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Volume 7, Issue 6 — 28, 2013
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Is Bigger Really Better?
By Joel Rollins rAVe Columnist
Well, InfoComm is over. And I say that with somewhat of a sigh of relief. I spent a lot of the show seated at the podcasting table in the middle of the cacophony that was the rAVe booth, behind a group of overly energetic young people doing some kind of a line dance reminiscent to me of the Macarena, but which is apparently cool. The other problem was that everyone seems to know it, leaving me to wonder when I became culturally irrelevant in the industry I grew up in and thought I knew. There was a day when I was one of the people who practically spoke for the young people in our industry, and my verdict was always that line dancing was not cool. Real AV geeks did not dance.
But that is only one of the ways that the show has changed for me.
It’s gotten big.
I’ve always attended a lot of trade shows worldwide, and usually compared info, favorably to all of them. To me, as an AV geek and an avid photographer, the Mecca was always Photokina — a tradeshow so enormous, that you couldn’t see it all, like the Smithsonian. You would spend a week there, as would many of your friends, but you would never see each other. All of the discussion after the show would center around “did you see this?” and you would hear about not just a booth but a building that you were never in, and did not know existed.
InfoComm was different.
InfoComm was a much smaller tradeshow. It centered around the AV industry, by which I mean dealers and manufacturers. Everybody knew everybody. You went to the show to see the latest product, but more than that, you went to the show to see each other. You ran into people you knew from the industry in other parts of the world, you stopped in the spacious aisles, and you talked. You left the show floor and went for a beer. And there was room in the places that serve beer to do that. InfoComm, more than anything else, was the meeting place that bound a small industry together. It was a place that important business relationships were forged because you knew that everybody there had common interest.
Fast-forward 10 years, and welcome to Babel — a packed show of endless neon electronic sounds that sounds like and feels like a casino. Or, sometimes, more like the cantina from Star Wars. Finding someone you know, if you haven’t arranged a meeting and drawn a map that would’ve helped Stanley find Livingston, is a cosmic coincidence worthy of note. Yes, all the products are here. And so are all of everyone else’s products. And so are products for people you can’t imagine. And possibly products for aliens. It is divided into rough “interest areas” in order to give the illusion that specific group still matter. But they don’t. It’s a tradeshow, a big, expensive, crowded tradeshow, and has lost all illusion of being the meeting place for an industry.
Is this progress? Yes, for a tradeshow. All we talk about is how much larger it is than the year before. But, in my opinion, with progress for the tradeshow comes a loss for an industry group. We are no longer a trade association in the way that we were.
We talk about this as inclusion. We now include everyone. I remember during the growth phases of the association, sitting in a meeting with Randy Lemke, when he talked about producers and presenters as two more interest groups that should be included in the Association. Being in the rental industry, and dealing with them all the time, I thought about their numbers. At that point, I mentioned to Randy that including presenters would defocus the show to the point where it would no longer be an industry event, because presenters were in different businesses, and audiovisual was not their profession, but a peripheral part of their lives. From the looks around the table, I could see the eagerness among the staff, especially the tradeshow staff, to have their numbers. At that point, I knew it was over, because money talks. I then suggested that if we were going to go down this road, we should simply invite everyone who had ever seen a presentation, because that would give us an excuse to invite everyone. I tried to make an argument, pointing out that the Texas Cattlemen’s Association talked about cows, had products for cows, but did not invite them to the tradeshow.
Now such an argument could not possibly be heard over all the mooing.
Now, this is not all bad. It is progress for an industry to have larger numbers, a bigger tradeshow, larger budgets and more staff. It is progress for industry to have products from new manufacturers, and to help dealers appeal to attendees. So I won’t be the one to buck the trend about glowing articles about the tradeshow. It was bigger and in some ways it is better.
But I will say that there has been some benefit given up with growth. Those of us who are dealers, integrators and stagers, used to have this event as a place to get together in a more casual way. And it isn’t that anymore. Were we to attempt to establish that, in any way, the association that sponsors this tradeshow would have to argue against itt because we are no longer its only constituency. Oh, sure, we point out that there are still special interest events all around InfoComm. But there is no longer the dealer/manufacturer focus that there used to be. Those of us in that part of the business know that we have given up something in the show despite the starry eyed protestations of growth.
So I ask the question: Amidst all this growth, do you feel that we have lost the benefit that most industries have of a trade association totally focused on the needs of the integrators, dealers and stagers? Do special interest group events, regional roundtables and working group meetings really substitute for the kind of trade association that we used to have?
All of this, of course, is just shouting into the wind. I don’t expect a return to the focus of the past, because we need the kind of numbers that we have achieved in order to pay the cost of the giant association that we have become. So I am looking for my cattleman’s hat and then going to ask someone from the young rAVe crew to teach me line dancing.
In the meantime, for those of us in the dealer/stager end of the industry, I simply wonder aloud if there isn’t a good reason, in addition to InfoComm, to find a place where we can talk without the noise of all the cattle, and the well-meaning but externally-motivated guidance of the cattle herders.
rAVe Rental [and Staging] contributor Joel R. Rollins, CTS, is general manager of Everett Hall Associates, Inc. and is well known throughout the professional AV industry for his contributions to industry training and his extensive background in AV rental, staging and installation. Joel can be reached at joelrollins@mac.com
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Epson Introduces New 4K and 5K Lumen Projectors
Epson’s new PowerLite 4000-Series includes three new projectors specified for large venue applications. The PowerLite 4650, 4750W and 4855WU projectors claim 5,200, 4,200 and 4,000 lumens and offer XGA (1024×768), WXGA (1366×768) and WUXGA (1920×1200) resolutions, respectively. Integrated with Faroudja DCDi video processing, a centered lens design and up to two times optical zoom with lens shift, all three projectors have analog (VGA) and digital (HDMI) video ports, as well as a Display Port input.
All three of these projectors have DICOM Simulation Mode for specialized imaging uses standardized grayscale to reproduce medical images, such as x-rays, for medical training and education.
If you want more details, go here: http://www.epson.com/cgi-bin/Store/jsp/Projectors/Home.do?BV_UseBVCookie=yes
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Delta Displays Ships MiNiCON Video Wall Controller
Delta’s MiNiCON builds upon the DVCS (Distributive Vision Control System) platform and offers what the company is calling a cost-effective solution for driving videowalls. Features that ensure uninterrupted operation include a fully embedded design, redundant power supplies and a diagnostic front panel display. Designed with a non-blocking switch fabric, the MiNiCON is the ideal solution for applications that require real-time display of various inputs without dropped frames.
All these inputs are controlled by the MiNiCON Manager, a Web-based user interface, and sources can be displayed in multiple scalable windows with custom borders and titles. Layouts can be saved for instant recall or auto playback and the MiNiCON processor offers up to 150 Gbps of bandwidth to for real-time video processing and quality. It supports up to 12 output screens and a variety of high-resolution input signals including RGB/DVI, HD/3G-SDI, analog videos and IP streams at a solid 60 frames per second. With frame synchronization, motion-adaptive de-interlacing and high accuracy image scaling technology, MiniCON is specifically designed for high resolution applications.
Here are all the specs: http://www.delta-americas.com/displaysolutions/Products/Control-Systems/MiNiCON/index.html
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Dataton Launches WATCHOUT Version 5.5 at InfoComm, Ships WATCHPAX
At InfoComm, Dataton launched the latest version of Dataton WATCHOUT multi-image display and presentation software (version 5.5) that brings a number of new features such as hardware assisted synchronization, frame blending, dynamic IP addressing of individual computers, cluster naming and insertion of URL based images. Dataton also tells rAVe that it is now shipping its WATCHPAX solid-state media server with embedded WATCHOUT.
The major 5.5 features include:
- Updated WATCHOUT playback functionality in WATCHPAX solid-state media server
- WATCHPAX now provides hardware-accelerated playback of HD video in H.264 and MPEG-2 encoding formats. WATCHOUT also supports playback of QuickTime Animation as well as H.264 video in MOV files.
- Hardware Assisted Synchronization – When run on display servers that utilize certain AMD FirePro Workstation Video Cards and a companion ATI FirePro S400 Synchronization Module, WATCHOUT now supports hardware-based synchronization of the video outputs allowing users to play back frame-accurate synchronized content across multiple computers. Using the “gen-lock” feature of the S400 Synchronization Module, users can lock an entire WATCHOUT rig to an external sync source.
- Frame Blending – For smoother video playback, Frame Blending combines the differences in frame rate by smoothly blending frames together in a few simple steps, eliminating the need to skip or double frames.
- Dynamic IP Addressing of Individual Computers and Clusters – Enabling users of WATCHOUT to be even more organized, it is now possible to dynamically or self-assign all computer names and IP addresses in complex video systems. In addition, it is possible to assign a name to an entire cluster group of display computers to be used in a show.
- URL-based Images – Images from URLs can now be uploaded into WATCHOUT at the click of a button. This new feature is in addition to loading images from a file or disk, or from the WATCHOUT Dynamic Image Server.
You can see all the details here.
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Atomos Debuts Killer Production Tools at InfoComm
Atomos, known for the camera-mounted recorders Ninja-2 and Samurai, and the pocket-sized Connect converters, was at InfoComm debuting its new Samurai Blade HD-SDI recorder with 1280×720 IPS ‘SuperAtom’ touchscreen. It is the first truly professional monitor that records, offering full waveform functionality, including vectorscope and RGB/luma parade displays. Last month rAVe RADIO featured Atomos on a podcast that you should listen to here when the company’s president joined Joel Rollins.
Atomos told rAVe that it’s shipped 10,000 field recorders worldwide and the Ninja-2 and Samurai recorders have broken new ground in production by combining recording, monitoring and playback all in one easy to operate, portable device. Both record uncompressed images straight from the sensor of DSLRs or video cameras, or even switcher or ISO feeds from live events, directly to inexpensive, removable 2.5″ HDDs or SSDs, in a ready-to-edit format: Apple ProRes or Avid DNxHD. Atomos recorders speed up any production workflow, improve recorded image quality and replace multiple devices for a fraction of its combined cost.
Another new addition to the Atomos recorder range, directly targeted at broadcast and ProAV markets, is the Ronin portable recorder, monitor and deck. The Ronin is a rack-mountable solution for both fixed-facility and on-location production, based on the Samurai design. Like the Samurai, it can operate on location with battery or DC power, but it has AC power built-in, standard HD/SD-SDI BNC connectors and balanced XLR inputs and outputs.
And tech geeks will love the new Atomos Connect, a portable and versatile battery-powered HDMI/HD-SDI converter, with built-in test pattern generator and audio tone, which will be joined by its fixed-facility counterpart, Connect-AC. Launched at NAB and shipping at InfoComm 2013, the stand-alone or rack-mountable Connect-AC converters are powered by a standard figure-of-8 IEC cable, and offer all the great functionality of Connect while rendering ‘wall-warts’ a thing of the past. We bought one!
Pricing is as follows:
- Ninja-2: US $695
- Samurai: US $995
- Samurai Blade: US $1,295
- Ronin: US $1,995
- Connect H2S/S2H: US $295 each
- Connect-AC H2S/S2H: US $295 each
Go here for all the company’s products.
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Renewed Vision Debuts ProVideoServer at InfoComm
Renewed Vision has debuted at InfoComm something called the ProVideoServer (PVS) — a four-channel HD video server with synchronization.
Eight years ago, Renewed Vision introduced ProVideoSync, a dual-channel media server for synchronized playback of two channels of what they call “broadcast-quality” video with select video codecs. Since that time, codecs like H.264 that were originally suitable for web video became of a better quality, distribution of content over the web became more desirable, remote control capabilities in video switchers became more widespread, and the appetite for even more video channels has grown.
The new PVS accommodates up to four channels of HD video from a single computer with support for commonly used codecs, such as ProRes, H.264 and others. Delivering broadcast-quality HD-SDI output, synchronization is possible for two to four channels — or two sets of two channels — and all video can be re-sized and re-timed on the fly. A graphic layer allows for image overlay on any channel.
Mac-based with support for Thunderbolt and PCI video peripherals, ProVideoServer offers VITC (VANC) compatibility for count-up and countdown clocks through supported cards. Serial communication over Ethernet allows per channel control from a video switcher, and playlist workflow and hot folder support make it easy to build cues for an entire event or show. PVS additionally features real-time frame latency adjustment controls between linked video channels as well as multi-channel audio support with on-screen meters.
It’s already on the company’s website and here are all the specs.
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Extron VNS 104 Multi-Stream Decoding Software Ships
Extron is shipping its new VNS 104 Multi-Stream Decoding Software that decodes and presents one or four video sources and one associated stereo audio source streamed from VN-Matrix 225 or 200 Series Encoders, or a VN-Matrix Recorder. VNS 104 multi-stream decoding software includes text overlay and status messaging features, which are valuable for distinguishing between AV sources during operation and system commissioning.
VNS 104 multi-stream decoding software operates on Windows PCs and is managed as a part of a system by a VN-Matrix Enterprise Controller. It offers aspect ratio management for VN-Matrix streams, including FILL, FOLLOW and a 1:1 mode, which can be applied independently to each decoded source. VNS 104 provides an effective method for monitoring multiple streaming sources in a variety of environments including command and control, after action review, training and simulation and medical or geological visualization.
Go here for all the specs.
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Top-10 Tour Feature #5: VUE al-8 Line Array System (Booth 221)
Over this week, we’ll be previewing all the rAVe Top-10 Tour Winners. Each product highlighted, will be on rAVe’s 2nd Annual Top-10 Tour at InfoComm. The rAVe Top-10 Tour is NOT a “pay for play” tour or product preview (like MOST AV publications do). These 10 products were selected from over 70 submissions from InfoComm 2013 exhibitors. Of those 70, these are the 10 we thought you NEED to see at the show – and if you’re not able to go to InfoComm, the products featured here will give you a good overview of what you missed:
The VUE al-8 Line Array System is the latest addition to VUE Audiotechnik’s al-Class line array family and is sold with a companion, rack-mount amplifier/DSP processor. The V6 Systems Engine is a two-in and six-out configuration that provides ample power to tri-amp up to four al-8 acoustic elements, while also providing 64-bit digital processing including EQ, time alignment, crossover management, and speaker protection. The V6 also provides full networking capabilities and connectivity with the SytemVUE control and monitoring software.
The al-8 acoustic element features a full complement transducers designed and engineered specifically for use in the al-8. Two 8-inch LF drivers flank four, 4-inch, Kevlar-coned Neodymium drivers for the mid-range. The mid-range units are outfitted with VUE’s unique lateral acoustic shades that optimize directivity at the MF/HF X-over point.
For the high frequency, the al-8 utilizes a pair of 1-inch exit, neodymium compression drivers with Truextent beryllium diaphragms. Beryllium technology allows the compression driver to deliver dramatic improvements in HF extension and response linearity that cannot be matched by traditional aluminum or titanium designs. The beryllium compression drivers are mounted to a tightly coupled, precision waveguide that reduces acoustic lobeing and provides ideal line array consistency.
Key al-8 features include:
- It’s a line array system that is sold with a companion, rack-mount amplifier/DSP processor.
- 4-bit digital processing includes EQ, time alignment, crossover management and speaker protection.
- Two 8-inch LF drivers flank four, 4-inch, Kevlar-coned Neodymium drivers for the mid-range.
- Each flybar can support up to 16 al-8 acoustic elements, allowing easy configuration of small to large-scale systems to meet a wide variety of applications.
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Christie Debuts Plethora of Products at InfoComm
Christie’s new Jumpstart, the Christie FHD551-XG with Corning Gorilla Glass, and the company’s first turnkey multi-touch video wall solution highlighted its InfoComm booth. With the industry’s smallest image-to-image gap of any bonded LCD panel, the Christie Multi-touch Video Wall Solution comprises a 4×1 wall of portrait-mounted 55-inch LCD panels with bonded Corning Gorilla Glass, Christie Interactivity Kit, Christie Jumpstart and the mounting hardware for a wall-mounted or freestanding display.
Christie Jumpstart now provides additional flexibility with six outputs (compared with four previously) and a 50 percent increase in resolution capability — now 15 megapixels. The content management system allows you to display multiple, high-bandwidth video files, graphics, Microsoft Windows applications, Blu-ray and DVD movies, and text effortlessly on a large-format video wall. It is compatible with any digital display, including Christie MicroTiles and rear-projection or flat-panel display solutions.
Christie JumpStart features a 3.6 GHz processor, 16 GB memory and 64-bit server for even faster performance and a more powerful workstation. Users can also send serial over IP commands to external devices by scheduling them at any point along the scenario timeline. More info on Jumpstart can be found here.
The first 55-inch super-narrow bezel LCD display for tiled video walls with bonded Corning Gorilla Glass, the Christie FHD551-XG is designed for touch screens including broadcast sets and high-traffic public spaces including hotels, restaurants, museums, airports and railway stations. It’s a native 1920x1080p LCD that’s LED-backlit, is spec’d at 700 nits (cd/m2), a 3000:1 contrast ratio and it has DisplayPort, HDMI and DVI ports. Specs are here.
The Christie Multi-touch Video Wall Solution brings a turnkey, interactive digital experience to multiple users. Quad Full-HD resolution, high pixel density and LED backlighting combine to provide a visually stunning display with the smallest bezels of any bonded video wall. Here are all the details.
Christie Jumpstart, Christie FHD551-XG with Corning Gorilla Glass and Christie Multi-touch Video Wall Solution begin shipping in July 2013 and all of them are on Christie’s website.
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Contemporary Research Intros Three New QMOD Modulators at InfoComm
Dubbed the QMOD-SDI1.5, QMOD-HDMI1.5 and the QMOD-YPB2, Contemporary Research’s newest QMOD HDTV modulators are all based on totally new architecture. New QMOD 1.5 modulators start at single-channel operation and price, yet can be upgraded to two channels by entering an optional software key, while QMOD 2 products start out with two channels. In addition, the modulators support two video streams (RF and IP), two audio formats (AC-3 and AES stereo), two captioning options (708/608 and Line 21) and two MTS language programs for each channel. They all mount two-across in one rack space.
All units feature unique flex encoding – the ability to convert non-ATSC video formats into a QAM cable channel. For example, some houses of worship want to use consumer HD cameras that use non-broadcast 60 Hz refresh rates, with some studios moving to 3G HD-SDI. While conventional SDI modulators cannot accept those signals, the new QMODs can. In addition, all QMODs will up-convert SD video to HD, and an optional upgrade key enables a full range of up- and down-conversion and scaling features.
GigE Ethernet is included in all QMODs, supporting IPTV streaming, IP control and onboard Web pages for setup, operation, monitoring and firmware updates, while screw terminals allow control for EAS broadcast. In addition, the new architecture offers future-proof operation that is open to adding any imaginable encoding methods and features from future firmware updates.
The QMOD-SDI1.5 features HD-SDI (up to 3G), component, and composite/CC inputs, and supports SDI embedded, digital coax, optical and stereo audio.
Designed for general and digital signage applications, the QMOD-HDMI1.5 includes HDMI (non-HDCP) and RGBHV/component inputs. Dual composite/CC, stereo and coax audio inputs support single and dual-channel modes of operation. The RGBHV/Component input will support 1080p/720p 60 Hz video from PCs or consumer HD cameras; additional resolutions, scaling and positioning are available with the optional scaling upgrade key.
The QMOD-YPB2 HDTV Modulator delivers cost-effective dual-channel distribution of component cable and satellite TV sources, supported by dual component, composite/CC, stereo and coax audio inputs.
List price for the QMOD-SDI1.5 will be $2,520, for the QMOD-HDMI1.5, $1,990, and for the QMOD-YPB2, $2,199. All specs are here.
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Aviom A360 Personal Mixer Ships
Aviom’s new A360 Personal Mixer is now shipping. The A360 features an advanced 36-channel mix engine which can be used to mix up to 17 mono or stereo channels plus mono or stereo ambience. For each of the A360’s standard mix channels, users can adjust volume, tone and reverb. The A360 also includes a Stereo Placement pan-spread control that allows the width of a stereo channel’s image to be controlled independent of its left-right placement in the stereo field. This approach, which is ideal for IEM and headphone users, improves spatial perception as well as sonic clarity of the mix.
The seventeenth channel on the A360, the Dual Profile Channel, allows users instant access to two independent combinations of channel volume, tone, reverb and stereo placement for a favorite channel. This Dual Profile Channel may be set to mirror one of the 16 standard mix channels, or this channel can be used for additional mix content. In addition, ambience can be added to the mix either using the convenient onboard ambient microphone or by using network channels. Musicians can add or remove ambience with the single touch of a button.
Designed specifically for users whose primary focus is performing, not mixing, the A360’s features are instantly available — no menus to navigate, no softkeys and no complex programming to get the system up and running.
The A360’s master output section includes standard bass and treble tone controls but adds a new Enhance control designed to provide more sonic presence, especially for performers using in-ear monitors. The A360 also offers the ability to easily connect a subwoofer, shaker or mono wedge monitor using the Mono Mix Out control that feeds a rear-panel XLR Jack. In addition, there are standard 1/4-inch and 1/8-inch TRS stereo outputs.
The new A360s can be seamlessly integrated into existing Aviom personal mixing systems. Based on an enhanced version of Aviom’s Pro16 A-Net protocol, Pro16e, the technology driving the A360 Personal Mixer allows multiple 16-channel banks of monitoring content to be delivered over a single Cat5 cable. Each A360 in a system may use the default channels, or audio channels can be selected and organized individually for each personal mixer, drawing from a network pool of up to 64 channels.
Go here for full specs.
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RP Visual Debuts Mobile Matrix Portable Display
RP Visual Solutions (RPV) just launched a new solution in its panel matrix line of products — the Mobile Matrix. The RPMM Mobile Matrix (Deployable Matrix VideoWall) for flat panels is the industry’s first portable, deployable mounting solution, making it perfect for rentals, trade shows and portable videowall applications.
The RPMM Mobile Matrix comes pre-assembled, ready for four flat panel Displays and ships in its own durable road case. The Mobile Matrix’s design is ideal for quick set-up and tear-down, usually taking less than 5 minutes. Panels can be left installed for shipping as well — making set up even easier. It comes in two variations — one configured for 46” panels, and another designed for 55” displays. Once set up, the bottom of the panel has a minimum height of 29’ from the floor, with a maximum height of 42” when fully deployed. Once in the fully raised position, the dual panel doors can be swung open to either a flat 180 degree orientation, or positioned anywhere in between, enabling the system to be powered up for use.
See it here.
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BTX ProBlox Multiconnector System Now Included on BigFoot Mobile Systems Carts
BTX Technologies (BTX) today announced that the company’s ProBlox all-in-one connector system is available on BigFoot Mobile Carts. Designed to bundle several signals through a single connector, ProBlox combines 16 coax and 26 audio/data/control contacts in a single multiconnector to bring BigFoot Mobile Carts even easier transport, safety and flexibility.
Originally designed for the NFL, BigFoot Mobile Carts are a revolutionary new concept in the transportation and setup of systems such as audio/visual, production, computer, video conferencing and more. By enabling portable turn-key solutions within a soft riding case design, users gain the ability to create multiuser workstations that can be effortlessly transported to areas that were unavailable to traditional road cases in the past. With the integration of BTX’s ProBlox system, users now gain faster set-up times and increased functional simplicity.
BTX’s ProBlox all-in-one connector system is field-terminatable and custom configurable for numerous connectivity combinations. The system can be used anywhere HDTV, video, VGA, analog/digital audio, control signals or DC power need to be fed to a single location. Built of rugged and durable components, and offering true 75-ohm video contacts for an HD signal, the ProBlox system reduces the number of individual connectors, eliminating clutter and offering an even cleaner, professional and finished look to BigFoot Mobile Carts combinations.
BigFoot Mobile Systems develops custom utility carts for industrial applications in sectors such as sports, education, enterprise and entertainment. The company’s “Classic” Series Mobile Cart, its flagship product, is designed to be the ultimate solution for mobile multimedia and communication technology applications. By combining flexibility, safety and performance, users can build customized portable stations for one-time projects, frequent applications or field installations. With a lightweight aluminum design and simple ProBlox connectivity, the BigFoot Mobile Cart also brings cost-effectiveness, versatility, and durability across audio, video and computer-based market segments.
Here are all the details.
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Community Sound Announces WET X Series of Outdoor Speakers
Community has announced “WET X” – thirteen new models of its acclaimed WET Series featuring innovative next generation techniques that redefine outdoor loudspeaker construction and improve sonic performance. WET X’s exclusive hand-laid fiberglass enclosures are internally lined with marine-grade plywood and use innovative drivers to provide premium sound quality for both outdoor and indoor venues. The versatile 12-inch and 15-inch, two-way, full-range WET X loudspeakers offer six rotatable horn patterns, high output and unmatched LF extension. WET X loudspeakers contain a large diaphragm 1.4-inch exit high frequency compression driver and can produce the same output levels as the largest WET II loudspeakers but in enclosures only half the size. The low frequency cone and internal circuitry have Community’s proprietary Envirotech coating for improved weather-resistance. The WX218SDF, a downfire dual 18-inch model, adds an ultra-high-performance subwoofer to the line.
WET X enclosures feature a modified trapezoidal silhouette that improves upon the uniquely curved shape of Community’s WET II enclosures, bringing a more traditional look and feel to the loudspeakers while still providing the same outdoor direct exposure resistance and streamlined shape to reduce wind load.
Internally, the flat surfaces are fully lined with 18mm (7-layer) marine grade plywood to provide the sonic benefits of wood inside of Community’s fiberglass enclosures. All of the wood is resin-sealed to reinforce the enclosure’s weather resistance. The outer shell is handcrafted of multi-layer fiberglass with a smooth glossy finish and is available in black or white, with custom paint colors optional. All models include a dual-layer powder-coated stainless steel mounting bracket.
WET X’s combination of multiple horn options, high output and extreme weather-resistance brings exceptional sound and speech quality to any outdoor or multi-purpose application. With the introduction of WET X, Community continues to provide stylish loudspeakers with theatrical quality sound in weather-resistant enclosures that will deliver high performance in all conditions for many years.
Here they are.
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Kramer Adds the VP-425 ProScale Digital Scaler
Kramer Electronics announced the VP-425 digital scaler for computer graphics video and component HDTV signals at InfoComm 2013. The Kramer VP-425 up- or down-scales the PC or component video input and embeds the stereo audio into the HDMI output.
The VP-425 is HDTV compatible and features a non−HDCP encrypted HDMI or DVI output signal on an HDMI connector. The built-in ProcAmp allows convenient signal adjustment and the On-Screen Display (OSD) makes it easy to set up and adjust. The OSD is accessible via the unit’s front-panel buttons. A freeze button is also included in the unit.
The VP-425 has a maximum resolution of up to WUXGA and 1080p. Its non-volatile memory retains the last settings used. Controlling the VP-425 is done directly via the front panel push buttons and the on−screen display (OSD). It’s housed in a compact MegaTOOLS enclosure. Two units can be rack mounted side-by-side in a 1U rack space with the optional RK-T2B universal rack adapter.
The VP-425 is available now. Click here for more information.
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RCF NX L24-A Brings Modular Column Control to Staging Speakers
RCF has extended its NX modular series of rental and installed products with a new professional two-way active sound column.
The NX L24-A contains four 6-inch drivers and a 2.5-inch voice coil compression driver, loaded on a waveguide, and contains a 700-watt two-way digital amplifier with Powercon connectors. All components have been purpose designed.
Finished in Baltic birch plywood, and trapezoidal in design, the NX L24-A can be used as a flown single piece or in a coupled configuration, or it can be pole-mounted on a floor stand or stack-mounted on a subwoofer.
The system is designed to be configured with either one or two stacked enclosures acting as a straight vertical column. As the fins become progressively longer towards the top of each enclosure, the beam of the horn is naturally tilted down for better distribution to the audience with a 15° angle to change the coverage pattern. EQ and correction settings are adjustable depending on whether a single or double NX L24-A configuration is being deployed.
Mechanically steerable as opposed to digital, RCF forecasts a vibrant market for customers seeking the benefit of an easier to operate column array, with high power from a smaller footprint — with significant cost benefits. This would typically range from vocal intelligibility in conference applications through to portable use with small bands and permanent install in small to medium sized venues.
Here are the details.
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Sony Laser Projector Introduced
The Sony laser projector is a major announcement from the company at InfoComm 2013. The Sony VPL-FHZ55 is its first lampless projector using 3LCD imaging technology to achieve a spec of 4,000 lumens of color light output at WUXGA resolution (1920×1200).
The new projector uses blue laser as its light source, which in turn generates RGB color through a 3LCD optical system. The VPL-FHZ55 projector achieves a lower total cost of ownership and energy efficiency since it’s spec’d to be maintenance-free for up to 20,000 hours and is an HG (mercury) free projector.
The use of a laser light source also gives the projector instant “on/off” capability and “tilt-free” capability. Combined with 1.6x standard zoom lens, V:+60% H:+/-32% lens shift, built-in edge-blending and geometric correction, the projector is fully capable of advanced commercial integration.
Here’s a PDF that explains the technology.
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Williams Sound Debuts Personal PA with Network Control
The Williams Sound PPA T45Net transmitter offers control or monitoring capability from any remote location, multiple digital audio input options and an OLED high-resolution screen. It features three microprocessors; offers the ability to select between three modes for DSP: voice, music, or hearing assistance in the application preset menu; and quickly configures itself. With a range of up to 1,000 feet, the PPA T45Net is ideal for large venues.
The PPA T45 Package Includes:
- PPA T45NET transmitter
- ANT 025 antenna
- TFP 048 power supply
Here are the details.
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Aviom AN-16/i v.2 Analog Input Module Ships
Aviom told rAVe today that its new AN-16/i v.2 Input Module, which supports the new A360 Personal Mixer, is now shipping. The AN-16/i v.2 converts 16 line-level analog audio channels to a Pro16e A-Net digital stream.
Based on an enhanced version of Aviom’s Pro16 A-Net protocol, Pro16e, the technology driving the new A360 Personal Mixer allows multiple 16-channel banks of monitoring content to be delivered over a single Cat5 cable. The AN-16/i v.2 includes an A-Net Input jack for connecting up to three additional input modules. The analog inputs of the AN-16/i v.2 are merged with this incoming A-Net stream to create the expanded Pro16e digital audio stream utilized by Aviom’s new A360 Personal Mixers. The new A360, which brings new levels of control and customization to the personal monitoring experience with a number of new features, offers the ability to choose which channels are mixed on each unit in the system. Each A360 may use the default channels, or audio channels can be selected and organized individually for each personal mixer, drawing from a network pool of up to 64 channels.
The AN-16/i v.2 features eight four-position input level/gain sensitivity switches, stereo channel link switches for every channel pair, and per-channel signal present and clip LEDs on the front panel. On the rear panel, the unit has 16 analog audio inputs with balanced ¼” TRS jacks. The audio Thru jack for each input allows the AN-16/i v.2 to be inserted seamlessly into an existing audio signal path. Also on the rear panel are one A-Net In jack and one A-Net Out jack, along with a slide switch for assigning the channel bank. The AN-16/i v.2 can be used with any line-level analog audio signal such as console direct outs, inserts or aux sends.
The new AN-16/i v.2 Input Module works with Aviom’s new A360 Personal Mixers as well as the company’s current A-16II Personal Mixers, and the two personal mixers can be combined seamlessly into the same system. In addition, the AN-16/i v.2 can be used as part of a Pro16 digital snake or audio distribution system. These systems support a range of flexible configurations, including 16×0, 32×0,48×0, 64×0, 16×16, 32×16, 32×32 and 48×16, with an unlimited number of digital splits and no loss in audio quality.
Here are the specs.
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PrimeView Intros 84″ 4K Display with HDBaseT
Primeview this week is unveiling its new 84” 4K HDBaseT-enabled display, a solution to the 4K distance problem that plagues commercial projects. HDBaseT can deliver 4K video up to 100 meters over a single Ethernet cable, making the installation process much simpler and more cost effective compared to all other cabling options for professional installers and systems integrators.
HDBaseT technology, powered by Valens chipset, enables all-in-one connectivity between HD video sources and remote displays through a single 100m/328ft CAT5e/6 cable, delivering uncompressed high definition video, audio, Internet, control signals and up to 100 watts of power.
For more information on HDBaseT, click here, and for more information on the new Primeview’s HDBaseT displays, click here.
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Panasonic Debuts Brightest Single-Chip DLP WUXGA Projector Ever
Panasonic’s newest single-chip DLPs are all part of the PT-DZ870U Series. The line includes the 8,500-lumen PT-DZ870UK, spec’d to be the industry’s brightest WUXGA (1920×1200) 1-Chip DLP projector; the 8500-lumen, WXGA (1280×768) resolution PT-DW830U; and the 10,000-lumen, XGA (1024×768) resolution PT-DX100U. The entire PT-DZ870 Series uses a new 420-watt, dual-lamp system.
All models are specified at a contrast ratio of 10,000:1 and include Panasonic’s proprietary and re-engineered Dynamic RGB Booster, which the company says improves image color and brightness by optimizing lamp intensity of individual red, green and blue colors according to each scene. The PT-DZ870 Series is also 3D compatible and supports various 3D formats including frame packing, side by side, top and bottom, line by line and simultaneous.
The PT-DZ870 Series is DIGITAL LINK compatible (HDBaseT), which assures end users of a simplified AV infrastructure with high definition video, audio and control signals all carried over a single CAT5e or higher specification Ethernet cable for up to 100 meters (328 feet). This solution reduces cabling costs and complexity and simplifies installation and maintenance. Panasonic’s Digital Interface Box, the ET-YFB100G ($1,999.00 list) is currently available and can be paired with the PT-DZ870 Series projectors for DIGITAL LINK connection, or the projectors can be used with major AV control manufacturers’ protocols such as Crestron’s Digital Media 8G+ , Extron’s XTP Systems, AMX’s Enova DVX and other manufacturers’ HDBaseT variants without the need for an external receiver.
Paired with a new ultra short-throw lens — the ET-DLE030 — the PT-DZ870 Series makes an ideal projection solution in situations where space is limited, including museums, auditoriums, exhibitions and digital signage installations. With a short throw ratio of 0.38:1(WUXGA), the device will be able to project a 100” to 350” diagonal image from 2.7ft
(0.82m) and 9.4ft (2.85m) from the screen respectively. The ET-DLE030 lens, part of a wide range of optional lenses offered by Panasonic, is compatible with all current, lens-replaceable. 1-chip DLP Panasonic projectors and will be available in August for a list price of $5,999.00.
The entire series can be found here.
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Atlas Sound Intros New Live Surface Mount Sound Speakers
Atlas Sound’s new series of powered and passive surface mount speakers are aimed at cafeterias, classrooms, restaurants/bars, DJs and other applications where sound reinforcement of live or recorded music or vocals are required.
The SMA-12 and SMA-15 are two-way powered speakers that include a single woofer, 12″ or 15″, and a high frequency, horn style compression driver. Each unit features an integrated class-D amplifier that includes RCA and XLR mic inputs. The SMA-12 and SMA-15 also feature a Speak-On output for connecting to a passive SMP model. The SMP-12 and SMP-15 are passive models that feature the same 2-way design as the powered versions but are designed to be used in conjunction with a powered SMA version. Each cabinet includes a Speak-On connector for connecting to the powered version making them easy to install and share a source with.
You can find the specs here.
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IED Adds New Power Amplifiers
Innovative Electronic Designs’ (IED) new IED1581NA-C/IED1581NA-D and IED1542NA-C/IED1542NA-D are single and dual channel power amplifiers designed for use in smaller applications that require full-bandwidth audio and where low power and low cost are considerations.
The IED1581 amplifiers have a single channel output that offers 8 watts of power at either 4Ω or 8Ω. Model IED1581C incorporates CobraNet digital audio inputs while the IED1581D features Dante digital audio inputs. The IED1542 amplifiers feature two-channel output at either 4Ω or 8Ω with total output power of 4 watts per channel. Model IED1542C incorporates CobraNet digital audio inputs while the IED1542D features Dante digital audio inputs. All models are powered by either an external 48VDC power supply or IEEE 802.3af PoE switch and have remote monitoring output available. Each model has a small footprint enclosure that can be either DIN rail or wall mounted for convenience.
Here are all the details.
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Williams Sound Digi-Loop DSP Induction Loop Amplifier with Network Control Introduced
The new Williams Sound Digi·Loop induction loop amplifier includes DSP audio processing, software control of mixing, equalization, compression and loop phase shift. Williams Sound says Class D pulse-width amplifiers maximize efficiency while reducing size and weight. Network control capability provides seamless, remote system set-up, operation and monitoring via laptop, tablet or other portable devices. The Digi-Loop’s dual-amplifier design offers flexibility, with the option of single 12A output for perimeter loops or dual 10A outputs for loop arrays or one loop and one loudspeaker. Priority input (70-100V) is also available for connection to a paging system, ensuring life/safety announcements are heard loud and clear.
Here are all the details.
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Christie Launches iPhone App: Christie InControl
Christie announced the Christie InControl projector iOS App at InfoComm. Christie InControl is aimed at rental and staging customers using Christie 3-chip DLP M Series and J Series projectors in various applications including trade shows, live events and projection mapping. Fixed installation applications such as classrooms and boardrooms, houses of worship, government facilities and museums will benefit.
The Christie InControl App provides a responsive user interface to commonly used projector functionality such as; power on/off, shutter control, test pattern selection, and lens zoom and focus, in addition to more advanced projector functionality like 2D keystone and color management.
Features of the Christie InControl Projector App include:
- All key projector information is grouped into a single area.
- Scan for available projectors on the local Wi-Fi network to add them to a group, or manually type in the IP address of the desired projector.
- Main Control interface groups all key commands on one page, allowing for fast changes when needed.
- Ability to adjust zoom, focus or lens position from anywhere within Wi-Fi range, providing easier setup in large staging environments.
- Dedicated user interface for complete control over zoom, focus and lens offset. Position can be adjusted via joystick type interface or by entering specific x/y values.
- Easy group access and ability to create and save projector groups for multi projector control.
- Adjust color temperature and color drive level with immediate results on screen.
- Enable single or dual lamp mode where applicable and adjust lamp power level as needed.
- Four Corner 2D keystone control.
- Adjust image size, vertical stretch, horizontal/vertical position, pixel tack/phase and blanking.
- Provides simple slider based interface to adjust key image settings at the touch of a finger.
- Adjust power settings easily to meet requirements of a specific venue or permanent installation.
- Christie InControl is supported on iOS version 5.1 (and higher) enabled devices including iPad, iPhone or iPod.
Get it here.
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Anchor Audio Go Getter Portable Sound System Introduced
Anchor Audio announced the arrival of its newest portable sound system, the Go Getter. This battery powered system comes with standard options that make it ideal for school assemblies, sporting events, corporate and military training, outdoor theaters and houses of worship.
Anchor Audio will be introducing the Go Getter Portable Sound System and its package options. The total cost of a complete package will be offered at $995 suggested retail price. The Go Getter Basic Package will include the speaker with one wireless receiver, a built-in MP3/CD player, your choice of wireless microphone, and a stand all for under $995 (suggested retail price).
The Go Getter features 110 dB of crystal clear sound and is ideal for both voice and background music. It can be used indoors or outdoors, and the company says it can reach crowds of 400+ people. Weighing in at 23 pounds, the Go Getter is easy to transport and set up on a speaker stand. Simply plug in your media player or microphone and the system is ready to go. The Go Getter is completely portable with a rechargeable battery built in that can operate up to 8 hours on a single charge.
The Go Getter is available with several additional options, such as a built-in MP3/CD player, and a single or dual UHF wireless receiver(s) with 16 user selectable channels. It is comprised of a 6.5″ woven fiber woofer, and a high-output horn tweeter. The back panel features two microphone combo input jacks, and a LED display that indicates charging and low battery. There is also an external speaker output that can power an optional companion speaker.
All the specs are here.
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RCF Intros New Two-Way Sound Design in TT+ Series
At InfoComm, RCF showed two-way sound design with the new TT+ Series 10”, 12” and 15” two-way active loudspeakers. The design philosophy for the new TT+ Series is based upon offering the sound engineer solutions and tools that are ready to use. The new products are RDNet ready, providing total control and monitoring of each individual cabinet component. Designed for both touring and rental, the cabinets are equipped with a complete set of integrated rigging mechanics, with dedicated accessories to create clusters.
The TT1-A is a 10”, 800 watt two-way cabinet.
- 800 watts (550W LF + 250W HF)
- 10” neodymium LF driver with 3” voice coil
- 2” titanium dome neodymium HF compression driver with 3” voice coil
- 55 Hz-20 kHz (+/- 3dB) frequency response
- 131 dB maximum SPL
- 90×60 precision waveguide
The TT2-A is a 12”, 1,600-watt two-way cabinet.
- 1600 watts (1100W LF + 500W HF)
- 12” neodymium LF driver with 4” voice coil
- 2” titanium dome neodymium HF compression driver with 3” voice coil
- 50 Hz-20 kHz (+/- 3dB) frequency response
- 134 dB maximum SPL
- 90×50 precision waveguide
The TT5-A is a 15”, 1,600-watt two-way cabinet.
- 1600 watts (1100W LF + 500W HF)
- 15” neodymium LF driver with 4” voice coil
- 2” titanium dome neodymium HF compression driver with 4” voice coil
- 45 Hz-20 kHz (+/- 3dB) frequency response
- 136 dB maximum SPL
- 90×50 precision waveguide
For all the specs, click here.
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RCF Debuts 2500-Watt Subwoofer
Designed to be used with the new HDL 10-A D-Line array, positioned between the SUB 8003-AS and SUB 8006-AS, the new RCF SUB 8004-AS includes the ability to be flown vertically to match the footprint of the HDL 10-A, but turn it horizontally and it can be flown above the HDL 10-A. In addition, RCF says that the SUB 8004-AS will have further application as a complement to both the ART Series, as well as the NX L23-A and new NX L24-A.
The active, process-controlled SUB 8004-AS bass reflex subwoofer is powered with a purpose designed two-way digital Class D amplifier, 1250W RMS (2500W peak). The SUB 8004-AS is also equipped with matching digital input board.
The transducer has been designed with a very long excursion down to 35Hz and there is a full set of input configurations such as crossover selection, cardioid configuration and delay system setting. All the characteristics, connections and controls are exactly the same as the SUB 8006-AS. The SUB 8004-AS input section includes Volume control, a Deep / Punch switch; Signal, Power and Limiter LED’s; High pass switch; Phase switch; Cardioid switch; Delay control; Crossover and XLR signal link.
Here are all the specs.
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Panasonic Debuts Ruggedized, Outdoor Displays
Panasonic’s newest LCD display, the LFX6, is designed for outdoor digital signage applications. The 47-inch TH-47LFX6U is spec’d at 1,000 cd/m2 of brightness — even in direct sunlight — and is rated at IP44-level dust and water resistance. The LFX6 is designed to operate in harsh environmental conditions such as heat, humidity, extreme cold and high brightness and features a corrosion-resistant aluminum cabinet and tempered glass that allows for safe outdoor use. The display can be mounted horizontally or vertically for flexible installation, and includes a weatherproof seal around all power and signal cables, while preventing tampering. Unlike most outdoor displays, which require separate enclosures, the LFX6 requires none.
The native 1920x1080p LCD-based LFX6 features an air-cooled system that suppresses temperature increases due to direct sunlight exposure, as well as prevents blackouts. Plus, Panasonic says an IPS panel with a wide viewing angle displays clear images with accurate colors, even when viewing the screen from a left or right angle. The Panasonic outdoor display also benefits from low power consumption and a wide range of professional features including DIGITAL LINK (HDBaseT input) technology, a single LAN cable solution that enables users to transmit images, sounds and control signals to the display — up to 328 feet in distance (from switchers like the Extron XTP or AMX Enova). This allows indoor installation of media players or content source devices for easier serviceability and the elimination of additional protection requirements for these devices from the harsh outdoor elements. DIGITAL LINK also allows for the remote monitoring and control of the display to assess temperature, filter clogs, fan locks, etc. and enabling a prompt response to any equipment malfunctions.
This list is $8,248 and all the specs are here.
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For all you REGULAR readers of rAVe Rental [and Staging] Edition out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).
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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: https://www.ravepubs.com
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Copyright 2013 – rAVe [Publications] – All rights reserved – All rights reserved. For reprint policies, contact rAVe [Publications], 210 Old Barn Ln., Chapel Hill, NC 27517 – (919) 969-7501. Email: sara@ravepubs.com
rAVe Rental [and Staging] contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors.
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