Volume 1, Issue 6 – December 6, 2012

Volume 1, Issue 6 — December 6, 2012

How of Worship Trends Prioritizing A/V/L Purchases in Churches Anthony Coppedge : House of Worship Technology Consultant The Future of H.O.W. Syncing Church Services Anthony Coppedge : House of Worship Technology Consultant

Headline News Sennheiser Offers Rebate Program for Wireless and Wired Microphones Behringer Partners With Klark Teknik to Bring New XENYX QX Series Mixers projectiondesign Launches Panoramic Projector NEC Introduces Two New Mobile Projectors Haivision Launches New H.264 Encoding Platform With Makito X Series Kramer Introduces the VP-790 8−Input Digital Scaler/Switcher With Genlock Torus Ships AVR2 Power Conditioner Sony’s New 4K Ultra HD Video Player Panamax’s Rack Ears Are Now Removable Extron Now Shipping Select DMP 128 Audio DSP Models with Acoustic Echo Cancellation 3M Intros Pico Projector with Roku Stick Player Extron’s Dual Link DVI Fiber Optic Extender Ships Chief Debuts Extra Large Flat Panel Cart Lectrosonics Debuts New Dual-Channel, Camera Slot-Mount Mic Receivers FSR Intros Top Shelf Equipment Rack

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Prioritizing A/V/L Purchases in Churches By Anthony Coppedge House of Worship Technology Consultant

Logically speaking, the prioritization of audio, video and lighting technologies in churches would be 1) audio; 2) lighting; 3) video. Interestingly, this is not always the case, and as integrators and manufacturers, it’s helpful to understand how churches prioritize technology (and why). Budgets and Priorities Considering the fact that nearly 95 percent of the roughly 330,000 Protestant churches in the United States have an attendance just shy of 90 people per week, it’s easy to see why, historically, churches have been seen as a vertical market with very limited budgets. But that also means more than 16,000 churches are not in the category of ‘very small.’ More than 10 percent of those churches have weekly attendances exceeding 2,000 people (classified as a “mega church”). Meanwhile, the number of multi-site campuses also continues to increase for mega churches, with nearly 60 percent of them currently with at least two campuses and 100 percent of these large churches planning for multi-site. Often with multi-million dollar annual budgets, the limitation of funds is less of a barrier than it is for very small churches. In other words, even if only 2,000 of the 330,000 churches in the U.S. are mega churches, once multiple campuses per church are counted into the mix, the percentage of larger campuses increases dramatically. Even more compelling, the fastest-growing churches are dominated with sub-1,000 attendance churches seeing double- and triple-digit percentage growth year over year, showing that starting small doesn’t have to mean staying small. During a 2005 scientific study I was a part of developing with research firm TFCInfo, I found some interesting facts about how churches prioritize budgets for A/V/L technology. For instance, churches with less than 100 attendees averaged between $7,000 and $10,000 for all A/V/L budget on a new facility. In the same study, a new 2,000-seat venue had an average of $2.4 million in A/V/L technology with $186,667 spent on projection alone. And that’s just for the main auditorium, not youth facilities, gymnasiums, large meeting rooms or classrooms. Sure, budget will always matter (as it does for every market segment). However, an interesting trend is how the new crop of young pastors is leveraging technology earlier and more often in their facilities. These 20-something to 30-something pastors grew up with technology as a part of their childhoods and are culturally attuned to leveraging technology as a natural part of their church dynamic. An interesting rise is in the hiring of a part- or full-time creative arts or technical arts pastors within the first 10 staff hires! The emphasis on technology has shifted from “we need to catch up with the rest of society” to “we need to be in sync with the rest of society.” Audio Not #1 In most churches, spoken word and singing are the obvious priority. As such, you’d think that the majority of the budget would be allocated to audio. But one need only visit a few churches to come to the rather obvious conclusion that this is clearly an area where not enough budget is typically spent. Of course I’m including room acoustics into the mix here, though it’s much more of a passive technology than electronics. Still, it seems churches have been slow to make upgrades and/or repairs to their existing audio systems. By and large, volunteer-proofing the audio system is not done nearly often enough. Upgrading to digital consoles with presets and recalls goes a long way towards improving the sound/mixing issues in many, many churches (hint, hint, nudge, nudge, you systems integrators). It turns out that new technology budgets land anywhere from 5 percent all the way up to 15 percent (or more in certain instances) of a new building budget. So, for instance, a $10 million building campaign would have anywhere from $500,000 to $1.5 million in A/V/L technology budgeted. Interestingly, audio repeatedly came in second place when it came to the share of that budget, falling behind video. There are two possible reasons for this trend: 1) Video tends to be more expensive, item per item, in a church installation than Audio; or 2) audio equipment manufacturers and integrators are leaving money on the table. Areas where churches have a need for audio upgrades and new technology include:

Digital audio consoles (Front of House, Monitors and Audio-for-Video).
In-ear monitors
Personal monitor mixing devices
VHF to UHF conversion on wireless devices
Signal processing devices
Effects processing devices
Updated/Replaced amp & speaker systems
Room acoustical treatment

We’re #1! Video continually tops the percentage of budget for new church building programs. I think part of this is due to the ubiquity of video in our culture and the desire of church leaders to be “up-to-date” with the current video technology that is pervasive in our daily lives. It is also helpful that many growing churches have launched multiple venues on one campus and/or are adding satellite campuses, which are heavily video-dependent upon the main campus video stream or feed. It is not uncommon for half of the A/V/L budget to be allocated to video. Even in retrofits and upgrades, video rises to the top spot, often with 16:9 displays replacing old 4:3 devices. In fact, I wrote a widely published article back in 2002 that predicted high 16:9 (or wider) display adoption for all churches, even when a church had no plans or need for HD video. The reason? Song lyrics. Widescreen allows for song verses and choruses to be typed more like they are sung, without forced carriage-returns due to a lack of screen width. The result is that those new to singing along with a song will be able to follow the lyrics easier when they’re “typed like they’re sung.” Even in smaller venues, video is playing a prominent role. Projection is still leading the way with the cost-per-lumen ratio making ‘bright’ finally affordable. Even today, though, other video technologies are finding their way into churches. LED signage is being trumped by LED video walls and cubes. Just today, I was at a mega church that added three temporary LED video walls since the stage has been transformed into a set for a large Christmas production, covering the existing rear projection setup. A rental today, but probably the trend as the price point continues to drop as these once stratospherically-priced devices become more affordable. Currently, I only know of one church with permanent LED video walls (Willow Creek Church up near Chicago), but with more and more lighting being added for the increased use of live video, projected brightness and high contrast are becoming premium needs for larger churches. Areas where churches have a need for video upgrades and new technology include:

Projection
Digital signage
Confidence monitors (stage)
Video capture (web)
Live video streaming (web or multi-site)
Multi-camera recording (Image Magnification, Multi-site, Web & Broadcast)
Post-production
Multi-site video syncing for multi-screen systems

The Third Wheel Bling Lighting has been seen as a necessity for basic visual help, but with more and more churches adopting the Performing Arts Center functionality for their facilities, flat-white stage and architectural lighting is no longer the norm. For over two decades, I watched as the largest churches began adding moving light fixtures for productions and special events. The trend shifted from rental to purchase as the technology become more reliable. Moving head fixtures made room for yoke instruments and the concert-style lighting movement began in earnest in churches about 10 years ago. Fast forward and you’ll find a wide mix of conventional, architectural, theatrical and performance lighting being added early and often to progressive churches. Even the old-school broadcast churches, fixated for the longest time on a to-the-footcandle even white lighting format, began adding splashes of color and texture. Today, we’re seeing environmental projection, augmented greatly by color-mixing lighting instruments as the latest trend in church scenic design. Perhaps it is because it’s simple to add a few fixtures at a time that we’ve seen this area grow the slowest in terms of church A/V/L tech budgets, but the same rent-before-buying mindset that helped video achieve critical mass will also be a strong path for adding non-conventional lighting into the mix. An interesting trend seen with LEED certified church buildings is the increased use of LED architectural fixtures for the energy savings they provide. But the bonus is a whole new level of color-mixing that goes well beyond the platform is being utilized to help set the tone and mood of a room to match the tenor and style of music. And with more live video being added into churches, the lighting to create great video is not far behind. It reminds me of the old Lighting Director joke: “Without light, TV is just radio!” Areas where churches have a need for lighting upgrades and new technology include:

Architectural LED lighting
Moving head/yoke lighting fixtures
LED color wash (walls, stage backdrop, etc.)
Video lighting (and color-matching different fixtures for the cameras)
Environmental projection augmentation
More efficient fixtures and dimming
Upgraded lighting controls, especially with moving head fixtures
Upgrades to save overall power usage (cost savings overall)

The house of worship market is a unique vertical with plenty of opportunity for all three technologies to have a larger seat at the table. The A/V/L industry needs to realize the potential and leverage these trends to maximize their market impact while the trend is still hot. A former staff member at three mega churches and church technology consultant, Anthony Coppedge has developed a respected reputation as a leader in technical and communications circles within the church marketplace. Reach him at anthony@anthonycoppedge.com or on Twitter at http://www.twitter.com/anthonycoppedge Leave a Comment

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Syncing Church Services By Anthony Coppedge House of Worship Technology Consultant

As the multi-site church movement continues to expand like wildfire, another trend has quietly happened simultaneously, albeit with much less fanfare: multi-venue churches. Whereas the multi-site model has seen the most growth with large, well-funded churches, offering multiple services — or even multiple service styles — simultaneously has gained traction in even medium-sized churches keen on reaching a larger portion of their communities. In both multi-venue and multi-site, one of the common denominators has been the need to stream, time-shift or otherwise playback the sermon from one venue to other venues. For example, a church with both a contemporary service and a traditional service has historically held those services at different times, but with video playback technology, these two service types can be held in two different venues on the same campus. This example of multi-venue is growing in popularity in churches that have the space (venue and parking) to maximize their volunteer manpower all at one time instead of across multiple services. Childcare, for instance, can accommodate both service types at the same time. For many churches, this means that multi-venue and multi-site campuses only share the sermon, which can either be streamed live, time-shifted (stutter-starting services) or delivered on a playback device. I’ll explore each of these below, but the bigger future trend is the syncing of more than audio and video from a service and including sharing mixes and lighting queues across venues — all in real time. The Simple Method: Playback The easiest way continues to be a recording of one service and playing it back at another service(s). From dark fiber connection between campuses to IP-based file transfers to “sneaker-net” hand delivery of hard drives or video tapes/discs, it’s been possible for some time now. The limitations have been mainly finances for enough equipment and connection availability at the satellite venue. However, the true limitation is the ability to have a service where a recording can take place prior to other, multiple services. As such, playback may work well if a church has a Saturday night service at the main campus for playback on Sunday at other campuses, but it doesn’t allow for simultaneous services. From a financial standpoint, playback devices are incredibly inexpensive. From an operations standpoint, they’re easy for volunteers to operate. But what happens when a church wants to add redundancy as a back-up measure? This is where the complexity arises, with the need for some rather elaborate measures to synchronize the playback of multiple devices/sources and the necessary routing infrastructure to handle the switchover in case of a technical failure. Sure, it’s doable, but it’s not ideal. Time Shifting & Syncing With the proliferation of DVRs in homes, people have gotten used to the idea of time-shifting video. There are myriad options on the market today for a commercial version of this technology and I’m seeing this done a thousand ways to Sunday at churches of nearly all sizes. The problem is, for most volunteer tech arts folks, the hit-or-miss of various solutions makes this more difficult than it should be. Codecs, bitrates and I/O options are above the training level of many church techs. Meanwhile, the mission-critical nature of playing back the sermon isn’t negotiable. What churches want is the simplicity of a consumer DVR with even easier menu controls for automating as much of this process as possible. Then again, even some of the higher-end solutions don’t offer built-in syncing with multiple playback devices for redundancy, so even solid products are missing the mark for many churches. Combining two streams is helpful for churches that utilize both a locked-down shot of the pastor (usually a static head-to-toe shot) and a live IMAG (Image Magnification) of close-up shots from a multi-camera switcher. Carrying the video and audio along with it is a nice improvement and I’m hoping to see even more powerful solutions hit the market soon. Of course, this only covers audio and video syncing, but what about whole service syncing? That’s what I think is coming next. In the present-future, time-shifting options need to make it far easier to capture, program and operate with volunteers in mind. The great inventor Alan Kay sums this idea up beautifully: “Simple things should be simple. Complex things should be possible.” Live Syncing Everything Assuming bandwidth is available at both the host location and satellite venues, the opportunity to synchronize services actually exists in the world of video and audio today. From sharing multiple audio channels from various venues to create a shared mix to sending live video shots back and forth are great ways to help a church feel like one church instead of many different churches. The technology exists, but it is not simple and it’s quite expensive, not to mention the amount of coordination required at each venue from the tech team. I actually know of several churches that sync start their services (off of a master clock) and even share SMPTE time code and MIDI channels to keep the band, singers and tech teams in sync. Sending a video from each campus into a matrix allows for each venue to show the other venue(s) and potentially increase audience participation. There’s even one church I know that does this with three satellite locations and often intermixes the singers for harmony and the band for a bigger mix between campuses. Extremely tight comm channels are shared through the dark fiber connection, in essence making it a super mix. While I’m not sure that’s going to be a trend at all, what I do see as a future trend is the concept of sending commands from the main campus to help drive the technology at the other venues and campuses. Imagine the possibility of building lighting cue stacks for each venue ahead of time and sending trigger commands for master changes (perhaps only between songs) that allow for seamless transitions for lighting, video and audio — all at the same time! With many churches using their main tech paid staff at the main campus and less at other venues and campuses, the concept is attractive in helping coordinate a higher level of complexity with volunteers. What I envision is the whole-service automation, at least at some level, across multiple campuses. What would it look like for lighting manufacturers to have multiple universes of lighting at many locations and automate control from one location while giving tweaking control through interconnected control surfaces at the satellite venues? The complexity from a setup increases, but is it possible to justify when it potentially helps volunteer-proof systems in the other venues? Even if the ultimate holistic synced services are not fully on the horizon, the need to share comms, SMTPE, MIDI, audio, video and lighting are needs of today, not the future. To quote the late, brilliant scientist Albert Einstein, “The significant problems we face cannot be solved at the same level of thinking we were at when we created them.” Future thinking today is paramount for solving future problems. A former staff member at three mega churches and church technology consultant, Anthony Coppedge has developed a respected reputation as a leader in technical and communications circles within the church marketplace. Reach him at anthony@anthonycoppedge.com Leave a Comment

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Sennheiser Offers Rebate Program for Wireless and Wired Microphones

Sennheiser announced that it is offering end-user rebates on Evolution Wireless G3, XS Wireless and select wired microphones for purchases between Nov. 1, 2012 and Dec. 31, 2012. Rebates are being offered on the following Sennheiser wireless systems:

XS and G3 LE – $25 rebate
ew 100 (excluding EW 100 ENG) – $50 rebate
ew 300 and EW 100 ENG – $75 rebate
ew 500 – $100 rebate

Sennheiser is also offering rebates on the following wired microphones:

e609, e614 and e835 – $10 rebate
e906, e914, e935 and MD 421 – $20 rebate
e965, Neumann KMS 104, Neumann KMS 105 – $30 rebate

All the details are here: http://www.sennheiserusa.com/micrebate Leave a Comment

Behringer Partners With Klark Teknik to Bring New XENYX QX Series Mixers

Behringer announced today a new collaboration with sister-company Klark Teknik in the development of its new XENYX QX Series of USB mixers. The eight new models feature custom-designed FX engines from Klark Teknik with 32 studio-grade presets, dual addressable parameters, Tap function and storable user settings, plus “wireless-ready” integration with Behringer’s upcoming ULM Series digital wireless microphones. With configurations ranging from 10 to 24 inputs, QX Series mixers feature Behringer’s XENYX mic preamps, “one-knob” mono channel compressors, built-in USB/audio interfaces, +48 V phantom power and “British” 3-band EQs. These USB mixers are designed for all live sound, recording and podcasting applications. Behringer is also offering a free recording/editing software download at the company’s website. The company says it turns any Mac or PC computer into a high-performance audio workstation. All models are covered by BEHRINGER’s 3-year limited warranty program. The new models, with links directly to the specifications, are as follows:

All of the company’s small format mixers can be found : http://www.behringer.com/EN/Category/Mixers.aspx?s=A100 Leave a Comment

projectiondesign Launches Panoramic Projector

The new F35 Panorama projector from projectiondesign has an exceptionally wide image aspect ratio of 21:9 or 2.37:1. In an office environment with an average ceiling height, this enables images as wide as 4 meters (13 feet) to be created without the need for edge-blending the output of two separate projectors or simultaneous side-by-side projection of images from two separate sources. Users can fill an entire screen from a single source, or, for example, set up a video conference call next to a computer presentation. Based on projectiondesign’s F35 single-chip DLP platform, the F35 Panorama has a resolution of 2560×1080, which is 35 percent more horizontal pixels than 1080p HD, as well as a brightness spec of 7,000 ANSI lumens and an 8000:1 contrast ratio. Inputs include two DVI, two HDMI, two VGA and one component video port. It also has RS232 or IP control and an assortment of lenses available, ranging from 0.75:1 to 6.5:1. Here are all the details: http://www.projectiondesign.com/products/f35-series Leave a Comment

NEC Introduces Two New Mobile Projectors

NEC Display has introduced the VE281 and VE281X mobile projectors, which are aimed at small meeting rooms, schools and conference room installs. Both projectors are specified at 2,800 lumens, offer auto power on and quick startup/shutdown, an Eco Mode, a carbon savings meter and extended filter life. They also have energy-saving features such as NEC’s Intelligent Driving Scheme (IDS2) technology to extend the lamp life of the projector up to 6,000 hours in Eco Mode and 4,000 hours in normal use. The VE281 is native SVGA (800×600) resolution and the VE281X is native XGA (1024×768) resolution, using a one-chip DLP engine with a BrilliantColor chip with a specified contrast ratio of 3,000:1. Inputs include HDMI and VGA (both ports automatically turn on the projector when they detect a signal). The VE281 and VE281X will be available in January 2013 with a list price of $369 and $449, respectively. The VE281 is here: http://www.necdisplay.com/p/np-ve281 and the VE281X is here: http://www.necdisplay.com/p/np-ve281x Leave a Comment

Haivision Launches New H.264 Encoding Platform With Makito X Series

Haivision today announced its “next-generation” H.264 video encoding platform, the Makito X Series. Haivision says the Makito X Series offers a six-fold increase in encoding power that delivers high quality HD video using half of the bandwidth of comparable encoders. The Makito X2, a dual channel low-latency HD-SDI H.264 encoder, is the first Haivision product to incorporate the company’s new X Series technology. It can encode up to 12 HD sources (up to 1080p 60Hz) to H.264 within a 1RU of rack space. Supporting High Profile H.264 video compression, the Makito X2 specs say its gets up to twice the picture quality while maintaining the Makito’s 55-millisecond encoding latency — what was the picture quality before? Haivision say the picture quality of the Makito X2 streams are on par with broadcast-quality encoders at higher bitrates, but that remains to be seen. Makito X2 supports multiple bitrate (MBR) streaming with up to four renditions of each input from 32 Kbps to 25 Mbps at full 1080p 60Hz. Here are all the specs: https://www.haivision.com/products/MakitoX Leave a Comment

Kramer Introduces the VP-790 8−Input Digital Scaler/Switcher With Genlock

Kramer’s newest scaler is the VP-790 ProScale, a digital scaler/switcher that adds 3G HD-SDI signal processing and genlock capability. The unit takes one of the inputs, scales the video, embeds the audio and outputs the signal to the computer graphics, DVI/HDMI and 3G HD-SDI outputs simultaneously. With its genlock, the VP-790 is aimed at live events and broadcast video applications — it can accept signals of up to 3Gbps – 3G HD-SDI, offering 3:2 and 2:2 pull down, noise reduction and scaling for both SD and HD sources. In addition, it can output multiple aspect ratio selections of full, overscan, underscan, letterbox and panscan. The built-in ProcAmp includes color, hue, sharpness, noise, contrast and brightness while the unit’s non-volatile memory saves the final settings. The VP-790 is enclosed in a 1U 19” rack mount enclosure and lists for $5,995. Complete specs are here: http://www.kramerus.com/ Leave a Comment

Torus Ships AVR2 Power Conditioner

Torus Power’s new flagship power conditioner is now shipping. The AVR2 Series of power conditioners include features such as surge protection; voltage stabilization; Web-based control that includes scheduling, monitoring and real-time control; and RS232 control. It also provides noise attenuation from 2 kHz to beyond 1 MHz. AVR2 series provides multiple IP-addressable duplex outlet zones that can be separately turned on or off through the Web browser, and/or remotely scheduled. It offers individually addressable outlet zones (five individual zones in 15-amp and 20-amp models, and eight individual zones in 60 and 100 amp models.) AVR2 series provide voltage stabilization that keeps equipment in the optimal voltage operating range (in North America +/– 5V, in Europe/Asia/Australia +/- 10V) of nominal operating voltage, regardless of fluctuations in line voltages. The front panel display shows voltage conditions (input/output voltage), current draw and IP address. Here are the full specs: http://www.toruspower.com/north-american-custom-installed/ Leave a Comment

Sony’s New 4K Ultra HD Video Player

Sony Electronics unveiled this month the new 4K Ultra HD Video Player, a hard-disc server that connects to Sony’s 84” 4K LED TV (XBR-84X900), allowing consumers to view 4K resolution movies and short form 4K videos.

Available now in the U.S. as a bonus to customers purchasing the Sony 4K LED TV, the video player comes loaded with content, including both full length Hollywood features and a gallery of videos, creating the first true home 4K experience. As a standalone unit, the Sony XBR-84X900 TV already upscales all video inputs, including the more than 7,000 Blu-ray Disc titles currently in distribution, to a near-4K resolution through the use of Sony’s proprietary 4K X-Reality PRO three-chip picture engine. Now, with the new video player, consumers can for the first time enjoy 4K Ultra HD video in the home. The company’s 4K Ultra HD Home Experience includes the 84″ 4K LED TV, the Video Player, and an Xperia™ Tablet S that serves as a remote control through an app. Pre-loaded onto the Video Player will be the first ever collection of 10 full-length feature films presented in native 4K for the home (all from Sony Pictures, of course). In addition to the full length features, the Video Player will come pre-loaded with a gallery of 4K video shorts, including Red Bull Media House’s exclusive 4K videos. Additionally, Sony’s 4K Ultra HD delivery solution is designed to be updated with additional 4K titles and video clips. Want more info? Go here: http://www.sony.com/index.php Leave a Comment

Panamax’s Rack Ears Are Now Removable

Panamax’s BlueBOLT-enabled power conditioners, the M4315-PRO and M4320-PRO, are now shipping with removable rack ears. The rack ears come pre-installed flush with the faceplate, but can be adjusted forward or backward for various installation options for maximum flexibility. Whether in a cabinet, in a console or on a shelf, the new design and slimmer 17″ width allows you to maintain the aesthetics clients want while still using the equipment you need. To learn more about BlueBOLT and the M4315-PRO/M4320-PRO, go to http://www.mybluebolt.com/products Leave a Comment

Extron Now Shipping Select DMP 128 Audio DSP Models with Acoustic Echo Cancellation

Extron has started limited shipping of its new DMP 128 and DMP 128 C Digital Matrix Processors. Both DMP 128 models are 12×8 audio mixers featuring Extron ProDSP, automixing, and I/O expansion capabilities. The DMP 128 Series offers a configuration approach to DSP for quick mixing, routing, conferencing, and room optimization. Configuration using the DSP Configurator software allows the DMP 128 Series to be installed quickly but still allows for adjustments that can be heard in real-time. A digital audio expansion port allows two DMP 128 units to be linked together to expand input and output signal management and routing capabilities. The DMP 128 C model includes Extron AEC for conferencing applications. AEC is essential for effective remote room-to-room conversations and includes eight independent channels of AEC, as well as selectable noise cancellation. AEC processing can be challenged by conditions such as double-talk, when talkers from both ends are speaking simultaneously, and when near end talkers use wireless microphones. Extron AEC features algorithms that deliver fast echo canceler convergence for optimal intelligibility. Both models include an automixer with gated and gain sharing modes for managing up to eight groups of microphone signals. Gating threshold, signal level reduction, and timing parameters are user-adjustable per channel. This allows for fine-tuning to avoid the “chopped” sound characteristic of a traditional automixer when a mic is gated off. As the number of active microphones is doubled, system gain is automatically reduced by half, uniformly attenuating microphone signal levels to minimize audible changes in the overall sound and the possibility of feedback. For a natural sounding mic mix, the automixer also offers a gain sharing mode when the NOM (number of open microphones) is bypassed, allowing all mics to gate on. When a DMP 128 is linked to another unit through the expansion port, each incoming expansion bus can be assigned to an automixer gating group. Extron ProDSP is engineered from the ground-up using a 64-bit floating point DSP engine and studio grade 24-bit converters with 48 kHz sampling — all managed through Extron’s DSP Configurator software. Here are all the specs: http://www.extron.com/company/article.aspx?id=dmp128ad Leave a Comment

3M Intros Pico Projector with Roku Stick Player

3M has launched a uniquely package pico projector with its new 3M Streaming Projector with a built-in Roku video stick. Capable of streaming movies and TV shows via the Roku service, the 4″x4″x2″ projector is a 854×480 resolution, 1-chip DLP that outputs 60 lumens. Using a 2.5 hour battery, the 3M Streaming Projector is capable of projecting images up to 120″ diagonal and also has an HDMI input for a computer or a Blu-ray player. Here are all the details: http://solutions.3m.com/wps/portal/3M/en_US/ConsumerProjectors/Home/Product/StreamingProjector/ Leave a Comment

Extron’s Dual Link DVI Fiber Optic Extender Ships

Extron is now shipping its DDX 102 Dual Link DVI Fiber Optic Extender, a transmitter and receiver set for long haul delivery of DVI signals over fiber optic cabling. It uses all digital technology to deliver pixel-for-pixel transmission of video images up to 2560×1600, including HDTV 1080p/60. The extender delivers dual link DVI-D signals up to 500 meters (1640 feet) over two multi-mode cables or single link DVI signals over one fiber optic cable. The capabilities (and the compact size) of the DDX 102 make this fiber optic extender ideal for sending high resolution DVI content in a wide variety of applications. The DDX 102 transmitter and receiver feature industry standard LC-type connectors, and can be used for point-to-point fiber optic applications with dual link DVI requirements. The units connect directly to the DVI source and display devices, eliminating the need for additional mounting hardware. EDID Minder automatically manages EDID by maintaining continuous communication with the source, ensuring that it powers up properly and reliably outputs content for display. The transmitter also provides an EDID capture mode to store display EDID. Here are all the specs: http://www.extron.com/company/article.aspx?id=ddx102shippr Leave a Comment

Chief Debuts Extra Large Flat Panel Cart

Chief is rolling out a cart designed for extra large displays. Dubbed the FUSION Mobile Solution for Extra Large Screens, the new rolling cart has the capability of making HDTVs and Digital Signage displays from 90 and 105 inches mobile.

The universal bracket design matches multiple display patterns and holds up to 500 pounds (226.8 kilograms). The large rolling casters make for easy positioning and include one locking caster per leg. Integrated cable management provides a clean installation, and leveling feet are available for more permanent installations. Here are all the specs: http://www.chiefmfg.com/Products/XVM1X1U Leave a Comment

Lectrosonics Debuts New Dual-Channel, Camera Slot-Mount Mic Receivers

Lectrosonics’ new SRB and SRB5P (domestic) and SRB/E01 and SRB5P/E01 (export) two-channel slot-mount Digital Hybrid Wireless diversity receivers have two independent channels and are designed to fit into the standard video camera slots found on slot-equipped professional cameras, such as those from Panasonic and Ikegami (SRB and SRB/E01) and Sony (SRB5P and SR5P/E01), by using the appropriate optional mounting kits. The two audio channels can feed separate inputs or can be mixed internally to feed a single input. The SRB family of receivers includes a newly-designed receiver front end with a more robust RF amplifier stage and tighter IF (intermediate frequency) filtering. Lectrosonics says the results are significant performance enhancements over previous designs including better immunity to adjacent channel interference and increased sensitivity. In addition, a talkback feature is also included in the new receivers to work in conjunction with the HH handheld microphone transmitter. With the talkback feature engaged, one audio output is used for the standard signal feed. When the talkback button is pressed on the HH transmitter, the audio is routed to the second receiver output, which thus can be sent to an IFB (interruptible fold-back) system, a com desk, or anywhere else the user requires. Two diversity modes are offered in the SRB family. SmartDiversity reception is employed by combining antenna phase for each independent receiver channel. Alternately, the two channels can be used together as a single receiver in “True Diversity” Ratio mode for enhanced performance in some environments. Graphic spectrum scanning provides quick and easy location of clear operating frequencies for interference-free operation. The two independent Digital Hybrid Wireless receivers inside the SRB Series units offer 256 frequencies each in a wide variety of available frequency blocks, and operate with any of the Lectrosonics’ 400 Series transmitters without a compandor in the audio path. In addition, compatibility modes also facilitate operation with Lectrosonics’ 100 Series, 200 Series and IFB analog systems, along with analog transmitters from two other manufacturers. Transmitter battery strength is monitored in the new receivers when using compatibility modes for 200 and 400 Series transmitters. While mounted in a camera slot, the SRB family of receivers are splash resistant — thanks to sealed membrane switches and LCD, along with a special gasket covering the slot opening. Along with slot mounting, the receivers can also be mounted outside cameras using an optional kit, powered from external DC, and providing two locking mini-XLR analog audio outputs. Additionally, an optional battery sled kit is available, offering two balanced outputs along with the ability to dock a “M”- or “L”-style rechargeable battery pack for truly portable use. A variety of hardware mounting accessories are also available. Here are all the specs: http://www.lectrosonics.com Leave a Comment

FSR Intros Top Shelf Equipment Rack

FSR’s new Top Shelf is a wall-mounted equipment rack that mounts to a wall close to the ceiling in locations without drop ceilings, or where space above the drop ceiling is limited. Top Shelf (model: TS-400) holds up to four RU of equipment with multiple mounting locations for power as well as signal connections. The unit’s steel frame ensures the equipment will be securely mounted and a plastic cover allows wireless signals to pass in and out of the enclosure unobstructed. The cover can be painted to match the room décor, and the box can be mounted in the best location to ease wiring and visual impact.

Top Shelf includes a three position rack depth adjustment, has an optional fan that offers up to 110 watts of equipment cooling, includes an assortment of cable clamps and has a 50-pound equipment capacity. The steel cover still allows Wi-Fi and other wireless devices to pass through. Here are all the specs: http://www.fsrinc.com/products/ts-400.htm Leave a Comment

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