Volume 7, Issue 1 — January 22, 2018
|Solve the Pain, Then Introduce Strategy|
By Anthony Coppedge
House of Worship Technology Consultant
Solve their technology pain, then introduce them to a technology strategy. That should be the mantra for consultants, systems integrators and manufacturers selling to the church market.
The house of worship (HOW) market is not without strategy. In fact, they’re some of the most focused organizations around when it comes to their strategic purpose. However, they often lack a strategy for their audio, video and lighting equipment, leaving them with a fractured audiovisual infrastructure, difficult upgrade paths and costly mistakes.
Systems integrators and manufacturers have plenty of history with local churches looking to fix a major pain point as soon as possible. As in: before next weekend. After all, Sunday comes every seven days and the HOW market has become dependant upon audiovisual support as part of almost all weekend services. While the quick sales are usually seen as a benefit to the vendor, the bigger opportunity is to not only provide a technology solution but a technology strategy roadmap.
In the megachurch market (more than 2,000 attendees each weekend), a technology strategy often looks like standardization on brands and components. And this comes mostly because the vast majority of these churches have more than one campus, necessitating the requirement of standardized operation for their technical staff and volunteers. In the midsize and smaller HOW market space, a single location with one or more venues is the norm, resulting in a myriad of technology purchases made as the church grew.
Aligning AV Strategy to Church Vision
The asymmetrical alignment of strategy to execution between the church’s vision roadmap and technology roadmap is one which results in not only last-minute, acute pain-point purchases but also difficult upgrade paths. Often reporting to the music pastor or business administrator of the church, the technology leadership (staff or volunteer) rarely has the opportunity to present a unified strategy to align technology to the vision for growth. It is in this apparent gap where the systems integrator, consultant or manufacturer has the opportunity to provide clarity and hope for better stewardship of the church’s funds.
If the infrastructure is the basic physical and organizational structures and facilities needed for consistent operation, then the question to ask churches goes something like this: “How consistent is the audiovisual team at producing technically seamless services?” In my nearly 30 years of experience in the church market, I can tell you that the vast majority don’t have consistency in operation week in and week out without issues, much less seamless services. It is only when the AV operation is unnoticed that the service went seamlessly. From an audiovisual standpoint, anything that draws attention unnecessarily or doesn’t operate as it should is an issue that needs to be addressed.
Since the infrastructure is the backbone of the signal path and the operational backplane for the AV gear, when it is weak or fractured, the problems will manifest both in function and operation by the AV team. Teams hampered by this kind of basic issue often find workarounds to try and avoid or minimize the issue, but this is a temporary bandage and not a solution in and of itself. I can’t tell you how many times I’ve been in a church tech booth and seen an 8.5″ by 11″ piece of paper with some warning printed upon it to prevent unwary techs from inadvertently wreaking havoc due to a systemic issue of neglect. “Don’t EVER touch this button,” or “Don’t wiggle this cable,” are the humorous but serious indications of an infrastructure issue that has the potential to be devastating when amplified during a service.
Start With Expectations, Not The Acute Pain
To properly address any of these infrastructure pain points, it’s helpful to diagnose and diagram the signal flow and operational processes required to achieve full operation. You might be surprised to learn that precious few churches have an up-to-date (or any) signal flow diagrams or documented operating procedures. While it’s obvious this is needed, it’s not the first place to start. First, ask the church leadership (senior pastor, music minister, worship pastor, campus pastor, etc.) what they expect at a minimum from the AV team for a weekend service. Then ask them what they would (realistically) like to see the AV technology operation progress to in three to five years as the church grows.
Armed with this insight, your firm has the golden opportunity to offer the church leaders a strategic audiovisual roadmap to meet or exceed their minimum expectations and a clear upgrade path to align with their three- to five-year goals.
Once the infrastructure plan is in place, the next step (and yet another solution your firm brings to the church) is operational documentation and training. There’s only a tiny percent of churches which would not benefit from an ongoing service and support contract with local experts. As Gary Kayye pointed out in his 2018 Krystal Ball predictions, AVaaS (AV as a Service) is a viable option for churches; especially if they need a major overhaul or are starting from scratch.
From Gary’s article: “AVaaS is where all the AV hardware, software, programming and integration services are paid on a recurring basis — maybe annually, quarterly or even monthly. The customer will like this as it removes the risk of owning a depreciating asset that is generally locally managed. And you will like this since you are the owner, technically, of the AV gear. You become their in-house AV company — their go-to for all AV needs. Most of your clients have been using this model in some capacity for years for both IT and furniture. But in the AV space, until now, we’ve pretty much only applied it to services — selling recurring service or maintenance contracts — and sometimes proactive monitoring, too. But why not everything?”
I’ve long promoted the viability and profitability of offering service to churches as a way to go well beyond the sale of AV gear. The Future of Selling to Churches. Money, Price, and Budget in Churches. Cost Depreciation and the Amortization of Church AVL Technology. Contracting Staff for 3 Months to Churches.
Solve the pain, then introduce the strategy. Help churches see beyond the immediacy of the coming weekend and align their AV strategy with their church vision. When you do, you’ll see church leaders light up and lean in; they’re invested in the future vision, so why shouldn’t the technology be used a force-multiplier to facilitate that vision? It should, and you can help them see the opportunity.
What say you? Share your views and links in the comments below.Leave a Comment
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|The Future Intersection of AV and Churches|
By Anthony Coppedge
House of Worship Technology Consultant
More impressive than the shifts in the audiovisual (AV) landscape during 2017 is the sheer rate of change that continues to accelerate with no hint of anyone applying the brakes. A year of change in this industry has brought some key trends to the forefront of 2018 and promised more changes in the near future. The house of worship (HOW) vertical market within this space is poised to benefit from the tectonic technology shifts.
Gary Kayye, founder here at rAVe, has already shared his digital Krystal Ball for 2018, so I won’t repeat his insights here, as I’m more granularly focused on how these technology and systemic transformations affect the local church buyer for AV. Still, one of his predictions about AV as a Service (AVaaS) is one that I have talked about for a while here on the HOW side, as the benefits for churches are numerous. In case you missed those insights, check out The Future of Selling Service to Churches.
I foresee the future of the church market for the AV industry as one that is full of potential — easily over $1 billion worth of sales in 2018 in North America alone. This is based on historical spending of multi-campus, multi-venue alone at well over $600 million annually, not including the rest of the church market’s annual needs.
I begin with perhaps the most obvious: InfocCmm changing not only its name to AVIXA, but also signaling a change to integrated systems as the focus. Above all, AVIXA is taking the opportunity to set new standards for industry-wide protocols as well as specific market segments (such as the house of worship market) with a clean, objective slate. It is my strong opinion and recommendation that AVIXA adopts open standards and protocols instead of the proprietary control languages used by audiovisual manufacturers (Editor’s Note: Extron announced that it was doing that just this week). By doing so, the industry could take a giant leap forward in creating standardized systems, processes and application programming, allowing systems design standards to be adopted by systems integrators. The net effect is the potential to create standards that churches themselves could adhere to, at least in an RFP, to create a better apples-to-apples comparison of project specs. You can read an entire article I recently dedicated to this topic here on rAVe: AVIXA, Open Standards and the HOW Market.
Live Video Game Changers
My big number one in technology for churches is the use of cinema cameras for live video. For years, churches have been forced to choose between prosumer level live video capture options or spending big bucks on broadcast-level cameras and lensing. The jump from sub-$20K systems to $100K (starting) systems left no middle ground more without a good option. Even on the broadcast side, lighting for video on ½” CCD or even ⅔” CCD cameras meant choosing between making live video the priority over the more theatrical approach preferred for the audience in the room. Long story short, it was prohibitively expensive to step into the live broadcast video solutions.
The introduction of DSLR cameras that recorded stunning HD video in the body of a photography camera was a dream come true for field production and shooting anything except for live video. For one, the form factor eliminated the possibility of studio configurations and the live output was not clean (overlayed text information similar to the back LCD panel on the body).
With the introduction of cinema cameras by Canon, Sony and RED, new possibilities on the market opened up. Now updated with better studio configuration, lensing and remote camera control unit options, the ability to shoot cinema style with a much, much larger sensor means it is now a viable option for churches to use for live video. Though still not inexpensive, the trade-offs between cinema cameras and ENG or broadcast studio cameras have leaned, in my opinion, toward the cinema cameras. It’s an apples-to-Volkswagen comparison, so I won’t go into the nitty-gritty details here (but I will in a future article). Still, the ability to shoot and get live video with a super shallow depth of field and better colorimetry (see below) is a game-changer for the H.O.W. market.
Dr. Evil from the Austin Powers film franchise would be proud that lasers are prominently used today. While not installed on sharks, as he demanded, manufacturers have equipped projectors with solid-state laser projection technology. No more lamps. That’s a biggie for the church market, who not only loathed spending the money on stocking these must-have consumables, but has been frustrated that when more than one projector is used in a church venue, changing out lamps became quite expensive in order to maintain color, brightness and contrast uniformity between projectors. The touted benefits of laser projection also include not just the much-promoted longevity of solid-state illumination, but also the lack of a noticeable color shift over the promised 20,000-hour life.
(Click here to see the full Infographic.)
Of course, solid-state projection goes beyond lasers, with both LED (currently still for micro projectors due to low brightness) and a hybrid of lasers and LED. The future of projection for churches — pun intended — is bright. Be sure to check out this insightful infographic created in partnership with Christie Digital and rAVe.
Lampless projectors. A big deal for churches. Big. Deal. Hop on it, marketing departments.
LED Lighting Is Cool
Once again, LED shows up. I’ve written previously about LED. The LED fixtures themselves draw a fractional amount of wattage but also are ‘cool’ technology, further reducing energy costs by eliminating the heat generated by incandescent fixtures. In what is sure to be a continued trend, expect to see wholesale changes to Compact Fluorescent Lamps (CFL) for architectural fixtures and LED for theatrical/production fixtures. Quite simply, the costs savings when amortized over decades of use simply make too much economic sense for churches to ignore the upfront costs of a wholesale change over.
The manufacturers (I’m looking at you: ETC, Altman, Martin, etc.) need to create comparative Total Cost of Ownership (TCO) between lamped fixtures and LED fixtures. Churches need to understand how to budget not only for the up-front cost but what they can expect in terms of maintenance and performance, too. The benefits of cool-to-the-touch are not only a big deal in the church market, but the lower HVAC costs for cooling large venues with dozens or hundreds of theatrical/stage fixtures switching to LED is substantial.
Once the TCOs for new systems, upgrades and wholesale replacement of lighting instruments are published, the opportunity to call on every single church previous church client is a huge revenue accelerator.
Those are the future predictions I have for 2018 and beyond. What say you?
Do you agree with Anthony’s future church predictions for the AV industry?
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|Thou Shalt Have Faders|
By Dr. Frederick Ampel
President & Principal, Technology Visions Analytics
If your worship facility is part of the 65+ percent of houses of worship in North America with a congregation number less than 300 to 400 members, you are probably facing the inevitable quandary of what to update and/or replace in your AV system and when.
Since unlike the very large — or mega — facilities, you are not going to just rip it all out and change the whole thing in one purchase, you need to both sort through the options and prioritize your purchasing to stay within a budget.
Based on numerous surveys and reports in various trade journals, one of the oldest pieces of equipment is more than apt to be the audio mixing console. Why? Because the lifespan of that hardware platform is usually quite long and changes in technology do not come at the warp speed seen in other parts of the system such as speakers or video.
Additionally, it’s usually one of those items that neatly fit into the if it’s not broken ignore it category. And realistically, there’s nothing wrong with that approach, in general.
But (you knew this was coming), if you haven’t looked into consoles — mixers — in the last three to five years (or longer) the number of options has exponentially expanded and the cost associated with high quality, flexible and “smart” systems has dropped precipitously.
For reference, it is now feasible to acquire a 24-channel mixer, analog or digital, for a cost of between $50 and $100 per channel. With dozens of products in the $2-3K price window, there are more than enough options to meet almost any reasonable need or functional demand.
So perhaps it’s time to take a look at the options and consider updating the core of your audio system. There have been and continue to be a lot of words written about making the “change” from an analog to a digital platform; however, I would respectfully suggest that is the wrong question to be asking.
Frankly, the quality of almost any name brand product regardless of its circuitry or topology is going to be more than sufficient for the vast majority of applications. Of course, there are always exceptions, but let’s talk about the 90 percent of needs, not the 10 percent of specialized requirements.
Given the relative parity from a performance and technology standpoint, which name is on the face plate is not the first question, but the last, and it’s probably going to come down to price in the end anyway.
Asking the Right Questions or It’s Time for Coffee
What any worship space should be doing when it comes to deciding on what mixing system to purchase is a decision that must be based on the people who will use it and how it will be used — not who makes it.
As you start down the road to a decision on this hardware, the most important thing you can do is gather your team and have an open and frank discussion on what to do. Evaluating the capabilities of the people who will have to make this work, is not something you or any one person can or should do on their own.
Even if you’re working with (and you should be!) a quality integrator/consultant or dealer, they will naturally approach the topic from a technical perspective. That is not a negative as it can give you a lot of guidance and information on what is available, what’s new, who is using what and many other similar issues. But they are not going to be sitting behind this hardware for a service or event.
The people who will be are the ones who should have direct and unfiltered input into the decision. For example, if the members of your volunteer team are on the plus side of age equation (over say, 40), it is probable they would be more comfortable with something that has physical controls for each function rather than a selectable menu screen. However, the opposite may not be true. This is why you need to ask and present options for everyone to discuss freely and offer their ideas and potential concerns.
Let’s take a look at some of the options you could consider in the aforementioned price window. (Exact pricing will be dependent on how and where you purchase the product, but almost all of the products shown fit into the $2,000 to $4,000 range. There are far more available options than it is possible to show here, so do your research!). Online suppliers offer an easy and quick way to look at most of the available products sorted by price or features so take advantage of that vast catalog and collect a short list to focus on.
Even the virtual waves E-motion product is on average under $2,000.
Logically it may not possible to physically evaluate (at least on-site) all of the options, but any supplier should be able to facilitate a demo/loan of several choices so you and your team members can put hands on and get a ‘feel’ for how the particular product works, how its controls and functions present themselves to each team member and how instinctive and intuitive they actually are. Additionally you will able to know how well a particular product fits into the existing system’s signal flow, layout and physical space requirements/limitations.
Making sure you can fit the chosen product into the workspace is something often forgotten and is a very difficult problem to solve after-the-fact. Thus, these evaluations are critical to making a solid, workable long-term decision.
If You Need a Bit More
If your budget extends a little further you could move upward into something like the two consoles shown in the photos below, which are a bit more expensive and offer more extensive digital feature sets and options. The same evaluation requirements apply here as well especially if you are going to a virtual surface like the Slate or Waves products.
Rather than focusing on specific technical needs, what you should be doing as part of this evaluation and get acquainted process is to match your specific worship style and service requirements to the functions of the products and find out where the best fit exists.
It is quite likely that more than one product will meet the basic requirements and then it comes down to which one ‘feels’ best to the largest number of team members. (Remember to include the occasional part-time fill-in volunteers in the process, as well as any members of the worship team who may be involved or have specific needs, such as choir directors or music directors.)
No one product will ever make everyone 100 percent happy, so it’s the art of compromise to determine what comes closest to being the best solution for your particular worship style and service needs.Leave a Comment
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|TASCAM Expands Dante-Enabled Lineup With New Multichannel Interfaces|
TASCAM has unveiled two new additions to its line of Dante-enabled offerings. Designed to provide flexible connectivity between analog and digital components, the TASCAM ML-32D and ML-16D are multichannel Line Level to Dante and Dante to Line Level interfaces.Leave a Comment
With Dante-enabled devices becoming increasingly ubiquitous in professional AV systems, TASCAM’s ML-32D and ML-16D allow audio engineers and systems integrators to connect 32 or 16 channels of audio between the analog domain and Dante-enabled digital components, including the TASCAM DA-6400, SS-R250N and SS-CDR250 multichannel audio recorders.
The ML-32D and ML-16D deliver Dante connectivity, without mid-level microphone preamps, MADI and S/PDIF interfaces, and other functions that add cost and complexity. Supporting Digital Audio at up to 24bit/96kHz, both units feature analog line level I/O via D-Sub connectors (eight on ML-32D and four on ML-16D) and feature front panel LED meters to display both signal level and overload for each active channel.
The TASCAM ML-32D and ML-16D will list for $2,299.99 and $1,599.99, respectively, and are scheduled to begin shipping in early 2018. Here are the details.
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|Audio-Technica Ships ATDM-0604 Digital SmartMixer|
Audio-Technica is now shipping its ATDM-0604 Digital SmartMixer. Featuring echo-canceling and web remote functionality, the ATDM-0604 is a six-channel automatic mixer ideal for meetings, conferences, soft codec applications, courtroom proceedings, radio and TV broadcasts and other applications involving the use of multiple microphones or other media inputs.
Audio-Technica’s SmartMixer technology allows channels to be mixed automatically in gate or gain sharing mode, ensuring consistent, high-quality audio output from all inputs in a setup, without the introduction of feedback, excessive ambient noise or comb filtering. Controls and LED indicators on the mixer’s front panel allow users to easily adjust input/output and gain levels; set and recall presets; turn on/off phantom power, low-cut filter, automatic mixing and acoustic echo cancellation (AEC); change IP configuration (Auto or Static); and more. A full complement of digital signal processing is available for inputs and outputs including parametric EQ, compressor, limiter and feedback control. Control and monitoring tools are accessible locally on the front panel or via the Web Remote interface, which allows users to handle the aforementioned adjustments from a Windows-based PC, Mac, iOS or Android device, plus make additional changes to the input and output settings, select gate or gain sharing mode when using Smart Mix and adjust other advanced settings.
The mixer is equipped with four balanced microphone inputs, two balanced Mic/Line inputs and one unbalanced stereo input, along with two balanced and two unbalanced outputs. Network (Cat5e or better) and USB ports are also included, as are A/B Audio-Technica Link ports that let users connect six ATDM-0604 mixers via Cat5e cable for simultaneous use within an expanded setup.
ATDM-0604 features include:
- Four balanced mic inputs, two balanced Mic/Line inputs and one stereo unbalanced input
- One stereo and two mono outputs
- Two-channel USB audio interface for soft codec (Skype, WebEx) integration or playback from computer
- Full digital processing on inputs and outputs
- 8×3 audio routing matrix
- Six-channel Smart Mix (gate or gain sharing)
- Onboard acoustic echo canceler (AEC) processing
- Front panel direct operation and Web Remote functionality
- IP control for third-party CCS administration
- Up to six mixers can be linked using Cat5e cable
The ATDM-0604 Digital SmartMixer is now available at U.S. pricing of $899. For more information, go here.Leave a Comment
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|Optoma’s Newest Projector Aimed at Both Corporate and House of Worship Installs|
Optoma today announced two new ProScene projectors – the WU615T and EH615T are WUXGA (1920×1200) and 1080p, respectively, fixed lens projectors that are specifically aimed at both the corporate and houses of worship markets.
These new Optoma ProScene projectors both have 1.8x zoom (throw Ratio: 1.2 – 2.16:1), 360-degree and portrait mode operation, four corner geometric correction, vertical and horizontal lens shifts and keystone correction. Optoma tells rAVe they are designed for image stacking and uneven surfaces and offer usability from any angle. Connectivity includes two HDMI ports, HDBaseT and MHL and both projectors also feature Eco+ lamp power management mode.
The Optoma ProScene WU615T is native 1920×1200 WUXGA resolution and is spec’d at 6,500 ANSI lumens for $2,999 and the ProScene EH615T is 1920×1080 at 6,200 ANSI lumens for $2,799. Both projectors are also spec’d with a contrast ratio of 10,000:1.
Here are all the specs.Leave a Comment
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|NEC Display Releases New Native 4K Resolution RB Laser Projectors|
NEC Display Solutions today announced the release of two new projector models, the 30,000 Center (26,000 ANSI) lumen PH2601QL and the 40,000 Center (35,000 ANSI) lumen PH3501QL. Both are native 4K (3840×2160) resolution projectors.
Both projectors are designed for auditoriums, theaters, lecture halls, museums, sanctuaries and other large venues. NEC says they have dust protection for artifact free images and no loss of brightness over time. Built-in edge blending, stacking and geometric correction help support projection mapping when single or multiple projectors are required. These two models also offer the ability to provide image integrity, incorporating stable brightness (constant brightness) over a longer time period to alleviate image decay.
Additional benefits of the PH2601QL and PH3501QL include:
- Viewable in high ambient lighting conditions
- 4096×2160 native 4K resolution
- True 4:4:4 4K signal support with HDR
- Complete panel for digital inputs, including HDMI (V2.0), DisplayPort w/ HDCP (V.1.4), HDBaseT w/ HDCP
- (V1.4/2.2), Quad 3G-SKI and an OPS slot
- Screen size from 50 to 500 inches (1.27 to 12.7 meters)
Both new projectors will be available in January 2019. The PH2601QL will have a minimum advertised price of $129,999 and the PH3501QL will have a minimum advertised price of $149,999.
Here are all the specs on the PH2601QL.Leave a Comment
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|Barix to Unleash its Third-Generation Audio Signage Solution at ISE 2018At ISE 2018, audio over IP company Barix will introduce the third generation of AudioPoint, the company’s audio signage platform that brings digital signage and TV content together with BYOD. AudioPoint helps end users deliver audio associated with video content to mobile devices over a local Wi-Fi connection, driving a more intimate connection with consumers and lending a voice to the screen.
AudioPoint 3.0 increases the value proposition for systems integrators and end users with an all-in-one integrated solution that removes the need for an external channel server. AudioPoint 3.0 is based on a brand-new hardware platform, engineered by Barix, that builds the channel server into the Barix Audio Signage Encoder to significantly reduce cost and integration time, according to the company. The encoder supports both single- and multi-channel audio streaming for up to 250 simultaneous users.
Enhanced networking intelligence underneath the hood also ensures that AudioPoint 3.0 works with most professional and off-the-shelf routers to immediately enable Wi-Fi streaming. As previous generations required a specific type of router, this flexibility in router choice removes testing and configuration headaches in advance of deployments.
Barix says that AudioPoint 3.0 reduces latency even further to tighten lip-sync. This optimizes AudioPoint 3.0 for new applications to serve hearing-impaired audiences, live translations and presentation support in corporate, worship and education environments. These benefits also make AudioPoint 3.0 an ideal audio delivery system in live event venues, where fans can see and hear the action in concourses and at concession stands in real time. That also means that for traditional AudioPoint applications in hotel lobbies, sports bars and museums, real-time, synchronized delivery is possible.
Beyond integrating components into a single platform, the AudioPoint architecture remains unchanged. Audio associated with a video feed is streamed from a mixer and/or microphone to a Barix Audio Signage Encoder’s analog audio input; that audio is sent to a Wi-Fi access point that consumers connect to from their mobile devices. The Barix Audio Signage App immediately enables the live stream on the consumer’s device. Channel selection is made available to consumers when multi-channel streams are enabled, allowing users to select another language or an alternative soundtrack for another local screen.
Barix says the latest version of Audio Signage Encoder that comprises the technical core of AudioPoint offers the company’s fastest signal processing to date. This ensures robust and reliable streams, while the devices remain plug-and-play for quick and simple deployments. Barix is here.Leave a Comment
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|D.A.S. Audio Explains Line Array Line|
D.A.S. Audio has expanded the Event series of line arrays and bass systems with two new powered models, the Event-212A line array and the Event-121A subwoofer. The new products are aimed at providing Event Series users with the tools needed to handle an even a wider range of applications.
The D.A.S. Event-212A is a powered, three-way line array which employs two D.A.S. 12-inch loudspeakers in a dual band configuration where each speaker operates in a specific frequency range. The D.A.S. loudspeaker units have been teamed up with a single M-75 compression driver and purpose-designed injected aluminum high frequency waveguide to provide unmatched performance, sensitivity and coverage in both the 90º and 120º formats offered.
The Event-212A line array incorporates the DAS control interface that offers a quick and hassle-free set-up of the systems in arrays and easy alignment with the Event-218A and Event-121A subwoofer systems. Presets for the number of units of the array, HF compensation for throw distances and correction for the splay angle of the array can be selected by way of DAScontrol and the LCD screen located on the back of the cabinet. The powerful digital signal processing of the Event-212A includes Finite Impulse Response (FIR) filters providing linear phase response and precise impulse response which, in terms of performance, results in added clarity, defined attack in percussion and overall, a more natural sound.
Along with the new line array, D.A.S. launches the Event-121A, a direct radiating rear-loaded powered subwoofer system which incorporates a single 21-inch neodymium loudspeaker to provide “earth-moving” low-frequency reproduction for the Event Series line arrays. The combination of direct radiation and rear-loading provides a high output, tight and accurate sub-bass response.
The Event-121A employs the new D.A.S. 21LFN loudspeaker which offers impressive features such as a 4-inch sandwich split winding voice coil, a powerful FEA optimized neodymium magnet assembly and a FEA optimized suspension system with double silicon spider. The result is a loudspeaker with exceptional sensitivity, high power handling capacity and a quality suspension design capable of withstanding the stress and mechanical fatigue of today´s high-power pro audio systems.
An aluminum demodulating ring benefits lower distortion and effective forced ventilation of the voice coil gap provides for a high thermal rating, and reduced power compression.
The Event-121A electronics package includes a 3200 watt peak Class D amplifier and 24-bit high-end DSP for top quality audio reproduction. On the rear panel, controls can be found for gain, polarity and a continually variable low-pass filter that ranges from 63 Hz to 100 Hz. A unique “cardioid preset” button simplifies the use of subs in cardioid configurations, making setup of two to three units a snap without the need for an external DSP. The Event-121A is phase response coherent with the Event-208A, Event-210A and Event-212A active tops offering precise alignment. Two balanced inputs with stereo filtered outputs, which can be switched to pass-through connections, are provided.
Here are the details.Leave a Comment
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For all you REGULAR readers of rAVe HOW 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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A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in 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: http://www.ravepubs.com
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