Volume 5, Issue 9 — September 29, 2016
|The Three Times Churches Buy Audio, Video and Lighting|
By Anthony Coppedge
House of Worship Technology Consultant
There are three main reasons churches upgrade or outright add new equipment: when entering a new building program, when renovating an existing building or when expanding into new technology areas such as multi-site or online services.
Given the history most churches had with learning their technology lessons on audio systems (the first systems they use), it would seem that these major purchase decisions would be met with the experience of past learnings, but there are still those churches that are swayed into making less-than-optimal choices due to short sightedness on price alone or they were fooled by fast-talking salespeople.
The Lure of Internet Pricing
In my on-site visits to hundreds of churches, the story is almost always the same: online pricing, ever-persistent marketing and ad tracking lead to under-informed purchase decisions. A simple Google search of ‘church video systems’ or ‘church sound’ or ‘church lighting’ will yield a plethora of opinions and links to more than a few vendors trying to push box sales in lieu of systems integration. The hook? Price.
In a commoditized industry, audio, video and lighting (AVL) equipment have become online shopping cart purchases. This conflicts with integrating multiple systems and cannot possibly be done through line item purchase decisions. While the fault is with the church that decides to go it alone, I must reiterate the case I’ve made for manufacturers and systems integrators to create website landing pages and marketing materials specifically addressing the integration complexities of today’s unified AVL technologies. The vertical nature of each market means that unique content must be published and promoted so that church buyers have the whole context of integrating AVL into their new building, retrofit, or new technology plan.
I’ve been in sales and I have talked on the phone to thousands of churches. It’s simply not possible to sell a system over the phone. It’s impossible to know what the church needs, what the environmental factors are in the building, what kind of physics are involved, and how the venue aesthetics must be taken into consideration. A site survey is always in order. I have yet to find a church that had a system sold to them over the phone that was exactly what the church needed. It’s complex, but that only means it’s even more valuable to position your products and services with to take the complex and make it easy on behalf of the church. After all, systems integration should have an end result that makes operation as simple as possible.
Have Churches Check References
In the house of worship market, there are unfortunately firms that have counted on the lack of due diligence that happens with checking references and asking other churches about their level of satisfaction with previous vendors. One firm, in particular, is infamous in our industry for poorly designed systems. They’re still in business. How is this possible? The answer is that a shockingly large percentage of churches don’t check references. Part of selling to churches is helping them with this process and promoting your previous church clients through case studies, testimonials, and before-and-after stories.
To start, educate churches on the differences between architects and general contractors that have limited church experiences and those who are noted for their many church building projects. Well-meaning architects want a lovely space, but marrying form with function isn’t an easy process. I’ve been brought in after the building was mostly constructed only to find out that we couldn’t move the location of screens to the correct position because large steel beams are irrevocably located in the way or when concrete was already poured and conduit runs were missed because you weren’t involved early enough.
If in the renovation process, the same is true: earlier is better. Here, though, is the opportunity to find out just how much can be done in the name of updating technology for a dated venue. For some churches, there’s a limit to the aesthetic changes they are willing to compromise, which will directly affect the integration of new technology into an existing space. It’s helpful to present the church leadership with a ‘pros/cons’ list of how making changes to the venue can impact their desired outcome (as determined by the scope of work) so that they can make more informed decisions for substantial changes to accommodate technology. From acoustical treatments to new power isolation to structural changes for lighting positions – or even an entirely new tech booth location – there’s a myriad of ways to make the tech updates seamless; it’s your job to present these choices in the context of historical or structural aesthetics.
Be the champion for the church. You can fight the battles with electricians, general contractors and architects. Better to help the church now because after the construction is complete it will cost exponentially more to retrofit.
Finally, if a church is just beginning to use new technologies as they grow, consider the applications they want to include.Position your firm as having the expertise and experience that will work with the church and not only recommend right-fit equipment but will also train their volunteers and staff on the operation and proper maintenance. I’ve written extensively about the multi-site and multi-venue growth in the church market, as this continues to represent the hottest growth curve as churches adopt this method of expanding their reach to a larger community.
Churches may be lured by commodity pricing for AVL technology online, but demonstrate the value of integrating their AVL systems to ensure they’re good stewards of the money entrusted to them by their congregants.
What’s been your experience selling to churches? Leave your comments below and share your successes, lessons and failures of training church techies.Leave a Comment
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|House of Worship: Mistakes Will Happen|
By Anthony Coppedge
House of Worship Technology Consultant
The house of worship market is like any concert venue when it comes to the impact of real-time mistakes in front of a live audience. Years ago, I had a humiliating experience that shaped how I taught church tech teams and later designed audio, video, and lighting (AVL) systems. This true story illustrates how a church volunteer or technical staff member can be put into the ‘hot seat’ by a simple accident — or worse, from a mistake that could have been prevented. And it represents a future ‘sales prevention’ issue due to a damaged brand experience.
It Was Just Like Every Other Sunday
The feedback pierced the church sanctuary at the very moment the pastor’s prayer ended. Though the sound only lasted less than one second as I quickly pulled the sound console’s faders back down, the damage was done. And that’s when things went from bad to worse.
The pastor glared up at me in the sound booth and nearly shouted into his microphone: “What are you doing?” Mortified, I ducked my head and prayed that the service would end as the pain of my mistake was amplified through the pastor’s words for all to hear.
It was bad enough the accident happened. What made it worse was being called out publicly from the platform for the entire church congregation to hear. It is a both a mistake I’ll never forget and a moment that cemented in me a lie that would take nearly 20 years to uproot: “If it’s not perfect, it’s not good enough.”
Mistakes Will Happen
Some mistakes will be live — and everyone knows about it — while other mistakes will be less obvious. Knowing that mistakes are inevitable is part of the job, as is doing everything possible (training, documenting, more training, consistent systems, even more training) to try to avoid future mistakes. Learning from mistakes is the sign of progress and maturity; beating yourself or team members up for mistakes is a sign of insecurity and fear.
There’s grace in this truth: Flawless execution isn’t perfection.
I think the majority of churches I’ve visited have staff and volunteers that aim for flawless execution. Accidents will still happen, but not nearly as often for a well-prepared team. There is a huge difference between an occasional accident and simply failing to prepare.
It doesn’t matter if an accident happened or unpreparedness slapped the hand of the undisciplined; grace must smother the conversation. A simple technical leadership axiom to remember is this:
“Praise in public; critique and correct in private.”
I wish the pastor would have said “It’s OK. Just a little feedback. Sorry about that,” and then continued on as if nothing had happened. He could have then had a one-on-one conversation to find out what happened and given me any critique or correction he wanted. I would have been an astute, humble listener and appreciative for the private conversation.
Spare Your Church Clients Humiliation
I made a beeline to the pastor after the service to apologize and tell him the issue had been resolved and would not happen again. You’ll notice that I didn’t rush to explain what went wrong because that’s not what a pastor is interested in; they just want to know if you know why it happened and have taken action to solve it (and keep it from happening again). This leads me to the next technical leadership axiom:
“All success is shared. Failure is the sole responsibility of the leader.”
In this instance, if the pastor had apologized (as the overall leader) to the audience, and I’d apologized for my mistake as the leader (or my team’s mistake if the mistake wasn’t directly my fault), the situation would have been smoothed over. I’ll never say to my pastor “Well, volunteer Bob made that mistake today.” As the leader, I take the heat — not the volunteers — and I solve the problems so the pastor has confidence in our team’s ability to execute well and respond well in moments of failure.
People Make Mistakes. Technology Should Not Be One of Them.
In too many churches, the systems integrator of consultant didn’t provide a less stressful operating environment — or, at least, the case is often not made clearly enough to church leaders that ‘value engineering’ functionality out of a system to save money often leaves the operators exposed to technology loopholes and operational dynamics that are sub-optimal. This will always lead to mistakes, and can be mitigated massively in a properly designed (and budgeted and installed) system.
Manufacturers reading this need to understand and own the reality that churches will point fingers at your gear as a point of failure even when the system is really the culprit. I think the box sales mentality of bottom line revenue has hurt the brand reputation of nearly every AVL manufacturer, as there’s a loss of holistic operation when a system is reduced to a line item list of commodities.
Help church leaders and their technical operators alike that mistakes are usually preventable, but accidents will happen because, well… people are involved. Teach them to declare, demonstrate and document to give their tech teams the opportunity for 100 percent preparedness. Over time, they’ll build the relational trust capital to pay the debt of future mistakes.
Manufacturer or systems integrator: don’t stop at selling the gear. Sell training (recurring revenue and invaluable for churches) and spend time in their environment with your gear during a weekend service or two. The peace of mind and brand value you’ll add will be remembered and favorable!Leave a Comment
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|Redefining an Industry|
By Mark Coxon
I may be late to the party on this topic but I wanted to give my thoughts on a discussion started by CEDIA’s Vin Bruno when he stated that perhaps it was time we stopped calling ourselves “integrators” and started calling ourselves “technologists.”
There have been several takes on this to date. Some like the idea. Technologist is a fairly modern term that encompasses technology as a whole and could really apply to any discipline or specialty. On the down side, technologist is a broad term that could really apply to any discipline or specialty. Being a “technologist,” someone may approach you to discuss IP security cameras when your business focuses on high end collaboration, and then you would have to explain, “I am not that kind of technologist.”
This begs the question, “Do we need to add some type of descriptor before ‘technologist’?”
Then we get right back into the swamp of acronyms and terms we already use to describe the type of “integrators” we are. Would we have Unified Communication Technologists, Home Theater Technologists, Commercial Cinema Technologists, etc.? If so, is “technologist” really the important part of the term at all? It seems the qualifier is really the important part of that title.
Others like the idea of staying with the term integrator. They say it is a better descriptor of what they do, integrating different products into a complete system that works as an “integrated” whole. I don’t disagree with that sentiment in principle, but there is a growing problem with the term.
More and more, the devices we used to “integrate” are being pre-integrated by manufacturers. It is a common trend right now. Look at QSC creating USB integration for cameras in their DSP products. Look at systems like Mondopad and Surface Hub where the traditional flat panel, touch bezel, PC, microphone, and camera that needed to be “integrated” together now come in one SKU. Perhaps even look at Biamp, a company who has traditionally been known for audio. They are writing whitepapers on video transport and HDCP Pro specifications. Why would they be doing that? Is video being integrated into their DSP and audio distribution products soon? It seems like it’s coming.
The point is, that we actually do less integrating than we used to, and the trend may continue, making the term “integrator” even less descriptive of what we actually do for clients in the future.
Regardless of your preference and the reasons behind it, I have one reason that I think both terms fall severely short.
They both fail the Google test.
When people need help with VTC or their home theater they don’t google the word “integrator” or “technologist.”
I did a rudimentary poll of friends and family that work outside our industry. I asked them what they would search for online if they needed help setting up a system in their conference room or help with their TV and audio system set up. Overwhelmingly they said they would search for conference room or home theater “installation.”
I can FEEL you all bristling at me right now. How dare we be relegated to being installers? We do design and programming and extension of signals and UX design that an “installer” could never do. However, that doesn’t really matter. What matters most is how people who want to buy your services start searching for them when they need you.
Now when I asked the same people what they would search for when they were looking for someone to help select technology, the word “designer” came up almost every time. A lot of integrators describe themselves as “design-build” so it seems at least in part they are on the right track. I think the genesis of that comes from adopting the vernacular of construction companies that are design-build. It works, but most people don’t think of an AV system as being “built.” It seems design-install may be a better term just based on what people’s existing ideas of our services are.
Now is there an organization that uses Design and Installation in their title? It seems that CEDIA may be farther ahead than they thought when it comes to creating a description of our industry that our end users themselves understand. CEDIA is after all the Custom Electronic Design & Installation Association.
I have also seen people suggest terms like “Communication Partner,” which could work as well and may be closer, but I’m not sure I’d search for one online when I need my speakers adjusted.
Now some of you are saying we shouldn’t let others define what we do and we should define it for them. That is fine, but know that this type of effort requires us to educate the market on the terminology that we want them to use. That takes a marketing effort and marketing dollars.
If we think of programs like CTS, we know that the initials are seldom recognized outside the AV beltway. Marketing that to end users has been slow, and I don’t expect redefining our industry would be any easier, especially if we don’t want to jump on the “design” and “installation” word associations that already exist in our clients minds. According to their reports, InfoComm spends between $400,000 and $500,000 on marketing each year, and some of that is marketing the organization internally to the members. It will take a larger commitment to redefine ourselves as an industry to the masses and I’m not sure the funds exist to do it.
It seems CEDIA may be on board to invest in that as well.
Remember it’s not cheap, so we really need to be sold on the term we pick. After all, we are paying to promote it at that point.
So do we need to redefine the industry as a whole or is it enough to just tackle the “What is an integrator?” question every time that it’s asked like we’ve done for the last decade?
I doubt we’ll get consensus on the matter as it would mean we have to agree on a standard term we all use, and as you know if you’ve been around AV for a while, standards really aren’t our thing…
Chime in below! What should we call ourselves and why? I’d love to hear your opinions.
Check out these other pieces to get more background on the conversation as well and some additional thoughts.
MHO:10 What’s In a Name?Leave a Comment
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|Yamaha Expands TF Series Digital Mixer Lineup with Rack-Mount Format for Installs and Rentals|
Yamaha today introduced TF-RACK, a compact rack-mount version of the company’s TF Series digital mixing consoles. TF-RACK offers all of the features found in TF Series desktop models released in 2015, and is intended for smaller or more portable venues, particularly when a proper mix position may not be available.
TF-RACK is in a 3U rack space and is aimed at smaller live music venues, a portable house of worship or in a meeting hall. The rack-mount edition carries the same core engine – Steinberg Nuendo Live recording software, apps for mixing and expansion capabilities – as each of the other models.
In addition, the TF Series rack-mount mixer will ship with firmware version 3.0 that adds full fader views on its touch screen, the ability to add an administrator password, and many other enhancements. Yamaha has also partnered with Ultimate Ears, a premier supplier of in-ear monitoring products to create presets for the TF Series to provide stunning sonic clarity for the performer.
Like its desktop counterparts, TF-RACK is compatible with TF StageMix for wireless Wi-Fi remote mixing via iPad, and the MonitorMix app for aux send mixing via most smartphones or tablet PCs. Since it is not Wi-Fi dependent, TF-RACK sets a new standard for reliability in mixing, allowing it to maintain its full functionality even if the network goes offline. Users can simply continue mixing on the touch screen or opt to use it as their primary control surface as they wish.
- 16+1 stereo inputs, 16 outputs
- 1-knob COMP and 1-knob EQ for fast, easy control over your sound
- GainFinder input setup for optimum gain structure
- QuickPro Presets optimized microphone, music and output presets that include popular model choices from Audio-Technica, Sennheiser, Shure and Ultimate Ears
- Instant loading single step scene recall
- Expansion capabilities of up to two stage boxes, as needed
- TouchFlow Operation for easy, efficient control combining Select Channel and Cetralogic interfaces with the touch screen functionality
- A comprehensive range of I/O connections directly on the rear panel
- An optional NY64-D Dante I/O card and Tio1608-D I/O rack
All the specs are here.Leave a Comment
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|Bose Professional Takes New ShowMatch DeltaQ Array Loudspeakers on the Road|
Bose Professional has begun global demonstration events of its new ShowMatch DeltaQ array loudspeakers. The compact and versatile ShowMatch loudspeaker features DeltaQ next-generation array technology, offering the ability to build traditional (J-Array or Constant Curvature) and DeltaQ array configurations, allowing both portable/rental and installed applications to deploy selectable coverage control. ShowMatch arrays are capable of generating a maximum SPL of up to 145 dB (peak), or when SPL is less critical, they offer the ability to achieve full coverage with fewer modules for significant weight, height and cost savings.
DeltaQ originates from the ability to change directivity or “Q” for each array module. When combined in an array, acoustic energy is highly focused and can be matched to audience areas more accurately. This is an advancement from traditional line arrays, which typically have significantly less pattern control.
ShowMatch full-range loudspeakers will be available in three models (5/10/20-degree vertical) and feature a compact two-way design including four improved Bose EMB2S compression drivers and two proprietary Bose eight-inch neodymium woofers. Each model ships with two sets of field-changeable horizontal waveguides for narrow or wide pattern control. Additional horizontal waveguides can be purchased separately. Removable rigging-guard/handle side caps allow ShowMatch modules to be optimized for both installation and portable applications.
A companion subwoofer houses a single high-output 18-inch driver and includes integrated four-point rigging that may be deployed forward or rear-facing. A front grill-mounted NL4 connector enables easier wiring for cardioid configurations. The top of the subwoofer supports third-party mounting poles and optional accessories for ground-stack configurations.
ShowMatch offers a full set of rigging accessories for up to 24 modules, mixed arrays with subwoofers, sub arrays (including cardioid sub arrays), and ground stack configurations.
Bose Professional will release Modeler sound system software version 6.9 in November to support acoustic designs using the new ShowMatch array loudspeakers. Additionally, this fall Bose will be releasing the Bose Array Tool (BAT), a new interactive design aid to support swift customer designs that optimize DeltaQ array loudspeakers for multiple applications.
The versatility of the ShowMatch array design helps ensure the best possible sound quality for a wide range of applications and settings, ranging from small clubs, houses of worship or corporate AV events, to performing arts centers or amphitheaters with audience capacities in the range of 5,000 to 7,500 people.
Bose Professional ShowMatch DeltaQ array loudspeakers are scheduled to begin shipping to dealers in November 2016. Here are the details.Leave a Comment
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|Epiphan Debuts Pearl-2|
Epiphan Video announces the launch of Pearl-2, their next generation an all-in-one live video encoder. Pearl-2 brings live 4K video encoding and streaming to the impressive list of features it inherits from its predecessor, Pearl. Along with 4K support, Pearl-2 adds significantly more processing power, giving it the ability to handle up to six simultaneous 1080p video signals at 30 frames per second.
Pearl-2, like its namesake, captures, streams and records multiple video sources simultaneously. The company says that many of Pearl-2’s hardware upgrades, including USB 3.0, XLR audio inputs, 12-G SDI inputs and 4K HDMI output ports are the direct result of customer feature requests.
Here are all the tech specs.Leave a Comment
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|Martin Audio Introduces BlacklineX: Signature Sound For Portable and Installation|
Martin Audio has announced BlacklineX, a classic suite of passive loudspeakers. Applications range from portable sound reinforcement and stage monitoring for live bands, DJ’s and corporate events, to installations in nightclubs, bars, commercial spaces and houses of worship.
Comprising four two-way systems — from the ultra-compact X8 to the powerful X15 — and three subwoofers, including an unobtrusive slimline model, the multi-purpose BlacklineX Series raises the performance of loudspeaker systems in its class to a new level.
Each symmetrical, multi-angle full-range enclosure features a user-rotatable horn for horizontal or vertical orientation, and has a screw-free, foam-backed steel grille. Comprehensive mounting options include wall-bracket, eyebolt suspension and pole-mounting. Ergonomic handles at the rear of each full-range enclosure make for easy handling while maintaining clean lines.
All BlacklineX Series enclosures are constructed from plywood and are finished with a durable black textured coating, with white and custom RAL color options available to order.
Here are the tech specs.Leave a Comment
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|GLP Debuts More Live Lighting Gear|
GLP is now shipping their new GT-1 hybrid that functions as both a Spot and a Beam as it’s loaded with the combination of a 470W discharge lamp and optical system has resulted in an enormous 22:1 ratio zoom range (from 2.5° to 55°).
With its unique baseless design, the GT-1 also features inbuilt wireless DMX control, full 16-bit pan and tilt movement, full range dimming and shuttering capability, an in-built battery for fixture setup, an auto-sensing power supply and a low weight of just 25kg.
Also now shipping is their tiny X4 Atom. This non-moving LED fixture has a new 30W lamp source to increase the output and performance. The X4 Atom itself offers a 9:1 zoom ratio (3.5°-34°) — and, it is also IP65 rated so it can be used outdoors, running from an external PSU / data box.
Here are all the specs.Leave a Comment
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|TURBOSOUND Expands Flagship FLASHLINE MONITORS Range|
TURBOSOUND has announced two further models to its FLASHLINE MONITORS range. Designed primarily as stage monitors, the FLASHLINE MONITORS also accommodate a wide range of portable speech and music sound reinforcement applications. The two new models, the TFX122M-AN and TFX152M-AN guarantee TURBOSOUND quality musical reproduction at an affordable entry level price point, making TURBOSOUND FLASHLINE MONITORS an essential addition to portable and touring packages. The two new models join the existing 4 in the range; the TFM122M and TFM152M switchable passive/bi-amp loudspeakers, and the TFM122M-AN and TFM152M-AN powered loudspeakers.
The new monitors feature 1,100 Watts of peak power from a highly portable lightweight integrated class-D amplifier. Specifically the TFX122M-AN features a carbon fibre loaded 12” ferrite low frequency driver with a titanium dome 1” compression driver. The larger TFX152M-AN features a carbon fibre loaded 15” ferrite low frequency driver with the titanium dome 1” compression driver.
Both options provide optimal performance for wedge monitoring with 60’H x 40’V dispersion and are an exceptional choice for stage monitor, FOH, sidefill and delay line applications.
These models are designed to work individually without a controller and feature an intuitive user interface via LCD display or remote control and TURBOSOUND PC Edit software.
Here are all the detailed specs.Leave a Comment
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|PreSonus Ships StudioLive RML-series Rack-Mount Digital Mixers|
PreSonus is now shipping two new StudioLive RML-series models that offer line-level inputs, in addition to the XLR mic inputs found in the RM series. Designed for live-sound mixing and studio recording, StudioLive RML16AI and RML32AI mixers provide 32 internal channels and 25 buses, a 52×34 FireWire 800 recording interface, AVB Ethernet networking, and Fat Channel signal processing on all input channels and all buses, including a four-band parametric EQ, compressor, gate and limiter.
You can control StudioLive RML mixers with UC Surface touch-control software for Mac, Windows, and iPad and with the StudioLive CS18AI AVB control surface, which provides motorized faders. Combine hardware and software control to meet your individual needs.
Using AVB Ethernet networking, you can cascade any two StudioLive RML and RM mixers to create larger mixing systems. Combine a 16-input mixer with a 32-input mixer for a 48-channel mixing system or two 32-input mixers for a 64-channel system. Both mixers in the expanded systems can be controlled from a StudioLive CS18AI, from UC Surface and from Studio One.
A Stage Box mode lets you use StudioLive RML mixers as remote I/O devices in conjunction with StudioLive AI-series consoles. You can use the RML as simple I/O, bypassing the internal mixer, or as a monitor mixer and remote I/O.
In addition to UC Surface touch control software, these rack-mount mixers come with tightly integrated Capture recording software for Mac and Windows, with true Virtual Soundcheck mode; and Studio One 3 Artist DAW for Mac and Windows. PreSonus’ free QMix-AI aux-mix control software for iPhone/iPod touch enables musicians to control their own monitor mixes.
StudioLive RML16AI (MSRP $1,199.95) and StudioLive RML32AI (MSRP: $1,799) are here.Leave a Comment
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|Waves Audio Introduces SoundGrid Connect|
Waves Audio announces the introduction of SoundGrid Connect, a feature of the SoundGrid driver. With SoundGrid Connect, users can connect any ASIO/Core Audio-compatible audio interface to SoundGrid technology and dramatically boost the capacity of their system – run hundreds of plugins simultaneously, stream audio, record and mix from multiple computers and DAWs at the same time, and more.
SoundGrid Connect lets users add massive processing power to their system by connecting any ASIO/Core Audio interface to a SoundGrid DSP server and processing their SoundGrid-compatible Waves and third-party plugins on the server instead of their computer. By offloading their plugin processing to the server, users can smoothly run hundreds of plugins on their sessions and free up their computer’s CPU for other tasks.
SoundGrid Connect also allows users to connect any ASIO/Core Audio interface to the SoundGrid network, which lets them stream audio, record and mix from many different computers and DAWs simultaneously – all with incredibly simple Ethernet connections.
Users who already have a SoundGrid I/O can also use SoundGrid Connect to expand their SoundGrid network and add to it any ASIO/Core Audio interface.
SoundGrid Connect is available free of charge to any owner of at least one Waves software product.
SoundGrid Connect allows users to:
- Connect non-SoundGrid (ASIO/Core Audio) audio interfaces to a SoundGrid server and offload plugin processing to the server
- Connect non-SoundGrid (ASIO/Core Audio) audio interfaces to the SoundGrid network for audio streaming, mixing and recording
- Patch and mix from multiple computers, DAWs and I/Os in the SoundGrid network
- Collaborate on projects and move between studios with different systems. Any musician or engineer working with a host computer and ASIO/Core Audio driver can now connect to other users’ SoundGrid network and vice versa.
Here are the details.Leave a Comment
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|Apogee Intros Element Series Thunderbolt Audio Interfaces|
Apogee Electronics just launched their new Element Series — three Thunderbolt audio I/O boxes for Mac — Element 24, Element 46 and Element 88 (each with a different number of analog and digital I/O). The Element series uses Apogee’s Thunderbolt driver for 1.41ms round-trip latency when using Logic Pro X. As an added element, the series also features Apogee Groove’s headphone output technology. This design dynamically optimizes sound quality for a wide variety of headphones, regardless of their impedance. you have connected.
The configurable Element Control software for Mac lets users set up workflows that meet their needs and the Element Control for iOS App lets them control the Elements remotely over Wi-Fi. Logic Pro X users can adjust Element I/O settings directly from their Logic Channel strips. And for those wanting more traditional desktop control, there’s the optional Apogee Control hardware, featuring a Duet like form-factor with 8 assignable buttons and a master control knob. Regardless which of these options you prefer, if you are using an Element, everything is under control.
- Sound quality equal to Apogee Ensemble Thunderbolt
- AD/DA conversion for recording up to 192kHz/24-bit
- World-class mic preamps built-in, with selectable 48v phantom power
- Single port Thunderbolt connectivity to Mac for ultra-low latency performance
- 1.41ms round-trip at 96kHz with a 32 buffer setting
- New Element Control Software for Mac provides all control of hardware parameters including input gain, output level and low latency monitoring
- New Element Control Mobile App provides wireless remote control of hardware via iPhone, iPad or iPod touch
- Works with Apogee Control – Desktop hardware remote control accessory
- Multi-Unit Thunderbolt support – Connect any two Element audio I/O boxes directly to Thunderbolt ports on your computer
- Element 24 (10 in x 12 out) – $595 USD – Available November 2016
- Element 46 (12 in x 14 out) – $895 USD – Now Shipping Worldwide
- Element 88 (16 in x 16 out) – $1495 USD – Now Shipping Worldwide
- Element Control for Mac – Available as download from Apogee’s website
- Element Control for iOS – Now Available for Free from Apple’s App Store
- Apogee Control Hardware Remote – $195 USD – Available November 2016
Here are the specs.Leave a Comment
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|BenQ Intros MU686 3,500 ANSI Lumen DLP Projector|
BenQ America’s latest is the MU686, an WUXGA (1920×1200) resolution DLP projector that’s spec’d at 3,500 ANSI lumens and operates at only 28dB in eco mode. Integrate with a QCast Wi-Fi dongle, it provides full HD (1080p) wireless streaming at the touch of a button on both the projector and remote control. The MU686’s 1.3x zoom ratio provides up to a 300-inch-wide image projection. Furthering setup ease and installation flexibility, the MU686 features manual vertical keystone correction and a short throw ratio of 1.15, which enables the projector to be placed closer to the screen for greater flexibility.
Providing a low total cost of ownership, the projector features BenQ’s world-leading SmartEco technology, which automatically adjusts lamp power to deliver bright, vibrant images to conserve the life of the lamp. To further reduce power consumption, an “Eco Blank” mode allows users to blank out the screen whenever projection isn’t needed, while a “No Source Detected” mode automatically reduces power consumption to 30 percent when no source has been detected for more than three minutes. The “Auto Power Off” function automatically shuts down the projector when not in use for 30 minutes. When inactive, the projector keeps power consumption to a minimum, less than 0.5 watts standby power, for even more energy savings.
The BenQ MU686 lists for $1,199. More information is here.Leave a Comment
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|Sennheiser AMBEO VR Mic, a Compact Microphone for Creating VR/AR ContentHigh-quality 3D audio that eliminates the boundaries between playback and reality – this is the promise of the AMBEO VR MIC that was launched by Sennheiser today. Up until now, VR productions had to record immersive audio with quite complicated microphone set-ups. The AMBEO VR Mic puts everything into a compact and easy-to-use handheld – making it an ideal tool for any professional VR production. The microphone will become commercially available in November 2016.
The AMBEO VR Mic is an Ambisonics microphone that uses four carefully selected, matched capsules in a tetrahedral arrangement. It is fully balanced and powered by 4x 48 volts phantom powering. The handheld microphone comes complete with a split cable with four color-coded and labelled XLR connectors according to the capsule position, a Rycote suspension mount and a foam windshield.
Also included is the necessary encoding software that translates the A format file generated from the recording of the four microphone channels into a B format file W, X, Y and Z. This format is recognized in the Ambisonics world, the W component being the omni and the X, Y, Z components being figure-of-eight capsules along three spatial axes. The A to B format encoder will be available in VST, AAX and AU plug-ins for the customer’s preferred digital audio workstation and as a stand-alone version for Mac or Windows.
The AMBEO VR Mic details are here.Leave a Comment
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|Middle Atlantic Targets Peerless-AV, Chief and Sanus with New Display Mounts Called Vision SeriesMiddle Atlantic Products today announced a new category to its wide selection of infrastructure products. The Vision Display Mount (VDM) series is a lineup of 17 professional-grade display mounts providing safe, reliable mounting with professional features that enable efficient installations. Available in a selection of styles and profiles, most models offer integrators the means for reliably supporting technology behind the display right out of the box with the included Proximity Series Integrated Mounting Plate.
The Vision Display Mounts are available in a range of sizes and in fixed, tilt, motion and low-profile options, accommodating VESA patterns up to 800 mm. The series comes standard with post-install leveling for quick horizontal micro-adjustments of the display, safety features that keep the display securely attached to the mount during and after installation, and all the hardware needed to ensure a professional installation. The series’ motion mounts feature a 15- to 24-inch reach (depending on the model), tilt adjustment, wall plate cover and cable management built into the arms. An integrated kickstand facilitates ease of accessibility for servicing of the low-profile models.
Here are all the specs on all 17.Leave a Comment
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|Fulcrum Acoustic Launches Cardioid Subwoofer Product Line|
Fulcrum Acoustic has launched its latest in the form of a line of Cardioid Subwoofers. Fulcrum Cardioid Subwoofers are designed with patent-pending Passive Cardioid Technology to overcome the excessive rear low frequency (LF) radiation that is a major challenge of many loudspeakers.
Fulcrum’s Passive Cardioid Technology, first introduced in their FL283 and FLS115 line array products, is now the basis for a line of Cardioid Subwoofers which includes CS118 18-inch and CS121 21-inch models.
Fulcrum’s unique Cardioid Subwoofers eliminate excessive rear LF radiation without the extra cost, space requirements and inconvenience of active cardioid systems, with a single passive cardioid speaker doing the work of an active cardioid array. By achieving impressive LF directional control without additional amplifiers, drivers or signal processors in less than half the space required for active cardioid array systems, Fulcrum Cardioid Subwoofers allow for cardioid arrays in applications that might not otherwise have the budget or space to accommodate an active cardioid solution.
Fulcrum speakers’ subcardioid behavior is produced by an acoustical circuit which balances the position of the low frequency driver, the enclosure depth and volume, and specially constructed rear-mounted ports which include a calibrated resistive element. By opting for a subcardioid pattern as opposed to a pure, hyper or super cardioid pattern, the rear rejection increases when the modules are deployed in an array.
Here are the details.Leave a Comment
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|Next Generation Delvcam 7-Inch HDMI/VGA Monitor with Enhanced Performance for Remote Broadcasting|
Delvcam has introduced their next generation 7-inch DELV-HD7 HMDI/VGA reference monitor for live-events.
The DELV-HD7 7-inch monitor features HDMI, VGA, dual composite video and audio inputs, supporting resolutions up to 1920×1440 with an 800:1 contrast and 16:9 aspect ratio. The monitor includes an accessory package comprised of HDMI, VGA, and audio cables, a full-function IR remote control, power supplies and a tilting stand.
All the specs are here.Leave a Comment
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|Middle Atlantic Intros Value-Priced Select Series PDU with RackLinkMiddle Atlantic Products today announced the addition of new value-oriented IP solutions to its power hardware lineup. Ideal for small to large enclosures in residential, commercial and security applications, the Select Series PDU with RackLink offers versatile vertical, compact and traditional rackmount form factors that simplify installation and reduce the cost of service by providing intelligent power optimized for AV systems.
The series is comprised of five 15-amp models in wide-ranging form factors: two-outlet compact, four-outlet rackmount, nine-outlet rackmount, 10-outlet low-profile vertical and 16-outlet vertical. All form factors are enabled with RackLink technology, creating a simple and cost-effective solution that puts intelligent control of power distribution right at the integrator’s fingertips, anywhere in the world. Middle Atlantic says that with intuitive setup and operation, pre-emptive problem notification and automatic problem resolution, Select Series PDU with RackLink ensures system reliability and uptime. Integrators can choose to control locally or virtually, via third-party control system or cloud. Additional Select Series PDU with RackLink features include control start-up or shut-down with remote sequencing, multiple IP autoping functionality and MOV surge and spike protection.
More information is here.Leave a Comment
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