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Volume 6, Issue 7 — July 16, 2012
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Know When to Hold
By Joel Rollins
rAVe Columnist One of the real tricks in business is to know when to hold. When to stay with a service or product offering from a vendor, when to hold your own pricing, when to keep (or make changes in) what you offer to your clients. It is especially hard in our business, being driven by technology that changes so rapidly that printed catalogs and literature are almost impossible to maintain up to date.
Probably the most difficult leap is to make changes when a product or service is on top of the market. We have a tendency to try to ride our trick ponies just a little too long, to try to milk the market cow just one more time (and, apparently, to hold onto metaphors for just one use too many, if you're me).
There are, however, certain signs that foretell the need to break some new ground. I watch for them in my largest vendors and service suppliers, and, when I am feeling particularly honest, in me and my company.
Here are just a few.
"Whom the gods would destroy, they first make mad"
The very definition of crazy is that somebody sees a different world around himself than anybody else does. In our business, I define this as the ability to deny or discount market forces, as if we are plugging our ears and chanting "nyah, nyah, nyah, I can't hear you" as loud as we can. Compare this to salespeople who have made their living selling expensive desktop videoconferencing systems, denying that Skype is having an impact. Or staging salespeople who think that when the recession is over, public events are going back to exactly the way they used to be. The most difficult part of success is remaining objective, it seems.
"Pride goeth before a fall"
One of the most profound statements from the Old Testament, this one actually dates back a lot further than that, to the earliest Greek tragedies (and we know it is true, as the Greeks are having an economic tragedy of their own right now). Market leaders tend to become complacent and practice this one. The best example I can think of, currently, is RIM, who brought us the Blackberry (or “Crackberry”). When faced with the onslaught of the iPhone, their co-CEO actually said: "There may be 300,000 apps for the iPhone and iPad, but the only app you really need is the browser.” –Jim Balsillie, November 2010
"In the real world, Goliath always wins"
In the software world, there has been no Goliath like Microsoft. And yet, that very market dominance can lead to being blindsided by new products or new thinking, and I can think of no better example than these kinds of statements: “Right now — well, let’s take phones first. Right now we’re selling millions and millions and millions of phones a year. Apple is selling zero phones a year. In six months they’ll have the most expensive phone, by far ever in the marketplace and let’s see. You know what’s so special…?” –Steve Ballmer, January 2007
"It's a floor wax AND a dessert topping!"
Remember this from Saturday Night Live? This is the fallacy that our product or service fits all market niches, if you just look at it the right way (tilt your head, close one eye and squint). We get this way when we’ve developed a product, put a lot of time and effort into it, and try to deny market forces that ask for something else, even part of the time. You will see it in vendors that, rather than expanding their product line, try to re-define all market demands into what they already have.
"The future is NOT now."
We use this one when a competitor brings out something innovative. One of the market leaders whose various divisions have practiced this was Sony in the ‘80s and ‘90s, who always seemed to discount being behind the curve in data projection because the market was of course going to buy theirs whenever it finally became available, and led those of us in that market to say their name stood for "Soon, Only Not Yet." Despite the numbers, they seemed to believe that the market was going to swing to their product whenever they decided to finally come out with it. They were wrong.
The ancient Greeks referred to the tendency to become overconfident as “hubris.” Currently, we often refer to it as having your head in an inconvenient anatomical location. Either way, it can be an uncomfortable position to be in when the market surprises you that it has a mind of its own.
rAVe Rental [and Staging] contributor Joel R. Rollins, CTS, is general manager of Everett Hall Associates, Inc. and is well known throughout the professional AV industry for his contributions to industry training and his extensive background in AV rental, staging and installation. Joel can be reached at joelrollins@mac.com
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Clear-Com Adds New Professional Headsets Clear-Com, a company in critical voice communication systems, showed at InfoComm the latest editions to its line of professional headsets, the the CC-300 and CC-400. The CC-300 and CC-400 offer extra comfort, better performance and more flexibility for users who are constantly employing intercoms for long hours. These headsets are compatible with Clear-Com’s wide range of wired and wireless intercoms. The CC-300 and CC-400 headsets’ microphone booms can be rotated 300 degrees, allowing the microphone to be worn on the right or left side of the head. Users can also make the headsets larger or smaller by manipulating the slide adjustments on either side of the headband. In addition, the enclosed headphones have very soft padding and a slight rotation to provide a better fit. The CC-300 and CC-400 headset microphones can be turned on and off by moving the microphone boom. They also offer interchangeable cabling — both headsets come with a standard four-pin female connector, but users can easily change the cable and connector at the base of the headset by using a Phillips screwdriver in order to accommodate different connector types.
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MIDAS Launches PRO1 Portable Digital Console At InfoComm, MIDAS launched the latest addition to its PRO Series of digital consoles, the Midas PRO1 live audio system. Featuring an all-new, lightweight aluminium frame, PRO1 is a stand-alone, compact, portable MIDAS digital console. Compatible with the complete range of MIDAS Digital consoles, the PRO1 allows existing show files to be loaded and worked on straight away. Notable PRO1 features include: - Lightweight, all-alloy frame
- 24 mic/line inputs with MIDAS mic preamps
- 48 simultaneous input processing channels
- 24 analogue outputs (including 2 stereo local monitor outputs)
- Three AES3 outputs
- Two AES3 inputs
- 27 sample-synchronous, phase-coherent mix busses
- Six multi-channel FX engines
- Up to 28 KLARK TEKNIK DN370 31-band Graphic EQs
- Full-colour 15” daylight-viewable display screen
- Eight VCA (Variable Control Association) groups
- Six POPulation groups
- 96 kHz 40-bit floating-point processing throughout
- Three AES50 ports for connection to external AES50 devices
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Share Article Back to Top Sennheiser's K-array Intros New Loudspeaker Solutions at InfoComm Sennheiser announced several new product lines from its distributed brand K-array at InfoComm. Manufactured and designed in Italy, the new K-array loudspeaker solutions released include the Python and KMT Series for professional and install applications, the KB1R portable speaker solution and new Redline and Kobra Series models. Redline Series The new Redline Series models — KR102, KR202 and KR402 – feature updates to both the mid-hi line-array elements and powered subwoofers. The system now offers variable beam functionality and improved hardware and accessories, according to the company. Each system features two channels of class D amplification housed in the subwoofer. The rear panel provides input for a balanced line signal, balanced microphone signal with phantom power and digital signals in AES/EBU protocol. An integrated touch screen provides intuitive managing and editing of powerful DSP controlling. Each system includes the following: - KR102 ($7,999.95) – Includes a pair of KMT12 (12”) subs each with 2 channels of 1,000 W matched to a KK 102 with (16) 2” neodymium speaker elements.
- KR202 ($11,499.95) – Includes a pair of KMT18 (18”) subs each with 2 channels of 1,000 W matched to two KK102 mid-high arrays. A coupling assembly allows the speakers to be mounted side-by-side for narrow to wide coverage. (Shipping fall 2012)
- KR402 ($15,499.95)- Includes a pair of KMT21 (21”) subs each with 2 channels of 2,000 W matched to two KP102 mid-high arrays. A coupling assembly allows the speakers to be mounted side-by-side for narrow to wide coverage.
Kobra Series The new K-array Kobra Series now offer variable beam functionality with 2-inch drivers housed in a stainless steel chassis. The 50-centimeter KK52 ($1,249.95) and 100-centimeter KK102 ($2,229.95) are compatible with a variety of rigging accessories for vertical and horizontal line-array configurations for both temporary and permananet installations. Installers can also integrate one of the Redline series powered subwoofers (KMT12, KMT18, KMT21), or KA series amplifiers, with specific presets for the KK52 or KK102. Both systems are available in black or white. Pyton Series The all new K-array Python Series features 3-inch drivers with variable beam functionality housed in a stainless steel chassis. The 50-centimeter KP52 ($1,499.95) and 100-centimeter KP102 ($2,599.95) provide excellent vocal intelligibility and response down to 150 Hz. Both are compatible with K-array KA series installed amplifiers and KMT series subwoofers. They are available in black or white. K-array KMT Subwoofer Series The new KMT multi-task subwoofer series features class D amplifiers, with a dedicated amplifying channel that supports varying speaker configurations, including single mid-high modules (K-array Kobra and Python series), multiple line arrays or the passive version of an additional bass module. The rear panel provides input for a balanced line signal, a balanced microphone signal with phantom power, digital signals in AES/EBU protocol and on an XLR for ease of cabling. An integrated touch screen provides intuitive managing and editing of powerful DSP controlling. The line comprises the following: - KMT12 ($2,399.95)- Redline series "multi-task" powered 12” subwoofer with integrated DSP, touch panel and powered output (also to be available as a passive version in fall 2012, $1,299.95)
- KMT18($2,699.95) – Redline series "multi-task" powered 18” subwoofer with integrated DSP, touch panel and powered output (also to be available as a passive version, $1,599.95, both expected to ship fall 2012)
- KMT21($4,199.95) – Redline series "multi-task" powered 21” subwoofer with integrated DSP, touch panel and powered output (also to be available as a passive version in fall 2012, $2,449.95)
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PESA Launches Digital Media Switcher At InfoComm, PESA launched the C58 Digital Media System, which is designed for recording, playback, and distribution of critical live video and audio content. Meant for for court recording systems, medical forensic storage, video teleconferencing and training rooms and security and surveillance facilities, the C58-DMS combines up to eight channels of audio and five channels of video, regardless of format, and delivers synchronized live and on-demand playback.
With five independent video inputs and six outputs, the C58-DMS can simultaneously stream up to six video output streams over IP, including one for each individually selected source and a quad view composed of four selected sources. The system can capture H.264 IP camera streams, SDI video up to 720p/60 resolution and NTSC analog video simultaneously, and it can synchronize discrete audio inputs to discrete video and IP video inputs. It also accepts up to eight discrete line level XLR audio inputs. The C58-DMS digital media processing system actually combines live footage with video playback and/or computer-based content, such as PowerPoint slides. When it captures and streams multiple HD sources simultaneously, the streams remain associated and synchronized during the particular event. Intuitive computer software makes it easy to set up multi-channel sessions, initiate simultaneous streaming and recording and automatically make content available for on-demand viewing.
Here are all the specs: http://www.pesa.com/index.php?option=com_content&view=article&id=424&Itemid=328
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Share Article Back to Top Christie Adds to Mirage M and J Series Projector Lines Christie has expanded its product offerings for the visualization markets with the addition of its next-generation Mirage M Series high performance digital projectors. The M Series joins the latest Mirage J Series, adding three new 3D-capable products to the dual-lamp platform for a total of 21 projectors in the Mirage Series lineup. Both the Mirage M and Mirage J Series projector platforms now come with an Intelligent Lens System (ILS) that features auto lens calibration and an all new version "Christie Twist," which the company says provides enhanced built-in geometric warping with sharper imagery, and advanced edge-blending capabilities that reduce or eliminate all electronic blending artifacts.
Christie Mirage M Series
The three new models in the Mirage M series are: Mirage DS+14K-M, Mirage HD14K-M and Mirage WU14K-M. The Mirage M series projectors consist of either SXGA+, HD or WUXGA resolution and now feature from 6,000 up to 12,500 lumens. All three projectors will start shipping in July.
Christie Mirage J Series
The Christie Mirage J Series includes xenon illumination, capability for stereoscopic digital projection in SXGA+ (4:3), HD (16:9) and WUXGA (16:10) resolutions.
The Mirage M and J Series projectors come out of the box ready to produce active stereo projection from four different types of 3D source inputs:
- Up to 120 Hz native input over a single dual-link DVI-D cable or VGA cable
- A true 120 Hz image from two 60 Hz frame locked sources for compatibility with most passive stereo input sources
- Frame doubled content from 48-60 Hz for maximum system compatibility with single-link DVI-D
- Analog and full HDCP support of multiple mode 3D sources from consumer devices including triple flash at 144 Hz
Both the Mirage M and J series offer a host of options including HD-SDI and other input cards and can also project polarized passive stereo output with an optional filter.
Full specs on all of them are here: http://www.christiedigital.com/en-us/3D/products-and-solutions/projectors/Pages/default.aspx
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Digital Projection Upgrades Lighting Pro Series Digital Projection International (DPI) recently upgraded upgraded its LIGHTNING Series, announcing new features for the line at InfoComm. The flagship series of DPI's three-chip product lineup, the LIGHTNING Pro Series, has been outfitted with new optical enhancements, including:Full 3D connectivity to a diverse range of high frame rate and HDMI 1.4a sources Advanced warp and blend with minimal video latency 3G-SDI inputs, standard FastFrame motion blur reduction Intelligent lens mount Hyper-cooled lamp modules with super efficient glass reflectors Availability in 1080p, WUXGA and SX+, with brightness specs from 20,000 to 30,000 lumens And something called RapidRig, which DPI says provides easy projector flying and stacking, along with independent pitch roll and yaw adjustments per projector
Get more details here: http://www.digitalprojection.com/BrowseProjectors/SeriesList/ProjectorList/tabid/86/SeriesId/5/MarketTypeId/10/Default.aspx
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Share Article Back to Top L-Acoustics Debuts Compact Coax-Based Enclosure The newest and smallest member of L-ACOUSTICS' XT coaxial series is the 5XT, which has a two-way passive design with a nominal impedance of 16 ohms. It contains a one-inch diaphragm compression driver coaxially loaded by a five-inch low-mid frequency transducer mounted in a bass-reflex tuned enclosure.
L-Acoustics says the 5XT cabinet is made of premium-grade Baltic birch plywood, which the company claims ensures maximum acoustical and mechanical integrity. A 3/8-inch microphone stand insert and two M8 inserts for the ETR5 flying bracket are integrated into the cabinet. The 5XT enclosure operates over a frequency range of 90 Hz to 20 kHz.
The coaxial transducer arrangement produces a 100-degree axi-symmetric directivity output along with a smooth tonal response free of secondary lobes over the entire frequency range.
It's so new it's not on L-Acoustics' website yet. When it is, it will be here: http://www.l-acoustics.com/products-xt-range-64.html
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Share Article Back to Top PreSonos Debuts 600-Watt Tube Pre-Amp PreSonus launched the ADL 700 last week — a Class A tube preamplifier with a FET-based compressor and a four-band semi-parametric equalizer that has separate balanced XLR mic, balanced XLR line, ¼" TS instrument inputs and a single balanced XLR output.
Features include an input source select switch with variable mic-input impedance that enables you to choose among signal sources and patches the selected input through the signal chain, selectable mic-input impedances: 1500Ω, 900Ω, 300Ω, and 150Ω, plus 48-Volt phantom power, polarity reverse and a -20 dB pad. In addition, it provides variable mic-input gain, employing an 8-position rotary switch that provides 35 dB of gain in 5 dB increments and a trim potentiometer (±30 dB) that allows you to make fine adjustments to the final preamp stage of the ADL 700 inputs.
PreSonos specifies a -12 dB/octave high-pass filter with a frequency threshold that can be set at 20 Hz, 40 Hz, 80 Hz or 200 Hz, or can be turned off completely.
Its list price is $1,999. Here are all the specs: http://www.presonus.com/
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Share Article Back to Top Rental and Staging Network Sets Standards The Rental and Staging Network (RSN), a network of independent rental and staging companies, has announced an initiative that sets a code of recommended professional standards and business ethics for its members and the global rental and staging sector overall. With this announcement, the organization continues to further elevate its role as advancing rental and staging industry best practices.
The guiding principle of the standards is based on the Golden Rule of “do unto others as they would do unto you.” The standards state that rental and staging companies and their employees should conduct business with honesty, fairness, responsibility, integrity, and sound business judgment, regardless of where they operate around the world.
RSN is promulgating these standards so organizations and events planners worldwide can benefit from contracting with rental and staging companies that adhere to a true professional code of ethics and RSN will enforce the code among its members.
To learn more about RSN, click here: http://www.rentalandstaging.net
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Share Article Back to Top For all you REGULAR readers of rAVe Rental [and Staging] 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% opinionated. We not only report the news and new product stories of the rental and staging industry, but we stuff the articles full of our opinions — in this case, it’s industry-veteran Joel Rollins' 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).
Don’t like us, then go away — unsubscribe! Just use the link below.
To send me feedback, don't reply to this newsletter — instead, write directly to me at gary@ravepubs.com or for editorial ideas: Editor-in-Chief Sara Abrons at sara@ravepubs.com
rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition. rAVe HomeAV Edition, co-published with CEDIA, launched in February, 2004. rAVe Rental [and Staging] launched in November 2007. rAVe Ed [Education] launched in May 2008. rAVe DS [Digital Signage] was launched in January of 2009.
To read more about my background, our team, and what we do, go to https://www.ravepubs.com Back to Top Copyright 2012 – rAVe [Publications] – All rights reserved – All rights reserved. For reprint policies, contact rAVe [Publications], 210 Old Barn Ln., Chapel Hill, NC 27517 – (919) 969-7501. Email: sara@ravepubs.com
rAVe Rental [and Staging] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors.
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