Volume 8, Issue 4 — April 28, 2014
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Unified Everything: Part 2
By Joel Rollins rAVe Columnist
Last month, we considered the idea that it isn’t just the disciplines of IT and AV that are converging, but that the tools and components of both disciplines are combining in many AV shows or installations.
This earned me some criticism about the way I had misused the term “convergence” (much of it from another rAVe blogger, Mark Coxon). I certainly accept that I had used the word in a way not currently the norm in our industry, but this use was intentional. If you missed the original article, you can find it here, and the conversation that ensued can be found here, if you care to catch up with it.
Anyway, there were some points made in the original article that I had determined to explore:
- First, that the nature of electronics development says that components, which are being combined now, will continue to converge in many ways. Among these are the convergence of AV and IT functions as well as the merger of multiple devices and functions into single hardware units, or even into software or virtual functions.
- Second, that devices being combined can sacrifice capabilities (usually those least commonly used) in favor of simplicity.
- Third, (and the idea I really wanted to explore this month) that this convergence can affect our bottom lines, and the way we operate. In fact, it may be making many of our traditional ideas about how our business is structured obsolete.
The traditional business model for an AV rental and staging company rests largely on shows being the sum of their parts. In other words, on renting gear. Most rental quotes read like an inventory of the truck that goes to site, with each piece of gear having a daily rate. I, and a lot of my contemporaries, have argued against this model for a long time, but changing the market is like turning a battleship. Combine this with the fact that most computer inventory systems generate quotes in the same manner, fundamentally as lists of items, and it’s easy to see why most of the market works this way. It’s the norm and the path of least resistance.
Now, combine the fact that while most of the line items on our rental quotes are for gear with the reality that our biggest costs are in labor — in personnel. Not only is this already a problem we have been fighting for the last couple of decades or so, but it is multiplied by today’s multi-function electronic gear.
How so?
Simple. It’s because the new, highly-programmable, DSP-based, network-capable, software driven equipment requires investing a lot more not-traditionally-billable labor in the form of configuration and programming time (not to mention debugging).
Let me give you an example:
Today, an audio DSP processor can replace many of what used to be dedicated, single-purpose devices: equalizers, compressors, limiters, speaker system processing, etc.
In the “olden days” (phrase used for Mark Coxon’s amusement), each of these functions would have been performed by a dedicated piece of gear — in other words, a billable line item. Placing a new EQ in inventory involved putting a label on it, entering it into our inventory system, and putting it on the shelves in the warehouse. So the acquisition cost of the item was the cost of buying it, and the cost of unpacking it.
The first of the profitability concerns over this reduction in line items is: Does the new multi-function rental item rent for as much as the dedicated components did? Because it normally costs more to buy, and often doesn’t last as long in inventory.
But even that cost is oversimplified and misses something, because the acquisition cost of the DSP item now includes a lot more training, preparation and programming just to place it in inventory — to prepare it to work with the rest of our gear. And, unlike the dedicated components, this process will have to be repeated many times, since most of us don’t keep only full, dedicated systems on the shelves. We tend to package and configure systems from components much of the time, and the programming time for much of the newer gear will have to be completed for each new configuration until we have built that vital library of config files — by which time the new processor will be replaced by an even newer, even spiffier one. And we begin the process all over again. And, during the period the new multifunction item is in our inventory, there are somewhat increased costs of training time, and some higher-cost tools (like notebooks, tablets, and access software) for our technical crew.
So many of the actual operational and acquisition costs of gear become “fuzzy.” Sometimes we simply accept them as the new cost of doing business, watching them creep into the monthly overhead costs. And sometimes, we don’t even realize they are there. And, truth to tell, sometimes we ignore them — because we can’t figure out how to charge our clients for time spent updating firmware.
By all this, am I advocating a return to older technologies? Of course not. You can be part of the steamroller, or part of the road. And the new technologies open new possibilities, and I am always the first one to go down to the loading dock when a delivery of the latest and greatest arrives.
But it changes things…
And I guess that was the point of this entire exercise. We need to examine the very nature of the way business is done in most of the AV rental industry. As equipment for AV converges with equipment for IT, as boxes consolidate into fewer components, and as many devices disappear altogether into software and cloud-based services, we need to redefine ourselves — and what it is we are renting. Leave a Comment
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Community Completes New Loudspeaker Test FacilityCommunity has opened a new indoor test facility at its factory in Chester, Pennsylvania USA. Designed by Charlie Hughes of Excelsior Audio and operated by Senior Measurement Technician, Hadi Sumoro, the new test facility enables loudspeaker measurements with unprecedented accuracy and precision.
With its indoor location, the new facility makes it possible to control temperature and humidity. It eliminates wind problems and minimizes interference from outside noise sources. This allows Community engineers to accurately measure complex loudspeaker data and to gather polar data in precise 1-degree resolution. Measurements are automated with an ELF robotic rotator system controlled by EASERA software.
The new test facility follows in the footsteps of a long tradition of loudspeaker measurements at Community. Community’s first test facility was a 32-foot-high tower built in 1975 on a southeast Pennsylvania hilltop which provided measurements that closely corresponded to anechoic chamber standards and established Community as an early leader in providing accurate loudspeaker specifications. In 1981, Community built a semi-anechoic room in its factory to manually collect spherical propagation data of loudspeakers using Time Delay Spectrometry (TDS) technology developed by Richard Heyser and Gerald Stanley. In 1994, Community built a new outdoor test facility extending from the third floor of its factory building in Chester. At 40 feet above the ground and with a microphone to loudspeaker distance of 39 feet, this system is still utilized today and uses TDS software to collect far-field and free-space data and to minimize outdoor noise and reflections. The outdoor test system provides the ability to measure low-frequency loudspeakers in near-free-space conditions.
Community is here. Leave a Comment
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Hitachi Expands 9000 Series Large-Venue Projectors with Off-White Color Availability for All Models Hitachi America now has off-white versions of all its 9000 Series DLP projectors — apparently allowing you to better match 1970s decor? The CP-X9111, CP-WX9211 and CP-WU9411 projectors are spec’d up to 10,000 lumens brightness and feature two built-in color wheels, enabling users to easily switch between a so-called Rich Color Mode or Bright Mode.
All projectors include motorized lens shift that enables lens shift, zoom and focus and six interchangeable lenses are available to match various screen sizes and installation environments.
Other than the new off-white color, there are no spec changes, just a new cabinet option. All the details of each model are here. Leave a Comment
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Epson Now Holds 39 Percent of Projector Market Share in U.S.According to PMA Research, Epson continues to hold the number one position in North America for 2013 with a market share of 39 percent, representing a five-point increase year-over-year. With positive revenue growth four years in a row, Epson had the largest total revenue increase in the North American projector market in 2013 with a 24 percent share, which represents a nearly six-point increase year-over-year.
The two largest market share segments for Epson are home entertainment (52 percent of the native 1080p category) and SMB with a 37 percent market share. Recently, Epson launched a line of high brightness projectors (4,000+ lumens) and it will be interesting to see the company’s growth in that category for 2014 — it should be quite large.
One thing that’s interesting to note is that Epson only sells 3LCD projectors — no DLP.
The entire market study is here. Leave a Comment
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Wohler Adds AVB Card Wohler Technologies today announced a new AVB Monitoring Option card for its flagship AMP2 Series modular monitoring AMP2-E16V system. Once the card and software update are installed on the AMP2 Series unit, AVB channels can be mixed, level-adjusted, and monitored alongside AES, SDI, analog and other input types, and in the same fashion.
The Wohler implementation of AVB is unique in that AMP2-E16V monitoring units already deployed in the field may be upgraded easily to support AVB. No additional dedicated system is necessary. Rather, as a result of the series’ modular design, users can add AVB support via a 100 Base-T Ethernet port and RJ45 connection when needed. Just like any other module for the AMP2-E16V, the AVB card occupies a single card slot.
Each AVB Monitoring Option card decodes two AVB streams of eight channels each (IEC 61883-6 format), and these two streams must be locked to the same media clock. AVB channels can be output via AES and analog outputs or re-embedded within an SDI stream. Going forward, those Wohler customers who employ the AVB card will be able to update its firmware just as they would the firmware for any other I/O module.
Here are details of the card. Leave a Comment
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DPA Intros New d:screet Miniature Necklace and d:fine Headset Mics at NABAt NAB, DPA Microphones has introduced the new d:screet Omnidirectional Miniature Necklace Microphone, the heavy-duty d:screet 4060 and 4061 Omnidirectional Miniature Microphones, and the classic d:screet Omnidirectional Miniature Mics with reinforced cable relief.
The new d:screet Necklace Microphone lets audio techs not worry about how to attach the mic to clothing when consistent audio output and quick, easy mounting are the main requirements. It features DPA’s d:screet 4061 Omnidirectional Miniature Capsule in a soft rubber necklace and is designed specifically for use by non-technicians. The d:screet Necklace Mic comes in black, white and brown and in lengths of either 18.3 or 20.9 inches.
During the show, the company is presenting two options. Incorporated on all d:screet Miniature Microphones, the robust strain relief version ensures that people who are not used to handling miniatures can feel reassured by the increased reliability. The heavy-duty 4060 and 4061 microphones, which are ideal for people who require even more enhanced security and for whom the visual appeal is of less importance, are ideal for placement in rigorous filming situations. It features a stainless steel housing, sturdy cable relief and a thicker .08-inch cable. Both enhanced versions are exceptionally durable and ideally suited to the rigors of broadcasts.
Combining the flexible mechanics of DPA’s modern d:fine ear mount solution with the sound qualities of the 4066 Omni and 4088 Cardioid headsets, the new d:fine 66 and 88 Headset Microphones are ideal for broadcast productions with vocal performers who need to move freely without obstructions from a handheld mic or mic stand and address every need that actors, musicians and singers may face on live television. These new products join the original d:fine as well as the traditional 4066 and 4088 Miniature Headset Microphones under the company’s d:fine family.
For more information, click here. Leave a Comment
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TASCAM Features UH-7000 Mic Pre/USB Interface at NABTASCAM is presenting its new UH-7000 USB Mic Pre to the broadcast market for the first time at the 2014 NAB Show. The 4×4-channel audio interface is a standalone microphone preamp that features the company’s HDIA (High Definition Instrumentation Architecture), an entirely new design for microphone preamps, which ensures clean sound reproduction with a high resolution.
The UH-7000 is ideal for a recording or live setup, and can be also be used for home recording with a computer. With a fully-balanced signal path from input to output (in standalone mic pre mode) and enhanced instrumentation amplifier architecture, the UH-7000 includes new premium components to achieve a -128 dBU noise floor, 117 dB signal-to-noise ratio and 0.0009 percent THD rating. Additionally, dual-sided PCM4220 A/D converters capture mic or line inputs at up to 192kHz/24-bit resolution. For monitoring and line output, the UH-7000 coerces audio through a Burr Brown DA converter for fluid and honest sound reproduction.
Another crucial component of the UH-7000 is its audiophile-designed +48V phantom power supply and extra-large power transformer. Additionally, the mic pre/interface has a solid aluminum structure; meticulously calibrated knobs for smooth, custom-tapered gain setting and bright 20-segment LED peak meters to accurately convey each channel’s true level. The device is also equipped with two XLR balanced inputs and outputs, two balanced 1/4-inch inputs and an AES/EBU digital out.
For more information, click here. Leave a Comment
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DPI Intros 10,000 Lumen Laser ProjectorDigital Projection International (DPI) has announced the launch of the HIGHLite LASER WUXGA 3D, which offers 10,000 lumens from a solid-state light source, capable of producing over 20,000 hours of illumination and WUXGA (1920×1200). Due to the light source and lack of a lamp, this projector offers a lower total cost of ownership.
Image edge blending is included as standard, along with advanced geometric warp correction. Additionally, active 3D functionality with frame rates up to 144 Hz is included. Inputs include dual HDMI 1.4, DVI and 3G-SDI, as well as HDBaseT connectivity for the transmission of uncompressed HD video over a CAT5e/6 LAN cable. A diverse selection of both fixed and zoom lenses, with throw ratios ranging from 0.77:1 to 6.76:1 and extensive lens shift, is available.
DPI says the projector will ship this June. To get complete specs, click here. Leave a Comment
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Panasonic Debuts 98″ and 84″ 4K LED Displays at NAB Panasonic this month announced two new large-format 4K (3840×2160) LED displays along with other new professional AV technologies at the National Association of Broadcasters (NAB) Show.
The 98” TH-98LQ70 and 84” TH-84LQ70 4K displays are being marketed for broadcast production, digital signage, rental and staging, design and simulation as well as command and control rooms. These displays, combined with Panasonic’s imaging capture and workflow technologies, provide a one-stop solution for organizations with image creation needs. The displays can also scale non-4K sources to a higher level of picture quality.
LQ70 Series displays are equipped with a protective glass and also feature a ruggedized aluminum frame. They can be installed vertically or horizontally, and offer SLOT3.0 architecture. Panasonic says the displays will ship in September 2014. For more information, click here. Leave a Comment
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BSS Audio Ships BLU-50 Signal Processor HARMAN’s BSS Audio is now shipping its BLU-50 signal processor, part of the Soundweb London family of digital signal processors. The BLU-50 is a half-rack width processor that offers a fixed configuration of four inputs and four outputs, configurable signal processing, logic processing and BLU link. The device can be powered with the included 12VDC power supply but can accept 12-48VDC via a terminal block connector. The BLU-50 can also be powered with PoE+ via the Ethernet port, allowing the device to be powered, configured, controlled and monitored using a single Cat 5e cable.
The analog inputs of the BLU-50 provide software configurable gain in 6dB steps up to +48dB per channel and software selectable phantom power per channel. Phantom power, signal present and clip information per channel is easily accessible, without the requirement for a PC, from clear front panel LED indication.
The BLU-50 features BLU link, a low latency, fault tolerant digital audio bus of 48 channels, which uses standard Category 5e cabling giving a distance of 100 meter between compatible devices. Fiber media converters can be used to increase the distance between devices to over 10km (6.2 miles) using single mode fiber.
The BLU-50 can be configured, controlled and monitored from both the newly introduced HiQnet London Architect version 6.0 and HiQnet Audio Architect version 1.4, to be released soon, and is compatible with other members of the Soundweb London family. Its 48 channel BLU link bus represents channels 1-48 of the larger 256 channel BLU link bus when integrated with the BLU-800, BLU-320, BLU-160, BLU-120, BLU-BIB and BLU-BOB devices. Up to 60 BLU link compatible devices can share channels on a single bus.
For more information, click here. Leave a Comment
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Eighteen Sound Adds XG10 Line Array Waveguide Eighteen Sound announced the release of the XG10 line source waveguide with a 1-inch throat entry. The company says that the XG10 has a transmission line acoustic design that minimizes internal reflections and acoustic loss, while the throat shape has been optimized for lowering air distortion.
The waveguide has been optimized to provide a 10o vertical dispersion angle, while the horizontal coverage angle can vary from 80o to 120o depending upon the specific cabinet design.
Features include:
- 1.0″ entry line-array source
- 10° vertical coverage angle
- Transmission line acoustical design minimizes internal reflections and acoustical losses
- Throat shape optimized for lowering air distortion
- Compact size for high arrayability
- Die-cast aluminum construction
For complete specs, click here.
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PixelFLEX Intros FLEXLite LED Screen, a Cost-Effective Solutions for Permanent Installs and Small EventsLED screen manufacturer PixelFLEX has introduced the FLEXLite LED screen. Available in both indoor and outdoor options, FLEXLite was designed for clients that need an economical solution for permanent installations and lightweight event screens.
The indoor version comes in pitches of 3.0, 5.2, 6.9 and 7.8 mm and is designed for tradeshows, other events and signage. FLEXLite has a high refresh-rate, making it “camera friendly and an ideal solution for televised and filmed events,” according to the company. A dedicated outdoor version that comes in both blowthrough and non-blowthrough designs is availablie in pitches of 6.25, 8.9 and 12.0 mm with brightness of 5,000 nits.
The FLEXlite frame is made of die cast aluminum, resulting in a lightweight but durable tile that weigh 28 pounds each. PixelFLEX says it has taken all of the aspects it has been known for in its touring products, and transformed them into a single product that makes sense for installation. It can be installed and dismantled by one person, making FLEXLite time and labor efficient. The LED panel also comes in a rectangle shape – versus the traditional square – and consequently covers more space with less tiles.
It offers HDMI and DVI-D inputs and uses the latest debugging technology to prohibit issues with gray scale level, allowing for clear, crisp content playback. The LED screen also offers a 140 degree viewing angle so more of the audience gets the full impression of the desired content.
More information is available here. Leave a Comment
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NEC NC1100L: Compact Laser Projector for CinemaNEC Display announced the availability of “the world’s first fully integrated compact DCI-compliant digital cinema projector using laser light source.” Designed for screens up to 11 meters, the NEC NC1100L is for use in venues such as cinemas and art houses, as well as public buildings, theaters and universities. And, like most other laser-based light systems, the projector’s light source is spec’d to last 20,000 hours.
Because the NC1100L projector has no exhaust system, it can be floor- or ceiling-mounted as close to surfaces as an installer would like — or even inside walls. So far, it’s the most compact cinema laser projector available, measuring 700 x 1042 x 314 millimeters. The projector’s 2K DCI-compliant cinema quality delivers an image bright enough to display on screens up to 11m in DCI colour (1.8 Gain screen).
The NC1100L can be deployed as a complete one-stop digital cinema solution, using the built-in Integrated Media Server (IMS). This brings an ‘all in one’ Integrated Media Block and 2TB Storage Server for versatile connectivity and enhanced savings as less peripheral devices are needed.
Here are all the details. Leave a Comment
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Analog Way Intros Orchestra² Remote ControllerAnalog Way has announced the Orchestra², what the company calls a revamped and improved new Remote Console. The console can manage, independently or simultaneously, several switchers, either as stand-alone boxes or in combination, including soft edge blending. It controls up to six independent screen configurations in different locations and stores up to 64 presets per screen configuration.
The console comes with a new design and a Quick Frame button was added for control. Orchestra² features off-line programming, enabling programming of the console. In addition, the Remote Console features the new snap function, a powerful tool to help quickly position layers. Its customizable and configurable presets enable the set-up of the screen configuration, so that they are easily accessible during the presentation. A last minute modification is easy thanks to the direct input/output selection access. Also equipped with a USB port, the complete configuration of the event can be saved both internally and externally for future use.
Analog Way says it will start shipping the Orchestra² in May 2014. Orchestra and Axion² owners will be able to download the new firmware on Analog Way’s website.
More information is here.
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Audinate Sets AV Networking World Conference Date at InfoComm 2014AV Networking World is a free, all-day conference put on by Audinate, providing the latest information about the real world use cases of converged AV and IT networks. AVNW is co-sponsored by the leading pro audio OEMs and will take place June 17 at the Renaissance Las Vegas Hotel next to the Las Vegas Convention Center. Panel discussions from leading industry design consultants, installation contractors, networking experts, plus major professional audio equipment manufacturers will cover various case studies covering deployment of small and large-scale networked AV systems.
In addition to the broad spectrum of informative panel discussions and presentations, a major interoperability networking demonstration will be conducted. Due to the space limitation, pre-registration is recommended.
You can register here. Leave a Comment
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For all you REGULAR readers of rAVe Rental [and Staging] Edition 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 gary@ravepubs.com or for editorial ideas, Editor-in-Chief Sara Abrons at sara@ravepubs.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: https://www.ravepubs.com
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rAVe Rental [and Staging] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. |
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