Volume 14, Issue 8 — April 21, 2016
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Editorial Editorial Editorial
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Industry News Control & Signal Processing Projection Unified Collaborative Conferencing Audio Cables, Cases, Furniture, Mounts, Racks, Screens & Accessories
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Acquisitions in AV: What Really Happens
By Richard Blackwell My companies have been acquired twice and I have attempted numerous acquisitions. While I don’t have the experience of an investment banker like GE or SilverLake, I have been down many roads that few have the opportunity to travel, and it’s nothing like you think. Yes, there is almost always human impact because maximizing profits is valued over people as a rule still, and not the exception.
Why do companies sell themselves or buy others?
- Rather than opening a new geographical region of sales, it is often easier to acquire a company already entrenched in that region.
- A product manufacturer may acquire it’s distribution partners in order to create an exclusive sales opportunity.
- A partner retires and needs to convert his stock in the company to cash.
- A technology company may purchase integrators to directly serve their customer base.
Failures – Investors universally agree that to actually complete an acquisition is almost a miracle, and this is because there are so many things that can put a stop to the deal — many acquisition attempts fail. In all my efforts only once was price the failure point, and in that one case I had promised to keep all the employees after the purchase, but the owner chose to take the higher bid. In one acquisition at the 11th hour the owner decided he wasn’t ready for retirement. In one very large attempt, I was declined as a bidder because I could not write one check, but had to shop for multiple investors and that would have put too much information about the company on the street. Because of the diligence required to properly evaluate a company, price negotiation and transition plan, it will often take four to six months from start to closing of a purchase — it’s not a lot of fun when a deal falls apart, and a lot of time has been lost.
There are many methods for acquiring a company (or being acquired), and here are some of the more common ways AV companies get bought or sold (more on evaluation below);
- AV Company East Coast needs to expand to the west and so they search out and find AV Company West Coast that is for sale. While small companies do purchase bigger companies, it is more typical to acquire a same size or smaller company to keep the financing simple. The loan has to be paid out of the profits of the company, so if the acquired company is not profitable then reductions (people) have to be made to pay the loan.
- An investor looks for a profitable company (or one with value) that fits the model he is looking for and inquires if they are interested in discussing an acquisition, then working with an investment bank puts together a “deal” for acquiring the company using cash loans from other investors. The originating investor (“the guy that created the deal”) will typically get 2-4 percent ownership, while the cash investors will take the rest. Many times the investment bank is the originator and has its own pool of investment capital to work from. Business investors always purchase a majority holding from the owners so that they control the board.
- An existing partner in the firm sells out to the other partner at an agreed upon price. If the remaining partner doesn’t have cash in the pocket, she will obtain a small business load or the exiting partner will finance the loan for some number of years and receive a monthly payment as a capital gain.
- Mergers are potentially the most difficult to make happen, because there is no buyer to take the lead, so a lot of turf battles take place. Mergers, however, are better for reducing the human impact because everyone stays around after the closing and has to face the employees.
Evaluation — Before you can purchase (or sell) a company, everyone has to agree to what it is worth. While this can be excruciatingly complicated, there are some rules of thumb that that give a good initial value of the company. The most common for an equipment sales and installation company is “3x to 5x times the company’s EBITDA.” EBITDA is a more constrained approximation of net profits commonly used as a starting point for determining the value of a company. For example: if West Coast AV company has sales of $100M in the last year, and its EBITDA is $5M then the company could reasonably be sold for $15-$25 million dollars. Recent AV company sales have sold at 4.5x to 5x and is typical of most similar type companies in other markets. If the company is in distress or its business model is inefficient then the multiplier may be more like 3x or even less. Technology companies that make software or own Intellectual Property (IP) of some type could sell at 40x or more (e.g., the virtual reality company Oculus had no sales and sold for billions to Facebook — go figure). Evaluating the true best price for a company is more art than science, and a small mistake can set you back years in recovery or lose millions.
The Up Side of an Acquisition:
- Customers typically feel more confident in larger companies than smaller ones and so sales have potential to grow.
- Larger companies are more likely to create new technology.
- Employee Benefit packages from larger companies tend to be bigger.
- Employees are more stable long term.
The Down Side of an Acquisition:
- When East Coast Company buys West Coast Company, it already has people staffing all the necessary administrative, sales and installation roles, and so many of those duplicate roles may be eliminated.
- East Coast Company very likely now has a loan to service and so looks for ways to cut costs — again this means lost jobs.
- Highly experienced shop manager in West Coast Company is not known to the executives in East Coast Company, so will have to work extremely hard to hold the position over a similar manager transferred in from the East.
- Stress is high among all West Coast Company employees waiting for the first round of layoffs.
Buying a business is not so mysterious as one would think: It’s determining a fair value and then paying for it that is the difficult part. Every business should bring in a consultant to show them the ropes and help with decisions from an unbiased perspective. Leave a Comment
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InfoComm: Cruisin’: Event AV on the High Seas
By Dan Daley Special to InfoComm International
“Won’t you let me take you on a sea cruise?” sang Frankie Ford in 1959. Back before the jet age, ocean liners were regarded as a standard means of intercontinental travel. But in recent years, pleasure cruising — where the journey often eclipses the destination (if there even is a destination) — has taken off. The Cruise Lines International Association projects that 24 million passengers worldwide will embark on cruises this year — 33 percent more than in 2009, when the industry was pinched by recession.
So it may be no surprise that the distinction between AV experiences on land versus at sea continues to blur as consumer expectations evolve. Cruise ship discos, theaters, lounges, and concert halls rival their landlubber counterparts for SPL and low-end punch. That’s made it easier for cruise ships to cater to corporate events. For example, Norwegian Cruise Line, which operates 15 ships and was cited as Number One in the “Best Entertainment” category of CNN’s 2014 cruise line rankings, aggressively markets entire ships for corporate events.
Cruise ships are competing with theme parks and Las Vegas destinations for corporate clients and consumers. That’s driving innovations such as the skydive simulator and a bionic bar aboard Royal Caribbean’s new $1 billion cruise ship Quantum of the Seas, which it dubs “the smartest cruise ship in history.”
Events at sea will eventually encompass virtually everything you might find at a hotel or other venue (Grease, Hairspray and Chicago have all done recent stints at sea). But the sea is still the sea and it ultimately makes itself known. AV will adapt.
‘Like Nowhere Else’
Paul Riley, manager, entertainment technical, at Royal Caribbean International, says the most obvious issue for AV on cruise ships is environmental: the corrosive effects of salt and moisture. “We’ve had manufacturers come to us and tell us how well their AV products do at places like Sea World or outdoors in Las Vegas,” he says. “But at sea, it’s like nowhere else, and it can be caustic for AV.”
Riley cites a particular manufacturer’s PA speaker, used in the ship’s pool area, with an enclosure that utilizes fiberglass construction, which helps make it resistant to corrosion and rust. However, the back of the speaker grill is covered with a low-grade stainless-steel mesh, a component that would hardly rate notice on land but at sea it could corrode quickly and diminish the carefully sculpted esthetic that’s a huge part of the shipboard experience. Riley says they worked with the manufacturer to upgrade the quality of the steel. In other instances, a product might be perfectly adapted to the harsh ocean environment, but the bolts used to install or fly it are not.
“You have to check every aspect of every piece of equipment, and make sure every bit of the hardware can stand up to the salt and moisture,” Riley cautions.
This adds a layer of consideration when making AV decisions for ships: vetting a product’s International Protection (IP) Rating. IP is an IEC standard that classifies the degree of protection provided against the intrusion of elements such as dust and water in electrical enclosures. It’s expressed in a two-digit value in which the first digit applies to solids and the second to liquids. An IP54 rating, for instance, would indicate a product is protected from limited dust ingress and water spray from any direction, while a more desirable IP68 rating denotes total immunity to dust and the ability to withstand immersion in water over a meter deep. The standard aims to provide users more detailed information than vague marketing terms such as waterproof or water-resistant.
Other solutions for creating sea-friendly AV experiences include AV systems in which the main components can be closeted while their control is handled remotely. Riley says many ships are fitted with a Yamaha O1V96 audio mixer that’s racked in a climate-controlled locker with positive air pressure to keep salt and humidity out, while an Apple iPad is used to wirelessly mix the sound for the pool-deck stage.
Riley says that as the industry has grown — Royal Caribbean had nine ships when he started with the company in 1999, compared with 24 today — AV systems and product manufacturers have begun to see cruise ships as a distinct market category. In that time, ships have come to be virtually indistinguishable from large hotels when it comes to hosting events, and the AV technology they use reflects that. Riley notes that his company makes AV technology purchases with current touring-rider specifications in mind, and that they can accommodate rentals, with sufficient lead time (neither PSAV nor Masque Sound has invested in boat deliveries yet). Some AV product manufacturers, such as Meyer Sound, which has sold sound systems for Royal Caribbean’s Oasis of the Seas and Cunard’s Queen Victoria, have been actively leveraging this niche.
AV Training
But the explosion of AV technology on cruise ships has put a new premium on training for the cruise staff that must operate and maintain systems. That’s created an opportunity for companies to make connections among cruise lines, freelance AV specialists and some media-technology academies.
“Technology-wise, the ships are the same as you’d find on land — the cruise lines are investing heavily in state-of-the-art sound and video systems, on rigging and lighting equipment, in control and show-automation systems,” observes Jorge Morales, managing director and founder of CruiseTek, a Miami-based company that specializes in what its website calls “the entertainment technical placement market,” seeking to match workers with AV systems skills to the ships that need them.
Morales, whose cruise line clients include Royal Caribbean, says that although AV skills and systems are similar at sea and on land, working events at sea takes a certain temperament that’s critical. It takes a certain type of person, he says, to be able to interact with colleagues, supervisors and guests in a closed environment for days or weeks at a time, where going home at night often means a small, shared cabin on a lower deck.
“In addition, you need a very well-rounded set of skills, because you’re not going to get technical assistance to come on short notice,” Morales says. “You need to be able to repair and maintain the equipment you use more than the typical AV operator in a club or theater on land might need to.”
Noelle Sipos spent two decades as a manager of cruise programs and two years ago founded Cruise Career Partners in Miami, which also acts to fill a range of employee positions for cruise lines. Of a dozen shipboard categories Sipos manages, two — production and performance, and technical theater — specifically suit AV workers. To that end, Sipos holds virtual job fairs for 90 area state and for-profit colleges and universities that offer theater-technology and related training, including Daytona State College, which has been expanding its media-production program; the huge Full Sail University technical school near Orlando; and seven of SAE Institute’s campuses regionally.
“Careers aboard cruise ships are exploding,” she says. “That includes those working on the audio and video systems, because the amount of entertainment and events on-board has increased dramatically.”
Sipos agrees that the long stays at sea are off-putting to AV professionals with families, but counters that they’re no more so than what touring specialists have to contend with. Nonetheless, she sees recruiting through schools as the best solution. “What we need to do is find the people who have the skills but are young enough to see this as an adventure,” she says. “We need to get them before they get a white picket fence.”
Cruises have come to be an attractive first job out of school for many tech-academy graduates. Full Sail University has had an informal relationship with a number of South Florida-based cruise lines for several years and has placed a number of graduates of its show production and live event programs with them. There are plans to expand the relationships. According to a Full Sail spokesperson, “We are in the process of adding a new dimension to our relationship, where Royal Caribbean will come in three or four times a year and will do mini seminars about advanced maintenance and troubleshooting that is necessary for equipment on their ships. There will also be opportunities for students and graduates to do hands-on training on specific gear that is used on the Royal Caribbean ships.”
However, says Riley, few people are ready for the level of event production that high-end cruise lines have attained right out of school; they’ll generally start as stagehands and learn more advanced systems while on board. He says Royal Caribbean has a number of sources for new technical talent, including trade expos such as the InfoComm show.
“On the ships you’re working with very advanced equipment and on shows with high production values,” he says. “It’s a good way to build an impressive resume.”
This column was reprinted with permission of InfoComm International and originally appeared here. Leave a Comment
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A Morning with Shure and Musings on AV Conference Room Topology
By Leonard Suskin Pixel and Ink-Stained Wretch
Yesterday, I had the opportunity to attend a demo of the new Microflex Advanced microphones from Shure. These are digital beam-steering microphone arrays designed for tabletop (the MXA310) and ceiling (MXA920) placement. They are high-end, solidly built products which fit very well into some design philosophies and perhaps not as well with others. Both are high-performance, feature rich, high cost solutions.
The Products
The first microphone we saw was the MXA310. It is an approximately four-inch diameter round microphone array featuring a multi-hue segmented LED ring and four capacitive-touch mute buttons. The feature on which Shure focused the most is the multiple configurable patterns including omni, cardioid, bi-directional (two cardioids pointing in opposite directions) and what they call a “toroid” pattern. The latter is what it sounds like: a donut-shaped coverage area intended to reject sound from directly overhead, as one would experience from HVAC noise or a projector (though I’m doubtful that this microphone would be the appropriate choice in many rooms large enough to use front projection). The overhead rejection was claimed to be -25dB and was demonstrated using a white-noise app on a smartphone held aloft above the mic with a selfie-stick. At my request they moved the noise source radially out from above the table center so we could see how tight the rejection was; the null was certainly strongest directly above the mic array, with ambient noise quickly returning once it passed a roughly thirty-degree threshold. A browser-based interface is available to configure polar patterns, the behavior of the light-ring, and the mute buttons.
The second device they showed is the MXA910 ceiling microphone array. This is a two-foot by two-foot square which can drop into a ceiling grid, hang via aircraft cable, or use a standard VESA mount. The name is configurable with up to eight “beams” or lobes, each of which can be narrow (35 degrees), medium (45 degrees) or wide (55 degrees). Here the web-interface is quite useful, allowing one to see the “footprint” of the individual beams at the designated listener height. A “self-configure” utility is always available, allowing beams to be automatically configured by listening to talkers in the room. While this is not the first multi-element ceiling microphone available it is, to my knowledge, the only one allowing this measure of configurable coverage.
Some Common Choices
Neither product has analog audio outputs or local control inputs. Instead, each has a single RJ45 connector for Dante audio as well as control and management. Each is also more than a microphone, or even a group of microphones. The MXA310 allows creation of four zones while the MXA920 supports eight. If one were to look at the network with Dante controller, one would find five and nine out flows, respectively. The “extra” channel is from an on-board automixer. This is especially useful if one is bringing the audio into a software-based conferencing product lacking in support for multiple microphone inputs; it is less useful in DSP-based systems where there’d already be an automixer.
Disappointingly, each only has a single network connection. This could lead to challenges if, for organizational or security reasons, audio transport and control networks require physical rather than logical separation. A second connection — particularly on the larger ceiling model — would be welcome.
What does this mean?
I said earlier that this had me thinking about design choices. There are, broadly speaking, two alternatives to the “classic” AV conference room design featuring matrix switching, VTC appliances and a standalone in-rack DSP and control processors. The first is to centralize functionality in a data center, using either an appliance or software running on a server. This is the direction, for example, which QSC is taking with its enterprise cores. Their answer to a small conference room is to centrally locate a single processor to serve multiple spaces.
The second option is to deploy smart devices with just enough on-board processing for the required task. In a simple conference room there might not be need for any more audio processing than the on-board auto-mixer in an MX920 and, perhaps, some EQ in a smart network-based amplifier. Such a system eliminates the need for standalone DSP products altogether.
The centralization options tend to scale up very easily — especially if most of the functions are software-based. Individual room systems with this design philosophy consist of simple network-based I/O devices connected to central processing and control. The problem with this model are two-fold: first, by centralizing the “brains” of the system one creates a single point of failure. Second, while it easily scales up, it is a not a type of solution which scales down very efficiently. If one is building one hundred rooms, then centralization creates efficiencies. If one is fitting out a single space then remote location of system elements is just silly.
The second choice — a looser network of distributed “smart” devices — is where the Shure products shine. By adding just enough processing at the source to make a simple system work the MXA series replaces an automixer. Yes, it’s still the priciest item in the room, but it might be the only high-cost bit of tech one needs in a simple teleconference room. With the ceiling microphone disappearing into a 2×2 grid, with a small form-factor PC or small VTC Codec behind a flat panel, we’re getting closer to that magical state at which technology is invisible to the user.
The outlook?
These products can fit into a variety of spaces — but at a relatively high cost. For users who care about the experience and who have the budget for it they can be an excellent fit for a variety of spaces. The challenge will come, as it always does, from lower-cost lower-performance alternatives. Will there be a temptation to hang a pendant microphone overhead rather than use a digital array? I’m certain there will be.
This is the bigger challenge we face; AV contract costs have dropped precipitously as we move from hardware to software. In the new world of low-cost PC-based solutions it becomes challenging to justify what appears to be a microphone costing as much as all of the other components combined.
Overall, these are interesting and well-performing products which show us something of how Shure sees the AV world developing. I look forward to seeing what comes next from them. Leave a Comment
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It’s Time to VOTE for the 5th Annual rAVe Readers’ Choice Awards We received over 10,000 nominations – yes, 10,000 – for our 5th Annual rAVe Readers’ Choice Awards! And, now it’s time for you, the readers, to vote. You nominated them and now it’s time for you to vote for the best of the best. Here’s a list of the top companies and products in each of the 27 categories of our 2016 rAVe Readers’ Choice Awards.
Go vote now!
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Combined UCC Power: Mitel and Polycom Announce Merger
Mitel and Polycom announced that the two companies have entered into a definitive merger agreement as talks had recently reached final stages after months of discussions. This has created what has been termed by both a new company with shared vision for seamless communications and collaboration – and according to a statement in a Polycom press release:
The communications and collaboration industry is undergoing a period of intense change that is rapidly redrawing the competitive landscape and breaking down barriers between previously discrete markets and technology domains. Through a series of strategic acquisitions, Mitel has successfully capitalized on changing market dynamics and transformed the company to help customers operate more efficiently and cost effectively. The combination of Mitel and Polycom will create a new industry leader leveraging Mitel’s recognized leadership as a pioneer in global communications with Polycom’s well-known premium brand and industry-leading portfolio in the conference and video collaboration market.
The combined company will be headquartered in Ottawa, Canada, and will operate under the Mitel name while maintaining Polycom’s strong global brand. Richard McBee, Mitel’s Chief Executive Officer will lead the combined organization. Steve Spooner, Mitel’s Chief Financial Officer, will also continue in that role. On the closing of the proposed transaction, it is expected that Polycom will assume two seats on the Mitel board. Once merged, the combined company will have a global workforce of approximately 7,700 employees.
In the deal, Mitel will acquire all of the outstanding shares of Polycom common stock in a cash and stock transaction valued at approximately $1.96 billion. The transaction is expected to close in the third quarter of this year, subject to stockholder approval by Polycom and Mitel, receipt of regulatory approval in certain jurisdictions and other customary closing conditions.
One very important thing to note again is that the Polycom brand will be retained.
“Mitel has a simple vision – to provide seamless communications and collaboration to customers. To bring that vision to life we are methodically putting the puzzle pieces in place to provide a seamless customer experience across any device and any environment,” stated Mitel CEO Rich McBee. “Polycom is one of the most respected brands in the world and is synonymous with the high quality and innovative conference and video capabilities that are now the norm of everyday collaboration. Together with industry-leading voice communications from Mitel, the combined company will have the talent and technology needed to truly deliver integrated solutions to businesses and service providers across enterprise, mobile and cloud environments.”
Polycom President and CEO Peter Leav also stated, “Together, Polycom and Mitel expect to drive meaningful value for our shareholders, customers, partners and employees around the world.” He continued, “We look forward to working closely with the Mitel team to ensure a smooth transition and continued innovation to bring the workplace of the future to our customers.”
The merger creates a new $2.5 billion revenue company with scale and differentiated portfolio to allow expansion in an evolving enterprise communications market and also delivers attractive value for Mitel and Polycom’s shareholders with (as stated) significant operating leverage and synergy opportunities.
The combined global scale and strategic scope provides key customer benefits, offering customers an integrated technology experience to be supported by a vast ecosystem of partners. Certain key market positions include:
- #1 in business cloud communications (1)
- #1 in IP/PBX extensions in Europe (2)
- #1 in conference phones (3)
- #1 in Open SIP sets (4)
- #2 in video conferencing (5)
- #2 in installed audio (6)
By the numbers:
- Installed customer base in more than 82% of Fortune 500 companies
- Mobile deployments in 47 of the world’s top 50 economies
- Combined portfolio of more than 2,100 patents and more than 500 patents pending
- Global presence across five continents with approximately 7,700 employees worldwide
One of the great attributes of the combined companies will be the deep product integration with Microsoft solutions.
More news to come as this continues to develop.
Sources:
- Synergy Research Group, March 2016
- MZA Limited, March 2016
- Frost & Sullivan, Global Audio Conferencing Endpoints, November 2015
- Synergy Research Group, September 2015
- Q4 2015 UC Market Tracker – Telepresence Market Share Data Reports, February, 2016
- Frost & Sullivan, Global Audio Conferencing Endpoints, November 2015
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Kramer Adds 4K UHD Active Fiber Optic High-Speed HDMI Cable with Removable ConnectorsKramer’s CLS-AOCH cables are plug-and-play HDMI active optical cables. CLS-AOCH cables support resolutions of up to 4K UHD over long cable runs (up to 100 meters) without the need for an external power supply or additional extenders. CLS-AOCH/XL is unique with its removable HDMI-A ends that allows the cable to be easily pulled through small conduits
Features include:
- Video resolution — 1080p full HD, Deep Color 48-bit, 3D, 4K @30Hz (4:4:4), 4K @60Hz (4:2:0).
- Embedded audio — PCM 8-channel, Dolby Digital True HD, DTS-HD Master Audio
- HDMI compliance — HDCP, EDID, CEC
- Construction — four optical fibers and six copper wires
- No external power — Powers the active units via the HDMI connector, consumes only 0.25W (50mA @5V)
- Very thin construction — 3.4-mm (0.13″) diameter
- Small bending ratio — Only 6-mm (0.24″)
- Pull strength — 500N (50kg)
- Available length: 10, 15, 20, 30, 40 and 50 meters
Here are the details. Leave a Comment
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Extron Introduces the Industry’s First 4K/60 @ 4:4:4 HDMI ScalersExtron has launched the DSC HD-HD 4K Plus A and DSC HD-HD 4K Plus A xi, in what the company is calling the AV industry’s first scalers that can process 4K/60 video signals at 4:4:4. HDCP 2.2 compliant HDMI 2.0 inputs and outputs support data rates up to 18 Gbps. The scalers incorporate the Extron Vector 4K scaling engine, developed internally by Extron’s expert team of signal processing engineers for critical-quality 4K applications. The DSC HD-HD 4K Plus A xi provides the added flexibility of scaling and managing 4K/60 as a dual path signal. The scalers provide many integrator-friendly features, such as on-screen display, stereo audio embedding and de-embedding, internal test patterns, and the ability to display custom on-screen images and logos.
The DSC HD-HD 4K Plus A and DSC HD-HD 4K Plus A xi incorporate Extron’s Vector 4K scaling engine. Vector 4K is the latest generation of Extron scaling, engineered in-house for critical-quality 4K signal processing. The Vector 4K scaling engine delivers the power and precision required to manage 4K content. Whether integrating legacy sources with 4K displays, or downscaling 4K content to HD displays, Vector 4K provides unparalleled processing and clarity for any 4K application.
The DSC HD-HD 4K Plus A has a single HDMI input and output that support resolutions up to 4096×2160 at 60 Hz. The DSC HD-HD 4K Plus A xi features a pair of HDMI inputs and outputs. The additional input and output allow integration with source devices and displays that support 4K as two columns. The DSC HD-HD 4K Plus A xi can also accept two matched-resolution inputs for side-by-side display on a single screen, or provide duplicate outputs for driving a pair of displays.
In addition to 4K signal integration and processing capabilities, these scalers offer several features that enhance and simplify AV system integration. Custom images can be displayed as a screen saver, HDCP notification, or corporate branding. An image can also be displayed as a logo with full position and keying control. The DSC HD-HD 4K Plus A and DSC HD-HD 4K Plus A xi also feature essential audio integration capabilities, including discrete, selectable analog and digital audio muting, input gain and attenuation, and output volume control.
Here are all the specs. Leave a Comment
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New QIP Series of Dedicated Dual-Program IPTV Encoders With H.264 for OriginationContemporary Research has announced three QIP Dual Program IPTV Encoders to its HD video origination product line. The new QIP IPTV Encoders offer the same features as the QMOD series of RF Modulators-IPTV Encoders but add IPTV integration.
The QIP-SDI HDMI, QIP-SDI 2, and the QIP-HDMI 2 have dual encoders that process two MPEG2 or H.264 video streams, each supported by a hardware scaler that can accept and format virtually all video between 1080p and 480i in NTSC, VGA and PAL standards. Audio can be embedded, or fed separately to digital SPDIF or analog stereo inputs. Two NTSC inputs support composite video or video with closed captioning data. The new QIPs are fully convergent and able to output two independent single-program IPTV streams.
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Extron Intros New TouchLink Pro Touchpanels With Capacitive Touch and Edge-to-Edge GlassExtron is introducing the TLP Pro 1720MG and TLP Pro 1720TG, 17ʺ wall mount and tabletop TouchLink Pro touchpanels with capacitive, edge-to-edge glass touchscreens. These 1920×1080 capacitive touchscreens provide a vibrant image and a more responsive control surface. As with all TouchLink Pro models, these new, customizable touchpanels feature faster processing and more memory. Both touchpanels feature video preview inputs that support high resolution, HDCP-compliant video from HDMI sources and XTP devices. For convenience, the touchpanels can receive power and communication over a single Ethernet cable. The TLP Pro 1720MG and TLP Pro 1720TG have stylish designs and powerful features that make them ideal for control applications requiring fully-customizable touchpanels with large control surfaces and multi-source video preview.
The TLP Pro 1720MG and TLP Pro 1720TG work in conjunction with any Extron IP Link Pro control processor and are designed for use in AV system applications that require complete, interactive control of a broad range of devices. All TouchLink Pro touchpanels operate using standard network infrastructure and are easy to install with reliable and cost effective Ethernet cable. They are customized using Extron GUI Designer software, which offers ready-to-use resource kits to help design a wide variety of interfaces for rooms and presentation environments. For mounting flexibility, the TLP Pro 1720TG can be removed from its base and mounted on any VESA standard mounting arm or bracket.
For more information on the TLP Pro 1720MG and TLP Pro 1720TG, go here. Leave a Comment
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Kramer Introduces DIP-30 4K Automatic SwitcherThe Kramer DIP-30 is a 4K UHD automatic switcher for HDMI, VGA, Ethernet, data and unbalanced audio signals. It supports resolutions up to 4K@60 UHD (4:2:0) and various modes of input selection and transmits the signal via HDMI cable to a compatible receiver (for example the VS-62H or when connecting directly to a display/projector). The DIP-30 is a step-in commander when connected to a matrix switcher that supports step-in over HDMI such as the VS-62H.
Specs include:
- Up to WUXGA, 4K/60Hz UHD (4:2:0)
- Max. data rate – 10.2Gbps (3.4Gbps per graphic channel)
- HDCP compliant with sources that support HDCP repeater mode
- HDMI support – Deep Color, x.v.Color and 3D
- Automatic live input detection based on video clock presence
- Automatic input selection based on priority selection or last connected input
- Manual input selection
- Automatic analog audio detection and embedding
- Control via Kramer Protocol 3000 and embedded Web pages over a LAN
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Atlona Ships 4K/UHD SwitcherAtlona’s new 4K/UHD AV switcher, the AT-UHD-CLSO-612ED, is a six-input switcher featuring built-in 4K scaling (up to 30Hz 4:4:4), mirrored HDBaseT and HDMI outputs and AV signal extension up to 100 meters.
Featuring display control and automatic input selection, the new switcher can act as a central component for a fully automated boardroom or classroom AV system. The UHD-CLSO-612ED is equipped with two HDBaseT inputs, two HDMI inputs, two multi-function analog inputs, and an audio input to give integrators the ability to meet wide-ranging AV needs with a single integrated component.
The CLSO-612ED is designed for classroom and small office integration and can scale any source to any display and output at 2840×2160 resolution image. The switcher is designed to work with the Atlona AT-UHD-EX-100CE-TXHDBaseT transmitter and the AT-HDVS-200-TX switcher as remote inputs for sources placed on lecterns, conference tables, or any location within 100 meters using CAT6a/7 cable. In addition, an HDBaseT output is provided for remote displays to extend AV and control signals up to 100 meters using an AT-UHD-EX-100CE-RX Ethernet-enabled receiver.
The AT-UHD-CLSO-612ED utilizes PoE technology to power compatible HDVS Series switchers connected to its inputs and to power an HDBaseT receiver connected to its output, eliminating the need for AC outlets to power remotely-located extender devices and streamlining installation of displays.
The switcher features automatic display control, which can eliminate the need for control systems in small AV systems. Basically, the switcher automatically turns on the display (using CEC) whenever a source is connected and enables remote operation.
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Artel Video Systems Adds DLC910 Quad SD-HD-3G SDI MultiviewerArtel Video Systems has just introduced its DLC910 Quad SD-HD-3G SDI Multiviewer, which adds four-channel SD-HD-3G multi-viewer capabilities to Artel’s flagship DigiLink media transport platform and supports a broad range of input signal formats and resolutions.
Artel’s DLC910 multiviewer enables users to monitor the status of up to four independent video channels and features auto detect format, audio monitoring, automatic aspect ratio output, and multiple I/O options using BNCs, optical or HDMI SFPs or other modules in the DigiLink platform. Any input signal can be displayed in any multiviewer quadrant.
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Proxima Intros 3600-Lumen WXGA Portable ProjectorProxima Displays has announced the release of the C436W WXGA projector. The C436W is their first small and portable model and features a brightness spec of 3,600 lumens and WXGA 1280×800 resolution with LCD display technology. Inputs include two VGA, two HDMI, USB and RJ45 inputs and it lists for $899.
Featuring a 10,000-hour lamp life in eco mode, the C436W has automatic or manual keystone correction. Here are all the specs. Leave a Comment
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EPSON Debuts 12,000 Lumen 3LCD Laser-Phosphor Projector Using Inorganic Color-Wheel and PanelsYou are no long forced to buy a DLP projector if you want laser-phosphor. Two months ago, at the ISE show in Amsterdam, Epson launched the world’s-first laser-phosphor 3LCD projector line that not only lasts for (and is warranted for) 20,000 hours, but can garner a 12,000 lumen light output.
The Pro L1505U large-venue projector combines a laser light source and 3LCD technology and is aimed for events staging, auditoriums and houses of worship. Using three native WUXGA (1920×1200) inorganic LCD panels that use a unique Epson 4K Enhancement Technology to simulate 4K in a way that is stunning. Delivering 12,000 lumens of color brightness and 12,000 lumens of white brightness, the L1505U’s laser light engine also provides virtually maintenance-free operation up to 30,000 hours. Plus, its exceptional integration capabilities include diverse connectivity such as HDBaseT and nine optional powered lenses with lens shift and lens memory (standard lens included).
Here’s a video we shot of it at ISE. Leave a Comment
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Optoma Launches Ultra-Light, Short Throw Projector Aimed at Both Business and HomeOptoma has introduced an ultra-portable ML750ST short throw WXGA (1280×800) one-chip DLP projector with LED lighting — aiming it for both home and commercial use — but it’s limited to 700 lumens. It’s priced at $550.
Weighing in at under one pound, the ML750ST offers all of the same features as its miniscule ML750 predecessor — plus short throw capabilities projecting a 100-inch diagonal image from only 68 inches away. The 3D-compatible ML750ST has the ability to display 3D content from any MHL-enabled mobile phone or tablet, as well as HDMI input to connect to laptops, PCs, games consoles or Blu-ray players. Microsoft Office, PDF, photo, video, audio and other files can also be accessed directly from built-in memory, a microSD card slot or USB connection. In addition, wireless connectivity can be leveraged via a WUSB Wi-Fi adapter, available for purchase separately.
Specs of the ML750ST include:
- Resolution: WXGA (1280 x 800)
- Brightness: 700 lumens
- Contract Ratio: 20,000:1
- Display Colors: 16.7 Million
- Throw Ratio: 0.8:1
- Projection Distance: 16″ – 135″
- Image Size: 25″ – 200″
- Audio: Built-in 1.5W speaker
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Christie Adds Four Laser-Phosphor Projectors with New GS Series Using Rec. 709Christie has announced new 1DLP lineup GS Series of laser-phosphor projectors, including two HD models with BoldColor Technology. The line is aimed at corporate meeting rooms, trade shows, entertainment venues and rental staging.
More advanced than previous GS models, the four professional-grade models use a grid-based warping and blending processor and also have an option for camera-based warping, blending or stacking to make setups faster and simpler. They can also be rotated 360-degrees and used in portrait orientation, making them ideal for complex setups in rental staging and medium-sized fixed applications. At only 35dBA, users won’t be distracted by projector noise and the new, sleeker design blends seamlessly into any environment. Lightweight and compact, the four new models deliver stunning images using a laser phosphor light source with a 20,000 hour life for low maintenance and a low cost of ownership.
While all four models tout improved color performance, the 850-GS models incorporate Christie BoldColor Technology for premium color performance. The increase in color balance to improve color accuracy results in the extreme bold colors audiences prefer. With two new HD and two more WUXGA laser phosphor models, Christie has a wide-ranging 1DLP lineup including both lamp and laser phosphor options ranging from 3,000 to 13,000 lumens without limiting options to one technology or another.
Featuring bottom-side HDMI connectivity and rear cover, the new Christie GS models can be ceiling mounted and have a very clean look without all the unused connections, cables and keypad being exposed. All RJ45 connections are fully compatible with the rugged and lockable XLR-shell connection to protect and avoid having to re-terminate cables onsite.
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Crestron Intros Fusion Cloud and Accompanying PinPoint AppIf you’re using Crestron’s new Fusion Cloud Platform, or the on-premise version of this enterprise management platform, then you can use the company’s new PinPoint App — a personal, mobile scheduling app that lets employees take control of every aspect of their meetings, including scheduling, setup, execution and completion. Crestron says the app acts like a personal assistant: With an awareness of an employee’s location, it identifies nearby meeting rooms with the applicable technology and devices to meet the need of the meeting they have scheduled.
Embedded with something Crestron is calling “advanced room search capability” the app finds a room and then, once the meeting starts, can share content from their smartphones or tablets.
Crestron Fusion Cloud Platform provides real-time visibility into enterprises’ meeting spaces and building technology around the globe, down to the individual room and device levels. Crestron Fusion Cloud is designed for enterprises to fully optimize their rooms and technology by allowing a company to monitor all their sites from a centralized location without the need for additional IT infrastructure.
PinPoint is only available to companies that have Crestron Fusion Cloud or the on-premise version of this enterprise management platform. You can learn about PinPoint here and learn about Fusion Cloud here. Leave a Comment
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wePresent Announces Wireless Presentation System Aimed Exclusively at Education MarketwePresent has announced an expansion to its line of wireless presentation systems, adding the WiPG-1600 aimed at education installs. We actually gave this product an ISE Best New Product for Higher Education Award earlier this year.
The WiPG-1600 wireless presentation hardware provides a solution for those who require the basic functionality of the wePresent, but don’t require some of the more advanced solutions that the flagship WiPG-2000 offers, such as whiteboard and annotation abilities, on-board video streaming or USB document and media viewing. Many schools and offices have already implemented collaborative technology, such as SMART Board displays, yet are missing the crucial piece of wireless presentation technology. Sensing the need for a more intermediate step, wePresent released the award-winning wireless hardware with more features than the model it replaces, but at a more moderate price point.
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Sennheiser’s Evolution Wireless D1 App LaunchesSennheiser is introducing an app for remotely controlling its evolution wireless D1 radio microphone systems. The WSR app converts iPad and iPhone into a handy remote control for digital D1 systems, assisting in the configuration, management and monitoring of radio links. The app is available from the Apple app store now.
The WSR App automatically recognizes whether D1 microphone systems have up-to-date firmware on board — and offers an update via the internet if required. Via the app, users can conveniently adjust the settings of individual units or entire groups, controlling audio effects, network settings and output signals on an iPhone or an iPad.
The WSR App will also turn your iOS device into a signal tester — when walking the stage with the device and the D1 transmitter, the transmission quality of the radio link is displayed in real time.
During a gig, the WSR App lets you keep track of the battery status, sound levels and signal strength to avoid any nasty surprises. To make monitoring even easier, the iPad version allows you to include user photos for easy identification of the systems, and to arrange the positions of the systems on screen to correspond to the band members’ positions on stage.
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Christie Vive Audio Expands Cinema Loudspeakers Offerings with LS SeriesChristie just announced the launch of the Christie Vive Audio LS Series four-way screen channel and two-way surround loudspeakers at CinemaCon 2016. Featuring planar ribbon driver technology with its low distortion and superior transient response characteristics, LS Series screen channels are single-enclosure designs and ideal for most 5.1 and 7.1 distributed sound applications. Christie says the LS Series enclosures offer a cost-effective entry into superior cinema sound.
There are six models in the Vive Audio LS Series lineup. These include the LS1 and LS2 screen channel loudspeakers, as well as the LS1S, LS2S, LS4S and LS5S surround channel loudspeakers. Rotatable waveguides on the LS Series screen channels supports deployment in low profile situations or for use as corner surrounds in larger 5.1 applications. Their single-enclosure design ensures quick deployment and reduced labor costs and their shallow depth enables deployment in even the narrowest of behind-screen spaces. Moreover, manufactured by Christie, the LS Series loudspeakers are a perfect complement to Christie’s award-winning digital cinema projection systems and, when combined, offer a complete, single-source exhibition solution.
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Genelec Offers 8430A Audio-over-IP SAM Studio MonitorGenelec has debuted the 8430A SAM Studio Monitor, enabling direct monitoring of audio-over-IP stream content – the first studio monitor on the market supporting AES67 and RAVENNA standards, according to Genelec. AES67 is now fast gaining acceptance as an industry standard and is rapidly establishing audio-over-IP in the mainstream.
As a member in the Genelec Smart Active Monitoring (SAM) Series, the 8430 shares the electro-acoustic features such as Genelec MDE and DCW technologies, a flow-optimized reflex port, very low distortion, high SPL and wide bandwidth, uncolored response in a very compact enclosure. Also, as member of the SAM Series, the 8430 uses the highly intuitive Genelec Loudspeaker Manager (GLM 2.0) control network and software allowing adjustments of all aspects of monitor settings and full multi-loudspeaker system control. As a central part of GLM, Genelec AutoCal automatically ensures that every monitor on the network is aligned for level and timing, as well as being compensated for room response anomalies. The 8430 combines exceptional connectivity; first, for the industry standard AES67 Ethernet audio-over-IP signal via an XLR-housed RJ45 connector, and second, a standard balanced analog signal input via a standard XLR connector input. The 8430 Ethernet audio streaming capability supports the standard audio sample rates up to 96 kHz high resolution format. With its Genelec proprietary Class D amplifier technology, universal mains voltage input and the very high reliability, and support for high accuracy IEEE 1522 version 2 precision time protocol based audio clock synchronization, the 8430 fulfills all the stringent quality requirements of modern audio-over-IP streaming applications.
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Chief Ships Solutions for Mounting Surface HubChief is now shipping a custom heavy duty flat panel mount designed for the Microsoft 84” Surface Hub on walls. Chief already manufactures several mounts that can accommodate the 55” Surface Hub.
The PSMH2079 is a wall display mount option designed to quickly install the 84” Surface Hub. Key features include:
- +1.6° plum adjustment
- 3” (76 mm) lateral shift
- Q-Latch mounting system
- Low profile of 2.51” (64 mm)
For the 55” Surface Hub, Chief has the Fusion XSM1U wall mount, which comes with installer-friendly Fusion features:
- Centerless shift for post-installation lateral shift
- ClickConnect offers an audible click when the screen safely engages
- ControlZone post-installation micro-height and leveling adjustment
- Tool-free latching flags for additional padlock security
For mobile applications, the Fusion XPAU cart works with the 55” Microsoft Surface Hub. The cart’s sleek aesthetics are suitable for multiple environments. A turn knob adjusts the height from 48-65” (1.2-1.7 m). The cart also includes internal storage for rack mountable and non-rack mountable components. Tool free latching flags add padlock security.
A Fusion XVM1U cart will be available in Q2 for the 84” Surface Hub. Get more information here. Leave a Comment
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Middle Atlantic Adds SNE “Security” Series EnclosuresMiddle Atlantic Products today announced expanded capabilities for its premier security enclosure line, the SNE Series. The new End Cable Chase is a full-height, slim enclosure option that optimizes the space at the end of an enclosure bay by allowing additional devices to be mounted, including those that would otherwise reside on the wall. This enables the containment of all system components in one enclosure, which adds an additional level of security, frees up space on the wall, and reduces the amount of wiring necessary. The Internal Cable Duct securely and efficiently routes cables within 30″-wide SNE enclosures, ensuring signal performance and system reliability for mission-critical applications. With these new options, the SNE Series gives the security integrator the flexibility to build dependable and solid solutions to meet the specific requirements of IP, analog and hybrid security systems.
Building on the SNE offering’s seismic certification and raised-floor capabilities, the End Cable Chase gives integrators more space to integrate security components they traditionally could only mount on the wall, such as an alarm panel or access control equipment, as well as smaller devices. The End Cable Chase accommodates the series’ signature split side panels to allow integrators easier access to equipment within. It ships pre-configured and incorporates Middle Atlantic’s Lever Lock system, which facilitates cable management and small device mounting within the enclosure using unique tool-free cable management bars and accessory mounting plates. The top-mounted brush grommet panel provides a clean, organized cable entry method while maintaining critical thermal management to ensure all the components run smoothly.
The SNE Series Internal Cable Duct provides integrators with a cost-effective solution for protecting, routing, and organizing data cables, patch cords, and power cords inside SNE Series enclosures. Featuring durable plastic cable fingers and a dual hinge front cover, the Internal Cable Duct cleanly routes cables exactly where needed, preventing signal failures due to pinched and bent cables. Integrators can patch cables on multiple levels within the enclosure without modifications or causing potential system compromises.
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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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