Volume 6, Issue 6 — June 26, 2017
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House of Worship Trends The Future of HOW
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The Overlooked Attendees of InfoComm – Church Tech Leaders
By Anthony Coppedge House of Worship Technology Consultant
In the sweltering humidity of Orlando in June, InfoComm hosts tens of thousands of attendees, each traversing the exhibit hall floor to find technological inspiration and an air-conditioned respite from the sticky Florida air. Among these roaming masses are the nondescript technical directors, front-of-house engineers, video production staff and volunteers sent by their church leaders to bring back ideas and products to meet their ever-changing needs. This underserved market segment desperately tries to look past the tech specs, the marketing spiel emblazoned upon booths and the regurgitated product pitches by the uniformly logo-clad armada of representatives confined to the carpeted slabs of territory marked by aisles. These sojourners from houses of worship are ever less inclined to purchase more of the same and instead seek out the differentiators and innovators offering new ways of approaching old and new problems.
The tradeshow floor/expo hall is a mixed opportunity of vendors hawking marginally improved technology and the new innovations that build upon reliable infrastructure to offer limited risk with the upside of a better reward. Aisle after aisle looks similar enough so that the competition bears little differentiation, but an intensified focus on Nth-degree increases in faster processing or upgraded hardware. The point of diminishing returns is not lost on seasoned church techs, who have been jaded by over-promises in product reliability and underserved support options for what for all intents and purposes are mission-critical technology venues similar to network operation centers or data centers. Fortunately, InfoComm recognizes that the house of worship market has significant buying power and has at least added sessions geared for churches to their educational track. In fact, this year ICIA has partnered with Church Technical Leaders (CTL), a non-profit organization focused on educating church technicians and building a community for these professionals and volunteers to foster the sharing of experiences and insights. A total of eight church technology-oriented sessions offered by CTL are taught from their ranks of professionals at InfoComm 2017 out of the 220 sessions and events during the show.
Veteran trade show attendees plan out their days’ walking to spotlight key vendors and technologies they want to see first, carefully mapping out their path to avoid the redundancy of re-walking miles of aisles. In the process, these wizened attendees walk past hundreds of vendors that may have a technology solution that would fit their venues, only to miss out on helping a church tech leader self-identify with a product offering because no visual reference alerted the potential buyers of vertical market applications. In a sea of me-too products and marketing verbiage, the would-be buyers pass by untold opportunities simply out of ignorance that certain vendors have technologies that would serve the house of worship market.
The educational focus in classrooms is well and good (and taught by the esteemed professionals of CTL), but the swing-and-miss for the exhibitors and tech pilgrims alike is the notable inclusion of general vertical market segments (education, government, corporate) and marked omission of the house of worship market segment.
What’s still needed at tradeshows like InfoComm is a focus on selling to and working with vertical market segments for the Audio/Video/Lighting (AVL) systems integrators and contractors, something that would benefit from the experienced leaders from Church Technical Leaders. The average booth attendee wears no distinguishing identification to help booth staff distinguish the potential buyer, and the name badges are prone to be flipped backward anyway, so perhaps this is an area where attendees can choose to have a uniquely colored ribbon added to their lanyard to identify the kind of organization they represent? InfoComm, and trade shows like it, would do well to help make the visual connection between the specialty of the potential buyer and the expertise of their market segment align with key staff in the vendor booth. As it is, the booths are largely oriented towards a general audience that makes it harder to discern the value of the technology on display out of the context of venue requirements in each of the vertical markets. Booth square footage is ludicrously expensive temporary real estate, yet there needs to be a way to identify the applications and problem-solving aspects of the promoted technology for the intended audience segments.
Bravo to InfoComm to opening up a partnership with CTL, as they’ve done previously with other partners in the house of worship market, but the eight out of 220 sessions and events is a far too limited an offering for most churches to send their tech teams across the country. AES, NAB, LDI and other trade shows that have a strong presence of church buyers need to drastically increase the focus on this market segment. As I’ve written about previously, the money is there. See ($580M in One Year — Multi-site Churches; Align to Church Growth Trends; Church Attendance Surging, Pushing HOW Market Growth; Trends and Data Point to Church Market Opportunities) for examples of how this 300,000+ church market (in North America alone) is still underserved.
Do you notice church tech leaders at trade shows? How can trade shows like Infocomm improve in attracting and serving the church market buyer? Share your opinions and experiences in the comments below. Leave a Comment
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Christmas Church Tech in the Summer
By Anthony Coppedge House of Worship Technology Consultant
The dog days of summer are upon us and much of the commercial and education vertical markets have slowed to a crawl, but the house of worship market is heating up seemingly in proportion to the high temps of the season. That’s because, for churches, summertime is the time when the planning for the big push of attendance at Christmas begins for the Technical Arts and Worship Arts teams.
Working on my first church staff back in 1993, I still recall the disconnect I experienced when walking past the music suite where Christmas songs were playing while the staff was dressed appropriately for the heatwave associated with summers in south Texas. This juxtaposition was my introduction to the reality of planning for the big push of the musical productions churches often go all-out for during the high-attendance months of November and December. As a young tech assistant, I quickly learned of the commitment to planning the logistics of these productions since our Audio, Video and Lighting (AVL) teams were heavily involved in these productions.
Fast forward a few decades, and what used to be the domain of only the very largest churches has trickled down into medium size churches as the costs and technology offerings have also percolated into these average size venues.
Helping churches plan the technology infrastructure and equipment for these Christmas productions also demonstrated how what was planned for during the summer had an equally large impact on our rental, leasing, and purchasing decisions halfway through the year and at the beginning of the calendar (and fiscal) year. Some of the shorter-term needs, such as extra lighting or additional video cameras, still had infrastructure considerations well before the cold temperatures three to four to six months down the road. This pragmatic planning required us to evaluate our current infrastructure limitations and determine what needed to be upgraded or replaced well before the fake snow starting falling onto the stage.
My story, and countless others like it in the Church Tech Arts space, is one that manufacturers and systems integrators alike should understand as they sell their products and services to this unique vertical market. The principle of helping churches think through their technology decisions can be grouped into the same stages I listed above: infrastructure planning; upgrades and replacement technology; equipment rentals and short-term leases; try-before-buying budget changes for the beginning of the fiscal year.
For the largest percentage of churches, infrastructure is likely the least addressed opportunity for making major changes today that reap huge benefits for the church venues later. Perhaps it’s the ‘Shamwow’ effect of salespeople pitching the coolest new products, but when churches can see and understand the pros and cons of sticking with limited technology infrastructure, it shifts the discussion away from the temporary benefits of new tools to the long-term value proposition of future-proofing their space. This is especially important in a volunteer-focused culture where the operation of technology needs to be so well designed that it does not overwhelm the non-professional volunteer who loves to use the technology and serve their church.
In one church where I cut my tech teeth and gained most of my don’t-do-that-again experiences, a particular challenge was working with high-voltage power and lighting infrastructure (control and dimming, in particular). The limitations of our staff and budget meant we did a lot of rentals to make the most out of what we had, but it also underscored just how improved this particular technology has advanced over the years to make the easy justification of man-hours and safety concerns alone to replace the entire lighting control and dimming system for one that gave us far more future growth and greatly simplified our installation and fixture focusing options. To make the case, all I had to do was walk my boss (the Worship Arts leader) over to the electrical closet and show him what our volunteers were required to do to make even simple changes to our old hardware. He didn’t even try to argue the cost since it was so patently obvious that an upgrade would provide countless improvements that would save time and money.
Since that time, I’ve had the opportunity to work with literally hundreds of churches who have the same experience and have begun dividing up their technology planning and budgeting into the categories listed above. Education of the end users is to help inform where there isn’t yet enough proper information, not to talk down to a market segment that is too often judged as ‘unprofessional’ by AVL vendors. Ignorance is easily remedied with helpful information. Churches sometimes are lacking knowledge or understanding of a subject, but they do not suffer from an inability to comprehend a subject. Treat them with respect and help educate them and you’ll have a client for life.
In the church production world, once the Christmas production season ends, church tech leaders should be encouraged to evaluate which technologies worked particularly well that should make it permanently into their start-of-year budget. After all, it is easier to ‘sell’ the idea of new/upgraded technology solutions when they have just proven success with the technology with results that were obvious to the senior leadership staff.
The future of the house of worship market may need to only look three to six months ahead to begin adding value to how they approach Christmas in the middle of the summer.
In what ways are you helping churches realize the distinction between infrastructure and tools? Share your views and opinions in the comments below. Leave a Comment
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Dynacord Launches New Power Amplifiers for Live Events Dynacord will launch a new two new dual-channel power amplifier series at InfoComm 2017: the L Series and the C Series. Both amplifier series comprise a linear amp design and have a software tool that allows for full configuration, control and supervision of sound systems with multiple amplifiers.
Four different models per series are available, with total output power ranging from 1,300 watts to 3,600 watts and engineered for stability at 2 ohms. Dynacord L Series power amplifiers are designed to provide sound reinforcement for live music applications. The Dynacord C Series power amplifiers are designed for permanent installation applications, to provide background or live music in venue including bars, churches, restaurants, sports facilities and performing arts centers. The C Series is also suitable for direct drive applications with 70V / 100V speaker lines, providing high flexibility for a variety of install scenarios. In addition, the amplifiers feature Euroblock connectors for convenient wiring, remote power-on delay and GPIOs (general-purpose input/output) to interface with third-party controls.
The onboard DSP (digital signal processing) includes multi-band PEQs (parametric equalizer), crossovers, limiters, and delay per channel. It also has true channel grouping control with extra DSP capabilities like PEQ, GEQ (graphic equalizer) and delay for each group.
Both series consist of four dual-channel models, each with different output power specifications.
L Series and C Series — maximum output power per channel:
- C3600FDi / L3600FD: 1800 W @ 4 Ω, 3200 W @ 2 Ω
- C2800FDi / L2800FD: 1400 W @ 4 Ω, 2300 W @ 2 Ω
- C1800FDi / L1800FD: 900 W @ 4 Ω, 1600 W @ 2 Ω
- C1300FDi / L1300FD: 650 W @ 4 Ω, 1100 W @ 2 Ω
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MuxLab Brings New Selection of Pro Audio Integration Solutions to InfoCommThree new products from MuxLab are designed to help integrators create unique, audio-based infrastructures that are IP-based. Available for the first time at InfoComm are the Dante/Quad Channel Audio PoE Gateway (500765), the Audio/AMP over IP Extender with Mic (500755-AMP) and the 70v Audio Converter (500755-70V).
Analog audio sources can be sent to Dante-compatible professional audio equipment using an IP network as a bridge with the Dante/Quad Channel Audio PoE Gateway. Dual two-channel or quad single-channel full range (20Hz to 20KHz) balanced analog audio signals are routed via an Ethernet switch over the network to Dante audio equipment. Dual two-channel or quad single-channel balanced analog audio signals may also be received from Dante compatible equipment in the same manner. Standard Cat5e/6 cable connects all equipment up to 100 meters from the Ethernet switch. PoE support allows this product to be powered by the Ethernet switch.
MuxLab’s Audio/AMP over IP Extender with Mic supports dual, two-channel analog audio inputs with a microphone over an IP network via an Ethernet switch. A 50W two channel amplifier is included on the receiver, which can be bridged to support a 100W mono output and when paired with MuxLab’s 70V transformer (500755-70V), supports a 70V speaker system over longer distances in a daisy chain configuration. Multiple audio sources and destinations can be configured in a virtual matrix configuration, allowing users to easily send any audio source to any destination supporting both simple and complex audio systems.
MuxLab will also be unveiling a prototype of its HDMI to HDMI with Audio Extraction 4K/60 and its HDMI 2.0 Audio Extractor with Video Out (, both of which will be launched later in 2017. They are here.Leave a Comment
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RCF Introduces MZ8060 8×6 Matrix MixerRCF just introduced the MZ8060, an 8×6 digital audio matrix mixer built on the company’s RDNet DSP platform. RDNet is a proprietary protocol for RCF loudspeaker products that provides dedicated networking software that makes is possible to control and monitor all system components and parameters. The DSP allows for configurable system programming including room combining, automatic level control, along with all audio input and output criteria including EQs, gates, compressors, limiters, delays, priorities and levels.
The MZ8060 features eight universal mic/line inputs with six balanced outputs along with 10 programmable logic inputs and six programmable logic outputs. In addition it includes these features:
- Eight universal mic/line inputs with 48V phantom power and audio processing
- Six hi-level routable balanced outputs with audio processing
- 10 programmable logic inputs (GPI), six programmable logic outputs (GPO)
- 40-bit floating point processing DSP and 48 kHz 24-bit HI-Q Analogue/Digital Conversion, dynamic range > 112 dB.
- Configurable parametric EQs, gates, compressors, limiters, delays, priority levels, automatic gain control, levels, gains on in-out and cross points, auto-mixer operation.
- Room Combiner — each unit can work as a dual-room combiner with independent auto-mixer facility for each room.
- Configurable ALC (Automatic Level Control) by using Input 8 to connect a noise detection microphone.
- The control is then assignable to any output or group of outputs.
- Serial port for control
- USB connectivity on the front panel
- Linkable – Allows for two units to be linked in master/slave configuration to create a 16-input, 12-output matrix
- Compact one-rack unit design
- Up to 12 BM 3003 mics can be daisy-chained to the system via dedicate RJ45 port
Here are all the detailed specs. Leave a Comment
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AJA Ships Ki Pro Ultra Plus AJA Video Systems is now shipping Ki Pro Ultra Plus, its new multi-channel recorder with one-, two-, three- or four-channel simultaneous HD recording up to 1080 50/60p or in single-channel mode, 4K/UltraHD/2K/HD recording and playback, with full HDMI 2.0 input and output (up to 12-bit capture and output).
Originally unveiled at NAB 2017, Ki Pro Ultra Plus captures 4K/UltraHD and HD video to standard production codecs including Apple ProRes and Avid DNxHD MXF. Housed in a portable 2RU half-rack, it also offers I/O connectivity options from 3G-SDI to HDMI 2.0 and fiber. Users can record four channels of HD simultaneously as ProRes files, each with different compression profiles, to AJA Pak 1000, 512 or 256 SSD media, with eSATA options also available. Additionally, the channels can be displayed on Ki Pro Ultra Plus’ LCD screen as a quad-split during capture for confidence monitoring, which can also be output over HDMI, SDI, fiber and the device’s web-based UI.
Additional Ki Pro Ultra Plus feature highlights include:
- HDMI 2.0 support for full 4:2:2 and 4:4:4 capture/output at up to 4K/UltraHD 60fps
- 12-bit support on input for Apple ProRes 4444 and ProRes 4444 XQ encoding and HDMI 2.0 input and output
- Built-in Ki Protect technology to ensure recordings are secure
- Multi-channel audio support via embedded SDI or HDMI, AES/EBU and analog
- Web-based UI for remote monitoring, control and deployment in the field or in-studio
Ki Pro Ultra Plus is available now through AJA at a list price of $3,995. AJA Pak SSD media is available: AJA Pak256 $495, AJA Pak512 $995, AJA Pak1000 $1,495. Here are all the tech specs. Leave a Comment
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Epiphan Video Launches Streaming Device aimed at Facebook Live and YouTube creatorsEpiphan Video is launching Epiphan Webcaster X2 at InfoComm 2017. A dedicated hardware encoder for live streaming, Webcaster X2 enables creators on YouTube and Facebook Live to create high-quality live content directly from their cameras or any HDMI source. Using the respective live streaming APIs, Webcaster X2 is fully integrated with these social streaming platforms. From pairing with the user’s account to viewing audience reactions and questions, the lightweight and portable Webcaster X2 has everything needed to simplify live video streaming.
To get started with Webcaster X2, the user connects an HDMI camera, selects YouTube or Facebook Live, and then pairs the device with their account using the pairing code displayed on the front screen. To go live, the user presses a button or clicks the start icon using a mouse and external HDMI display connected to Webcaster X2. At the end of the live broadcast, stopping the stream is done the same way. Using an HDMI display, users can see viewer comments and configure additional streaming options.
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Focusrite Debuts Audio Network Solutions at InfoCommAt InfoComm, Focusrite will debut new RedNet and Red audio network interfaces, designed for contractors and system integrators working in live sound, house-of-worship, corporate A/V, rental houses, municipalities and more, at its exhibition booth, #6560.
RedNet is the audio-over-IP solution, based around Audinate’s industry standard Dante protocol. It is composed of a suite of modular Ethernet audio interfaces. RedNet’s
The following RedNet interfaces, all featuring network and power redundancy, and for use in Dante audio-over-IP networks, are shipping:
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- RedNet A16R: 16 channels of Dante-networked A-D and D-A conversion
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RedNet A8R: Eight channels of Dante-networked A-D and D-A conversion
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RedNet MP8R: Eight-channel remote-controlled mic pre and A/V
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RedNet D16R: 16-channel AES3 I/O
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RedNet D64R: 64-channel bridge between MADI and Dante Networks
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RedNet HD32R: 32-Channel Bridge between Dante Networks and Pro Tools HD
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RedNet PCIeR Card: RedNet PCI Express card with network redundancy, enabling ultra-low-latency audio and full track count
Focusrite will also be exhibiting its flagship Red interfaces:
- Red 4Pre (58 in/64 out Dante-enabled Thunderbolt interface)
- Red 8Pre (64 in/64 out Dante-enabled Thunderbolt interface)
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Bose Professional Intros Panaray MSA12X Modular Steerable Array Loudspeaker Bose Professional announces the introduction of its Panaray MSA12X Modular Steerable Array Loudspeaker. The self-powered Panaray MSA12X features a slim, unobtrusive acoustic design with twelve full-range 2.25-inch transducers (with 75 Hz – 14 kHz response) in a columnar line array configuration, to provide consistent audio levels with outstanding vocal intelligibility and full-range music reinforcement in acoustically challenging spaces.
The MSA12X model includes 12 internal power amplifiers (50 watts per channel; total 600-watt rated power) and onboard DSP to allow digital control and beam steering of array vertical coverage patterns. Proprietary Articulated Array configuration allows wide, 160-degree horizontal coverage. Independent level and EQ control is supported for two separate beams per array, and onboard memory stores up to 10 user-selectable presets. The MSA12X features both Dante network connectivity and line-level analog input.
The modular design allows up to three MSA12X units to be vertically arrayed to increase coverage distance and low-frequency pattern control. The slim, low-profile elegant enclosure mounts close to surfaces, blending in with the visual aesthetic of a space, and its digital control eliminates protruding pitch brackets. An integrated mounting bracket allows up to 90-degrees of pivot away from surfaces. Design, setup, and control of beam coverage is provided by Bose Professional Modeler and ControlSpace software. The MSA12X is available in either black or white finish and is paintable.
Designed for use in houses of worship, auditoriums, museums, transportation facilities, lecture halls, conference facilities and theaters, the Panaray MSA12X Modular Steerable Array Loudspeaker will be previewed during the 2017 InfoComm show and are scheduled for fall 2017 availability. All the details are here. Leave a Comment
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beyerdynamic Intros the TG 500 Wireless System beyerdynamic, Inc will be debut the TG 500 at InfoComm in the Audio Pavilion, Booth 5775. The TG 500 is a wireless system that is value priced. It’s designed for performances on smaller stages, theatre productions, speeches or presentations. The beyerdynamic TG 500 system is available in five sets, each of which contains an individual receiver and two removable antennas. The TG 550 Vocal Set is supplied with the dynamic TG 500H-D handheld transmitter with a TG V50 capsule (dynamic capsule, cardioid) and is perfect for singing, whereas the TG 556 Vocal Set comes with a TG 500H-C handheld transmitter with a TG V56 capsule (condenser capsule, cardioid), making it a solution for presentations. There are matching microphone clamps for both handheld transmitters. The TG L58 clip-on microphone (condenser, omnidirectional) from the TG 558 Presenter Set can be worn in an inconspicuous position during lectures, while the TG 534 Headworn Set with a TG H34 neckworn microphone (condenser, supercardioid) is the perfect choice for theatre productions. Electric and bass guitars can be miked using the WA-CGI instrument cable (6.35 mm mono jack), which is part of the TG 510 Instrument Set. With an operating range of up to 393 feet, the beyerdynamic TG 500 switching bandwidth is up to 40 MHz, and when all four frequency bands (518-548 MHz, 606-636 MHz, 794-832 MHz and 1.780-1.810 MHz) are used, up to 72 channels (18 compatible frequencies per band) can be operated simultaneously, thus making the TG 500 system suitable even for larger installations. Each of the five TG 500 sets is available for use in one of four frequency bands, so there are 20 different sets to choose from in total. At the heart of every beyerdynamic TG 500 set is a receiver with a metal enclosure and a parametrised front panel. The frequency response of the system ranges from 45 to 15 kilohertz. A balanced XLR output and a balanced jack are provided as analogue audio ports. The individual receiver takes up a single height unit in the 19″ installation; the rack assembly kit supplied allows two 9.5″ devices to be installed in one rack. A dual receiver in 19″ format (1 HU) featuring an integrated power supply and a built-in antenna splitter is also available within the TG series. The dual receiver supplies the antenna phantom power required for using remote antennas. Intermodulation-free transmission frequencies are also provided in preconfigured groups to ensure interference-free multi-channel operation. Frequencies can also be freely allocated. A scan function with automatic search provides assistance for system set-up. The integrated pilot tone function ensures interference-free transmission and gives a warning when the battery power is running low.
The handheld transmitters from the new TG 500 series can be switched between 10 mW and 50 mW. Settings are simple to configure on the receivers and are relayed to the transmitters by means of infrared synchronization. All transmitters are equipped with an LCD display. The handheld transmitters feature a mute button at thumb level on the microphone shaft, and the pocket transmitter has a programmable mute button on the top.
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Earthworks Debuts CTF Tabletop Gooseneck MicrophonesEarthworks has introduced the CTF tabletop gooseneck microphones with integrated base designed for conferencing and speech applications. This integrated solution provides the flexibility of temporarily placing the microphone on a table for ad-hoc meeting spaces or permanently affixing it to a surface.
Spec’d at a flat frequency response and near-perfect cardioid polar pattern, the CTF microphones deliver speech intelligibility and reliable coverage for speakers. And, RF shielding is incorporated into the microphone’s electronic design to prevent interference from cell phones and other electronic devices.
The low profile base measures just 4.1 inches in diameter and comes with a 10 feet (3.04-meters) cable with XLR-3M attached, which is designed to exit from the side or bottom of the microphone base. Mounting holes are included on the microphone base to make it possible to permanently affix the microphone to a flat surface. The XLR can be removed, allowing the cable to run through a small hole in the table surface for permanent installation, providing a low profile and elegant miking solution. Available with 10 or 12 inch rigid center goosenecks and a black finish, the primary applications for the CTF10 and CTF12 include conference rooms, boardrooms, classrooms, lecterns and houses of worship.
The will ship in August and here are the specs. Leave a Comment
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Meyer Sound Demos LINA Line Array and New Self-Powered, In-Ceiling SpeakersMeyer Sound will feature the InfoComm of its new LINA compact linear line array loudspeaker and companion 750-LFC compact low-frequency control element.
Previewed earlier this year at ISE, LINA marks the entry of Meyer Sound’s LEO Family of line arrays into a much broader market. With its diminutive dimensions (20.27”/515 millimeters wide) and minimal weight (43 pounds./ 19.5 kilograms), high power output and aggressive pricing, LINA is ideal for all commercial sound applications that require portability, scalability, ease of set-up and impeccable sonic performance.
Meyer Sound also will preview the first in a new series of premium quality self-powered ceiling speakers. The first two models, the Ashby-5C and Ashby-8C both integrate Meyer Sound’s exclusive IntelligentDC technology, which combines the sonic superiority of self-powered loudspeakers with the installation ease of constant voltage distributed systems. Both models are two-way designs with wide (100-degree) coverage patterns and come equipped with integrated back-cans and five-pole Phoenix connectors. The Ashby-5C has a 5” low-mid driver and the Ashby-8C an 8” low-mid driver.
A range of IntelligentDC surface mount loudspeakers also will be shown at the booth, as well as LINA, 750-LFC and a selection of UltraSeries loudspeakers. The Galileo GALAXY network platform will be featured as well, along with important new updates to the companion Compass control software.
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Bose Professional Introduces Panaray MSA12X Modular Steerable Array Loudspeaker Bose Professional announces the introduction of its Panaray MSA12X Modular Steerable Array Loudspeaker. The self-powered Panaray MSA12X features a slim, unobtrusive acoustic design with twelve full-range 2.25-inch transducers (with 75 Hz – 14 kHz response) in a columnar line array configuration, to provide consistent audio levels with outstanding vocal intelligibility and full-range music reinforcement in acoustically challenging spaces.
The MSA12X model includes 12 internal power amplifiers (50 watts per channel; total 600-watt rated power) and onboard DSP to allow digital control and beam steering of array vertical coverage patterns. Proprietary Articulated ArrayTM configuration allows wide, 160-degree horizontal coverage. Independent level and EQ control is supported for two separate beams per array, and onboard memory stores up to 10 user-selectable presets. The MSA12X features both Dante network connectivity and line-level analog input.
The modular design allows up to three MSA12X units to be vertically arrayed to increase coverage distance and low-frequency pattern control. The slim, low-profile elegant enclosure mounts close to surfaces, blending in with the visual aesthetic of a space, and its digital control eliminates protruding pitch brackets. An integrated mounting bracket allows up to 90-degrees of pivot away from surfaces. Design, setup, and control of beam coverage is provided by Bose Professional Modeler and ControlSpace software. The MSA12X is available in either black or white finish and is paintable.
Designed for use in houses of worship, auditoriums, museums, transportation facilities, lecture halls, conference facilities and theaters, the Panaray MSA12X Modular Steerable Array Loudspeaker will be previewed during the 2017 InfoComm show and are scheduled for fall 2017 availability. To learn more about Bose Professional at InfoComm, go here. Leave a Comment
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beyerdynamic inc. Launches New TG 1000 Wireless System with Dante beyerdynamic, inc. will show a new version of the TG 1000 digital wireless system at InfoComm. This 24-bit system now has a Dante interface and can be integrated into digital audio networks based on the Audinate solution. The TG 1000 dual receiver is equipped with a Dante network interface in the form of an RJ45 connector flanked by status LEDs on the back of the 19” device (1 HU).
The beyerdynamic TG 1000 wireless system has a switching bandwidth of 319 MHz in the UHF range (470 – 789 MHz) and is integrated with an OLED display, one button navigation and Chameleon software. Up to six dual receivers can be cascaded without the need for external antenna splitters.
The total latency from transmitter to receiver is only 2.1 milliseconds. In optimal environmental conditions, the transition range can reach up to 984 feet. There is an assortment of capsules available for the TG 1000 handheld transmitter that, in addition to dynamic variants and condenser capsules, also includes the beyerdynamic TG V90w ribbon module. The TG MM1w interchangeable capsule can be used in combination with the TG 1000 handheld transmitter to calibrate public address systems in theatres, at live concerts and at festivals.
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