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Volume 2, Issue 2 — February 13, 2013 |
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Tech Redundancy
By Anthony Coppedge
House of Worship Technology Consultant
Two is better than one, especially when it comes to mission-critical technology in churches. From the pastor’s mic beltpack to the projectors in each of the large venues to extra dimming modules for the architectural and stage lighting, having an active reserve of technology can mean the difference between a seamless service or a veritable train wreck.
The trick, it would seem, is in convincing the church to spend extra money on additional hardware. Those dollars that, even in a bullish economy, could be a hard sell. But what if it’s not either of those scenarios?
Not More Gear; Enough Gear
There’s a big difference in selling something ‘extra’ as opposed to selling something that ensures consistency and dependability. When the stakes are high — and they are for weekend services — and the price of failure is either fiscally quantifiable or has a high opportunity cost, the need for redundancy becomes clear. These are not line item expenses listing ‘quantity: 2’, but proper technology and a system design that ensures continuous performance for once-a-week services.
As part of the initial needs assessment, it’s important to ask the church leadership leading questions that determine their pain points, their stated goals and their specific expectations. For existing systems, they’ll have plenty to add to the ‘pain points’, as they’ll have undoubtedly exposed weaknesses and gaps in their current technology systems. When new systems design is discussed, the past performance of previous systems have set benchmarks for expected performance and taught lessons of what they do not want to repeat as well as what they do want.
Agreeing with the church leadership on expectations is the single best way to establish baselines for minimum system requirements, which will include redundancy of key system components. When the design process simply meets desired expectations and goals, redundant systems and back-up contingency plans are then a natural part of a holistic system. The mindset and value proposition is key: It’s not about “more stuff,” but instead about ensuring consistency of operation in (almost) any situation.
Sure, there are those situations where all power to their grid is cut where nothing but a facility-wide back-up generator will save the day. Beyond those devastating freak issues, the more pedestrian day-to-day small failures can be avoided without adding considerable cost.
Double Up
In some instances, the system design can include double technology solutions as part of the basic system, not a luxury for those with fat budgets. The manufacturers have continued to roll out equipment that is meant to be used in conjunction with multiple pieces of equipment and this kind of flexibility and redundancy needs to be part of the marketing campaigns and sales pitches.
Sometimes, though, a feature that is dubbed “redundant” is actually a misnomer. For example, the multi-lamp projectors on the market were built to satisfy the need for additional brightness without adding more projectors. With all respect to meeting this demand in certain markets, it’s my experience and opinion that these are not good redundant systems for churches. First, the single power supply means that no matter how many lamps are packed inside the projector, one failure here means none of those lamps will work. Additionally, when two or more of these projectors are used in the same room on multiple screens and just one of those lamps goes out on a single projector, the color matching mess of a new lamp almost ensures image disparity between the two screens. Instead, two single-lamp projectors (at perhaps 60 percent – each – of the needed brightness) can meet the need and offer better redundancy.
The same kind of thinking applies to lighting instruments, too, and their associated dimmers. In a time when this technology is designed by the manufacturer for demanding environments where ‘the show must go on,’ churches can benefit from this kind of design methodology.
Redundant Support
Some technology is simply too expensive to justify the expense of two identical units. From audio mixing consoles, to large lighting consoles or video switchers, a duplicate unit is out of reach for all but the most ample of budgets.
Instead, the redundancy can be in important sub-systems, such as back-up power supplies for each major component, large uninterrupted power supply (UPS) systems and even different isolated transformers for video, audio and lighting.
And, speaking of support, having a service contract that guarantees 24-hour (or less) discounted/free rentals in case of equipment failure is worthwhile insurance many churches will gladly choose — especially if they’ve ever had a major tech failure during weekend services. In fact, mission-critical thinking is where the relationship of a successful systems integrator will help churches make the decision to spend a little more now instead of a lot more later on (see TRENDS: Mission-Critical Upgrades).
Redundant Operation
Once the church understands how their technology redundancy for key systems provides peace of mind and consistent operation, it’s an easy conversation to talk about standardization of key tech pieces across all of their venues (see TRENDS: Multi-Site Church Videos). Training volunteers on a smaller version a particular mixing console makes it easy to help move proficient volunteers from the small venue to progressively larger venues with progressively more robust mixing consoles. By standardizing on one manufacturer’s mixing consoles, the menu systems are similar and operation is pretty consistent, too; the larger units simply do more.
One of the big keys to successful tech volunteers is equipping them with the tools and training to make their job fun and rewarding, not a hot-seat position where they’re anxiously trying to avoid failure.
What If?
The decision to make key tech components more reliable through redundancy adds confidence for the church, the systems integrator and the manufacturer. Why all three? Because the church knows they’ve done all they can to create a seamless system to ensure weekend consistency, the systems integrator will have the chance to leverage the relationship of a very satisfied church client (no failures = a very happy pastor) and the manufacturer can actually promote “uptime” percentages to the church market like they do to other vertical markets.
Asking “what if” questions helps the church leadership come to obvious conclusions and changes the perception from “adding more” to “ensuring consistency.” The distinction is huge because the greater value proposition is not in ‘more’ but in ‘peace of mind.’
Yeah, But
Then again, there are those clients (church market or otherwise), where the term ‘value engineering’ is a euphemism for ‘financially cheap.’ Recognizing this reality means re-thinking the contract documentation.
For every cut that is made, instead of simply removing it from the budget, itemized list or scope of work, create a new section in the document called “Value Engineered Reductions.” In this section, clearly define what was cut, what the impact of the cut means to the integrity of the system and the new expectation that comes along with the item’s removal. This page must be initialed/signed by the church leadership along with the rest of the contract. The purpose of this extra signing step is not to have an “I-told-you-so” document to wave in their face when/if this becomes and issue down the road, but as a gut-check for the leadership to truly understand the revised expectations. By doing so, more than a few churches will actually add gear back in, unwilling to accept a lowered expectation.
Redundant technology systems have been largely missing in the house of worship market. This is due mostly, I believe, from the greasy salesmanship of those trying to add margin to each sale and the now wary church buyer looking out for padded line items for extra margin. Yet the opportunity exists to market, sell, design and support systems that massively reduce weekend technology failures and add immensely to both the satisfaction of church leaders and their tech teams. And, as they say, a happy client that will promote their satisfaction to other churches is worth more than any amount of advertising can buy.
A former staff member at three mega churches and church technology consultant, Anthony Coppedge has developed a respected reputation as a leader in technical and communications circles within the church marketplace. Reach him at anthony@anthonycoppedge.com or on Twitter at http://www.twitter.com/anthonycoppedge
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Less and More is More
By Anthony Coppedge
House of Worship Technology Consultant
The perfect church service, technically speaking, happens when no one says anything at all to the tech team after the service ends. That’s because when they do their job seamlessly, the technology both supported and enhanced the service in a way that did not draw attention to the technology. Things just worked and fit naturally.
Any veteran technician from any market will tell you that their best gigs happened when there were zero complaints. It’s not that these guys and gals don’t appreciate affirmation; they simply know that not having any negative feedback is almost always the highest compliment. To achieve these moments, many things had to go exactly right; and that’s not a small task!
Establish the Service Workflow
Each church has adopted a format for its weekend services, each with varying degrees of flexibility. From a technical production standpoint, it is extremely important to understand the service workflow in order to determine the right technology to meet these needs and expectations. Generally speaking, the more complex the requirements, the more complex the system functionality, right? Probably, but even in the most elaborate church production environments there are plenty of components that will fit right at home in a far smaller or less complex church venue. By establishing the workflow, the infrastructure components will become more obvious to the system designer.
A typical (being vague and general here) church workflow might include:
- Coordinate pre-service graphics/videos (with audio or with a track/band)
- Service intro (music only, video roll-in or song leader)
- Praise and worship (choir, band, vocalists, orchestra, tracks, etc.)
- Transition element (pastor, worship leader, video, baptism, song, etc.)
- Sermon/message (with or without sermon support of graphics, videos, drama, testimony, interview, etc.)
- Closing (band, choir, vocalists, tracks, video, etc.)
How the church handles those elements and coordinates audio, video and lighting before, during and after the service will help immensely in providing clarity for defining technical needs and gear priorities. What’s especially helpful is the automatic discussion that arises around the expectations for each of these service elements, as it shapes both the system design and the complexity of the needed equipment. If you’re paying attention here, you’ll see that this is generating a rough equipment list options and associated budget ranges. These budget ranges are based on the church’s own defined needs and priorities and is an excellent level-set for establishing a budget baseline based on real-world numbers. This is hugely important.
Less is More
Ultimately, value-engineering — a euphemism for cutting equipment to stay within available funds — will becomes a part of the equation. This is where understanding the needs infrastructure becomes essential. Because the expectations and needs have been defined, it’s easy to establish a baseline of non-negotiable equipment.
So often in church trade publications, the focus is on the newest installation or the hottest top-of-the-line gear. But just like other vertical markets, the house of worship space will only have a very small percentage owning the gold-plated stuff. There’s little attention paid to the less glamorous technologies, systems and processes that deliver rock-solid, consistent operation day in and day out. Yet not only are these tools not the center of a story’s focus, they’re missed entirely by an industry that’s always touting bigger and better gear.
Because I came from a broadcast television background, I took for granted the myriad, seemingly innocuous tools quietly working in rackmounts and under the consoles. When I started working with churches, these tried-and-true technologies were largely missing from the church’s technical landscape. Things like multi-channel communication systems, confidence monitors, ample floor boxes and inputs/outputs and tie lines, matrix routing, sufficient lighting positions (and dimming and power!) and even isolated ground tech power are all essentials for seamless, distraction-free church tech environments. It’s very do-able for churches to have a less-is-more approach, so long as the ‘less’ meets the baseline standards defined by the church leadership.
More is More
Then again, when the expectation of the church leadership demands a specific outcome, the options tend to narrow definitively. This isn’t a license for more expensive, but it is a talking point for required budget. “Scope creep” happens because people who want more tend to have shorter memories than those who do not. Well, OK, it’s really about not documenting the groupings of needs, expected outcomes and wants.
It is incorrect to label redundancy of key equipment as simply “more gear.” The church market needs bold leadership to ensure that expectations are met (and exceeded!) when budget cuts (VE’ing) are on the table. It is a poor choice (literally and figuratively) to abdicate your expertise in hopes of a lesser sale. Holding up the very priorities, needs and learned pain points that a church defines is the single best way to hold leaders accountable for their budgeting and decision-making process.
But there’s a perception problem: technology has a generalized reputation of being “better, cheaper and faster” year after year. While there’s a great deal of truth in this concept due to technological advancements and greater demand (helps with supply costs), sometimes new equipment simply does more and does it demonstrably better — but at a higher price than lesser gear. Manufacturers continue to find new ways to make things more powerful, more flexible and more robust. That’s great, but it’s not free.
I think far too many manufacturers and systems integrators alike have listened to the vocal, shrieking cheapskate churches and have come to the incorrect conclusion that the house of worship market is a low-margin vertical. Because people make up churches just like they do the corporate, government, education and military markets, the truth that the vocal minority is a pain in the butt will still be valid. However, it doesn’t take much research to find out that a group we call “growth churches” — those with at least two-digit percentage attendance increase per year – are outpacing the number of dead and dying churches in terms of overall community reach. Your focus determines your reality in this market.
Market Strategically, Educate Tactically
Speaking the truth in love is a Biblical principle. Show church leaders what’s possible — not just what’s flashy or trendy. Manufacturers, understand that you are the biggest influencer when your marketing speaks to the pain points and needs of today’s growth churches. Said another way: Go ahead and make their seamless service goals your stated priority. Less marketing speak and a whole lot more “we solve your needs” goes a long way.
It’s not much different for systems integrators, but with the distinct advantage of a local presence and face-to-face relationship time. Don’t shy away from stating the obvious: redundancy is not just a good idea, it’s an imperative for everything possible to eliminate pain points and create optimal experiences for churches.
I use the term “volunteer-proofing” to describe my methodology for equipping, training and leading volunteers. I don’t use the term “idiot-proof” because I don’t think they’re idiots. There’s a huge difference between ignorance and idiocy! Solve the ignorance by educating tactically, providing truth, helpful recommendations and establishing clear expectations. That’s how less is more and more is more.
A former staff member at three mega churches and church technology consultant, Anthony Coppedge has developed a respected reputation as a leader in technical and communications circles within the church marketplace. Reach him at anthony@anthonycoppedge.com
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PreSonus Announces PRM1 Precision Reference Microphone
PreSonus’ new PRM1 reference (measurement) microphone is special type of condenser mic that is designed to provide an accurate reproduction of a room’s sound characteristics for use with audio-analysis tools, such as real-time analyzers (RTAs) and spectrographs.
The PRM1 employs a ¼” pre-polarized electret-condenser capsule. PreSonos claims it delivers a linear frequency response between 20 Hz and 20 kHz. Like most measurement mics, it has an omnidirectional polar pattern. Sensitivity is rated at -37 dB/Pa, EIN (A-weighted) at 26 dB, S/N ratio at 70 dB, dynamic range at 106 dB, and maximum SPL is at 132 dB SPL.
The mic has an all-metal chassis and comes with a clip, foam windscreen and hard case.
The PRM1 is expected to ship this month and will list for $79.95. Here are all the details: http://www.presonus.com/
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Chief’s Fusion Series Ceiling Mounted Video Walls Ship
Chief is now shipping FUSION Video Wall Ceiling Mounts. Designed for digital signage installations, the new mounts offer perfect TV positioning and flexible adjustments.
Features of the ceiling video wall mounts include independent knobs for precise height and plumb micro-adjustments with no tools required, micro-height and leveling adjustment at all column intersection points and infinite screen positioning. The solid construction will support displays up to 55″ ranging from 85 to 125 pounds (38.5-56.7 kilograms) per screen.
The ceiling mounted video wall is compatible with traditional 1.5″ NPT and Chief’s new CPA pin connection ceiling plates and column system. The LCM video wall mounts are the second in a series of FUSION ceiling mounts and accessories that are rolling out in early 2013.
Here are the specs:
http://www.chiefmfg.com/Series/LCM%20Multi-Display
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TASCAM Intros Two Rack-Mount AV Receivers With Network Playback
Tascam’s PA-R100 and PA-R200 are ProAV receivers that include switching of HDMI signals, PiP capability, RS232 and IP support, multi-zone audio distribution and the ability to handle THX Select2 audio sources. Some of the other key features are DNLA Compatibility, iPod, iPhone and iPad Connectivity and a variety of Internet Radio and Cloud Streaming Service Connectivity such as Pandora, Spotify, Rhapsody, SiriusXM, etc.
Features of the $699.99 PA-R100 include:
- 80 watts per channel at 8 ohms, 20 Hz–20 kHz, 0.08 percent, two channels driven, FTC
- Seven HDMI inputs and one output
- Six analog audio inputs (one front/five rear)
- Zone 2 pre/line-out for distributed audio playback in another room
- Surround back or front high pre out
Features of the $899.99 PA-R200 include:
- 100 watts per channel 8 ohms, 20 Hz–20 kHz, 0.08 percent THD, two channels driven, FTC
- Eight HDMI inputs (one front/seven rear) and two output
- Seven analog audio inputs (one front/six rear)
- Powered Zone 2 and Zone 3 pre/line-out for distributed audio playback in another room
- 7.2 multichannel pre outs (including two subwoofer pre outs)
- THX Select2 Plus Certified to ensure best-in-class performance
For more information, click here: http://tascam.com/products/
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VUE Audiotechnik Unveils al-4 Subcompact Line Array System
VUE Audiotechnik has introduced the first product in its new al-Class of professional loudspeakers. The al-4 Subcompact Line Array System includes a beryllium compression driver, Kevlar/Neo LF transducers, plus precision amplification and DSP with an ultra-compact and scalable design to build larger systems.
The al-4 Line Array System includes the al-4 Acoustic Element and the rack-mount V4 Systems Engine. The compact al-4 Acoustic Element measures just 18.9×5.5×10.3 inches (WxHxD) and weighs 18 pounds. Drivers are loaded in an M-T-M (LF-HF-LF) configuration for symmetrical horizontal consistency. Two 4-inch Kevlar cone neodymium woofers flank a VUE-designed, 1-inch exit neodymium compression driver with a Truextent beryllium diaphragm. The beryllium compression driver is mounted to a precision waveguide delivering 90 degrees of horizontal coverage.
The 2U rack-mount V4 Systems Engine is a two-input/four-output configuration capable of powering up to eight al-4 elements with two channels at 1600 watts each for the low frequency and two channels at 550 watts each for the high frequency (pure, sine wave rating). The V4 also handles all system management including speaker protection, as well as system-optimized alignment of EQ, time and crossover functions.
You can see all the technical details here:
http://www.vueaudio.com
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Extron Announces New Compact DVI Fiber Optic Extender
Extron is already shipping a brand new product in the DFX 100 Fiber Optic Extender, a transmitter and receiver set for long haul transmission of DVI video signals over one fiber optic cable. This extender delivers single-link DVI-D signals over multimode fiber optic cable at lengths up to 300 meters (984 feet). Using all-digital technology to deliver pixel-for-pixel transmission of video images up to 1920×1200, including HDTV 1080p/60, the DFX 100 can be used for simple point-to-point applications or in combination with DMS Series Modular Matrix Switchers that include the new DMS Fiber Matrix Boards.
DMS Series matrix switchers can be populated with any combination of DMS DVI and DMS Fiber matrix boards to support local and remote devices. To simplify integration, ultra-flexible DVI cables are attached to the transmitter and the receiver to allow direct connection to source and destination devices. Pre-terminated multimode fiber optic cable assemblies from Extron are available in various lengths from one meter (3.3 feet) to 60 meters (197 feet). Both the DFX 100 transmitter and receiver are housed in 1U, one-eighth rack width enclosures for discreet installation.
Here are all the specs:
http://www.extron.com/product/product.aspx?id=dfx100&s=5
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BEHRINGER Launches iX16 Ultra-Compact Digital Mixer for iPad
BEHRINGER today introduced the latest addition to its digital mixer product line with the unveiling of the iX16 Digital Mixer for iPad. The unit features 16 digitally-programmable, high-resolution MIDAS-designed mic pres, all controllable remotely from the supplied iPad app. Extensive control options include PC/Mac/Linux over Ethernet or Wi-Fi as well as iPhone/iPod Touch for personal monitor mixing right out the box.
The iX16 leverages BEHRINGER’s extensive suite of remastered digital FX emulations, such as Lexicon 480L and PCM70, EMT250 and Quantec QRS. It offers four true-stereo virtual effects racks, inserts on all eight buses, six-band parametric EQ and full dynamics processing. The iX16 is built on a 40-Bit floating-point DSP core that offers “unlimited” dynamic range with no internal overload and near-zero latency of <0.8 msec, according to BEHRINGER.
BEHRINGER has included its ULTRANET digital audio network technology for direct connection of the iX16 into a network with X32 Digital Mixers or the company’s new iQ Networked Active Loudspeaker line, for 16-channel connectivity over a single CAT5 cable. The same system allows for connection of the P16 Personal Monitor system, allowing for up to 64 monitor mixes without consuming a single mix bus on the iX16. The inclusion of a USB 2.0 interface that turns the iX16 into an 18×18 channel audio interface offers additional flexibility.
In addition to its audio connectivity the iX16 also includes MIDI In/Out for remote scene recall or controlling other MIDI equipment. Presets can be saved internally and backed onto a USB drive through the type-A connector that also serves as a stereo recorder directly to Flash.
For recording applications, iX16 features a bi-directional 18-channel USB audio interface that, combined with the 40-bit digital mix engine, elevates recording to a new level of sonic clarity. A Virtual FX rack is also included with 4 true stereo FX slots including high-end simulations such as Lexicon 480L, PCM70, EMT250 and Quantec QRS, etc. ULTRANET connectivity works with the BEHRINGER P16 Personal Monitoring System to further enhance both live and studio applications.
The iX16 Digital Mixer for iPad isn’t on BEHRINGER’s site yet, but when it is, it will be here:
http://www.behringer.com/EN/products/index.aspx
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StreamVu Launches Professional Live Streaming Solution for Live Sound and Production Markets
StreamVu TV, a professional online broadcast service that specializes in the delivery of live and on demand content, announced at NAMM 2013 the launch of a live streaming solution designed for the live sound and production. Unique to StreamVu TV is the ability to place content on a venues website, multiple websites or distribute by email.
All the system requires is a connection to StreamVu TV, and a Marshall Electronics Producer Station. The Producer Station takes a video and audio signal and sends it out to StreamVu TV’s server. With that connection in place, users can tune into the broadcast on any computer. Featuring a “pay as your play” pricing plan, the StreamVuTV’s service can cost as little as $.50 GB of data transfer.
Broadcast Live Events:
- Embed the live stream on one (or multiple) existing sites, Facebook or distribute links via email.
- Offer Pay-Per-View broadcasts
- Private broadcasts available
- Choose between professional broadcast HD and standard definition
Video on Demand:
- Upload video, set price per-viewer and choose if video can be downloaded, streamed or both
- Group content into Subscription Video on Demand (SVOD) packages
- Set monthly subscription rate and StreamVu TV collects viewer payments on the venue, production studio, or recording studio’s behalf
- Videos are automatically distributed and backed up at data centers across the United States
Learn more about the company here: http://streamvu.com/
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Mitsubishi Goes Lampless with New Laser Projectors
Mitsubishi Electric has a big new announcement — the LaserVue family of lamp-free projectors, the company’s first hybrid-design. To produce the red-green-blue lighting elements required to form all displays, Mitsubishi LaserVue projectors use one pure red LED and up to 34 pure blue laser diodes of varying strengths and wavelengths, and a solid-colored phosphor wheel that emits green light.
Unlike other light engine designs in the market today (e.g., Casio), some of the blue laser diodes are diverted to excite phosphors on this single-segment wheel. This creates a clean, clear green, eliminating color breaking or rainbow effects that are sometimes observed in similar projectors. Those that use dual or multi-segment color phosphor wheels often attempt to boost brightness at the expense of color accuracy. Mitsubishi’s new design uses a single-segment wheel — thus, no reduction or brightness.
Mitsubishi’s new line of LaserVue projectors consists of three portable models: the NW31U-EST WXGA (1280×800 resolution) extreme short throw model will be the first to become available in April, followed shortly by two standard throw models, the NW30U WXGA (1280×800 resolution) and the NF32U full high-definition, 1080p resolution projector. They are spec’d with 2,500 lumens, 3,000 lumens and 3,000 lumens respectively, and to last for 20,000 hours. All three have both HDMI and VGA ports and can handle network content as well.
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BEHRINGER Adds 12,000 Watt Models to iNUKE Power Amp Line
BEHRINGER has introduced its most powerful iNUKE Series amps — the iNUKE12000 and iNUKE12000DSP, which are specified at 12,000 total watts — 6,000 watts per channel at 2 0hms, or 3,000 watts at 4 ohms. They weigh less than 18 lbs./8 kg and occupy only two racks spaces each. And, BEHRINGER says they run cooler and don’t require massive heat sinks and heavy toroidal transformers typically found in traditional amplifiers.
The front panel controls and indicators provide users vital information at a glance. Both channels feature positive-detent Gain controls with Signal LEDs that light when a signal is present, as well as clip LEDs to indicate when the signal is distorted. There is also a built-in subwoofer/satellite crossover and input connectors on the iNUKE are XLR and ¼” TRS combination jacks for compatibility with any source. Professional twist lock speaker connectors are found on the back panel.
For sound engineers requiring high-level control capability, iNUKE DSP Series amplifiers come with built-in DSP and 24 bit/96 kHz converters to ensure the ultimate signal integrity with an extremely broad dynamic range. The DSP functions include a sophisticated delay, crossover, EQ (eight parametric, two dynamic) and dynamics processing with lockable security settings. All iNUKE DSP models can be set up, controlled and monitored via the front panel USB connector.
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ZeeVee Releases HDbridge 2000 Series Encoders/Modulators
ZeeVee just launched four new HDbridge 2000 Series encoders/modulators that broadcast up to four HD (1080p/i or 720p) channels. Housed in a single 1RU enclosure, the HDb2620 and HDb2640 offer two and four 1080p/i channels, respectively, while the HDb2520 and HDb2540 provide two and four 720p channels. For rapid deployment, all channels can be set at once.
Leveraging high-channel density, the new HDbridge 2000 Series encoders/modulators are designed for local broadcasting of HD channels in sports bars, educational and corporate campuses, healthcare facilities, hotels, stadiums and houses of worship. The HDb2620/40 and HDb2520/40 join the previously released HDb2380 8-channel digital SD (480i) modulator/encoder, which is now shipping. For improving picture quality while adding management capabilities, the HDb2380 can upgrade an entire analog headend to digital channels at a low cost, comparable to analog modulation.
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Epson Intros 7K Lumen Projectors with Single Lamp
Epson today announced the new PowerLite Pro G-series projectors that include features such as edge blending, 360-degree installation, six optional lenses and several connectivity options. Ranging from 4,500 to 7,000 lumens of “color brightness” (non-ANSI), the projectors are aimed at both the install market and rental and staging.
There are seven models in the Pro G-Series:
- PowerLite Pro G6050W specified at 5,500 lumens, WXGA resolution at $3,799
- PowerLite Pro G6150 specified at 6,500, XGA resolution at $3,599
- PowerLite Pro G6450WU specified at 4,500, WUXGA resolution at $3,999
- PowerLite Pro G6550WU specified at 5,200, WUXGA resolution at $4,999
- PowerLite Pro G6750WU specified at 6,000, WUXGA resolution at $5,999
- PowerLite Pro G6800 specified at 7,000, XGA resolution at $4,799
- PowerLite Pro G6900WU specified at 6000, WUXGA resolution at $6,499
Inputs include HDBaseT, VGA and HDMI and all the specs are here: http://www.epson.com/cgi-bin/Store/jsp/Landing/pro-g-series.do?ref=van_pro-g-series
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InfoComm Opens 2013 Show Registration
More than 10,000 of the hottest technology products from more than 925 companies will be featured at InfoComm 2013 in Orlando, Florida, June 8-14, at the Orange County Convention Center. Attendee registration is now available at http://www.infocommshow.org.
InfoComm 2013 has more than 500,000 net square feet of show floor exhibits and special events space. More than 35,000 professionals are expected to attend the show, with a third of attendees coming from technology managers, specifiers and end-user communities. InfoComm caters to a broad spectrum of market sectors, including business, government, military, education, worship, healthcare, hospitality, retail and entertainment.
Showcasing the latest AV technology, InfoComm 2013 provides the multi-billion dollar industry and its customers with a thriving show floor, along with unsurpassed education and training. Attendees will hear from all the leading audio brands in demo rooms and on the show floor, get connected with collaborative conferencing in the Unified Collaborative Conferencing Pavilion, experience the latest signs of the times at the Digital Signage Pavilion and see the latest in illumination and production in the Lighting and Staging Pavilion. The Technologies for Worship Pavilion will feature the latest AV technology applied for House of Worship staff and volunteers, while new technology zones will highlight emerging trends in the areas of digital content creation, education applications, mobile videoconferencing and security solutions.
“The $78 billion AV industry continues to grow each year,” said InfoComm Executive Director and CEO David Labuskes, CTS, RCDD. “Demand for AV technology, including control systems, conferencing, digital signage and networked audio, has increased dramatically in the built environment. Audiences expect increasingly spectacular live events. This interest has resulted in a thriving Show, and I am confident that InfoComm 2013 attendees will experience the most dynamic InfoComm ever.”
InfoComm is often praised by attendees and exhibitors as the “can’t miss” technology show of the year because of the ability to interact with all segments of the industry in just a few days, while having the opportunity to attend more than 300 educational sessions offered by InfoComm University and valued partner groups. Beyond the show floor, AV Technology Tours will allow attendees to see installed AV projects in action and networking activities will bring everyone together, allowing for the development of meaningful conversations and relationships.
The U.S. Department of Commerce is supporting InfoComm 2013 by promoting the show to overseas attendees because of its export potential, international interest, U.S. exhibitor offerings, stature and overseas marketing efforts. More than 4,500 attendees from 90 countries outside of North America are expected to visit the event.
InfoComm 2013 is sponsored by Christie, Crestron and Samsung. For more news on InfoComm 2013 before, during and after the show, visit http://www.infocommshow.org
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Extron Announces the VNR 100 VN-Matrix Single Channel Recorder
Extron’s new VNR 100 is a single channel recorder that digitally records and plays back high-definition computer graphics, video, audio and data streamed in VN-Matrix systems. It can simultaneously record and play back streaming content. This provides flexibility for recording and playback workflows and can help increase the duty cycle of expensive source and presentation equipment. The VNR 100 presents a scalable solution that can be deployed in single source or multi-source applications.
Pre-recorded content can be streamed while an independent source is recorded in time-slip applications, and chase-play capabilities allow time-shifted delays to be introduced into a live stream. Additionally, multiple VNR 100 units can be configured to accommodate recording and playback of AV content presented on multi-screen display systems. As a part of Extron’s line of VN-Matrix streaming solutions, the VNR 100 is ideally suited for AV streaming and recording applications with the most demanding quality and performance requirements. Some applications for the VNR 100 include command and control, training and simulation, or multi-site house of worship and staged entertainment events.
Here are all the specs:
http://www.extron.com/product/product.aspx?id=vnmr100&s=5
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projectiondesign Launches ProNet.precision Auto-Alignment Software Tool
projectiondesign’s ProNet.precision automatic projector alignment software claims to speed up alignment of multichannel projection systems such as those used in collaboration, command center and visualization rooms. The system uses sophisticated computing processing and digital camera capture to calibrate and align projectors according to surrounding architecture.
The ProNet.precision application is part of projectiondesign’s ProNet software ecosystem, which integrates with the projectiondesign series of projectors and image processors, with building blocks for planning and design, installation and execution, as well as use and monitoring. The system offers remote control over the Internet or local control.
For more information, go to:
http://www.projectiondesign.com
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Sony Intros World’s First 4,000-Lumen, WUXGA Projector Using 3LCD Laser Technology
At ISE last month, Sony brought out its next generation WUXGA installation projector with Laser Light Source Technology. It’s a 4,000-lumen, WUXGA (1920×1200) projector with 3LCD laser technology, which Sony says is the brightest projector of its kind and a first for the industry.
This new addition to Sony’s installation projector line-up follows the design of the VPL-FH31 and VPL-FH36 models. The chassis is designed for optimum flexibility with a clean white finish designed to blend in with its environment.
The Laser Light Source Projector offers low TCO via the newly-developed BrightEra 3LCD technology, which gives the projector up to 20,000 hours maintenance-free, depending on the projector’s environment and setup conditions.
As the projector incorporates lasers, rather than LEDs, to achieve optimum brightness, the Laser Light Source Projector claims substantially brighter images, better contrast ratios and color stability. The white light, like traditional UHP light sources, is directed into the 3LCD engine to deliver picture quality.
The projector also features a picture muting mode that allows the user to quickly start the presentation once the mute mode has been turned off. The Laser Light Source Projector also delivers installation flexibility as it is tilt-free with an efficient portrait mode to ensure the projector appeals to both corporate and education markets.
The Laser Light Source Projector will be available in the summer of 2013. Here are the specs:
http://www.sony.co.uk/pro/hub/home
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