Volume 12, Issue 1 — January 24, 2018
|AV Rental Equipment: a Potential Vector for Disease?|
By Joel Rollins
I woke up early this morning to the news that there was a massive outbreak of influenza taking place in North America, and that it was of a particularly virulent type. This brought to mind my experience with the peerless health care system in Singapore. I was due to attend a pre-convention meeting. I arrived very late at night and checked into my hotel with a headache and about 3 a.m., I realized I was becoming quite ill. I will make a long story short here, and just say that I spent the next four days locked in my hotel room. The positive side was that Singapore has a truly advanced medical system and strong methods for preventing major outbreaks in a densely packed population. I was treated in my hotel room by an extremely competent hotel doctor — because the last thing they want you to do is to leave your room, go to the convention center and spread whatever you contracted on the plane.
So that got me thinking.
I happened to enjoy reading thriller novels that have a strong background in technology, especially those by Tom Clancy. (I justify this by telling myself how much I am learning about nuclear attack submarines.) Clancy wrote a novel some time ago where a terrorist group used a biological weapon to infect a convention center with a bug whose incubation period allowed time for people to return home before the symptoms erupted.
Which got me thinking even more. Because this, combined with a lot of new individual equipment in our industry, will soon have all of us in the rental and staging business becoming concerned with health issues. Because, as AV becomes more personal, we will become subject to more health regulations, both national and local.
We’ve always had a certain amount of equipment that was a potential vector for infection, specifically in things like simultaneous interpretation receivers that go from site to site and are passed out to people in the crowd. When I lived in Canada, they were already aware of these issues and had sanitation rules in place for these kinds of devices, but such rules and procedures are spotty here south of the border.
But now, even those of us here in the lower 48 will have to contend with some of those issues. Devices like tour guide systems, audience polling devices, pass-around microphones and AR and VR headsets are all potential harbors for germs. As they become more prevalent, we will see an increasing number of organizations passing regulations about how they are to be used. I’ve dealt with this lately in the form of regulations that my state is working on for virtual-reality equipment, which I work with every day. During this current outbreak, I have postponed some VR demonstrations because I can’t think of many situations that could spread the flu more thoroughly than a mask that you place over your eyes and nose and wear for a while, then let somebody else also put over their face. Our state is going to use a combination of removable, disposable mask barriers and UV sterilization, but if you have looked at any of these devices, most are not really made to be sterilized. So it is something I am keeping my eyes open for, as several projects that I’m working on will need to have an inventory of rentable VR headsets or AR viewing glasses. My prediction is that the manufacturers of these devices are already working on versions that can be sterilized, but it is something we will need to keep in mind as we acquire rental inventory in these types of devices, as I would hate to purchase expensive inventory that was later locally outlawed. I think it behooves any rental manager to keep their eyes on these regulations as they relate to anything body-worn, including microphones and various other types of electronic equipment.
Finally, there is yet another vector for contagion to keep our eyes on: ourselves.
Our crews go from city to city, packing and unpacking gear and working with local crowds. I have certainly seen staging crews at the height of the tour who were tired and road-worn, and whose immune systems were no doubt at a low point because of it. This means we should be concerned about crew habits, such as hand-washing and the sharing of equipment that requires extensive hands-on time between the crew. We could easily become carriers of an outbreak that spreads from one convention to another. With just a little forethought about ourselves and our crew we could prevent this from happening.
Because, believe me, you don’t want to get sick in a hotel in a foreign country.Leave a Comment
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|What Keeps an AV Professional Awake at Night|
By Leonard Suskin
Pixel and Ink-Stained Wretch
I still remember my first concerns about user engagement with the technology we provide. It was over a decade ago; we were fitting out four conference rooms per floor over about a dozen floors. Video teleconferencing in two, local presentation in the other. Pack up, head for the elevator, repeat. It was one of my first commercial jobs and an eye-opener.
What concerned me? I had cause to wander back through a completed space to verify punchlist items. The rooms were in use and what I saw haunted me. In each presentation room, a paper easel stood with a set of markers. In all of the spaces – including those with integrated video teleconferencing – a speakerphone sat atop the conference table. It made me step back and wonder what we were doing. Why spend tens of thousands of dollars on integrated microphones, loudspeakers and audio processing only to have actual users engage with low-tech and low-cost solutions such as speakerphones or whiteboards?
It was a real question and one that lead me to my thought processes today: The first questions aren’t about resolution and screen size and videoconferencing. The first questions need to be about workflow and culture. We need to make the most common and most frequent actions as easy to accomplish as possible and as seamless. That – much more than technology – is the heart of what AV design is.
It’s pervasive. Until recently, adoption of technology by regular users has been a major challenge in the industry. Today the challenge has finally shifted. Smartphones have not only brought video chat to all of us, they’ve brought icon-based touchscreen interfaces to everyone’s pocket. Now the Crestron or AMX or Extron touch panel is no longer a scary mystery – it’s familiar. I’ve heard more than one user refer to the “iPad” on a conference table while pointing at the Crestron touch panel. All that said, it STILL isn’t as familiar a tool for making a phone call as the humble and traditional conference phone.
Enter last year’s biggest product – the Crestron Mercury. And with it a whole new set of challenges.
I sometimes think of the Mercury as an “if you can’t beat them, join them” product. After all these years, we still can’t break users of the habit of using that speakerphone in the middle of the table. In 2017, the team at Crestron finally hit on the obvious solution – we’ll give them a speakerphone, complete with the added functionality that the commercial AV industry is known for. Not only that, but it will serve as a gateway to the Crestron ecosystem, with the kind of remote monitoring and control features which are very attractive to IT support teams and completely invisible to users. It’s easy to adopt, easy to use and a big moment of change for the industry.
Why is this a scary moment for us? Because with devices like the Mercury, we can deliver at least a tolerable experience in small meeting spaces without the technical wizardry at which so many of us have become adept. To integrate a traditional video teleconference space, one would need to install and configure a codec appliance, install microphones, write a configuration file for a DSP and create a control system program to link everything together. To install a Huddle space with a Mercury? You need ten minutes with the web interface and not much else. We finally have systems which will be easily, widely, universally adopted — which will be the first choice on entering a space and which people feel they can use intuitively. And you barely need our specialized skillset to make them work.
That’s what should keep us up at night – that now the more mainstream video collaboration becomes, the easier it is to create. We now see an ecosystem with all-in-one solutions like the Microsoft SurfaceHub or Cisco Sparkboard. Simple soft-codec interfaces like the Mercury or Phoenix Condor.
What does this mean for us going forward?
It means that the days are numbered for those of us with nothing more to offer than technical wizardry, no matter how adept we are at it. Technical wizardry is becoming both easier and less relevant.
It also means that a bright future remains for those of us who can focus on building relationships, on serving as partners in providing collaboration as a service and creating long-term roadmaps. It’s what we’ve always done at our best and what needs to be our focus.
What keeps us up at night is the question of whether or not we as an industry can make that change or if we’ll cling to shrinking margins on increasingly commodified hardware.Leave a Comment
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|TASCAM Expands Dante-Enabled Lineup With New Multichannel Interfaces|
TASCAM has unveiled two new additions to its line of Dante-enabled offerings. Designed to provide flexible connectivity between analog and digital components, the TASCAM ML-32D and ML-16D are multichannel Line Level to Dante and Dante to Line Level interfaces.Leave a Comment
With Dante-enabled devices becoming increasingly ubiquitous in professional AV systems, TASCAM’s ML-32D and ML-16D allow audio engineers and systems integrators to connect 32 or 16 channels of audio between the analog domain and Dante-enabled digital components, including the TASCAM DA-6400, SS-R250N and SS-CDR250 multichannel audio recorders.
The ML-32D and ML-16D deliver Dante connectivity, without mid-level microphone preamps, MADI and S/PDIF interfaces, and other functions that add cost and complexity. Supporting Digital Audio at up to 24bit/96kHz, both units feature analog line level I/O via D-Sub connectors (eight on ML-32D and four on ML-16D) and feature front panel LED meters to display both signal level and overload for each active channel.
The TASCAM ML-32D and ML-16D will list for $2,299.99 and $1,599.99, respectively, and are scheduled to begin shipping in early 2018. Here are the details.
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|New Extron HDMI Matrix Switchers Offer 18 Gbps Performance for 4K/60 SignalsExtron’s new DXP HD 4K PLUS Series supports signals up to 4K/60 with 4:4:4 chroma sampling. They support HDMI 2.0b specifications, including data rates up to 18 Gbps, HDR, Deep Color up to 12-bit, 3D and HD lossless audio formats. These HDCP 2.2 compliant matrix switchers incorporate Extron technologies such as SpeedSwitch, EDID Minder, and Key Minder as well as HDMI input equalization and output regeneration to ensure reliable system operation. Digital audio can be de-embedded from any input and assigned to digital or analog stereo outputs for ease of integration. Available in 4×4, 8×4 and 8×8 sizes, the DXP HD 4K PLUS Series is ideal for applications that require reliable, high performance matrix switching of 4K/60 HDMI signals.
The DXP HD 4K PLUS Series matrix switchers are designed for use with computers equipped with 4K graphics cards, media players, and similar signal sources, as well as 4K native resolution displays. With a maximum data rate of 18 Gbps, they support computer and video resolutions up to 4096×2160 at 60 Hz with eight-bit color in 4:4:4 color space. In addition, these matrix switchers fully support 1080p/60 with 12-bit Deep Color. To maintain signal integrity, they feature automatic cable equalization on inputs and output reclocking to reshape and restore timing of the video signal at each HDMI output. These features combined with Extron Pro Series High Speed HDMI Cables allow longer 4K signal runs, reducing the need for additional signal conditioning equipment by compensating for weak source signals or signal loss on long cable runs. Additionally, +5 VDC, 200 mA is available on each output for powering peripheral devices.
The DXP HD 4K PLUS Series is here.Leave a Comment
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|Audio-Technica Ships ATDM-0604 Digital SmartMixer|
Audio-Technica is now shipping its ATDM-0604 Digital SmartMixer. Featuring echo-canceling and web remote functionality, the ATDM-0604 is a six-channel automatic mixer ideal for meetings, conferences, soft codec applications, courtroom proceedings, radio and TV broadcasts and other applications involving the use of multiple microphones or other media inputs.
Audio-Technica’s SmartMixer technology allows channels to be mixed automatically in gate or gain sharing mode, ensuring consistent, high-quality audio output from all inputs in a setup, without the introduction of feedback, excessive ambient noise or comb filtering. Controls and LED indicators on the mixer’s front panel allow users to easily adjust input/output and gain levels; set and recall presets; turn on/off phantom power, low-cut filter, automatic mixing and acoustic echo cancellation (AEC); change IP configuration (Auto or Static); and more. A full complement of digital signal processing is available for inputs and outputs including parametric EQ, compressor, limiter and feedback control. Control and monitoring tools are accessible locally on the front panel or via the Web Remote interface, which allows users to handle the aforementioned adjustments from a Windows-based PC, Mac, iOS or Android device, plus make additional changes to the input and output settings, select gate or gain sharing mode when using Smart Mix and adjust other advanced settings.
The mixer is equipped with four balanced microphone inputs, two balanced Mic/Line inputs and one unbalanced stereo input, along with two balanced and two unbalanced outputs. Network (Cat5e or better) and USB ports are also included, as are A/B Audio-Technica Link ports that let users connect six ATDM-0604 mixers via Cat5e cable for simultaneous use within an expanded setup.
ATDM-0604 features include:
- Four balanced mic inputs, two balanced Mic/Line inputs and one stereo unbalanced input
- One stereo and two mono outputs
- Two-channel USB audio interface for soft codec (Skype, WebEx) integration or playback from computer
- Full digital processing on inputs and outputs
- 8×3 audio routing matrix
- Six-channel Smart Mix (gate or gain sharing)
- Onboard acoustic echo canceler (AEC) processing
- Front panel direct operation and Web Remote functionality
- IP control for third-party CCS administration
- Up to six mixers can be linked using Cat5e cable
The ATDM-0604 Digital SmartMixer is now available at U.S. pricing of $899. For more information, go here.Leave a Comment
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|New TASCAM CD-400U Media Player DebutsTASCAM has introduced its CD-400U media player. Combining a slot-loading CD player, AM/FM tuner, stereo SD recorder and Bluetooth wireless and USB connectivity, the CD-400U offers audio playback in real time or from reliable fixed media. The unit also can record from CD or the AM/FM source to CD or to USB media.
The CD-400U provides professional-class XLR balanced outputs, RCA unbalanced main outputs and a second set of RCA unbalanced outputs dedicated to the AM/FM source. An 1/8-inch auxiliary input admits audio from a variety of external sources, combining with the Bluetooth wireless input to accept sources such as smartphones, tablets and more. A high-quality ¼-inch stereo headphone output enables silent monitoring and confirmation of operation.
Once configured, a Panel Lock function can disable the panel buttons to avoid unauthorized operation or programming. A Power on Play function automatically starts playback upon power-up. These features combine to ensure tamper-proof, foolproof, automatic operation.
A standard RS-232C terminal enables external remote control. An optional IF-E100 Ethernet card will provide IP control over Ethernet in a future release. A two-line backlit LCD displays the settings for easy programming and operation.
Details on the TASCAM CD-400U are here.Leave a Comment
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|Key Digital’s New KD-AMP220 Digital Audio Amplifier Designed for Small Rooms|
Key Digital’s KD-AMP220 compact digital audio amplifier’s input connections accommodate microphone, line level balanced and line level 3.5-millimeter stereo analog audio inputs. The output is a mix of audio from the microphone input and the selected audio input. Each input has variable volume level set — perfect for presentation spaces as KD-AMP220’s internal pre-amp accepts direct microphone plugin and can provide 48V phantom power.
Speaker level output may be set to bridge, stereo or mono mode. Integrators may sum left and right channels to a single speaker in bridge mode. For stereo applications, KD-AMP220 may be configured to send left and right channels to separate speakers. Mono mode can be useful in speech and voice enforcement applications.
Here are all the specs.Leave a Comment
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|VESA Readies 8K Resolution Ecosystem With DP8K Certified DisplayPort Cables Certification|
The Video Electronics Standards Association (VESA)
today announced that DP8K Certified DisplayPort cables — native DisplayPort cables that are guaranteed to support DisplayPort High Bit Rate 3 (HBR3) — are now available in the marketplace. HBR3 is the highest bit rate (8.1 Gbps per lane) supported by DisplayPort standard version 1.4 and provides the speed required to drive 8K video resolution at 60 frames per second (fps) using a single cable, as well as multiple 4K displays. Key applications supported by HBR3 include high-performance gaming, augmented/virtual reality (AR/VR) and television broadcasting. With HBR3 already available in a wide array of consumer products, including GPUs and monitors, the availability of cables that have been certified by VESA to support HBR3 provides a crucial final link to the ecosystem. DP8K Certified DisplayPort cables are guaranteed to support HBR3, the highest bit rate supported by DisplayPort version 1.4.
VESA is also currently engaged with its members in the development of the next DisplayPort standard generation, with plans to increase the data rate enabled by DisplayPort by two-fold and beyond. VESA plans to publish this update within the next 18 months.
With DP8K-certified cables, devices with native DisplayPort connectors can reliably support 5K or 8K monitors, as well as high-performance 4K monitors. For USB Type-C (USB-C) to USB-C connections, this same level of performance is available with “SuperSpeed USB 10 Gbps” cables, which support the HBR3 data rate for DisplayPort Alt Mode. A complete list of vendors offering DP8K Certified DisplayPort can be found here
With the wide field of view offered by AR/VR displays combined with motion, the virtual world is putting more demands on resolution, refresh rate and color depth. In addition, two displays are needed for AR/VR applications, one for each eye, which doubles the data rate demand. Higher data rates will also be needed to support increases in HDR performance and resolutions beyond 8K for traditional displays. VESA is continuing to work on DisplayPort to increase data-rates by two-fold and beyond to enable the higher performance requirements demanded by these applications.
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In addition to pure display interfaces, VESA is also working to address the future needs of the mixed data-plus-video world of DisplayPort Alt Mode on the USB-C connector. USB-C now allows a single connector for USB data, video data and power, but for simultaneous support of SuperSpeed USB data (now running at 5 or 10 Gbps) and video, the USB-C signals need to be shared, which cuts the DisplayPort bit rate in half. Today, USB-C can support 4K at 60Hz performance utilizing the two lanes of USB-C in this configuration or 4K HDR or 8K at 30Hz by adding compression. Increasing the DisplayPort data rates in the future will also expand video display capability of a single USB-C connector.
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|NEC Display Releases New Native 4K Resolution RB Laser Projectors|
NEC Display Solutions today announced the release of two new projector models, the 30,000 Center (26,000 ANSI) lumen PH2601QL and the 40,000 Center (35,000 ANSI) lumen PH3501QL. Both are native 4K (3840×2160) resolution projectors.
Both projectors are designed for auditoriums, theaters, lecture halls, museums, sanctuaries and other large venues. NEC says they have dust protection for artifact free images and no loss of brightness over time. Built-in edge blending, stacking and geometric correction help support projection mapping when single or multiple projectors are required. These two models also offer the ability to provide image integrity, incorporating stable brightness (constant brightness) over a longer time period to alleviate image decay.
Additional benefits of the PH2601QL and PH3501QL include:
- Viewable in high ambient lighting conditions
- 4096×2160 native 4K resolution
- True 4:4:4 4K signal support with HDR
- Complete panel for digital inputs, including HDMI (V2.0), DisplayPort w/ HDCP (V.1.4), HDBaseT w/ HDCP
- (V1.4/2.2), Quad 3G-SKI and an OPS slot
- Screen size from 50 to 500 inches (1.27 to 12.7 meters)
Both new projectors will be available in January 2019. The PH2601QL will have a minimum advertised price of $129,999 and the PH3501QL will have a minimum advertised price of $149,999.
Here are all the specs on the PH2601QL.Leave a Comment
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|Barix to Unleash its Third-Generation Audio Signage Solution at ISE 2018At ISE 2018, audio over IP company Barix will introduce the third generation of AudioPoint, the company’s audio signage platform that brings digital signage and TV content together with BYOD. AudioPoint helps end users deliver audio associated with video content to mobile devices over a local Wi-Fi connection, driving a more intimate connection with consumers and lending a voice to the screen.
AudioPoint 3.0 increases the value proposition for systems integrators and end users with an all-in-one integrated solution that removes the need for an external channel server. AudioPoint 3.0 is based on a brand-new hardware platform, engineered by Barix, that builds the channel server into the Barix Audio Signage Encoder to significantly reduce cost and integration time, according to the company. The encoder supports both single- and multi-channel audio streaming for up to 250 simultaneous users.
Enhanced networking intelligence underneath the hood also ensures that AudioPoint 3.0 works with most professional and off-the-shelf routers to immediately enable Wi-Fi streaming. As previous generations required a specific type of router, this flexibility in router choice removes testing and configuration headaches in advance of deployments.
Barix says that AudioPoint 3.0 reduces latency even further to tighten lip-sync. This optimizes AudioPoint 3.0 for new applications to serve hearing-impaired audiences, live translations and presentation support in corporate, worship and education environments. These benefits also make AudioPoint 3.0 an ideal audio delivery system in live event venues, where fans can see and hear the action in concourses and at concession stands in real time. That also means that for traditional AudioPoint applications in hotel lobbies, sports bars and museums, real-time, synchronized delivery is possible.
Beyond integrating components into a single platform, the AudioPoint architecture remains unchanged. Audio associated with a video feed is streamed from a mixer and/or microphone to a Barix Audio Signage Encoder’s analog audio input; that audio is sent to a Wi-Fi access point that consumers connect to from their mobile devices. The Barix Audio Signage App immediately enables the live stream on the consumer’s device. Channel selection is made available to consumers when multi-channel streams are enabled, allowing users to select another language or an alternative soundtrack for another local screen.
Barix says the latest version of Audio Signage Encoder that comprises the technical core of AudioPoint offers the company’s fastest signal processing to date. This ensures robust and reliable streams, while the devices remain plug-and-play for quick and simple deployments. Barix is here.Leave a Comment
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|PreSonus Expands Studio Series USB Interface LineFollowing up on its Studio 26 and Studio 68 ultra-high-definition recording solutions, PreSonus announced the Studio 1810 and Studio 1824 USB 2.0 audio/MIDI interfaces. The new interfaces record at up to 24-bit, 192 kHz resolution and feature PreSonus’ famed XMAX Class A microphone preamps, audiophile-grade digital converters, ultra-low-jitter clocking and MIDI I/O. All analog inputs and the main L/R outputs have eight-LED, ladder-style level meters.
Both interfaces’ outputs offer flexible routing with zero-latency DSP-based monitor mixing and control-room integration with included PreSonus Studio One Artist for Mac and Windows and free PreSonus UC Surface for Mac, Windows, iPad and Android. You also get the Studio Magic Plug-in Suite for Mac and Windows, which provides seven popular plug-ins in VST, AU and AAX formats.
A fine choice for project studios, the Studio 1810 USB 2.0 audio/MIDI interface records up to 18 simultaneous inputs. This includes two combo mic/instrument/line inputs and two combo mic/line inputs, all with XMAX Class A mic preamps and global +48V phantom power; four back-panel, ¼” TRS line inputs; 8 channels of ADAT Optical input (four channels at 96 kHz); and stereo S/PDIF inputs. You get eight outputs, including left and right, ¼” TRS balanced main outputs with dedicated level control and Mute, four ¼” TRS balanced line outputs and stereo S/PDIF outputs. All analog line outputs are DC coupled for sending control voltages. Two loud, clear headphone outputs include A/B switching for monitoring different mix streams.
The Studio-series top-of-the-line Studio 1824 audio/MIDI interface records up to 18 simultaneous inputs (8×8 at 192 kHz), including two mic/instrument/line inputs and six mic/line inputs, all with XMAX Class A mic preamps and global +48V phantom power, plus eight channels of ADAT Optical input (four channels at 96 kHz) and stereo S/PDIF. The Studio 1824’s generous 18 outputs include 8 ¼” TRS balanced line outputs; stereo main outputs (which duplicate line outs 1/2), with dedicated Mute and Mono buttons; eight channels of ADAT Optical output (four channels at 96 kHz); and stereo S/PDIF.
As with the Studio 1810, all Studio 1824 line outputs are DC coupled for sending control voltages, and you get two stereo headphone outputs with independent mix streams. The Studio 1824 also provides BNC word clock output.
The Studio 1810 and Studio 1824 are expected to be available in the second quarter of 2018, with list prices of $399.95 and $499.95, respectively. Here are all the specs.Leave a Comment
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|PreSonus Unveils EarMix 16M AVB-Networked Personal Monitor MixerDesigned to work seamlessly with the PreSonus StudioLive Series III family of mixers, yet compatible with other AVB-enabled systems, the PreSonus EarMix 16M 16×2 AVB-networked personal monitor mixer provides a high-quality, expandable, networked monitoring solution for stage, installed sound systems, and studio recording. Part of PreSonus’ fast-growing ecosystem of AVB-networked products, each EarMix 16M accepts 16 mono channels of input via AVB networking — and you can network multiple units with a StudioLive Series III mixer.
EarMix 16M features a loud, clear headphone amplifier that can drive low-impedance devices such as professional-caliber in-ear-monitors. Channel grouping and stereo channel linking let you create custom mixes for each musician, and you can apply limiting and three-band EQ with sweepable midrange frequency to each channel, as well as to the main mix. Once you’ve perfected a set of monitor mixes, save the whole scene to internal memory; you can store and recall up to 16 mix scenes locally.
The EarMix 16M can be powered with its included external power supply but in many cases — such as when it’s difficult to provide power across multiple onstage locations — it’s better to use Power over Ethernet (PoE), which enables network cables to carry electrical power to compatible devices.
A pair of AVB jacks enable you to chain multiple EarMix 16Ms while also connecting to a StudioLive Series III mixer. You can expand even further by chaining EarMix 16Ms from multiple PreSonus SW5E AVB switches. Once you’ve created your AVB network, setting up EarMix 16M routings from a networked StudioLive Series III console or using free PreSonus UC Surface control software for Mac, Windows, iPad, and Android is fast and easy.
EarMix 16M is expected to be available in the first quarter of 2018, with an anticipated street price of $399.95. For more information, go here.Leave a Comment
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|Bose Professional Debuts S1 Pro Multi-Position PA System|
Bose Professional is debuting the S1 Pro multi-position PA system — an all-in-one PA, floor monitor, practice amplifier and primary music system. Designed for general PA use, the S1 Pro is 15 pounds (6.8 kilograms) and with dimensions of 13″ x 9.5″ x 11.2″ (330 x 241 x 286 millimeters), it easily fits in an airplane’s overhead compartment. Leave a Comment
The S1 Pro is engineered to be used in four different positions to accommodate a wide range of applications — tilt-back, elevated, mounted on a speaker stand or placed on its side (as a floor monitor). Built-in sensors detect positional changes and trigger Auto EQ, which automatically recalibrates the system’s internal settings for each different placement/application, ensuring that users always sound their best with optimum sound in any position.
The S1 Pro comes with a three-channel mixer. Reverb and tone controls are featured on two channels with XLR / quarter-inch combo jacks and a third channel is for either 3.5 mm (1/8”) line-in or wireless Bluetooth connectivity. Additionally, a line-out jack offers easy expansion to other systems.
Using the wireless channel, music can be played from a mobile device easily using Bluetooth streaming (great for pre-produced backing tracks or background music), while getting great sound quickly with integrated ToneMatch processing for microphones and instruments. Additionally, users can enjoy hours of play on-the-go with the S1 Pro’s optional rechargeable lithium-ion battery; a special setting and intelligent circuitry offer a choice between trickle charge or dedicated full-power charge.
The S1 Pro multi-position PA system is $599 (optional rechargeable lithium-ion battery is also available at $99). Here are all the specs.
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|Leyard and Planar Announce Third Generation Clarity Matrix LCD Video Wall System|
Leyard and Planar announced the third generation Clarity Matrix LCD Video Wall System, which combines the industry’s thinnest profile ultra-narrow bezel LCD with improvements to video processing, installation, management and off-board electronics.
The new Clarity Matrix G3 LCD Video Wall System advances nearly every aspect of the unique Clarity Matrix architecture. It features a new, off-board video controller that offers unrivaled video processing capabilities built into the product. It includes new Leyard WallDirector Software to further simplify video wall installation, monitoring and management.
Clarity Matrix G3 claims to be the first LCD video wall solution on the market to embed advanced video processing directly into the product. The new Video Controller offers built-in video wall scaling for a single source input beyond 6K resolution (5760×3240) with Planar Big Picture Plus video wall processing, providing flexibility without the need for an external video processor or audio/video switch. Customers can take multiple 4K @ 60Hz signals and scale them across an entire video wall or separate sections within a video wall. They can also display content from a higher number of independent sources, superimpose a smaller image over a larger one with Picture-in-Picture (PiP) and incorporate up to four different image sources within a single display with 4K quadview. Clarity Matrix G3 supports 4K connectivity standards, including both HDMI 2.0 and DisplayPort 1.2.
Clarity Matrix G3 also comes standard with the touch-based Leyard WallDirector software that simplifies video wall set-up, configuration, operation and monitoring. The powerful, web-based interface automatically identifies video wall components such as the display configuration, power supply quantities and source inputs, significantly reducing the time it takes to configure a complex video wall. It offers the ability to drag-and-drop sources onto the video wall canvas and easily manipulate their size and position. Presets can recall video wall windowing layouts, making it easy to quickly configure content on a video wall.
Leyard WallDirector also makes it possible to monitor the health status of all video wall components from a central, local or remote location.
Clarity Matrix G3 comes with a new Clarity Matrix G3 Remote Power Supply that moves heat, noise, weight and service points away from the video wall and into a ventilated rack room. The advanced Remote Power Supply offers three times the power density per rack unit of previous versions, minimizing rack unit requirements.
As with Clarity Matrix G2, it offers a tiled bezel width as small as 1.7 millimeters and also includes standard and high brightness 46-inch and 55-inch models along with options for Planar ERO (Extended Ruggedness and Optics) glass, fiber video extensions, passive 3D and interactive multi-touch.
Clarity Matrix G3 also features the Planar EasyAxis Mounting System.
The Clarity Matrix G3 LCD Video Wall System will begin shipping in early 2018 and the details can be found here or here.Leave a Comment
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|Bose Professional Debuts T8S and T4S ToneMatch Stereo Mixers|
Bose Professional has extended the ToneMatch audio engine series with a new eight-channel T8S ToneMatch mixer and the four-channel T4S ToneMatch mixer. Compact and portable, both the T8S and T4S are gig-ready.
The compact eight-channel T8S ToneMatch Mixer is intuitive to operate, with illuminated tactile controls, an LCD display and scene recall and ToneMatch processing presets with the DSP engine (including studio-quality effects and Bose zEQ equalization, which redefines low, mid and high ranges for each ToneMatch preset) are designed to simplify usage.
Each T8S channel has dedicated ToneMatch, EQ, dynamics and effects. The T8S effects includes compressor, limiter, de-esser, noise gate, chorus, flanger, phaser, tremolo, delay and reverb functions. Tap tempo delay and a chromatic tuner are built-in. Aux send 1 has a dedicated reverb of its own while a master output EQ helps compensate for venue acoustics.
The T8S offers high-density connectivity unparalleled in a small digital stereo mixer. Eight high-quality audio preamps with XLR-combo jacks accommodate microphones or instruments, with switchable phantom power. Two aux inputs allow for additional source inputs. Outputs include four aux sends, balanced quarter-inch TRS and XLR stereo outputs and an independent headphone output. USB-A and USB-B connections allow for USB drive playback or PC/Mac interface. The T8S includes a ToneMatch power supply.
The four-channel T4S offers most of the same features as the T8S, except for the following differences: The T4S features an aux send count of two and outputs to either quarter-inch TRS balanced stereo or dual ToneMatch links — designed to send digital audio to L1 Model 1S/II systems while receiving power on the same provided ToneMatch cable. (When not used with an L1 system, the T4S can also be optionally powered by an accessory ToneMatch power supply.) The final difference between the mixers is the T8S exclusive output meter.
All the details are here.Leave a Comment
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|VUE Intros h-Class of High Definition of Loudspeakers|
VUE Audiotechnik just launched the h-Class family of high definition powered systems. The hm-108A is a precision slant stage monitor and is a narrow dispersion sibling to VUE’s h-8.
The h-8N, with its narrow 60-degree coverage, adds another level of versatility to the h-Class range, while dramatically expanding applications for VUE’s flagship technologies. The driver complement is identical to the h-8, with a precision-engineered 8-inch transducer that’s combined with a neodymium compression driver capable of unparalleled high-frequency performance thanks to the Truextent beryllium diaphragm at its core.
Also new is the hm-108A, an ultra-compact stage monitoring system that benefits from the same 8-inch transducer and beryllium-infused compression driver as the h-8 and h-8N. Designed specifically for maximum transparency, the hm-108A is ideally suited for critical foldback applications including legitimate theater, choir, orchestra or anywhere that absolute fidelity trumps raw, unbridled horsepower.
Both models of the h-8, as well as the hm-108A, feature powerful onboard VUEDrive electronics benefiting from a state of-the-art digital signal processor that’s explicitly programmed for each unique transducer/cabinet combination. In addition, dual-channel, high-efficiency Class D amplification deliver ample power while eliminating the need for noisy cooling fans.
Drivers and electronics for all h-Class models are housed in a robust birch enclosure with extensive interior bracing for resonant free operation. Like the h-8, the new h-8N also incorporates M10 rigging points and an integrated pole-mount for both portable and fixed installation applications.
Both new models feature the h-Class aesthetic, with grill and handle surrounds that benefit from a two-part finish that lays a coat of transparent candy-apple red over a black base for a deep hue that’s uniquely VUE. The signature look is completed with a heavy aluminum rear panel/amplifier assembly with machined “VUE” logo integrated into the heat sinks.
Here are the details.Leave a Comment
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|InFocus Debuts Jupiter PixelNet 2.0 Distributed Display Wall System|
InFocus Corporation today announced PixelNet 2.0, an update to its Jupiter PixelNet solution. The new distributed display wall system increases the density of processing power, connecting more sources and displays to a single input or output node, while providing centralized control to support a wide variety of installations with live audio and video, streaming data and other real-time sources of information for control rooms, conference rooms, lobby displays, offices and classrooms. New features enable real-time HD or 4K information display to a virtually unlimited number of screens at sites spanning a building, a campus or a continent.
PixelNet 2.0 input and output nodes can now be configured with fiber optic connections via SFP+ or with Ethernet. Fiber network capabilities allow PixelNet 2.0 to support very large distributed systems with an unlimited number of sources and displays across multiple locations and vast geographies. Applications including redundant control room display walls in multiple locations, manufacturing and process management, digital signage, law enforcement and security monitoring and instructional networks. PixelNet 2.0 systems can scale to suit any requirement to connect and distribute video across buildings, campuses or global networks.
With PixelNet Domain Control (PDC), centralized configuration and management of the system and its content is simple. The PDC mimic function allows operators to visualize any video wall or single display in the network, placing any video or data source in a window anywhere on the wall or within a single screen. A single source of information can stretch across a large video wall for easy viewing, or multiple sources can be viewed in many windows to enable simultaneous monitoring of complex processes. Multi-casting allows streams to be shared at multiple sites.
InFocus says that PixelNet 2.0 delivers an increased density of processing power and connectivity, which yields a per channel price reduction of 30-40 percent over its predecessor. Users from enterprise to government to education will benefit with reduced project costs or the ability to expand the size of projects.
Backwards compatible with first generation PixelNet systems, PixelNet 2.0 is easy to install and supported by the self-configuration feature in PixelNet Domain Control which automatically assigns available inputs and outputs. Content can be managed simply with the PixelNet Domain Control software, which allows users to drag and drop input sources across a display wall mimic, as well as provide control over multiple connected video walls.
Each PixelNet 2.0 Input Node allows the connection of four 4K or eight 1080p inputs, while each Output Node provides two 4K or six 1080p outputs, all rack-mounted. PixelNet 2.0 features high bandwidth networking for real-time streaming sources, pixel perfect visual quality using uncompressed video and resolutions ranging up to 4K. New datacenter-grade Jupiter by InFocus switches support up to 100GB Ethernet connections.
Jupiter PixelNet 2.0 will debut at Integrated Systems Europe at stand #2-B60 or more details are here.Leave a Comment
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|Amate Audio Launches Smart Active Compact Loudspeaker Series Called NÍTID|
ISE 2018 sees Amate Audio’s debut of its new Nítid,a high performance, ultra-compact active loudspeaker series. Nítid claims to establish a new performance paradigm for compact sound reinforcement, attaining higher SPLs and standards of sonic reproduction from cabinets of this size, at a competitive budget point.
Feature highlights include premium components and the company’s universal switching mode power supply. Integral plug and play power and control technology includes optimized DSP presets for near instantaneous setup and system configuration. Rear mounted control panels feature proprietary SensitiveTouch weatherproof capacitive sensor keypad technology. A selectable ECO mode automatically powers-down the system in the absence of any signal.
Exclusively designed lightweight speaker grilles provide robust protection and improved sound quality, with the best perforation coefficient in the market. Polyurea finishes ensure durable protection for the birch-ply cabinets and electronic circuits and controls are smartly protected against moisture. Recessed handles and custom flying points are designed to aide handling, portability and rapid deployment.
Amate Audio is here.Leave a Comment
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|Absen LED to Launch Its ‘NXTGEN’ Technologies for Rental Market at ISE 2018|
Absen Inc just announced the launch of its ‘NXTGEN’ technologies which will take place at the upcoming Integrated Systems Europe (ISE) conference in Amsterdam, February 6-9, 2018. The reveal will involve a multitude of new and innovative LED solutions covering a range of fine-pixel pitches for today’s rental applications.
Attendees stopping by Absen’s booth 12C50 will see its latest LED technologies including Absen’s newly launched Acclaim Fixed Indoor 1.5mm LED solution, designed for retail, corporate, house of worship and OOH markets.
Drawing visitors towards the Absen booth will be a 24’ wide display at 4K UHD resolution (3840×2160) with over 8 million pixels, due to the configuration using Absen’s new Polaris Indoor 1.9-millimeter LED solution. The Polaris Series is comprised of a range of high performance products with innovative technologies for indoor and outdoor events. Engineered to provide quick installation, ease of use, robustness and precision, the Polaris Series features a number of mechanical advances including Auto-Lock, Auto-Eject and Fast-Switch curve locking systems. A unique Anti-Collision PCB technology makes the Polaris Series the most robust rental series yet. Polaris features on-board components including heat dissipation technology and 18-bit image processing providing high contrast, grayscale and refresh rates for the ultimate display experience.
Polaris 1.9mm COBALT (Chip-on-Board Advanced Light Technology) is Absen’s first Chip-On-Board solution. Specifically developed to meet the demands of 1mm LED in corporate live-events and other rental applications, COBALT provides exceptional product stability and demonstrates the new level of color consistency and superior image quality.
The Polaris 1.9mm COBALT uses Absen’s NanoShield Technology which encapsulates the LED chips with a durable layer of advanced composite material that offers the highest level of pixel protection from physical damage, perfect for use in rental applications.
Absen is in booth C50 in Hall 12 with their entire product line or you can attend ISE’s seminar program, hosted in the Commercial Solutions Theatre (Hall 8) on February 6th from 12.30 – 13.00 where Absen Europe’s product director Liam Winter will highlight ‘NXTGEN’ LED. Here are more tech specs.Leave a Comment
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|Semtech Announces New Features for BlueRiver AV-over-IP Platform|
Semtech Corporation today announced an updated feature set for its BlueRiver AV-over-IP chipset which allows manufacturers of AV transmitters and receivers to address important requirements in key markets including industrial and rental and staging environments.
New BlueRiver capabilities include support for two data ports enabling failover to a second Ethernet switch when necessary in applications requiring high availability and support for automatic media selection of a copper or fiber port. The link redundancy lets manufacturers create products with two Ethernet ports which can be connected to different switches. If one link goes down, the other link will automatically be brought up and used within seconds. This is important in command and control, industrial and broadcast environments that need real-time vision and data.
Automatic media selection for a copper or fiber port is ideal for rental and staging applications such as live concerts and conferences where integrators and installers face variable network infrastructure from job to job. The automatic media selection allows products to be designed with one copper and one fiber port. BlueRiver detects which port is active and automatically uses that port for 10G connectivity. Manufacturers can select which port takes priority in case both are connected. This allows manufacturers to build a single SKU for rental and staging applications and gives installers field-level flexibility to stock just one device that is used with either 10G network type.
Semtech is here.Leave a Comment
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|TAIDEN’s New Wireless Discussion Microphones Are Digital InfraredSmaller than your average smartphone, the new digital infrared wireless discussion system by TAIDEN is a low-profile microphone designed for boardrooms and videoconference spaces. The HCS-5335 product series, with gooseneck or boundary microphone options, is officially being introduced at the February ISE Show in Amsterdam in booth 3-C105.
The solution is ultra-portable, with no equipment rack pieces. The infrared transmitter and central processor are combined in one small tabletop unit that can be placed at the center of the table with a wide coverage radius of 8 meters (26 ft.). A PoE Dante-enabled solution ensures simple, scalable installations with simplified wiring. Key conference management capabilities – audio settings adjustments, battery charge monitoring, microphone activation and camera tracking – can be achieved through web control, from any browser-enabled device.
The HCS-5335 series is using the company’s digital infrared audio processing and transmitting technology with a wide frequency response of 20Hz to 20 kHz.
Here are all the tech specs.Leave a Comment
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