Volume 9, Issue 10 — October 27, 2015
|
|
Remote Cubed: A Remote Chance of Remote Support for Remote Events
By Joel Rollins rAVe Columnist
Over the last few years, a revolution in teamwork and technical support has taken place in the installation portion of our industry. Once network ports began appearing on the equipment that we sold, remote administration, remote monitoring and remote support all became possible, but it really has taken a couple of years to convince clients that it should be done, and to educate both our clients and our personnel on both the techniques and software used, and the security issues that surround it. Then, it has taken time to think of creative and productive ways to use it, beyond the obvious “I can log into that piece of equipment and tell you why it’s broken” use. We have begun to use it (the network and network collaboration software) for sales calls, for ongoing project meetings, and to make our experts available in more places at more times, creating much greater staff flexibility especially with specialist technicians and designers.
Why did it take so long? Simple. Because our industry, for many years, tried to see videoconferencing as the answer to this. Being a major implementer of videoconferencing technology, I have often asked myself why we didn’t use it more within our industry, as I have always been a strong believer in drinking our own Kool-Aid. But videoconferencing, especially the kind that required large boxes with complex installation, just didn’t fit the bill for many parts of our industry — mostly because, for internal meetings, I really have no need to see my team members at the other end. Not only do I know what they look like, but if you knew my staff you would know that it would be a pleasant break not to look at some of them. (Kidding, guys… please continue to come to work despite my attempts at humor).
No, what I needed was to look at the project or problem at hand. And what came along to solve the issue were cloud-based solutions for collaboration and the VMR (or virtual meeting rooms).
Just as background, the two tools that we use most often over the last couple of years are our internal project management system, which is an incredible product from 37 Signals called Basecamp. I have talked about Basecamp in a couple of previous columns, so I won’t belabor it here, but it is the online system, cloud-based, in which we maintain all of our project files, schedules, notes and an online/offline thread about each project. One of the best parts about the system is that we can include clients in their projects, without allowing them access to anyone else’s projects, even though our staff can see them all. This is really useful in that it prevents time wasting calls and emails inquiring about progress on particular projects, as (if we choose to) they can see all of the daily notes from the technicians and managers assigned to their projects.
The other product that has come on fast in our organization, which we use both among ourselves and with clients, is Cisco’s WebEx. It allows us to hold convenient meetings between staff that’s at the office using a traditional videoconferencing room, staff that’s in the field on a laptop or tablet, and clients, wherever they happen to be. It allows us to take over each other’s computers for technical support or to provide hands-on assistance with specialized programming. And once we have clients using it, it saves us enormous amounts of time in attending their meetings in a VMR rather than in person.
(Please note that there are great alternatives, many of them, to these two systems. I comment on them only because they are the systems that we have been using the longest. The important thing about both of them, for what I am about to suggest, is that they are both cloud-based, use only a web browser, and are easily accessible from public networks.)
So that is what has happened among those of us who design and install systems. Over the last few years, remote collaboration has finally taken our industry by storm, which is finally justified the fact that we have been pushing on our clients for years now.
But stagers, well… we fly places. We get up early, we go to the airport, we drink too much coffee, we go straight to worksite, we wait for rooms to be available, we wait for crews, we wait for freight. Then we do a show, go to the airport and fly on to the next location.
Then we repeat the process. Because staging is not just a profession. It’s a way of life.
But in a world where qualified personnel become more and more expensive, and yet harder and harder to find, where travel is no longer considered a perk, and where clients’ attitudes about travel are changing, it only makes sense that the rental and staging portion of our industry will find it a financial necessity to begin using these technologies more readily than we have in the past.
Think about it, because next month we are going to examine a show and how the use of remote technology can change it. Because with the application of a little ingenuity, you can decrease your travel cost, and yet increase your billing for the things that you do off-site already but don’t normally get to bill for. I’m going to explore for ideas of my own, and a couple that have already been contributed by the stagers that I talked to about this article. So stay tuned. Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
|
If Your Clients Upgrade to Apple’s iOS 9, Your Wireless AV Collaboration Systems May Stop Working
By Gary Kayye rAVe Founder
There’s an interesting dilemma developing in the ProAV market where clients are calling their AV integrators because, ever since they upgraded to iOS 9 with their iPhones or iPads, they stopped working with their wireless transmission systems.
There are about a dozen or so companies who have wireless AV systems out there. It all started with Barco and its industry-leading ClickShare launch a few years ago. And, ever since, many BYOD or “collaboration” systems (as well as Huddle Rooms) have been built integrating wireless systems (or at least inputs on a system) that accommodate sending video and audio wirelessly via Apple laptops, Samsung phones, tablets, Windows devices and even iOS (Apple iPhones and iPads). The thought is that it allows for someone (an attendee of a meeting or a group in a brainstorming meeting) to share content without having to connect to the room’s VGA or HDMI cable. It all happens wirelessly.
But, oops, in iOS 9, Apple made that even harder and, all-of-a-sudden, many of the popular wireless systems out there (e.g. any system – other than Apple’s own – using AirPlay to transmit video) stopped working. So, an iOS 8 phone works, but not one using iOS 9.
So, who’s affected?
Well, let’s make this easier and tell you who’s not affected so far — these are the companies with wireless transmission systems are still working in iOS 9 as of October 20th. We will update this list as systems are updated or we hear back from the manufacturers. Here are the collaboration systems that DO work with iOS 9, as of October 23, 2015:
- Crestron AirMedia
- Extron ShareLink
- EPSON iProjection
- Panasonic Wireless Projector App
- Christie Brio
- Kramer VIA
- WolfVision Cynap
- AMX Enzo via MirrorOp
We will keep updating this list as manufacturer’s fix their systems, but, again, this iOS 9 issue needs to be monitored as many, many installed systems aren’t working any more when your clients update their operating systems. Leave a Comment
Share Article
Back to Top |
|
New Premium Analog Audio Breakout Cables for BrightEye Converters from LairdLaird Digital Cinema just debuted a new line of analog audio I/O breakout cables for use with Ensemble Designs’ BrightEye converters. Laird multi-pin HD15 breakouts are designed for connectivity using a four-channel audio cable. The 12-inch “fan-out style cable” includes Neutrik 3-Pin XLR connectors which feature a durable zinc die cast shell and chuck type strain relief for secure clamping. Cables are available for specific Bright Eye models and are manufactured in the U.S. The Laird ED-BE-2XMF-003 HD15 to XLR Male & Female Analog Audio I/O Breakout Cable for Ensemble Designs BrightEye 30/30D is designed for superior connectivity with high quality, four-channel audio cable and XLR connectors. Cables are built with 24AWG stranded bare copper and are polypropylene insulated, individually shielded and jacketed with an overall heavy duty CL2 PVC jacket.
Features include:
- Two Neutrik NC3FX Female 3-Pin XLR Connector
- Two Neutrik NC3MX Male 3-Pin XLR Connector
- 15 Pin HD
- Industry standard AMP DSub cable hood
- 3-foot audio cable with12-inch fan out
- High quality 24AWG audio cable
Other specifications include:
- Capacitance: 25 pF/ft. @ 1 kHz
- Cond.-Shield Capacitance: 45 pF/ft. @ 1 kHz
- Characteristic Impedance: 60ohms NOMINAL
- D.C. Resistance @ 20°C: 24.5ohms/1000′
Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
Renkus-Heinz Launches RHAON II for ICONYX Gen5
Renkus-Heinz has released RHAON II for Iconyx Gen5. With what the company is marketing as a new and intuitive, device-centric UI, streamlined workflow and more than 200 percent faster operation, Renkus-Heinz says that RHAON II makes faster and more intuitive setup.
The release from Renkus-Heinz says that the RHAON II System Manager has been completely redesigned from the ground up, using highly structured modular code for greater stability and expandability.
RHAON II’s new, network-agnostic interface has been designed to work with all networking protocols. Currently supporting AVDECC IEEE1722.1 and CobraNet, RHAON II has been structured to allow easy implementation of today’s and tomorrow’s emerging protocols. Support for multiple NICs, and wireless operation (where supported) makes RHAON II easy to integrate into existing network infrastructure.
RHAON II is fully integrated with Renkus-Heinz Iconyx and IC Live Gen5 technologies. Here are more details. Leave a Comment
Share Article
Back to Top |
Waves Audio Offers MultiRack with 7.1 Sound
Waves Audio announces that MultiRack SoundGrid now supports 5.1 and 7.1 surround plugins. MultiRack is a software host that lets FOH and monitor engineers run multiple instances of Waves’ award-winning plugins on virtually any console. The world’s best-sounding reverbs, equalizers, compressors, limiters and delays, used in recording studios and mixing rooms the world over, are now at the fingertips of all audio engineers, without the limitations of hardware and at a fraction of the cost.
MultiRack is ideal for live sound, broadcast, post-production and more. With easy setup and advanced preset capabilities, MultiRack delivers all the flexibility and portability of software, with sound quality and convenience that beat hardware.
Now, the MultiRack live plugin host supports surround plugins. And as part of Waves’ ongoing effort to constantly improve user experience, Waves has added to the MultiRack host the following new Hot Plugin features:
- Individual gain reduction meters for each Hot Plugin
- “Save” capability for presets, snapshots and Hot Plugins per individual songs and song sections
MultiRack owners with a current Waves Update Plan may download the latest version of MultiRack free of charge. Go here. Leave a Comment
Share Article
Back to Top |
Audioprof Group International Acquires Majority Share in Community Professional Loudspeakers
Audioprof Group International has acquired a majority share in Community Professional Loudspeakers, a U.S.-based loudspeaker manufacturer with global sales activities.
Community is a market leader with a strong track record in large and medium sized fixed install audio applications. It was founded in 1968 by Bruce Howze and became an innovator in the audio industry through revolutionary products like the world’s first dedicated midrange compression driver, the M4, and the first lightweight fiberglass horns. Community designs and manufactures high-performance indoor and outdoor loudspeakers that provide reliable, long-term service, often for applications in extreme and challenging environments. Its products can be found in the world’s leading sports venues, auditoria, theme parks, worship facilities and convention centers, with recent installations including Commonwealth Stadium in Canada, Arena Lublin in Poland, St. Paul Union Depot in Minnesota, USA and World Cup venues in Brazil.
Audioprof Group International is the holding company established to develop and build strong audio companies with a focus on specific niches in the audio industry. It currently owns a majority stake in Apart Audio, founded by Tom Gheysens in 1992, a fast-growing European loudspeaker and electronics manufacturer with a strong focus on small and medium commercial fixed install applications (foodservice and hospitality, retail, outdoor, sports and leisure, education, religion and corporate).
Audioprof Group is here and Community is here.
Leave a Comment
Share Article
Back to Top |
BenQ Debuts Large Venue ProjectorsBenQ America today added four new dual-lamp, high-brightness projectors to its Integrators’ Choice lineup. Designed to support large-venue installations, the Colorific PX9510, PW9520, PU9530, and SU964 provide up to 6,500 spec’d ANSI lumens and they are aiming them at command and control rooms, houses of worship, conference rooms, and other large spaces.
Dubbed the P-Series, the PX9510 and SU964 are both spec’d at 6,500 ANSI lumens (XGA and WUXGA resolutions, respectively), while the PW9520 and PU9530 output 6,000 ANSI lumens at WXGA and WUXGA resolutions, respectively.
In addition, the P-Series projectors are available with seven optional interchangeable lenses ranging from 0.79 short-throw to 8.56 long-throw versions; two interchangeable color wheels for higher brightness and improved color balance demands and 360-degree vertical projection capabilities. The SU964 features corner fit correction for independent adjustment of the corners of any projection, and a 1.5x big zoom lens to provide a wider throw distance range. To reduce the need to make frequent placement adjustments, the P-Series projectors feature horizontal and vertical motorized lens shift, while the SU964 offers manual lens shift, and all models include 2D keystone correction to align images easily using horizontal and vertical adjustments.
For connectivity, the professional series includes front and rear IR receiver points, HDMI (dual HDMI for the SU964), USB, RS232 and supports the HDBaseT standard.
All the specs are here. Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
KLANG Launches World’s First Stage Proof Four-Stereo Channel Dante-Enabled Headphone AmpKLANG started shipping out the first batch of its new product KLANG:quell Dante headphone amp. KLANG:quelle receives eight channels via Dante and provides four individual stereo headphone outputs and it’s the world’s first low latency multi-channel Dante headphone amp with sampling rates up to 192kHz. The output were designed to connect to any kind of in-ears or heapdhones and drive them and it features Power over Ethernet (PoE), volume control and gain pre-selection for each output.
Here are all the specs. Leave a Comment
Share Article
Back to Top |
Mackie Extends CR Series Monitor Line with Two New Bluetooth Streaming ModelsMackie today introduces two new models to its CR Series Multimedia Monitor line- the CR4BT and CR5BT. Both new models feature Bluetooth music streaming from any capable device, adding source flexibility perfect for auditioning comparison tracks or simply enjoying multimedia.
The new CR4BT and CR5BT join the CR3 and CR4, all designed to bridge the gap between professional and personal appications. The new CR5BT features a high-output 5-inch woofer, delivering added low-frequency response, perfect for extended-range music and A/V post-production. All CR monitors utilize 3/4 inch silk-dome tweeters for smooth, articulate highs. Unique to the line, a left/right speaker placement switch allows users to locate the volume control on the left or right of their workstation. The front panel includes a on/off/volume knob with a lit power indication ring that will also control the volume of headphones, which can be plugged directly into the front of the monitors. Both new models feature a front panel Bluetooth button for easy pairing and connection indication. Bluetooth streaming is great for comparing mixes, auditioning files or just enjoying a bit of music or video. There is an additional front panel aux input for connecting alternate audio sources.
All Mackie CR Series monitors come with all the connecting cables needed to get started immediately. As a bonus, there’s even a pair of acoustic isolation pads included. Used in professional applications, acoustic isolation pads minimize unwanted bass buildup that can muddy a mix. Plus, the pads’ angled design allow the user to tilt the monitors slightly up or down for more focused listening depending on their setup.
The new Mackie CR4BT and CR5BT are now shipping and are sold in pairs. CR4BT monitors list for $259.99 and CR5BT monitors will be $329.99.
All the tech specs are here. Leave a Comment
Share Article
Back to Top |
InfoComm Releases 2015 Live Events Industry Insights StudyInfoComm International has released its 2015 Live Events Industry Insights Study. It is the first such report that InfoComm has produced specifically for the live-events market.
This study of the global live-events industry, conducted by InfoComm and Acclaro Growth Partners, covers trends and dynamics from the perspective of pro-AV rental, staging and live-events service providers in the North American, European, Asia-Pacific, Middle Eastern and Latin American regions.
The study involved extensive interviews with 21 rental and staging/live events service providers globally. The 70-page report takes a comprehensive look at the industry, providing insight on evolving business models, customer expectations, market trends, products, purchasing decisions and go-to-market drivers.
“In the live-events industry, it is all about the consumer and specialization,” said James Chu, Director of Market Research, InfoComm International. “Customers are looking to deliver a more interactive and immersive experience for their audiences. This means more specialization for live-event AV service providers rather than a diversified business model.
“Furthermore, providers have to be innovative, using the latest equipment and technology to meet consumers’ demands,” Chu continued. “If you want to be competitive in the ever-changing live-events market, then this report is an important resource.”Highlights from the 2015 Live Events Industry Insights Study:
- Business Activity: Many rental and events companies report that their customers want to deal with specialists. Almost three-quarters of the companies interviewed for this study believe it is better to specialize in either live events or installed AV, as opposed to diversifying to offer both types of services.
- This marks a considerable shift in the industry from several years ago.
Market Trends and Dynamics: Live-events companies are investing in cutting-edge technologies as a way to differentiate from their competitors. Two of the most prevalent and important themes among study respondents are the growing demand for enhanced visual imagery and a desire to create interactive experiences. In addition, live events are no longer confined to the space in which they are held. With streaming technology, people are able to interact in real time from remote locations.
-
Products: The growing complexity of AV systems used in live-events applications is driving spending on signal management and processing products, which makes this one of the fastest growing product categories in the live events industry.
-
Purchasing Decisions: When rental and live-events companies invest in equipment, the purchase decision factors vary considerably by geography. In Europe, product quality is the top consideration, while in North America, the technological feature set (combination of innovation, features and customer requirements) is the number one factor. Conversely, in Asia-Pacific, Latin America and the Middle East, price is the top purchase decision factor.
-
Go-to-Market Drivers: Exclusive relationships are important to many live-events firms. In fact, many respondents claim that avoiding bid situations wherever possible is part of their market strategy. Only about one in five live events/rental and staging service providers reports that events are primarily bid out by customers. The majority suggest the process is more often driven by preferred choice of vendor. This is unlike the installed AV side of the business, for which a bid process is commonplace.
InfoComm’s 2015 Live Events Industry Insights Study is now available for purchase, with discounts for InfoComm members. For more information, go here. Leave a Comment
Share Article
Back to Top |
New SeaChanger Prodigy Provides Color Mixing for White LED FixturesThe new Prodigy color engine from SeaChanger is specifically engineered to provide color mixing for fixtures using a white LED light source. Prodigy gives users the same high color rendering and extensive palette achieved with traditional tungsten fixtures, while incorporating the energy efficiency of compatible LED technology. The new Prodigy also features a slimmer housing design and silent, fan-free operation with color changes in less than 0.3 seconds.
The SeaChanger Prodigy derives color from dichroic color wheels, not the light source. These CYMxG wheels are patterned to produce millions of colors and their non-absorbent filters reflect heat, making them inert to temperature damage and resistant to fading. Using the white LED and SeaChanger combination, the white LEDs are designed to be replaceable like a common theatrical lamp, thus making Prodigy a more sustainable solution as there is no need to replace the entire LED fixture.
SeaChanger Prodigy works in concert with customers’ white LED sources by featuring two DMX modes: four-channel “Legacy” CYMxG mode and a new five-channel “Prodigy” CYMxG+Dim mode, which activates dimming on the LED power outlet to customers’ white LED sources while simultaneously adjusting the color temperature to provide tungsten-like dimming.
All the details are here. Leave a Comment
Share Article
Back to Top |
PreSonus Intros HP2 Personal Headphone AmplifierDesigned for live events without compromising audio quality, the PreSonus HP2 stereo personal headphone amplifier is designed for driving wired in-ear monitors (IEMs), as well as headphones. Portable and compact, it offers two XLR line-level inputs and one stereo 1/8-inch headphone output with volume control. Operation can be switched between stereo and mono, and a Pan knob is provided.
The HP2 can be powered with an external DC power supply or a nine-volt battery that lasts more than seven hours and includes an LED battery indicator. It mounts on a microphone stand or clips to the musician’s belt.
The HP2 is already shipping and lists for $109.95. The specs are here. Leave a Comment
Share Article
Back to Top |
New LynTec I/O-R Board Claims Simplified Control Setup and OperationLynTec today announced the new Input/Output-Relay (I/O-R) board for the Remote Power Controller (RPC) platform. The I/O-R board expands RPC control options to include control for high-current contactors and UPS outlets, giving users more flexibility to connect and control complex systems on a single control platform, instead of using multiple control systems. This capability dramatically simplifies control setup and equipment operation.
The I/O-R board allows users to control devices outside of the RPC panel — that is, any device that can be controlled with a low-voltage dry-contact closure — as part of the RPC control platform. This functionality enables them to bring all control systems under the RPC umbrella. As a result, users can assign an address to any of the remote devices and control it individually or as part of a system sequence. The I/O-R board can be installed into an RPC panel like a standard I/O board. It outputs program and operates as a motorized breaker via a Web interface.
More information on LynTec’s full line of products is available here. Leave a Comment
Share Article
Back to Top |
HARMAN’s JBL Professional Introduces JBL EON618S Powered Subwoofer with Array of Aesthetic, Ergonomic and Functional EnhancementsHARMAN’s JBL Professional today introduced the JBL EON618S, an 18-inch, 1000-watt powered subwoofer that is durable, supports true low-frequency extension and can be controlled wirelessly. The JBL EON618S is designed for portability and ease of use. JBL Professional designed the subwoofer to be simultaneously lightweight and rugged, visually compatible with nearly any setting and, perhaps most importantly, capable of delivering sound that is both clear and powerful.
While the JBL EON618S weighs in at just 78 pounds, it delivers a range of robust new features and capabilities. The JBL EON618S’s maximum SPL output is 134 dB, with a frequency range of 3Hz – 150Hz (-10 dB) and a frequency response of 42.5Hz – 150Hz (-3 dB). DSP parameters, including presets for EON600, EON200 and other manufacturers’ full-range loudspeakers, can be controlled via a Bluetooth app for iOS and Android. Selectable crossover presets are available through the EON Connect app. The JBL EON618S is tuned for optimal performance with the JBL EON610, JBL EON612 and JBL EON615 full-range systems.
Aesthetic design enhancements to the JBL EON618S include premium handles, a standard M20 threaded pole cup and an extremely rugged enclosure. The JBL EON618S’s design maximizes cabinet volume while maintaining a highly transportable form factor.
The JBL EON618S extends a tradition that started in 1995 with the introduction of the first HARMAN JBL EON portable PA loudspeakers, nearly one million of which have been used for countless applications since. In January 2014, JBL Professional continued the line’s tradition of excellence with the JBL EON600 Series loudspeakers, featuring new waveguide technology for uniform coverage, an updated design with a new enclosure for road-worthy durability and Bluetooth control of all EQ functions for easy system adjustment. The entire JBL EON600 Series leverages the latest technologies in cabinet materials, acoustic science, transducer design and user friendliness.
More information is here. Leave a Comment
Share Article
Back to Top |
Jensen Transformers Announces Four New ISO-MAX Direct Boxes Jensen Transformers has introduced four new direct boxes that target the live events and house of worship markets – the Concert-1 and Concert-2 for instruments and the Media-1 and Media-2 for laptops and other consumer audio sources. The Concert-1 and Concert-2 are direct boxes aimed at interfacing musical instruments such as acoustic guitar, bass and keyboards with the PA system. The Concert-1 is a single channel direct box with standard ¼” input and throughput. Inside a Jensen JT-DB-EPC transformer performs the balancing and lowers the impedance to ensure optimal signal transfer from the instrument to the PA’s mic input. A handy 1/8″ (3.5mm) TRS connector enables you to connect a laptop computer to the Concert-1 and the signal is summed to mono by dressing the selector switch. This also turns the input and thru into left and right ¼” jacks for stereo to mono conversion when used with a keyboard. The Concert-2 is a stereo version that retains full stereo functionality at all times. The Jensen transformer is particularly important when used with high output instruments such as keyboards and active bass that can often overload active direct boxes.
The Media-1 and Media-2 direct boxes are similar in that they too are equipped with Jensen JT-DB-EPC transformers. But in this case, each of these is also equipped with a variable pad that enables the user to precisely adjust the input level to enable all types of media sources such as laptops, tablets, video players and DJ mixers to be connected using the ¼” RCA or 3.5mm inputs while allowing the user to set the signal level on the fly. The Media-1 is a single channel device that automatically mixes the stereo source to mono saving valuable channels in the PA system while the Media-2 retains full stereo functionality.
The Jensen Concert and Media direct boxes feature a rugged aluminum outer shell with a slide-in steel shell on which the circuit board, switches, connectors and all important transformers are mounted. The design creates protective areas at each end to keep the sensitive components out of harm’s way.
The Concert-1 lists for $199.99, the Concert-2 is $299.99, the Media-1 is $219.99 and the Media-2 is $319.99 and here are all the specs. Leave a Comment
Share Article
Back to Top |
GLP’s Scenex Lighting Launch New All in One Pixel LED Tape Driver SolutionsScenex Lighting from GLP US has launched two new combined driver/PSU solutions for controlling the wide variety of LED pixel tape on the market. The PP4 and PP16 boxes are all in one solutions for controlling LED pixel tape and pixel strings. The PP4 LED driver box features a rugged low profile 1U case with multiple mounting points, designed to fit neatly under stage deck surfaces, rack-mounted, or truss-mounted. For LED control, there are 4 outputs connecting directly to the LED tape, with up to 200 Watts of power.
The larger PP16 LED driver comes in a 2U rack mounted housing, and features 16 LED tape outputs, and a larger power supply of 800 Watts. The PP16 also has multiple points for truss hanging. Both of Scenex Lightings’ LED drivers utilize industry standard sACN E1.31 and Art-Net protocols to control a wide range of pixel types, with each output configurable to control multiple DMX universes.
All outputs are individually fused to protect against the possibility of damage to the main driver. Both the PP4 and PP16 feature fully auto sensing power supplies, ranging from 90-240V / 50/60Hz., with additional power injection ports fitted as standard on both units to accommodate extended lengths of LED tape.
For control, a web server is built in for easy setup of the pixel type, universe and DMX address of each individual port. Other features include pixel grouping, universe spanning, RGB color order and more. Here are the details. Leave a Comment
Share Article
Back to Top |
Audio-Technica Offers New Accessories for System 10 Camera-Mount Wireless SystemAudio-Technica offers two new accessories for its System 10 Camera-Mount Digital Wireless System: the AT8691 Camera Shoe Dual Mount and the AT8350 3.5 mm to XLR Output Cable. The AT8691 Camera Shoe Dual Mount makes it easy to mount two ATW-R1700 System 10 digital wireless receivers to a camera’s hot shoe, or to a tripod or other device with a ¼” screw. Comes with 280 mm (11.0″) AT8351 dual mono to stereo coiled cable (dual 3.5 mm mono mini-plugs to 3.5 mm stereo mini-plug), allowing you to use one receiver to capture left channel audio, the other to capture right channel audio and feed both into the camera’s audio input. It will list for $79.00.
The AT8350 3.5mm TRS (male) to XLR (male) audio cable (0.5 m, 19.7″) with balanced output allows the System 10 output to be plugged into professional balance XLR inputs. It will list for $28.00.
The System 10 Camera-Mount Digital Wireless System is a digital wireless system designed to be simple. Featuring a compact design, the system is available in handheld, lavalier and body-pack configurations. Operating in the 2.4 GHz range, far from TV and DTV interference, this system offers easy operation and instantaneous channel selection. Up to eight channels may be used together without any frequency coordination problems or group selection issues.
System 10 wireless systems ensure clear communications by providing three levels of diversity assurance: frequency, time, and space. Frequency Diversity sends the signal on two dynamically allocated frequencies for interference-free communication. Time Diversity sends the signal in multiple time slots to maximize immunity to multipath interference. Finally, Space Diversityuses two antennas on each transmitter and receiver to maximize signal integrity.
System 10 Camera-Mount Digital Wireless System Features:
- Digital 24-bit/48 kHz wireless operation for ultimate sound quality
- Dependable performance
- Automatic frequency selection for seamless, interference-free operation
- Three levels of diversity assurance: frequency, time, & space
- 3.5 mm (1/8″) output jack with switch to select between TRS balanced and unbalanced (dual mono)
- Features convenient rechargeable internal battery
- Receiver and transmitter battery level displays
- Removable antennas
- Camera shoe mount
- 1/8″ headphone jack with volume control
The System 10 Camera-Mount Digital Wireless System is now available in the following configurations:
- ATW-1701 body-pack system: ATW-R1700 receiver, ATW-T1001 UniPak body-pack transmitter. List: $379.95.
- ATW-1701/L lavalier system: ATW-R1700 receiver, ATW-T1001 UniPak body-pack transmitter, MT830cW omnidirectional condenser lavalier microphone. List: $449.95.
- ATW-1702 handheld system: ATW-R1700 receiver, ATW-T1002 unidirectional dynamic microphone/transmitter. List: $399.95.
Fall the details are here. Leave a Comment
Share Article
Back to Top |
Clear-Com Debuts HelixNet 3.0Clear-Com just launched HelixNet Version 3.0, a free software-only update to the HelixNet digital network partyline platform. The company says the new version unlocks the HelixNet system in response to the growing need for more communication channels to support live performances and live productions.
With this new update, the HelixNet multiplies its basic channel count by three, with a new offering of 12 channels per HMS-4X Main Station. In the previous version, users had to link three HMS-4X Stations together in order to achieve the same number of channels. This capability brings greater capacity and flexibility to larger productions that require more distinctive talk groups. Furthermore, an additional 12 channels can be added simply by purchasing a license, effectively enabling a single HMS-4X to provide a total of 24 channels.
In order to support this expanded channel count of HelixNet, any combination of Main Stations or Remote Stations (HRM) can be configured to function as expansion key stations. With multiple devices acting as one system, users are able to address all users on HelixNet with a single headset/mic/loudspeaker. Pressing the “All Talk” key will affect all channels in a linked and expanded system.
HelixNet 3.0 also features a free browser-based software tool for the first time, called Core Configuration Manager (CCM). This enables easy online set-up and configuration of all HelixNet devices via the latest versions of all major browsers on Mac, PC and tablet platforms. CCM offers visual representation of all connected devices and functions, and the save/restore function allows easy duplication of systems. All configurations can be edited via the CCM software, or via the traditional menu system on the HelixNet Main Station.
HelixNet 3.0 is expected to start shipping at the end of November. More information is here. Leave a Comment
Share Article
Back to Top |
Christie Improves M Series LineThe new Christie M Series line of upgraded 3DLP projectors include enhanced performance, portrait display capabilities and a 500-hour increase in the 450W lamp. Building on seven years of experience, the updated Christie M Series models can project on flat or curved screens in rental staging applications as well as large auditoriums, board and conference rooms, houses of worship, and post production in either single or multiple projector setups. All enhanced Christie M Series 3DLP projectors are 3D upgradable.
Rental/stagers will appreciate the Christie M Series’ new 450W dual-mercury lamp structure that now generates over 1,750 hours before a lamp change.
Addition Christie M Series features:
- Eighteen Christie M Series projectors are now portrait capable.
- Extended life on 450W lamp models.
- More user-friendly remote control.
- Dual input DisplayPort module allows for greater digital connectivity on the product when shipped.
- Dual mercury lamp operational in single lamp mode for built-in redundancy.
- Deliver high brightness on large screens, cutting through ‘show lighting.’
- Hot swappable lamps can be changed while projectors are in use.
- 3D capabilities operate in either active or passive stereoscopic modes in the Mirage models, and
- include triple flash capability.
- Embedded Christie Twist image warping and blending, and optional Christie AutoStack software to align Christie projectors in minutes.
- Multi-window processing for small tiled and blended arrays means no external processors.
- Patented embedded LiteLOC technology monitors and manages brightness levels.
The Christie M Series is here. Leave a Comment
Share Article
Back to Top |
PreSonus’ Eris E44 and E66 MTM Monitors Provide Ultra-Wide ImagingPreSonus’ new Eris E44 and E66 two-way active MTM studio monitors claim to deliver an expanded frequency range and the widest stereo field in their class, due to their nested Midwoofer-Tweeter-Midwoofer (MTM, also known as “D’Appolito”) design. The result is a more consistent listening experience on- and off-axis.
The E44 and E66 nested MTM configuration incorporates dual Kevlar low/mid drivers (4.5- and 6.5-inch, respectively) operating in parallel and covering the same frequency range so that they acoustically couple. Persons says that this effectively creates a larger woofer to provide a more dynamic output than conventional two-way studio monitors. Nesting a 1.25-inch, silk-dome, high-frequency driver between the two woofers minimizes phase displacement to improved spatial resolution.
By bringing the midrange drivers close together and raising the HF driver, the E44 and E66 are able to perform optimally in both horizontal and vertical orientations. A three-position Acoustic Space switch helps compensate for the boundary bass boost that occurs when the monitor is placed near a wall or corner. High and Mid acoustic tuning controls further help to mitigate room problems. A Low Cutoff filter makes it easy to integrate a subwoofer. Individual balanced XLR and ¼” TRS and unbalanced RCA input connections make hookup quick and easy. Safety features include RF shielding, current-output limiting, over-temperature protection, and subsonic protection.
Eris E44 and E66 studio monitor speakers are expected to be available in the third quarter of 2015 at an anticipated street price of $249.95/speaker and $349.95/speaker, respectively. All the tech specs are here. Leave a Comment
Share Article
Back to Top |
DPA Microphones Unveils New d:screet Slim MicrophoneDPA Microphones has announced the d:screet Slim Microphone that’s for a near-invisible bodyworn microphone. The d:screet Slim features the company’s omni-directional capsule element in a flat head, a slender cable and an exciting new button-hole mount accessory. Currently in beta-test stages with some of the industry’s most prominent sound engineers, this new solution is already gaining rave reviews.
The microphone’s new button-hole mount, which comes as an enclosed accessory, provides a 90-degree sound input angle, allowing the cable to lay flat against a surface rather than sticking straight out. It is also designed to fit into a space as small as two millimeters. The combination of the size and available accessories increases the number of mounting solutions as it can be placed virtually anywhere without being seen.
The d:screet 4060 capsule with high sensitivity and the 4061 capsule with low sensitivity used on the d:screet Slim offer exceptional audio quality with low self-noise. As with all DPA microphones, this latest solution is compatible with all major wireless adapters. It is available in four color options — beige, white, black and brown. A refinement of DPAs currently available concealer solution is in the works as an added accessory, which is one of the many accessory solutions that DPA is currently developing.
More information is here. Back to Top |
|
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
To read more about my background, our team and what we do, go to https://www.ravepubs.com Back to Top |
Copyright 2015 – rAVe [Publications] – All rights reserved. For reprint policies, contact rAVe [Publications], 210 Old Barn Ln., Chapel Hill, NC 27517 – (919) 969-7501. Email: sara@ravepubs.com
rAVe Rental [and Staging] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. |
|
|
|