Volume 10, Issue 3 — March 24, 2016
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How We Roll(odex)
By Joel Rollins rAVe Columnist
Recently, a rep from a firm that we work with fairly frequently asked me to name the most important tool in my toolkit. I believe he was expecting me to name the Leatherman I constantly carry on my belt, since (among other things) he reps a line of multi-tools that are supposedly more sophisticated than the Leatherman.
However, I really messed up his sales pitch when I told him that the most important tool I possessed was my Rolodex. Unfortunately, this young man is of an age where he has never seen a rotary dial phone, let alone a Rolodex. So for those of you too young to have been in the slide rule generation, a Rolodex was a card file with removable cards that spun on a central axis (hence “roll”) and whose cards were removable so that you could take them with you if you needed to.
Now, to be fair, I have not had an actual physical Rolodex myself in many, many years. But the card file that I carry on my notebook computer and my iPhone did indeed start out years ago on actual paper cards, which I later transferred to Sharp organizers, then Palm pilots and finally to my MacBook Pro and my iPhone.
My current card file contains just over 2,700 cards.
This is because of lessons learned from my favorite business textbook, “the Godfather.”
In fact, years ago I wrote an article for this column about the great business lessons that you can learn from the Godfather. But the important one to remember here is to never let the phone number of someone who can do you a favor, or somebody who owes you a favor, to get away. In fact, not only do I try to capture all of these numbers, I try to regularly go through them, and send them the occasional email or birthday greeting in order to keep them fresh, And to keep them remembering me.
Throughout my career this has been the most important function that I do on a daily basis.
Luckily, I have spent a fairly long career in several different types of companies, from a local AV company, to a national company with offices in 14 cities and hundreds of hotels, to a very large touring staging company. In each of them, there were different kinds of contacts that I tried to maintain.
Local AV:
If you work in a company that is principally located in one or two cities, the Rolodex game is one of depth. In other words, you want to have contact information for as many people as you can among your local customers, your local suppliers and your local venues. It is all well and good to have the number for the sales manager of the convention center; however, at 2 a.m., it’s a great deal more useful to have the cell phone number of the junior security guard who has the keys to the loading dock. It is good to have the phone number of your principal client, but even better to have the cell phone number of the PA or secretary who probably knows more about the schedule for events then your principal client does. Hotel desk clerks, dispatchers at taxi companies, banquet managers, the list goes on. These are all people who can make your job easier if you know them, and having their number can make you look like that magician who can always get things done.
National AV companies:
Here you have both the requirements of a local AV company, and the necessity of having the personnel of your company in other cities in your card file. This can enable you to be a hero to your management in helping business move from one of your offices to the next without your competition getting into the loop. Paying attention to the client while you have them in your locality — listening especially for worlds they are doing business in — can get you noticed by both the client and by your company. Within the company, you begin to acquire the reputation of somebody who knows everybody. In a company with a natural national hierarchy, this can make all the difference.
Touring AV companies:
This is probably where my cardfile grew the largest. I spent several years working national trade shows and large events with an excellent staging company, where many of the senior technicians’ Rolodex files were even larger than mine. Delivery drivers, taxi drivers, 24-hour restaurants that deliver, hardware stores with their hours and locations, even that loading dock worker with a garage band who loaned you a microphone once. When you are doing business in a strange city all the time, having those numbers at your fingertips rather than having to go hunting for them can save you a lot of late nights. It takes you only a few minutes on your current road trip to curate these numbers, and it may save you hours in the future.
The other thing about taking down these phone numbers (and I would encourage you to also take notes about each person, as your card file is going to grow) is that people are always interested in people who are interested in them, and the very act of chatting with them briefly and getting their number will cause them to remember you in a friendly way the next time you need something. And, sooner or later, we all need a favor. Leave a Comment
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Microphone Placement Is Everything!
By Tony Sprando Commercial AV Designer
Today I’d like share about best practices for where to place a fixed microphone when using one for speaking. These best practices apply to everyone including sports announcers for the Big Ten Conference, presidential candidates from a lectern and also general handheld applications.
The speaking voice is a source, and like your radio or music player, it creates sound and it projects its sound to the listener. To increase the quality of your voice for listeners, you need to apply a sound system, i.e speakers and microphones. When using these pieces of equipment, a speaker must consider placement, which I will cover for you here.
The top considerations are: the placement of the microphone, the placement of the speakers and the location of the hard surfaces in the room.
Respect the room. This is the most commonly overlooked aspect. Before you ever step up to the microphone or sit behind one, take an inventory of the room including furniture, walls, and floors, especially around where you will be speaking. The room set-up can be your friend or it can be your worst enemy.
Here are a few observation to note:
- Is the room full of hard surfaces?
- How close is the lectern to a wall?
- Is the table I am speaking from have a table cloth on it?
- Are the audio speakers located behind me or in front of me?
- How close will the next microphone, or another sound source, be next to me?
Placement is everything. If you want to prevent headaches and fighting with the sound guy then work with the room set-up folks and follow the 3:1 Rule as a “rule of thumb” – a broadly accurate guide or principle, based on experience or practice rather than theory. I believe in real life examples for the best results which is what experience has taught me.
The 3:1 Rule is a guideline to help you set up your equipment so they prevent audio issues from their origin. The sound that you make with your mouth is like a speaker and it will broadcast where ever you point it. So to provide a guide, the 3:1 Rule helps you in this way. If your mouth is 1′ away from the microphone, then keep all other sources at least 3x that distance away from your microphone. This would include other microphones, hard surfaces, music sources, rustling papers, clicking keyboards, fans, etc.
Audio Technician notes: Audio Input Gain. The 3:1 Rule will not work if the sound person does not understand sound structure. Here are the two that will make or break an event.
Unity Gain. Keep all the audio source gains and the mains out pretty much the same, not all over the place, looking like a zig zag on the mixer board or “riding the fader” on any other sources. The gain on your microphone should be close to the gain level on the rest of the other microphones, if there are any near you. The common problem is that if you are at a head table with other microphones, even using the 3:1 Rule, the sound person may turn up the gain to the other microphones which will start “elbowing in” into your area.
Phase Cancellation. In other words, when two microphones are in close proximity to one another and you wonder why you can’t get enough volume out of them, it’s because they are cancelling each other out. This is a result of the two identical signals, which if are 100 percent or 180 degrees out of phase, they will completely cancel one another if combined.
Best Practices for a Head Table Set-up: Set the audio mixer to a Unity Gain structure, set the microphone up in a uniformed manner, all about the same distance from the edge of the table. If there is someone who is softer spoken than the other person, then move the microphone closer to them. I recommend a gooseneck microphone or a boundary or “plate” microphone.
Best Practices for podium miking with two microphones. Here the two mics are placed with their capsules as close together as possible and angled in a “crossfire.” This provides a wider overall acceptance angle, allows stereo miking with excellent mono compatibility, and largely avoids the phase-interference problem. Podium miking with two microphones has the two mics placed with their capsules as close together as possible and angled in a “crossfire.” Proper mixer set-up is to pan one microphone to the left and the other to the right, which will avoid cancellation.
Speaker Placement: The main speakers must always be placed in front of the person speaking otherwise there will be feedback (loud screeching sound). The speaker cabinets should be in a location that will not be in the walking path of the presenter or easily walked in front of.
Acoustics Considerations: A common challenge also includes items in the room that conflict with the microphone’s performance.
Here are a few solutions:
Consider the way the microphone is attached to the podium or on the table. Vibrations from the floor or the table top can be distracting, so I recommend isolating the microphone stand or mount. Placing a cloth on the table or podium is a great first step to reduce those unwanted reflections and vibrations that naturally occur. Microphone companies have what are termed “isolation stands” and they offer mounting hardware that is a more permanent solution as well.
Final Word: Speak directly into the microphone!
High frequencies are very directional, and if you turn your head away from the microphone, the sound captured by the microphone will get noticeably dull.
If you are interested in further information, I’ve found the following resources valuable:
Hope these recommendations help you to have a successful presentation! Leave a Comment
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NEC Launches 75″ X754HB LCD MonitorNEC Display Solutions Europe has expanded its portfolio of high brightness displays with the launch of a 75-inch display designed for areas with high levels of ambient light, and where the harsh environment of sunlight would affect the performance of normal displays. Displays that can be used in high brightness environments add much-needed flexibility and high-quality visual experiences to retail, quick serve restaurants, airports or digital out of home display situations.
The 2500cd/m² max brightness X754HB is a 1080p large format display offers a reliable and consistent solution for environments where lighting conditions are changeable but the information on the display always needs to be visible. The 75-inch display apparently intelligently adapts to its surroundings, using an integrated ambient light sensor. During the day, the display provides a bright, clear image regardless of the lighting conditions. At night, it dims down, reducing power consumption and creating cost-efficiencies for the organisation while keeping perfect readability. With a display size of more than 190 centimetres, the LED Direct-lit X754HB matches the industry demand for life-size signage applications that effectively operate in these demanding environments.
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Epiphan Video Launches Three New Products at ISEEpiphan Video showed at ISE 2016 three new products: Pearl Rackmount, Pearl Rackmount Twin and Epiphan PTZ cameras.
The two new Pearl models are designed specifically for users who prefer to travel with portable rackmount flight cases or who are installing their video production system in fixed environments. Pearl Rackmount offers the same features as the original Pearl, but is designed for installation in a rack with easy front panel power access and a cooling system optimized for rack operation. For customers with “mission-critical” recording and streaming events, Epiphan introduces Pearl Rackmount Twin. With two Pearl systems mounted side-by-side in a single 2U chassis, the Twin model is a high-density system perfect for capturing ISOs with one system and streaming production with the other.
ISE 2016 also marks the announcement of new Epiphan PTZ cameras, available in March 2016, and the release of a new firmware for their flagship all-in-one video production system, Pearl. Pearl’s two integrated live video output ports now support video and audio output from any configured channel or input, a feature that is ideal for mirroring live event production to a local projector or for monitoring on a larger screen.
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Matrox Unveils Single-Slot Graphics Card to Drive Nine 1920×1080 Displays for 3×3 Video WallsMatrox Graphics today announced Matrox C900, the world’s first single-slot, nine-output graphics card that supports nine 1920×1080 displays at 60Hz. The latest card in the popular Matrox C-Series line of multi-monitor graphics cards, C900 will be debut at ISE 2016 (Amsterdam RAI, Feb. 9-12, stand 11-F48).
A special-purpose graphics card designed to power 3×3 and 9×1 video walls has support for stretched desktop across all nine synchronized outputs lets users run any application full screen across a 3×3 video wall which makes the card ideal for signage installations in retail, corporate, entertainment and hospitality environments as well as control room video wall solutions in security, process control and transportation. All nine outputs are HDMI.
Matrox PowerDesk desktop management software for Windows is included with C900 to give users a comprehensive set of tools, including bezel management and EDID management, to easily configure and manage their multi-display setups. Advanced APIs are available to developers and OEMs to quickly build custom interfaces and applications.
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Grundorf Announces Truck Pack Utility Cases in Four SizesGrundorf Corporation announces the debut of the new Truck Pack Utility Cases. Available in four sizes and three exterior styles, these rugged cases are ideal for packing all the various cables, junction boxes, and other items commonly used in sound, lighting, and staging applications. Regardless of their size, these cases are designed with dimensions to fill a truck from side to side with little to no extra room left over—thus making the most efficient use of space while not shifting position during transport. These cases can be turned in either direction and they meet this requirement.
Grundorf’s new Truck Pack Utility Cases are available in three exteriors: the Tour 8 Series, which feature 3/8-inch plywood with laminate ATA exterior; the Tour 2 Series with ½-inch plywood with laminate ATA exterior; and the Carpet Series, with multi-layer plywood construction. Each series is available in the following sizes:
- W – 22 x D – 22 x H – 24 (inches)
- W – 30 x D – 22 x H – 24 (inches)
- W – 45 x D – 30 x H – 24 (inches)
- W – 45 x D – 30 x H – 30 (inches)
The new Truck Pack Utility Cases are designed to withstand the rigors typically associated with professional touring. These cases feature heavy duty steel ball corners, as well as recessed catches and handles that minimize the chance of being ‘caught’ on anything. Each case employs large 4-inch casters, two of which incorporate brakes to ensure no movement, along with recessed dishes on the top of the case to facilitate stacking. All models feature carpeted interiors to protect the contents.
Pricing for the Grundorf Truck Pack Utility Cases varies — depending on the size and materials utilized — and vary from $559.95 to $1,379.95. All models are available now and all the specs are here. Leave a Comment
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Barco Launches 13K Lumen 4K Laser-Phosphor Projector in F90The new Barco F90 series projectors are solid-state laser-phosphor light source projectors spec’d at 40,000 hours of operation time without need for lamp changes. The line includes both 2K and 4K projectors.
The F90-4K13 is native 4K UHD (3,840 x 2,400) resolution projector and the WUXGA resolution (2,560 x 1,600) F90-W13 both meet the Rec. 709 color space.
The solid-state Barco laser light engine allows the projectors to run in any orientation. This gives system designers extended flexibility in projector location and orientation for complex setups, demanding applications, and blends. Coupled with a wide array of high-resolution Barco FLD and FLD+ lenses – ranging from ultra-short throw (0.28:1) to long throw (9.75:1) – each providing a wide lens shift range, the F90 series can accommodate almost any projector configuration. What’s more, these lenses are compatible with the Barco F32 and F35 projectors.
The entire F90 line is here. Leave a Comment
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Martin Audio Introduces CDD Weatherized Speakers at ISEMartin Audio has extended its award-winning CDD install series with the introduction of weatherized variants (CDD-WR). Announced at ISE 2016, the line extension will start to ship from early April.
The CDD Series features patent pending Coaxial Differential Dispersion technology which delivers improved coverage and consistency, with often the need for fewer speakers than those with traditional fixed dispersion X° x Y° horns. This leads to significant benefits across the installation value chain.
The recent announcement means that the CDD Series will now also be available in weather-resistant form. Like the majority of weatherized speakers on the market, CDD-WR loudspeakers are designed for outdoor operation where the system will be subject to changing environmental conditions, but sheltered from direct exposure to the elements. CDD-WR loudspeakers meet a rating of IP54, and are accompanied by a full range of weather-resistant mounting brackets.
The loudspeakers feature a weatherized water resistant grille made from zinc plated mild steel with a powder-coated finish. CDD5TX-WR and CDD6TX-WR feature a dual cable gland for easy daisy-chaining of cabinets without the need for external breakout boxes, and also feature a 100/70v line transformer. CDD8-WR through CDD15-WR feature a single cable gland on the input cover and CDD10-WR through CDD15-WR are also flyable with stainless steel fixings.
Similarly, the CSX-WR subwoofers in the series are suitable for outdoor under-canopy operation and have an IP24 rating. They feature a zinc plated mild steel grille with powder-coated finish, plywood cabinets with polyurea finish and are flyable with stainless steel fixings.
For more information, go here. Leave a Comment
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BALD Technologies Introduces A Powered Industrial Grade TV Lift ColumnBALD Technologies has debuted a ruggedized lift column with 16-point integrated dampening which significantly reduces the possibility of damage to the monitor during transportation and portable use. Producing 36” of powered vertical travel blended with a ¼” steel mounting plate deliver the world’s best lift column for Rapid Deployment applications. The purpose built column was designed to significantly outperform any similar type product currently on the market. Primary integrations include flight cases, command consoles, office furniture, emergency response vehicles and other extreme environments.
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Clear-Com Ships DX410 Wireless IntercomClear-Com has announced that its DX410, two-channel 2.4 GHz digital wireless intercom system is now shipping. The new system which features 7 kHz wideband audio for exceptional audio clarity is the first DX Series wireless intercom system to offer this level of audio frequency range. The company says it’s easy to set up and configure, the DX410 also features lightweight yet rugged beltpacks and All-in-One wireless headsets.
Each BS410 base station can support up to 15 registered BP410 wireless beltpacks and/or WH410 All-in-One wireless headsets. In a single-channel operation, any four beltpack users can engage in simultaneous, full-duplex (talk-listen) communication, while three users may be in full-duplex mode in a dual-channel operation. The BP410 and WH410 have rugged, reinforced casings and long-lasting keypads with no mechanical switch, proven to withstand harsh production environments. Fast charging Li-Ion batteries takes only 2.5 hours to provide up to 12 hours of battery life.
The DX410 system features 7 kHz wideband audio. The high quality audio expands audio range and increases intelligibility in high RF environments so even soft whispers can be heard clearly. With an upgraded radio and a lost packet concealment capability, the DX410 delivers an improved experience in performance, range and sound.
DX410 also features 2-wire and 4-wire bridging and 2-wire auto-nulling. The bridging capability allows the option for combining the 2-wire and 4-wire ports together on either channel A or B, allowing operators to use a 4-wire out to send all the audio to a mixer, matrix intercom or other audio source. Two-wire auto-nulling enables fast and accurate integration with Clear-Com or TW wired partyline systems.
The DX410 uses a frequency hopping system (FHSS), and offers spectrum-friendly and Adaptive Frequency Hopping (AFH) modes, to avoid interference with Wi-Fi, while operating in the 2.4GHz band means that DX410 does not require radio licensing for use.
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Tally Adds TimeSync to TallyTec Pro SystemTally Technologies has added TimeSync to the TallyTec Pro system, enabling users to synchronize multiple cameras and external recorders, either wirelessly or wired, with timecode generated from the TallyTec Base Transmitter.
TimeSync is a huge time-saver for anyone involved with multi-cam recordings, from DSLRs and camcorders to high-end broadcast cameras. Many external field recorders, for example the Atomos Shogun and Convergent Design 7Q+, also feature timecode input as standard, making it a simple task to connect a TallyTec Pro Receiver.
The ability to provide timecode to cameras and external recorders, either wirelessly or wired, means a multi-cam shoot can be extremely flexible, mixing high-end professional cameras and HDMI cameras equipped with external recorders, in the certain knowledge that all material shot is in sync and ready for post-production.
The TallyTec Base Transmitter can be set to run Time of Day, or manually configured to Record Run. It sends out a signal to frame accurately synchronize all Wireless Pro Receivers attached to cameras or external recorders. Up to sixteen cameras/recorders can be synchronized with the TallyTec Base Transmitter.
The Transmitter and Receivers are synchronized every 25 frames; in the event that a Receiver loses signal from the Base Transmitter, it will continue to run clocked timecode to ensure that the attached device is always in sync. Once the signal is re-established, the Receiver will re-synchronize with the Base Transmitter timecode.
TallyTec’s Wireless Pro Receivers have a 2km line of sight range from the Base Transmitter, allowing camera operators to work some distance apart, yet still maintain fully synchronized recording. Batteries and media in camera and recording equipment can be swapped on the fly without losing sync, thanks to the long-life battery run time of the Pro Receiver.
Initially TimeSync will support PAL at 25fps. Support for 24fps, 29.9fps, 30fps and 50/60 frames will be provided through a future software update, along with the ability to sync to external timecode, or house reference.
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Proxima Debuts 1920×1200 5K-Lumen LCD ProjectorProxima Displays Corporation is back and their newest projector is the M1030U, a WUXGA (1920 x 1200) resolution LCD projector. Spec’d at 5,000 lumens, it includes VGA, HDMI, BNC, DVI and RJ45 inputs. The M1030 ships with the standard lens, and offers four additional lens options, from rear projection through short-throw lens capability.
The M1030U is Crestron RoomView, AMX and Extron certified and tested and it is aimed at education, HOW and rental/staging applications. More details are here. Leave a Comment
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BEHRINGER Ships U-PHORIA 192 kHz Audio InterfacesBEHRINGER has begun shipping its U-PHORIA UMC1820 and UMC404HD USB Audio Interfaces. Providing 18×20 and 4×4 audio I/O, respectively — plus MIDI I/O, the new models give users the ability to record multiple tracks to PC/Mac computers in a single pass with an audio quality of up to 192 kHz. The UMC1820 and UMC404HD are ideal upgrades from smaller interfaces and perfect for home studio setups.
The U-PHORIA UMC1820 and UMC404HD are designed to maximize portability and versatility, making live gigs easier and home recording sessions more productive. Rugged construction ensures the U-PHORIA Series will stand up to the challenge of life on the road, as well as the frequent trips between project and professional recording studios.
Both interfaces provide expanded I/O compared to previous models, and feature world-renowned MIDAS-designed preamps for the utmost professional-quality performance. Ease of use, low-latency operation and at-a-glance Signal and Clip indicators allow users to focus on projects without having to memorize a manual. The two models include a free download code for the current version of Tracktion Music Production Software.
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Updates Enable Cascading StudioLive RM-series Mixers and MorePreSonus has released a series of related updates for StudioLive RM16AI and RM32AI 32x16x3 rack-mount Active Integration digital mixers; StudioLive AI-series consoles; the StudioLive CS18AI control surface; UC Surface touch-control software for Mac, Windows and iOS; Capture 2 recording software; and Studio One recording and production software (DAW).
With the new firmware update, two StudioLive RM-series mixers can be cascaded via AVB Ethernet to create larger mixing systems. Combine two StudioLive RM16AIs for a 32-channel mixing system, two RM32AIs for a 64-channel system, or one of each model for a 48-channel system. Both mixers in the expanded systems can be controlled from a StudioLive CS18AI, from UC Surface, and from Studio One Remote. The RM-series update also adds a new Stage Box mode that lets you use StudioLive RM-series mixers as simple I/O devices in conjunction with StudioLive AI-series consoles, in addition to the previously available remote I/O and monitor-mixer mode.
PreSonus simultaneously released Studio One 3.2, a major update that adds the ability to remote-control StudioLive RM-series XMAX preamps from the DAW, and hybrid Fat Channel processing for StudioLive RM-series and StudioLive AI Series consoles from within the DAW, making StudioLive mixers even better audio interfaces for Studio One.
The updates also add remote control of Capture live recording software from a StudioLive CS18AI and from UC Surface. Control virtual soundcheck, transport, and Record arm; drop markers; and keep an eye on record times from anywhere in the venue. You’ll also get advanced networking features, performance improvements and bug fixes for StudioLive AI consoles, StudioLive RM mixers, StudioLive CS18AI, UC Surface and Capture.
Finally, PreSonus is now shipping its integrated 48 and 64 channel StudioLive AVB Mix Systems, which include two StudioLive RM mixers, a StudioLive CS18AI control surface, Capture, UC Surface and Studio One. All the details are here. Leave a Comment
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PixelFLEX Launches FLEXLite NXGLED video technology manufacturer PixelFLEX just launched the FLEXLite NXG, the next generation FLEXLite product. With what they are calling “improved pitch resolution options”, higher refresh rates and a new die-cast frame, the FLEXLite NXG now provides designers with even more freedom to push the creativity of their video designs using the multi award-winning PixelFLEX.
With one of the highest resolution displays on the market, the FLEXLite NXG is now available in two sizes (500×500 millimeters and 1000×500 millimeters) to meet the demands of any installation or production. Using a die-cast aluminum frame for additional durability, the FLEXLite NXG is also available in 2.6mm-6.25mm pitch options for an even deeper layer of creativity, plus it also includes a 6.25mm full outdoor, IP65 version.
For optimum performance, FLEXLite NXG tiles are calibrated directly out of the box to help decrease any failures in the field and ensure perfect color and brightness. Like all PixelFLEX products, the FLEXLite NXG is built with the demands of the consumer in mind making it ideal for many different applications in either a live production or permanent installation. Preview test modes allow for designers to be confident in the performance of the FLEXLite NXG before full deployment, and with serviceability in mind, easy access to the back of panels allows for quick and simple on-site repairs.
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Sharp Launches PN-V550 Full-HD Professional LED DisplaySharp expands its PN-V video wall series with the launch of its 55″ Class (54.6″ diagonal) PN-V550 LED Ultra-Slim Bezel professional monitor. With a bezel-to-bezel width of just 3.5mm, the PN-V550 features Sharp’s Uniform Color Calibration Technology (UCCT), Sharp claims the industry’s first and only factory calibration process that delivers out-of-the box pixel to pixel color uniformity between multiple video wall monitors — encompassing chromatic intensity, luminance, and hue.
The energy-efficient PN-V550 monitor combines full-HD (1920×1080) resolution with a brightness of 500 cd/m2 to deliver stunningly bright and detailed images to complement virtually any commercial or public space. Whether in a shopping mall, hotel, control room, transport hub, or conference hall, these monitors will convey messages with overwhelming style and precision around the clock, seven days a week. The video wall is not the only thing about this product that’s huge: The PN-V550 display is nearly 40 percent lighter and 40 percent more energy efficient than the Sharp 60″ Class (60″ diagonal) PN-V600A Professional Video Wall Display.
Features Include:
- Easy Video Wall Assembly/Connection: Video walls are easy to assemble and simple to control via RS-232C interface or network. Four monitors set up in a 2×2 configuration, for example, display every pixel of native 4K Ultra HD (3840×2160 pixels) content, equivalent to a 110″ Class (109.2″ diagonal) screen.
- Mirror Frames: Optional Mirror Frames in video walls help lessen the visible lines between monitors by reflecting images of the display content. This creates a smoother big-picture effect.
- Remote Control Sensor Box: A remote control sensor box is available so all of the monitors in a video wall configuration can be conveniently operated through one remote control.
- Safe Handling: All four corners are fitted with robust carrying handles that help enable safe transport and easy, time-saving installation.
it lists for $6595 and full specs are here. Leave a Comment
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Delvcam Intros Two New Multi-Format 3G-HD Rackmount Video MonitorsDelvcam introduces two multi-format 3G-HD rackmount video monitors.
The Delvcam DELV-3LCD-3GHD features triple 5-inch LCD screens with individual monitor menu control. With a lightweight and sleek design, it’s suitable for use in limited space areas in flypacks, TV broadcasting trucks, low-profile consoles and mobile applications. The DELV-3GHD-17RM 17.3-inch monitor features a black powder-coated steel housing with grip handles and a convenient adjustable tilt function for changing viewing angles.
Designed for a wide range of broadcast applications, both monitors feature inputs with looping outputs and 3G-HD broadcast quality with VIDEO, AUDIO, HDMI and 3G-SDI inputs with additional YPbPr inputs on the DELV-3GHD-17RM.
To learn more about Delvcam products, go here. Leave a Comment
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RTS Debuts DKP-4016 Intercom KeypanelRTS’ new DKP-4016 desktop intercom key panel was launched at the ISE show in Amsterdam. The KP-Series is designed for a wide range of intercom applications such as broadcast production studios, theater and sports venues, houses of worship and outside broadcast (OB) trucks.
The new DKP-4016 desktop keypanel is available as both as a desktop and a wall-mount version and can be operated with all existing RTS matrices. This is ensured by a comprehensive set of connectors, including general purpose input/output (GPIO) and rear connector (RC). RJ45, Ethercon and fiber module (SFP) sockets enable full connectivity to either analog four-wire or digital IP networks; two different headset connectors (four-pin and five-pin) and one analog auxiliary (AUX) input offer numerous connectivity options.
The DKP-4016 features OMNEO IP technology on board. OMNEO is based on two key technologies — the media transmission component Dante from Audinate Pty, Australia and the system-control component OCA (Open Control Architecture). By utilizing open public standards, OMNEO provides highest interoperability, flexibility, reliability, resilience and future-proof technology. OMNEO enables a secure setup at a competitively low system cost due to the use of standard IT components, simplified installation and lower maintenance costs.
Like all new KP-series devices, the DKP-4016 desktop keypanel features a full-color, wide-angle high-definition display, which is always readable — even under difficult lighting conditions. The 16 four-way lever keys are ergonomically designed for the specific use as desktop/wall-mount versions and provide listen/talk and cross point level functions.
The DKP-4016 desktop keypanel delivers superior audio quality free of noise and other audible artifacts. Sturdy housing and field-tested lever-keys also contribute to the improved usability of KP-Series keypanels. A lockable power connector ensures interruption-free operation, especially in the wall-mount configuration. Rubber feet at the bottom of the device provide maximum stability. The DKP-4016 desktop keypanel is also suitable for expanding its functions via future software updates.
The RTS DKP-4016 will be available worldwide in spring 2016. More details are here. Leave a Comment
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Proxima Debuts Another Laser Projector in LP8500UProxima has another laser-phosphor projector in the form of a 8500-lumen LP8500U, a single-chip, DLP-based WUXGA (1920×1200) resolution projector. The LP8500U is a water-cooled laser diode-based projector that has one VGA input, two HDMI inputs, a combo DVI/Display port input, an HDBaseT input and LAN RJ45 inputs for control and content management. The LP8500U ships with the standard lens and offers four additional lens options, from rear projection through long-throw lens capability.
The Proxima LP8500U is spec’d at 20,000 hours. All the details are here. Leave a Comment
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Schertler Intros Arthur, the Mixer You Design and Build YourselfSwiss manufacturer Schertler just unveiled a really cool product: the Arthur Format48 mixer — it’s a new modular mixer that can be designed and built by the user. Yes, you read that right!
The mixer can be created from a choice of eight different Class A input and output modules. These include a Mic Input unit, Yellow instrument input unit, Stereo Input unit and Spring Reverb unit, as well as L/R Master, EQ Master, Aux Master and external Power-In units. The units, which can be combined in any order and quantity, contain all the standard features you would expect to find on other mixer channel strips, as well as some more innovative functions for enhancing workflow and ensuring best possible sound quality.
Arthur’s electronic design is also very interesting as they say it’s completely absent of negative feedback (NFB) from input to output. According to Schertler, all filters and summing amps are free from restricting back loops in the mixer’s straightforward high-speed design. This results in an ultra fast response and a natural attack, neither of which is achievable with NFB circuitry. All circuits are built using discrete components (in Class A) and pure high-voltage DC-amps (without any capacitors in the signal path), offering 30dB headroom and low noise, as well as what Schertler says is unparalleled stability, warmth and transparency.
Combining the various mixer modules is a straightforward process involving a series of connecting rods and hexagonal screws. Users have total freedom to design their own personal channel sequence, as there are no mechanical or electrical restrictions. The number of units that can be included depends the power supply used: For simpler combinations of eight or 16 units, there is a choice of two compact power supplies. A further high-end power supply is also available for use with any combination of units ranging from only a few to as many as 60. (For larger combinations, power-in units are also required.)
Once Arthur has been built, the user still has freedom to customize the unit sequence and add further units, should additional mic or instrument inputs be required for example.
Here are all the tech specs. Leave a Comment
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DiGiCo SD8 Gets Stealth Core 2 Upgrade
The DiGiCo SD8 and smaller framed SD8-24 both just got DiGiCo’s Stealth Core 2 upgrade.With Stealth Core 2, SD8 adds the following features:
- An increase from 60 channel strips to 120
- An increase from 24 output busses to 48 + Master + 16 x 16 Matrix
- An increase from 12 to 186 DiGiTuBes
- An increase from 12 to 186 Multiband Dynamic options
- An increase from 12 to 186 Dynamic EQs
- Digital FX rises from 12 to 16 units
- Control Groups rises from 12 to 24 to control the increased channel count
DiGiCo says that this upgrade will be an option and is due to be released this summer.
The SD8 Stealth Core 2 upgrade option will be available at a U.S. list cost of less than $1,500 (£950) and all the specs about it are here. Leave a Comment
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Video Devices PIX-LR Audio Interface for PIX-E Series ShipsVideo Devices has announced that the PIX-LR audio interface for the PIX-E Series of recording monitors is now shipping worldwide. The PIX-LR is an optional accessory that provides the PIX-E5, PIX-E5H, and PIX-E7 monitors with XLR inputs and outputs. It also features signature Sound Devices-designed mic preamps, accurate LED metering and dedicated transport and gain controls.
The PIX-LR easily and securely mounts to the bottom of any PIX-E Series monitor via a 1/4-inch 20 thread screw. Constructed from die-cast aluminum, the PIX-LR derives power from the monitor to which it is attached. It also offers two dedicated gain controls and illuminated, 23-segment LED metering.
Other features include two extremely low-noise, wide-gain XLR-3F connections for active-balanced, analog mic-level inputs (one and two), and two standard, three-pin XLR-3M connections for balanced, analog outputs. Large dedicated backlit transport controls for record, stop, play, fast forward and rewind. PIX-LR also comes equipped with high-quality limiters with LED indication to prevent distortion, as well as high-pass filters for reducing unwanted low frequencies such as wind noise. Additionally, for fast level control, the PIX-LR has dedicated gain controls, which may be recessed when not in use. Inputs 1 and 2 may be linked for stereo level and pan control. The audio interface also supports 48V phantom power for condenser mics.
Here you go. Leave a Comment
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Sterling Audio Introduces MX Series Powered Studio MonitorsSterling Audio announces its new MX Series powered studio reference monitors using their proprietary dual-axis WaveGuidanceVH technology. The series includes three models: the MX8, which features an 8-inch low-frequency driver and 1-inch silk-dome tweeter; the MX5, with a 5-inch woofer and 1-inch silk-dome tweeter; and the MX3, with a 3-inch woofer and ¾-inch tweeter.
Sterling’s WaveGuidanceVH technology claims that the MX monitors a very wide “sweet spot,” with extraordinarily wide and high dispersion allowing for even when listening off-axis both horizontally and vertically.
All three models feature variable highpass (+2, 0, or -2 dB) and lowpass (-3, 0, or +3 dB) filters that enable you to custom tune your MX monitors to suit your listening preferences and recording environment. The MX8 and MX5 provide balanced XLR, balanced ¼-inch TRS, and unbalanced RCA inputs; the MX3 offers unbalanced RCA inputs.
The MX8s will be priced at $249.99; MX5s for $149.99 and the compact MX3s will be 99.99 for a pair. More specs are here. Leave a Comment
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Studio Technologies Unveils Model 211 Announcer’s ConsoleStudio Technologies just introduced the new Model 211 Announcer’s Console, designed to serve as the audio control center for announcers, commentators and production talent. The unit integrates all on-air, talkback and cue audio signal routing into one compact system with the configuration flexibility to allow optimization for a wide range of applications. For simple installation, standard connectors are used to interface with analog microphone, headphone, talkback and talent cue signals. Whether the Model 211 is used for microphone switching, talkback output or headphone cue feed, superior analog audio quality is maintained.
Key Model 211 features include mic preamp with selectable gain and P48 phantom power, two line-level cue inputs, two pushbutton switches that offer programmable “click-free” audio path control and transformer-balanced main and talkback outputs to maximize quality and reliability. The mic input is compatible with balanced dynamic or condenser microphones and incorporates a preamplifier circuit that provides low-noise/low-distortion amplification over a 20- to 60dB gain range in 10dB steps. The main output is intended for use as an on-air, stadium announce or other primary audio feed. The talkback output contains resistors in series with its output connections, allowing the user to directly combine talkback outputs from multiple units.
Extensive configuration choices are accessible via DIP switches located on the bottom of the tabletop unit’s enclosure. A broad range of configuration choices let users easily select their desired operating parameters. The Model 211 was designed and built with professional-quality components throughout to deliver the highest quality audio and reliable performance. Audio routing is performed using solid-state devices and each critical audio path features “clickless” electronic switches for noise-free control. All inputs and outputs make extensive use of protection components to help prevent damage from “real-world” signal anomalies.
Here are all the specs. Leave a Comment
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A Unique LED Screen Support System from Upstage VideoA few years ago, Upstage Video’s product development team wanted to develop a cost-effective solution to support small LED screens for their clients. Features of the new design had to include ease of use, portability and various configuration options. The result is a four-legged LED screen support system called the V-Tower. This brand new design offers a compact and sleek alternative to traditional truss and staging support options currently in the rental and staging market.
The V-Tower wasn’t designed to replace large screens; it was simply designed to open up new opportunities at live events. It’s no secret that event producers are taking a closer look at their safety procedures and how to improve upon them. The V-Tower’s small design allows for strategic placement locations in large crowds to transmit emergency messaging. Pertinent event information including safety and evacuation procedures can easily be displayed with the switch of a button.
Experiential marketers, sporting event producers and corporate trade show organizers will benefit from using the V-Tower to display sponsorships and advertising information. Participants and attendees will be able to view video content from any angle of screen due to the V-Tower’s various configuration options, from a one-sided to two-sided or three-sided structure with a 5’x8’ standard size screen. Multiple screen size configurations are also available.
The V-Tower is available now and all of it is here. Leave a Comment
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Alcons Introduces Smaller LR18 Pro-Ribbon Line-Array Speaker Alcons has debuted its LR18 pro-ribbon line array. The three-way, “compact-mid-size” format line-source sound system implements Alcons’ pro-ribbon technology for mid and high frequencies and a fast impulse response with up-to-90 percent less distortion. This enables the LR18 to offer a fully intuitive linear response, with very high intelligibility and non-compressed identical tonal balance at any SPL.
The all-natural cylindrical wavefront of the purpose-designed RBN702rs 7″ pro-ribbon transducer and the acoustically and electronically symmetrical component configuration bring a remarkable pattern control in both the vertical as well as the horizontal plane, without any distortion-inducing horn constructions.
The pro-ribbon’s power handling of 1500W and RMS-to-peak ratio of 1:15, caters for what Alcons says is “a superb intelligibility and throw with maximum dynamic headroom reserve.” The MF-section features a high-efficiency 6.5” mid-range transducer with Neodymium motor-structure co-axially mounted behind the RBN702rsr pro-ribbon driver.
The LF section consist of two extended-excursion, reflex-loaded 8” woofers with oversized 3” voice-coil Neodymium motor-structure. Alcons says this 8” surpasses the output of even larger drivers in higher-category line-array systems.
The LR18 is driven by two channels of the Sentinel amplified loudspeaker controller, optimizing the system’s response by LR18-specific drive processing and feedback for each array configuration, including presets for phase-matched low-frequency extensions.
Here are all the specs. 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).
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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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