Volume 10, Issue 7 — July 25, 2016
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Shooting the Messenger
By Joel Rollins rAVe Columnist
Last night, I was watching the Republican convention from the Quicken Loans Arena in Cleveland. I will admit up front that I tend to watch political conventions more as theater than for their political content, as these have always been the most scripted events in our world. They are also among the most lavishly equipped and staged AV events on our planet. I can practically watch them with the sound off, just enjoying the elaborate staging and lighting since I already know most of what the content will be. They are rather like kabuki with video walls, highly organized and professionally staged with content anyone could have predicted.
Until this year, of course.
This year’s campaign has proven to be an organizational train wreck the likes of which have not been seen in decades. Failed endorsements, ill-prepared speakers, obvious plagiarism and chaos outside the convention center have contributed to what even the right-wing media is calling an organizational disaster.
What causes me to write this column is a danger we all face in the staging portion of the industry, namely to be left publicly holding the bag for organizational or technical problems caused by others farther up the line.
One of this morning’s news shows unfortunately both talked about and showed clips of what they described as “technical failures” in the audiovisual systems, most especially the giant (and beautiful) video displays. They showed them going dark at moments, flickering and at times showing the wrong content. It made me cringe, as I felt for the technical crew. I have been there when an organizational train wreck of a show left me holding the bag, at least visually.
Why are political events so complex, and why do they always have the potential for glitches? Simple. Believe it or not, it tends to come from messaging.
Think about shows. The purpose of most public events is to deliver a “take away” message. Everything flows from there, every phase of the show is designed to implant that message in the audience. However, what happens in a political convention is a distillation of mixed messaging. Every group coming into the convention, every state delegation, every special interest, every group who supported a different candidate has a message THEY want to get out. They are allowed floor demonstrations and staged votes to have a chance to deliver that message. In the meantime, backroom deals are being made that change the messaging. This results in show scripts and cue sheets changing rapidly, sometimes until they become entirely meaningless and the show is being called on the fly.
Then consider the size of the team that has to make this show happen technically. There’s also the lighting, sound and video people, the unions and the various (and often conflicting) campaign officials who will be getting involved. All of these things, the technical complexity, the rapid changes, the multiple power groups and the changing message combine to create some of the most complicated shows any of us could tackle.
Consider also the massive volume of equipment that must come together on site, from multiple companies, plus the installed systems at the arena, making for a technically complex show. I have not worked the Democratic or Republican National Convention, but I have worked many presidential and campaign events, and have found myself late at night working with colleagues I had not met before that day, diagramming systems from multiple companies to make them all fit together.
Take those complexities, add to them the chaos of the event itself, and you know why the proverbial ancient Chinese character for change is a combination of the characters for danger and opportunity.
On top of that, add the fact that a lot of people at a political convention are, by definition, going to be disappointed.
For all of these things, all it takes is a screen flickering for the AV crew to become the target of misplaced anger, or of criticism that really should’ve been criticism of the entire show. No one in the audience (or among the “critics” in the media) will ever know where the error that produced that screen flicker or missed switch actually occurred.
But that is part of our business. I learned a long time ago that there is nothing I can do about that. And with the show this complex, there are going to be errors.
But looking at the magnificent set that was produced for the Republican convention this year, I always remember one of my favorite quotes: “The amazing thing about circus bears is not how well they dance; it is that they dance at all.”
All in all, from what I could see watching it, this was one beautifully staged show. I will be standing by to see what the Democratic convention produces. It ought to be spectacular.
Congratulations to both teams for landing these shows, for the courage and professional competence it takes to put one on, and for “making AV great again.”
All RNC 2016 images via Disney ABC Television Group Leave a Comment
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Bose Professional Expands the F1 Loudspeaker Family Bose Professional has expanded its F1 Flexible Array Loudspeaker product line, to include a new passive full range model and a full suite of mounting brackets. Together with a powered model introduced in 2015, both Bose F1 loudspeaker models are designed for portable and installed applications. The F1 Model 812 Loudspeaker is the first portable loudspeaker offering “FLEX array technology,” which lets installers focus sound to target listening areas with four different patterns, offering exceptional power and clarity for a wide range of applications and venues.
Engineered with an array of eight Bose proprietary 2.25-inch drivers, 100-degree horizontal waveguides, a high-powered 12-inch woofer and a lower crossover point, F1 Model 812 loudspeakers deliver high SPL performance while maintaining vocal and midrange clarity that’s dramatically better than conventional installable products.
F1 Model 812 loudspeakers include M8 top and rear hang points along with three dedicated brackets for easy and flexible mounting. Pan and tilt, yoke and U bracket options are available.
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Studio Technologies Adds to Dante Offerings with the Model 374 Intercom BeltpackStudio Technologies introduces the new Model 374 Intercom Beltpack — a portable, four-channel intercom. The Model 374 incorporates Dante Audio-over-Ethernet network media technology to support a wide range of applications from sports and entertainment TV to radio events, streaming broadcasts, corporate and government AV installations and post-production facilities.
The Model 374’s key features include four independent talk and listen channels, configurable button operating modes, flexible audio-to-phones routing and power-over-Ethernet (PoE) powering. The Model 374 Intercom Beltpack starts with the features found in traditional party-line (PL) intercom user devices and adds a range of new user benefits, including the advanced performance and capabilities that Dante Audio-over-Ethernet capability provides. Multiple Model 374 units can be used in PL intercom applications over a standard IP network in conjunction with an external Dante-enabled audio matrix. Units can also be used “point-to-point” or directly interfaced with ports on compatible matrix intercom systems.
An etherCON RJ45 jack is used to interconnect with a PoE-enabled twisted-pair Ethernet port associated with a local-area network (LAN). This connection provides both power and bidirectional digital audio. A broadcast or intercom-style stereo or monaural headset with a dynamic microphone connects to the Model 374 via a 5-pin XLR connector. DIP switches and a software-based configuration section are used to establish the unit’s operating parameters.
Key user features can be easily configured, including preamplifier gain, independent talk button operation and individual-channel headphone signal routing. Additional features include integrated sidetone, remote microphone off and monitor-only headphone modes.
While configuration ease and flexibility are central to the Model 374, audio quality remains front and center. A low-noise, wide dynamic-range microphone preamplifier and associated dynamics controller (compressor) ensures that audio quality is preserved. The output of the microphone preamp and compressor is routed to an analog-to-digital conversion (ADC) section that supports a sampling rate of 48 kHz with a bit depth of 24.
The Model 374 introduction complements Studio Technologies’ Model 370 and 380 beltpacks that were recently introduced at NAB 2016. Like the 374, these products leverage the power of Dante and standard LAN networking to offer exciting new ways to meet the needs of sports and broadcast applications.
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ARX Debuts SuperSplitter, a Transformer Isolated 1:3 Passive Splitter for XLR ARX Systems just released its new SuperSplitter transformer, an isolated one input to three outputs passive splitter for XLR signals. Designed for splitting one audio signal three ways in applications where complete Galvanic isolation is required, the SuperSplitter claims to provide noiseless signal routing.
The SuperSplitter is available as either a single-channel or dual-channel unit and allows phantom powering of microphones and direct boxes via the direct out to input XLR, and features three XLR direct and isolated outputs.
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AVerMedia Announces AVerCaster HD Duet Plus F239+ Dual Channel High Quality Video Encoder AVerMedia has announced the AVerCaster HD Duet Plus F239+, a dual channel video encoder allowing two independent Full HD video streams to be broadcast or recorded at the same time. The F239+ is a broadcast video encoder that takes one or two HDMI or component video sources up to 1920×1080 Full HD resolution and can encode two independent video streams of similar or varying bitrates for broadcast or recording. With its powerful dual H.264 High-Profile codecs, it allows live Full HD Video to be simultaneously broadcast and recorded at higher quality for VoD playback, multicasting and support for popular streaming services providers as well as Facebook Live allows live video from the F239+ to be broadcast to a virtually unlimited number of viewers.
Dual H.264 codecs and Gigabit Ethernet ports allow the F239+ to simultaneously live broadcast two independent video streams at Full HD quality in Duet mode, allowing for instance, multiple angles live streaming.
Alternatively in Recording mode, one encoder can be used for streaming video, while the other simultaneously records the same input source for backup or VoD playback. With two independent codecs, bitrates can be adjusted separately for each output to account for network bandwidth or higher quality VoD content.
Finally, Splitter mode allows a single stream to be broadcast at different bitrates or to support different protocols and service providers.
The F239+ is easily portable and has dual HDMI and component input allowing it to easily receive video from a variety of video sources such as TV set-top boxes, camcorders or electronic white boards. With the H.264 codec and multicasting support, a single F239+ can easily provide single or dual video streaming services to a virtually unlimited number of viewers over an intranet or internet with minimal network bandwidth usage.
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New HIGHlite Laser II Projector From DPI AnnouncedDigital Projection International (DPI) recently unveiled the HIGHlite Laser II. New brightness thresholds, 110-volt capabilities and a newly-engineered electronics platform are all part of the Laser II.
The HIGHlite Laser II brings a range of impressive improvements to the already popular HIGHlite Laser model. While maintaining its compelling 20,000 hours of illumination, the second-generation product now claims 13,000 ANSI lumens of brightness. Other key features include the introduction of all-new electronics that offer improved video processing and a full 120Hz processing path from DisplayPort sequential 120Hz or 60Hz per input dual-pipe HDMI. Image Edge Blending is included as standard, along with advanced geometric correction. HDBaseT, DisplayPort 1.2 and HDMI ensure that the connectivity is comprehensively future-proofed.
The HIGHlite Laser II ships Q3 and here are the details. Leave a Comment
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Digital Projection Adds Two New High-Brightness Budget Laser Projectors to E-Vision Series Digital Projection International (DPI) recently launched two new high-lumen, budget-oriented E-Vision laser projectors. Building on the success of the E-Vision Laser 8500, DPI debuted an E-Vision Laser 6500 and 7500. These displays bring a variety of price points, capabilities and installation flexibility to the already recognized E-Vision series.
The E-Vision Laser 6500 is specified at 6,500 lumens, a 5,000:1 contrast ratio and includes a DICOM simulation mode. A key differentiator for the E-Vision Laser 6500 rests in its quiet operation. Inputs include DVI, HDMI and an HDBaseT interface with built-in support for transmission of uncompressed high definition video over standard CAT5e/6 LAN cable. This also allows the projector to be placed up to 100m from the source with a low-cable cost. For ease of use, the E-Vision Laser 6500 also contains built-in compatibility with Crestron RoomView Connected, PJLink – AMX SSDP and LAN.
Built on the same electronics and functionality as the E-Vision Laser 8500, the E-Vision Laser 7500 delivers a wealth of features: incredible brightness at 7,500 lumens, geometry correction and edge blending, Lens Memory presets, and advanced capabilities such as DICOM simulation mode. With features galore and brightness to spare, the E-Vision Laser 7500 thrives in most any commercial application needing a bright, consistent and reliable imaging solution. For applications needing an ultra short throw solution, the E-Vision Laser 7500 can be paired with DPI’s newly launched 0.38:1 Ultra Short Throw (UST) lens. This projector/lens combo is capable of creating an image width between 6.9’ to approximately 24’ and offers ultimate flexibility of projector positioning. Inputs include Displayport, DVI, HDMI and an HDBaseT interface with built-in support for transmission of uncompressed high definition video over standard CAT5e/6 LAN cable. For ease of use, the E-Vision Laser 7500 also contains built-in compatibility with Crestron RoomView Connected, PJLink – AMX SSDP and LAN.
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7thSense Launches Nano-SDI Media Server 7thSense has expanded its media server portfolio with the addition of the Nano-SDI Media Server — an entry-level media server with uncompressed media playback for fixed installations.
A key feature-set of the new Nano-SDI is that of extensive control capability. A new, simplified web browser-based user interface has been developed specifically for simple playlist configurations while full Delta GUI control is still available for more complex applications. Network-based preview via web browser plus web control over playback, playlist creation and interface customization makes Nano-SDI an option for clients seeking a simplistic performance playback server.
Additionally, Nano-SDI has a broad range of external control options including TCP, UDP, ArtNet, DMS, Touch and RS422 Sony Protocol for compatibility with most installations.
Nano-SDI is available in two configurations: Nano-1-SDI with up to 2K@60p output in both compressed and uncompressed playback formats. Nano-1-SDI-4K is capable of up to 4K@60p SDI uncompressed output with storage and playback upgrade options available. Both configurations are capable of playing uncompressed or codec-based media (including MPEG-2, M2V, MP4 and more) and with comprehensive real-time warp and blend features in-built.
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Chief Adds Dynamic Height Adjust to FusionChief is now shipping the new Fusion Dynamic Height Adjust Mounts to provide instant, tool-free height adjustment and greater accessibility to interactive displays. DHA Mounts are faster to position than electric display mounts and can be combined with a range of fusion accessories.
Features include:
- Mobile, wall and floor-supported solutions available
- Height adjustable box allows up to 15.75” (400 mm) of vertical adjustment instantly
- Starting height can be set at 3” (76 mm) intervals over a span of 12” (305 mm) for the cart and floor support solutions
- Storage space in the floor-support and cart solutions
- ControlZone for post-installation fine-tuning of height and leveling
- ClickConnect offers an audible click when the screen safely engages with the mount
- A full line of accessories can be installed with the mount and the entire unit can be adjusted together — including shelves, CPU holders and speaker adapters
- Integrated security flag
- Easy grip handles and integrated display stabilizers for easy transportation (cart only)
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Catchbox Is Proof that Simplicity (and Creativity) MattersThere’s no mic that’s simpler than the Catchbox – literally a crowd-microphone that is housed in a custom box that you throw around a room to allow attendees to actively participate in a meeting by asking questions (and mic’ing them so the rest of the room can hear them. The mic quality is decent, but the concept is PERFECT! Make a mic that’s a novelty in a meeting – you can throw it, it automatically turns itself on and off at the right moments and make it customizable for the client. Check it out here.
Catchbox was a hit with InfoComm attendees in every meeting I attended, participated in and with attendees walking around the show floor — but mic powerhouses Sennheiser and Shure weren’t impressed. But rental companies will eat this up!
Really? Was it really popular? Well, Catchbox created the world’s first throwable wireless microphone and provided 12 of its throwable devices at InfoComm 2016. And InfoComm themselves loved it:
Chuck Espinoza, InfoComm Staff Instructor and Certified Technology Specialist in Design and Installation, CTS-D & CTS-I, commented: “I would say we had 10 to 15 times more student engagement than last year when we weren’t using Catchbox for our educational sessions. The fact that I could look to a student who was hesitant to participate, and throw the mic to them made a huge difference. They could answer, and throw it to the next person in line. It was no longer an interaction between just me and one attendee – it wasn’t ping pong any more, it was volleyball.”
The unique Catchbox device, created in Finland by entrepreneurs, Timo Kauppila, Pyry Taanila and Mikelis Studers in 2012, already has thousands of people talking with its ability to give a voice to audiences of all sizes. The company has recently expanded its EU and North America operation to Australia and New Zealand in response to demand from event organizers in the region.
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DiGiCo Delivers Stealth Core 2DiGiCo’s Stealth Core 2 is an upgrade to the Stealth Digital Processing for its SD series digital mixers. Claiming to significantly enhance processing from the audio core of DiGiCo SD series consoles, it’s available as an upgrade option for existing users and shipping as standard on new consoles. Features of the Stealth Core 2 include upgraded FPGA power, as well as enhanced processing and full dynamic EQ, DiGiTuBes and MB Dynamics on every channel and buss.
SD series consoles updated with Stealth Core 2 will feature the following channel counts:
- SD11: 48 input channels, 24 output busses (plus Master and 8×8 matrix), 6 Digital FX, 8 Control Groups, 83 Multiband Dynamic options and 83 Dynamic EQs
- SD11i: 80 input channels, 24 output busses (plus Master and 8×8 matrix), 8 Digital FX, 8 Control Groups, 115 DiGiTuBes, 115 Multiband Dynamic options and 115 Dynamic EQs
- SD9: 96 input channels, 48 output busses (plus Master and 12×8 matrix), 12 Digital FX, 12 Control Groups, 155 DiGiTuBes, 155 Multiband Dynamic options and 155 Dynamic EQs
- SD8: 120 input channels, 48 output busses (plus Master and 16×16 matrix), surround sound, 16 Digital FX, 24 Control Groups, 190 DiGiTuBes, 190 Multiband Dynamic options and 190 Dynamic EQs
- SD10: 132 input channels, 56 output busses (plus Master and 24×24 matrix), surround sound, 24 Digital FX, 24 Control Groups, 218 DiGiTuBes, 218 Multiband Dynamic options, 218 Dynamic EQs
- SD5: Up to 253 input channels, up to 128 output busses (including Master and 24×24 matrix), surround sound, 48 Digital FX, 36 Control Groups 253 DiGiTuBes, 253 Multiband Dynamic options, 253 Dynamic EQs
- The SD7 is a FOC upgrade that allows users to have the new Core 2 interface and Graphics
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CAD Audio Ships CADLive 3000 Wireless CAD Audio is shipping the CADLive 3000 wireless system that provides unmatched RF performance, audio quality and operational flexibility. The CADLive 3000 system operates in the 500 MHz band for superior frequency agility and RF stability. Proprietary CAD ScanLink technology with infrared transmitter setup allows the user to precisely scan, select and link to the optimum channel in any RF environment.
True Diversity operation minimizes multipath interference while CADLock Automatic Tone Encoded Squelch eliminates unauthorized transmissions in the signal path. The 3000 system receiver and transmitters are equipped with a high definition LCD display and full RF, AF, Battery Life, Mic Sensitivity and RF power metering.
All CADLIve transmitters feature selectable transmit power of 10/30/50mW. In addition, the handheld transmitter features all-metal construction and a CADLive D90 Supercardioid dynamic vocal mic element for articulate sound in high SPL situations.
Bodypack systems ship with E19 Earworn and E29 Lav included. All systems include Rack mount, joining plate and BNC relocation kit.
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Hitachi Adds HDR to Broadcast Camera LinesHitachi Kokusai has added High Dynamic Range (HDR) to its Ultra High Definition (UHD) 4K and HDTV broadcast cameras. As part of a special, limited-time promotion, any new Hitachi camera purchase made before September 30, 2016 will include the HDR feature at no additional charge.
HDR, which will be part of the emerging ATSC 3.0 standard, produces brighter, crisper, more luminous imagery, including UHD 4K video, resulting in a more immersive and engaging viewer experience.
At the high end of the product line, HDR has been added to the Hitachi Kokusai’s SK-UHD4000 UHD studio/field camera. With its industry standard B4 2/3-inch bayonet mount and 2/3-inch sensors, operators can still make use of their existing HDTV lenses. The camera delivers the depth of field and high sensitivity needed for traditional TV studio and sports production with UHD quality.
HDR has also been added to the Hitachi Kokusai’s Z-HD6000 HDTV studio/field production camera system, which captures 1920×1080 resolution video. This native 2K camera utilizes 2.6 megapixels and 2/3-inch MOS sensors and offers F12 standard sensitivity with >60 dB of video headroom and real-time lens aberration correction (RLAC).
Other models that will have the option to upgrade with HDR include:
- The Z-HD5000 HDTV studio/field production camera has long-been a popular acquisition tool due to its high price performance. With 2/3-inch IT-CCDs, this lightweight unit offers high-resolution imagery and low noise.
- The SK-HD1000, a multi-standard, low-noise portable HD Studio and EFP camera, acquires outstanding images with its three (R,G,B) 2.3 megapixel UAIT (Ultra-Advanced) CCD sensors and now enhanced by HDR.
- The SK-HD1300, Hitachi Kokusai’s new, top-of-the-line progressive scan HD studio and EFP camera, which captures outstanding 1080P images with its three 2/3-inch, 2.3 megapixel progressive scan MOS imagers, also upgraded with the HDR feature.
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Yamaha EMX Series Powered Mixers Debut Yamaha today unveiled the latest models in their EMX series powered mixer lineup – the EMX2, EMX5 and EMX7. Requiring only speakers and microphones to realize a sound system, the EMX2, EMX5 and EMX7 all feature Class-D power amps delivering 500, 630 and 710 Watts respectively of power. All models include Yamaha SPX effects for hall, plate, room and echo reverbs and the EMX2 and the EMX5 include an updated 1-Knob Master EQ sound contour control to easily adjust the overall sound frequency balance. The EMX7 features a flex-type graphic equalizer (Flex9GEQ) that allows the user to select up to nine bands out of a total of 31 for fine tuning±15 dB.
A new Feedback Suppressor, according to Yamaha, instantly eliminates annoying feedback with the single push of a button. Inspired by the Yamaha STAGEPAS 600i Portable PA System, the entry level 10-input EMX2 features 500 Watts (2 x 250 Watts) of amplification, four microphone pre-amps and three stereo line inputs. This model is surprisingly compact (14.8” x 5.8” x 8.7”), making it easy to fit along with speakers in the trunk of a small car.
Moving up the line, the EMX5 and EMX7 each offer 12-input channels and can output to 630 watts and 710 watts respectively. Users can connect up to eight microphones or line-level devices, such as keyboards and CD players and portable MP3 players.
The EMX5 and EMX7 are housed in an impact-resistant, powder-coated metal chassis and allow for operation on either a tabletop or in a rack (rack mount brackets available separately). Large handles on the front and back of the body serve double duty, making the mixers easy to lift while protecting knobs and terminals on the surface of the chassis from impact or pressure.
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Extron Shipping the AV Industry’s First 4K/60 @ 4:4:4 HDMI Scalers Extron is already shipping the DSC HD-HD 4K Plus A and DSC HD-HD 4K Plus A xi, the AV industry’s first scalers that can process single-path 4K/60 video signals at 4:4:4. HDCP 2.2 compliant HDMI 2.0 inputs and outputs support data rates up to 18 Gbps. The scalers incorporate Extron’s Vector 4K scaling engine, developed internally by Extron’s team of signal processing engineers. The DSC HD-HD 4K Plus A xi provides the added flexibility of scaling and managing 4K/60 as a dual path signal. Integrator-friendly features include on-screen display, stereo audio embedding and de-embedding, internal test patterns, and the ability to display custom on-screen images and logos.
The DSC HD-HD 4K Plus A has a single HDMI input and output that support resolutions up to 4096×2160 at 60 Hz. The DSC HD-HD 4K Plus A xi features a pair of HDMI inputs and outputs. The additional input and output allow integration with source devices and displays that support 4K as two columns. The DSC HD-HD 4K Plus A xi can also accept two matched-resolution inputs for side-by-side display on a single screen, or provide duplicate outputs for driving a pair of displays.
In addition to 4K signal integration and processing capabilities, these scalers offer several features that enhance and simplify AV system integration. Custom images can be displayed as a screen saver, HDCP notification or corporate branding. An image can also be displayed as a logo with full position and keying control. The DSC HD-HD 4K Plus A and DSC HD-HD 4K Plus A xi also feature essential audio integration capabilities, including discrete, selectable analog and digital audio muting, input gain and attenuation, and output volume control.
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Tascam iXR is for iOS Tascam announced a new interface for the iPad and iPhone — for music and recording apps — the all-new iXR USB Audio/MIDI interface with iOS connectivity.
Designed to allow mobile devices to be used in professional audio applications, the iXR is a full featured “Made for iPad” PC/Mac USB audio interface that also delivers direct connectivity to your iPhone and iPad via the standard iOS Lightning or 30-pin connector, without the need for special adapters or flimsy mini-plugs. It features two of TASCAM’s Ultra-HDDA mic preamps with phantom power, mic and instrument-level inputs, zero-latency monitoring, MIDI in and out and supports up to 96kHz/24-bit resolution.
With balanced stereo outputs, the iXR is also the perfect bridge between an iPad and a professional quality concert sound system. As virtual instrument apps have evolved to deliver features and performance that meets, and even exceeds the most advanced synthesizers.
Recording to your iOS device is easier as it’s bundled with Cubase LE for Mac and Windows, as well as Cubasis LE for iOS. Simply connect a microphone or instrument and record vocals and live instruments directly to your iPad, iPhone, Mac or PC with zero-latency direct monitoring.
TheTASCAM iXR will list for $259.99 and here’s more information. Leave a Comment
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Sound Devices, Timecode Systems and PureBlend Release Integrated Wireless WorkflowSound Devices, Timecode Systems and PureBlend announced the release of firmware and software upgrades that are set to make sharing timecode and metadata on set more streamlined than ever before. By allowing a seamless exchange of data between Sound Devices’ 6-Series mixer/recorders, the Timecode Systems :wave timecode and genlock generator and PureBlend’s MovieSlate 8.5 iOS app, the upgrades integrate the capabilities of the three companies to more efficiently manage metadata and transport controls within the production workflow.
To set up this integrated workflow, a Timecode Systems :wave unit operates as the master timecode clock, transmitting wireless timecode and sync data to all connected devices. The receiving units then output linear timecode (LTC) and genlock to their connected cameras.
With this latest upgrade, users can now also sync and share metadata and timecode via a bespoke Timecode Systems Sync lead from the :wave’s data port to the USB port on a Sound Devices 6-Series mixer/recorder. This not only ensures all recorded sound files contain the same accurate timecode as the cameras, but also allows full exchange of metadata and the capability to wirelessly monitor status and enable the device using Timecode Systems’ free multi-platform B:LINK Hub production dashboard app.
The MovieSlate 8.5 application, which runs on iOS 8, 9 or 10, connects to the :wave’s integrated Wi-Fi interface, allowing users to remotely control Sound Devices’ 6-Series mixers/recorders — to start/stop recordings, arm/name sound tracks, sync timecode, edit metadata — and effortlessly generate stunning sound reports. All of this is possible with a MovieSlate 8.5 Pro Features purchase.
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ENTTEC Debuts Aleph2 ET DX4From the concert stage to the convention floor, the ENTTEC Aleph2 ET DX 4 (DX4) is promoted as a cost effective and energy efficient RGBW LED fixture that outputs an array of colors. The DX4 has been calibrated and provides true warm whites as well as cool whites. A total of 64 custom colors can also be created and save via the versatile preset menu and it comes with 25 color defaults, including several whites, RGB Yellow, RGB Purple, RGB Cyan plus popular colors from both the warm and cool color families. The DX4 is designed for concerts and trade shows, can use up to eight DMX 512 channels, is RDM configurable and features five separate personality menus.
From a hardware standpoint, the DX4 has a built in power supply and an isolated DMX in/out package. The unit also includes a hanger, so the Aleph 2 ET DX4 is ready to perform on any stage out of the box. The DX4 comes in three sizes — 300 millimeters (11.8”), 600 millimeters (23.6”) and 1,200 millimeters (47.2”) and utilizes the CREE XM-L Color LEDs with convection cooling.
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Sommer Introduces Hybrid MC1031HD 3-Way Cable Aimed at Rental Market Sommer Cable has introduced a new hybrid cable for use at live events, in broadcasting trucks, and for dome camera systems. Sommer’s new Transit MC 1031 sends or receives HD video picture together with power and network signals.
Sommer said they focused first on cable flexibility and ruggedness to ensure a small bending radius, high bending cycles, and safe reeling under severe tensile strain. Integrated with a double-shielded video cable, a CAT.7 cable and a 3 x AWG13 power line wires, they entire package is wrapped in a flame-retardant outer PVC jacket.
Integrating a 10 Gbit capable network cable, power line, and HD-SDI compliant video cable in one compact cable allows producers and engineers to do without the multiple cable runs typically required.
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Audio-Technica Intros ATUC-50 Digital Wired Discussion System Audio-Technica has introduced the ATUC-50 Digital Wired Discussion System – including the ATUC-50CU control unit, ATUC-50DU discussion units and the ATUC-M43H and ATUC-M58H gooseneck microphones. The ATUC-50 system provides 24-bit/48 kHz uncompressed digital audio, multi-mode operation, a 12-band feedback suppressor, ability to record a meeting directly to a mass storage device on the front of the control unit and interpretation channels. And a choice of two gooseneck lengths is available: the ATUC-M43H at 17″ (430 mm) and ATUC-M58H at 23″ (580 mm).
Using standard Cat5, 6 or 7 cables, a complete system can support up to three ATUC-50CU control units and 150 ATUC-50DU discussion units can be connected in either daisy chain or ring topology (for added redundancy) and controlled from any web browser with no need for additional software installation. Audio-Technica says that configuration via Web Remote Control is simple and quick, with settings able to be stored as presets for easy recall.
The Audio-Technica ATUC-50 Wired Digital Discussion System ii shipping and all the specs are here. Leave a Comment
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beyerdynamic Adds New Quinta TB Wireless Boundary MicrophoneThe beyerdynamic Quinta TB wireless boundary microphones act as a multi-channel receiver, in which case a maximum of four Quinta TBs (depending on the size of the room and the number of participants) can be operated simultaneously. In this mode, the software can be used to connect up to 9 central control units. In conference mode the Quinta TB acts as a delegate microphone unit and can be used for any traditional conference application.
beyerdynamic claims that the Quinta Triple Band technology ensures uninterrupted transmission. The system operates at 128 bit encryption and a 24-bit PIN code guarantee protection against eavesdropping. The system has a quick recharging time and a long operating time of at least 14 hours. Three-colored backlit buttons, with tactile feedback and Braille, makes the device ADA compliant and accessible and it shows all participants the status of the microphone and enables use of the global mute, push-to-talk and push-to-mute modes. The Quinta TB wireless boundary microphone is designed for use in meeting rooms and video conferences.
Here are all the specs. Leave a Comment
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Fusion Modular Series Brings Flexibility to Multi-Display DesignChief has launched a new modular approach to multi-display solutions. The Fusion Modular Series uses common components of Fusion multi-display mounts and a new online configurator to give customers the ability to build and order the parts necessary to meet their exact application requirements.
Customers will be able to buy the pieces of Fusion needed to create multi-display installations to order. The tool will provide the user with the correct length of extrusion as well as the number and type of interface brackets and wall plates. The first phase includes wall- and ceiling-mounted menu boards. Multi-row ceiling mounts will be added later this year.
Features of the new configurator include:
- Supports any menu board configuration
- Allows for non-standard installs, such as multiple display sizes, mixed portrait/landscape and gaps between displays
- Mobile-friendly configurator built directly in to milestone.com and integrated with Chief’s industry-leading
- MountFinder database
- See MSRP pricing and order directly from milestone.com if you have an account
- Configuration URL can be saved for future reference
- Mounting System maintains installation benefits of standard Fusion Menu Boards
- Compatible with a suite of standard Fusion accessories
See the online configurator here.
Gary shot a video of this at InfoComm, which you can see here. Leave a Comment
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Sound Devices and Ambient Recording Partner on Wireless Control Sound Devices and Ambient Recording announced that their products can now seamlessly work together to provide wireless remote control and enhanced workflow functionality for 6-Series Mixer/Recorders. With its latest firmware updates, Sound Devices’ 6-Series mixer/recorders and Ambient Recording’s ACN Network System can deliver powerful remote transport control, metadata editing, and timecode functionality. All Sound Devices 6-Series mixer/recorders (633, 664, and 688) can be remote controlled by Ambient Recording’s Master Lockit Web interface, while ingesting critical metadata into the ACN Network System.
This collaboration fully integrates Sound Devices’ 6-Series products into the ACN with continuous jam and zero-drift timecode. The new Remote tab in the Master Lockit web interface provides wireless control of the most important mixer/recorder functions, including record start/stop, track naming, track arming, metadata entry for the current and upcoming clip, and more. Audio professionals may control any 6-Series by directly connecting the Ambient ACN-ML Master Lockit to the mixer’s USB port or through the USB keyboard port on a Sound Device’s optional 6-Series accessory, the CL-12 linear fader controller.
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Epson Ships Pro L1000-Series Laser-Phosphor Large Venue Projector LineEpson today announced the new Pro L1000-Series of laser large venue projectors are now shipping. The Pro L1000-Series projectors are the first to integrate a laser-light source with an inorganic phosphor wheel and inorganic LCD panels for outstanding image quality, durability and reliability.
The new 3LCD laser projectors come in six models ranging from 6,000 to 12,000 lumens, and offer nine optional lenses, including the world’s first zero-offset ultra short-throw lens. All six projector models come with a standard lens in box. The projectors may be purchased without the standard lens for different throw ratios.
The 3LCD Pro L1000-Series laser-phosphor projectors feature:
- Epson’s proprietary 4K Enhancement technology that accepts the 4K signal and upscales the incoming signal to double the number of pixels on screen.
- Epson combines an inorganic phosphor wheel with inorganic LCD panels for up to 20,000 hours of virtually maintenance free operation, including 24/7 usage.
- Epson’s 4K lineup of 3LCD laser projectors is designed to support 360-degrees installation, edge-blending, stacking, portrait-mode projection, mapping, and a large variety of lens options.
The Pro L1100, Pro L1200, Pro L1300 and Pro L1405 models are currently available. The Pro L1500 and Pro L1505 models will be available in September. Here are the details. Leave a Comment
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