Volume 11, Issue 5 — May 24, 2017
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State of the, Um, Art
By Joel Rollins rAVe Columnist
If you move back in history, the human race progresses from crude tool to artform along a predictable path. For instance, once humans learned to break rocks, that path began. We progressed from using the rocks to break each other to turning the broken rocks into crude tools and then to using the crude tools to create the even cruder implements of daily life. Follow that progression out and at the other end we have Michelangelo’s David. By that point in history, we had progressed to making our crude tools and implements from metal, but our skill with stone had progressed to the point that we could create statuary. And, importantly to my point, we still make statuary today. And today we have even better tools to do it with.
When a new tool or technology is introduced, its proponents are always quick to pronounce the death of the previous generation of tools. In some instances, that has turned out to be the truth. Discs killed tape and streaming is killing discs. But that is because they were direct, one-to-one replacements for the existing technology.
But you can point out an equal number of cases in our industry where the reverse was true, where a new technology has added to the art form and not replaced the old technology. One of these situations that comes prominently to mind were the early predictions that when large flat screens became available, they would kill projection technology. Flatscreen manufacturers touted superior images, lower consumable costs and eliminating the necessity to darken the room. And truthfully, large flatscreen certainly impacted the sales of smaller and installation projectors quite a bit. And they continue to do so.
But, to presume to paraphrase Mark Twain (a personal hero), “the rumors of the projector’s death have been greatly exaggerated.” And this is especially true in the rental and staging portion of our industry, because the art form has progressed.
Not only have the tools progressed to the point where we have high brightness, high resolution projection systems that are more portable and usable than ever before, but the techniques have also progressed. And, while I will not compare anything in our industry to a statue by Michelangelo, I will say that the artform has progressed to a very high level. This is possibly due to the evolution of the available tools, where we now have laser engine projectors with incredibly low consumable costs per hour, high brightness, low weight, riggable and with an enormous assortment of lenses and accessories to accommodate almost any staging design.
But it is probably also accurate to say that it is because the rental and staging portion of the industry has enormous experience with these tools. Today, we see stunning examples of the projection artform everywhere, from corporate and entertainment events to trade shows and conventions. We see images wrapped around complex objects, rotating cars and buildings. We see images projected on scrims into what looks like empty space. And we see them in shows and events that combine them with flatscreen technology in order to accommodate the show concept.
Add to that a lower cost per lumen than ever before and the increased road ability that has come with the evolution to smaller sizes and more durable cases and we will certainly see that the death of this artform — projection — has been exaggerated.
But what next for the projector? Well, with the InfoComm show coming up next month, we are certain to see that next evolutionary step. But what do we expect that to be? I did a little calling around to friends in the industry to get some of their ideas to combine with my own. Here are just a few of the things:
Higher output, lower weight. Naturally. That one does not take Jean Dixon.
Lowered component count. We have seen video and graphic systems developing along with video servers and streaming receivers that have enabled us to address them as video network components, across all levels of system. Over the years, we have seen features like image warping and streaming reception move from very high-end external products to features that are now incorporated into surprisingly low cost projection systems. We certainly expect this trend to accelerate and to see more and more of these features incorporated into lower and lower cost projectors in smaller and smaller sizes.
Resolution increases beyond 4K. With the size screens we are capable of utilizing with today’s projectors, increasing resolution beyond 4K is not futile. Increases in resolution well beyond current video standards is not only possible, it is probable.
And a personal wish list item: As many of you know, I do a fair amount of work in developing environments in virtual reality. The great hope of the VR industry for room-scale immersive events without cumbersome headsets lies in projection technology of some type. “Holographic” projection is the great dream of our industry when it comes to moving VR technology to larger groups or for events. I don’t expect that we will see this (or at least not in a final, marketable form) at this year’s show. But as long as we were discussing projection technology, I thought I would give my two cents worth to the manufacturers and make sure that they understood my Christmas wish list.
In the final item: Projectors have now achieved, pretty much across the market, a very high degree of reliability. As a tip to the exhibiting manufacturers, the other thing that the rental and staging portion of the industry requires is support. That’s support in terms of programs, financing and a direct level of technical support for field technicians that is significantly better in terms of technical knowledge then that which is provided for end-user clients. The manufacturers who are most successful in the rental and staging portion of the industry pride themselves on this and to those of us in the business it is more important (by far) than simply having the latest features.
I’ll see you at the show. Look for me near one of the rotating cars. Leave a Comment
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Peavey’s RBN Enclosures with Ribbon Technology Ship Peavey Commercial Audio is now shipping their RBNTM series of speaker enclosures. Driven by power amps designed specifically for powered speaker enclosures, the RBN series consists of the RBN 110/RBN 112 speaker enclosures and the RBN 215/RBN 118 powered subwoofers.
To match the high-frequency performance of Peavey’s ribbon driver, the company says their RBN 110/RBN 112 enclosures are equipped with dual-voice coil neodymium Scorpion speakers which feature Peavey’s exclusive field replaceable basket technology.
The RBN 215/RBN 118 powered subwoofers are spec’d to maintain full output down to 36 Hz with 2,000 watts total peak power and constructed of heavily braced 18-millimeter birch plywood.
Incorporating digital signal processing (DSP), the RBNTM series features two XLR/1/4″ combination inputs, a 3.5-millimeter input and a mic/line level selection. Each input features digital infrasonic high-pass filters, a nine-band graphic EQ and delay. Each output features a sophisticated compressor/limiter and fourth order high-pass/low-pass filters for crossover function and external subwoofer incorporation.
The RBN enclosures feature an internal temperature monitor combined with a variable speed cooling fan, plus level and clip indication. The speaker system also features internal presets built into the DSP, allowing users to quickly select the speaker’s application or orientation via the LCD on the rear of the enclosure.
Here are all the specs. Leave a Comment
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Video Clarity Announces ClearView Venue Player DisplayPort Video Clarity today announced the launch of ClearView Venue Player DisplayPort (DP), a video server that is spec’d to automatically plays multiple uncompressed RGB video segments to multiple screens in precise timing and sequence via the DP interface. ClearView Venue Player DP is designed for theme parks, live events, staged shows, exhibits and other environments that rely on repeated, synchronized video playback for entertainment and display.
The ClearView Venue Player DP offers from 2 terabytes up to 32 terabytes of storage and up to four channels of fully uncompressed 2K or three channels of 4K video on four DisplayPort outputs. In large venue applications that use multiple source-video signals to create one large image, image blending is included as well a the capability to manipulate the image for a curved screen or wall.
Users have browser-based control over configuration and playback from a laptop or tablet via an IP network or Wi-Fi. Here are all the detailed specs. Leave a Comment
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DPA Microphones Intros New d:vice Digital Audio Interface at InfoComm 2017 DPA Microphones will debut its new d:vice MMA-A Digital Audio Interface and DSM6000 Microphone Base at InfoComm 2017 (in Booth 6169). The MMA-A features a small form factor that allows the user to pull out the d:vice for any unexpected situation that might arise during their day. The sound and ease of installation provided by the new microphone base, in combination with the d:screet SC4098 Podium Microphone, DPS says caters to the different industry needs and wants of architects, AV consultants, system integrators and installing electricians.
DPA’s brand new d:vice MMA-A Digital Audio Interface is a high-quality, two-channel microphone preamp and A/D converter offering mono, dual and stereo capabilities. The d:vice comes with interchangeable lightning and USB cables for connectivity. Its MicroDot inputs allow the d:vice to be connected to all DPA miniature microphones, including the d:screet Miniature, d:fine Headset, d:vote Instrument and even the d:dicate Recording microphones with the optional MMP-G preamp.
Designed to be placed on a table or podium, or attached to a ceiling or wall, the DSM6000 Microphone Base is available in two colors — black and white — and comes with either a MicroDot connector, an XLR connector or unterminated leads for connections to Phoenix blocks. The d:screet capsule is mounted on a boom that, for the tabletop version, has a gooseneck at the top and the bottom, which allows users to position the mic exactly where they want it. The ceiling version consists of one gooseneck. In both versions, the cable can exit to the side of or beneath the unit.
DPA’s new DSM6000 Microphone Base is currently shipping while the d:vice MMA-A Digital Audio Interface will be shipping at the end of May. Both are here. Leave a Comment
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ProCo Sound Showcases AOC/DOC Interfacing Products and RapcoHorizon BTIBLOX at InfoComm 2017 ProCo Sound, an RHC brand, will feature its latest series of Analog over Category Cabling (AOC) and DMX over Category Cabling (DOC), along with the latest audio streaming service device from RapcoHorizon, the BTIBLOX, at InfoComm 2017 (Booth 5155). Both AOC and DOC product ranges streamline audio setups by reducing signal degradation and setup time when working with longer cable runs. A Bluetooth-compatible device, BTIBLOX is the latest expansion to RapcoHorizon’s line of BLOX self-contained portable devices.
ProCo’s Analog over Category Cabling (AOC) allows users to run between one and four channels of analog audio up to 3,000 feet. It is available in XLR male and female versions with four channels of audio to two-foot fan break outs, as well as 1/4-inch TRS with four channels of audio to two-foot fan break outs. All variations run into an individual Neutrik EtherCON connector. The AOC cables allow for quick setup and longer runs with less signal degradation than conventional analog wire.
The DMX over Category Cabling (DOC) converts up to four DMX lines into a single Neutrik EtherCON connector. Cables are available in two, three and four universe breakout fans. All DOC cables are compatible with the DMX 4U-BI-6 and DMX 4U-BO-6 Break In/Out Boxes, which can be used for in- or out-breaks in DMX two, three or four universes over long-distance CAT6(5e) cable runs and are available with either an eyelet or truss-clamp option.
BTIBLOX (Bluetooth Interface BLOX) is a tool designed for live events and presentations. It quickly and easily pairs with most Bluetooth audio players, including smart phones and computers. It can operate on phantom power or its own internal rechargeable battery.
The BTIBLOX has a line-of-sight range of over 75 feet to stream audio wirelessly. It is built with an XLR-male output that can connect directly to a mixer input and features a translucent back cover that allows the user to view the LED status. It is built to Bluetooth 4.2 specifications and is FCC and RoHS compliant.
Details of the RapcoHorizon BTIBLOX are here and the info for the ProCo Sound and the AOC/DOC products are here. Leave a Comment
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DPA Microphones Introduces Portable, Studio-Quality Audio With d:vice Digital Audio InterfaceDPA Microphones is introducing the d:vice MMA-A Digital Audio Interface, a preamp for live recording and mobile journalists in the field. Working together with any iOS device, Mac or PC computer, broadcasting or recording clear sound anywhere in the world is easier than ever.
Journalists around the world are already using their smartphones to capture the news, which works fairly well with today’s phones being capable of taking high-quality pictures and videos. For news broadcasts, it is just as important to have audio quality that matches or exceeds the video for the message to be understood. This is the challenge that the d:vice is designed to solve. When used with a DPA microphone, the d:vice is able to capture or stream audio in quality previously only available in the studio. When it’s not possible to have an experienced sound engineer on site, DPA says the d:vice can act as a “mini sound engineer in your pocket.”
The d:vice MMA-A Digital Audio Interface is a two-channel microphone preamp and A/D converter offering mono, dual and stereo capabilities. This flexibility allows a user to prepare for unexpected situations. Whether it be a two-channel interview situation or a session of recording ambience sound in stereo, the d:vice makes it easier for journalists to do their job.
The d:vice comes with interchangeable lightning and USB cables for connectivity. Its MicroDot inputs allow the d:vice to be connected to all DPA miniature microphones, including the d:screet Miniature, d:fine Headset, d:vote Instrument and even the d:dicate Recording microphones with the optional MMP-G preamp.
At about two inches in diameter, the d:vice Digital Audio Interface is compact, easily fitting in the users’ pocket. It provides best-in-class audio quality and is controlled through a remote application on any iOS device. An exclusive DPA app is available for download from the Apple App store. The app makes the users’ job even easier, allowing them to store gain settings and low-cut filters for ongoing and future personalized use in dedicated presets. Third-party applications can be used to accomplish specific tasks, including but not limited to live broadcast and high quality recordings.
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Larson Electronics Releases New Lay-in 2×2 Troffer Mount LED Fixture Larson Electronics announced the release of a new lay-in 2×2 troffer mount LED fixture. This lay-in LED fixture is designed to be a lighting solution for general area lighting systems and commercial, indoor spaces.
The GAU-LI-24-U16-LED-DIMM-WCM lay-in 2×2 troffer mount LED fixture runs on common 120-277V AC voltages, which can be found in most mainstream facilities and buildings. During operation, this LED light emits 14,952 lumens with a color temperature of 5,000K and a CRI rating of 80+. A dimmable, electronic driver supports the unit for robust control of light output. This IP65 rated LED lamp is constructed of die cast aluminum with a powder coat finish over a chromate conversion coating. A clear flat glass lens ensures transparency during illumination. This fixture is designed for recessed mounting and requires a mounting hole to be made in the ceiling or preferred surface. This LED fixture is ideal for use in gas stations, commercial spaces, lobbies, schools and more.
Other features include:
- IP65 waterproof rated
- Listed for wet locations
- Dimmable electronic driver
- 112 watts
- LED life expectancy of 50,000+ hours
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Juice Goose Debuts SL-350 UPSThe Juice Goose SL-350 UPS uses lithium battery technology in a light weight, thin profile. That makes this UPS well suited for installation in small spaces previously impractical for ordinary UPS designs (think behind a monitor in digital signage apps). In addition to battery power support, the SL-350 provides 312 Joules of protection from AC power surges and spikes.
This UPS has a power rating of 200 watts (350 VA). With that size load and the UPS batteries fully charged, the unit will provide continuous electric power for approximately six minutes in the event of a blackout. Longer battery run times are possible with smaller loads.
The SL-350 uses a detachable power cord. A three foot cord with a right angle plug is provided with the unit. Should a different length or style of cord be needed for a particular installation or application one can be purchased at-large and installed into this UPS. That cord should have a NEMA 5-15P plug as well as a female IEC style connector to attach to the UPS.
Status of the $350 SL-350 UPS can be monitored using the provided software loaded on a PC or laptop connected to the UPS via a USB cable.
All the specs are here. Leave a Comment
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Synthax and RME Announce Major Firmware Update for ADI-2 Pro Synthax has announced an update for the RME ADI-2 Pro AD/DA converter. Besides correcting a least significant bit error in the input channel 2 (analog right) and an invalid mixer parameter, the new update extends the ADI-2 Pro’s functionality.
In addition to a new DSP code optimization (rewriting and restructuring parts of the DSP code to lower system resource usage), they’ve also activated the full frequency range for the third EQ band, which can now operate down to 20 Hz. Similarly, there has been an overhaul of Channel 1 and 2 Handling by separating settings memories for Main Output 1/2 and Phones Output 1/2 — there are now individual settings for both sets of outputs.
With this update, the rear outputs now also ramp up the volume when either switching between front and back manually or when removing a phones plug. Further, before switching an output into the Off state, volume is temporarily reduced because the quick mute by the relay often resembles a click sound, which does not happen at lower volumes. With this update, RME has optimized the digital volume control to preserve a full 190 dB distortion-free resolution at the digital outputs.
The updated firmware also provides LCD Tint control and the IPS panels used in the ADI-2 Pro come in a wide range of colors, from bluish white up to a faded yellow. Likewise, there are numerous improvements to the Graphical User Interface (GUI) and several new functions, including Bass/Treble Enable On/Off, the ability to toggle between the Phones and Rear outputs by pushing the Volume button for half a second and changing the digital output’s source so they get their signal from the Mains Out 1/2. Additionally, there is now dedicated Mute capability via a Mute entry in the I/O menu of outputs 1/2 and 3/4, re-mapped function keys for improved efficiency, plus a Bit Test to ensure full bit accuracy when working in the digital domain.
The latest update for the RME ADI-2 Pro can be found here. Leave a Comment
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The Coolest AV Tour During InfoComm in Orlando During InfoComm 2017, take a step away from the convention center to see how AV boosts attractions around Orlando. The AV tour lineup includes the University of Central Florida, Blue Man Group, Cirque du Soleil’s La Nouba, the Orlando Science Center, Happily Ever After at Disney’s Magic Kingdom and Rivers of Light at Disney’s Animal Kingdom. Round-trip transportation from the Orange County Convention Center to the venue will be provided.
Tech Talk and Show: Blue Man Group
Tuesday OR Wednesday, 5:30 p.m.-10:15 p.m.
Includes a ticket to the Blue Man Group show.
Get up-close and personal with members of the Blue Man Group’s cast and technical crew with a 30-minute Q&A in their theater after the show. One-way transportation will be provided from the convention center to Universal’s CityWalk. We’ll arrive in time for you to dine at the CityWalk restaurant of your choice, then reconvene at the Blue Man Group theater for the show of a lifetime. RUs: 0.5
AV Technology Tour: Cirque Du Soleil
Wednesday, 2:00 p.m.-7:30 p.m. ALMOST SOLD OUT
Includes a ticket to Cirque Du Soleil’s La Nouba.
The theater for La Nouba by Cirque du Soleil is a mechanical marvel. A retractable stage floor, two 75-foot towers equipped with band platforms, and inventive sets work in concert with world-class sound and lighting systems to create a dream-like metamorphosis for each performance. Peek behind the curtain with a backstage tour of this unique space. After the tour, you’ll have time to explore Downtown Disney and grab a pre-show dinner or drink. Then, you’ll see the theater in action during a performance of La Nouba. RUs: 1.5
AV Technology Tour: Orlando Science Center
Thursday, 8:00 a.m.-12:00 p.m.
For 60 years, the Orlando Science Center has been a place that inspires curiosity and exploration. See how this museum uses AV technology to forge a hands-on connection with scientific concepts ranging from meteorology, to climate change, to space travel. You’ll get a behind-the-scenes look at exhibits that use broadcast, projection mapping, and virtual reality technologies to create fun, impactful learning experiences. You may even get to visit Mars in the immersive new Space Base exhibit. RUs: 1.5
AV Technology Tour: Happily Ever After at Disney’s Magic Kingdom
Thursday, 8:30 p.m.-11:00 p.m.
Beginning May 12, 2017, the skies above Magic Kingdom Park will come alive with “Happily Ever After,” a nighttime spectacular that captures the heart, humor and emotions of some of Disney’s greatest stories, inspiring everyone who experiences it to seek out their own happily ever after. Presented through a stirring Disney score and memorable moments from Disney films both classic and contemporary, “Happily Ever After” will feature breathtaking fireworks, stunning state-of-the-art projection effects on Cinderella Castle, brilliant lasers, immersive lighting and more. RUs: 0.5
AV Technology Tour: Rivers of Light at Disney’s Animal Kingdom
Wednesday, 8:00 p.m.-10:30 p.m.
“Rivers of Light” at Disney’s Animal Kingdom continues the grand Disney tradition of innovative, after-dark entertainment, combining live performance, floating set pieces, a soaring musical score, fountains, projections and special effects in a vibrant celebration of animals and nature. The show magically unfolds on the broad natural stage of the park’s Discovery River, conveying the uplifting spirit of an ancient and timeless lantern ceremony and filled with symbolism, storytelling and plenty of heart. RUs: 0.5
You can register for any of them here. Leave a Comment
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Barco Adds to LED Lineup With 7 mm Pixel Pitch Version Barco has just added a 7 mm pixel pitch model to its range of ‘digital media canvases.’ The R-series has a thin, lightweight and bendable design and is aimed at uses like retail, advertising, large venue and visitor attraction applications.
Installation and maintenance are key cost drivers for store façades, museums, theaters, houses of worship, stadiums, and corporate or event venues. Up to 75 percent lighter, Barca says the R-series is much easier and faster to install than traditional LED displays, which minimizes installation cost. Offered in sheets up to 4.68 meters long and only 5 mm thick (including louvers), the digital media canvases can cover all kinds of surfaces. And to remove today’s cable clutter, cabling, control, and power electronics are fully integrated on every sheet. Moreover, the power supply unit can be located remotely for easy servicing.
Thanks to their unique bendable, ultra-thin design, architectural constraints are reduced and less space needs to be freed up. And with minimal need for a supporting structure, the R-series can be glued onto a surface or wrapped around curved shapes. Plus, there are no visual segmentations or gaps, as is the case with standard tiled LED displays.
Driven by Barco’s Infinipix image processing platform, the R-series is a future-proof design that includes a web-based interface that enables display configuration, control, monitoring, and maintenance from any device. Based on HTML5, different operating systems and mobile devices can be used to control the R-series, both on-site and off-site. The system supports SNMP to export monitoring data, but sends automatic failure alerts and status notifications as well to minimize operational risk.
Here are all the tech specs. Leave a Comment
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BTX and Reach Announce the Release of the Bee3 Recording and Streaming Production Switcher BTX Technologies announced today that Reach is launching the Bee3 all-in-one content recording and streaming live production switcher to complement its line of Bee series AV over IP solutions.
The $3650 Bee3 is an all-in-one, purpose-built appliance for the recording of content that needs to be simultaneously streamed to a CDN service. Content including training, meeting, sporting events or other knowledge transfer material can be uploaded directly to YouTube, Wowza, Anystream or for on-demand viewing as well as streaming directly to Facebook Live.
This compact product has a seven-inch touch screen and comes with 2 HDMI inputs and has a built-in production switch quality transitions including cut, and dissolve.
The Bee3 and entire Reach product line can be seen at InfoComm in Orlando, June 14-16 in the BTX booth #3901 but here are all the specs. Leave a Comment
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Lectrosonics Introduces the Duet Digital Wireless Monitor System with Dante Inputs Lectrosonics announced the a new digital wireless monitor (IEM) system, the Duet. The new system consists of the M2T dual-stereo half-rack transmitter and M2R diversity belt pack receiver. The Duet covers the UHF frequencies of 470-608 MHz in a single range, uses digital modulation for transmission and can accept analog or Dante digital inputs. The new system is designed and developed with professional touring, installation, theater, filmmaking and broadcast customers in mind.
The M2T half-rack transmitter houses two independent stereo transmitters allowing for up to four stereo or dual-mono transmissions in a single rack space. The audio inputs can be individually configured to be analog or Dante compatible. The analog input connectors are full size XLR/TRS combo types for balanced line level analog signals while the input preamp circuits use a special balanced amplifier with very high common mode rejection to minimize hum and noise. A Dante Ultimo interface via dual RJ45 connectors accepts Dante networked audio inputs and can cascade the digital stream to additional units via CAT6 cables. An additional RJ45 jack provides an Ethernet connection for programming and control via Wireless Designer software and a USB jack on the front panel allows for firmware updates. The transmitter features a full color, backlit LCD for high visibility in any environment, while the chassis is all-metal and can be racked singly or in pairs using included rack mount hardware.
The M2R bodypack receiver employs antenna diversity switching during digital packet headers for audio. The 24-bit digital audio stream guarantees sound quality with wide dynamic range, low noise floor and stereo image. The headphone jack is fed from a stereo amplifier with 250 mW available to drive headphones or earphones to sufficient levels for stage performance or other noisy environments. A high-resolution, color LCD allows for a wide range of menu options, including precise limiter settings, using detailed graphics. The M2R runs on two AA batteries for an operating time of over four hours with alkaline cells.
Both the M2R and M2T units have two-way IR sync, so scan data from the receiver can be sent to the transmitter and thus onto the Ethernet network for use by Wireless Designer software for frequency planning and coordination purposes. Additionally, the system includes a FlexList mode, where a number of names and associated frequencies can be stored in the receiver. This way, a monitor engineer can quickly find and listen to any of the performers’ mixes on the stage.
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Hear Technologies Introduces the Hear Back PRO Virtual Mixer Hear Technologies announced the release of the Hear Back PRO Virtual Mixer. It claims all the features of the Hear Back PRO Mixer in a small card format.
The small card format of the new Hear Back PRO Virtual Mixer allows it to fit into the Hear Back PRO Hub. The Hub can be populated with up to four Virtual Mixer cards and an unlimited number of Hubs can be connected together for larger systems.
Controlling the Virtual Mixer is via the new Hear Back PRO iOS app (iOS) or even another Hear Back PRO Mixer. This feature is for controlling wireless in-ear monitor or standard stage monitor mixes. The app also allows the user to easily drag and drop which iOS devices and Hear Back PRO mixers control each Virtual Mixer.
The PAIRING button (and LED indicator) makes it easy to configure which iOS device or Hear Back PRO Mixer(s) will be controlling each Virtual Mixer. The new Hear Back PRO Virtual Mixer can be used to mix 16 or 32 channels of audio for your wireless in-ear or standard stage monitor rig. Up to four presets are available with the Virtual Mixer, and it has the capability to save all settings in case of power loss.
Other features include:
- Volume, pan and stereo placement of each audio channel
- Control master, auxiliary input and intercom transmit volumes
- Automatic incoming intercom leveling
- One auxiliary 1/8-inch stereo unbalanced audio input
- XLR balanced left and right outputs
Here are the specs. Leave a Comment
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Crest Audio’s Tactus Digital Mixing System to Ship by InfoCommCrest Audio partnered with Waves to create the Tactus Digital Mixing System, a modular touch-screen based mixing system, which the company has announced will ship prior to the upcoming InfoComm show in Orlando, Fla. in June. The Tactus system consists of both hardware and software components incorporating the Waves eMotion LV1 software. The Waves eMotion LV1 mixer application runs on a Windows® PC or Mac® with one, two or three multi-touch screens.
Using the Waves Soundgrid audio network protocol, the Crest Audio Tactus systems comprises of three hardware units, the Tactus.FOH, Tactus.Stage and Tactus.Control, with each addressing the input and output, monitoring and control plus synchronisation requirements of audio signals at the stage and front of house points. The system’s modular approach provides scalability for any size event.
The Tactus Digital Mixing System includes a customizable touch-screen that puts all of the audio routing, processing and mixing tools within immediate reach. Designed to work with the new Waves eMotion Mixer for SoundGrid, the Tactus Digital Mixing System hardware is comprised of the Tactus.FOH, the audio processing core for the system, and the Tactus.Stage and a 32-in/16-out remote stage box. The modular capability of the Tactus Digital Mixing System, which interconnects via standard Gigabit Ethernet cabling and an internal Gigabit switch, allows multiple configurations in a range of channel counts to best suit each application.
The Tactus.Stage includes 32 microphone/line inputs and 16 line plus to two AES outputs. The digitally controlled mic preamps feature low input noise, high slew rate, very low THD, and 66dB adjustment range in 1dB steps to maximize dynamic range. An integrated gigabit Ethernet switch allows for easy networking. And, you can combine the Tactus.Stage I/O interfaces for a total of 64 stereo inputs by 32 stereo outputs.
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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).
Don’t like us, then go away — unsubscribe! Just use the link below.
To send me feedback, don’t reply to this newsletter. Instead, write directly to me at gary@ravepubs.com or for editorial ideas, Editor-in-Chief Sara Abrons at sara@ravepubs.com
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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rAVe Rental [and Staging] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. |
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