Volume 7, Issue 2 — February 26, 2018
|The Mix in the Room|
By Dr. Frederick Ampel
President & Principal, Technology Visions Analytics
The art and science (for it is both) of live sound reinforcement in any worship space must take into consideration a large number of factors unique to HOW sound. For example, you may well have to mix speech, recorded music, live music, professional and non-professional speakers, musicians, to serve an audience (congregants) that will literally span multiple generations.
It is not atypical to have very young children and very senior citizens in the same service, for example. Each of these groups has specific auditory needs, sensitivities and comfort levels. How do you balance all of that without sacrificing something, somewhere? Well, candidly speaking — you don’t!
Now let’s put that intensely complex and conflicting set of variables into a physical space that may or may not be amenable to the use of sound reinforcement technology. And finally let’s blend in the use of part-time volunteer AV team members and a hardware assortment that may well cover an age range that mirrors the congregation — from brand new to seriously old.
Could this be a recipe for disaster — absolutely! Does it need to be — ABSOLUTELY NOT!
Defining the Environment
Let’s take a look at four typical example of worship spaces — small, average, large and very large (mega-church sized) for reference.
Based on the research verified and used in our previous article, North America is home to over 350,000 congregations. The majority of these would decisively fall into the kind of space illustrated by either Photo 1, 2 or 3 above, that is small, medium or larger sized spaces. Only a very small (about 1 percent or 3,000 to 4,000) would be represented by the kind of space shown in Photo 4 — a mega-church (defined as capable of seating over 1,500 congregants minimum).
Clearly, the requirements of the sound reinforcement system and its operation in a very large mega-church sized space are considerably different from anything else in the HOW size groupings. It is, in reality, a lot closer to a popular music or Broadway show live tour sound kind of approach and the equipment reflects those needs.
Because the style and approach to mixing a service for such an enormous audience is really a highly specialized sub-set of the larger topic of mixing sound for worship spaces and it affects a limited number of worship spaces we will not cover it in this article. Much has already been written on that topic elsewhere and many competent articles can be found if needed.
Setting the Scene
Given the enormous number of worship space, physical locations and the various size ranges noted above, there are infinite variations on the actual layout, seating plan, design, interior finish materials and each of those will have an effect on the performance and perception of whatever sound system is installed. Adding to that recipe is the type of worship service and its components.
All of these factors will have an impact on the final perceived sound in the worship space. It is the function of those blending (mixing) the elements that make up the service to ensure that all of this fits together in something close to a coherent presentation that meets the service and congregational needs. As you may assume by now this is no simple or straightforward task.
Begin With Your Ears
In order to put a viable mix together and deliver a professional quality result the most important thing to understand and investigate is THE ROOM ITSELF! Regrettably, most AV team members worry about hardware (and software) far more than they consider the space itself. This technology-heavy approach is not going to help anyone build or deliver the best mix for that space, service style and content. The hardware is only a tool, it is not the endpoint.
So the first thing anyone who has mix responsibilities or the whole team if possible should do is walk out into the room and just sit and listen.
Yes, just sit in a location closest to the center of the congregational seating and close your eyes and LISTEN to the room itself. It has a sound — in fact, many sounds — but if you do not take the time to listen for them and pay attention you will never understand what they are and how they will impact your final product!
Next have someone, preferably a regular member of the worship team, go to the central microphone or pulpit and talk, even use an old sermon or homily if feasible so it will mirror the kind of language and content within a typical service. Make sure the settings on your console and system are the standard ones used for a service, nothing more, nothing less and that the microphone is the one used normally for that purpose. You need to hear what it will sound like to the congregation.
Again, take the time to just sit and listen to the room and the spoken word in the room. Remember that it will be a little less reverberant when the congregation is present since people are a very nice broadband sound absorber.
How natural does it sound? Does the quality of the voice as reinforced match the voice you hear normally — it should! What else do you hear? Is anything creating interference with understanding the spoken word? If so, stop now and track that problem down and resolve it as much as feasible or at least identify the source(s) so a solution can be developed and implemented.
Because the spoken word is the core of any service it must be clean, intelligible and un-distorted in any way. This is the most important single goal to achieve.
The Sound of the Room
Go back and look again at the first three photos. Do you think each of those spaces will sound the same or will each have a sound footprint that is unique to its style and design? Wait — think about your answer. If you’re responsible for the sound in any one of those and you haven’t imprinted the sound of the room in your brain, you will not understand what you have to do to make your service mix work in that specific space and that should be the only goal that matters.
I have lost count of the number of times we have been asked to solve a supposed sound system problem blamed on the hardware, the design, the installation or any one of a host of similar causes, when the real answer was that the mix itself was wrong for the space.
For example, take the worship space shown in Photo 2 — a fairly typical mid-sized facility. It’s largely rectangular, a lot of stained glass (hard) surfaces, wood pews, slightly arched ceiling, choir behind the pulpit, a piano and probably other musical sources as well and a center stage located lectern/pulpit. Without even walking in, it would be clear that there are going to be reflections, potentially hard echoes and probably speech intelligibility issues due to the long narrow seating and distance of the rear congregants from the pulpit. Hopefully, the sound system design took these issues into account, but as many of you will know, it is also likely that it didn’t fully address them effectively.
If you are controlling the sound of a service in this space, where would you concentrate your efforts first and what would you relegate to a lower priority?
In my experience in many such spaces, the first choice would be the word, then the song/musical portion of the service including choir and then anything else. Blending the music, instruments and the choir into a smooth overall whole is essential to delivering an even sounding presentation to the whole congregation, but you must be sure that the spoken word can still rise out of that mix and be clearly and distinctly heard and understood.
But if you don’t know what the physical room is “adding” or “subtracting” from what you thought was the sound of your mix, you are essentially flying blind and you will never make the mix work in the room. This is why it is so essential to imprint your room’s ‘sound’ on your audio brain so you can build a total mix that takes the room into account and delivers the desired goal every service.
Each of the worship space examples above will have its own sound and each service will have to find a happy compromise of elements, blended together to work in that space.
A little homework and some careful listening will go a long way to helping you build that mix and achieve your objective. Knowing your room, knowing your worship team and its goals and understanding how you can help them all fit together will be worth every minute you spend on the process, every service!Leave a Comment
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|Where’s the Total Cost of Ownership?|
By Anthony Coppedge
House of Worship Technology Consultant
Where’s the Total Cost of Ownership? If you want buyers to make your brand their choice, manufacturers and systems integrators have got to help decision-makers understand not only the up-front costs but the long-term investment of any technology solution.
Want to know the perfect place to start? The House of Worship (H.O.W.) market. Here’s what’s in it for you — and them.
An Ideal Market for Estimating TCO
The cadence of weekend services means that church venues have the kind of consistent operation that is easy to calculate and estimate total hours of operation weekly and monthly. For most churches, this means once a week operation for a fixed number of hours of uptime. Because this is straightforward, it makes for an easy story to tell so that churches leaders can more accurately predict the initial investment and a good estimate for ongoing maintenance and replacement of any consumables.
The key here, of course, is to educate churches on what they already know to be true anecdotally: Good stewardship means knowing the whole cost before beginning. There’s a famous scripture passage where Jesus himself uses a metaphor of counting the cost before taking on a project. In the Bible, this story is found in the book of Luke 14:28 — “But don’t begin until you count the cost. For who would begin construction of a building without first calculating the cost to see if there is enough money to finish it?” The idea of counting the full cost is intrinsic to planning in life and this truth is not lost on church leaders.
The issues many churches face is not that they don’t understand the importance of considering the total cost before beginning a project, but that in the world of audiovisual technology the Total Cost of Ownership (TCO) is largely unavailable. The closest thing listed on most products is the total life expectancy of the unit or the number of expected hours for a consumable such as a lamp.
While each church is different when it comes to the frequency of using audiovisual tech during weekdays or for multiple services over a weekend, these are variables that are easily asked of church tech staff since by and large, they have patterns of consistent operation that make calculating total usage fairly straightforward.
Good Estimates Make for Good Stewardship
I’ve often talked about the importance of stewardship for churches here on rAVe. After all, these churches are stewarding the resources (money, time, people) donated by congregants. They understand, deeply, the power of good resource allocation.
One of the axioms I share with churches helps frame technology expenditures in a way most of them have never considered, but quickly understand:
“Good stewardship has less to do with how much is saved and more to do with how much is not wasted.” – Anthony Coppedge
The elimination of waste is a high priority when spending donated money. As such, the idea of TCO is one that is simple to sell and actually resonates with church leaders. As a consultant, I’ve learned from and observed many, many churches use of audiovisual technology. Because of this background, most of my recommendations are readily applied out of the abundance of experience in understanding typical product lifetimes, proactive maintenance schedules, and early replacement of consumables to maximize the expenditure.
Churches are not afraid to spend money. They are afraid of spending money poorly.
This means that price is not the most important consideration when the value proposition of a technology solution is properly understood and shared with church leaders making the final purchase decision. When the overall cost of purchasing and maintaining a system is calculated annually or over the lifetime of a component, the ‘cost per service’ is easy to understand.
TCO Certified by AVIXA?
The need for manufacturers to come up with realistic TCOs for their products is desperately needed. Don’t be afraid of sharing this information, manufacturers, as it may lead you to feel that a TCO makes your gear look too expensive. There is always cost of operation, so be upfront about that and included a recommended proactive maintenance program for your equipment. In fact, this is a golden opportunity to add additional value by offering service programs, loaners and factory-authorized maintenance to clients needing long-term viability of the technology.
Without a shift to create helpful TCO documentation, manufacturers and the systems integrators which sell the gear will continue to have customers venting on social media about the failure of your gear. That’s a hit to your brand that is usually proactively solved with a simple maintenance schedule and helpful updates to firmware, right? So make it easy for them to keep your gear running well and, in turn, keep happy clients happy with your brand.
I actually hope that AVIXA provides helpful recommendations and certifications for companies that create TCO documentation for their equipment. This would help the industry as a whole and provide additional credibility for the brands that have an AVIXA Total Cost of Ownership seal. Sure, it’s just a hopeful and helpful suggestion, but it makes a lot of sense for every vertical market – including churches.
What say you? Share your views and links in the comments below.Leave a Comment
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|Audio and Video Missing from AV Social Media|
By Anthony Coppedge
House of Worship Technology Consultant
The future of reaching each vertical, including the House of Worship (HOW) market, has a big stake in social media advertising, engagement and user-generated stories.
Like the social media landscape, the audiovisual space often looks like a nascent, promising industry on the verge of something significant. Unlike the social media brands, the audiovisual industry is moored to old thinking in spite of technology advances. The missed opportunity to redefine market opportunities and explore new ways to introduce the holistic value of technology applications stunts the growth among vertical segments, affecting the audiovisual industry at large. The exponential leaps in the quality and flexibility of technology solutions and products have dwarfed the manufacturer’s and integrator’s ability to respond to various vertical markets with new thinking, new marketing and new solutions to recurring pain points.
In case your brand is using social media here and there, allow me to bring you up-to-speed on the significance of these tools, channels, and communities.
Social Media Growth
- As of 2017, there are now almost 2.5 billion social media users compared to less than 1 billion in 2010.
- Facebook has grown from 100 million active users in 2008 to over 2 billion active users as of 2017.
- Instagram has grown from 90 million active users in 2013 to over 800 million active users as of 2017.
- Twitter has grown from 25 million active users in 2010 to over 325 million active users as of 2017.
- LinkedIn has grown from about 35 million users in 2009 to over 500 million users as of 2017.
- Pinterest has grown from about 100 million active users in Q3 of 2015 to over 200 million active users as of Q3 2017.
- SnapChat has grown from just over 40 million daily active users in 2014 to nearly 180 million daily active users in 2017.
[All stats taken from Statista (2017)]
Social Media Is the Voice for Customer Service
Social media is where your customers go to either complain or praise. The cost of customer service consequences is high:
- When shunned on social media, 30 percent go to a competitor and 26 percent are less likely to use the company’s products or services.
- When responded to on social media, 70 percent more likely to use your product or service, 75 percent likely to share the good experience on their own social media profile.
* Taken from SproutSocial (2017)
User-Generated Stories Have the Most Success
User-generated content is a remarkably effective strategy, as these stats show:
- 7x higher engagement than brand-generated Facebook posts.
- 7x more trust from users than ads.
- 56 percent more likely to buy a product after seeing a positive customer generated post about it.
- 45 percent look at user-generated images for inspiration at least once a day.
*taken from data from Starbucks (2017), Marvck (2016), Olapia (2016)
Video Content is Key for Social Media
Facebook average engagement is 2x greater for video posts than any other content type. (*Taken from Buzzsumo (2017))
Video User Stories
Perhaps the most intriguing use of video is in the use of user stories on various social media platforms:
- 300 million Instagram Stories from daily active users in 15 months since launch
- 300 million WhatsApp Stories from daily active users in 9 months since launch
*Taken from TechCrunch (2017)
Increase in video ad spending continues, as a survey from eMarketer found when interviewing marketers found that for 2018:
- Over 60 percent plan to increase Facebook video ads
- Over 60 percent plan to increase YouTube video ads
- Just over 50 percent plan to increase Twitter video ads
- Nearly 50 percent plan to increase Instagram video ads
*Taken from eMarketer (2017)
Social Media Is Central to Your Brand
You’d think, for example, that there would be an equal effort to reimagine how customers educate themselves, seek social proof, and make informed purchase decisions. As the stats above clearly point to the shift away from buyers believing what you have to say about your own products and services to believing what their peers and other influencers have to say, the audiovisual industry must plant both feet firmly in the social media ocean.
The day has come and gone when merely posting the same thing to your Facebook, Twitter, Instagram, and LinkedIn accounts meant your firm was ‘on social media.’ If you’re not there, day-in, day-out and highly monitored and active, you’re far behind today’s digital native buyers.
Churches are made up of people, right? Those same people who you serve in other markets like corporate, government, and education also exist in churches — and they’re just as active on social media. Go where they are. Better yet, meet your existing users and new prospects there and make it easy for them to tell their story with your brand.
Put the AV in your Social Media
Did you know that Amazon Prime members who own an Alexa (smart speaker) device order, on average, more than 30 percent more than non-Alexa owners? Audio. The old is new again and it will mean working with your web marketing teams to build long-tail keywords and content that makes it easy for Alexa, Siri, Google Assistant and Cortana find your brand, products and even your value proposition and differentiators.
As the stats above stand and point doggedly at video content, the “V” in audiovisual needs some serious improvement for this market’s marketing. You literally have the technology. Use it and make it work for you!
Sometimes the writing is on the wall so clearly that you have to look at another wall to avoid it.
The audiovisual industry is appallingly behind at using audio and video to reach prospects and customers with targeted, valuable and engaging content to drive interest, educate buyers and share stories of success.
Zero excuses. Get to it.
Do you agree with Anthony’s future church predictions for the AV industry?Leave a Comment
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|VUE Intros h-Class of High Definition of Loudspeakers|
VUE Audiotechnik just launched the h-Class family of high definition powered systems. The hm-108A is a precision slant stage monitor and is a narrow dispersion sibling to VUE’s h-8.
The h-8N, with its narrow 60-degree coverage, adds another level of versatility to the h-Class range, while dramatically expanding applications for VUE’s flagship technologies. The driver complement is identical to the h-8, with a precision-engineered 8-inch transducer that’s combined with a neodymium compression driver capable of unparalleled high-frequency performance thanks to the Truextent beryllium diaphragm at its core.
Also new is the hm-108A, an ultra-compact stage monitoring system that benefits from the same 8-inch transducer and beryllium-infused compression driver as the h-8 and h-8N. Designed specifically for maximum transparency, the hm-108A is ideally suited for critical foldback applications including legitimate theater, choir, orchestra or anywhere that absolute fidelity trumps raw, unbridled horsepower.
Both models of the h-8, as well as the hm-108A, feature powerful onboard VUEDrive electronics benefiting from a state of-the-art digital signal processor that’s explicitly programmed for each unique transducer/cabinet combination. In addition, dual-channel, high-efficiency Class D amplification deliver ample power while eliminating the need for noisy cooling fans.
Drivers and electronics for all h-Class models are housed in a robust birch enclosure with extensive interior bracing for resonant free operation. Like the h-8, the new h-8N also incorporates M10 rigging points and an integrated pole-mount for both portable and fixed installation applications.
Both new models feature the h-Class aesthetic, with grill and handle surrounds that benefit from a two-part finish that lays a coat of transparent candy-apple red over a black base for a deep hue that’s uniquely VUE. The signature look is completed with a heavy aluminum rear panel/amplifier assembly with machined “VUE” logo integrated into the heat sinks.
Here are the details.Leave a Comment
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|Mackie Launches New Line of Audio ToolsMackie today announced a new line of lower-cost audio tools for studio and live sound, including the MDB Series Direct Boxes, the MTest-1 Cable Tester and M48 Phantom Power Supply for studio and live sound applications. The MDB Series Direct Boxes consists of four different models: the MDB-1P Passive Direct Box, MDB-2P Stereo Passive Direct Box, MDB-1A Active Direct Box and the MDB-USB USB Stereo Direct Box.
The MDB-1P Passive Direct Box is perfect for instruments like guitars, basses and more on stage or in the studio. The MDB-2P Passive Stereo Direct Box offers the same level of performance, but with dual inputs and outputs for stereo sources. The MDB-1A Active Direct Box features active circuitry for ultra-low distortion and noise. Last but not least, the MDB-USB USB Stereo Direct Box features a USB input and dual XLR outputs for maximum audio quality direct to front of house from a laptop.
In addition to the series of direct boxes, Mackie introduces two audio tools — the battery-powered MTest-1 Cable Tester and M48 48v Phantom Power Supply. The MTest-1 features a simple five-way switch to test every pin, even with mismatched connectors, for all common connector types and more. Powered by a 9v battery, the MTest-1 can go with you when you explore beneath the stage or behind an imposing stack of speakers.
The M48 48v Phantom Power Supply allows you to use your devices and microphones that require external power in any setup. It can also provide an easy solution when the phantom power being supplied from a venue is inadequate.
Mackie audio tools include the MDB-1P, MDB-2P, MDB-1A, MDB-USB, MTest-1, and M48, and are available worldwide on Feb. 1, 2018. The US MSRP pricing is $69.99 for the MDB-1P, $83.99 for the MDB-2P, $83.99 for the MDB-1A, $209.99 for the MDB-USB, $41.99 for the MTest-1, and $69.99 for the M48.
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|dBTechnologies Adds New Line Array, the VIO L208|
dBTechnologies just released a new member of the VIO family, VIO L208. The companys says the VIO L208 is a powerful and compact stand-alone line array system as well as a fully compatible down-fill for VIO L210 and VIO L208 hybrid systems, completed by VIO S Active subwoofers.
VIO L208 is a two-way active line array system equipped with 2X8” neodymium woofers and 1X1.4” neodymium compression driver (2.5” voice coil). The transducers are positioned behind an all-in-one panel which acts as a phase-plug and a HF horn. The waveguide behind this panel contributes to the creation of a cylindrical wavefront, much to the advantage of hi-frequency throw distance. Each module of VIO L208 is driven by a Class-D Digipro G3 900W amp module with auto-range PSU. Thanks to the advanced sound processing of FIR filters, VIO L208 performs clearly and perfectly. The pre-amp module is also equipped with a digital optical isolation, guaranteeing interference-free input signal.
Just like the larger VIO L210 system, VIO 208’s lightweight wooden enclosure comes with a built-in rigging system made for simplicity and speed: a back central rigging strand allows users to set the relative splay angles directly in the dedicated transport cart DT-VIOL208, which is able to house four modules plus one flying bar. While lifting up the array, the rigging strand will automatically block the systems at the preset angles with no need of heavy lifting.
The dedicated 3-point flying frame DRK 208 allows users to set a precise inclination of the array and is prepared to carry an optional inclinometer laser pointer. When not in use, the flybar can be easily stored in the transport cart.
VIO L208 features on-board presets allowing users to process the system manually and any preset can be easily changed remotely with Aurora Net control software from dBTechnologies. Here are all the specs.Leave a Comment
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|SHOWLOGIX Introduces SHOWRUNNER System at ISE 2018|
SHOWLOGIX’s new SHOWRUNNER is a new show-control and multi-display playback software designed to run AV projects of any size. SHOWRUNNER is an all-in-one system for creating immersive shows at amusement parks, architectural projections, museums, exhibitions, visitor centers, live shows, retail etc. Developed for system integrators, SHOWRUNNER is delivers three different interfaces and a wide variety of designing options to support many possible applications.
SHOWRUNNER’s flexibility lets the system designer build the logic to match any need. There is no code writing. Cue triggering, Timelines and the logical interface, all use simple and intuitive drag and drop components. With the new logical interface, SHOWRUNNER enables linking external devices to media features which allows real-time manipulation for all parameters. Whether creating interactive media systems or time based shows, SHOWRUNNER can play multi-layer graphics, video, sound, dynamic text and live feeds across multiple displays while controling any number of external devices using standard Ethernet protocols and Art-net. The SHOWRUNNER system has a complete set of tools to accomplish almost any video mapping challenge both in 2D and 3D.
SHOWLOGIX is here.Leave a Comment
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|NEC Launches the World’s Brightest RB Laser Projectors for Large Venues|
NEC Display Solutions Europe today launched the world’s brightest red-blue (RB) laser projectors, designed to bring cinema quality imagery to the largest venues. The new PH Series comprises two models, NEC PH3501QL and NEC PH2601QL, both 4K resolution.
The PH Series has been designed for large venues and the PH3501QL delivers 40,000 center lumens, while the PH2601QL features 30,000 center lumens.
The new flagship models harnesses the best of both laser phosphor and RGB laser technologies resulting in a powerful projector which delivers compelling benefits in terms of cost, operational efficiency and immersive image quality. The use of a red and blue laser light source goes beyond the colour and brightness output of traditional laser phosphor projection systems providing a brilliant image with high uniformity.
The efficient light processing system delivers huge savings in operational costs compared to lamp-based projection systems thanks to lower power consumption, maintenance-free operation, and no need for lamp and filter replacements over the laser’s 20,000 hour lifetime.
The PH Series features maximum installation flexibility, with extra-wide vertical +/- 50% and horizontal +/- 17% lens shift – better than any real 4K competitive product on the market – combined with a selection of wide zoom bayonet lenses. This guarantees hassle-free installation and facilitates easy replacement of old projectors. The projectors also feature future-proofed signal connectivity including numerous 4K resolution inputs and intelligent signal processing such as Picture in Picture or Picture by Picture, to provide “pixel-free viewing“ on a large scale.
The NEC PH3501QL and NEC PH2601QL models will be available in March-April 2018. Here are specs on the NEC PH3501QL and the NEC PH2601QL here.Leave a Comment
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|Pliant Technologies CrewCom Wireless Intercom System Ships|
Pliant Technologies is now shipping its professional wireless intercom system, CrewCom. The CrewCom wireless intercom range of products will be on display at ISE 2018 (Stand 7-X200) along with additional product offerings from Pliant.
CrewCom claims the industry’s smallest fully-featured professional full-duplex wireless radio packs, multiple simultaneous frequency bands, as well as a host of truly amazing user features. With CrewCom, production crews of all sizes can now easily and quickly deploy communications solutions to connect more people in more places than ever before.
For the small system and UHF-replacement market, CrewCom offers the easiest system deployment along with the most user friendly radio pack on the market. Even the most basic CrewCom system offers full features at a very competitive price. For high user count system requirements, the revolutionary design of CrewCom offers a significant price advantage for larger demanding applications, when comparing the actual cost of deploying many wireless users in a production. CrewCom offers 1,024 conferences that provide the flexibility of a matrix/party-line without the cost. Unlike a matrix-based architecture, CrewCom is based on a decentralized platform that puts system resources where they are needed, without the limitations found in a matrix. This entirely innovative approach to professional wireless intercoms enables CrewCom to handle almost any application from simple out-of-the-box solutions to large-scale designs for a range of installation projects for live sound, broadcast and industrial environments and more.
Pliant created a proprietary network for CrewCom called CrewNet. This network coordinates and transports all system timing, audio conferences, signaling, and control. CrewNet can operate over standard Cat-5e (or greater) and single mode fiber lines, breaking the current barriers for wireless intercom range. In addition, CrewCom’s highly-intuitive graphical software, called CrewWare, provides for comprehensive offline configuration, online control and real-time monitoring of all system components. These new software tools augment CrewCom’s ease-of-use and flexible system scalability. While this is a powerful tool available to all users, it is not required to operate the system.
CrewCom wireless products are available in 2.4GHz and 900MHz (900MHz are limited to where this band is legal). Any combination of these frequency ranges may be simultaneously used on the same CrewCom system, giving the ability to easily put global-friendly, dependable RF coverage where needed, all while employing a consistent user interface throughout the system.
Pliant Technologies is here.Leave a Comment
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|InFocus Debuts Range of Laser Projectors at Integrated Systems Europe|
InFocus Corporation just entered the laser projector market including everything from large venue to ultra-short throw options.
For large venue installations such as auditoriums, lecture halls and houses of worship, the INL5350 Series has two models — the 6,000-lumen INL5359 and the 8,000-lumen INL5369. Using InFocus Quantum Color Laser technology the INL5350 Series provides installers with six interchangeable lenses that can project images at any size from any location, whether short throw or ultra-long throw. The INL5350 Series offers a variety of connectivity options including all the expected inputs and outputs such as VGA, HDMI, 5BNC, DVD-D, video, RCA audio, 3D Sync, RS232, as well as HDBaseT for single cable connectivity.
The new INL140 Series from InFocus is designed for the international education market. Combining ultra-short throw capability with high brightness and laser performance that never fades, the INL140 Series offers 22,000:1 contrast ratio for darker blacks and whiter whites, utilizing InFocus Quantum Color Laser technology. The INL140 Series includes three models: INL148HDUST featuring 1080p resolution, 4,000 lumens and 0.25 throw ratio; INL146UST featuring WXGA resolution, 4,000 lumens, and 0.27 throw ratio; INL144UST featuring XGA resolution, 3,600 lumens, and 0.33 throw ratio.
InFocus’s new ultra-short throw projectors utilize a small chassis while providing an image of up to 100-inches from only a few inches from the screen. Designed for interactive solutions and group presentations, these ultra-short throw projectors remove any possibility of presenters blocking the image or creating shadows and include HDMI inputs as well as a 16W built-in speakers for rooms without audio.
These InFocus projector models are laser-based, built on InFocus Quantum Color Laser technology spec’d to last 30,000 hours.
The INL5350 Series will be available worldwide and the INL140 Series will be exclusively available in the Asia-Pacific and EMEA regions to start. You can see the specs for each one here.Leave a Comment
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|Epson Debuts Native 4K 12,000 Lumen and a Compact 20K Lumen WUXGA 3LCD ProjectorsDesigned for rental and staging, Epson announced a 12,000-lumen native 4K 3LCD laser projector, the Pro L12000Q. In addition, Epson also added the compact Pro L20000U to its large venue projector line — a 20,000-lumen WUXGA resolution 3LCD projector. Epson’s new 3LCD laser projectors were launched at ISE 2018 in Amsterdam.
Epson’s Pro L-Series laser projectors are designed for demanding environments, including rental and staging events, lecture halls and digital signage installations. The new Pro L12000Q and L20000U models share the same compact and lightweight chassis that makes them easy to integrate into existing infrastructure. The new projectors also feature support for HDR, 360-degree installation flexibility and a sealed light source and optical engine to protect from dust and smoke.
The Pro L12000Q and L20000U are compatible with Epson’s Pro L-Series lens family, including the new ultra short-throw ELPLX02 for large image projection from just a few feet away. The new Pro L-Series will be available Fall 2018, with pricing announced prior to launch.
The projectors are all here.Leave a Comment
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|KissBox Was at ISE to Launch Two New Transceivers for Digital Audio, MIDIShow control company KissBox launched two new products aimed at those responsible for the design and implementation of control systems in theme parks, museums, visitor attractions, live shows and many other types of venues, as well as those involved in music technology.
The AU6TR is the first of a new range of KissBox transceivers, developed to transport digital audio over IP networks with minimal latency. Its ruggedised design makes it ideal for deployment in harsh environments such as live/stage applications.
The second new product from KissBox is the CM-MIDI2, which integrates both the powerful RTP-MIDI implementation of KissBox’s MIDI2TR professional transceiver, and the USB-MIDI communication standard found on many music products. The CM-MIDI2 is ideal for musical applications where high speed communication between USB and RTP-MIDI is needed.
On the KissBox stand, the company is partnering with Showlogix to demonstrate the TC2TR (Timecode over Ethernet) interface, highlighting the capabilities of the CM-MIDI2 as an RTP-MIDI interface.
Designed to use the open RTP protocol as well as to be compatible with the Ravenna protocol, the AU6TR delivers peer-to-peer audio streaming as well as audio streaming from/to an external source – similar to a networked sound card. It can perform local real-time audio processing, with integrated control through the network.
The AU6TR can also be used as an RTP audio Interface. It will receive RTP digital audio streams from any compatible device and output them as analog audio signals. Being a transceiver, the AU6TR will also stream analog audio input signals it receives on its inputs to connected receiving devices and software.
The CM-MIDI2 acts as a gateway between the three available MIDI interfaces; any MIDI stream fed into one interface can be re-distributed to any of the two other interfaces. For example, MIDI received on the MIDI-IN DIN connector can be sent both to RTP-MIDI and USB.
The RTP-MIDI interface of the CM-MIDI2 can be used directly with Apple Mac, iOS and Windows devices. It manifests itself as a standard MIDI interface, available for MIDI software such as sequencers, digital audio workstations, SysEx Editor/Librarian and so on.
Here are the details.Leave a Comment
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|Sony Expands Laser Projector Line with Five New Models|
Sony is adding five new WUXGA resolution models to its family of laser light source projectors. Each is aimed at commercial mid-range installation applications in schools, including education, faith, corporate and museums.
The new models include the VPL-FHZ120L (12,000 lumens) for larger venues, the VPL-FHZ90L (9,000 lumens) for mid-sized classrooms, and the compact VPL-FHZ66 (6,100 lumens), VPL-FHZ61 (5,100 lumens) and VPL-FHZ58 (4,200 lumens). These new projectors grow Sony’s laser offerings to more than a dozen.
Each model uses Sony’s Z-Phosphor Laser with a blue laser as its light source complemented by a 3LCD optical system, to achieve the full spectrum of light and continuous, clear RGB color. The five new projectors feature auto color calibration, a function that enables users to maintain picture quality over time and Sony’s instant on/off, which can be used to begin presentations at full brightness, with almost no warm-up/cool down time.
The VPL-FHZ120L and VPL-FHZ90L use a newly-developed LCD panel with enhanced light resistance, and for the VPL-FHZ120L, an optical compensator to realize high contrast that delivers stable brightness and high-quality image with vibrant color reproduction.
The VPL-FHZ120L is ideal for auditoriums and conference halls requiring AV solutions to support live performances and ceremonies. The projector covers sRGB100 percent, making it suitable for applications requiring precise color reproduction such as in exhibitions and museums.
The VPL-FHZ90L is suitable for mid-sized classrooms or corporate meeting rooms, even those with challenging installation environments due to natural lighting or bright spaces with ambient lighting. This allows students and meeting attendees to easily take notes and review presentation materials while still clearly viewing the projected images.
Both models also benefit from a new range of features including industry-leading wide lens shift capabilities (Max. Vertical ±107%, Horizontal ±60%) and six lens pre-set positions for instant recall and enhanced usability. New HTML content display functions offer the ability to project customized content including logos, news, or advertisements via the network or a USB memory stick, even when the projector is on with no input signal.
The three new mid-range WUXGA models — VPL-FHZ66 (6,100 lumens), VPL-FHZ61 (5,100 lumens) and VPL-FHZ58 (4,200 lumens) — feature compact bodies designed for small to mid-sized rooms, while taking advantage of the full benefits of laser projection: long-lasting brightness, up to 20,000 hours of maintenance-free operation, fast easy set-up and no need to replace lamps.
All of Sony’s new models are compatible with the latest software packages such as Vision Exchange active learning solution, Display Power Management software and IP Remote App, enabling customers to create the next generation of AV solutions.
All five new models beginning in summer 2018. You can get more information here.Leave a Comment
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|New Eiki LED-Lit 3LCD EK-350U Projector Lasts 25K Hours|
Eiki International just debuted the EK-350U Meeting Room projector. This WUXGA resolution projector is spec’d at 4,500 ANSI Lumens brightness and uses a ColorSpark HLD LED lighting system that allows it to last over 25,000 hours.
With its HLD LED technology, the new EK-350U emits four times the light of current LED technology and includes rapid power on and off capability. With a 50,000:1 contrast ratio, corner keystone correction, 360-degree free orientation projection (both vertically and horizontally), lens shift and a curved correction and blending function, Eiki’s EK-350U can be used in digital signage, classrooms, meeting rooms and even rental applications because of its long light source life. The projector includes a 1.09 – 1.78: 1 throw with a manual zoom and focus lens.
Connectivity includes HDBaseT, HDMI, VGA, YPbPr and composite video.
Eiki’s new EK-350U lists for $4,995.00 and is already shipping. More information is here.Leave a Comment
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|New Dynacord IPX Series Power Amplifiers with OMNEO Debuts|
Dynacord just launched their IPX series multi-channel power amplifiers incorporating the OMNEO IP networking architecture The IPX series is comprised of three four-channel models and one eight-channel model, offering a power density of 5 kW, 10 kW and even 20 kW from a single amplifier with all channels driven. The IPX series amplifiers is designed for high-end fixed install venues, from concert halls, art centers, theaters and houses of worship to distributed sound systems in stadiums and entertainment centers.
IPX series offers high flexibility for a variety of installation scenarios and use Dynacord’s patented VLD (Variable Load Drive) technology. VLD technology (IPX5:4 and IPX10:8) allows the available output power of 1,250 watts per channel to be used at either 4 or 8 ohms, or via 70V or 100V lines in direct drive mode.
The integrated OMNEO interface with a primary and secondary port allows the flawless use of eight channels from a Dante audio network, while remote and supervision parameters run on OCA protocol (AES70), open for third-party integration. Redundancy options include glitch-free and RSTP (Rapid Spanning Tree Protocol) to suit individual requirements and existing infrastructure.
The new Eco Rail technology developed by Dynacord is spec’d to reduce overall power consumption up to 50 percent, both protecting the environment and significantly lowering the total cost of ownership.
The IPX series offers advanced 96 kHz high-resolution digital signal processing, internal analog-to-digital conversion, and a high-end level signal-to-noise ratio. The three DSP blocks are split into user, array and speaker processing controls, each featuring a wide range of equalization, delay, level options and even asymmetric filters to adapt to almost any application. Complete remote control and supervision is available via the IRIS-Net software and allows the IPX series to be integrated into both existing and new installations.
- IPX 5:4 (4 x 1,250 W @ 4 Ω)
- IPX 10:8 (8 x 1,250 W @ 4 Ω)
- IPX 10:4 (4 x 2,500 W @ 4 Ω)
- IPX 20:4 (4 x 5,000 W @ 4 Ω)
More information is here.Leave a Comment
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|DiGiCo Unveils New 4REA4 Installed Audio Solution At ISE 2018|
DiGiCo recently unveiled its new 4REA4 installed audio solution at ISE 2018. 4REA4 is designed for the performance requirements of large entertainment venues, houses of worship, theaters and shared stages at festivals and music venues.
At the heart of the system is the 4REA4 processing engine with DiGiCo connectivity options and powerful 4REA4 control software, providing routing, processing and mix control that allows your performance area to expand across your installation. The 4REA4 processing engine rack has four dedicated mix areas, or zones, each with its own stereo master output, CGs, and allocated FX. With an available 128 input channels and 48 buss output processing strips, you can independently allocate processing to whichever area as required.
Managing the mixing and routing of each individual local performance area are a new range of premium designed hardware control panels and external I/O units, that work in conjunction with the 4REA4 processing engine and control software. New Ethernet connected controller options include the wall mounting single rotary ACONTROL1 with a TFT display for small area performance management, and the ACONTROL8 with eight 100m faders designed for more complex mix and function control.
Local I/O boxes are managed via proprietary Ethernet or Dante connectivity for extended reach across a facility, with options including the new A168 STAGE floor rack and the A164 WALL LCD box, both providing mic and line level connectivity to ensure a premium 96kHz audio experience across the most demanding performance venues.
All the tech specs are here.Leave a Comment
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|Optoma Intros 10K Lumen Laser ProScene Projector for Large Venues|
Optoma today announced the ZU1050 WUXGA 10,000 lumens laser projector. The ZU1050 has seven interchangeable optical lens options, MultiColor laser (MCL) technology for a wider color gamut and Optoma’s DURACORE laser phosphor light source for virtually maintenance-free operation.
The Optoma ProScene ZU1050 is a WUXGA laser phosphor projector that’s designed for large venues is spec’d at 10,000 lumens, a 2,000,000:1 contrast ratio with Extreme Black. Its motorized lens shift, zoom and focus with 360-degree and portrait operation mode allows for installation nearly anywhere. Combined with a laser light source and IP6X-certified dust rating for its optical engine, the ZU1050 is a cost-efficient and low maintenance option that provides up to 20,000 hours of light source operation for large meeting rooms, auditoriums, museums, houses of worship and broadcast environment installations.
Optoma ProScene ZU1050 specs include:
- Resolution: 1920×1200 WUXGA
- Brightness: 10,000 ANSI lumens
- Light Source: Laser phosphor, providing up to 20,000 hours of virtually maintenance free operation
- Laser Type: MCL (red and blue laser)
- Optical engine: Airtight optical engine independently dust certified to IP6X
- Contrast Ratio: 2,000,000:1 with Extreme Black enabled; 2,000:1 full on/off
- Vertical and Horizontal Lens Shift: 50 percent vertical, 15 percent horizontal motorized lens shift, zoom and focus
- Edge blending and warping: with built-in with portrait and 360-degree operation mode
- Throw Ratio: 0.36:1 to 5.5:1, with seven interchangeable lens options, including the BX-CTADOME for dome applications
- Connectivity: a wide array, including HDMI, DVI-D, VGA, 3D sync in and 3D sync out, HDBaseT and 3G-SDI
The Optoma ProScene ZU1050 is $16,999 and it’s here.Leave a Comment
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|NEC Display American Claims World’s Brightest RB Laser Projectors for Large Venues|
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NEC Display today claimed the world’s brightest red-blue (RB) laser projectors with the new PH Series – NEC PH3501QL and NEC PH2601QL. Both are native 4K (4096×2160) resolution.
The PH Series uses RB laser light source technology, is spec’d at 40,000 center lumens and 30,000 center lumens and the use of a red and blue laser light source which NEC says increases the color gamut of a laser phosphor projection system. And, like all laser projectors, it has a lifetime spec of at least 20,000 hours. Both models include Quad 3G SDI, two DisplayPort inputs, two HDMI inputs plus an optional slot for 4K/UHD OPS Slot-in PCs. It can be installed for landscape or portrait mode projection or 360 degree free tilt installation and it uses NEC’s cinema approved digital projection technology.
The PH Series features vertical +/- 50 percent and horizontal +/- 17 percent lens shift, a selection of wide zoom bayonet lenses and 4K60 4:4:4 up to 16-bit color and Picture in Picture or Picture by Picture display capabilities.
Here are all the specs on the NEC PH3501QL as well as the specs on the NEC PH2601QL.
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|Ross Video Launches New Workflow Automation Production Solution Bundle for Smaller Productions|
Ross Video will be launching a new solution bundle, this week, that combines OverDrive Express with Ross Video’s Graphite integrated production vehicle; designed for smaller productions looking to cost-effectively improve production values.
Launched in 2017, Graphite is an integrated, all-in-one production powerhouse that combines a real Carbonite production switcher with XPression graphics, two channels of clip server and a brand new 28-channel RAVE audio engine. Unlike most all-in-one solutions, Graphite offers unrivalled reliability because the Carbonite switcher functions are built on a separate PCIe card and directly powered by the system, making it immune to any possible computer sub-system reboots, crashes or updates.
OverDrive is the broadcast industry’s preferred production automation solution and the 2016 launch of OverDrive Express – a more cost-effective yet totally scalable version – proved that workflow automation is not just a requirement for larger broadcasters and studios; even smaller productions can use the operational benefits that come from automation, with demonstrable improvements in consistency and quality.
Here are all the known details.Leave a Comment
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|Roland Ships V-60HD Multi-Format Video Switcher|
Roland Professional A/V is now shipping the V-60HD, a compact, integrated video switcher and audio mixer. Its feature set is designed for live event production as well as broadcast, recording and streaming. The V-60HD supports SDI camera inputs plus scaled HDMI inputs for data, computer, tablet and other video sources via a variety of video connections, plus a Program and independent AUX bus for confidence, downstage monitor or side screens. The V-60HD also offers advanced audio functionality including multi-channel embedded audio, XLR/TRS and RCA analog inputs and multi-channel embedded audio to two SDI outputs, plus comprehensive dynamics and auto-mixing.
Compact, portable and easy to operate, the V-60HD supports six video channels from a variety of inputs, including 3G-SDI, HDMI and RGB sources with scaling on HDMI and RGB inputs to support both video and VESA resolutions from 480i up to WUXGA. A de-interlacer enables 1080i and 1080p SDI video sources from multiple fixed-lens, PTZ or ENG-style cameras to be used simultaneously without the need for an external signal converter. The V-60HD also supports still image capture and import with two dedicated cross-points to have images ready to go and easy to switch to.
Program, Preview and AUX bus sources enable flexible outputs for multi-screen environments such as churches, conference centers, hotels and trade show facilities, supporting a confidence monitor, presenter notes, plus a main output for IMAG. The dedicated AUX bus may be assigned to any of the four discreet SDI or HDMI outputs providing seamless switching from the eight input channels, including four SDI, two HDMI or one RGB and two still images uploaded via the USB port.
A front-panel 3-inch LCD display allows quick access menu navigation and access to switcher parameters. A multiviewer supports Program and Preview feeds and up to eight video sources with audio meters and labels. A free software application, V-60HD RCS (Mac or PC), provides setup and control information for the unit through a network port. For fixed installations, the V-60HD can be remotely controlled through the LAN or RS232 port using touch panel or other programmable interface devices.
The LAN port also supports Roland’s new Smart Tally system for PC, iOS and Android devices, providing wireless tally to mobile devices from a Wi-Fi access point. In addition to enabling still image uploads, the USB port allows the user to save program files and memory settings plus software updates.
The V-60HD also features a 18-channel audio mixer with four TRS/XLR combo jacks with 48V phantom power, an RCA stereo pair, plus audio de-embed from the six video inputs. Audio processing capabilities include powerful dynamics and effects, such as a high-pass filter, gate, compressor/limiter, three-band EQ, delay and the ability to select audio-follows-video channels. The unit’s innovative discreet multi-channel audio embedding function allows users to select which audio source to embed separately to SDI outputs 1 and 2, for example, to fix audio issues or separate multi-language audio sources post event. An auto-mixing function automatically adjusts the audio level based on weighting, ensuring even levels for the room mix, recording and web streaming.
Here are the details.Leave a Comment
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|Stage Tec Publishes 4.4.1 Software Release for AURUS and CRESCENDO|
Stage Tec published software release 4.4.1 today, which provides a feature of interest to AURUS customers in recording and post production. The new software release enables the use of true peak metering and true peak limiters in AURUS mixing console configurations equipped with the RMDQ DSP boards. Measurements are made with eight times oversampling, enabling more precise control of the signal to be processed. The true peak limiter and metering are available in all channel types.
Software Release 4.4.1 also brings some improvements for customers with AURUS and CRESCENDO systems. Channel configuration templates can now be saved after editing and used as templates in new projects. The GUI interface has also been revised and now displays consoles operating in parallel and virtual interfaces. With the new software release, customers with AURUS mixing desks can now enjoy improved handling of timecode automation. Operational workflow has been optimized.
Stage Tec’s flagship AURUS was launched in 2002 and has evolved continuously ever since. The console has made quantum leaps in development and is now in its fourth generation. From extensive control functions to intelligent audio editing features for particularly efficient operation, to integration of third-party products — each of the many software releases has added new functions to AURUS to satisfy the ever-increasing requirements of broadcast, theatre, recording and live environments. On the hardware side, the display technology has been further refined. The software update is now available here.Leave a Comment
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|RCF Adds to TT+ Theater & Touring Series with New TTS15-A and TTS18-A MK2According to RSF, the design philosophy for the RCF TT+ Series is based on offering the sound engineer solutions with the ability to provide controlled and consistent sound definition at high output levels for applications ranging from concert halls and houses of worship to touring and stadium situations. The strength of the product is based on the fact that RCF is one of the few loudspeaker manufacturers worldwide who completely design and manufacture the transducers, cabinets, amplification and control electronics. This control allows RCF to offer the TT+ Series offering maximum output efficiency in sound pressure levels, minimum mechanical weight ratio and extremely compact dimensions of the products.
The process starts with the transducers. The RCF design features lightweight neodymium magnet, inside-outside cooper voice coil and dual-forced hyperventing system for heat dissipation, dual silicone spider which provides strength and stability under large excursion conditions for tight response and water treated cone for weather and high humidity environment protection.
The success of the RCF TT+ Series has relied on providing total system design capabilities. Complementing the line array products, RCF has offered the TTS26-A dual 15” subwoofer, TTS36-A dual 18” subwoofer and TTS56-A dual 21” subwoofer.
Now RCF expands the low frequency offerings with the TTS15-A single 15” and TTS18-A MK2 single 18” products. The 15” woofer is powered by an onboard 1100-watt RMS Class-D amplifier with a frequency response from 40-400 Hz and 134 dB SPL maximum output. The TTS18-A MK2 is an upgrade to the original TTS18-A with new amplifier and transducer technology. This enabled RCF to increase the power by 40 percent to 1400-watts with frequency response down to 35Hz and ability to achieve 136 dB max SPL. The transducer is an 18” hypervented woofer with 4” voice coil.
RCF’s propriety RDNet onboard allows for integration in total system design as well as the abiity to remote monitor all components in the cabinet with DSP to incorporate into system audio control functionality.
The design of the subwoofer cabinets allow them to be positioned vertically or horizontally, with M20 pole receptacles on both top and side. The cabinets are heavy duty multi-ply birch with weatherproof finish. For transport, RCF offers an optional detachable front wheelboard with 100-millimeter casters. You can find information on the RCF TTS15-A here and on the RCF TTS18-A MK2 here.Leave a Comment
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