Volume 11, Issue 1 — January 23, 2017

But I had lunch with another friend in the business recently, and we came up with an interesting idea for improving our companies in 2017. We asked ourselves what characteristic of another organization we would most like to see our companies adopt. This took a lot of thought, as both of us deal with a lot of client companies. This left me wondering if I wanted to adopt the careful financial planning of my banking clients or the altruistic, positive outlook of the charities that I deal with.

Then I thought about the companies and organizations that we worked with, rather than for, and I decided to pattern some new habits after an organization that a small company like mine would normally not emulate. I decided that, in one way, it would be great if my small, independent company could act more like a union.

Now, to those of you who run small rental and staging companies, I understand why this thought would be unusual. Normally, many of the characteristics of a large union are things that we in the AV industry complain about. I believe, and many of my colleagues in other small organizations believe, in management by culture, rather than via rules. If you establish the right culture, in which everybody understands and supports the goals of the organization, very few rules are necessary. The right decisions will normally be made on the spot if the goals are clear enough.

However, there is one place where I feel that more than culture is necessary, and the place in which I would like to adopt some of the practices of the unions. I was asked recently what I thought unionized organizations did better then nonunion organizations, and the first thing that came to mind was safety practice.

Unfortunately, in our industry, we can (and occasionally do) kill ourselves, our coworkers and even bystanders. As was pointed out to me early in my career in rental and staging, because of the temporary nature of what we do, many of the safety organizations and laws don’t pay a lot of attention to our industry or are not enforced. Therefore, safety practice is largely something that must be self enforced on-site.

Lots of times, we forget that our industry can be dangerous. But when you think about it, we often work in the dark, on ladders and lifts high above the floor, with equipment that is hot, sharp or that runs on fairly large amounts of electricity.

One of the things that makes me think about this issue is that my organization has not had an injury accident in quite a long time. This is because we are a small team that works together constantly and are used to looking out for each other’s safety. Usually, on site, we are well aware of what the other guys are doing and how to stay out of their way.

But truthfully, this is not a real substitute for the way that large unions or corporations establish safety culture. Safety is something for which there are rules, and even more importantly, is something for which there are drills. There is simply no substitute for safety procedures being deeply ingrained in the worker’s head. Simple things, such as the way you inform the rest of the crew that a flown load is moving, or that an electrical circuit is hot, can be all it takes to avoid a disaster.

Should we all go out and purchase all 37 volumes of the OSHA manuals (if that is the number — I have never been sure)? No, because as I mentioned earlier, many of the rules do not apply to the temporary nature of our industry.  And, on top of that, each of our companies does different types of work in different types of venues. So it would be very difficult to come up with a safety manual that applied to everything that we did in the audiovisual industry, especially in rental and staging.

So where am I going to start? I’m going to start by pulling the crew together over a pizza (because this is often the only way I can get them to sit down for more than five minutes). I want to discuss the work that we are doing, and ask people to think about any additional safety procedures we should have in place. Then we can begin to find ways to make them automatic, to develop checklists and procedures that make sure they are taken care of. There are plenty of resources in the market to help develop procedures and to point out safety concerns. Among them are:

• The Health and Safety Guide for Film and Theater
• The Event Safety Guide
• The Backstage Handbook (a classic nobody should be without)

Now,  the last thing I want to do is introduce any time-consuming procedures in a small business struggling to make a profit as it is. What I want to do is establish safety consciousness among the group of young employees that I work with. I want safety to become something that they think about while getting the work done. And I want them around for next year’s safety meeting.

Take care out there.

After years of a terrible world economy and very little innovation, 2016 was a boon for new technology — especially in the world of AV. And, some of it crossed both high-end residential as well as commercial. Let’s take a look at a little of what was 2016 and then I’ll tell you want to realistically expect from 2017 in the way of innovative technology in AV.

4K, 4K, 4K: I have to start with that one. 2016 will forever be remembered as THE YEAR 4K debuted. It was the talk of all four major trade shows including ISE, InfoComm, Integrate and CEDIA Expo. We’ve seen more 4K products (including displays, cables, switchers, scalers, decoders, transcoders, servers and media players) than any other single technical innovation of the year. 4K is going to be big business and HUGE in 2017 — keep reading to hear why.

2016 FINALLY brought us the long-promised AV/IT convergence that everyone’s been touting (including yours truly). Sure, we’ve had networked-audio for years — thanks to Audinate’s Dante system. Video seemed like it was never going to be networkable, but companies like AptoVision have led the way in AV-over-IP systems, partnering with more than 10 different companies that are already building 4K-over-IP systems or plan to in 2017. Those include ZeeVee, iMAGsystems, IDK and Gefen. In addition, biggies like Crestron and AMX have also announced 4K-over-IP systems. And, each one of those companies is offering a plethora of options — with various compressions rates — depending on what your customer wants quality- and cost-wise.

The laser projector made its debut in 2016 with companies like Sony and Barco leading the way — they shipped laser-phosphor products that not only promised to have amazing colorimetry, but actually did. Laser might well end up being the saving grace for the projector market too, as it’s currently being swallowed up by the flat-panel monitor companies.

Speaking of large booth crowds — Sony, at InfoComm 2016, blew away all booth attendance records with the launch of its Micro-LED called Canvas. It’s expensive but the company showed a pixel-less 8Kx2K resolution image that was 35 feet wide. If you were listening at InfoComm, it’s all you could hear anyone talking about it.

Innovations in 2016 weren’t relegated to video. In fact, 2016 was a big year in audio too. Harman — the industry’s biggest audio company — was purchased by Samsung, but not before debuting the largest line of network-based audio products across six different subsidiary brands. All use Dante as the networking platform and allow for networkable everything — including speakers individually addressable via the network. Now, just about every speaker company does this. So, instead of planning the “zones” of a distributed audio system before install, you can do it any time now — and change them on the fly.

Finally, collaboration. It moved from a word meaning people working together on something to one that means the same thing as a Barco ClickShare. Yes, that happened. The ClickShare, although launched in 2012, is still dominating the wireless-collaboration market (meaning, connecting multiple laptops, tablets or phones to the same display over an ad-hoc network). Sure, there have been imitators, but Barco crossed the 150,000 unit sales mark in mid-2016. That’s a lot of boxes. Also, never underestimate an end user’s love of a simple, giant button.

So, on to 2017

If you want to see the future — I mean years-out future — go check out anything that Oblong is doing. You interact with a truly collaborative system with natural hand gestures and it’s always connected — no having to go to a meeting 15-minutes before it starts to make sure the AV technology works. It’s always on. But not everyone can afford a room that STARTS for $150,000 and moves up from there.

In 2017, we will see some major technological developments (some from the consumer market that will trickle-up to the commercial market) that will get nearly every room more than halfway to an Oblong Mezzanine room for way, way less. How? Well, read on!

First, let me start with the Digital Canvas. Now that we have 4K in both flat-panels and projectors, we will see the opportunity of a lifetime. And, the death of the projector can be slowed down if you offer your clients with something I call the Digital Canvas. The Digital Canvas concept is simple — and now we have projectors high-res enough to do this — instead of deciding what size screen to put in a room based on least-favored-viewer stats, you put in as big of a screen as the room can handle — fill the front of the room with projection, if you can. Then, use the projected image to provide you with your “normal-sized” projected image for PowerPoint or whatever else you’re showing but use the leftover projected image (mind you, it’s all in 4K resolution so you can actually have four PowerPoint slides up simultaneously in native resolution) to project stuff like the preview slides, a clock or even social media feeds. All simultaneously filling the front of the room — thus, you make a giant Digital Canvas.

So, the benefit of 4K isn’t just prettier pictures — it can help us turn every room space into a Digital Canvas. By the end of 2017, this Digital Canvas concept will start to catch on as 4K projectors will be 30 to 50 percent less expensive than the first generation launched this past fall. And thanks to laser imaging, the colorimetry will be stunning. We will see blacker-blacks and whiter-whites and thus all color will look better. So, laser can be the saving grace of projection.

However, that won’t be fast enough to save the projector from being pushed almost totally out of the small to medium-sized meeting room. Nearly every integrator that specifies a screen that’s 80” or smaller now uses a flat-panel instead of a projector. That number will grow to 94” by the end of 2017 and could reach 100” depending on what Samsung, Sharp and LG decide to debut in 2017. But expect the 100” LCD to come down, considerably, in price next year.

Speaking of flat-panels, as I mentioned above, LG (and Samsung) both have curved displays which, in to digital signage, make for some creative installs. 2017 will be the year the TV/monitor moves into art in a big way. We will see more flat-panels installed for digital signage and museums than any other year before now — expect that growth to be in the 20 to 25 percent range. And, the more creative the install, the more profitable it will be. 4K will also massively drive down the price of 1080p displays, while the 4K TVs themselves will be 50 percent of what they were in cost in 2016 by the end of 2017 — making for more to install.

Virtual Reality (VR) has been in the ProAV market for years — in fact, years ago, there were companies that come to shows and built VR caves — using projection. But, now that Facebook owns Oculus, Samsung has its VR Gear and Microsoft is shipping its VR games, what is relegated to gaming now will move in to the commercial AV space. The cost of developing content for VR applications will be driven down so we, the AV market, will need to get in to the VR market for higher-end installs — virtualization in architecture, visualization of fashion, recreating history in museums and a plethora of new applications where content drives the display format. And, you will even be selling the gear, too.

Speaking of content, the way the digital signage industry works now is soon going to be the way you’re designing classrooms and meeting rooms. So, why not get into digital signage to learn it now? Here’s the deal: All the content in a digital signage system isn’t carried from display to display via HDMI or VGA. It’s all driven by the network. All the content is sent to the various displays from an integrated cloud-based network. So, playing the content doesn’t require a computer to be connected to the display (or at least the kind of computer you know computers to be). But, the content travels across the network and is output through a $200, $99 or even a $25 media player — like a purpose-built digital signage computer. So, that methodology is what will happened in the not-so-distant future of the classroom and meeting room. If the content (e.g., PowerPoint, website, slide-deck) is on the network, there will no longer be the need for a dedicated computer or VGA port or HDMI port in the room. Just keep it on the network and “play” it using the display’s media player — one that’s built-in (e.g., Samsung SmartSign) or using the $25 media player (e.g., ChromeStick). So, that, alone should be reason enough for you to get into the digital signage network (to learn how to design the classrooms and meeting rooms of the future). But in case that’s not enough — how about the fact that the digital signage market, although less than 10 years old, is larger than the entire education AV market? And, in fact, it’s the fastest growing segment of AV right now.

Collaborative systems, rather than products, will be the wave in 2017. Everyone was rushing out to build the Barco ClickShare competitor for the past three years but, everyone failed miserably. But now that the wireless collaboration market can be realized (thanks in part to bandwidth and in larger part, thanks to Barco paving the way), you will see more collaborative systems — even Barco is doing it with its new WeConnect. Sure, we will see more ClickShare competition in 2017 but, more importantly, we will see a plethora of companies debut complete integrated systems you (that are all 100 percent network-based) and you can drop in to nearly every room. Sure, not every room, but 90 percent of them, however. This will be big.

Simplicity will be a HUGE theme in 2017. This is what Amazon Alexa is all about — people turning complicated systems into something you can talk to to carry out commands — sort of like an iPhone Siri for your room. Speaking of Siri, Apple has already staked a claim to controlling the home, and everything in it, via Siri and its new HOME app. So has Google with its home line where you tell Google everything you want to do — and assuming you have Android, it works. You will see a massive more towards simplification from everyone in AV — less individual boxes and more integrated systems (or all-in-one) solutions.

Oh, did I forget to mention the forthcoming 8K displays? Ugh, ran out of space in this column…

The AtomHDR technology upgrade is across the Inferno, Flame and Blade Series Pro Monitor/Recorders and gives users with a Log output from their camera 10.2 stops of dynamic range, along with their patented HDR waveform & HDR slider to make setting exposure for HDR simple. New OS 7.12, which is a free download, broadens Log support to include Sony S-Log, FujiFilm Log and Canon C-Log 3 in addition to previous support for Panasonic, JVC, Canon, Sony, Red and Arri log curves.

• Shogun Flame lists for $1695
• Ninja Flame lists for $1295
• Ninja Blade lists for $495

The new pricing & functionality targets a move across to HDR, but the AtomHDR platform does not exclude SDR/Rec709 workflows. It in fact improves it! Exposing Log for HDR = cleaner SDR images ensuring you expose in the cleanest part of the sensor. The 1500 nit high-bright panel also improves SDR workflows making outdoor monitoring a breeze.

Shogun Flame and Ninja Flame free OS update can be downloaded here.

The new C Series loudspeakers incorporate the latest generation of Complex Conic Horns, with updated drivers to provide what Renkus-Heinz calls “clean, natural sound” and tighter pattern control. Unlike conventional loudspeaker designs, Complex Conic horns provide consistent beamwidth over a wider frequency range, with the natural, transparent sound that Renkus-Heinz is known for.

C Series models will be available in amplified (CA Series) and passive (CX Series) models, in black or white finish. The CX42 stairstep loudspeaker, an updated version of the CFX41, will only be available in a passive design. C Series will be shipping in Spring 2017. Here are all the detailed specs.

The new A32 Dante employs 24-bit 192 kHz converters with analog gain switches. The gains of each channel can be separately adjusted in 0.5 dB steps, and the standard levels (+4 dBu, +13 dBu und +20 dBu) are switched in the analog domain, ensuring the full analog performance of the converter is preserved. Any input signal (in groups of 8) can be routed to any output signal. And, in addition to remote operation via Dante, MIDI or USB, the system also supports MIDI over MADI. This capability provides remote control of the A32 Dante via the same MADI cable carrying audio signal.

The new Ferrofish A32 Dante lists for $3.799 and it will be available Q1 2017. It’s being distributed in the Americas through Synthax. Here are the specs.

The BCD-3 has been engineered to playback Redbook CD and CDR disc formats using a premium transport/laser pickup assembly mated to two AKM 4490 384/32Bit DACs. Bryston designed the player to utilize a single master clock that syncs the transport to the DAC, eliminating one of the primary sources of an unwanted artifact called jitter. The DAC in the BCD-3 is based upon the BDA-3 platform and includes a fully discrete Bryston class A analog output stage and independent analog and digital power supplies.

Users will have the choice of balanced XLR or unbalanced RCA Stereo outputs as well as transformer-coupled SPDIF/AES digital outputs. The BCD-3 is network connectable, enabling software upgrades via an Ethernet jack and there is a remote 12-volt trigger input as well. The front panel, available in black or silver aluminum, has been designed to aesthetically match Bryston’s Cubed Series amplifiers.

Here are the details.

Now with three products in the Big Knob lineup, studios of any size will benefit from the professional source/monitor selection and precise level control that made the original such a popular choice. Plus, with the addition of high-resolution Onyx USB recording and playback, studios get a powerful, hybrid solution that is truly greater than the sum of its parts. Both the Big Knob Studio and Big Knob Studio+ offer high-resolution USB interfacing, featuring dual Onyx mic preamps, delivering an ultra-wide 60dB of gain range and award-winning sound quality.

The most compact and affordable, Big Knob Passive allows users to choose between two sources, two monitors and control it all with one Big Knob. Its no-power-required passive design ensures pristine sonic integrity for any home studio application or for integration into a large studio or group of editing suites. Big Knob Studio adds USB recording/playback and expands on the I/O, offering a routing choice between three sources and two monitor pairs. It includes studio features such as integrated talkback and dual headphone outs. Big Knob Studio+ adds more features, offering the right I/O for flexible integration into professional studios. The 4×3 routing delivers choice, including a USB playback from a DAW with 192kHz / 24-bit audio conversion. It also has a dedicated, amp-driven studio out for a headphone distribution system.

The Mackie Big Knob Series will list at $89.99 and the Big Knob Studio+ will list for $389.99. Here are the details.

PreSonus Capture multitrack recording software with virtual soundcheck is installed directly into StudioLive Series III consoles so you can leave your laptop at home. With just one touch, Capture records up to 34 tracks to the StudioLive’s onboard SD recorder. When finished recording, open your Capture session in Studio One for Mac and Windows (included), and the entire mix scene will transfer to your Studio One session, including fader levels and Fat Channel settings.

The StudioLive Series III’s distinctive Fat Channel processing section has received a major overhaul, including a plug-in-style workflow that features vintage-style EQ and compression options on every channel, from classic tube limiters to passive EQs. In addition to channel processing, StudioLive Series III consoles offer six-band, fully parametric EQ on all mix outputs.

StudioLive Series III goes above and beyond in providing ways to customize things to best fit the way you work. User layers for the channel faders let you place any channel or bus fader anywhere you want — and they’re easy to set up. You also can customize your Fat Channel layout, putting the parameters you care about most right at your fingertips, and there are several workflow options to personalize your mixing experience.

With StudioLive Series III consoles, you can customize scenes more precisely than with previous models. You could always decide which settings would be recalled in a global StudioLive scene change. Now, with Scene Safe, a scene change won’t alter the settings on designated “safe” channels. Similarly, Fat Channel presets have, for practical purposes, become like scenes for individual channels, not only saving input and Fat Channel settings but also aux send and bus assignments. Of course you can also use preset filters to choose what you want to recall.

Sixteen FlexMixes can be individually designated as aux, subgroup or matrix mixes. These are in addition to the four fixed subgroups giving you a total of 20 mix buses, not counting the main mix, effects mixes and solo buses. And with 24 DCAs, you can more easily and flexibly control groups of channels. You can also choose between one-to-one or split-layer workflows: Assign all channels to the top layer, with one fader per input channel or split the faders between inputs and outputs, including DCAs and aux outputs.

An AVB Ethernet connection enables you to network compatible computers and stream up to 55 channels of audio to and from a Mac or Windows PC. (AVB networked solutions, including stageboxes, personal monitor mixers, and increased third-party AVB interoperability, are coming later in 2017.) You also get 38×38 recording via USB 2.0, giving you a choice of computer recording methods. In addition to the AVB recording connection, StudioLive 32 consoles sport a 1 Gb Ethernet port that can connect to a wireless router or directly to a computer, providing remote control of virtually all features via a wired or wireless connection.

Mix wirelessly or over a wired network from anywhere using free UC Surface touch-control software for Mac, Windows, and iPad. Even add a second — or third, or even fourth — screen for fast workflow. Remote control the mixer’s recallable XMAX preamps and Fat Channel processing with Studio One (included) for low-latency recording with effects. Completely automate virtual soundchecks and record shows with Capture for Mac and Windows (included) — or record with Studio One or with any software that supports ASIO or Core Audio. The StudioLive 16 comes with Studio One Artist, while StudioLive 32 customers can enjoy the full power of Studio One Professional. Musicians can control their monitor mixes onstage with free QMix-UC for iPhone, iPod touch or Android device without the need for large monitor networks.

StudioLive 32 digital console/recorders list for $2,999 and here are the details.

The series uses the Sennheiser evolution capsules, and employs antenna switching diversity for reliable reception. The individual sets provide up to ten compatible, preset channels in eight frequency banks, and are available in a number of ranges across the UHF spectrum — A: 548-572 MHz, GB: 606-630 MHz, B: 614- 638 MHz, C: 766-790 MHz, D: 794-806 MHz, E: 821-832 MHz + 863-865 MHz, K: 925-937.5 MHz. The receiver provides balanced XLR and unbalanced jack outputs.

All XS Wireless 1 sets come complete with receiver, transmitter, microphone capsule or instrument cable, power supply unit and batteries. Two XS Wireless 1 Vocal Sets give a choice of two different microphone capsules, the e 825 cardioid capsule or the superior capsule of the e835, also with a cardioid pick-up pattern. Also included is a microphone clamp. The XS Wireless 1 Headmic Set with ME 3-II headworn microphone is an ideal solution for any live sound application where users need to have their hands free when singing or presenting.

The Lavalier Mic Set includes the unobtrusive ME 2-2 lavalier microphone with mic clip.

The upcoming XS Wireless 2 series, which will become available in April 2017 and that takes the benefits of XSW 1 even further. XS Wireless 2 has been designed for users who need greater flexibility and control. Consequently, XSW 2 has up to 12 compatible, tunable channels in its eight frequency banks, and an LCD display that shows the transmission frequency, AF and RF levels and battery status.

The XS Wireless 2 series includes two Vocal Sets with either a cardioid e835 dynamic capsule or a super-cardioid e 865 pre-polarised condenser capsule, a Headmic Set, a Lavalier Set, and an Instrument Set. All XSW sets are compatible with each other.

Here are the details.

The AKG C636 features three proprietary technologies that are designed to address several common problems singers face on stage, including feedback, handling noise and pop noise:

• The C636 essentially eliminates feedback by combining a uniform cardioid polar pattern throughout the entire frequency spectrum with a specially designed suspension and grille for the capsule. This unique approach to housing the capsule avoids unwanted sound reflections on the back of the capsule, ensuring feedback and spill over rejection.
• The C636 innovates by integrating the world’s first double shock suspension system, greatly reducing unwanted handling noise. The capsule sits on a highly absorbent rubber bearing that eliminates any structure-based noise, while an adjustable balancing network cancels vibrations over a wide frequency range.
• A multilayer protection system prevents unwanted pop noises. The protection system consists of the grille, a foam layer behind the grille and a magnetically attached computer-modeled mesh layer on top of the capsule — providing singers with a clear, plosive-free vocal performance. This three-layer protection system is virtually unique to AKG and sets the new standard for pop noise suppression in the market.

The AKG C636 will be available in April 2017 and all the specs are here.

The AXI 22 AT and AXI 44 AT accept analog mic and line sources, which are converted at 24-bit with selectable sampling rates from 44.1 to 96 kHz, for output via Dante. The interfaces are connected into a Dante network over Ethernet using standard IP networking protocols. This avoids the effort and expense of pulling multiple lines of long cables back to the AV rack. With their small, quarter rack form factor, the AXI 22 AT and AXI 44 AT can be easily mounted under a desk, in a lectern, or in millwork, as well as in a rack. The family of Dante-enabled products from Extron work together as part of a complete networked audio system solution and integrate with other Dante-enabled products to create efficient, scalable system designs.

All the details on the AXI 22 AT and AXI 44 AT are here.

Available in both powered (TA Series) and passive (TX Series) models, T Series loudspeakers will be built to order with a variety of horn pattern for optimal coverage control, and will be fully customizable, with Renkus-Heinz’s custom color matching and weather resistant options.

All T Series models incorporate the latest generation of Complex Conic Horns, with optimized drivers to provide clean, natural sound and tight pattern control. Unlike conventional loudspeaker designs, Complex Conic horns provide consistent beamwidth over a wider frequency range, with what Renkuz-Heinz says is a natural, transparent sound.

Renkus-Heinz T Series loudspeakers will be shipping in spring of 2017. The company will be previewing the T Series at ISE 2017 in Hall 7, Stand X-185 at Amsterdam’s RAI Center from February 7-10, 2017. Here are all the specs.

The ULT10 features PreSonus’ proprietary, rotatable Pivot X110 horn and a proprietary, 10-inch, low-frequency driver with a 2.5-inch voice coil. The system is biamped and driven by a powerful 1,300W (peak) Class D amplifier, generating up to 130 dB SPL and boasts a frequency response of 60 Hz to 18 kHz (-3 dB).

PreSonus’ proprietary Pivot X110 constant-directivity, rotatable horn combines ultra-wide horizontal coverage (110°) for broad coverage with focused vertical dispersion (50°) for superior throw. The result is a loudspeaker that can fill the room without introducing early reflections that muddy the sound. In addition, the Pivot X110 horn’s large size (11×11 inches) enables it to control the dispersion pattern lower in the frequency range than smaller conventional horns, so it maintains more consistent gain on- and off-axis, ensuring that the audience at the sides has the same listening experience as those in front. The result is sound reproduction that evenly fills the entire room.

The Pivot X110 horn can be rotated 90˚, so the ULT10 enclosure can be mounted in a horizontal configuration while still maintaining its 110˚ x 50˚ coverage pattern. Along with its compact size, this makes the ULT10 an ideal center-channel speaker for an LCR system or an under-balcony fill. Rotating the Pivot X110 horn can also help fix FOH issues in tall, narrow venues by minimizing early reflections and providing more directed coverage. Add the ULT10’s multi-angle enclosure and presets for live performance, floor monitor use and music playback and you have an extremely versatile loudspeaker that is equally at home at front-of-house and as a stage monitor.

You get two combo XLR and ¼-inch TRS inputs: a mic/line input with PreSonus’ acclaimed XMAX mic preamp and a line-level-only input. The inputs have independent level control, allowing up to two audio sources to be mixed internally and summed to a balanced XLR output for “daisy-chaining” multiple units. A separate direct output for the line input channel provides additional flexibility.

The ULT10 loudspeaker features a lightweight, Baltic birch enclosure with a tour grade, 16 gauge, powder-coated steel grille; ergonomic handles; a locking IEC power connector; and a defeatable front-panel power-indicator LED. A multi-angle enclosure enables ULT10s to serve as mains or monitor wedges.

The ULT10 is available immediately from PreSonus dealers at an expected U.S. street price of $899.95. For more information, go here.

The HARMAN Connected PA streamlines the setup process with one state-of-the-art central app for the entire component ecosystem, removing the need for multiple apps and GUIs. The app automatically identifies and configures connected equipment, provides setup wizards for quick and easy system configuration and offers access from a variety of devices, including iOS, Android, Mac OS and Windows.

The Connected PA product ecosystem is enabled via ioSYS technology and initially includes equipment from Soundcraft, JBL, dbx and AKG, allowing musicians to create systems that suit their specific needs. Additional HARMAN equipment can be added to increase performance flexibility and meet the demands of future growth. At launch, compatible products include:

• Soundcraft Ui12, Ui16 and Ui24R Digital Mixers
• JBL PRX800W Series Loudspeakers
• dbx DI1 Active Direct Box
• AKG P5i Microphone

The HARMAN Connected PA app is expected to be available Q2 2017 from the Apple App Store, Google Play, Soundcraft.com and JBL.com. Soundcraft Ui24R is expected to be available March 2017. The AKG P5i microphone will be available February 2017. JBL PRX800W speakers and the dbx DI1 are currently available but may require firmware updates to enable HARMAN Connected PA functionality. For additional information on the HARMAN Connected PA app and ecosystem, go here.

Envoi also streams music wirelessly from any Bluetooth-enabled device, plus with its TRS Aux output, you can daisy-chain as many additional Envoi speakers as needed.

Features include:

• Two-way active speaker (10-inch low-frequency driver, 1-inch high-frequency driver)
• Built-in rechargeable battery provides up to 12 hours of cordless sound
• Includes 16-channel UHF wireless microphone with automatic tuning and batteries
• Bluetooth connection for wireless audio streaming
• Built-in USB/SD (MP3/WMA) player for unattended playback
• Pole-mount socket, telescoping handle and transport wheels built in
• Two-band EQ and reverb effect
• Mic 1&2 combo inputs with Mic/Line level selector switch
• ¼-inch aux input connector
• Built-in storage holds two microphones and accessories

Here are all the specs.

AXIS delivers a tactile mixing experience with the DC16 control surface, with features, according to Mackie, that set it apart from mixers costing twice as much or more. The AXIS design provides a unique surface-to-wireless workflow, allowing users to seamlessly switch between DC16’s hardware controls and comprehensive wireless mixing. This is possible via the integrated SmartBridge, which can house up to three iPad devices, delivering simultaneous control over multiple channels and innovative smart sensing that knows when an iPad is in place. SmartBridge provides customization over each iPad view with both a fixed and history mode that creates workflow flexibility.

The Mackie AXIS system includes the DL32R Rackmount Digital Mixer, the DL Dante Expansion Card and the DC16 Digital Control Surface. Touring and install packages are available, including accessories like an 80m Cat5e reel, DC16 road case and more, depending on the package.

Here are more details.

Apogee Control Hardware Remote connects directly to your Mac using a simple USB cable. Apogee Control is sold as a separate accessory and is now available for $195.

Apogee’s Element 24, 46 and 88 are Thunderbolt audio I/O boxes for Mac. The Element Series takes Apogee gear like Symphony I/O Mk II, Ensemble Thunderbolt and Groove and puts it into simple form factors. Symphony I/O Mk II is a multi-channel audio interface featuring Apogee’s newest flagship AD/DA conversion, modular I/O (up to 32 inputs and outputs), touchscreen display and optional microphone preamps.

The new Symphony I/O Mk II comes with direct connectivity to one of three different platforms – Thunderbolt, Pro Tools HD or Waves SoundGrid network. Here are all the specs.

So, without further delay, here it is – the official debut of rAVe’s 2016 Video. Watch it as you very-well may be in it – or certainly a lot of people, products and technology you use!

Features include:

• Perfect for sending a stereo program to separate zones or amplified speaker systems
• Create custom mixes utilizing mixed and separate audio feeds
• Balanced and unbalanced inputs and outputs (XLR and TRS)
• Balance / Pan and level controls with six-segment LED meters on each mono input channel
• Main Link function allows routing the main input signal to the main output
• Main input and output level controls with six-segment LED meters for each

Here are the details.

The 500C represents two firsts for the company: it is both BAE Audio’s first FET compressor and its first 500 series format compressor. Based on the design of studio staple FET compressors of the ’60s and ’70s heard on countless hit records, the 500C features controls for input and output gain, plus the four selectable, time-honored compression rations of 4:1, 8:1, 12:1 and 20:1. In addition to taming peaks, its premium components and classic circuit design add highly desireable analog warmth to your signal, making it an all-star for everything from drums to bass to vocals.

The R53 accommodates any three 500 series units in a single rack space thanks to its horizontal configuration, and eliminates studio clutter with a built-in power supply. Switchable linking on the front of the unit allows users to pass signal from one slot to the next, allowing the creation of a customized channel strip by cascading a preamp into an EQ into a compressor. The R53 also sports the same rugged construction as BAE Audio’s larger 500 series racks, with a durable steel chassis, shielded wires on individual connectors, and XLR inputs and outputs.

More details are here.