, houses of worship and outside broadcast (OB) trucks.
The new DKP-4016 desktop keypanel is available as both as a desktop and a wall-mount version and can be operated with all existing RTS matrices. This is ensured by a comprehensive set of connectors, including general purpose input/output (GPIO) and rear connector (RC). RJ45, Ethercon and fiber module (SFP) sockets enable full connectivity to either analog four-wire or digital IP networks; two different headset connectors (four-pin and five-pin) and one analog auxiliary (AUX) input offer numerous connectivity options.
The DKP-4016 features OMNEO IP technology on board. OMNEO is based on two key technologies — the media transmission component Dante from Audinate Pty, Australia and the system-control component OCA (Open Control Architecture). By utilizing open public standards, OMNEO provides highest interoperability, flexibility, reliability, resilience and future-proof technology. OMNEO enables a secure setup at a competitively low system cost due to the use of standard IT components, simplified installation and lower maintenance costs.
Like all new KP-series devices, the DKP-4016 desktop keypanel features a full-color, wide-angle high-definition display, which is always readable — even under difficult lighting conditions. The 16 four-way lever keys are ergonomically designed for the specific use as desktop/wall-mount versions and provide listen/talk and cross point level functions.
The DKP-4016 desktop keypanel delivers superior audio quality free of noise and other audible artifacts. Sturdy housing and field-tested lever-keys also contribute to the improved usability of KP-Series keypanels. A lockable power connector ensures interruption-free operation, especially in the wall-mount configuration. Rubber feet at the bottom of the device provide maximum stability. The DKP-4016 desktop keypanel is also suitable for expanding its functions via future software updates.
The RTS DKP-4016 will be available worldwide in spring 2016. More details are here.Leave a Comment
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|DiGiCo SD11 and SD11i Receive Stealth Core 2 UpgradeDiGiCo’s SD11 and SD11i may be small in size, but they are already a powerful solution that works for just about any mixing environment. With the addition of a Stealth Core 2 upgrade option, these tabletop mixing solutions won’t get bigger in size, but they will in power.
The SD11 upgrade will include:
- An increase from 32 channel strips to 48
- An increase from 12 output busses to 24 + Master + 8×8 Matrix
- An increase from four to 82 DiGiTuBes
- An increase from four to 82 Multiband Dynamic options
- An increase from four to 82 Dynamic EQs
- Digital FX rises from four to six units
The SD11i upgrade will include:
- An increase from 40 channel strips to 80
- An increase from 12 output busses to 24 + Master + 8 x 8 Matrix
- An increase from six to 114 DiGiTuBes
- An increase from six to 114 Multiband Dynamic options
- An increase from six to 114 Dynamic EQs
- Digital FX rises from six to eight units
The Stealth Core 2 upgrade option will be available for the SD11 and SD11i at a US list cost of less than $850 (£550). Here are the details.Leave a Comment
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|Proxima Debuts Another Laser Projector in LP8500UProxima has another laser-phosphor projector in the form of a 8500-lumen LP8500U, a single-chip, DLP-based WUXGA (1920×1200) resolution projector. The LP8500U is a water-cooled laser diode-based projector that has one VGA input, two HDMI inputs, a combo DVI/Display port input, an HDBaseT input and LAN RJ45 inputs for control and content management. The LP8500U ships with the standard lens and offers four additional lens options, from rear projection through long-throw lens capability.
The Proxima LP8500U is spec’d at 20,000 hours. All the details are here.Leave a Comment
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|Schertler Intros Arthur, the Mixer You Design and Build YourselfSwiss manufacturer Schertler just unveiled a really cool product: the Arthur Format48 mixer — it’s a new modular mixer that can be designed and built by the user. Yes, you read that right!
The mixer can be created from a choice of eight different Class A input and output modules. These include a Mic Input unit, Yellow instrument input unit, Stereo Input unit and Spring Reverb unit, as well as L/R Master, EQ Master, Aux Master and external Power-In units. The units, which can be combined in any order and quantity, contain all the standard features you would expect to find on other mixer channel strips, as well as some more innovative functions for enhancing workflow and ensuring best possible sound quality.
Arthur’s electronic design is also very interesting as they say it’s completely absent of negative feedback (NFB) from input to output. According to Schertler, all filters and summing amps are free from restricting back loops in the mixer’s straightforward high-speed design. This results in an ultra fast response and a natural attack, neither of which is achievable with NFB circuitry. All circuits are built using discrete components (in Class A) and pure high-voltage DC-amps (without any capacitors in the signal path), offering 30dB headroom and low noise, as well as what Schertler says is unparalleled stability, warmth and transparency.
Combining the various mixer modules is a straightforward process involving a series of connecting rods and hexagonal screws. Users have total freedom to design their own personal channel sequence, as there are no mechanical or electrical restrictions. The number of units that can be included depends the power supply used: For simpler combinations of eight or 16 units, there is a choice of two compact power supplies. A further high-end power supply is also available for use with any combination of units ranging from only a few to as many as 60. (For larger combinations, power-in units are also required.)
Once Arthur has been built, the user still has freedom to customize the unit sequence and add further units, should additional mic or instrument inputs be required for example.
Here are all the tech specs.Leave a Comment
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|DiGiCo SD8 Gets Stealth Core 2 Upgrade
The DiGiCo SD8 and smaller framed SD8-24 both just got DiGiCo’s Stealth Core 2 upgrade.With Stealth Core 2, SD8 adds the following features:
- An increase from 60 channel strips to 120
- An increase from 24 output busses to 48 + Master + 16 x 16 Matrix
- An increase from 12 to 186 DiGiTuBes
- An increase from 12 to 186 Multiband Dynamic options
- An increase from 12 to 186 Dynamic EQs
- Digital FX rises from 12 to 16 units
- Control Groups rises from 12 to 24 to control the increased channel count
DiGiCo says that this upgrade will be an option and is due to be released this summer.
The SD8 Stealth Core 2 upgrade option will be available at a U.S. list cost of less than $1,500 (£950) and all the specs about it are here.Leave a Comment
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|Video Devices PIX-LR Audio Interface for PIX-E Series ShipsVideo Devices has announced that the PIX-LR audio interface for the PIX-E Series of recording monitors is now shipping worldwide. The PIX-LR is an optional accessory that provides the PIX-E5, PIX-E5H, and PIX-E7 monitors with XLR inputs and outputs. It also features signature Sound Devices-designed mic preamps, accurate LED metering and dedicated transport and gain controls.
The PIX-LR easily and securely mounts to the bottom of any PIX-E Series monitor via a 1/4-inch 20 thread screw. Constructed from die-cast aluminum, the PIX-LR derives power from the monitor to which it is attached. It also offers two dedicated gain controls and illuminated, 23-segment LED metering.
Other features include two extremely low-noise, wide-gain XLR-3F connections for active-balanced, analog mic-level inputs (one and two), and two standard, three-pin XLR-3M connections for balanced, analog outputs. Large dedicated backlit transport controls for record, stop, play, fast forward and rewind. PIX-LR also comes equipped with high-quality limiters with LED indication to prevent distortion, as well as high-pass filters for reducing unwanted low frequencies such as wind noise. Additionally, for fast level control, the PIX-LR has dedicated gain controls, which may be recessed when not in use. Inputs 1 and 2 may be linked for stereo level and pan control. The audio interface also supports 48V phantom power for condenser mics.
Here you go.Leave a Comment
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|Studio Technologies Unveils Model 211 Announcer’s ConsoleStudio Technologies just introduced the new Model 211 Announcer’s Console, designed to serve as the audio control center for announcers, commentators and production talent. The unit integrates all on-air, talkback and cue audio signal routing into one compact system with the configuration flexibility to allow optimization for a wide range of applications. For simple installation, standard connectors are used to interface with analog microphone, headphone, talkback and talent cue signals. Whether the Model 211 is used for microphone switching, talkback output or headphone cue feed, superior analog audio quality is maintained.
Key Model 211 features include mic preamp with selectable gain and P48 phantom power, two line-level cue inputs, two pushbutton switches that offer programmable “click-free” audio path control and transformer-balanced main and talkback outputs to maximize quality and reliability. The mic input is compatible with balanced dynamic or condenser microphones and incorporates a preamplifier circuit that provides low-noise/low-distortion amplification over a 20- to 60dB gain range in 10dB steps. The main output is intended for use as an on-air, stadium announce or other primary audio feed. The talkback output contains resistors in series with its output connections, allowing the user to directly combine talkback outputs from multiple units.
Extensive configuration choices are accessible via DIP switches located on the bottom of the tabletop unit’s enclosure. A broad range of configuration choices let users easily select their desired operating parameters. The Model 211 was designed and built with professional-quality components throughout to deliver the highest quality audio and reliable performance. Audio routing is performed using solid-state devices and each critical audio path features “clickless” electronic switches for noise-free control. All inputs and outputs make extensive use of protection components to help prevent damage from “real-world” signal anomalies.
Here are all the specs.Leave a Comment
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|Video Display Use in US Churches Grows 73 PercentFlat panel display use in the house of worship market has continued to grow rapidly according to TFCinfo’s recent research report entitled, “The Use of Video Displays in American Churches 2016.” Of the AV-focused churches that TFCinfo surveyed (churches that have made a strategic and financial commitment to integrate audio visual equipment in their worship service), 73 percent state that they own at least one flat panel display 32″+.
For over twelve years TFCinfo has immersed themselves into the church market to assist manufacturers, dealers and integrators in better understanding this vast market segment, which is very unique and still often misunderstood. TFCinfo recently surveyed 781 people responsible for the AV equipment at their place of worship for this extensive end-user research study that explores the use of video displays in American churches.
“Flat panel display use is not only increasing dramatically at the large church level, churches of all sizes are embracing flat panel displays,” states Tanya Lippke, TFCinfo director of survey market research. “This research shows that the percentage of small churches using flat panel displays has doubled. In 2010 25 percent of the churches with 0-300 seats were using a flat panel display; today more than half have incorporated flat panel displays into their facilities.”
With sizes increasing and prices decreasing, these bright displays are a very appealing and affordable option for churches. This is especially true as churches are increasingly turning to display technologies to improve communications with attendees and churches are adopting more ways in which they can use video to connect. Churches are using video displays in classrooms, in their secondary meeting spaces, smaller auditoriums, as well as foyers and lobbies that are now becoming more of a gathering area for many where digital signage is becoming important.
This research confirms that video in churches is clearly not just for the main auditorium or sanctuary anymore. Churches, regardless of size, are buying more projectors and displays than ever before and they are being used for a wider number of purposes as churches become more technically sophisticated.
Not only is it interesting to see video display usage continue to grow in this market, it is also interesting to see some big business brands fair extremely well in areas of purchase consideration. Panasonic, Epson, Sony, Hitachi, Eiki, Canon and Christie are the projector brands being most considered for purchase in the church market overall. BenQ, NEC and Viewsonic also make the list, particularly among the smaller churches. For flat screen displays Samsung, LG, Sony, Vizio, Panasonic and Sharp are the top brands that are being considered for purchase.
This report analyzes video displays separately (projectors, stand alone flat screen displays, and flat panels used as components of LED video walls) and also in comparison to each other. “It is extremely interesting to see the contrast between projectors and flat panels when it comes to churches. In some aspects it is as if one display is compensating for the perceived pitfalls of the other. Regardless, churches are finding locations and uses for each of the display types” states Lippke. “This may change and our research includes areas of questioning that deals with future replacement for each technology. Will projectors be considered to replace large 60”+ flat panel displays in the future? Are the flat panel displays being purchased today in addition to displays the churches already own, or are they being purchased to replace a projector or previous flat panel? Through this tracking research it’s been fascinating to see firsthand the changes that have and are taking place in this market.”
In this report TFCinfo not only analyzes the church market as a whole, but goes beyond to break the sample into various demographic groups. Research results are provided in total, by church size (seats), and geographic location (Northeast, South, West, and Midwest). This allows companies to compare and contrast the preferences and purchasing of churches of varying sizes and in varying locations across the US.
This 300 page report describes the following areas in detail:
— Market Trends in American Churches
— Projector Use, Purchasing, and Preferences
— Flat Panel Display Use, Purchasing, and Preferences
— LED Video Wall Use and Purchasing
— Networked Displays, Future Purchases, and AV Budgets
— How to Sell and to Whom
All the report details are here.Leave a Comment
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|Alcons Introduces Smaller LR18 Pro-Ribbon Line-Array Speaker|
Alcons has debuted its LR18 pro-ribbon line array. The three-way, “compact-mid-size” format line-source sound system implements Alcons’ pro-ribbon technology for mid and high frequencies and a fast impulse response with up-to-90 percent less distortion. This enables the LR18 to offer a fully intuitive linear response, with very high intelligibility and non-compressed identical tonal balance at any SPL.
The all-natural cylindrical wavefront of the purpose-designed RBN702rs 7″ pro-ribbon transducer and the acoustically and electronically symmetrical component configuration bring a remarkable pattern control in both the vertical as well as the horizontal plane, without any distortion-inducing horn constructions.
The pro-ribbon’s power handling of 1500W and RMS-to-peak ratio of 1:15, caters for what Alcons says is “a superb intelligibility and throw with maximum dynamic headroom reserve.” The MF-section features a high-efficiency 6.5” mid-range transducer with Neodymium motor-structure co-axially mounted behind the RBN702rsr pro-ribbon driver.
The LF section consist of two extended-excursion, reflex-loaded 8” woofers with oversized 3” voice-coil Neodymium motor-structure. Alcons says this 8” surpasses the output of even larger drivers in higher-category line-array systems.
The LR18 is driven by two channels of the Sentinel amplified loudspeaker controller, optimizing the system’s response by LR18-specific drive processing and feedback for each array configuration, including presets for phase-matched low-frequency extensions.
Here are all the specs.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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