Volume 10, Issue 4 — April 25, 2016
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Selective Memory
By Joel Rollins rAVe Columnist
As some of you will know, a few years ago I moved home to Connecticut, the state that I was born in. However, I moved to the southern part of the state, about 75 miles from the town that I was raised in. And it wasn’t until recently that I made the trip to drive around the neighborhood where I grew up. I hadn’t felt that I needed to, as I remembered it all so very clearly… my house, the park next door, my elementary school on the other side of the park.
I had completely forgotten about the blocks in between them. In fact, the street that I grew up on had been shortened in my memory to include only the houses of my friends, forgetting the houses in between.
This is known as selective memory.
In many ways, the life of a stager works the same way. We remember the great events, the incredible concerts, the important product launches that changed people’s lives, and the times that we saved the show with nothing but a Leatherman, gaffer tape and ingenuity. The memory of a stager is among those most selective, judging by the stories that we tell. (At this point, our editor Sara Abrons, who is one of the most literate people I know, is thinking of adding the words “ad nauseum” to the end of that last sentence.)
But, as they say, that which does not kill us makes us stronger. So I think it is important to sometimes reflect on those occasions that we try to block out of our memory, those performances that we will kindly describe as “less than stellar.” I have, over the past couple of decades, had more than a few of these. I place them into several categories:
Be Careful What You Wish For
When I first got into this business in the mid-’80s, I had been recruited from the hotel business to become the first full-time salesperson in the brand-new rentals group of Dayton Ohio’s hometown AV company. I was anxious to make an immediate impact, as the rentals group was new and being run by a good friend who had taken a chance on me. So when I came upon the opportunity to do the annual general meeting for one of the world’s largest distributors of heavy equipment, I “went to town.” I studied other “big city” general meetings, and went after them with a series of suggestions. I spent two weeks up-selling the job, until it was our first rental invoice over $10,000, which in 1985 was a lot of money for an AV rental. I sold them a full stage set, and the first flown lighting rig that venue had ever seen. On the day of the event, I was there, sharply creased, hovering around the ballroom because I knew that my boss would come down to take a look at the event. The house lights went down, the stage lights came up on cue, and the president stepped to the podium just as my boss entered the room. It was only then that I found out that the meeting was to tell their stockholders about their impending bankruptcy.
That Sudden Stop at the End
Some years later, I was approached by a publicist to do a presentation for a best-selling British author, David Icke. Much of the advance material that was sent out on his book had to do with a worldwide conspiracy to rig oil prices between the U.S. government, the British government, the British royal family, and the Saudis. Being interested in politics, I was fascinated by the subject, and even found a worldwide conspiracy such as this plausible. So I put a lot of effort into the event, and was there on the day of the show, along with a couple of other customers from a local university that I had invited to see it as an example of our work. I sat at the control table, listening intently to the presentation and wondering about the way that these revelations would affect the world. I was following it pretty well until he explained that this worldwide conspiracy came about because all of the important officials involved were secretly lizard people from another planet.
That Sinking Feeling
Have you ever had a client (the kind we dream of) who loved big meetings and AV, and who had incredibly deep pockets? One who thought so much of public hoopla that you could speak directly to their CEO, always knowing that you could sell them the latest and greatest simply because it was the latest and greatest? I did. Over a period of several years, their shows got larger and larger and their fame grew, until people in my company literally started banking on their revenue. Unfortunately, that CEO was named Ken Lay, and the client was Enron.
What were your “less than stellar” events? Have you deliberately forgotten the time that you locked all the tapes in the truck just before the show? Or the time that you were telling the crew the really funny story about the producer that you didn’t know was standing behind you? Share them with the rest of us (even anonymously) in the comments below. Leave a Comment
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Electro-Voice Intros ND Series MicrophonesElectro-Voice just launched the new ND Series of wired vocal and instrument microphones. The successor to the N/Dym Series, the new ND Series expands the previous product offering with four vocal and four instrument models for live performance and studio applications.
Each ND Series model is equipped with features that are unique to both its price point and its particular application. At the heart of the new dynamic models is a new large-diaphragm capsule design which takes the technology of the original N/Dym capsule to new levels of sonic performance. Vocalists can select a specific ND Series model to provide optimal results according to venue size and/or stage volume. Sound engineers and musicians will benefit from an easy set-up due to innovative mechanical solutions that solve typical instrument mic placement challenges. The series features dent-resistant Memraflex grilles, humbucking coils to guard against EMF noise and shock-mounted capsules to minimize handling noise.
The ND Series dynamic vocal microphones are designed to address three distinct application scenarios, and are differentiated by polar pattern, capsule voicing and grille shape.
The ND76 and ND76S (with on/off switch) are designed for small to medium-sized venues, with a cardioid polar pattern and pronounced upper-mid-range presence for crisp, clear and balanced vocal tone. The ND86 will perform exceptionally well in large concert and festival-sized venues, with a controlled supercardioid polar pattern and reduced sensitivity to specific off-axis frequencies, particularly stage noise. The ND96 is an excellent choice for loud stages of any size, with extremely high gain-before-feedback that pushes vocals through the mix. It achieves this with a supercardioid polar pattern, a tailored frequency curve and a distinctive squared-off grille which allows the singer to get as close as possible to the capsule.
The ND Series instrument models are an excellent choice for both live sound and studio work. Three dynamic models and one small-diaphragm condenser model are available, each optimized for their applications by polar pattern, capsule voicing and mechanical design.
The ND44 is a lightweight clip-on dynamic mic that is ideal for tom-tom and snare drums. The innovative mounting clip ensures quick, secure placement on drum rims, while a compact form factor and low-profile angling head allow for precise, unobtrusive placement in other applications. It is equally capable when deployed on guitar cabinets – either stand-mounted or hung directly over the cabinet. The larger ND46 dynamic mic is designed for drums and general instrument miking, with a unique locking pivot mechanism for simple and accurate positioning — particularly in hard-to-reach areas of drum kits. It will also achieve excellent results on lower frequency applications, including floor toms and bass cabinets. The new ND Series adds a small-diaphragm condenser model to the lineup — the ND66. The ND66’s filters, pads and locking pivoting head — the only one of its kind on the market — make it an extremely versatile choice for drum overheads, hi-hats, close-miked drums, acoustic guitar, piano and any other typical small-diaphragm condenser applications. Completing the ND Series is the ND68 dynamic, voiced to deliver a powerful kick drum sound with little or no additional equalization required. Offering extended low frequency response and extremely high sound pressure level handling, it is also highly effective when used on other bass instruments.
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Genelec Offers 8430A Audio-over-IP SAM Studio MonitorGenelec has debuted the 8430A SAM Studio Monitor, enabling direct monitoring of audio-over-IP stream content – the first studio monitor on the market supporting AES67 and RAVENNA standards, according to Genelec. AES67 is now fast gaining acceptance as an industry standard and is rapidly establishing audio-over-IP in the mainstream.
As a member in the Genelec Smart Active Monitoring (SAM) Series, the 8430 shares the electro-acoustic features such as Genelec MDE and DCW technologies, a flow-optimized reflex port, very low distortion, high SPL and wide bandwidth, uncolored response in a very compact enclosure. Also, as member of the SAM Series, the 8430 uses the highly intuitive Genelec Loudspeaker Manager (GLM 2.0) control network and software allowing adjustments of all aspects of monitor settings and full multi-loudspeaker system control. As a central part of GLM, Genelec AutoCal automatically ensures that every monitor on the network is aligned for level and timing, as well as being compensated for room response anomalies. The 8430 combines exceptional connectivity; first, for the industry standard AES67 Ethernet audio-over-IP signal via an XLR-housed RJ45 connector, and second, a standard balanced analog signal input via a standard XLR connector input. The 8430 Ethernet audio streaming capability supports the standard audio sample rates up to 96 kHz high resolution format. With its Genelec proprietary Class D amplifier technology, universal mains voltage input and the very high reliability, and support for high accuracy IEEE 1522 version 2 precision time protocol based audio clock synchronization, the 8430 fulfills all the stringent quality requirements of modern audio-over-IP streaming applications.
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Waves Audio Ships Waves X-FDBK Feedback Eliminator PluginWaves Audio is now shipping the Waves X-FDBK feedback eliminator plugin. The Waves X-FDBK claims to be the first plugin to provide an automatic feedback elimination solution. Whether you’re an FOH engineer mixing for thousands or a singer performing with your own compact PA system, Waves claims that you can now get a loud, clear and feedback-free mix in seconds. This way you have one less thing to worry about and you can focus on what’s really important – your mix.
Apparently, the X-FDBK identifies the precise frequencies that cause feedback and simply cuts them, shortening the setup time of monitors and PA speakers. This plugin improves the “ringing out” process and shortens it to a matter of seconds. It identifies the feedback frequencies quickly and precisely and cuts them with a narrow notch, preserving the fidelity of the wedge or PA and enabling you to maximize the gain without getting feedback.
All you need to do is turn up the levels on your wedges and PA until they start to give feedback. Then activate the plugin and wait a few seconds until you hear the feedback disappear. The plugin’s graphic frequency spectrum shows you all feedback frequencies and the degree to which they were cut, letting you tweak them manually if you wish.
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RHC Pro Co Sound Debuts DMX Break In/Out and Professional Rigging BoxesPro Co Sound just launched a new DMX 4U Break In/Out Boxes and DOC 4U Professional Rigging Boxes. Designed for portable solutions, the break out boxes enable lighting professionals to run multiple DMX 512 universes over a single Cat6 cable. Additionally, the rigging boxes provide a solution for converting four DMX lines into a single Neutrik etherCON connector and to connect break-in or break-out solutions with one DuraCAT etherCON assembly.
The DMX 4U-BI-6 and DMX 4U-BO-6 Break In/Out Boxes can be used for in- or out-breaks in DMX 2, 3 or 4 universes over long-distance CAT6(5e) cable runs. It uses Pro Co’s DMX-1PR cable for the three-foot breakout tails. The rugged DMX DOC 4U-I and DOC 4U-O Professional Rigging Boxes are configured for DMX 4 universe breaks in or out over long distances using CAT6(5e) cable runs and are available with either an eyelet or truss clamp option.
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Sennheiser MKE 440 Camera Microphone Employs Technique to Match Sound and PictureSennheiser is unveiling the MKE 440, a stereo camera microphone that solves a typical challenge encountered by DSLR users — capturing focused stereo sound from the filmed object.
DSLR filmmakers have always had a hard time getting good sound from their camera-mounted stereo microphone. The new MKE 440 achieves this task: Thanks to two mini-shotgun microphones and a new stereo technique, it records the sound from within the camera angle, beating any mini AB, MS or XY arrangements. While these classic stereo set-ups also capture sound and noises from the sides — including any comments from the camera operator or people next to them — the two mini-shotguns of the MKE 440 are mounted in a V-shape arrangement that predominantly picks up the sound from within the direction of filming and rejects the majority of off-axis noise from outside the camera focus.
The matched mini-shotguns of the MKE 440 feature super-cardioid pick-up patterns that overlap to create a front focus. The microphones are shock-mounted internally to reduce any handling noise and are protected against wind noise by a stainless steel micro-mesh. For strong wind, a special hairy cover is available as an accessory.
The compact, all-metal MKE 440 attaches to standard camera shoe mounts. It features a three-level sensitivity switch to adjust to softer and louder sound sources and has a switchable low-cut filter to eliminate low-frequency noise such as wind noise. The microphone is powered by two AAA size batteries, with the green LED of the on/off switch doubling as a low-batt indicator. The LED will turn red approximately four hours before the batteries run flat, ensuring sufficient time to finish shooting.
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DPA Microphones’ New D:Facto Handheld Microphone Makes North American DebutDPA Microphones is debuting its new linear version of the d:facto Handheld Microphone range this week. The new mic is dubbed the d:facto Linear Vocal Microphone. DPA will also be highlighting the GM1600 Gooseneck – a new mount for its d:screet Omnidirectional Miniature Microphones.
Featuring a new capsule with an isolation-optimized supercardioid polar pattern that is specifically designed to augment the human vocal range, the d:facto Linear Vocal Microphone combines a cardioid and supercardioid directional characteristics, just like the original d:facto Vocal Microphone. This allows for focus on the sound source with minimal bleed and claims to have a high separation and SPL handling up to 160 dB.
DPA’s d:facto range is entirely modular and this latest version is no exception. The capsule can be removed and replaced with any other d:facto capsule to suit different recording or performance requirements. Also, using DPA’s flexible adapter system, the microphone can be transformed from a wired version with a handle to a handheld wireless microphone, capable of seamless integration with all leading wireless solutions including Sennheiser, Shure, Sony, Wisycom, Lectrosonics and Line6.
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EPSON Debuts 12,000 Lumen 3LCD Laser-Phosphor Projector Using Inorganic Color-Wheel and PanelsYou are no long forced to buy a DLP projector if you want laser-phosphor. Two months ago, at the ISE show in Amsterdam, Epson launched the world’s-first laser-phosphor 3LCD projector line that not only lasts for (and is warranted for) 20,000 hours, but can garner a 12,000 lumen light output.
The Pro L1505U large-venue projector combines a laser light source and 3LCD technology and is aimed for events staging, auditoriums and houses of worship. Using three native WUXGA (1920×1200) inorganic LCD panels that use a unique Epson 4K Enhancement Technology to simulate 4K in a way that is stunning. Delivering 12,000 lumens of color brightness and 12,000 lumens of white brightness, the L1505U’s laser light engine also provides virtually maintenance-free operation up to 30,000 hours. Plus, its exceptional integration capabilities include diverse connectivity such as HDBaseT and nine optional powered lenses with lens shift and lens memory (standard lens included).
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Sennheiser Debuts EK 6042, Two-Channel Camera ReceiverSennheiser has debuted the EK 6042 slot-in camera receiver, which was previewed earlier in the year at IBC. The true-diversity, two-channel EK 6042 can work with analog and digital Sennheiser transmitters or a mix thereof, across a bandwidth of 184 MHz. It is designed to partner with Sennheiser’s Digital 9000 series and all analog transmitters that feature HiDyn plus or HDX companders. And, the EK 6042 auto-configures for these transmitters via IR.
The EK 6042 will work with any current Sennheiser series from Digital 9000 in long-range mode, to the 5000/3000, and even the 2000 and evolution wireless G3, automatically identifying the transmitter via an IR link. The camera receiver will choose its own operating mode accordingly, and automatically select the appropriate bandwidth and frequency in the UHF range between 470 and 654 MHz. Even older series transmitters such as the venerable SK 50 and SK 250 can be used, all that needs to be done is to enter the fixed transmitter frequencies via the receiver’s web interface.
Two separately available adaptors (15-pin and 25-pin) ensure compatibility with all common camera brands. For example, the EK 6042 receiver is SuperSlot-compatible and works seamlessly with Sound Devices equipment. The same goes for ARRI, Panasonic (both Unislot) and Sony cameras.
For camcorders without an audio receiver slot, the EK 6042 can be camera mounted using a special backpanel adaptor, which is available as an accessory. If the camera does not supply power to the receiver, a “piggyback” power adaptor can be attached to this housing and fitted with two hot-swappable BA 61 battery packs that allow an exact read-out of the remaining operating time.
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New Extron LinkLicense SMP 351 Upgrade Enables Simultaneous Recording of Two Independent Sources Extron just upgraded the LinkLicense SMP 351 with a Dual Recording Upgrade that enables enhanced recording, streaming and audio DSP capabilities for the SMP 351 H.264 Streaming Media Processor. With this new upgrade, the SMP 351 can record two sources at the same time, at resolutions up to 1080p/30 and bit-rates up to 10 Mbps. This dual recording capability grants users increased flexibility in the selection of playback layouts with the Entwine EMP video player. The LinkLicense upgrade also includes simultaneous streaming of two separate sources and provides advanced audio DSP features including level controls, filtering and compressors. The LinkLicense SMP 351 Dual Recording Upgrade can be added when ordering a new SMP 351 processor and existing units can be upgraded with a LinkLicense Redemption.
The SMP 351 is a flexible, cost-effective streaming media processor for delivering dynamic presentations to live and on-demand audiences. It is ideal for any environment where AV sources can be recorded or streamed live. Organizations use the SMP 351 to communicate with staff or students who cannot be present at an event, affording all the opportunity to review and gain insight into the live experience. It can support many different applications, documenting virtually any meeting, conference, or activity that uses AV sources. The SMP 351 is ideal for use in corporate, education, government, healthcare, courtroom, house of worship and rental and staging applications.
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Waves Introduces the H-Series Bundle Waves Audio just introduced the H-Series bundle. The H-Series is a collection of Waves’ Hybrid plugins, which model the original behavior of diverse analog gear and give it digital control.
The Waves H-Series combines all of Waves’ Hybrid plugins in one package:
Waves H-Reverb: A FIR reverb with rich and smooth reverb tails that sit beautifully in the mix; resonant filter sweeps, EQ and dynamics module for compression, ducking and de-essing, ADA analog modeling and drive control, full buildup timing and shaping and pre-delay BPM sync.
Waves H-Delay: A delay, with options ranging from old-school delays to cutting-edge effects. H-Delay offers up to 3500 ms delay time, variable pitch delay time behavior, analog character and LoFi modes, infinite feedback support, LFO-controlled pitch modulation and sync-to-host or manual BPM.
Waves H-EQ: EQ filters inspired by British and American mixing consoles. H-EQ offers users seven filter types per band, newly developed asymmetrical bell filter, exclusive MS matrix mode real-time frequency spectrum analyzer and keyboard graphic.
Waves H-Comp: A compressor that combines the modeled behavior of transformers, tubes and transistors with the precision that only a plugin can provide. Features include analog-modeled release behavior, wet/dry mix control for easy parallel compression, transient pass-through punch control, BPM-synced release, analog character modes and output limiter/clipper modes.
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Venue Debuts New LED Series Venue (by Proline) just debuted its Venue series’ LED technology that they says minimizes drops in brightness when the LED elements warm up over time. The Venue series includes the Control16 16-channel DMX controller and three LED fixture models that can be mixed and matched to create custom systems, providing complete scalability for shows both large and small. Each fixture provides dual-stage optics, with flicker-free operation that looks good on camera, and a robust, clear lens cover that protects LED elements from dust, dirt and moisture. Rugged dual-yoke and chassis construction offers precise and stable aiming from stands, trusses and floors.
For outstanding overall light coverage, the compact ThinTri64LED fixture features twelve 3-watt, tricolor LEDs that combine spectacular brightness, vibrant colors, extreme durability, and simple operation. The ThinTri64LED offers four operating modes (Stand-Alone, Sound Active, three-channel and four-channel DMX modes and Master/Slave), seven static colors, 236 color macros, four preset color programs, strobe, dimming and manual color mixing. It also includes pass-thru DMX and AC connections for neat cable management.
When you want precise accent lighting or a fixture for smaller venues, choose the ThinTri38LED, which provides six 3 watt, tricolor LEDs and delivers the same core features as the ThinTri64LED, including operating modes, colors, color macros, and presets. When combined with the Thintri64LED, it can create spectacular side effects or extend color and light movements to every corner of the venue.
Completing the series, the TriStrip3Z color batten stage light combines equally spectacular brightness, vibrance, and durability, and flexible operation in a thin batten that is perfect for up-lighting effects, cyclorama, and focused down-lighting applications. This fixture features twelve 3 watt, tricolor LEDs and is organized in three zones for maximum color options. Its four operating modes include Stand-Alone; Sound Active; 3-, 6-, 8-, 9-, and 14-channel DMX modes; and Master /Slave; and it offers seven static colors, 236 color macros, 14 preset color programs, strobe, dimming and manual color mixing.
The TriStrip3Z is constructed with sturdy adjustable feet and multiple hang points for precise aiming from stands, trusses and floors. Like the ThinTri64LED and ThinTri38LED, it includes pass-thru DMX and AC connections for neat cable management.
The TriStrip3Z, ThinTri38LED and ThinTri64LED fixtures integrate seamlessly with Proline’s Venue Control16 16-channel DMX controller to create an integrated and cohesive color show that will rock any venue. The versatile Control16 provides simple, elegant control of multiple lighting fixtures with four banks of four faders. Each bank operates an independent four-channel controller with access to manual color mixing, preset color pallets with nine built-in colors, variable strobing on the fly (2 to 33 Hz), chase (to manually trigger automated programs) and blackout functions. An Auto mode randomly selects different colors for each fixture. Playback options include automated, sound-activated or manual RGBW. You can vary fade times for all playback modes and can adjust audio sensitivity.
The Control16 color pallets are designed to work with any lighting fixture, using a standard DMX three-channel RGB mode. The fourth fader can be used to control amber, white, or UV color mixing for quad-LED fixtures. When combined with Venue’s TriThin38LED, TriThin64LED and TriStrip3Z fixtures, it produces lighting effects that will wow the crowd all night long.
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Datapath’s ActiveConnect Cables Don’t Require Power Datapath has launched a series of long-range fiber optic DisplayPort1.2 and HDMI2.0 cable, with lengths up to 100m that don’t require additional power and measure just 7mm in diameter. They are designed to provide a direct connection from any graphics card, including the Datapath ImageDP4, to either DisplayPort or HDMI monitors or from media players to Datapath’s HDMI or DisplayPort capture cards.
All video wall or digital signage installations require careful planning around how to connect sources to video wall equipment, and graphics cards to screens. Many cables can be large, heavy and difficult to manage, especially when installers are attempting to accommodate large bundles of cables from a video wall controller to a bank of screens, which is typical in many control room, hospital and live event applications. Another challenge is that conventional long-range solutions require additional power at both the transmitter and receiver end of the solution. However, Datapath’s ActiveConnect series overcomes all of these issues with a single, DisplayPort to DisplayPort or HDMI to HDMI fiber optic cable.
Along with the absence of additional power requirements a further USP is the transmission of full 4k signals at 60 fps to suit all high resolution applications. Each cable is HDCP compliant, allowing for protected sources to be carried within the Datapath system. In addition, the cables are Plenum-rated, ensuring they can be installed safely into building cavities such as walls, floors or ceilings.
Installation is simplified not only by the small 7-millimeter diameter of the cables, but by a weight of just 15 grams pre-meter (including connectors) and a maximum bend radius of 6mm, which allows cables to be maneuvered around obstacles with ease.
ActiveConnect cables are available with either DisplayPort 1.2 or HDMI 2.0 connectors. The DisplayPort is available in 25, 50 and 100 metre lengths, with the HDMI currently available in 25 and 50 meters, with 100 meters coming soon.
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GLP’s Scenex Lighting Launches RGBW Pixel TapeScenex Lighting from GLP US Inc. have launched a new range of flexible pixel control LED tape, featuring four color RGBW LEDs, with different color temperature options available for the white LED element.
With a pixel pitch of 16.7mm (60 pixels per meter), this new tape has a bright output and allows direct control over the color of each individual pixel and the ability to create unlimited effects across a length of tape with expanded color control from earlier RGB versions.
Available in three different color temperature versions, the Scenex pixel tape can easily be integrated into existing systems, no matter if the base is tungsten, fluorescent or discharge. The temperatures available are 3000K, 4200K and 6500K.
Flexible in their design, each tape comes complete with a 3M adhesive backing allowing it to be placed directly into set pieces with ease.
These new pixel tapes add to the existing RGB range of pixel and fixed color LED tape from Scenex Lighting, and are directly compatible with the Scenex PP4 and PP16 Driver / PSU control boxes, which have been developed specifically for use with pixel LED tape lighting and scenic designs.
Existing users and owners of PP boxes, can upgrade their firmware free of charge to enable control of these new tapes.
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Turn One 4K Camera Into Four HD CamerasIn the ‘creative use of 4K department,’ Datavideo’s new KMU-100 is a unique 4K multi-camera production solution that delivers multiple virtual full HD (up to 1080p) scaled camera angles with minimal installation cost and simple operation.
The basic concept is straightforward: The output of a single 4K/UHD camera is connected to KMU-100, which then displays up to four 16×9 user-defined cropped windows that are sent out as four separate HD signals through HD-SDI. These user defined windows can be scaled to zoom in on a particular subject that you would like to highlight on the 4K signal. An additional 4K camera could be connected to allow up to eight defined outputs from the two 4K signals. As an option, the Datavideo RMC-180 camera controller can be added to easily pan, tilt, and zoom to create the user defined windows on the 4K signal. You can set up these shots in advance and save them as presets, or you can do it in real-time.
For example, if you wanted to broadcast a live three-piece band concert using a 4K camera; simply set up the 4K/UHD camera with a wide angle shot, then connect the camera output to the KMU-100. Use the RMC-180 controller to select up to four 16×9 windows which could be positioned with a joystick as well as resized from any part of the original 4K signal. You can now have the following shots:
- Wide angle of the band
- A close up shot of the lead singer
- Close up drummer and drum set
- Close up of piano player
These four virtual camera signals (up to 1080p) could be connected to any HD-SDI switcher, giving the illusion of a multi camera production when in reality, you only have one 4K camera.
It’s not on the company’s website yet, but when it is, it will be here. Leave a Comment
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DiGiCo Releases Stealth Core 2 for SD5 and New SD5cs SystemDiGiCo announces the last in its series of Stealth Core 2 upgrades, releasing additional processing for the DiGiCo SD5 and new SD5cs consoles, which will take them to a new level in terms of both processing channels and functionality.
The SD5 upgrade will include:
- An increase from 124 channel strips to a maximum of 253
- An increase from 56 output busses to a maximum of 128 including Master + 24×24 Matrix
- An increase from 24 to 253 DiGiTuBes
- An increase from 24 to 253 Multiband Dynamic options
- An increase from 24 to 253 Dynamic EQs
- Digital FX rises from 24 to 48 units
- Control Groups rise from 24 to 36
The Stealth Core 2 upgrade option will be available for the SD5 at a U.S. list cost of less than $3,000 (£1995), with discounts offered to existing DiGiCo customers.
The SD5cs upgrade will include:
- An increase from 124 channel strips to 132
- An increase from 56 output busses to 56 + Master + 24×24 Matrix
- An increase from 24 to 214 DiGiTuBes
- An increase from 24 to 214 Multiband Dynamic options
- An increase from 24 to 214 Dynamic EQs
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Meyer Sound Intros MJF-208 Stage Monitor, Upgrades LEO Family With MDM-5000 Distribution ModuleMeyer Sound just debuted three additions to its line of sound reinforcement solutions: the MJF-208 compact stage monitor, the MDM-5000 high-power distribution module, and the LYON-WXT extended vertical option.
MJF-208 Compact Stage Monitor: The self-powered MJF-208 stage monitor incorporates many of the features of the MJF-212A and the MJF-210 into a smaller, lightweight package. Each MJF-208 measures less than 13 inches high and weighs 45 pounds. Portability and ease of use for the MJF-208 are enhanced by an MDM-832 distribution module, which can route up to eight channels of AC power, balanced audio, and RMS monitoring data to multiple stage monitors.
MDM-5000 High-Power Distribution Module: The MDM-5000 is a rack-mount unit for quick connection and distribution of AC power, audio signals and RMS to LEO Family systems. Standard multicore connectors for audio and power are on the front panel, with discrete connectors on the rear for audio, RMS, and power. The MDM-5000 is available in CE- and UL-compliant versions for worldwide use.
LYON-WXT Extended Vertical Option: The LYON-WXT is an extended vertical coverage option for the LYON-W wide-coverage line array loudspeaker. The WXT option extends the vertical coverage of the LYON-W from nine to 15 degrees, giving the lowest cabinet or two in the array a wider splay angle to achieve uniform coverage at a much steeper downward angle. A principal application for the WXT option will be for 360-degree arena shows, where this extended vertical coverage reduces the number of line array and front-fill loudspeakers required.
The LYON-WXT maintains the aesthetic of a standard LYON-W loudspeaker and integrates into a LYON array without transition frames. Standard LYON-W loudspeakers can be updated with the LYON-WXT option kit, allowing rental companies to convert existing inventory as needed at minimal cost.
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GLP Launches New GT-1 Hybrid LightGLP just announced the new GT-1 light — a Spot, Beam and Wash that will be their new flagship model. Using a 470W discharge lamp its high quality optical system produces a beam that features an enormous 22:1 ratio zoom range, from 2.5° to 55°.
In Spot mode the fixture offers a wide range of effects, including CMY color mixing, eight rotating gobos, 14 fixed pattern gobos, additional beam reduction gobos and an interchangeable animation wheel. It also features three different rotating prisms, a fixed color wheel with CTO/CTB filters and a wash effect for softening the beam.
In Beam mode the GT-1 delivers a powerful parallel beam of light at 2.5° through its large 145° diameter front lens, which remains bright and consistent over long distances.
And, it features a unique baseless chassis, built-in wireless DMX control, full 16-bit pan and tilt movement and full range dimming and shuttering capabilities. In addition, the GT-1 has a built-in battery for fixture set-up, an auto-sensing power supply and a low weight of just 25kg.
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BenQ’s New S-Series Projectors Offers 7K LumensBenQ America today announced two new additions to its line of S-Series high-brightness professional projectors, the SU931 and SX930. They are designed for houses of worship, training and conference rooms as well as higher education settings. The new projectors are part of BenQ’s Integrator’s Choice program, designed to offer dealers professional-grade display solutions backed by education, training and support.
The SU931 is a native resolution WUXGA (1920×1200) projector with 6,000 lumens and a 3000:1 contrast ratio, and the SX930 XGA (1024×768) resolution projector is 7,000 lumens with a 2500:1 contrast ratio and feature BenQ’s Colorific technology. The new S-Series projectors feature a 1.6x big zoom feature, opening up a wider range of installation possibilities and making it easier to achieve the desired image size from nearly any location. Additional flexibility includes a vertical lens shift, vertical and horizontal keystone correction and corner fit geometric correction. Both models feature a microphone input, 20-watt stereo speakers, variable line level audio out and dual HDMI ports.
BenQ’s SU931 and SX930 are here. Leave a Comment
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elektraLite Unveils eyeBall IUV Invisible Ultraviolet Light FixtureelektraLite just launched a new eyeBall IUV (ELE728) — a high-output LED fixture for invisible ultraviolet light from a compact design.
At the heart of the eyeBall IUV are eighteen three-watt LEDs operating at a wavelength of 365nm, completely invisible to the human eye. The fixture’s output delivers fluorescence at distances of more than 75 feet with zero visible light emitting from the fixture, which allows for dark room and black light effects.
Able to fit in tight spaces, including 12-inch box trusses, the new elektraLite fixture was designed with an ultra-compact form factor for low ceiling applications. And, it weighs less than five pounds. Control is enabled via DMX, including RGB, strobe and console-free master/slave operation. Plug-and-play functionality is built right in. The eyeBall IUV has both power in and thru for daisy-chaining, and includes an interconnect jumper cable. The DMX connectors (both in and thru) are five-pin XLR; however, 3>5 pin and 5>3 pin turnarounds are provided for maximum flexibility.
Additional eyeBall IUV features include:
- 15-, 25- (installed), 40- and 60-degree beam spreads via supplied interchangeable lenses
- Flicker-free on-camera operation
- Variable, adjustable-speed strobe effect, from 0.3 to 25 FPS
- Variable, adjustable fans can be set to run automatically, manually, turned off or controlled via DMX
- Up to eight fixtures can be connected on one 20-amp circuit and can be run in standalone or master/slave configuration, all with or without a control source for fast, effective and efficient operation
The elektraLite ELE728 eyeBall IUV lists for $999 and all the specs are here. Leave a Comment
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Barco Aims New 30K Lumen Laser-Phosphor at Rental MarketBarco has expanding its HDF projector portfolio for large venues and events with a three-chip DLP, 30,000-lumen model in WUXGA (1920×1200) resolution. Dubbed the HDF-W30LP FLEX projector, it features a laser-phosphor light source spec’d to last over 30,000 hours. Spec’d at 1900:1 contrast ratio with 90 percent uniformity, the projector includes horizontal and vertical edge blending and an optical lens shift at V: -30% to +120% / H: -40% to +40% on zoom lenses (memorized). Inputs include DVI-I, SDI and BarcoLink.
Reducing operating costs by more than 50 percent compared to a lamp-based projector, the HDF-W30LP FLEX enables customers to increase up-time while driving installation, service, and maintenance costs down. Thanks to its laser phosphor light source and advanced cooling design, this new projector provides up to 30,000 hours of maintenance-free operating time — resulting in considerable cost-savings on maintenance and consumables.
Running in any orientation, the HDF-W30LP FLEX offers users flexibility in projector location as users to tune and lock their projector’s light output to a specific application, from 10,000 to 30,000 lumens in incremental steps. The cooling unit can be positioned up to eight meters (26 feet) away from the projector, so it can be easily attached to a wall or mounted in a truss.
All the tech specs are here. Leave a Comment
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JBL Pro by HARMAN Introduces the EON ONE All-in-One Linear-Array P.A. SystemJBL Pro by HARMAN today unveiled the EON ONE all-in-one linear-array P.A. system. The EON ONE has the streamlined look of a compact, column-style array and features Bluetooth audio, a six-channel mixer and a design that can be carried with one hand – so it’s portable.
With a maximum SPL of 118 dB, the EON ONE provides detailed, distortion-free audio. An unobstructed 10” bass-reflex subwoofer delivers tight, accurate low-frequency response that is ideal for DJs and playing back recorded music. The high-frequency section features JBL’s patent-pending Directivity Control Geometry, which optimizes the spacing and angles of the six two-inch high-frequency drivers. This creates extraordinarily even front-to-back coverage, ensuring that everyone in the listening area hears the sound accurately and consistently.
The built-in, six-channel mixer enables users to connect microphones, instruments, such as acoustic guitars, electric guitars and keyboards, and other sources. The mixer also features bass, treble and reverb controls to optimize the sound. Bluetooth audio streaming makes it easy to play back recorded music from smartphones, tablets and more.
More info is here. Leave a Comment
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Martin Audio Intros CDD-LIVE! Speakers and SubwoofersComprising three full-range models and two subwoofers, Martin Audio’s new CDD-LIVE! covers practically all professional stand-alone and distributed applications, from sound reinforcement and monitoring for live bands, DJs and corporate events, to installations in dance clubs, ballrooms, theaters and performing arts centers.
At the heart of the series is what Martin Audio calls Coaxial Differential Dispersion technology. Combining the ‘point-source’ benefits of coaxial design with the coverage of Differential Dispersion, CDD-LIVE! full-range systems project sound evenly front-to-back while exhibiting wide horizontal coverage close to the speaker.
Onboard Class D amplification, DSP and Dante Digital Audio networking assure simplicity of stage set-up and efficient installation, while tour-grade enclosures and comprehensive mounting options, including pole mount, wall brackets, yokes and rigging inserts, provide maximum flexibility in deployment.
Here are the tech specs. Leave a Comment
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Matrox Announces Maevex Multi-Encoding and Decoding TechnologyMatrox Graphics today announced that it is expanding the Matrox Maevex product line of encoders and decoders with a new range of products designed for multiple real-time encoding, streaming, transcoding and recording. The Maevex 2 product line will feature a variety of form factors, including PCI Express cards, stand-alone appliances and OEM versions of the hardware and software, capable of supporting up to 64 channels of 4K capture, real-time encoding and streaming in a single 5U rack for high-density applications.
For extension and switching applications, Maevex 2 will provide Full HD, 4K and 8K extension and switching over standard IP including UHD at 60Hz with ultra-low latency.
For enterprise video management systems (VMS), Maevex 2 will feature Matrox Advanced Hybrid Streaming (AHS) which provides multiple source capture, real-time encoding and streaming, adjustable picture-in-picture and picture-by-picture, simultaneous stream and record, multi-protocol streaming, multiple concurrent bitrate streaming, and more.
For live streaming and recording in government and enterprise environments, Maevex 2 will provide maximum interoperability with third-party hardware and software. In addition to the market-leading real-time encoding resolution capabilities of Maevex 2 SKUs, the new products will be highly adjustable to bias for image quality to the point of near lossless video. 4:2:0 color sampling currently shipping on the Maevex 5150 Series will now be joined by Maevex 2 with support for up to 4:4:4 color sampling for the clear transmission of the most demanding detail in any application.
The new Maevex 2 product range will support commonly used streaming protocols such as RTMP, RTP, HTTP, MPEG2.TS and RTSP making new SKUs compatible with the current Maevex 5150 series and thousands of third-party hardware and software encoders, decoders, cameras, media players, network storage, mobile devices, browsers, and streaming media servers.
Matrox is further expanding the Maevex developer APIs to help OEMs, integrators and software developers incorporate Maevex features into their own applications including AV processors, digital signage software, enterprise video management software, the most challenging video and graphics recording applications, security and surveillance environments, and WAN and cloud tools for any need.
Here are all the technical details. Leave a Comment
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Christie Adds Four Laser-Phosphor Projectors with New GS Series Using Rec. 709Christie has announced new 1DLP lineup GS Series of laser-phosphor projectors, including two HD models with BoldColor Technology. The line is aimed at corporate meeting rooms, trade shows, entertainment venues and rental staging.
More advanced than previous GS models, the four professional-grade models use a grid-based warping and blending processor and also have an option for camera-based warping, blending or stacking to make setups faster and simpler. They can also be rotated 360-degrees and used in portrait orientation, making them ideal for complex setups in rental staging and medium-sized fixed applications. At only 35dBA, users won’t be distracted by projector noise and the new, sleeker design blends seamlessly into any environment. Lightweight and compact, the four new models deliver stunning images using a laser phosphor light source with a 20,000 hour life for low maintenance and a low cost of ownership.
While all four models tout improved color performance, the 850-GS models incorporate Christie BoldColor Technology for premium color performance. The increase in color balance to improve color accuracy results in the extreme bold colors audiences prefer. With two new HD and two more WUXGA laser phosphor models, Christie has a wide-ranging 1DLP lineup including both lamp and laser phosphor options ranging from 3,000 to 13,000 lumens without limiting options to one technology or another.
Featuring bottom-side HDMI connectivity and rear cover, the new Christie GS models can be ceiling mounted and have a very clean look without all the unused connections, cables and keypad being exposed. All RJ45 connections are fully compatible with the rugged and lockable XLR-shell connection to protect and avoid having to re-terminate cables onsite.
Here’s more information on each model. Leave a Comment
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Sennheiser’s Evolution Wireless D1 App LaunchesSennheiser is introducing an app for remotely controlling its evolution wireless D1 radio microphone systems. The WSR app converts iPad and iPhone into a handy remote control for digital D1 systems, assisting in the configuration, management and monitoring of radio links. The app is available from the Apple app store now.
The WSR App automatically recognizes whether D1 microphone systems have up-to-date firmware on board — and offers an update via the internet if required. Via the app, users can conveniently adjust the settings of individual units or entire groups, controlling audio effects, network settings and output signals on an iPhone or an iPad.
The WSR App will also turn your iOS device into a signal tester — when walking the stage with the device and the D1 transmitter, the transmission quality of the radio link is displayed in real time.
During a gig, the WSR App lets you keep track of the battery status, sound levels and signal strength to avoid any nasty surprises. To make monitoring even easier, the iPad version allows you to include user photos for easy identification of the systems, and to arrange the positions of the systems on screen to correspond to the band members’ positions on stage.
Here are the details. Leave a Comment
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Extron Announces Compact FOX PowerCage Enclosure and Fiber Optic Extender ModulesExtron just launched the PowerCage 401 modular power enclosure and the PowerCage 401 FOX DT HD dual-transmitter and PowerCage 401 FOX DR HD dual-receiver modules, which provide long haul transmission of HDMI, stereo audio and RS‑232 control signals over fiber optic cabling. The PowerCage 401 enclosure features a space-saving 1U rack-mountable design that is hot-swappable and field-upgradable. It provides an efficient way to power and mount up to four fiber optic modules. Engineered with uncompromising quality and proven performance, the boards use all‑digital technology to deliver pixel-for-pixel extension of computer and video resolutions up to 1920×1200, including 1080p/60. Each compact module provides two independent FOX HDMI extenders that are HDCP compliant, and share many of the same capabilities as other Extron fiber optic extenders. They are compatible with Extron FOX II and FOX Series extenders. Mounted in the compact PowerCage 401 enclosure, the PowerCage 401 FOX DT HD and PowerCage 401 FOX DR HD modules are ideal for point-to-point installations or in combination with a FOX Matrix Switcher for an enterprise-wide AV distribution system.
The PowerCage 401 enclosure is designed for dependable performance in mission-critical applications. Exceptional thermal management and a variable speed fan provide optimal cooling, while dual-redundant and hot-swappable power supplies ensure system reliability. The enclosure also includes dual AC power inputs for continuous connection to primary and back‑up power sources. The Ethernet port on the enclosure allows insertion of RS‑232, enabling system level control of the endpoints and attached devices without needing additional cabling. For space-challenged workstation applications and larger systems with multiple remote devices, the PowerCage 401 is the ideal solution.
The PowerCage 401 FOX DT HD and PowerCage 401 FOX DR HD offer many integrator and user-friendly features, including Key Minder, EDID Minder, Auto Input Memory, audio embedding and de‑embedding, audio gain and attenuation adjustment, internal test patterns, and Ethernet monitoring and control. The transmitter and receiver modules are available in multi-mode and single-mode models, providing signal extension for moderate distances of up to 2 kilometers (1.25 miles) over multi-mode fiber optic cable and extreme distances up to 30 kilometers (18.75 miles) when using single-mode cable. The dual transmitters and receivers operate independently to support two separate devices.
Here are the detailed specs. Leave a Comment
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DiGiCo SD11 and SD11i Receive Stealth Core 2 UpgradeDiGiCo’s SD11 and SD11i may be small in size, but they are already a powerful solution that works for just about any mixing environment. With the addition of a Stealth Core 2 upgrade option, these tabletop mixing solutions won’t get bigger in size, but they will in power.
The SD11 upgrade will include:
- An increase from 32 channel strips to 48
- An increase from 12 output busses to 24 + Master + 8×8 Matrix
- An increase from four to 82 DiGiTuBes
- An increase from four to 82 Multiband Dynamic options
- An increase from four to 82 Dynamic EQs
- Digital FX rises from four to six units
The SD11i upgrade will include:
- An increase from 40 channel strips to 80
- An increase from 12 output busses to 24 + Master + 8 x 8 Matrix
- An increase from six to 114 DiGiTuBes
- An increase from six to 114 Multiband Dynamic options
- An increase from six to 114 Dynamic EQs
- Digital FX rises from six to eight units
The Stealth Core 2 upgrade option will be available for the SD11 and SD11i at a US list cost of less than $850 (£550). Here are the details. 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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