Volume 12, Issue 15 — August 6, 2014
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Editorial Editorial Editorial Editorial
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Industry News Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories Audio Projection Control & Signal Processing Unified Collaborative Conferencing Media Players, Recording & Distribution Staging & Live Events
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AV People: Len Dozier of Premier Mounts
By Molly Stillman rAVe Director of Marketing & New Business Development
Len Dozier, founder of Premier Mounts, is arguably one of the hardest working people in the AV industry. Starting from the ground up, getting experience any way he could, Len has made a name for himself, and his company, over the last four and a half decades.
It all started in 1967. Len was born and raised in California but spent a number of years in Montana while serving in the military. During his time in Montana, he quickly realized that it was a tough place to get a job and raise a family, so after five or six moves, he said the heck with it and ended up moving back to California to really get his life going.
He was a maintenance electrician at the time and when his union went on strike, a buddy of his went to work for Telaudio Centre, an FM radio station that doubled as a pro audio store selling one of the first industrial video tape recorders for companies like Sony, Panasonic, JVC, etc.
“Back then I had absolutely no knowledge of what videotape [and all that] was all about,” said Len. “Working at the radio station wasn’t an easy job because most of the radio salesmen were old timers and they thought I I was too young (at 24 years old) and had too much energy.
“I eventually got them to hire me and I was paid $100 a week plus 5 percent of what I could sell. I remember the very first videotape system I sold… it was open reel, black and white camera with a nine inch monitor and I sold it to a guy who had a steel business. He paid me $1,600 cash for the system and I made 5 percent of that and that’s what got me started.”
As Len got more experience, he left his job at Telaudio Centre to work at Odetics, a spacebound recorder manufacturer in California that invented the first GYYR timelapse video recorder for security systems. It was revolutionary at the time. “It was a simple thing that I had learned early on,” Len said. “The more you demonstrated the video tape recording products, the more you sold.”
During his tenure at Odetics, Len learned of a guy by the name of Joe Girard, a car salesman for a Chevrolet dealership in Detroit, Michigan. Joe wasn’t just any car salesman, he was the number one car salesman in the country, selling 1,300 to 1,400 cars a year. Len had read an article about Joe in an issue of Playboy about Joe’s innovative tricks to selling cars and how he’d produced a series of tapes teaching other salesmen how to sell cars.
Len had an idea.
“I was 34, I’d had a hell of a self-taught education, I wasn’t financially independent like I wanted to be, and I wanted to take a year off from what I was doing and clear my head. So, I called Joe up, told him I liked what he did, and I asked him if I could take the tapes that he produced and sell them to dealerships around the country,” Len explained. “Joe said yes, so I packed up my dogs into a motor home and toured the country for a year. And selling Joe’s tapes was how I financed my trip.”
After clearing his head and touring the country, Len ended up back in Northern California with his wife and went to work for a company called Alco Paramount in San Jose. The company hired him to train a good salesforce in its ProAV division primarily dealing with video tape equipment.
Alco Paramount also had a few retail stores and one day, Len just happened to be in one of the stores when a man by the name of Steve Jobs walked in the door. The year was approximately 1979.
“I was usually never in the retail stores, but I happened to be this one particular day,” Len said. “Steve Jobs came to him and needed to buy six Sony professional monitors in order to demonstrate his first, original “wire wrap” Apple computer.
“So, I sold him the TVs and told him I would deliver them to him. When I delivered the monitors to him in his first industrial building, he demonstrated the computer for me. I think Steve really just wanted the practice of demonstrating the computer to anyone who would watch and listen.”
While at Alco, Len was working on a government bid that involved TAS (television audio support) and part of the bid called for him to make a specific carrying case for portable recorders. Each case was built specifically to fit the product that was going to be housed in it. This was a totally new concept for AV.
The more that Len looked at the case and the overall growth of the industry he was working in, he was realizing more and more that there was a growing need. It was Anvil Cases that really gave Len his first product line to represent back then.
Much to the chagrin of Alco’s president, Len left the company to start Progressive Marketing Products, Incorporated (which is still the parent company name of Premier Mounts today).
Progressive Marketing Products started out as an industry rep company and at its largest carried six lines. Over the years, Progressive became a respected name in the industry and Len was known as a thought leader when it came to product sales and rep support.
“We dropped some lines,” said Len, “Which was unique in those days, but no one ever dropped us. I was always looking for more opportunities to grow the company and so I took more control over the marketing.”
In 1987, Progressive had about six or seven employees. Len was attending an NAB show and was sitting at a table at the Las Vegas Convention Center talking with Sony.
“Sony was having good success after they had introduced their first CRT three gun projector,” recalled Len. “It was a VPH 600 projector and they were selling very well through their dealers. I wholesaled a lot of support products and Sony needed help because they were having delay problems supplying the mounts for their projectors. So, I went to a local fabricator and set up a relationship and said that I needed them to build a product for me. So, we built our first PMM 722 Basic Projector Mount and the PMM 10 Drop Ceiling Suspension Support.
“I sold those to Sony AV dealers in the United States and I started making those mounts and that’s when the mount business really took off for us.”
The business grew so dramatically that by 1994, Len knew they had to go full force into the mount business. So, they dropped all their rep lines and became Premier Mounts.
“By that time, we were building mounts for Sony and most projectors from other manufacturers worldwide and doing a lot of unique designs,” said Len. “I truly believe that good things happen to people who do good things.
Outside of his work at Premier Mounts, Len is a family man who loves his wife Cheryl and his children Tiffany Dozier (EVP of Strategic Business Development at Premier Mounts), Adam Dozier (who also works at Premier) and his oldest daughter Kim, who works for Cox Cable.
Len is an avid fly fisherman who travels to Montana with his small, 30’ travel trailer to fish any chance he gets. And he also helped built and owns a number of custom made motorcycles.
This year has really been the first year since 1977 that Len has seriously turned over the “keys to the castle.”
“At the age of 72, I’m not done,” said Len. “I’m stepping back some and letting others take charge of a lot of the day to day things, but I’m not done. I specialize in hospitality so I enjoy working on that, but I’m looking towards more time on the water, both salt and fresh fly fishing.” Leave a Comment
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Software: The Next Opportunity for AV Resellers
By Christopher Jaynes CTO and Founder, Mersive
Software always eats hardware. What do I mean by that? Just that expensive and proprietary hardware evolves into software running on commodity platforms. This phenomenon is now happening with increasing speed in AV — and it’s a great opportunity for AV resellers. It’s a chance to leverage software for ease of use, deeper integration of AV systems throughout an enterprise and reduced cost and support. Clearly, customers want these things and are seeking out AV integrators who can provide them.
This new world of software driven AV is a wireless, flexible, and connected world. When it comes to wireless, 90 percent of AV resellers are seeing customer demand solutions that provide wireless connectivity to displays. Software is central to everything, and while it is still new to the AV world, software adoption is increasing and demand is certainly there.
There are over 1 billion smartphones, 200 million tablets and 200 million laptops in use today. Combine that with 9 million projectors and 200 million LCDs in conference rooms. Then tack on more than 1 billion GB of data stored in the cloud that people want to share. How is it possible — and cost effective — to connect all of these devices and data in a meeting room? Well, let’s assume we’ll connect the video output of those devices to the world’s conference room displays using traditional, hardware-based, methods. The math is pretty straight forward. A typical 8×8 matrix video switch costs about $850 dollars. Even just connecting the 200 million laptops to the 200 million conference room displays would require 25 million switchers and cost well over 21 trillion dollars! Clearly, the current approach to inter-device screen connectivity is not scalable. You have to use existing networks and cloud based solutions to make this happen. In other words, software makes this possible.
In the same survey, AV resellers said when it comes to wireless media sharing the most important thing their customers want is a solution that supplies a rich set of in-room collaborative features. The second most important thing is a solution that integrates with their existing enterprise systems.
Wireless access to the display is the next big thing — especially for video. Video itself has introduced a great opportunity for resellers as new products have emerged providing more efficient ways to engage with customers. We see the evolution from a hardware focus to now a software focus. Wireless access to video is really premised on intelligent software deployed on the display side. Whether that’s a host PC or it’s running in a smart display. Displays that are able to listen and receive media coming in from many sources is becoming an essential technical requirement for customers. It’s a great sales opportunity for AV resellers to embrace. Leave a Comment
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5120 Is Not 4K and 4K Is Not UHD
By Mark Coxon rAVe Blogger
After my last piece on 4K and UHD and the infrastructure challenges we face in order to implement it in its best form, I honestly thought I’d be done with the topic for a while. After all, the most recent piece I wrote on 4K before that was in May 2013, almost a year prior.
Well I decided to make a joke about HDMI on Twitter and all of a sudden the snowball was in motion. That joke led to an exchange with Josh Srago on Twitter and then to a live debate on AV Shop Talk. The topics ranged form general 4K questions, to infrastructure issues, to the new HDMI spec. Specific to the 4K discussion was an exchange about the marketing confusion around 4K, UHD and 2160p. I assumed that at least the four of us left that conversation knowing the differences.
Today, I was mentioned in a tweet by AV Shop Talk regarding Samsung’s new $120,000 105″ curved display.
They quickly realized a couple minutes later that this wasn’t a 4K display but that the display would be 4K compatible in a pixel for pixel arrangement.
I don’t blame the guys at AV Shop Talk for their initial confusion; they’re extremely bright and well versed in AV. I blame the way that companies have marketed the technology. It’s been as clear as mud.
I couldn’t help but crack open my laptop on a Saturday night to try to put this to bed even in the face of my own insomnia, so here goes.
The only displays that are “4K” are 4096 pixels wide.
No more, no less. 3840×2160 is not 4K. 5120×2160 is not 4K.
3840x2160p is UHD-1. That’s what it is. That’s what we should call it because it’s important. We have to understand the nature of our displays in order to do our jobs correctly. It allows us to know what happens to our signals when they hit the display, and how to best create content to assure the best delivery.
We always get the best result when we can send a display content in the native resolution of the display. This eliminates any scaling of the image.
Secondarily, if we cannot deliver content in that native resolution, it’s best to deliver it in a way that it can be scaled more easily. This typically means working in round multiples of the native resolution. This is one of the reasons that broadcast decided to go with 3840×2160 or UHD-1 instead of the existing cinema format of 4K. Existing HD content in the 1920×1080 format scales easily into 3840×2160. Both the vertical and horizontal resolutions are doubled, creating four times the total pixels of the 1920×1080 signal. If you tried to scale a 1920 wide image to a 4096 wide display, the math gets a lot messier, and scaling becomes somewhat harder and makes the image look worse.
(Think about this: Even when the math is easy, the scaler in a UHD display is having to create 4 pixels for every one that it has data for in a 1920×1080 signal. There is more created data in the image than there is original content. That always decreases quality of the image itself, even if the resolution is higher.)
So why did Samsung pick the 5120×2160 form factor for their new monolith? (We won’t get into the curvature now but I questioned curved screens earlier this year as well.) The display is obviously created for CinemaScope content, which is wider than the standard 16:9 format we have on all the other UHD displays. Why would they create a format that uses a canvas LARGER than the Digital Cinema Package (DCP) created by the studio? This requires the image to be scaled and stretched to fit the display, or if you do a pixel for pixel match, leaves a black border all around the image. (See Below)
CinemaScope in a DCP is 4096×1716. Wouldn’t it have been smarter to make a display with that native resolution? I would argue that the answer is yes, IF the display was ONLY being used for 4096×1716 DCP content (content that I got Sony Pictures Home Entertainment to agree to sell to private individuals for home systems back in 2010, but that integrators felt they couldn’t sell so it died).
However, we know these displays will also be used for other content as well. Cable/satellite TV content will be 1920×1080 most likely, as will Blu-Ray content. Other cinema DCP content is 3996×2160 (1:85:1) — so scaling those images to a 4096×1716 canvas would cause the scaling issues referenced above. Again the math there is messy.
Samsung kept the vertical resolution at 2160, the same as the UHD standard, so that native UHD content would not need to be scaled down. That also means that the scaling can utilize round numbers for older 1080 signals. Both scenarios leave black bars left and right of the image, but fill the vertical resolution of the display fully. (See below).
Obviously that holds true for 3996×2160 (1.85:1) cinema DCP content as well.
And herein lies the irony. The very images that the aspect ratio of the display was designed to accommodate are the only images that the display will actually have to apply some rather complex scaling to in order to fill the screen completely and eliminate the black bars. This means the extra wide images the display is being sold to reproduce may most likely be the ones played back least accurately with the most artifacts.
At the end of the day, the vertical height of the $120,000 display is nearly the same as an 84″ diagonal 16:9 screen. It would be wise to reflect on what the majority of the content you consume is, and then decide whether you’d rather have black bars on your every day content to get a wider image on movie night, or whether you’d rather fill the screen on a daily basis and deal with the black bars when watching movies.
These are the type of conversations we should be having with clients when talking about 4k and UHD. Understanding the differences is the only way to help eliminate confusion and make those conversations valuable.
Have I jumped off the deep end here of AV Geekery? Let me know in the comments. Leave a Comment
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InfoComm: Do Lasers Mean a New Age for Projection Technology?
By Monica Heck Special to InfoComm International
It’s safe to say that laser has ushered in a new era for projection technology. Challenging the dominance of lamps in an increasing number of market segments, laser technology has been key to the development of the new era of solid-state light sources.
Projector light source history even has its own watershed Before Casio and After Casio eras: Casio shocked the market in 2010 when it unveiled the first high-brightness mercury-free hybrid laser/LED light source at CES, described at the time a generating over 2,000 lumens.
“Laser within projection was key to Casio,” comments Phil Clark, head of projection at Casio. “Without laser, we couldn’t have invented that light source because laser was the boosting mechanism to get that high brightness, which previous LED solutions didn’t have.”
Soon thereafter, other manufacturers started announcing their own flavor of laser-based solid-state projectors. Various combinations of true laser, LED-laser and laser-phosphor emerged to target various applications, aiming to drive down the costs associated with lamp technology while improving projector brightness and eco-friendliness.
Defining Laser
Insight Media senior analyst Matthew S. Brennesholtz reported from the recent Display Summit at InfoComm that the industry seems to have settled on some badly needed standard terminology to describe the solid-state projector world.
A laser projector is defined as a projector where all the light energy comes from lasers. “This includes projectors with RGB lasers and blue lasers driving phosphors,” says Brennesholtz. “No LEDs are used.” He highlights that pure laser projectors can go way beyond the current 12K-lumen limit of laser-phosphor, to 60K lumen and over.
Aimed at an ultra-niche d-cinema market, these ultra-bright projectors can fill large screens at a numbered amount of high-end venues worldwide. High-brightness laser projectors are no longer just a conversation topic — they are now hitting the market. Barco launched its new 6P laser for the cinema market last March in Las Vegas, saying the 60K-lumen 4K projector for large-screen format applications would soon go live in the United States and China.
Barco’s pure-laser projector is aimed at cinema but will have other applications like large venue, outdoor projection and projection mapping applications.
“A big advantage for applications that run for a long time is the fairly constant brightness,” says Bram Dieryckx, director for projector product management at Barco. “A lamp decays fairly quickly over time from hundred percent to fifty percent, at which point you have to replace it. With laser, the brightness decays over the full lifetime of the laser — which is around fifty thousand hours — to eighty percent.”
A single laser projector installation can show 3D at much higher brightness and circumvent the rapid Xenon lamp burn-out common in dual projector installations, notes Brennesholtz. He also highlights that the new 6 Primary 3D projectors, such as the one launched by Barco, are taking full advantage of the properties of laser beyond using it as a bulk light source.
The second category is defined as the laser phosphor projector: a projector where at least one channel comes from a laser driving a phosphor, either a blue laser to drive a yellow phosphor or a blue laser driving red and green phosphors. No LEDs are used in this projector.
Digital Projection introduced a 12K-lumen laser phosphor projector at ISE this year. “You can buy cheap 1.6-watt blue lasers as they are manufactured at high volume,” explained Dermot Quinn, director of product development at Digital Projection. “The projector industry is leveraging that volume and pointing lots of them at a spot on a phosphor material, so it’s no longer laser light — there isn’t direct laser light of any significant amount coming from the projector, so the regulatory industry takes a friendlier view to it. And, because the laser spots are very small, you can create quite an efficient light source.”
Finally comes the famous hybrid projector, first patented by Casio but now developed by others, which uses LEDs in at least one channel. “Bringing LED and laser together was the eureka moment of how the industry could create high brightness projection that could be used outside of small meeting room in the mass market,” says Clark.
Optoma also offers a hybrid projector range targeted at education and markets where people look at TCO rather than price. “Those products are a little more expensive than traditional lamp based products,” says Optoma head of product management Justin Halls, “but the target customer has been through the process of deploying a large number of traditional lamp-based projectors and can see that the benefits and cost savings in not having to maintain them.”
The Downside of Laser
The component cost of laser is a key factor holding that technology back from the mass market. Making a pure laser projector is more expensive than making a laser-phosphor or hybrid model.
Other downsides of laser technology include speckle on the screen and energy consumption linked to projector cooling. Laser technologies have in the past caused concern to regulatory bodies for reasons that included potential fire hazards linked to the pure power of the laser. However, those concerns are starting to ease and regulatory bodies are relaxing as this new technology matures.
Difficulties with sourcing green lasers and lack of brightness have also hampered hybrid laser and laser phosphor projectors.
“Hybrid laser or laser phosphor up until now have generated up to 3K lumens but I anticipate some developments that will enable that to do higher brightness,” says Halls. “I think we’ll start seeing laser phosphor products up to 7K, 8K or possibly 10K lumens.”
Early Days for Laser
The solid-state market as a whole is 5.2 percent of the projector light source market (excluding handheld and embedded pico), according to figures by Futuresource. Non-laser RGB LED is 3.8 percent of that number and pure laser and hybrid laser combined make up just 1.4 percent of the global total in 2013.
“It’s small but still growing and clearly has a huge future,” according to Futuresource senior analyst Mike Fisher. “It’s a technology that’s needed for the projection market to remain relevant as it opens up new markets, and opportunities like digital signage, for example, demands needs 24/7 usage.”
Digital signage installations also welcome the fact that solid-state projectors don’t have orientation limitations, which allow them to consider projectors instead of flat panels. Optoma showed a 2,500-lumen laser-LED hybrid projector at InfoComm this year, aimed at the digital signage market.
The 2K to 3K-lumen solid-state market numbers dropped slightly in 2013, which Fisher attributes to lamp projector solution providers’ becoming more aggressive with their lamp offerings and the performance of lamps rising. The rise of flat panels replacing projectors in some areas has also had an influence and Fisher feels it’s down to laser performance and cost.
Fisher expects the 3.5K to 7K-lumen higher end solid-state installation, simulation, visualization market, to see the most growth for laser solutions this year, with companies like Panasonic and Sony launching products. “It’s still niche, but high value and strong growth and we expect that to continue and expect other vendors coming into the market as well.”
Does Laser Mean a New Era for Projection?
Opinions vary on how much of an impact laser technology will have going forward but consensus is that the mainstream market is likely to benefit most from laser technology.
“If you need the world’s brightest projector and spend a quarter of a million dollars, you can do it,” says Quinn. “At the low end of the market, it’s questionable that people would even pay a premium for a projector or if they’re sufficiently educated to care.”
He notes that museums, visualization and simulation applications truly benefit from solid state reliability, color, predictability. “At 5K lumens and above, which represents the bulk of the premium market, I think laser-phosphor is going to take market share because it can compete with the overall cost of ownership of existing lamp technology but with all of the benefits of solid-state. That’s where I think things are going to change.”
“It’s a new light source, it has its advantages, it has its problems but it’s not so much going to revolutionize projectors as make them viable for some time longer,” says Brennesholtz, who also sees laser-phosphor increasingly moving into the mainstream markets and replacing lamp-based systems in high-usage applications.
“Making laser-only projectors is more expensive than making hybrid projectors that allow the production of a more affordable mass-market projection product,” says Clark. “Pure laser achieves high brightness, but of course there’s the associated price tag that goes with that.”
To see a change, the market needs solid-state technology coming into corporate meeting rooms and education classrooms and replacing lamps and strengthening the projector proposition against flat panel solution, concludes Fisher. “It has the potential to do that but the supply chain and pricing are not there yet.”
This column was reprinted with permission from InfoComm International and originally appeared here. Leave a Comment
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SynAudCon Announces Fall In-Person Training ScheduleSynergetic Audio Concepts (SynAudCon) announced its in-person (remember, when there was no need to say “in-person” with regard to tech training — it was once all in-person) seminar schedule for fall 2014.
Sound Reinforcement for Technicians (SRT) is a three-day seminar that covers the theory behind how sound systems work and demonstrates how to use instrumentation to troubleshoot systems. The seminar is will be offered in Charlotte, NC on Sept.r 17-19, 2014 and again in Dallas, Tex. on Oct. 6-8, 2014.
During day one and two, instructor Pat Brown provides hands-on exercises that use a signal distribution system and an iPod Touch loaded with software apps that allows attendees to measure voltage, impedance, polarity, SPL and STIPA. Attendees learn what these measurements mean along with how to use them to troubleshoot systems and make sure they are performing optimally.
On day three, SRT walks step-by-step through the loudspeaker equalization process with a real-time analyzer and dual channel FFT instrumentation. Attendees leave knowing what equalization is, what can be equalized and what cannot.
SynAudCon Digital, another three-day seminar, will be presented on Nov. 17-19, 2014 in Phoenix, Ariz. SynAudCon Digital is designed to provide a comprehensive introduction to digital audio, signal processing and audio networks. The materials presented emphasize the practical, leaving attendees with a thorough understanding of everything from data formats to networked audio systems.
The content is presented using multimedia formats, shortening the learning curve substantially. The seminar is taught by Pat Brown, Steve Macatee and Bradford Benn.
For more specific information about the Fall 2014 schedule, seminar agendas, and/or online registration, visit the SynAudCon site here. Leave a Comment
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NSCA’s Summer 2014 Electronic Systems Outlook ReleasedNSCA’s Electronic Systems Outlook has been updated for Summer 2014, and now includes information based upon actual data from Q1 and Q2 of 2014, and forecasted information for the remainder of the year.
Free to all NSCA members, and available to non-members for $399, the new report provides updated indicators of fresh business opportunities by tracking new construction starts and renovations in the commercial buildings sector.
In this Summer 2014 edition, NSCA’s Electronic Systems Outlook provides an updated look at construction data by markets and systems. Overall, the construction forecast remains cautiously optimistic.
In some areas, commercial construction is on the verge of breaking out of its long slumber. For instance, healthcare, and education markets have both slowed due to political circumstances. Those issues could be solved next year, and pent-up demand may come rushing into the markets. Total construction put in place is expected to grow at the rate of 7 percent this year and for the next few years.
Despite continued uncertainty, the average CCI (consumer confidence index) is trending upward, which is a good sign, although recent events like the government shutdown in late 2013 have negatively impacted construction spending.
Markets expected to increase construction this year as compared to 2013 include office, education, healthcare, lodging, and manufacturing. Markets expected to decrease construction this year as compared to 2013 include government, houses of worship, and retail. The Summer 2014 Electronic Systems Outlook provides detailed information regarding how much these numbers are increasing or decreasing, and which factors are affecting the data.
“We work with FMI to continue to monitor commercial construction reports,” says NSCA Executive Director Chuck Wilson. “At the end of 2013, we expected 2014 construction put in place to total near $977 million. Now, halfway through 2014, we expect it to total $959 million.”
Integrators can use the Summer 2014 Electronic Systems Outlook to benchmark sales numbers and prepare business valuations. Growth indicators can be used to determine incentive programs, reveal new markets that may have potential, and appropriately distribute resources. This forecast data can also be shared with financial advisors and lenders to prove the stability of systems integrators in the marketplace.
This bi-annual forecast is made possible through a partnership with FMI, a management consulting, investment banking, and research firm for the engineering and construction industry.
The Summer 2014 edition of the Electronic Systems Outlook examines the current year to date, and serves as a projection for the last half of 2014. This report is released each summer and winter.
The NSCA Electronic Systems Forecast is free for NSCA members. For non-members, the forecast can be purchased for $399. Non-members can also become NSCA members for $595 and receive this report as part of their membership package, which also offers access to discounted education and training opportunities, updates on regional and national government affairs issues, free monthly industry webinars, other helpful industry research and valuable savings opportunities with companies such as UPS, Office Depot, and Enterprise.
For more information about the Summer 2014 Electronic Systems Forecast, or to join NSCA, go here or call (800) 446-NSCA. Leave a Comment
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Chief’s New Certification Course for Digital Signage Now AvailableChief just launched a new training course, through its Chief Certified Partner Program, which focuses on digital signage solutions in ProAV environments and applications.
The course is designed to help maximize the impact of content through Chief digital signage solutions, including the new ConnexSys Video Wall Mounting System. It also provides free industry credits — 1 InfoComm CTS RU, 1.5 CEDIA CEUs and 1 DSEG credit for both the product and install tracks.
More than 4,800 users have taken advantage of Chief’s Certification Program to differentiate their business through free online training. The program is now worth up to 13.5 CTS RUs, 9.5 CEDIA CEUs, and 3 DSEG Credits. Users also earn great rewards (which vary by region) throughout their training as they reach certain Chief point levels.
Training is available here. Leave a Comment
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Smart Building Conference Expands to Four Events in 2014-15The Smart Building Conference — a joint venture of InfoComm International and CEDIA — is to expand significantly in the coming months with the staging of four events addressing some of Europe’s most energetic markets for audiovisual technology and systems integration.
Conference organizer Integrated Systems Events, the company responsible for the globally acclaimed ISE trade show, has announced a schedule that will see the SBC stop off in London, Berlin and Milan this coming autumn, before returning to Amsterdam for ISE 2015 next February.
Mike Blackman, managing director, Integrated Systems Events, comments: “After successfully staging SBC events at the last two ISE shows and in London last October, we believe the time is right to roll out the Smart Building Conference brand across Europe. Our strategy will be for our three events this autumn to have local content tailored to each country’s regional market, while next year’s Amsterdam SBC will serve as the brand’s international meeting point.”
To this end, content for the SBC events in London, Berlin and Milan is being produced in close consultation with local partners in each country, while Conference proceedings in the three cities will be conducted in English, German and Italian, respectively. As in previous years, the Amsterdam program will be conducted in English.
Content for all four events is being managed by Agata Pawlik, newly recruited conference manager at Integrated Systems Events. Fluent in four languages including German and Italian, Pawlik has over a decade of experience in B2B conference production in Europe, the Middle East and beyond.
Pawlik is to be supported by ISE’s International Sales Manager Elisabeth Kondakow, who will look after sponsorship sales, and by new recruit Ilona Jacobi, who will assist with marketing and logistics in addition to performing similar duties for the Amsterdam show.
Bob Snyder, rAVe Europe editor-in-chief and the moderator at all three SBC events so far, will continue in the role in London and Amsterdam, with local-market MCs being sought for Berlin and Milan.
The full SBC schedule and venue listing is as follows:
- Tuesday 7 October 2014 – Queen Elizabeth II Conference Centre, London
- Thursday 6 November 2014 – Mövenpick Hotel, Berlin
- Tuesday 18 November 2014 – nhow Hotel, Milan
- Monday 9 February 2015 – RAI, Amsterdam
The London, Berlin and Amsterdam events will both feature parallel tracks for residential and commercial building applications, with the first two also offering the option of full-day workshops at additional cost — the day after the SBC in London, the day before in Berlin. The Milan event takes place in the same week as the SIEC industry gathering at which both CEDIA and InfoComm are expected to offer additional industry training and networking opportunities.
“In all cases, the Smart Building Conference will focus on content of the highest quality and integrity, with best-practice presentations and panel discussions giving delegates the insight they need to make the most of the intelligent building revolution,” Blackman continues.
“Our venues have been carefully selected to offer a comfortable, businesslike environment in which speakers, partners, sponsors and delegates alike can enjoy networking and the exchange of information. With our joint-venture owners CEDIA and InfoComm International both contributing their expertise to the programme in all four of our locations, we are confident that the Smart Building Conference brand is set for a year of substantial growth.”
More information on the SBC 2014-15 schedule is here. Leave a Comment
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Need Project Management Software Just for AV Integrators?The heart and soul of iPoint Control are the project management and work order systems. And, as most off the shelf solutions don’t work for the custom AV industry, do yourself a favor and spend a few minutes on their website to learn how to use it. We played around with the software for much of a day last week and love it. AV-centric features include:
- Cross platform compatible Mac, PC, iPad or iPhone
- Designed for technicians to utilize iPads or iPhones in the field for realtime communication and delegation
- Automatically generate installation tasks from your proposal
- Technicians check in and out of work order giving you precise on-site labor costs
- Technicians can attach service note, pictures and additional parts used to every work order giving you transparency into your field activities and a solid history of work performed
- Automatically create invoices for time and materials with from work order data
- Create punch lists for quality control and consistency
- Push work order times into QuickBooks for accurate job costing
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Chief Expands Mobile XL Cart Solutions Chief’s Extra-Large Fusion Mobile Cart was designed for extra-large and touch panel displays — including the SMART 8000 series — from 55″ to more than 100″ and up to 300 pounds (136 kg). It has space for internal storage, including hardware to vertically mount 2 RUs worth of AV gear.
The Extra-Large Fusion Video Conferencing Cart comes fully assembled with a camera shelf and 11 RUs of rack rail for rack mountable and non-rack mountable components. The XVAU cart was designed for 37-70″ displays up to 250 pounds (113 kg).
Both carts can be customized for dual monitor video-conferencing use with the dual monitor accessory (FCA623B).
Features include:
- A turn knob to allow a single user to easily adjust the screen height
- Rounded edges and sleek aesthetics
- Removable panels for easy component access and cable management
- Room for internal storage of AV components
- Lockable front casters
The XPAU and XVAU are now available and details are here. Leave a Comment
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Extron CableCover Makes Conference Room Cable Management Easier Extron’s new CableCover is a durable, fitted bag that mounts below most Extron Cable Cubby, Cable Cubby Series/2 and TouchLink Cable Cubby enclosures. When installed, CableCover improves under-table cable management and aesthetics, minimizing cable tangles and preventing accidental disconnections. CableCover is 19″ (48 cm) deep, providing ample room for up to eight AV cables or three Extron Retractor Series cable retraction modules. Three pass-through openings at the top and bottom of the bag facilitate cable installation and connection with both surface- and floor-mounted AV products. CableCover is constructed of flame-retardant, black polyester fabric and includes a roll of self-adhesive, hook-and-loop tape for mounting to the enclosure.
CableCover is compatible with most Cable Cubby enclosures and can be retrofitted to existing installations. CableCover meets the California Bulletin 117 — Section E flammability standard for furniture-grade textiles.
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Pakedge Ships BakPak Cloud Management System Pakedge Device and Software’s new BakPak Cloud Management System lets system integrators remotely monitor, manage and maintain their clients’ networks to ensure that they are continuously operating properly. From a smartphone, tablet or any computer web browser, a technician can manage multiple client networks through a simple centralized dashboard. Configurable alerts, sent through text messaging, email or push notifications, instantly inform the technician of any connected device or network component issues. Upon detection or notification of a problem, the technician goes to the dashboard to begin the resolution process. Identification of the faulty devices is facilitated through the visual interface — all connected devices are mapped in a hierarchical structure with the faulty device highlighted in red. In contrast, a properly-operating device is highlighted in green or yellow. Once the faulty device is located, the technician can either power-cycle the unit on or off through the upstream Power over Ethernet (PoE) switch port, or through a connected power controller. Advanced repairs and configuration updates can be performed by accessing the device portal from the dashboard. All of this is done off-site of client premises, in real time, through any iOS or Android-based smartphone or computer web browser.
The BakPak Cloud Management System comprises of the NP36 hardware device and the BakPak web/smartphone app. The hardware unit integrates and manages information from the various connected devices and makes it securely accessible from the cloud. The software app provides the interface that technicians use to manage the network. The system is available in three different device management configurations — up to 25 devices for small networks, up to 50 devices for medium size networks, and over 50 devices for large networks. The device limits only apply to non-Pakedge equipment; an unlimited number of connected Pakedge equipment can be monitored regardless of which BakPak configuration is purchased. Users with pre-release versions of the BakPak Cloud Management System should contact Pakedge technical support to bring their system up to the current release version.
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Mackie Launches “Affordable” Creative Reference Speaker LineMackie just launched its Creative Reference Multimedia Monitor Series, which the company says is an “affordable” version of a studio-quality speaker.
The series includes two models — the CR3 and CR4 — with 3-inch or 4-inch woofers and 3/4-inch silk-dome tweeters. CR monitors are housed in all-wood cabinets and include custom-tuned rear ports. Unique to the line, a left/right speaker placement switch allows users to locate the volume control on the left or right of their workstation. The front panel includes a on/off/volume knob with a lit power indication ring that will also control the volume of headphones, which can be plugged directly into the front of the monitors. Great for comparing mixes, auditioning files or just enjoying a bit of music or video, there’s also a front-panel aux input for simple connection of a media device.
Creative Reference monitors come with all the connecting cables needed for the user to get started immediately. As a bonus, there’s even a pair of acoustic isolation pads included. Used in professional applications, acoustic isolation pads minimize unwanted bass buildup that can muddy a mix. Plus, the pads’ angled design allow the user to tilt the monitors slightly up or down for more focused listening depending on their setup.
The new Mackie CR3 and CR4 Creative Reference Multimedia Monitors will as pairs ship in August, and the CR3 will list for $129.99 while the CR4 monitors will list for $199.99.
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PreSonus Delivers Complete Mobile Recording Studio PreSonus’ new USB 2.0 bus-powered AudioBox iOne audio interface and AudioBox iTwo audio/MIDI interface are universally compatible with Mac, Windows and Apple iPad. These mobile interfaces include PreSonus’ Studio One Artist DAW for Mac and Windows, new Capture Duo recording software for iPad and a Nimbit Free account for online direct-to-fan distribution of music, merchandise and more. With Capture Duo or Capture for iPad and an AudioBox iOne or iTwo, you can record with an iPad, then wirelessly transfer your recordings directly to Studio One Artist. The result is an integrated, end-to-end, mobile solution that includes everything needed to record, edit, mix and share music anytime and anywhere.
The AudioBox iOne includes one instrument input and one mic input, while AudioBox iTwo offers two combo mic and switchable line/instrument inputs. Both feature Class A mic preamplifiers with phantom power and 24-bit, up to 96 kHz converters with 105 dB of dynamic range. The DACs feed balanced ¼-inch, line-level outputs and a clear headphone output with independent level control. The AudioBox iTwo also includes MIDI In and Out. Each interface has an internal analog mixer with zero-latency monitoring, enabling you to monitor recorded tracks and overdubs without audible delay.
Small, lightweight and USB bus-powered, the AudioBox iOne and iTwo can sit on a tabletop or fit in the pocket of a backpack or laptop bag. They’re built to travel, with a metal chassis and knobs and jacks secured directly to the enclosure to reduce strain on the internal circuit board.
Both interfaces work with any recording software that supports Core Audio (Mac) or ASIO (Windows) and here are all the detailed specs. Leave a Comment
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Extron Intros SpeedMount Ceiling Speaker System Extron just launched the CS 123T SpeedMount Ceiling Speaker System, a patented low profile, plenum rated two-piece speaker system that offers a wide 165° conical dispersion for flexibility in speaker spacing. The system is designed for applications where high intelligibility and maximum coverage is desired in paging applications and low ceiling installations. The innovative system consists of the CS 120P plenum rated enclosure and a CS 3T full-range speaker cartridge. The enclosure installs quickly into 2′x2′ (61 cm x 61 cm) or 600×600-millimeter suspended ceilings. The speaker cartridge features a 3″ (7.6 cm) full-range driver, and can be used in 70/100 volt or 8 ohm operation. The CS 123T is available as a complete assembly, or the CS 120P and CS 3T can be purchased separately to accommodate division-of-labor installations.
The CS 123T is available as a complete assembly including a pair of CS 120P enclosures and a pair of CS 3T full-range speaker cartridges. The enclosures and speaker cartridges can also be purchased in pairs separately, so they can be delivered to low-voltage and AV system contractors.
The CS 120P plenum enclosure installs quickly into 2′x2′ or metric 600×600-millimeter suspended ceiling grids. It features a shallow 5″ (12.7 cm) profile, which simplifies installation into congested ceiling spaces around piping and ducts. The integrated tile bridge of the enclosure rests on the ceiling tile above the grid, evenly distributing the weight of the CS 120P and the CS 3T speaker cartridge. This avoids the need to assemble V-rails and C-rings, greatly reducing the number of installation steps and the chances of losing installation hardware.
The CS 3T speaker cartridge features a 3″ (7.6 centimeters) full-range driver, and can be used in 70/100 volt or 8 ohm operation with a behind-the-grille, six position power selector switch. The cartridge installs quickly and easily into the CS 120P enclosure. The CS 3T delivers full-range audio reproduction and a wide conical dispersion of 165 degrees for vocal clarity and broad coverage. The CS 3T is optimized for voice reproduction and paging applications. It features a power rating of 16 watts continuous pink noise and 32 watts continuous program capacity. The CS 3T features a magnetically attached grille and a thin-edged bezel for a refined appearance on the ceiling.
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BenQ Intros Two Interactive Short Throw PJs Aimed at ED Market BenQ America launched two new short-throw projectors last week: the MX852UST and MW853UST. Both feature BenQ’s so-called Colorific image quality, offering native XGA (MX852UST) and WXGA (MW853UST) resolutions that claim a 10,000:1 contrast ratio and 3,000 and 3,200 lumens of brightness, respectively.
The MX852UST and MW853UST are compatible with BenQ’s PointWrite technology — allowing up to four participants to simultaneously collaborate on screens as large as 190 inches. Featuring auto calibration, the tool allows teachers and students to interact via enabled pens or finger touch technology on any type of projection surface. Inputs include VGA, HDMI and network ports and they use BenQ’s SmartEco technology, which the company says reduces power consumption by 70 percent via automatic lamp power adjustment based on precise brightness requirements.
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Extron Ships New Five Input Audio Expansion Processor with AEC and Dante Extron is now shipping its née AXP 50 C AT, a five input audio expansion processor with Extron ProDSP for integrating remote microphones and other sources into a Dante-enabled Extron DMP 128 audio system. A single Ethernet cable from one AXP 50 C AT, or several linked units, to a central equipment rack significantly reduces the effort and expense of pulling one cable for each mic. The AXP 50 C AT provides 48 volt phantom power and a digital control port to all mic/line inputs. Dedicated signal processing is available for each input, including gain, filtering, dynamics, and AEC – acoustic echo cancellation. FlexInputs offer the additional capability to process a Dante channel in place of a local input. The intuitive DSP Configurator Software makes it quick and easy to set up DSP parameters and AEC on the AXP 50 C AT.
In an installation with a large number of mics, the AXP 50 C AT audio expansion processor places audio signals onto the Dante audio network using standard IP networking. Signals are received as expansion inputs at one or more DMP 128 AT processors. A sound system designer can incorporate several AXP 50 C AT input expanders to create large mixing matrices of remote inputs for DMP 128 AT processors using the built-in four-port Gigabit switch. This simplifies scalability and the audio cabling infrastructure by avoiding long analog mic cable runs. The 1U, half rack width enclosure enables installation underneath a conference table, inside a credenza, or anywhere microphones or other sources may be situated.
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DVIGear Launches Line of HDBaseT Extenders DVIGear just launched two new HDBaseT extenders in the DVI-7520 and DVI-7525 aimed at the commercial AV and rental markets.
DVIGear says both the DVI-7520 and DVI-7525 extend uncompressed HDMI or DVI, embedded audio, bidirectional RS232 and IR and Ethernet (DVI-7525 only) using a single twisted-pair CATx cable. They claim that both these extenders support HDBaseT 5Play, route resolutions up to 4K / 30p (UHD) resolution, bidirectional IR, POH (see below) and long range operation:
- DVI-7520: 4K / 30p up to 130 ft. (~ 40 m), 1080p up to 230 ft. (~ 70 m)
- DVI-7525: 4K / 30p up to 230 ft. (~ 70 m), 1080p up to 330 ft. (~ 100 m)
Using “Power over HDBaseT” (POH), this uses a standardized 48 VDC power as well as a handshake feature that prevents power exchange with incompatible devices. As you know — and about which we have written extensively — today there are many HDBaseT products on the market that utilize non-standard implementations of power over the HDBaseT link. This problem has created numerous interoperability challenges for system integrators who are faced with HDBaseT products that do not work with each other or in some cases actually cause equipment failures. Kudos to DVIGear for doing HDBaseT right.
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Quantum Data Debuts 780 Series Test Generators for 4K HDMIThe Quantum Data 780 Series of handheld test generators are battery-powered, portable video and audio generators and HDMI analyzers that enable you to conduct quick, on-site verification testing and troubleshooting of your HDMI system and analog video (VGA or RGB) displays. The 780 Series include a reference HDMI source and a reference HDMI sink interface allowing you to test audio, video and HDMI protocols — HDCP, EDID, CEC and infoframes — of any type of HDMI device: sources, repeaters and sinks.
There are four models:
The 780: The 780 supports HDMI testing at pixel rates up to 165MHz and TMDS rates up to 225MHz for deep color on the output and pixel rates up to 150MHz on the HDMI input.
The 780A – 4K: The 780A supports testing of 4K Ultra HD HDMI 2.0 devices at 50/60Hz. And it also tests HDMI 2.0 features including 4:2:0 pixel encoding on sources and sinks and EDID emulation for testing HDMI 2.0 sources and distribution devices.
The 780B – 4K: The 780B supports all the features of the 780A including 300MHz on the HDMI Rx and Rx ports for testing of 4K Ultra HD HDMI 2.0 devices at 50/60Hz, but adds a larger screen (7 inches). In addition to supporting of testing of HDMI 2.0 devices including tests for 4:2:0 pixel encoding on sources and sinks and EDID emulation for testing HDMI 2.0 sources, it also outputs 21:9 aspect ratio formats. Finally, an automated EDID test option enables automated testing of source devices’ handling of a variety of EDIDs.
The 780C – 4K: The Quantum Data 780C Multi-Interface Interoperability Tester is a portable digital video generator and analyzer that enables you to run tests on various digital video devices and network distribution devices on site or in the R&D lab. The 780C instrument provides a 7 inch color touch screen for operation and for viewing status of outgoing and incoming video and audio. The 780C is equipped with multiple interface types including HDMI, HDBaseT, 3G-SDI and component analog. Testing digital interfaces is supported by both an output port and an input port to allow testing of digital video sources, displays, audio devices and distribution devices. Testing hybrid converter devices supporting 3G-SDI, HDMI, HDBaseT distribution networks is possible as well.
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Kramer Intros VS-62H Ultra HD Matrix SwitcherKramer’s new VS-62H is a 6×2 HDMI matrix switcher that is 4K capable at 2.97Gbps per channel.
The VS-62H is in a small desktop form-factor and includes embedded webpage control, RS232, IP and front panel controls. The system features three levels of automation per output (Last Connection, Priority and Manual Override) that could even allow for a controller-free operation (automated switching). The video detection for automation is based on actual video clock signal recognition.
The two independently buffered outputs are geared towards dual-screen or video-conferencing applications with resolutions of up to Ultra HD (4K). As part of the automation support, there is also a display standby feature that automatically turns off an output to which no input is routed.
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Blackmagic Makes ATEM Camera Control 6.0 Available Blackmagic Design has released its ATEM Switchers Update 6.0, which adds support for controlling cameras from ATEM production switchers via the program feed to the camera. This is a free update from the Blackmagic Design website.
According to Blackmagic, the ability to control cameras from the live production switcher was previously only available to extremely high-end broadcasters who had the costly infrastructure that allowed this feature. With the new ATEM Camera Control software update, ATEM live production switchers can now control cameras via a new open standard protocol sent to the camera via the return program feed.
ATEM Camera Control is compatible with the new Blackmagic Studio Camera when running software update v1.8.2 or later. The Blackmagic Studio Camera HD and Blackmagic Studio Camera 4K models feature both optical fiber and regular SDI program return feeds to the camera and the commands from the switcher are broadcast to all cameras via this program return feed.
The Blackmagic Studio Camera can be controlled via a regular CCU style of control, however to allow even greater creativity, the Blackmagic Studio Camera has a fully featured DaVinci Resolve primary color corrector built in featuring the same YRGB style grading that is found on DaVinci Resolve.
This new ATEM Camera Control with color correction will allow customers to not only get perfect matching between cameras on live production, but operators can also take into account changing light conditions, which is common on outdoor events. Then when customers need to generate creative looks, such as for music videos, they can push the correction further for exciting looks all in real time.
The control panel in the ATEM Software Control allows normal operation of the ATEM live production switcher, but then at any time the user can select the camera tab and then see the controls for each camera. They get a familiar CCU style of interface with easy control of black and iris settings on the camera as well as focus. When controlling a camera, this camera is automatically output using one of the switchers aux. outputs so the operator can use this aux. output to local monitoring.
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Sharp Ships 24” 10-Point Touchscreen LCD Sharp’s new LL-S242A-W is a 24” LED-lit LCD touch screen that offers 1,920×1,080 resolution monitor with a viewing angle of 178 degrees, both horizontally and vertically. It includes 10-point multi-touch capability that also features handwriting support via a fine-tipped touch pen. One cool feature is that a palm cancelation function prioritizes pen recognition, so you can write with the touch pen even if your palm is resting on the screen.
The LL-S242A-W connects with Sharp’s interactive whiteboards and Sharp video walls and is aimed for use in meetings, presentations, seminars and lectures held in large venues. Content on the LL-S242A-W, including the presenter’s handwritten annotations, can be mirrored in real-time on the interactive whiteboard or video wall for all participants to see. Sharp says the bundled touch pen allows smooth onscreen writing of both text and lines as it uses a 2 millimeter tip.
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Extron Tackles Lecture Capture with the Introduction of the SMP 351 and FlexOSExtron just launched the SMP 351, an H.264 streaming media processor for capturing and distributing live AV sources and presentations. Featuring up to five inputs, the SMP 351 creates high-impact content by combining two high resolution signals, a background image and metadata into dynamic layouts that enhance a presentation’s message. The SMP 351 supports both live streaming and recording capabilities, allowing a presentation to be delivered anywhere a network can reach. Extron’s FlexOS embedded operating system makes it easily-adaptable to new requirements, and applications can be uploaded to the SMP 351 to automate system operation using control ports. It is easy to use, and with no licensing fees, has a low cost of ownership.
The SMP 351 offers extensive streaming capabilities. It can stream and record simultaneously and can stream concurrently at two different resolutions and bit rates using a range of transport protocols and session management options. The SMP 351 creates MP4 media files that are directly compatible with virtually any software media player and popular content management system. MP4 recorded media can be saved to the internal solid state drive, a USB thumb drive, or a network storage directory to meet different application requirements. Designed for use in professional AV systems, the SMP 351 can be controlled using serial RS232, Ethernet and four digital I/O ports. Install FlexOS applications onto the SMP 351 to interface with control ports and automate system operation.
The SMP 351 is complemented by Extron Streaming Content Manager — SCM software. SCM is used to administrate users, groups, and recordings produced by the SMP 351. SCM also processes the recorded media into file packages that provide a data-rich playback experience using the Extron Media Player — EMP, a browser based media player that can be operated from virtually any computer or mobile device.
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GLP Launches New Generation of X4 XL LED Lights GLP’s next generation impression X4 XL LED moving head has 55 RGBW LED sources, each rated at 15 watts and each color matched to align across units. And with its quad color sources, the impression X4 XL offers a color pallet ranging from soft pastels to deep, strong saturated colors.
For effects across its face, the X4 XL allows for individual control of each of the 55 pixels, with a complete range of patterns built into the fixture as standard. Custom patterns can be programmed quickly and easily via a few DMX channels and recorded directly into the control desk. The X4 XL standard DMX mode uses just 26 channels with access to all functionality.
GLP says the optical system of the X4 XL has been designed to give even coverage of both color and intensity across its beam at all zoom ranges and doesn’t suffer from dark spots, remaining faithful to the core needs of a washlight and not sacrificing performance for gimmicks. And, the optical dimming performance of the X4 XL claims no color shift occurring during any part of the dimming process as an electronic shutter gives a wide and varied strobe effect up to 25 flashes per second, with built-in macros for ease of programming.
Finally, the impression X4 XL features 16-bit pan and tilt control, with 660° of pan and 260° of tilt movement, complete with feedback sensors to ensure positional accuracy at all times.
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For all you REGULAR readers of rAVe ProAV Edition out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: We run what we want to run and NO ONE is going to pay us to write anything good (or bad).
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Everything we publish is opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship publication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition is co-published with CEDIA, covering 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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