Volume 12, Issue 22 — November 24, 2014
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Editorial Editorial Editorial Editorial
Editorial
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Projection
Audio Control & Signal Processing
Displays Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories
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Under Pressure: Uncompressed vs. Lossless
By Mark Coxon rAVe Blogger
In today’s world of video, there are a lot of numbers swirling around. We have resolutions like 4096 (4k), 2160p (UHD), and 1080p. We have frame rates like 24, 29.97, 50 and 60. We have color bit depths of 8, 10 and 12. And we have data bit-rates of how fast all this data is transferred down our cables. It’s enough to make all but the most patient engineer’s head spin.
Then we have the additional pleasure of having to distribute these signals over multiple types of cables and distribute them through several different types of switches. We even convert the signals to other signals to make sure we can push them longer distances through the aforementioned cables above.
If you really think about everything that happens in this convoluted chain of electrical manipulations, its amazing that we ever get a picture back on the other side in the first place. Thankfully we do get a picture at the other end more often than not, (even if sometimes it takes hours of troubleshooting to attain). But what is actually happening to our pictures in the process?
Two words typically emerge when discussing video extension and video distribution. Those two words are “uncompressed” and “lossless.” Manufacturers love to use these words when describing their products, but what do they actually mean?
Video signals are usually compressed to save space. The space in question is the space required to store the video. Compression is almost always required in stored media. Think about a movie for instance. Blu-Ray discs easily store a 1920x1080p movie that plays at 24fps. However, if you calculate the space needed for a file of that size, (even at 8 bits and 4:2:0 color sampling), that file would take up 536 GB of space. (Here’s a fun tool to play with to calculate uncompressed video in case your geekery overtakes your weekend). Yet a Blu-Ray disc is typically 50GB. How does that happen? Compression. In VTC scenarios, most codecs are using H.264. Compression.
Now let’s explore the other term, “Lossless.” Compression can actually be either a “lossless” process (preserving every bit of data but just compressing it to take up less space) or a “lossy” process where pieces of the data are actually thrown out. So given these parameters, compression is not always a bad thing for quality as long as the compression is lossless. It can be bad for our signals if the compression is lossy.
Funnily enough, most of the compressed signals we deal with use lossy compression. MPEG-4 and H.264 notwithstanding. This is why we get motion and compression artifacts in many of our signals. The codecs (compressors/decompressors) use algorithms to predict what data should have been in the spot where the data was tossed aside, and some do this better than others. We make quite a few compromises to save space and bandwidth.
We are now seeing companies start to adopt better compression schemes like JPEG2000. JPEG200 is the standard compression scheme for digital cinema packages used in theaters. It is a major upgrade to MPEG-4 in that it is less lossy and much more resistant to bit errors and artifacts. (It can also be used in a way that is lossless as well).
Some extenders like these from SVSI now use JPEG2000 compression to allow larger video streams like UHD to pass through standard gigabit Ethernet switches. An uncompressed 3840x2160p signal averages around 6 Gbps (depending on bit depth and refresh rate) while SVSI can use JPEG200 to get that under 900 Mbps to pass through a gigabit switch. (If you want to do uncompressed UHD, SVSI does that as well at 6 Gbps but you’d need a 10G backbone with SFP connectors).
So if a system can distribute, extend and switch signals by compressing them and do it in a way that is lossless, what is the advantage to having an uncompressed signal? The answer is latency. Compression on the send side and decompression on the receiver side take some time. How much time depends on the technology being used. The SVSI piece mentioned above advertises a 16ms delay. I’m not sure if that is cumulative or at each side, but either way, it doesn’t sound like a lot. However, in mission critical situations, the importance of that latency would need to be discussed.
At the end of the day, I think we can all agree that the idea of our signals being compressed and lossy does not sound very attractive. We’d much rather tell our clients that their signals are uncompressed and lossless. The reality, however, is that compression can be lossless and not compromise the integrity of the signals given that latency is not a major issue.
So here is the million dollar question. If you extend a your Blu-Ray or VTC signals with video extenders that tout “uncompressed” signals, is the signal actually uncompressed? No. It just means that the extenders didn’t compress the video again. It transferred the already compressed video from point to point without squashing it down again. It was lossless and traveled without delay from point A to point B, BUT it was lossy before it ever arrived at point A to begin with!
In summation: Uncompressed is not always realistic. Compressed is not always bad. Lossless does not always really equal lossless. Lossy is never a good thing.
Have a great weekend #AVTweeps.
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Shedding Light on a New App
By Scott Tiner rAVe Columnist
Several weeks ago I had a visit from my Draper rep, David Trapani. We got into a discussion about the products that Draper has for high ambient environment situations. I asked David how can he determine when we should use a special screen product. David took out his light meter and we started taking some samples. I explained that I I don’t always have the light meter with me when I am doing walk throughs. Also, people always look at you funny when you take out the meter. He suggested I check out an application called the Whitegoods LightMeter. According to the David, the app did an accurate job of taking readings.
I decided to do a side-by-side comparison between the white goods product and a professional light meter. I downloaded the light meter application and borrowed a pro light meter. An important note is that the Whitegoods LightMeter allows you to calibrate the meter, or simply set an option for a bright room or a dim room. I think it is very important to calibrate the software with a professional meter. In my testing, this is the only way that I was able to get consistent and reliable readings.
I first set up the meters side by side in an office setting. The reading on the light meter ranged from 41-43 FC. The Whitegoods app got a consistent reading of about 45. Second, I tested the meters out in a presentation space. I took light readings on the screen, and with the pro meter, the range was about 13. The Whitegoods LightMeter read 11. I tested in a few other scenarios, including a video conference room and our executive board room. While the readings from the Whitegoods app did vary above and below the pro meter, they were always very close.
These results left me very encouraged about the possibilities of using my iPhone as a light meter. A couple of other perks of the app are also very promising. In particular, while the app is taking its reading, the display will tell you what you can do in the amount of light. In my example of an office setting it reads “Ideal light for: …office desks, exhibition, conference, teaching spaces…” I find this particularly helpful because I believe it helps to demystify some of the work we do.
When we are doing a site walk through and pull out a professional light meter, many people react with a sense of: “This is being taken way too seriously” or, “Oh boy, this is gonna cost some money.” The reason is that most people don’t know or understand the device and taking the time to teach them the readings is probably not worth the time. However, pull out your phone and sit it on a table and have them see the readings, along with an explanation, and suddenly it is real but also very approachable. You can take it over to where the screen will be and allow the customer to play with lighting settings — having them watch the changes on the app is really powerful. Suddenly, they are part of a process and design, and you don’t have to “sell” them on the importance of lighting. They get it. They see it!
The application has some help on its info screen, but frankly is lacking overall in the area of useful documentation. There is no real explanation of how to calibrate the software. One page of their info lists common values of lighting. This is very useful and could be used to educate customers even more. It would be nice if this information was moved to the main page, and put on some type of meter (like a typical VU meter) where you could see how the light level affects projection or monitor display. Many customers are very visual and this type of image would be helpful for them.
Overall the Whitegoods LightMeter is an app that is worth its cost. Speaking of cost, it is free. I have no idea why, because it also does not have advertisements. Even at $4.99, this app would pay for itself immediately. Due to the limitations of angles that the lens on the phone can accept light, it will never be 100 percent accurate with readings. So, obviously if you are doing the final settings on a light system, or designing a light critical application, like a studio, then a professional meter is the way to go. However, for other instances where you are trying to get readings on your own, or help your customer understand the environment, this product is a hit! Leave a Comment
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AV People: Penny Sitler of Draper
By Molly Stillman rAVe Contributor
Penny Sitler is a staple of the AV industry… but working in AV wasn’t something she originally thought she’d do!
“I really did fall into the industry,” Penny explained. “ I went to DePauw University in Greencastle, Indiana. My passion was for languages and business and I was a romance languages and international business major. Back when I could take an intro to computer programming class and they’d roll a Radio Shack TRS80 into the room to teach us… it just didn’t seem all that interesting at the time.
“While I was in college, I’d come home for the summers and I’d work for a local company… I was a summer intern at Draper Shade & Screen (as it was called then). I worked for the marketing manager, John Pidgeon. I remember asking him if he would look over a cover letter and resume for me and instead of doing that, he offered me a job. So, I have worked for him ever since.”
That was almost 33 years ago, and John is Draper’s president today.
Penny started off working with print promotions and brochures — developing a lot of the marketing materials. She also did some sales support at the time because, quite frankly, a full time advertising department just wasn’t needed at that time.
Penny has loved that over time, things at Draper, Inc. (and in the industry) have just grown. The technology has changed and evolved and Draper produces all its marketing in house… whereas they used to go to an outside designer for typesetting and page layout…and the internet, video production and social media just didn’t exist. Today, Draper is doing all of those things (and SO MUCH MORE) in house. The marketing team is a team of eight very creative people now. So things have come a long way.
Between Draper’s growth in size, number of employees, product volume and strengthening of its lines, it’s all added so much interest to the creative work that Penny and her team get to do. Penny believes that’s a big part of what contributes to her longevity (and so many others’) at the company.
“It is not uncommon for people to stay here at Draper a long time,” said Penny. “I work with people where we have raised our children side by side. Most of the sales management team have been here at least 15 years. If you go back to the factory, I knew a man who retired after more than 50 years with Draper. We have others who have been here 40+ years.
“The company is really personal — family owned since 1902 — started by John’s great grandfather and the owners have a real commitment not only to the industry, but also to the community and the employees… they balance making decisions. They don’t look only at the bottom line. They make it very clear to all of us that they are taking into consideration what’s good for the company, employees, and community. It’s a good place to be. Plus, we’re in a small town community and many of us have local roots.”
Draper is headquartered in Spiceland, Indiana — a very small town of a population of just under 1,000… the employee base of Draper is about 500. So the Draper factory and facility is definitely the largest thing in Spiceland.
As a person who has stayed rooted in a small, rural community, Penny loves that she’s able to get out and connect with the rest of the industry — people from all over the country and all over the world.
“We have lots of relationships with dealers who are selling our products,” said Penny. “I love meeting my peers. The growth of social media has helped so much because it’s so easy to stay in touch with people between trade shows and other events that bring us physically together.”
Outside of her work at Draper, Penny has been active for over 20 years with the Indiana Business and Professional Women. That’s one of the ways that she loves to give back.
Penny also has a husband who is a pastor and she loves supporting him in his ministry.
Another fun fact is Penny is also a musician (a pianist) and participates in a lot of church music… in fact, she winds up going to a lot of different churches to play.
“I have been playing the piano since I was five,” said Penny. “I worked at it pretty hard all the way through high school and then it came time to decide what my greatest passion was and it just wasn’t piano… but I do still enjoy it very much.”
On top of that, Penny and her husband have two wonderful kids, both in college now. Her son is a composer and songwriter and is in a band. Her daughter is going to school in St. Paul, Minnesota and Penny is very thankful for Skype in order to keep in touch.
Overall, Penny is driven to love and support her family and her Draper and industry colleagues.
“Coming into the industry today, there’s a lot to learn, but there are so many opportunities to learn,” said Penny. “I encourage anyone starting out to get out there and find the classes, read the blogs, and learn and connect from the people of this great industry.” Leave a Comment
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A Review of SurgeX SEQ Power Bank and Envision PCS Remote Diagnostic Unit
By Lee Distad rAVe Columnist
Serendipity strikes at opportune times.
A couple of months back the eleven year old power conditioner connected to the system in my media room died. Shortly after I had blogged at rAVe about the troubleshooting exercise I treated it as, sharing with readers the apathy of the vendor’s help desk towards such an old product, my friend Nick Brown, also a publicist for SurgeX, reached out to me.
He offered me the opportunity to test and evaluate a couple of their new products, the SurgeX SEQ power bank and the Envision PCS EV-12020 remote diagnostic unit.
Designated as a programmable, sequenced surge eliminator, the SEQ is a mid-sized power unit (SurgeX also offers models that are much, much larger) which offers programming of sequencing parameters, current conditioning, shutdown thresholds, and surge protection all in one unit. It includes two always-on receptacles and all four banks are programmable, with a total of 14 outlets. Setup and programming of the SEQ is performed via an LCD display on the front panel.
SurgeX’s power conditioning makes use of its Advanced Series Mode surge elimination technology. Dave Perrotta, VP of operations and engineering for SurgeX parent company Electronic Systems Protection, Inc., when I interviewed him for this review, explained, “Advanced Series Mode is superior to conventional MOV circuitry or MOV-Hybrid designs. They completely eliminate surge energy up to 6,000 volts without producing harmful side effects such as ground contamination or common-mode disturbances.” Further elaborating, he says, “Completely non-sacrificial and never needing reset, [the filters in the circuits] provide the most reliable protection available. Our Sequencers also feature both common mode and normal mode impedance tolerant EMI/RFI filtering, ICE (Inrush current elimination), and CouVS (Catastrophic over/under Voltage shutdown) for a complete power conditioning solution.”
Perotta further explained that the advantage of SurgeX’s multi-stage ASM is that unlike MOV surge suppresors, they don’t wear out over time: The level of protection doesn’t degrade over the life of the product. “Major events for the most part aren’t what causes issues,” he said, “It’s the smaller daily events over time. More and more of that energy gets through as the MOVs wear out.” It’s the death-of-a-thousand cuts, and can be the difference between your AV hardware lasting two to three years vs. seven to 10 years or longer.
Beyond surges, the SEQ protects against transients and Common Mode EM and RF noise, both of which are associated with reduced quality of audio and video, as well as playing havoc with microprocessors. Additionally, it protects against over and under voltage events, and is able to sequentially shut down when either over or under voltage persists excessively.
Designed to work on the front end of SurgeX’s power banks, the Envision PCS from SurgeX’s sister company ESP, is a diagnostic tool that allows integrators to assess the quality of the AC power service going in to their installations.
Incorporating power protection, diagnostic software and real time scope meter capability, the PCS gives service teams the ability to identify power problems quickly and accurately, reducing troubleshooting time and labor costs.
The Envision PCS allows service techs to monitor live electrical incidents, gain enough useful data to reduce “no-problem found” service calls through providing detailed reports to prove electrical anomalies to customers.
That’s a benefit that is not to be underestimated in its utility, as dealing with “gremlins” in the form of electrical anomalies playing havoc with our installed base ten years ago. Having in-depth reporting on the quality and quantity of power service into the building is a huge benefit for AV Pros. If you’ve ever had to argue with the utility company about over/under voltage service issues you know that unless you’ve got hard data to present you won’t get very far with them.
Using the diagnostic software, service techs are able to monitor power disturbances, record events, customize equipment voltage settings, and analyze electrical data via multiple display and communication modules. Even during power outages, the internal battery allows the Envision PCS to continue providing data during power outages (spoiler: data will say “Input Power: ZERO”). Date stamped, and tracked in real time, parameters that are recorded include voltage and amperage, neutral to ground voltage, crest factor, power factor and line frequency metrics.
Events, which are another way to say “crises,” are anomalies that deviate from the normal voltage and amperage that the line connected to the system is supposed to maintain. Events that the Envision PCS is able to identify and report include over/under voltage, surges, outages and shutoffs. Further, the unit is able to identify wiring faults. Data like that is valuable when an AV Pro needs to sit down with both the client and the electrician and prove that the building’s electrical system was wired incorrectly.
Additionally, the Envision PCS incorporates ESP’s Multi-Stage surge and noise protection and includes advanced capabilities such as Cat 6 network protection and ground fault protection.
Installing the SEQ and the Envision PCS was mostly simple: sketching out which source and display devices in my AV system will plug into which outlets in each bank. I did encounter one snag though.
Both the SEQ and the Envision PCS are 20-amp appliances, which means that their power cord terminates in a NEMA 20-amp plug, where the right-hand prong is perpendicular to the left-hand prong. That means that the plug is incompatible with a standard household 15-amp outlet, where the prongs are parallel to one another.
In a new installation, an AV pro would specify a 20-amp breaker and 20-amp outlet for the AC service going to the system. In an existing home like mine however you have to work with what you’ve got. The solution was to order an adaptor from NEMA 15-amp to NEMA 20-amp on Amazon, a $20 fix.
Now is when I need to point out that plugging a 20-amp power appliance into a 15-amp circuit is NOT recommended by any power management hardware manufacturer.
I am however a trained professional, and when I first installed the AV system in my media room, I added up the total power draw of all of my components, and the system is well under the 1800W maximum of the circuit. With that margin of safety, and knowing that I won’t be drawing on the full capability of the SEQ, I proceeded with the installation.
Unfortunately (or perhaps fortunately, depending on your perspective), in the weeks in which the SEQ and Envision PCS have been servicing my AV system my household has suffered no catastrophic AC events, not even a power outage, which is odd, now that I think about it.
Regardless, the Envision PCS works around the clock, and when you connect to it via a laptop running Envision’s software you have reams of timestamped data to look at. I’ll tell you right now that interpreting power data is not for beginners, nor is the Envision’s software all that intuitive, although the readout will visually highlight when the readings are outside of the normal range. You’re going to have to read the manual and watch their tutorial videos to learn how to interpret what you’re looking at.
It’s not difficult by any means, but like any technical ability, you’re going to have to learn and practice it. Also, the troubleshooting manual will allow techs to correlate the readings presented with the faults associated with those readings.
By now AV pros all know that power hardware that protects AV systems from power problems are mandatory for improving system reliability and client satisfaction. Installing and using SurgeX’s SEQ and the Envision PCS over an extended period of time, I find myself very keen on both the installer friendliness with which the hardware integrates into an AV system, as well as the level of reporting they provide. In a professional setting it’s clear that they give AV pros a major advantage in client care and satisfaction. Leave a Comment
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InfoComm: Wireless AV: What’s the Best Way to Do It?
By Tim Kridel Special to InfoComm International
Cutting the cord can be a great way to eliminate trip hazards, add network connectivity to a new camera or display or eliminate an unsightly rat’s nests of cables. But going wireless can also create headaches if the design and execution aren’t spot-on.
The AV industry has a lot of experience with wireless technologies. What have we learned so far?
Of all available wireless technologies, Wi-Fi stands to handle a lion’s share of AV traffic. The main reason: It’s there, not only in most offices, classrooms and other facilities, but also in the tablets, laptops and other varied source devices the users increasingly want integrated with their AV systems. Such popularity means the Wi-Fi bands often are crowded, especially the 2.4 GHz band.
“If there’s a lot of traffic on the 2.4 GHz network, you’re probably going to want to look at the 5 GHz network,” says David Fitzgerald, Barco channel director for general entertainment and corporate.
In multi-tenant buildings, neighbors’ wireless LANs (WLANs) can create interference that saps the capacity of your client’s Wi-Fi connections. Therefore it’s best to begin a project with a site survey, whereby the bands under consideration are scanned to see who else is using them.
The process doesn’t necessarily require shelling out five figures for a spectrum analyzer. One alternative is a PC-based solution, such as WiNRADiO’s WR-G33WSM. Either way, such tools can minimize the legwork required to track down a problem weeks or months after a successful installation.
“The most common pitfall, by far, has to do with knowledge,” says Alex Milne, RF Venue digital marketing manager. “When something goes wrong, troubleshooting by calling up the AV or IT manufacturer has serious limitations. You can have the very finest frequency-agile cognitive receiver rig, but if you don’t know a broken transformer right up the street is spewing broadband interference into the air, the system won’t help, and the tech support person on the other end of the phone won’t be able to help you, either.”
One common concern with wireless technology is that it enables eavesdropping and creates back doors for hackers into the rest of the corporate network. If AV will piggyback on an existing WLAN, then work with the client’s IT staff to partition the AV portion as a virtual LAN (VLAN), which helps eliminate the back doors.
Encryption is another option. “We’re transmitting pixels, not data,” Fitzgerald says of Barco’s ClickShare wireless collaboration solution. “So even if somebody pulls that information, it’s not files or data, so there’s nothing they can do with it.”
Changing Channels
UHF TV is another common band for pro AV, which uses it for wireless mics. As with Wi-Fi technology, site surveys and frequency planning are key to success.
“For systems with multiple channels, and even small systems, frequency coordination is no longer optional,” Milne says. “Invest in a spectrum analyzer and some rudimentary intermodulation distortion calculation software aimed at the AV market and save yourself hours of useless troubleshooting — and possibly your job.”
Look for wireless microphone systems that support a wide swath of spectrum, for two reasons. First, it enables the system to scale up gracefully as a facility grows. Second, more spectrum means more opportunities to work around interference.
“If I’ve got a system that can tune 64 MHz, and I can do 60 channels across that, that’s great,” says Gino Sigismondi, Shure senior manager of systems support for the Americas. “But how often am I going to have all 64 MHz available? Not likely. You’re going to have some smaller portion. In the more crowded RF environment that we’re heading into, it’s always going to be given only one TV channel. How many mics can you do in that?”
Keep an eye on the upcoming U.S. auctions, in which some TV stations will give up their channels so that cellular and other services can move in. “That’s only going to lead to spectrum being more crowded,” Sigismondi says.
Don’t Overlook Antennas
In terms of bandwidth and reliability, antennas can make or break a wireless AV system. One best practice is to reduce the distance between the antenna and the devices it serves. Doing so maximizes a signal’s strength and thus its ability to carry as much video and other content as possible.
“Shorten that distance wherever possible using remote antennas and distribution, or moving the receiver itself closer to the performance space,” Milne says.
Walls can attenuate signals, including air walls used in reconfigurable rooms. But that effect also can be beneficial, such as by reducing the amount of signal that leaks into adjacent spaces, where it causes interference and saps capacity.
But don’t go overboard with antennas, either. How can you tell if you have? One way is by asking the vendor for advice early in the design stage. “People try to fix a wireless mic system by adding amplifiers or amplified antennas,” Sigismondi says. “Often that can make things worse.”
Future Proofing
One common pitfall, especially with wireless mics, is buying a system that can’t scale. “Because so many decisions are budget driven, it’s a matter of, ‘Well, this is all we can afford,’” Sigismondi says. “But with wireless mics in particular, the biggest differentiator between more affordable systems and the more expensive systems is how many channels you can get on the air simultaneously. You want to make sure you always consider your needs now and in the future.”
That advice applies to other wireless-enabled AV products. If a system has an anticipated lifespan of five years or longer, consider models that put the wireless components in a module that can be swapped out to support newer technology. “If I were buying projectors or monitors, I wouldn’t buy one with anything embedded,” says Christian Merrill, Vista Systems product line manager.
As with antennas, don’t go overboard, either. For example, it might not be worth paying a premium for wireless technology to support 4K video if the client doesn’t need that type of resolution. At the same time, if the client doesn’t have the budget to upgrade its wireless infrastructure any time soon, then make sure its applications aren’t push the boundaries of what that gear can handle.
“I think we’re a long way from wireless 4K video,” says Mike Brandes, CTS, applications engineer at Vaddio and a former education technology manager. “The amount of available wireless bandwidth just isn’t there, especially on corporate networks.
“Really, with the majority of the devices now, and the ones rumored to be coming out, 1080p/30fps with audio sync is really pushing the boundaries of what most clients have available in terms of wireless infrastructure, so managing expectations is important.” Brandes says.
Beyond Wi-Fi and UHF
Although Wi-Fi is widely used in pro AV, it has enough drawbacks — particularly its crowded spectrum even at 5 GHz — that some AV and IT vendors have developed alternatives, such as WiDi, WiGig, WHDI and WirelessHD. These emerging technologies face a different type of crowding — from each other. It can be hard to stand out from the pack of wireless connectivity solutions.
“So far, we haven’t seen any of those wireless technologies gain much traction,” says Blaine Brown, technology director at Sensory Technologies, an Indianapolis-based integrator. “I think it has to do with fragmentation and different manufacturers backing different technology and not having a single standard.”
WiDi, WiGig, WHDI and WirelessHD have to convince AV/IT vendors, integrators and end users that they provide enough benefits, such as performance and ease of use, to justify the cost and upheaval that often comes with implementing a new technology.
“Most of the wireless presenting our customers are looking for can be done with Crestron AirMedia or Apple AirPlay via Apple TV,” Brown says. “Apple has been aggressively adding features that appeal to corporate customers, like on-screen pin codes and peer-to-peer AirPlay.
“Also, Bluetooth auto-discovery allows your iOS device to find your Apple TV even if the network it is attached to is blocking Bonjour/broadcast traffic,” Brown explains. “That used to be a huge hurdle for corporate customers who have highly secure networks that block that kind of traffic.”
There’s also a face-off holding back some technologies: AV vendors are waiting to see if there’s enough demand for alternatives like WHDI, but potential users are waiting to see if there’s enough vendor support.
“There’s not a lot of it WHDI out there,” says Pete Putman, a technology consultant whose clients include Kramer Electronics. “When I teach my wireless course, I tell people they need to lobby the manufacturers because they’re not sure that people need a lot of this.”
One way to choose a wireless technology is simply to look at the customer’s existing IT gear. For example, if its tablets and laptops already support WiDi, then choosing WiDi-equipped projectors and displays might be the cheapest and easiest option.
More Spectrum Issues
Spectrum is another issue to consider when assessing new wireless technologies. For example, WirelessHD and WiGig both use the 60 GHz band. Signals in that band can have a hard time punching through walls, so those technologies may be attractive for AV applications where presentations can’t be vulnerable to hackers eavesdropping outside. The short range might also be useful for enabling systems in adjacent rooms to use the same channels without risking interference.
WiGig is worth considering when AV sources typically are IT devices such as laptops. Dell already builds WiGig into some of its products and Qualcomm — a major cellular chipset vendor — recently acquired a WiGig manufacturer. “Competitors will follow, and hundreds of millions of smartphones, tablets, portable PCs and peripheral products with WiGig will ship in 2016,” said ABI Research in August 2014.
The 2015 Consumer Electronics Show in January should provide more clues about the future of WiGig and other wireless AV technologies. That’s because AV vendors often follow the lead of CE counterparts when deciding which technologies to build into their products.
“Very few companies are implementing WiGig,” Putman says. “But I expect to see a lot more at CES this year.”
This column was reprinted with permission from InfoComm International and originally appeared here. Leave a Comment
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WOW! InFocus Sets New Bar in Price with Sub-$1,000, 4,000-Lumen Projector Line InFocus Corporation just broke the sub-$1,000 price point in ultra-bright IN3130a network projectors. Spec’d with up to 4,500 lumens, the IN3134a, IN3136a and IN3138HDa are all one-chip DLPs that are priced below $1,000 at $849, $949 and $999, respectively.
The IN3136a is spec’d as a widescreen WXGA (1366×768) resolution with 4,500 lumens. The IN3134a is spec’d as an XGA (1024×768) with 4,200 lumens. The IN3138HDa is 1920x1080p HD projector spec’d at 4,000 lumens. They’re each portable at less than 7 pounds and have 1.5x optical zoom and large throw ratios, built-in 12v screen trigger, controls on the top of the device and an included IR remote control. The IT manager can connect the projectors to the network or install them for control with AMX Discovery and Crestron Roomview control systems built-in functionality.
In addition to dual HDMI ports — one with MHL support for HD display from mobile devices — the IN3130a series features two VGA inputs, s-video and composite video inputs.
Here are the specs on the IN3138HDa, IN3136a and IN3134a. Leave a Comment
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BenQ Introduces Market’s First TI DLP Projector With sRGB Color Accuracy BenQ America’s newest addition Colorific projector line is the HC1200, purpose-built to follow the sRGB (standard Red, Green, Blue) industry color-space standard. The sRGB color space is well-specified and designed to match typical home and office viewing conditions, rather than the darker environment typically used for commercial color matching (like most projectors).
The sRGB standard ensures that each one of their HC1200 projectors has a set expectation of colorimetry right out of the box. This is an interesting move by BenQ and, to our knowledge, the only projector that pre-set to sRGB — not just having an sRGB “mode.” What this will appear to the average viewer is a brighter than spec’d lumens (as better colorimetry means better color accuracy and contrast ratio).
BenQ says that the HC1200’s sRGB color accuracy makes images that look as bright as 4,000-lumen projectors.
Aimed at the install market, the HC1200 projector has 1.5x zoom, 2D keystone correction and an embedded test pattern, both RJ45 (LAN) and RS232 control and connectivity options such as dual HDMI, USB and dual VGA.
Here are all the specs on the $1,399 projector. Leave a Comment
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Christie Adds 45K Lumen ProjectorChristie unveiled its new Roadie 4K45 — a 4K (4096×2160) resolution and 45,000 lumens at 60 Hz with optional 120 Hz capability.
Rugged, reliable, and road tested, the 45,000 lumen Christie 4K45 offers a higher level of image brightness for rental staging and fixed applications including concerts, casinos, sports events, amusement parks, conventions, annual meetings and more. It features Christie TruLife technology.
The Christie Roadie 4K45 features:
- 45,000 lumens using Xenon illumination
- 4K Native Resolution at 60 Hz and upgradable to 120 Hz
- Patented Christie TruLife image processing
- Built in Twist and Warp allows pixels to be mapped onto any projection surface
- Full Connectivity with Standard Display Port and 3G-SDI input modules
- User-replaceable lamps can be automatically aligned at the push of a button
- User-friendly controls ensure easy maintenance and servicing
- Stacking and rigging frame
The Roadie 4K45 ships in March 2015 with a three-year parts and labor warranty. More information is here. Leave a Comment
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Hitachi Adds CP-HD9320 and CP-HD9321 to DLP Projector Lineup Hitachi America is introducing two new DLP projectors, the CP-HD9320 and CP-HD9321 — both with full HD 1080p (1920×1080) resolution and they’re designed for large auditoriums, conference rooms, museums, and concert or stage productions.
Hitachi’s new projectors provide six interchangeable lenses and brightness outputs up to 8,200 ANSI lumens. Two built-in color wheels enable users to easily switch between what they call a Rich Color Mode (higher saturated colors) and Bright Mode (full light output). Because, the CP-HD9320 and CP-HD9321 use a dual lamp system, if one lamp stops functioning during use, the second lamp continues to run and projects the image with no interruption. Twenty-four hours of continuous operation is possible with the Alternative mode, which alternates the use of the two lamps.
Hitachi’s CP-HD9320 and CP-HD9321 incorporate five digital inputs including 3G SDI for broadcast capability,HDBase-T, VGA, HDMI and video.
Here are each projectors specs CP-HD9320 and CP-HD9321. Leave a Comment
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Kramer Enters Commercial and Residential Audio Realm With New Speaker LineOriginally launched at this summer’s InfoComm show, Kramer’s new speaker lines — Galil, Yarden, Tavor and Dolev were introduced so Kramer could become a “major global player in the audio arena.” Crestron will now compete with Atlas, TOA, JBL, Extron, Crestron and Bose, among many others, in the commercial and residential audio world.
Galil Family: Kramer’s Galil family is a classic fits-all speaker solution designed for transportation centers, hotels, educational facilities, small and large boardrooms, shopping centers and other large venues. Galil is supported by constant voltage amplifiers and Lo-Z to Hi-Z audio transformers. The Galil line offers an affordable range of 4”/6.5”/8” open and closed (UL) in-ceiling round speakers and an affordable full line of 4”/5.25”/6.5” on-wall speakers. All speakers include tapping transformers (70V/100V/8Ω).
Yarden Family: The Yarden family is Kramer’s new performance-based line designed for executive boardrooms, high-end hotels, banks, embassies, government facilities and music halls. Offering exceptional and unprecedented sound quality, Yarden includes 4”/6.5”/8” in-ceiling round speakers and 4”/5.25”/6.5” on-wall speakers with multiple tweeters that provide varying degrees of dispersion for a variety of purposes. Yarden features stereo or stereo/mono speakers, a music/speech switch to enhance intelligibility, Kevlar woofers, titanium pivoting tweeters such as ceiling-tile speakers, round in-ceiling high-power speakers, on-wall speakers and more.
Tavor Family: The new Tavor family of powered speakers offers all-in-one solutions where time and space saving installations are important. Tavor includes ceiling-tile speakers, on-wall and subwoofers. The Tavor line is designed for transportation centers, hotels, educational facilities, small and large boardrooms, shopping centers and other large venues.
Dolev Family: Dolev is a new family of high-quality bi-amplified studio-grade speakers that deliver clear and balanced flat response with low THD even at high volume. Dolev speakers are designed for control rooms, editing studios, sports bars, music clubs, high-end facilities and home entertainment. Dolev offers three different models: 5.25” with a 50-watt amplifier, 6.5” with 75-watt amplifier and 8” with 100-watt amplifier.
Here are the specs on each line. Leave a Comment
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QSC Unveils New Processing Amplifiers QSC has announced the addition of GXD Series Processing Amplifiers to their line of amplifiers for entertainment and production applications. Featuring what QSC is calling “contemporary styling,” multiple routing options and advanced protection circuitry, GXD Series Amplifiers are housed in a 2U rack-mount configuration, feature class-D power output in a so-called lightweight chassis design. The GXD models offer a DSP that includes High and Low-Pass filters (24dB LR), 4-band parametric equalizer, signal alignment delay, and RMS/Peak speaker protection limiting. To allow users to get up and running quickly, 20 preset “starting points” for selected typical systems are provided. The GXD Amplifier’s digital limiter prevents destructive clipping which can damage loudspeaker components while still delivering the maximum usable output. Smart loudspeaker protection is set by selecting the loudspeaker’s continuous power and impedance (4Ω and 8Ω), and either a Mild, Medium or Aggressive protection mode as desired.
The GXD Series front panels include a power switch, four status indicators, and a large LCD screen that provides metering and status monitoring. When combined with the two rotary encoders and three menu buttons the user is offered complete amplifier control allowing parameter selection and adjustment of amplifier gain and DSP parameters. The rear panels include XLR and ¼” TRS inputs, NL4 and binding post outputs and the AC power inlet. With a solid 400-watts-per-channel at 8 ohms (600 watts-per-channel at 4 ohms), the GXD 4 provides a Max Total Peak Power of 1600 watts while the GXD 8 provides a robust 800 watts-per-channel at 8 ohms (1200 watts-per-channel at 4 ohms) with a Max Total Peak Power of 4500 watts.
The GXD 8 has a list price of $999.99 and the GXD 4 is $599.99 and both models will be available in January 2015 and complete specs are here. Leave a Comment
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Extron Ships eLink 100 Professional Grade Wireless HDMI Extender Extron has started to ship its “professional-grade” eLink 100 — an HDCP-compliant wireless transmitter and receiver set for extension of HDMI video and multi-channel audio signals up to 100 feet (30 meters). This extender features a wireless communication technology that provides reliable operation and exceptional image quality that Extron says has a latency of less than one millisecond for real-time performance (Max data rate is 6.75 Gbps (2.25 Gbps per color). Capable of supporting computer video with resolutions up to 1920×1080 (60 Hz), the eLink 100 extender is specifically designed to wirelessly transmitting HDMI video with embedded audio for ProAV environments, including historic buildings, houses of worship and other locations where running a cable is a challenge – but it will also work for residential applications, too.
The eLink 100 Professional Wireless Extender for HDMI provides maximum throughput to enable uncompressed transmission of high resolution video with ultra-low latency. Features such as use of the 5 GHz spectrum, AES-128 encryption, and commercial-grade components ensure continuous, secure operation with real-time performance. To avoid interference from the facility’s WLAN, smartphones, tablets, additional eLink 100 extenders, or other wireless devices, Automatic Frequency Selection — AFS, including Dynamic Frequency Selection — DFS, actively monitors the RF spectrum to identify and select an available channel.
For connection stability within environments with multipath signals, the extender uses a multi-input and multi-output – MIMO communication technology. Extron eLink technology allows for operation of up to four eLink extender sets in the presence of the facility’s other wireless systems. Also, one transmitter can support multiple receivers, allowing an AV signal to be distributed to as many as four displays without disrupting other wireless devices. The compact eLink 100 T transmitter and eLink 100 R receiver may be concealed or mounted in separate areas to maintain the aesthetics of the facility.
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Crestron Now Shipping Streaming Input Card for DigitalMedia Switchers Crestron today announced it’s now shipping its DMC-STR Streaming Input Card. It enables card-based Crestron DM switchers to receive H.264 video stream over an IP network. The source can be an IP camera, a streaming server or content from a DMC-STRO streaming output card in another DM switcher. Crestron says that because DigitalMedia provides both point-to-point and streaming on a single platform, this signal can then be distributed via HDMI, HDBaseT, or fiber.
Streaming removes all distance limitations and utilizes existing infrastructure to enable signal distribution for applications where dedicated wiring is impractical or can’t be installed. Because DM uniquely provides both point-to-point connections (such as HDBaseT and fiber) and streaming on the same platform, you can configure the switcher on an input-by-input and output-by-output basis.
Crestron specs the DMC-STR to support streams at resolutions up to HD 1080p, with bit rates up to 25 Mbps. The streaming input can be configured to receive streams via its dedicated “Content LAN” port (to isolate control and content onto separate networks), or via the DM switcher’s LAN port (to enable a single network connection for the entire switcher, including streaming).
The DMC-STR Streaming Input Card receives H.264 streaming video in, and then the DM switcher outputs the content via any output card as any signal type or infrastructure. Conversely, the DMC-STRO Streaming Output Card transmits any source signal as H.264 streaming video.
Card-based DM switchers are easily configurable as organizational needs change. By simply adding or replacing cards, streaming capabilities can be added without having to change or replace switcher frames. You can even install a DMC-STR card in a DMCI card interface for a standalone streaming decoder.
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RTI Adds eGauge Two-Way Driver for Real-Time Energy Monitoring Remote Technologies Incorporated (RTI) has introduced a new two-way driver for eGauge Systems products. Developed by RTI, the driver allows installers to integrate the eGauge 3 Series and eGauge2 electric energy meters into an RTI control system, giving real-time measurements of a building’s electrical consumption.
The new driver allows customers to use eGauge solutions to monitor power and energy readings such as amperage, voltage, wattage and frequency from up to 128 circuits — directly from their RTI devices. The monitoring capability even extends to the power generated by devices such as wind turbines and solar panels. The real-time reporting provides customers with the information they need to optimize a building’s carbon footprint — lowering peak demands, monitoring system health, and even measuring the output of individual appliances. Compatible with eGauge 3 Series main units via Ethernet or HomePlug AV in addition to the company’s eGauge2 products, the solution can store and access data from the past 30 years in addition to the real-time information.
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Extron Ships 3G-SDI to 3G-SDI Scaler with Audio Embedding and De-Embedding Extron is already shipping their new DSC 3G-3G A — a 3G-SDI scaler that converts between 3G‑SDI, HD‑SDI, and SDI resolutions and frame rates. It accepts, scales, and outputs SMPTE video resolutions from 480i and 576i up to 1080p/60 and 2K. The DSC 3G-3G A features advanced Extron video signal processing with 1080i deinterlacing and Deep Color processing for optimal image quality. The DSC 3G-3G A also provides flexible audio capability with analog audio embedding, de-embedding and level adjustments. Dual SDI outputs, genlock and an input loop-through facilitate integration in demanding professional environments, while the compact enclosure simplifies installation.
The DSC 3G-3G A offers several features that enhance and simplify AV system integration, including two 3G-SDI/HD-SDI/SDI outputs so that a pair of displays can be driven simultaneously. The scaler also features input equalization which conditions incoming 3G-SDI signals to compensate for signal loss over long input cables. Reclocking on the SDI input loop-through eliminates high frequency jitter. Additionally, the DSC 3G-3G A offers a range of audio capabilities including SDI audio management, input gain and attenuation controls, input audio muting, and output volume control. Two channel audio input and output connections are provided for embedding audio onto the SDI output, or sending de-embedded content to a sound system or other audio destination. The output can be set for stereo or dual mono.
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Hall Research Announces Eight-Port HDBaseT Extender Hall Research’s UHBX-8X is a one-RU, eight-input, eight-output HDMI extender (HDMI to HDBaseT outputs) for extension to 150 meters (500 feet) using UTP (Cat5e/6) cables. The extender supports HDCP, deep-color, CEC and 4K (UHD) resolution. The HDBaseT outputs can be directly connected to displays equipped with HDBaseT inputs or any of the various receivers from Hall Research including the cost effective UH-1BT-R or the PoH powered UHBX-R-PD that also provides RS-232 and IR extension.
The UHBX-8X includes IP (Ethernet), and RS-232 ports for control. Using these ports the user can address and send RS-232 or IR commands to any of the receivers to control the display. Eight IR emitter ports are provided on the UHBX-8X that can be used to control multiple sources connected to the UHBX-8X.
The extender is constructed as a 1RU rack-mountable unit and has a built-in power supply. To send power over HDBaseT (PoH) to compatible receivers, an optional 48v power supply is required. LED indicators on the front panel show Link, HDCP, Long Reach and Power status for each output.
The extender is also available as a four-port version, the Model UHBX-4X.
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AudioControl Ships HDBaseT ExtendersAudioControl is shipping its new range of HDBaseT extenders including the HDBT-S1 Sender and the HDBT-R1 Receiver. Both are sold independently or combined into a complete set-package called the HDBT-SR1. Capable of extending HDMI signals to 70 meters over a single CAT5e/CAT 6 cable, they are HDBaseT certified for up to 4K (@30Hz) resolutions, as well as HDMI 1.4 and HDCP compliant (and support CEC). The bandwidth is 10.2 Gbps and they transmit EDID and Hot Plug Detect signals to display constantly via CAT5e or CAT6 cable. Control is either IR or RS232.
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Extron Unveils Next-Gen Fiber Optic Control Inserter Extron’s new FOX II RS 104 is a four-port RS-232 inserter for long-haul transmission of control signals to remote source and destination equipment over fiber optic cabling. Each port provides a bi-directional fiber optic connection to an Extron FOX II or FOX Series transmitter or receiver for the Ethernet insertion and extraction of control data, while maintaining a continuous pass-through link for video and audio. The FOX II RS 104 is designed for use in applications with a centralized control system that require the long-haul transmission of AV and control signals over fiber optic cabling.
RS-232 data from the Ethernet port is inserted onto one or more of the fiber optic outputs, providing remote monitoring and control. Reclocking on the unit’s buffered fiber optic outputs ensures signal integrity and transmits the fiber optic signal at its original power level. The inserter maintains the performance of the optical signal transmission while providing bidirectional control from a control processor, eliminating the need for separate control system wiring to remote devices. Available in multi-mode and single-mode models, FOX II RS 104 is compatible with FOX II Series transmitters and receivers, as well as the extensive line of Extron FOX Series matrix switchers, distribution amplifiers, and extenders.
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eyevis Adds 4K Monitors eyevis expanded its Ultra HD monitor lineup today by adding 58‘‘, 85‘‘ and 98’‘ formats. Housed in what the company says is a ruggedized case, all of them are spec’d to have at least a 450 cd/m2 brightness and a range of contrast levels.
All of them can be integrated into a video wall configuration with looping or distributed signals with or without a processor. In then video wall mode, four single signals can be depicted on one screen. These can be four full HD signals or four Ultra HD signals. Thus, the large-format displays offer an alternative to a conventional 2×2 video wall with four single displays. Here an ultra HD display can definitely save costs because just one power supply and one wall mounting are needed; on top also the bezels can be omitted.
Complete 4K Display Lineup:
- EYE-LCD-3150-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 31,5‘‘ (ca. 80 cm), Brightness: 450 cd/m², Contrast: 1.000:1
- EYE-LCD-5800-QHD — Resolution: 3.840 × 2.160, Diagonal: 58‘‘ (ca. 147 cm), Brightness: 450 cd/m², Contrast: 5.000:1
- EYE-LCD-6000-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 60‘‘ (ca. 152 cm), Brightness: 500 cd/m², Contrast: 5.000:1
- EYE-LCD-8400-QHD-LE — Resolution: 3.840 × 2.160, Diagonal: 84‘‘ (ca. 213 cm), Brightness: 500 cd/m², Kontrast: 1.400:1
- EYE-LCD-8500-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 85‘‘ (ca. 216 cm), Brightness: 500 cd/m², Contrast: 3.000:1
- EYE-LCD-9800-QHD-LD — Resolution: 3.840 × 2.160, Diagonal: 98‘‘ (ca. 248 cm), Brightness: 500 cd/m², Contrast: 1.300:1
All of them can be found here. Leave a Comment
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NEC Intros 84” 4K Commercial Display NEC Display just introduced the X841UHD, an 84-inch ultra-high-definition (UHD) commercial-grade monitor with a 3640×2160 native resolution at 60 Hz through the DisplayPort connection. Designed for videoconferencing and command and control centers (but certainly capable of a meeting room or digital signage applications), the X841UHD can display up to four simultaneous images with its Multi-Picture mode. Giving the user further control, any one of these images can be rotated, moved and manipulated.
The X841UHD display also comes with NEC’s SpectraView Engine, a custom-designed color processor, and connectivity that includes every analog or digital port on the market.
NEC’s published feature set:
- Native resolution of 3840×2160 at 60 Hz
- S-IPS LCD panel in tandem with 500 cd/m2 maximum brightness and 1400:1 contrast ratio
- 10-bit color performance
- Full metal chassis with integrated temperature sensors and fans
- A multitude of digital inputs provides highly flexible connectivity
- Full software support (NaViSet Administrator, PD Comms, SpectraView, MultiProfiler and NEC Display Wall Calibrator)
- Reduced power consumption with LED edge lighting
- Landscape and portrait modes for installation flexibility
- Built-in dual 10-watt speakers
The X841UHD display will be available later this month for $16,999. More information is here. Leave a Comment
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Séura Intros New GEO Collection of Lighted Mirrors for HDTVsKnown for its HDTVs embedded behind mirrors, Séura’s introduction of the Séura Design Series, a family of etched designs called the Geo Collection, is way more than the typical mirror with a TV inside.
In the Geo Design Collection, the first in the Design Series, Séura uses geometric shapes and patterns that accentuate the elegance of Séura lighted mirrors. The Topaz, Agate and Quartz are among the ten designs in the collection. The etching patterns from the Geo Design Collection are available in conjunction with standard and custom mirror shapes and sizes, bevel choices, lighting technologies, TV sizes and locations and astonishing frames.
All Séura lighted mirror designs are etched only on the back of the glass using what they call a Clean-Last Etching process. Seura says this helps keep the glass free of debris and allows for easier cleaning. Etching on the front of the glass is more open to collecting contaminants, scuffing, and visible fingerprints that are difficult to clean and make the mirror appear dingy over time. Additionally, Séura uses a Computer Numeric Control (CNC) etching method to guarantee etching perfectly matches the intended design every time.
A TV can go behind any of the designs.
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dnp Debuts Supernova XL, Large Optical Front Screen dnp Denmark has launched what it’s calling the Supernova XL — the world’s largest optical front projection screen available as a single screen solution. With an image area of up to 5.3×3 meters (that’s a 240” diagonal 16:9 screen, by the way), the Supernova XL Screen is designed to be rolled up during transportation. The XL screens are shipped in boxes of only 600×425 millimeters (length determined by screen height) significantly reducing transport and handling costs. Once on site, dnp says that the screen can easily be assembled by two people in a couple of hours. This makes it perfect for temporary, large screen applications.
The Supernova XL Screen is available in any aspect ratio and image size up to 5,334 millimeters (210”) wide and 3,048 millimeters (120”) high. The screen is supplied as standard with an 86-millimeter wide black frame. Frame options include black sand or black velvet for optimal light absorption. It also has compliance with ANSI/INFOCOMM PISCR standard. Complete specs are here. Leave a Comment
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Hosa Intros Cable Line For Simplying Connection of Consumer Products to Professional ProductsHosa Technology’s new Hosa Pro line of cables are designed to make the process of interfacing consumer audio products with professional equipment easier. With Hosa Pro Breakouts, any consumer audio product equipped with a stereo minijack output can be interfaced with professional units with quarter-inch Tip/Sleeve, XLR, or even RCA connectors.
Hosa Pro Breakouts are available in three configurations. The 3.5 mm TRS (tip/ring/sleeve) to dual RCA option—identified as the HMR-000Y Series—designed for DJ mixers or home stereo systems. The 3.5 mm TRS to dual 1/4-inch TS (tip/sleeve) breakout—identified as the HMP-000Y Series—can be plugged into patch bays or a mixer’s phone inputs. The third category, the 3.5 mm TRS to dual XLR3M breakout—known as the HMX-000Y Series—is for connecting into discrete channels on a professional mixer or similar interface.
All three configurations utilize nickel-plated REAN connectors (a brand of Neutrik AG) for efficient signal transfer and durability. Hola says these cables sport 24 AWG Oxygen-Free Copper (OFC) conductors for enhanced signal clarity and 90 percent OFC spiral shields for a higher signal to noise ratio.
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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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