Volume 6, Issue 8 — August 22, 2017
|Designing Audio, Video and Lighting Systems for the Church User’s Experience|
By Anthony Coppedge
House of Worship Technology Consultant
The reaction from the senior pastor — interrupted mid-sentence by the unmistakable, squealing shriek of audio feedback — was immediate. As he stood who staring up from the stage below to where I stood behind the audio console above, his backlash was swift and sharp. An audible sigh, amplified for all 2,000 seats to hear, was followed by words that both scalded and pierced my soul: “What are you doing up there?”
Holding one part of the headphones to pull it up to my ear to solo a channel, I had inadvertently been standing on the headset cable and felt the headphones rip away from my fingers by the tension of the cable. In a fraction of a second, the headset recoiled and flew toward the audio console and landed in the one place that spelled disaster as it pushed the master faders all the way up to their maximum output.
In an instant, the only open input — the pastor’s mic — was maxed out, which caused a feedback loop and had church attendees covering their ears. The whole terrible sequence of cascading events took less than two seconds before I recovered and pulled the faders down, but in those two moments, a distrust instantly formed in my pastor; I would not mix again during the remaining few months of my tenure.
Experiencing the User Experience
No amount of technology could have prevented that accident. The lesson to be taken from that fateful day, however, is not about mixing acumen but that of the user experience, something at a ripe age of 22 I had limited time to develop. Training could have easily prevented me from making the mistake, but I was unaware of the concept of aligning my workflow to create a seamless user experience for the church attendees. Likewise, I had not been given enough training in how to build a user experience for myself as I stood behind the 48-channel audio console.
There’s power in experiences: Some, like mine, are painful while others are enjoyable and rewarding. Though the basic science of mixing audio for a live venue is similar across vertical markets, it is helpful to understand what it is like to sit in the hot seat of the church technical artist. Indeed, for any manufacturer selling their products and services into the House of Worship (HoW) market, there is value in deeply understanding their unique use cases so that the product’s value proposition can be aligned by marketing to the church buyer. This alignment gives the church buyer helpful resources, recommended settings or even downloadable firmware to utilize the gear in a church environment.
Most marketing to the HoW market pitches the idea of delivering quality experiences to the congregant in a generic way. What church buyers want is a confirmation that your products and services will meet both the technical needs and the church leadership’s felt needs. That’s not generic; that’s specific. Considering that the technical artists are only influencers in the purchasing process, it is helpful to have a two-pronged approach to marketing products; one that is aimed at the technical end user and one that is aimed at the non-technical church person with purchasing authority. Focusing on the outcomes becomes far more important than bullet point lists of technical specifications, as it aligns the product’s capabilities with the church’s desired expectations.
Both manufacturers and system integrators serving the HoW market would do well to solicit critical feedback from existing church clients on the user experience for technical artists and their volunteers.
In this way, new versions of the product (and product marketing) can address the common sticking points of the market with more intuitively designed firmware updates, graphical user interfaces (GUIs), and support resources (training seminars, videos, product release notes).
Vertical Markets Need Vertical Workflows
One of the key selling points for integrated systems is in the user workflow. Advances in touch-screen controls for mixing consoles, video switchers and lighting controllers has allowed for vastly streamlined workflows. What works well for one vertical market application may not work nearly as well for the average church, so it becomes a key selling (and operational) point to provide customized workflows and editable/shareable user presets not only for individual controls but for the overall user experience.
Years ago, I worked with NewTek on a new product that would later win a technical Emmy award. Meeting with their leadership team of engineers, I gave them the ideas for creating a unique GUI for church users of the new product, a portable video switcher meant for portable church applications, on-site wedding videographers, amateur sports leagues and the like. One of my key recommendations, which they employed, was to change the labeling of video tape players and recorders as “VTR” to “DVR.” The layperson would never know that VTR was common parlance in the professional video world for Video Tape Recorder, but they would all be familiar with TiVo (the hot digital video recorder at the time). Other changes were to relabel “Preview” and “Program” video views with “Next” and “Live,” again keeping with the layman operator’s level of experience. After a lot of little changes to the naming conventions, button orientation and menu layouts, the end product was a terrific success and later would win awards and go on to create an entirely new product line for the company.
Similarly, I remember attending a demonstration of a new type of lighting console at a prominent mega church in the Dallas area. The new console used non-linear video editing control and layout functions to map out lighting grids and vastly improve the automation of moving head fixtures. I was the only non-lighting person in attendance, so when the demo was over and the product rep asked for volunteers and none of the lighting folks stepped forward, I jumped in and began setting up contagion effects for the eight moving light fixtures. Much to the surprise of the lighting pros, I quickly worked with the product rep to set up an impressive scene using controls that were familiar to my world of video post-production. I got the user experience because it was something very similar to what I knew.
What are the easiest ways for your firm to align the user experience of your technical systems and apply them specifically to the church market? While some of you would benefit from rethinking entire product lines in terms of creating GUIs, demos and training resources for the HoW market, it is likely that you can easily start by talking with your existing church clients and gaining helpful insight on how to make their existing systems work better for them.
Designing audio, video and lighting systems for the church user’s experience may be the single best way to increase sales into the House of Worship market.
What say you? Share your opinions and experiences in the comments below.Leave a Comment
Back to Top
Click above to learn more
|Hiring Sales for Church Market AV|
By Anthony Coppedge
House of Worship Technology Consultant
I’ll never forget standing behind the best salesperson in the online sales department as he watched the timer tick down from three minutes on his monitor during a phone call with a prospect. The VP of sales at a large systems integration firm had stopped my tour of the firm’s headquarters within the sea of cubicles for the company’s online sales team area. “Listen to this guy close a deal,” the VP said to me as we peered over the shoulder of the star salesperson, only hearing his half of the phone conversation, “in under three minutes.” Sure enough, as the timer on the computer monitor trickled down the seconds, the salesperson answered the soon-to-be customer’s query and went for the closing question of the sale. He had done it: In under three minutes from when the prospect had called in after visiting the online website reviewing video projectors, the salesperson had more than enough information on his screen of the prospects history on their website to deftly answer questions succinctly and go for the ask — and the sale of several thousand dollars was done.
At the time, I was the regional sales manager for the integration arm of the company’s Texas offices. My first visit to HQ had included this memorable visit to learn from and about the relatively new online sales staff. I was impressed with the speed of the sale I had just witnessed, but also felt slightly dirty that it had happened so fast and with such ruthless efficiency. Then again, this was the beginning of the decade of box sales, where technology was viewed as a mere commodity to be moved from inventory to shipping as quickly as possible. It was also before the days of Amazon and the online retailer’s dominant presence, so the lesson for me was to identify the difference between a quick sale and the value proposition of a systems integration project, over which I was responsible for tens of millions of dollars in annual revenue.
Though much has changed since those early days of sales that started online and ended in a phone call to the modern click-and-buy era of Amazon, the need for qualified salespeople with a knack for closing sales is ever in demand. Over the decades, I’ve had the privilege of working with some truly remarkable sales talent in a variety of market segments. The one nearest to my heart is, obviously, the House of Worship (HoW) market, which is why Gary Kayye has had me sharing my insights to the manufacturers and systems integrators who want to succeed in the church market AV space.
There are several common characteristics I’ve found to be solid traits of consistently successful church market salespeople, and I’ve shared them below to help your firm identify the talent you’ll need to be successful in the HoW market.
They Know How Different Churches Operate
I once took on a sales management role that included some pre-existing salespeople in vertical markets. One of the people I inherited was a guy who was a devout Catholic. He knew the Catholic church inside and out, but the Catholic church doesn’t buy even a tiny fraction of the technology that Protestant churches do, so his sales were slow and with lower margins than his peers selling into other verticals. The firm I worked for thought this was ‘just the way it was’ with church market sales, so they never bothered to try and improve their HoW sales business. I trained the guy on the various differences and nuances of churches he didn’t know much about and it helped him to improve his win percentage, but not his margins. When I reviewed his sales reports, he simply thought that churches wouldn’t pay more than cost plus seven percent, so he simply quoted a price he thought they would buy at. They did buy, but the company wasn’t going to be profitable if the margins were kept so low.
Over time, I taught him and (as well as hired new church market-savvy sales people) that the key to closing the deal wasn’t the price point, but the value for the church. Training my sales team to understand the return on investment — what I refer to as return on ministry for churches — could be easily calculated by dividing the total cost against the number of services per year, per venue to help the church arrive at a ‘cost-per-service’ value.
They’ve Been on Staff at a Church
It may seem obvious, but hiring sales people who not only attend church, but have also worked for churches on staff is one of the best ways to set your HoW sales up for success. This applies both at the sales level for systems integrators and for the manufacturer’s reps who specialize in the church market.
I’ve found that, on average, the church technical director role is staffed by young leaders in their late twenties to mid-thirties. For most churches, there’s simply no place left to go upward in the organization for someone in this role, so they end up leaving to pursue another career path that offers future opportunity and income potential. More than a few of these guys and gals end up working for the very systems integrators they hired when they were on a church staff.
Knowing the technology is less than half of the battle when it comes to church market sales; it’s really about knowing the subtle language nuances between and among denominations (or non-denominational), when to upsell based on senior leadership vision and how to close the deal with integrity.
Just about anyone with a bent for audio, video and lighting technology can sell gear. But it takes someone who knows and cares about the local church to make a truly stellar salesperson in the House of Worship market. Now I’m not advocating raiding your church clients with out-of-the-blue job offers for their tech arts staff as that would be penny wise and pound foolish. However, it’s completely safe and smart to build such strong relationships with key church clients that your firm becomes a realistic option for those technical artists looking for the next step in their career path.
If you want to sell more into churches, having a native influencer speaking their language and embracing their culture is a savvy business move.Leave a Comment
Back to Top
|Mackie Thump Series Gets Redesign and Expanded LineupMackie just launched the redesigned Thump SeriesPowered Loudspeakers – Thump12A, Thump15A, Thump12BST, Thump15BST and Thump18S. Mackie says the new 13000W Thump Series delivers more power and reliability and add features like built-in mixers, speaker modes and more. Totally new for the Thump Series are two Thump Boosted models, the 12″ Thump12BST and 15″ Thump15BST.
The Thump Series is equipped with custom-designed, high-output woofers and 1.4″ titanium dome compression drivers plus an ultra-efficient amplifier design with Dynamic Bass Response technology and next-generation system protection. So when you need maximum performance and chest-pounding bass, Thump loudspeakers will always have the power on tap that you need.
The 1300W Thump12A and Thump15A feature a built-in two-channel mixer equipped with Vita preamps and Wide-Z technology that can easily handle mics, instruments and line level signals without any additional equipment or adjustments. Plus, with four application-specific speaker modes, you can optimize the system for your needs at the push of a button.
The Thump12BST and Thump15BST models include wireless control, linking, and streaming. They include a built-in 3-channel digital mixer that features two digitally controlled Vita+ preamps with Wide-Z technology, three-band EQ per channel with variable high-pass filters on Vita+ inputs, and six speaker modes. For convenient control and visibility, the back panel features a crystal clear, high-resolution color display showing channel metering, levels, EQ, and more.
With Thump Boosted you can pair your Bluetooth enabled device to a Thump Boosted speaker and stream music directly to your Thump system. In addition to back panel control, Thump Boosted gives you complete wireless control over everything using the Thump Connect app available for iOS and Android devices. Quickly access levels, EQ, meters, and configuration.
Thump Boosted loudspeakers can wirelessly link directly to each other at up to 100 meters for music streaming applications plus give you wireless control over the entire system via the Thump Connect app.
The Mackie Thump Series includes the 12″ Thump12A, 15″ Thump15A, 12″ Thump12BST, 15″ Thump15BST, and the 18″ Thump18S and will be available beginning in September. Sold individually, the US MSRP pricing is $419.99 for the Thump12A, $489.99 for the Thump15A, $559.99 for the Thump12BST, $699.99 for the Thump15BST, and $879.99 for the Thump18S.
Here are all the details.Leave a Comment
Back to Top
Click above to learn more
|DVEO Launches 4K Ultra HD H.265/HEVC Live Video Decoder & Server for Video Walls, Digital Signage & Production|
DVEO will demo its new H.265/HEVC 4K Ultra HD video player this week. The Mavio 4K IP/IP: HEVC Live Out can be used as a single channel live HEVC 4K Ultra HD (3840×2160 resolution) video player or a 4 channel Full HD (1920×1080 RESOLUTION) video player. It ingests HD or H.265 based 4K compressed video files on to its local hard drive via Gigabit Ethernet or a USB port. Output for UHD is delivered via the built-in HDMI port, with multiple output frame rates up to 30 fps.
The Mavio features a playlist scheduler and can be configured for ‘looping’ playback” so it’s designed for 4K HEVC video source for video walls, museums, sports arenas and concert venues, and 4K Ultra HD broadcast services.
The Linux based system ships with a one terabyte SSD. Systems with additional SSD or HDD storage or an optional RAID are available. Features include:
- Outputs: 4K Ultra HD (2160p) or four independent channels of Full HD (up to 1080p) on HDMI
- Supports multiple output frame rates up to 30 fps
- File to IP – playlist play out with schedules
- 10 bit output precision supports high dynamic range imaging (HDR)
- Real time decode and play back from compressed video files
- Up to 16 channels of embedded PCM or pre-compressed audio output
- Supports Dolby Digital and DTS passthrough
- Multi-viewer mode that combines 4 HD video as a single 4K Ultra HD output
- NewTek NDI enabled
- Convenient web browser user interface with proxy video display for monitoring during playback
- Playlist with looping option for continuous playback of multiple hours of Full HD/Ultra HD Video programs
- Includes playlist scheduler
- Vertical Ancillary Data output
- Test Pattern Generation
- Supports closed captioning
- Dual Ethernet port for content upload and video server management
- One gig Ethernet Interface
Here are the detailed specs.Leave a Comment
Back to Top
|Point Source Audio Now Shipping New Microphones with Built-in Backup|
Point Source Audio (PSA) has announced it is now shipping the dual element microphones with built-in backup. The CO2-8WL Dual Lavalier Microphone and the EO-8WR Dual Earmount Microphone are patent pending and claim to be the world’s first fully redundant microphones with dual factory-matched elements.
The dual microphones incorporate matched frequency and sensitivity elements in a single housing to ensure consistent audio quality from either source. Two separate wire paths and discrete continuous connectors with no solder points help eliminate the possibility of interference and simplify cable management.
With a list price of $825 for the CO2-8WL Dual Lavalier and $926 for the EO-8WR Dual Earmount, the mics have omnidirectional pickup patterns, and offer 136 dB max SPL and IP 57 waterproof rating. The dual matched elements lead to hardwired terminations for use with Shure, Sennheiser and Lectrosonics wireless transmitters. Available in beige, brown or black, the CO2-8WL and EO-8WR also accept theatrical color markings for camouflaging.
The 6-foot mic cable splits approximately nine inches above connection to the body-pack to allow ample separation between the two transmitters. A slim line SLIDER clip, traditional alligator clip, and a color-matched windscreen come standard.
The CO2-8WL and EO-8WR specs are here.Leave a Comment
Back to Top
|Ferrofish A32 Dante AD/DA Converter Ships|
Ferrofish announced that its new A32 Dante interface is now shipping. With a 368-channel capacity that supports AD/DA Dante, MADI and ADAT formats, the A32 Dante is designed for broadcast, live and installed sound environments.
With its Dante networking capability and support for MADI and ADAT formats, the Ferrofish A32 Dante works in professional broadcast environments, complex AV installations and live sound productions.
The A32 Dante supports 64 channels of MADI I/O, 32 channels of ADAT optical I/O and 32 channels of analog I/O. Any ADAT optical connector can be used alternatively as an S/PDIF or AES/EBU interface. With its AD/DA capacity, the A32 Dante is able to convert audio in groups of eight among any connected device. Further, the unit provides four TFT screens that permit complete control of levels and adjustments on the equipment.
The A32 Dante uses 24-bit, 192 kHz high-quality converters with analog gain switches. The gain of each channel can be separately adjusted in 0.5 dB steps, and the standard levels are switches in the analog domain.
The Ferrofish A32 Dante is shipping and costs $3,799. All the details are here.Leave a Comment
Back to Top
|GLP JDC1 Hybrid LED Strobe Includes Pixel MappingGLP’s new JDC1 hybrid LED strobe creates a new class of strobe that goes way beyond the standard definition of a hybrid. Fundamentally, the JDC1 has been designed in three sections, which can be controlled independently or as a complete synchronized unit.
The fixture itself contains a traditional single tube element with an incredible clear, bright, white output, derived from 216 white LEDs, and then combines that with a surrounding, format-filling full face of RGB LED power, utilizing 1,320 high quality LEDs. Whether running independently, or together these elements offer the brightest output unit its class with retina burning output.
The two RGB plates can be divided into six separate ‘pixel’ sections on each plate and then operated with full pixel mapping control. This alone creates stunning effects, whilst the LED tube can pop through with high intensity flashes.
And, the JDC1 also allows pixel mapping of the LED tube, which is broken down into 12 individually addressable sections. This enables the tube to create incredible motion effects, either when forward facing or through shadow play behind a performer. Whilst the tube is operated in this mode, the RGB plates can give a solid background color to strengthen the effect.
Finally, along with working as a strobe light, both the tube and the RGB plates can be run continuously for high output blinder and wash light effects, which never reduce output or have thermal cut-out. With their wide beam angle, this allows for wide coverage of backdrops, stage areas or audience sections. And, JDC1 also offers dynamic movement, with a 16-bit, 185° tilt range, allowing you to place effects exactly where and when you want them to be — to derive the most possible power and impact.
Here are all the detailed specs.Leave a Comment
Back to Top
Click above to learn more
|TASCAM’s US-1×2 Interface Delivers Pro-Quality Mobile RecordingThe newest member of TASCAM‘s U.S. series of USB 2.0 recording interfaces, the US-1×2 delivers high-quality, 24-bit, 96 kHz desktop recording at an amazingly low price point. An excellent choice for singer/songwriters, podcasters and small home studios, the compact US-1×2 interface is highly portable and can be USB bus-powered for mobile operation with a Mac or Windows laptop. A secondary 5 VDC mini-USB power input is provided for iOS devices and for standalone operation in practice sessions.
The US-1×2 can record from virtually any source thanks to its selection of inputs. The unit’s XLR microphone input employs TASCAM’s high-end Ultra-HDDA mic preamp, which uses discrete components and features an impressive -125 dBu EIN rating and 101 dB signal-to-noise ratio, meaning the noise level is so low it’s almost inaudible. The Ultra-HDDA preamp’s 57 dB gain range and the interface’s switchable +48V phantom power make the US-1×2 a great choice for use with almost any type of microphone, including dynamic, condenser or ribbon mics.
Input 2 can be switched between front- and rear-panel jacks. The front panel sports a switchable, 1/4-inch line/instrument input that enables recording a mono line-level signal (say, from a synth or mixer) or capturing a guitar or electric bass without needing a direct box. On the unit’s rear, a pair of RCA line inputs admit signals from stereo consumer audio devices, such as tape decks and media players.
Stereo line-level outputs are provided on RCA connectors, and the line outputs and 1/4-inch stereo headphone output have independent output level controls. The headphone out is plenty loud, thanks to an 18 mW/channel amplifier. Front-panel LEDs indicate signal present, peak/clip, phantom power active, and USB active.
Zero-latency direct monitoring can be enabled with a rear-panel switch or in the included Settings Panel software for Mac and Windows. The Settings Panel also accesses the stereo/mono input monitor, input mute, and audio source output.
As with other US-series interfaces, the US-1×2 boasts an attractive industrial design. The new interface is housed in a black powder-coated metal chassis with TASCAM’s unique, detachable Bio-Cell side panels, which angle the interface from the desktop for easier access.
The US-1×2 is class compliant for macOS and is compatible with Windows PCs using an easily installed ASIO driver. You also can record and play back with iOS devices such as an iPhone or iPad, using an Apple Camera Connection Kit. Steinberg’s Cubase LE DAW for macOS and Windows and Cubasis LE DAW for iOS are included free so you can start recording immediately.
The US-1×2 USB audio interface is shipping for $99. Here are the details.Leave a Comment
Back to Top
|New Quad Wireless Receiver from AmpliVox Controls Up to Four MicrophonesAmpliVox Sound Systems has introduced a new microphone receiver system to manage up to four wireless microphones from a rack-sized unit.
The S9190 Quad Wireless Microphone Receiver System can be rack mounted for permanent applications or the used for rental or traveling applications. The 2RU roto-molded chassis houses four independent receivers that can be used simultaneously, each with 16 UHF channels of selectivity, audio and RF indicators, volume control and a balanced XLR connector with summed output.
The S9190 systems pairs with AmpliVox’s S1695 Wireless Handheld Mic or S1693 Wireless Headset and Lapel Mic Kits. The Quad Receiver can also be paired with the AmpliVox SW915 Digital Audio Travel Partner PA to connect up to seven wireless mics at once.
The receiver offers a range of 300 feet and is aimed at schools, universities, restaurants, bars, hotel conference rooms, convention halls, corporate boardrooms, churches and more.
Here are the details.Leave a Comment
Back to Top
|PreSonus Ships StudioLive 24 Series III Digital Console/RecorderPreSonus’ new StudioLive 24 digital console/recorders are now shipping. Like all Series III consoles, StudioLive 24 features touch-sensitive, motorized faders, recallable XMAX Class A preamps, and the full 32-channel mix DSP under the hood.
With the StudioLive Series III mixers you can now do complete multitrack recording without a computer. PreSonus Capture multitrack recording software with virtual soundcheck is installed directly into the consoles, enabling you to record up to 34 tracks to the onboard SD recorder. When finished recording, open your Capture session in Studio One for Mac and Windows (included), and the entire mix scene will transfer to your Studio One session, including fader levels and Fat Channel settings. In addition, user layers for the channel faders let you place any channel, DCA master or bus fader anywhere you want. You can customize your Fat Channel layout, putting the parameters you care about most right at your fingertips, and there are several workflow options to personalize your mixing experience.
Scenes can also be customized, including a Scene Safe feature that prevents a scene change from altering the settings on designated “safe” channels. Similarly, Fat Channel presets have, for practical purposes, become like scenes for individual channels, not only saving input and Fat Channel settings but also aux send and bus assignments. Of course you can also use preset filters to choose what you want to recall.
In addition to 4 fixed subgroups, StudioLive Series III consoles offer 16 FlexMixes that can be individually designated as aux, subgroup, or matrix mixes, for a total of 20 mix buses, not counting the main mix, effects mixes and solo buses. Twenty-four DCAs enable easy, flexible control of groups of channels.
An AVB Ethernet connection enables you to network compatible computers and stream up to 55 channels of audio to and from a Mac or Windows PC. (AVB networked solutions, including stage boxes, personal monitor mixers, and increased third-party AVB interoperability, are coming later in 2017.) You also get 40×40 recording via USB 2.0, giving you a choice of computer recording methods. A separate 1 Gb Ethernet port can connect to a wireless router or directly to a computer for remote control of virtually all features via a wired or wireless connection.
PreSonus StudioLive Series III mixers are integrated with an entire suite of software. Mix wirelessly or over a wired network from anywhere using free UC Surface touch-control software for Mac, Windows, Android and iPad. Completely automate virtual soundchecks and record shows with Capture for Mac and Windows (included) — or record with Studio One (included) or with any software that supports ASIO or Core Audio. Musicians can control their monitor mixes onstage with free QMix-UC for iPhone, iPod touch and Android devices.
The StudioLive 32 comes with Studio One Professional, while the StudioLive 16 and StudioLive 24 come with Studio One Artist. With either version of this easy-to-use DAW, you can remote control any StudioLive Series III mixer’s recallable XMAX preamps and Fat Channel processing for low-latency recording with effects. To further enhance your productions, you also get the Studio Magic Plug-in Suitefor Mac and Windows, which includes seven popular plug-ins in VST, AU and AAX formats.
All StudioLive Series III models are available now: StudioLive 32, $2,999.95; StudioLive 24, $2,499.95; and StudioLive 16, $1,999.95. Here are the details.Leave a Comment
Back to Top
|FOR-A Ships Newest in Line of HANABI Video Switchers, the HVS-490 HD/4K-UHD|
FOR-A’s is now shipping the latest solution in its line of HANABI video switchers, the HVS-490 HD/4K-UHD unit, originally introduced this year a NAB. Offering an extensive feature set in a compact unit, the new HVS-490 production switcher offers 4K-UHD and 3G capabilities, and is designed for use in any live environment, including mobile shoots, events and in-house corporate productions.
Thanks to its compact size, the affordable HVS-490 is ideal for mobile production or live event venues where space is limited but production quality is important. Event memory and macro functions make it easy to set the switcher up quickly for live performances. With integrated frame synchronizers and multi viewers, the HVS-490 reduces the amount of equipment required. Using multiple control panels, the system enables several operators to work on separate tasks. With use of optional input and output expansion cards, the HVS-490 supports 40 inputs/18 outputs, 36 inputs/20 outputs or 32 inputs/22 outputs, including two-channel HDMI outputs. In 4K-UHD, it allows 10 inputs/six outputs, nine inputs/six outputs or eight inputs/seven outputs. It also has 16 channels of 2.5 DVE as standard and can be optionally expanded to a maximum of 32 channels.
Building on the success of features offered in other units in the HANABI series, including the HVS-2000 and HVS-390HS, the HVS-490 includes MELite technology, eliminating the need for multiple switchers in a multi-monitor staging scenario, as well as FLEXaKEY, which allows a traditional AUX bus to transform into a functional Mix Effects with cuts, mix, wipes, keys and DVE including full preview. MELite extends the switcher’s 2 M/Es to 6 M/E performannce (in 4K-UHD, HVS-490 has 1 M/E + 1 MELite with optional HVS 49IO card) and is the building block for more easy-to-use features of the HVS-490, such as upstream and downstream transition effects.
FOR-A is offering the new HVS-490 switcher with two types of 2 M/E control panels: the HVS-492OU, which features a compact panel that has 18 buttons and the HVS-492WOU, which features a wide panel that includes 22 buttons.
All the specs are here.Leave a Comment
Back to Top
|Delvcam Intros Eight LCD 1RU Rack Monitor for 3G-SDIDelvcam just unveiled the new DELV-8LCD-SDI 1RU rack mounted monitor panel featuring eight 2-inch displays, each with one 3G-SDI input and one 3G-SDI output and multiple functions. |
With functions such as equalization and reclocking as well as on-screen audio meters, timecodes and UMDs, this eight LCD rack mounted monitor is designed of both live events and in-house production suites.
The LED backlit LCD monitors feature embedded audio meters, equalization, reclocking and a UMD character function. Each monitor has a 640×240 native resolution and includes DIP switches that activate audio meters and time codes to assist in audio/video production monitoring. Functions, including brightness and contrast, are controlled through a computer interface.
Here are all the detailed specs.Leave a Comment
Back to Top
|Audio-Technica Ships New AT5047 Cardioid Condenser Microphone|
Audio-Technica is now shipping its new AT5047 Cardioid Condenser Microphone. An addition to the company’s 50 Series (which also includes the AT5040 vocal microphone and AT5045 instrument mic), the AT5047 is a studio microphone that features the same capsule as the AT5040 but with a transformer-coupled output and optimized electronics. It’s equipped with a transformer-coupled output, so the microphone maintains a constant load output impedance, even when capturing sources at extreme SPL.
The AT5047 features four rectangular two-micron-thick diaphragms, which function together to provide a combined surface area twice that of a standard one-inch circular diaphragm. Advanced internal shock mounting decouples the capsule from the microphone body, and the included advanced-design AT8480 shock mount provides superior isolation.
Other AT5047 specifications include:
- Element: Fixed-charge back plate, permanently polarized condenser
- Polar pattern: Cardioid
- Frequency response: 20 to 20,000 Hz
- Open circuit sensitivity: -29 dB (35.5 mV) re 1V at 1 Pa
- Impedance: 150 ohms
- Maximum input sound level: 148 dB SPL, 1 kHz at 1 percent T.H.D.
- Noise: 6 dB SPL
- Dynamic range (typical): 142 dB, 1 kHz at Max SPL
- Signal-to-noise ratio: 88 dB, 1 kHz at 1 Pa
- Phantom power requirements: 48V DC, 2.7 mA typical
- Weight: 592 g (20.9 oz)
- Dimensions: 165.3 mm (6.51”) long, 57.0 mm (2.24”) maximum body diameter
- Output connector: Integral three-pin XLRM-type
- Accessories furnished: AT8480 shock mount for 5/8″-27 threaded stands; 3/8″ to 5/8″ stand adapter; protective carrying case
The AT5047 is shipping for $3,499. Here are the detailed specs.Leave a Comment
Back to Top
|Ocean Matrix Intros Four Problem Solving AV Interfaces|
Ocean Matrix just released four new ProAV and HomeAV adapters including an audio extractor, an audio embedder, an Ethernet to fiber converter and an HDBaseT HDMI extender.
The OMX-HDMI2-AEE 4K HDMI 2.0 Audio Extractor and Embedder extracts audio signals from an HDMI source and allows simultaneous S/PDIF (Toslink) and stereo (3.5mm) analog and digital output. This device can also embed external stereo analog or digital S/PDIF into the outgoing HDMI signal.
The OMX-HDMI-BASET HDBaseT HDMI Extender supports sending 1080p HD signals with embedded audio up to 300 feet over a single Cat5e/6/6a/7 cable. The HDBaseT technology based extender transports signals via network cables for point-to-point and multiple-point connections.
The OMX-E2F 100Base-T Fast Ethernet to SC Fiber Converter transmits up to 12 miles over singlemode SC fiber and protects the signal from electromagnetic interference(EMI). This converter can also be used for fiber to UTP signal conversion.
The OMX-HDMI-EPOE Extender sends 1080p HDMI over CAT6/6A/7 cables up to 110 feet with (this is their claim) zero latency and includes EDID management and IR control. The system’s POE transmitter sends AV signals and power through the receiver to the display on a single cable.
Of course, you can see all their products here.Leave a Comment
Back to Top
|Galaxy’s Launches TQ8 Portable All-In-One PA|Galaxy’s new TQ8
Leave a Comment
is a spec’d as a 150-watt portable PA with mixing, wireless and a long battery life. With an 8-inch woofer and a wide-dispersion HF horn with 1-inch compression driver. Two wired mic/line inputs complement a music system with an SD card slot, USB connector, left/right audio connections and Bluetooth compatibility for use with a phone or iPod source. One or two optional wireless mic receivers work with Galaxy’s hand-held or body-pack wireless microphones and expand the TQ8’s applications while eliminating mic cable issues.
The TQ8’s operation makes it easy to mix and control all of these sources with individual and master volume and 3-band equalization to optimize sound quality and voice clarity. A useful voice priority feature (with on/off switch) automatically ducks the music source when someone speaks into any microphone.
The TQ8 is light weight and portable with a carrying handle and may be AC powered or operated from its internal battery for up to 24 hours of continuous use. A standard pole socket allows stand mounting for larger groups.
Back to Top
|Extron Ships AES67-Based DMP 128 Series – And, Here’s Why This Matters…Several competing Audio over IP protocols have emerged over the last several years and have been implemented in certain markets by various manufacturers. However, equipment using incompatible audio over IP protocols often needs to be part of a single system. Without an interoperability standard, designers and integrators have been forced to modify their equipment choices or abandon audio networking altogether, sacrificing the flexibility of an IP solution.
The AES67 standard provides interoperability between the predominant audio over IP protocols in use today. Developed by the Audio Engineering Society, published as an open standard in 2013, and most recently updated in 2015, AES67 is not an Audio over IP protocol by itself. Rather, it is an interoperability standard that acts as a translator between protocols. To take advantage of AES67 within a networked audio system, all system components must have implemented AES67 on top of their native protocols. Therefore, it is highly advisable to research what is implemented on the specific devices that will interconnect via IP within a design.
Extron has had Dante-enabled audio networking gear for years — as does many manufacturers. But, for system designs where required devices utilize an audio over IP protocol other than Dante, operating in AES67 mode provides interoperability with other AES67 capable devices on the network.
These Dante-enabled Extron products have additionally implemented AES67:
Extron’s DMP 128 Plus AT models send out 24 channels of digital audio and can receive 48 channels over a Dante network.
- DMP 128 Plus AT 12×8 ProDSP Processor w/Dante
- DMP 128 Plus C AT 12×8 ProDSP Processor w/AEC, and Dante
- DMP 128 Plus C V AT 12×8 ProDSP Processor w/AEC, VoIP, and Dante
Extron’s DMP 128 AT models send out 24 channels of digital audio and can receive 56 channels over a Dante network.
Leave a Comment
- DMP 128 AT 12×8 ProDSP Processor w/Dante
- DMP 128 C AT 12×8 ProDSP Processor w/AEC, and Dante
- DMP 128 C P AT 12×8 ProDSP Processor w/AEC, POTS, and Dante
Back to Top
|ProVideoInstruments Debuts VeCASTERProVideoInstruments just launched the VeCASTER, an all-in-one HDMI IPTV and internet encoder streamer with built-in unicast, RTMP, UDP, HTTP, HLS, RTP, RTSP simultaneous servers, multi-stream and multi-resolution HDMI to HEVC. Available as H.265, H.264 and rackmount, the VeCASTER features video distribution over Internet and IPTV to create live, high-quality TV channels over the internet. With direct streaming up to 1 Gbps bandwidth, the VeCASTER features HEVC H265 Full HD to maximize HD quality and reduce bandwidth, as well as resolutions up to 1080p at 60 frames per second. Its slim design allows a quick, rackmount installation with up to 16 encoder servers. |
The VeCASTER can broadcast live TV channels over IP networks and stream to network repeaters, including Wowza, YouTube and more. Users can calibrate with independent frame-ration settings for each of the four frames, ranging from 5 to 60 fps. They can also adjust independent audio and video compression parameters for each stream and an independent video scaler for each stream.
Here are the details.Leave a Comment
Back to Top
For all you REGULAR readers of rAVe HOW out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).
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 firstname.lastname@example.org or for editorial ideas, Editor-in-Chief Sara Abrons at email@example.com
A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GHGav [Green, Healthcare & Government AV] in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: http://www.ravepubs.com
To read more about my background, our team and what we do, go to http://www.ravepubs.comBack to Top
Copyright 2017 – 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 contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors.