Volume 5, Issue 4 — April 29, 2016
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House of Worship Trends The Future of HOW
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Churches — The Art of the Sale
By Anthony Coppedge House of Worship Technology Consultant
Almost all manufacturers and systems integrators have had at least some experience selling to churches, though those who have mastered the art of the sale to the house of worship market are surprisingly few. I’m going to share my two decades of sales experience in this oft-misunderstood vertical niche and help you know when a church is really ready to buy, when they’re making excuses, as well as when (and how) to go for the close.
Church Buying Signals
“Let us pray about that” is a phrase likely every salesperson has heard when making a sales pitch to a church prospect. It may sound trite, or even come across as a wave-off signal, but it’s just one of the unique points in the buyer journey for almost every single church. Contrary to the assumption that it’s a deferral from moving forward with the sale, churches actually should make this a part of their purchasing decision process, as they believe that God is actively involved with the stewardship decisions of how church leaders manage the finances entrusted to them by congregants. From this viewpoint, it’s completely understandable and underscores one of the unique aspects of the house of worship market.
Church buyers, like any other group of humans, have real buying processes and must weigh the value of a sale against the return on investment; the difference with churches is that the ROI looks a lot more like ROM — Return On Ministry.
It bears repeating that the sales journey with churches often follows a similar path to a lot of other vertical markets: from prospect to lead, from lead to marketing qualified lead, from marketing qualified lead to sales qualified lead, from sales qualified lead to a sales opportunity, and, finally, from a sales opportunity to a closed/won sale. What’s different in this sales funnel process are the things you’ll hear from churches that indicate a buying signal from making excuses.
The Difference Between Buying Signals and Excuses
I started off with the church phrase “we’ll pray about it” as part of the buying journey, and for good reason: It represents the uniqueness of this sales process. However, while it can often be heard at the final stage of the sales journey as a legitimate last step before signing a purchase order, that same phrase uttered early on in the buying cycle can also be a clear wave-off signal from the church when they’re undecided on their options or when a vendor has surprised them with a scope or budget that greatly exceeded their expectations.
Similar phrases are also important to know and, equally as valuable, when they’re said during the sales pipeline process. Here are several that I’ve experienced as both legitimate points in the sales cycle and as wave-off signals when a client wasn’t as serious about purchasing as I first assumed.
“We need to run this by our deacon/committee/pastor.” — Church polity is such that many of these organizations have an accountability structure in place that requires them to submit all large purchases to either a single person, or more frequently a group of staff and/or volunteer leaders appointed to supervise church funds expenditures. Unlike corporate business sales that often include the decision-maker in the sales process, a large percentage of churches will go through an entire sales journey before bringing in the decision-makers. This can be frustrating for the vendor unprepared for this eventuality, but make no mistake that it’s not common to for most churches to avoid talking to the decision-maker(s) until the very end. It is often not possible to accelerate the process without endangering the sale.
“Whatever insert-name-of-large-church-here bought, we want that, too.” — I have heard this so many times that it no longer surprises me. It does say something about the power of a brand, but it also identifies churches that don’t really know what they need and simply assume that identical technology will somehow always be a right fit for the physics of their environment. A savvy salesperson can leverage this to align the with brand (manufacturer) if there are other models in that line-up that make sense for the church. The unscrupulous salesperson will see a quick sale and quickly slide an estimate across the table to blindly fulfill this ill-advised request, but will also likely lose any future sales opportunities and potentially harm their vendor’s reputation for the inevitable negative referrals.
“We have a building campaign budget to stay within.” — There’s actual truth to this statement because quite a few churches use building renovations to add in technology purchases. However, the scope of technology within the project has more to do with physics and usage requirements than it does with artificial budget percentages, so the key here is to educate early and provide scalable solutions that clearly articulate the expectations against the limitations of the venue. You may be able to stay within their budget, but it’s more important to ensure their requirements can be met than it is to hit an abstract dollar amount. Churches often can find more money when the case has been presented and the facts are clearly documented that warrant additional funds. It is still easier to get funds during a building campaign than it is for a strict technology purchase.
When to Go for the Close
Given these examples of buying signals from churches, timing is the key to know when to go for the close. It’s generally not what the churches say — it’s when they say it. As I’ve said many times before here in rAVe [Publications], the key to church sales is understanding the buyer sentiment and selling the value proposition over the features and benefits. Churches have this in common: They want to be good stewards, so value is a high priority for their purchase decisions, and so it should therefore be a high priority for vendors selling into this unique vertical.
Frankly, I’ve experienced thousands of sales to churches, so what I have learned is that they may be closer to government sales than any other vertical in that they often have a ‘hurry-up-and-wait’ mentality or a ‘we want to buy NOW’ mentality. The phrases mentioned above, and the timing of them, provide key indicators of when to go for the close, but the actual close may be very fast or very slow, depending on the church polity.
Educating the church influencers is key to presenting a viable proposal to be presented to the decision-maker(s). I’ve previously written about how to understand the selling stages and technology drivers for this vertical market. See the following articles for further insight:
How are you selling to churches? And what are the phrases you’re hearing from church buyers?
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Manufacturer Training at Church Conferences
By Anthony Coppedge House of Worship Technology Consultant
Having both attended and exhibited at churches conferences and expos, I’ve learned that while a vendor may have the coolest/best/newest technology on display on the show floor, there’s nothing more compelling to church influencers and buyers than a great training or education session off of the show floor to drive quality leads. The reason is simple: Demonstrating that you can solve a pain point for churches and provide unbiased education makes your products stand out more than any single feature or benefit.
Demonstrate, Then Educate
The power of a demo is obvious. But I’ve sat through many demos where the ‘presenter’ was hardly restraining his sales quota; features and benefits and ‘it-can-do-this-too’ were what the audience endured. The essence of a powerful demo happens when the presenter doesn’t lead with their product but leads the attendee to their solution without mentioning their brand. Solving pain points, making operation easier and more consistent for staff and volunteers, identifying with the personas in the room — those are the elements that transcend a product pitch to a solution demonstration.
The demonstration is not complete, however, until the attendees have been educated. They need to leave your session inspired and enthusiastic to both seek you out at your booth on the show floor and take back the insights gleaned to their team — and purchasing decision-makers. A vendor session is infinitely more powerful and effective when the solution makes sense, which leads to the product chosen.
Educate, Then Initiate
The show floor is usually a poor place to try and educate a passerby or to even hold an extended conversation with a prospect due to the competition for their time and attention. This makes educating a key component of vendor/manufacturer led sessions out of the expo hall. These 30 minute (ideal) to one hour (your presenter and solution better be amazing) sessions give you the opportunity — but not the guarantee — of a rapt audience. In my experience, the value of a session is worth the price of paying to exhibit in most church tech conferences because you have a chance to focus entirely on the church customers and not on your technology.
It may sound counterintuitive, but as I said earlier, it’s best to lead someone to your solution than to lead with your product because it gives them the chance to identify their circumstances, their venue, their volunteers and even their pastor as the ones who benefit the most from reduced pain, better operational efficiencies and/or new opportunities to increase the effectiveness of technology in their applications. If you beat a path to a user-centered solution, they’ll often beat a path to your product.
Educating these church technology attendees has less to do with facts, stats, and figures, and more to do with the emotional connection that happens when you provide hope for their circumstances.
Don’t Sell, Illustrate
If I’ve not made it abundantly clear at this point, allow me to be blunt: Don’t sell your product at a church technology conference; sell why you do what you do and how it solves problems and opens up new possibilities for churches. The last thing you want to do is make it easy for an inaccurate A-to-B comparison by limiting your talking points to features, benefits, or cost. That’s not what will make your solution unique, nor will it make you stand out from the endless aisles of competing for gadgetry on the expo floor.
The power of a narrative has more influencing capability than the ultimate list of killer features. Use metaphor and simile to illustrate the what’s-in-it-for-me (WIIFM) opportunity and better identify with the church influencers and buyers. I’ve written about this extensively here on rAVe [Publications], and have included some helpful links to get you up to speed.
Are you leveraging training sessions at church technology conferences to demonstrate, educate, and illuminate or to hawk your gear? The difference is profound. Don’t sell. Inspire!
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VITEC Partners With Renewed Vision for Worship SolutionVITEC today announced that its House of Worship Streaming Solution is now integrated with Renewed Vision ProVideoServer (PVS), a four-channel HD video server. This partnership furthers the capabilities of VITEC’s end-to-end streaming solutions by adding recording, playback, and time-slip capabilities, allowing churches with multiple campuses to tailor their broadcast services to the needs of their satellite locations. VITEC’s portable encoders and decoders, along with the Zixi streaming protocol, can now be bundled with PVS to provide an affordable complete solution with advanced features for small to midsize multi-campus houses of worship.
When integrated with VITEC’s encoder/decoder solutions, the PVS enables houses of worship to easily record one or more high-quality encoded streams from the main campus, complete with embedded timecode and multi-channel audio, and play back those streams at the satellite campus at any time. PVS’ time slip functionality, much like a DVR, allows for the immediate playback of a video even as it continues to record from the main campus. For churches streaming more than one camera feed, the synchronization capabilities of PVS, along with VITEC’s encoding and decoding technology, allow both camera angles to stream at the highest HD video quality and at the lowest possible latency to the remote site, making it an ideal dual-input, dual-output, time-slipped media record and playout server. VITEC’s advanced video compression ensures that every stream will look great even on multiple large IMAG screens while Zixi’s unique transport software eliminates the video-transport problems that are inherent in unmanaged IP networks. This integration ensures that houses of worship can deliver and playback video of unprecedented quality with no stutter, packet loss, or frame-freeze, regardless of network conditions.
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Turn One 4K Camera Into Four HD CamerasIn the ‘creative use of 4K department,’ Datavideo’s new KMU-100 is a unique 4K multi-camera production solution that delivers multiple virtual full HD (up to 1080p) scaled camera angles with minimal installation cost and simple operation.
The basic concept is straightforward: The output of a single 4K/UHD camera is connected to KMU-100, which then displays up to four 16×9 user-defined cropped windows that are sent out as four separate HD signals through HD-SDI. These user defined windows can be scaled to zoom in on a particular subject that you would like to highlight on the 4K signal. An additional 4K camera could be connected to allow up to eight defined outputs from the two 4K signals. As an option, the Datavideo RMC-180 camera controller can be added to easily pan, tilt, and zoom to create the user defined windows on the 4K signal. You can set up these shots in advance and save them as presets, or you can do it in real-time.
For example, if you wanted to broadcast a live three-piece band concert using a 4K camera; simply set up the 4K/UHD camera with a wide angle shot, then connect the camera output to the KMU-100. Use the RMC-180 controller to select up to four 16×9 windows which could be positioned with a joystick as well as resized from any part of the original 4K signal. You can now have the following shots:
- Wide angle of the band
- A close up shot of the lead singer
- Close up drummer and drum set
- Close up of piano player
These four virtual camera signals (up to 1080p) could be connected to any HD-SDI switcher, giving the illusion of a multi camera production when in reality, you only have one 4K camera.
It’s not on the company’s website yet, but when it is, it will be here. Leave a Comment
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Meyer Sound Intros MJF-208 Stage Monitor, Upgrades LEO Family With MDM-5000 Distribution ModuleMeyer Sound just debuted three additions to its line of sound reinforcement solutions: the MJF-208 compact stage monitor, the MDM-5000 high-power distribution module, and the LYON-WXT extended vertical option.
MJF-208 Compact Stage Monitor: The self-powered MJF-208 stage monitor incorporates many of the features of the MJF-212A and the MJF-210 into a smaller, lightweight package. Each MJF-208 measures less than 13 inches high and weighs 45 pounds. Portability and ease of use for the MJF-208 are enhanced by an MDM-832 distribution module, which can route up to eight channels of AC power, balanced audio, and RMS monitoring data to multiple stage monitors.
MDM-5000 High-Power Distribution Module: The MDM-5000 is a rack-mount unit for quick connection and distribution of AC power, audio signals and RMS to LEO Family systems. Standard multicore connectors for audio and power are on the front panel, with discrete connectors on the rear for audio, RMS, and power. The MDM-5000 is available in CE- and UL-compliant versions for worldwide use.
LYON-WXT Extended Vertical Option: The LYON-WXT is an extended vertical coverage option for the LYON-W wide-coverage line array loudspeaker. The WXT option extends the vertical coverage of the LYON-W from nine to 15 degrees, giving the lowest cabinet or two in the array a wider splay angle to achieve uniform coverage at a much steeper downward angle. A principal application for the WXT option will be for 360-degree arena shows, where this extended vertical coverage reduces the number of line array and front-fill loudspeakers required.
The LYON-WXT maintains the aesthetic of a standard LYON-W loudspeaker and integrates into a LYON array without transition frames. Standard LYON-W loudspeakers can be updated with the LYON-WXT option kit, allowing rental companies to convert existing inventory as needed at minimal cost.
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BenQ’s New S-Series Projectors Offers 7K LumensBenQ America today announced two new additions to its line of S-Series high-brightness professional projectors, the SU931 and SX930. They are designed for houses of worship, training and conference rooms as well as higher education settings. The new projectors are part of BenQ’s Integrator’s Choice program, designed to offer dealers professional-grade display solutions backed by education, training and support.
The SU931 is a native resolution WUXGA (1920×1200) projector with 6,000 lumens and a 3000:1 contrast ratio, and the SX930 XGA (1024×768) resolution projector is 7,000 lumens with a 2500:1 contrast ratio and feature BenQ’s Colorific technology. The new S-Series projectors feature a 1.6x big zoom feature, opening up a wider range of installation possibilities and making it easier to achieve the desired image size from nearly any location. Additional flexibility includes a vertical lens shift, vertical and horizontal keystone correction and corner fit geometric correction. Both models feature a microphone input, 20-watt stereo speakers, variable line level audio out and dual HDMI ports.
BenQ’s SU931 and SX930 are here. Leave a Comment
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Barco Aims New 30K Lumen Laser-Phosphor at Rental MarketBarco has expanding its HDF projector portfolio for large venues and events with a three-chip DLP, 30,000-lumen model in WUXGA (1920×1200) resolution. Dubbed the HDF-W30LP FLEX projector, it features a laser-phosphor light source spec’d to last over 30,000 hours. Spec’d at 1900:1 contrast ratio with 90 percent uniformity, the projector includes horizontal and vertical edge blending and an optical lens shift at V: -30% to +120% / H: -40% to +40% on zoom lenses (memorized). Inputs include DVI-I, SDI and BarcoLink.
Reducing operating costs by more than 50 percent compared to a lamp-based projector, the HDF-W30LP FLEX enables customers to increase up-time while driving installation, service, and maintenance costs down. Thanks to its laser phosphor light source and advanced cooling design, this new projector provides up to 30,000 hours of maintenance-free operating time — resulting in considerable cost-savings on maintenance and consumables.
Running in any orientation, the HDF-W30LP FLEX offers users flexibility in projector location as users to tune and lock their projector’s light output to a specific application, from 10,000 to 30,000 lumens in incremental steps. The cooling unit can be positioned up to eight meters (26 feet) away from the projector, so it can be easily attached to a wall or mounted in a truss.
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Altinex Debuts Anywire TP315-101 and TP315-102 Transmitter/Receiver System That Sends 1080p Over Speaker Wire Altinex just launched the Anywire TP315-101 and TP315-102 Transmitter / Receiver System designed for sending 1080p/60 Hz HDMI signal over any type of copper wire, including speaker wire, low voltage wires, any type of CAT wires, coaxial wires and more. Anywire facilitates the transmission of live video and computer video signals with synchronized audio over long distances, even without the presence of Cat6 cable.
The TP315-101 HDMI over Anywire transmitter facilitates the transmission of 1080p HDMI signals up to 600 feet using a simple two-conductor cable. The TP315-102 HDMI over Anywire receiver allows the receipt of the same signal. A single TP315-101 transmitter is capable of driving up to four TP315-102 receivers using either four individual wire pairs over 600 feet each, or by daisy chaining the receivers.
The Altinex TP315-101 transmitter and TP315-102 receiver are designed to create an economical solution for many audiovisual installations. Integrators need only to route the wires, cut and trim the installation and connect to the terminals. The unique design of the Anywire video transmission system provides stable video over greater distances than other designs. IR pass-through for receiver side to transmitter side control is provided without corrupting the HDMI signal during transmission of IR signals. Operation does not require any user control or interaction. Simply connect the Anywire input and when the transmitter detects the receiver, the receiver begins video transmission to the display.
Both the transmitter and receiver list for $375 each. Here are the details. Leave a Comment
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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.
Here’s more information on each model. Leave a Comment
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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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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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Waves Audio Ships Waves X-FDBK Feedback Eliminator PluginWaves Audio is now shipping the Waves X-FDBK feedback eliminator plugin. The Waves X-FDBK claims to be the first plugin to provide an automatic feedback elimination solution. Whether you’re an FOH engineer mixing for thousands or a singer performing with your own compact PA system, Waves claims that you can now get a loud, clear and feedback-free mix in seconds. This way you have one less thing to worry about and you can focus on what’s really important – your mix.
Apparently, the X-FDBK identifies the precise frequencies that cause feedback and simply cuts them, shortening the setup time of monitors and PA speakers. This plugin improves the “ringing out” process and shortens it to a matter of seconds. It identifies the feedback frequencies quickly and precisely and cuts them with a narrow notch, preserving the fidelity of the wedge or PA and enabling you to maximize the gain without getting feedback.
All you need to do is turn up the levels on your wedges and PA until they start to give feedback. Then activate the plugin and wait a few seconds until you hear the feedback disappear. The plugin’s graphic frequency spectrum shows you all feedback frequencies and the degree to which they were cut, letting you tweak them manually if you wish.
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Sennheiser MKE 440 Camera Microphone Employs Technique to Match Sound and PictureSennheiser is unveiling the MKE 440, a stereo camera microphone that solves a typical challenge encountered by DSLR users — capturing focused stereo sound from the filmed object.
DSLR filmmakers have always had a hard time getting good sound from their camera-mounted stereo microphone. The new MKE 440 achieves this task: Thanks to two mini-shotgun microphones and a new stereo technique, it records the sound from within the camera angle, beating any mini AB, MS or XY arrangements. While these classic stereo set-ups also capture sound and noises from the sides — including any comments from the camera operator or people next to them — the two mini-shotguns of the MKE 440 are mounted in a V-shape arrangement that predominantly picks up the sound from within the direction of filming and rejects the majority of off-axis noise from outside the camera focus.
The matched mini-shotguns of the MKE 440 feature super-cardioid pick-up patterns that overlap to create a front focus. The microphones are shock-mounted internally to reduce any handling noise and are protected against wind noise by a stainless steel micro-mesh. For strong wind, a special hairy cover is available as an accessory.
The compact, all-metal MKE 440 attaches to standard camera shoe mounts. It features a three-level sensitivity switch to adjust to softer and louder sound sources and has a switchable low-cut filter to eliminate low-frequency noise such as wind noise. The microphone is powered by two AAA size batteries, with the green LED of the on/off switch doubling as a low-batt indicator. The LED will turn red approximately four hours before the batteries run flat, ensuring sufficient time to finish shooting.
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DPA Microphones’ New D:Facto Handheld Microphone Makes North American DebutDPA Microphones is debuting its new linear version of the d:facto Handheld Microphone range this week. The new mic is dubbed the d:facto Linear Vocal Microphone. DPA will also be highlighting the GM1600 Gooseneck – a new mount for its d:screet Omnidirectional Miniature Microphones.
Featuring a new capsule with an isolation-optimized supercardioid polar pattern that is specifically designed to augment the human vocal range, the d:facto Linear Vocal Microphone combines a cardioid and supercardioid directional characteristics, just like the original d:facto Vocal Microphone. This allows for focus on the sound source with minimal bleed and claims to have a high separation and SPL handling up to 160 dB.
DPA’s d:facto range is entirely modular and this latest version is no exception. The capsule can be removed and replaced with any other d:facto capsule to suit different recording or performance requirements. Also, using DPA’s flexible adapter system, the microphone can be transformed from a wired version with a handle to a handheld wireless microphone, capable of seamless integration with all leading wireless solutions including Sennheiser, Shure, Sony, Wisycom, Lectrosonics and Line6.
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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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Sennheiser Debuts EK 6042, Two-Channel Camera ReceiverSennheiser has debuted the EK 6042 slot-in camera receiver, which was previewed earlier in the year at IBC. The true-diversity, two-channel EK 6042 can work with analog and digital Sennheiser transmitters or a mix thereof, across a bandwidth of 184 MHz. It is designed to partner with Sennheiser’s Digital 9000 series and all analog transmitters that feature HiDyn plus or HDX companders. And, the EK 6042 auto-configures for these transmitters via IR.
The EK 6042 will work with any current Sennheiser series from Digital 9000 in long-range mode, to the 5000/3000, and even the 2000 and evolution wireless G3, automatically identifying the transmitter via an IR link. The camera receiver will choose its own operating mode accordingly, and automatically select the appropriate bandwidth and frequency in the UHF range between 470 and 654 MHz. Even older series transmitters such as the venerable SK 50 and SK 250 can be used, all that needs to be done is to enter the fixed transmitter frequencies via the receiver’s web interface.
Two separately available adaptors (15-pin and 25-pin) ensure compatibility with all common camera brands. For example, the EK 6042 receiver is SuperSlot-compatible and works seamlessly with Sound Devices equipment. The same goes for ARRI, Panasonic (both Unislot) and Sony cameras.
For camcorders without an audio receiver slot, the EK 6042 can be camera mounted using a special backpanel adaptor, which is available as an accessory. If the camera does not supply power to the receiver, a “piggyback” power adaptor can be attached to this housing and fitted with two hot-swappable BA 61 battery packs that allow an exact read-out of the remaining operating time.
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New Extron LinkLicense SMP 351 Upgrade Enables Simultaneous Recording of Two Independent Sources Extron just upgraded the LinkLicense SMP 351 with a Dual Recording Upgrade that enables enhanced recording, streaming and audio DSP capabilities for the SMP 351 H.264 Streaming Media Processor. With this new upgrade, the SMP 351 can record two sources at the same time, at resolutions up to 1080p/30 and bit-rates up to 10 Mbps. This dual recording capability grants users increased flexibility in the selection of playback layouts with the Entwine EMP video player. The LinkLicense upgrade also includes simultaneous streaming of two separate sources and provides advanced audio DSP features including level controls, filtering and compressors. The LinkLicense SMP 351 Dual Recording Upgrade can be added when ordering a new SMP 351 processor and existing units can be upgraded with a LinkLicense Redemption.
The SMP 351 is a flexible, cost-effective streaming media processor for delivering dynamic presentations to live and on-demand audiences. It is ideal for any environment where AV sources can be recorded or streamed live. Organizations use the SMP 351 to communicate with staff or students who cannot be present at an event, affording all the opportunity to review and gain insight into the live experience. It can support many different applications, documenting virtually any meeting, conference, or activity that uses AV sources. The SMP 351 is ideal for use in corporate, education, government, healthcare, courtroom, house of worship and rental and staging applications.
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Waves Introduces the H-Series Bundle Waves Audio just introduced the H-Series bundle. The H-Series is a collection of Waves’ Hybrid plugins, which model the original behavior of diverse analog gear and give it digital control.
The Waves H-Series combines all of Waves’ Hybrid plugins in one package:
Waves H-Reverb: A FIR reverb with rich and smooth reverb tails that sit beautifully in the mix; resonant filter sweeps, EQ and dynamics module for compression, ducking and de-essing, ADA analog modeling and drive control, full buildup timing and shaping and pre-delay BPM sync.
Waves H-Delay: A delay, with options ranging from old-school delays to cutting-edge effects. H-Delay offers up to 3500 ms delay time, variable pitch delay time behavior, analog character and LoFi modes, infinite feedback support, LFO-controlled pitch modulation and sync-to-host or manual BPM.
Waves H-EQ: EQ filters inspired by British and American mixing consoles. H-EQ offers users seven filter types per band, newly developed asymmetrical bell filter, exclusive MS matrix mode real-time frequency spectrum analyzer and keyboard graphic.
Waves H-Comp: A compressor that combines the modeled behavior of transformers, tubes and transistors with the precision that only a plugin can provide. Features include analog-modeled release behavior, wet/dry mix control for easy parallel compression, transient pass-through punch control, BPM-synced release, analog character modes and output limiter/clipper modes.
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Venue Debuts New LED Series Venue (by Proline) just debuted its Venue series’ LED technology that they says minimizes drops in brightness when the LED elements warm up over time. The Venue series includes the Control16 16-channel DMX controller and three LED fixture models that can be mixed and matched to create custom systems, providing complete scalability for shows both large and small. Each fixture provides dual-stage optics, with flicker-free operation that looks good on camera, and a robust, clear lens cover that protects LED elements from dust, dirt and moisture. Rugged dual-yoke and chassis construction offers precise and stable aiming from stands, trusses and floors.
For outstanding overall light coverage, the compact ThinTri64LED fixture features twelve 3-watt, tricolor LEDs that combine spectacular brightness, vibrant colors, extreme durability, and simple operation. The ThinTri64LED offers four operating modes (Stand-Alone, Sound Active, three-channel and four-channel DMX modes and Master/Slave), seven static colors, 236 color macros, four preset color programs, strobe, dimming and manual color mixing. It also includes pass-thru DMX and AC connections for neat cable management.
When you want precise accent lighting or a fixture for smaller venues, choose the ThinTri38LED, which provides six 3 watt, tricolor LEDs and delivers the same core features as the ThinTri64LED, including operating modes, colors, color macros, and presets. When combined with the Thintri64LED, it can create spectacular side effects or extend color and light movements to every corner of the venue.
Completing the series, the TriStrip3Z color batten stage light combines equally spectacular brightness, vibrance, and durability, and flexible operation in a thin batten that is perfect for up-lighting effects, cyclorama, and focused down-lighting applications. This fixture features twelve 3 watt, tricolor LEDs and is organized in three zones for maximum color options. Its four operating modes include Stand-Alone; Sound Active; 3-, 6-, 8-, 9-, and 14-channel DMX modes; and Master /Slave; and it offers seven static colors, 236 color macros, 14 preset color programs, strobe, dimming and manual color mixing.
The TriStrip3Z is constructed with sturdy adjustable feet and multiple hang points for precise aiming from stands, trusses and floors. Like the ThinTri64LED and ThinTri38LED, it includes pass-thru DMX and AC connections for neat cable management.
The TriStrip3Z, ThinTri38LED and ThinTri64LED fixtures integrate seamlessly with Proline’s Venue Control16 16-channel DMX controller to create an integrated and cohesive color show that will rock any venue. The versatile Control16 provides simple, elegant control of multiple lighting fixtures with four banks of four faders. Each bank operates an independent four-channel controller with access to manual color mixing, preset color pallets with nine built-in colors, variable strobing on the fly (2 to 33 Hz), chase (to manually trigger automated programs) and blackout functions. An Auto mode randomly selects different colors for each fixture. Playback options include automated, sound-activated or manual RGBW. You can vary fade times for all playback modes and can adjust audio sensitivity.
The Control16 color pallets are designed to work with any lighting fixture, using a standard DMX three-channel RGB mode. The fourth fader can be used to control amber, white, or UV color mixing for quad-LED fixtures. When combined with Venue’s TriThin38LED, TriThin64LED and TriStrip3Z fixtures, it produces lighting effects that will wow the crowd all night long.
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Focusrite RedNet A8R Offers Eight Channels of Analog I/O With Redundancy Focusrite announces the introduction of its RedNet A8R, adding eight channels of analog I/O to its RedNet line of Dante-based audio-over-IP interfaces. In keeping with other modules in the series, RedNet A8R is housed in a 1U enclosure, and offers network-connected analog input and output with 24-bit, 192kHz A-D/D-A conversion, along with full network and power supply redundancy.
Access to the eight channels of analog I/O is provided via dual rear-panel DB25 connectors wired to standard AES59 specification, while two XLR connectors provide two channels of AES/EBU digital I/O. Word Clock I/O connections are made via BNC sockets and include switchable termination. Dual network connections are provided on locking etherCON connectors and the dual power supplies’ IEC power sockets include cable-retaining clips.
RedNet A8R operates at standard sample rates up to 192kHz/24-bit, including pull up/down, with sample rate, operating levels and other features configured remotely via software running on the host computer. The unit offers a dynamic range of 119dB A-weighted, A-D and D-A, with a frequency response of 20Hz-20kHz ±0.15dB. Front panel indicators include tri-color LED level indication for each channel along with sample rate, clock source, PSU and network status indicators.
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