Volume 7, Issue 6 — June 28, 2018
By Dr. Frederick Ampel
President & Principal, Technology Visions Analytics
Whether by selection or default, if you find yourself in the role of “leader” of your HOW AV team, you need to carefully consider both the methods you use to communicate with your team and the message(s) you are sending — spoken and subliminal.
One of the most consistent problems we encounter with HOW AV “teams,” whether in training situations or in system design and project situations is a significant lack of dependable and complete information flow between members and especially between leadership and members. This applies to both AV team leadership and worship team leadership communications.
The underlying problem always comes back to the assumption by team leaders that everyone has understood what was being discussed and is effectively ‘on-the-same-page’ when it comes to goals, procedures, actions, process and numerous other operational activities.
Unfortunately this is most often simply not the case. It may appear that everyone “got it,” whatever it was, but unless you actually verify that to be the case it’s highly unlikely to be an accurate assessment of the situation.
This problem gets much worse with part-time, volunteer staffs, many of whom only participate periodically or fill-in for others when needed. Whether team leadership is paid staff and consistent or volunteer and might change week to week, this problem remains- the whole group is not functioning in a cohesive manner.
It might just be little things, like using different settings for the same service when different mixer operators are working, or something much more complex like not having a clear plan for how things are supposed to be done.
Clearing the Air
To solve this problem, you will need to take a few specific steps, and then create a few check-lists. A couple of inexpensive test tools are also strongly recommended, but more on that a bit later.
First and most important is to WRITE DOWN a clear succinct statement of the goals of the AV team and the results you want to achieve during your worship service. This does not and should not be much longer than a few paragraphs, at most a page. This is your ‘rules of the road’ map to produce service to service and operator to operator stability.
You should seek advice and input from the worship team as part of developing this short document to make sure their goals and needs are included. But most significantly, this document needs to be in simple, precise, non-technical language, so that every team member regardless of their individual level of knowledge can fully comprehend and understand the desired outcome.
Once you, as team leader, and the worship team have reached a consensus on this document it is time to gather the troops — or as that great human factors expert Homer Simpson once said: “Mmmmmmmmmmmmmm, donuts.”
Using whatever method works best for your group, find a time and place (preferably on-site, e.g., the fellowship hall), where EVERYONE can gather for an hour or so. This is critical. I really mean EVERYONE. Oh and don’t forget the donuts!
A common mistake made at this point is to assume that those who only play a part in the team once in a while do not need to be a part of this process. That is utterly and completely wrong. Everyone means precisely that — every person who is involved in the AV process!
This is because more often than not those “casual” participants notice things that the regulars have become immune or desensitized too. Because they don’t work every service, they are often more focused when they do and will pick up on small issues which can really be critical to getting to 100 percent consistency.
Make Notes, Take Notes
If available, this meeting is the perfect place for a write on a whiteboard. As you discuss each element of the document, be sure to solicit comments and input from all the participants — even the shy, retiring ones, or those who feel they have nothing to add — they do! Write it all down and keep notes on what was said — not necessarily by whom, but what and why.
After you have collected all the input, ask one more time if anyone has anything else they want to add — there is usually something else. Then ask again, go around the group, be sure nobody left anything unsaid to maximum degree possible. It is vital that this meeting be open, and free — no plus or minus aspects, no coulda, shoulda, woulda or anything else that creates tension or restrains conversation. You really have to work at this because the results will become a permanent part of your approach to your service(s) and your team.
I suspect that when you are done, you will find a lot of instructive input from this process, both positive and negative. This is not time for any judgment; it’s time for analysis and focus on fixing the problems and enhancing the positive.
Formalizing the Information
Now comes the hard part — taking the original document, blending in all the suggestions and changes the discussion produced, and creating a fully revised production guidelines document. What you should end up with, when all is said and done, is a short, step-by-step and process-by-process “map” to consistently delivering your specific worship service(s). This document is the rule book that every team member should understand, be able to implement and follow for every service.
Once completed, it’s time to circulate this among the entire team and then hold another review and comment session. This does not have to be another meeting. You can simply ask each team member to read it over, make their notes and comments and return the document to you. Set a firm time line for this process and make sure everyone participates.
I strongly recommend you also ask the worship team to look over the document and ask for their input as well, especially if there is a praise music component to your service or similar elements.
What you are seeking is enough information to create a FINAL service production plan.
The Service Production Plan
This process is focused on one goal — a workable, understandable set of guidelines, processes and steps to be followed for every service. If the entire team is working from one playbook then consistency is a lot easier to achieve.
Once you have completed what you believe is the final plan go over it with your core personnel, and the worship team one last time to make sure everything is covered, all options are included and a logical step by step flow is in place. It is essential that this step-by-step sequence is clearly and accurately understood by all and that there is no place for things to go sideways or for confusion to set in.
An often overlooked benefit derived from creating this documentation is the establishment of a clean simple communication pathway. In doing hundreds of hours of training classes, I have found that system users have always greeted the handout of a one-two page instruction sheet positively.
Yes, you should have a full system technical manual handy, just in case. But let’s be realistic, that probably 200+ page binder is not approachable or easily absorbed, especially by those with limited experience and those under pressure. We want our teams to feel comfortable with the technology and having the short-form guide does that. People instinctively feel that, since you can fit the instructions on one or two pages, the system must be easy to use. Whether this is true or not depends on a lot of factors, but the overall impression of ease is embodied in the quick reference guide. It’s an impression that you will come to love.
The Four Critical Checklists and Some Essential Tools
Now that you have your plan it’s time to put it into action using the two step process below:
1. Make copies for everyone — preferably something that’s durable, laminated, double sided card-stock and can be used every time they work. Keep one (preferably several) copies at your central AV position. Most FedEx-type locations can easily create the needed format for you at minimal cost. Make sure that the final version is a clear type font, easily readable in low light conditions and most of all succinct. (If you’re not sure how to format this document — ask the digital printing store folks for help — they do this all day, every day.)
2. Create four distinct checklists in the same laminated format:
- BEFORE EVERY SERVICE
- AFTER EVERY SERVICE
Given the vast number of possible system configurations, equipment choices, worship styles and so forth, it is impossible to provide a specific template for you to follow in creating these lists but, in general you want to include in the before and after each service lists:
- What to do in chronological order — i.e., how to turn the system on.
- What items to check every time — Are all microphones working?
Do all wireless systems have fresh batteries? Are all cables actually plugged in?
- If you don’t have preset-recall on your console, where to set faders
- Set overall level/gain if needed
- Work area lights, headphones and supplies are in place and functioning
- Work area is clean — no left over drink cups, etc.
- All intercoms and other communications such as radios are working
For each of the two lists you should develop a single sided form that can filled in, signed and dated using a simple check-box format. These should be kept in a file so that on a weekly and monthly basis they can be reviewed and any ongoing problems solved.
Weekly and Month Checklists
The second two lists focus on system upkeep, simple maintenance and assuring system functionality over the long term.
Every AV system needs upkeep. Two simple and inexpensive tools, available on-line from dozens of sources are essential to this process.
You will need two basic tools.
For the weekly and monthly checklists the first step should be a review of the before and after service checklists for that period (week or month) for notes, problems or issues.
A list of those needing attention should be generated with check-offs for completion of the work or solving the problem.
Once you’re sure you have dealt with the immediate issues, the next step is to insure functionality. In case you haven’t realized it batteries are the AV world’s back hole of silence generators.
Ask any live sound tour professional how many times a bad battery or broken/intermittent cable has caused unnecessary panic, problems or a ‘fire-drill’ mentality crisis. The answer will be “far too many.”
Face it — batteries die, and they always do so at THE worst possible moment. Cables break, or develop bad connections, loose wires and so forth — again at the worst possible times.
But for less than US$50.00 (current Amazon pricing as of April 2018), you can purchase two simple-to-use and essential tools that can largely eliminate both problems WITH regular use. That is why the weekly and monthly check list MUST include checking every battery (and I mean even the ones in remotes, stomp boxes, etc. that often get forgotten) for their current state of charge. If they measure even close to low, replace them. We encourage our clients to keep a replaced on sticker on every battery powered device so that you will know when the battery was last replaced. It doesn’t matter how long it’s been in use; what matters — and ONLY what matters — is the reading on the battery checker.
Because batteries depend on manufacturing quality, we also recommend using “pro” grade type batteries especially for wireless devices of any kind. Examples include:
- Energizer Industrial
- Duracell Procell
- Duracell Industrial
Yes, they cost a bit more, but the consistency of performance, extended life and overall reliability are well worth the few cents each difference, especially in the middle of a Sunday holiday service!
All of the ones listed are available at discount pricing on line so search around for the best price, and keep your stock in a cool, dry place, with no more than a six-month supply bought at one time. Make sure the ‘official’ use by date is at least one year beyond your purchase date, preferably two or more.
Now those cables. Imagine your life was being stepped on, run over by carts and dollies, pulled and dragged around all the time. You would wear out too. So, using your brand new shiny cable checker, verify every connector, cable run and visually inspect them as well for insulation damage, tears, broken or bent pins, broken latching clips and other wear and tear items.
Be sure you check your permanent cable runs as well, even though they may not suffer as much, the assurance you gain by checking every one at least weekly will make your technical life easier and less stressful.
Documenting all this work on a form and keeping the forms on file for a tracking record is essential. The monthly review should also include such things as checking and verifying that each and every speaker in your system is operating and not blown or otherwise faulty for example.
The use of a simple speaker clicker like the one shown below from Galaxy Audio will verify polarity and that the speaker is connected to the system. It takes only a few seconds per speaker to do this, but avoids finding out you have a problem mid-service. (On average devices like the Cricket are under US$100 and available from multiple online sources.)
I carry all three of these tools in my shoulder bag to every job, every time. You never know when you’re going to need one or when it will quickly and easily pinpoint the problem. By the way, use the battery tester to check the batteries in your other test tools each time you intend to use them. A dead cable checker or polarity checker is of no use.
Check, verify, check again — a mantra worth memorizing. If you develop and follow procedures and checklists, and do it with everyone’s input, your service will be smoother running, better sounding and more consistent than ever before. Spend the time; do the work. It will pay off!
As many of you may know, I am fond of great quotes when they apply. For this topic, I think the most appropriate was said by one of the greatest people managers of the last century, George S. Patton (1885-1945): “Never tell people how to do things with no room for thought. Tell them what to do and they will surprise you with their ingenuity.” Patton had to take thousands of people with limited training and unproven skills and help win WWII. Your AV leadership job will be much easier if you think about using the strengths of the people you have and giving them to power to grow.Leave a Comment
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|Create Agreement When Selling to Churches|
By Anthony Coppedge
House of Worship Technology Consultant
When an audiovisual (AV) solution aligns perfectly with the needs of a potential client, the opportunity just about sells itself. In the house of worship market, local churches across the gamut of denominations have similar challenges and opportunities when it comes to AV technology. This should make selling a simple process for manufacturers and systems integrators. But that’s not often the case.
If that’s what should happen, then why do so many vendors struggle to sell solutions that absolutely fit the need of churches? Could audiovisual manufacturers and systems integrators perhaps double their sales to churches by moving marketing and sales away from promoting features and benefits and towards aligning what churches need with how vendors can meet that need?
I submit the reason is deceptively simple: many vendors fail to create agreement with potential buyers.
Compete Against Expectations
The typical focus on unique features and key benefits has long been the way vendors promote and differentiate their products and services from competitors. But if churches are not comparing vendor feature lists in their decision-making process, then the audiovisual industry is missing the greater sales opportunity to demonstrate how technology solutions can be aligned to agree with the expectations of the church buyer.
As a result, AV vendors are missing sales to churches by focusing on features and benefits instead of aligning what churches want to do with how churches can do it with the vendor’s technology solution.
Creating agreement requires understanding the what the church wants from your technology and how they can implement and utilize the technology. The simple chart above highlights this reality by visualizing the intersection of well understood and agreed upon expectations as a simple purchasing decision.
Most AV technologies today have a lot of competition. And while it’s true some products have unique features, the overwhelming majority of church buyers are not looking for one particular feature or benefit; they’re looking for a solution, even if it’s in a single product. Manufacturers, distributors, systems integrators and AV dealers spend much of their marketing and sales efforts on comparing and contrasting features to make a sale. This method requires an enormous amount of effort and convincing to make a square peg fit into the client’s proverbial round hole.
Stop the madness of feature and benefit comparison and realize that you’re not competing against other products and services, but rather against a preferred future expectation of the client
Sell the Alignment of What Churches Want and Your Solution
Churches have a hard time making purchase decisions when what they want to do and how they need to do it are not well understood and agreed upon.
When a church presents a problem or opportunity for AV technology in their venues, the key is to determine the minimum viable opportunity for success first and then to create further alignment with how the technology can be employed and which technologies will most closely meet or exceed the expectations of the buyer.
Simple solutions are not those with less technology, but rather those technologies that combine to align the opportunity with the expectation of the client. When a vendor can create agreement between ‘what’ and ‘how’ for the client, the technology solution will almost sell itself.
When vendors do not articulate well understood and agreed upon expectations from church buyers, the value of the product or service diminishes. The less clarity there is in defining the scope of work in alignment with the expectation of the decision-maker for the church, the greater the chance of fear, uncertainty, and doubt clouding the buying process.
Churches need clear alignment between what they need to do and how they need to do it when it comes to audiovisual technology decisions. It’s time to stop focusing on marketing and sales on the features and benefits of products and services. Instead, create agreement with potential church technology buyers.
What say you? Share your views and links in the comments below.Leave a Comment
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|The AV Industry Future Is Digital Value Optimization|
By Anthony Coppedge
House of Worship Technology Consultant
People are people, so how people make decisions is a mix of intellectual and emotional thought patterns. This is true for the audiovisual industry and every other industry. In a sense, therefore, it may seem that business-as-usual for promoting, educating and selling audio visual systems and equipment means that your business doesn’t need to change how it sells, but without a digital value optimization roadmap, your firm will fall behind.
What has changed, however, is the way those decisions are made through the digital pathway of the Internet. Looking to the future, how those decisions will be made is going to be altered by the continued reliance on mobile devices and social networks. As such, manufacturers and systems integrators alike have much to gain from creating a value optimization roadmap for presenting, offering and selling their products and services to these on-the-go users.
The future of how churches will buy is going to be very close to how it is now in 2018, but with one caveat: There will be an even greater disparity between how one competitor stands apart from their rivals. This is largely going to focus on delivering highly specific and targeted content consistently, the continued shift of mobile internet usage patterns and adding a streamlined value optimization process from awareness to purchase.
The Stats Show Your Firm Is (Probably) Behind
If your organization doesn’t have a documented content strategy, you’re in the majority of brands. And that’s not a good thing. In fact, only 37 percent of businesses surveyed by Content Marketing Institute reportedly have a documented content strategy. Anecdotally, from my 25+ years in the AV industry, most brands in our space are considerably behind most consumer technology brands when it comes to marketing that is highly targeted and clearly articulated.
Let’s face it: if your brand isn’t found in specific search results by potential buyers on the first page of results, you’re missing 95 percent of your primary audience. Search Engine Results Page (SERP) stats show that the average user won’t go past the first five listings on the first page of results.
“Content is worth optimizing because 95 percent of people only look at the first page of search results.” – Source: Brafton, 2017
“Google organic desktop search study found a 71 percent Click Thru Rate (CTR) for page One results while pages two and three have a combined CTR of just 6 percent.” – Source: Google, 2014
Even then, the first-page position on search results is not the key indicator of success as about half of the clicks in SERPs only go to the top three results!
And let’s not forget that 2017 was the year that mobile searches outpaced desktop searches, according to Google. The data is compelling for making responsive design websites that work as well (or better) on mobile as on desktop computers. As of 2018, one in ten Americans are smartphone-only users! Plus, mobile users have opened more emails on their portable devices, with mobile email open rates growing 30 percent in the past year alone (Source: Campaign Monitor 2018).
Building a Digital Roadmap for Church AV Buyers
Amidst these sobering statistics, AV companies have the opportunity to turn things around — dramatically. It’s time to step into the future of digital marketing with a value optimization roadmap.
In fact, the concept is dead simple:
- Determine Product/Market Fit
- Choose a Traffic Source
- Offer a Lead Magnet
- Offer a Tripwire
- Offer a Core Product
- Offer a Profit Maximizer
- Create the Return Path
This concept has been around for years, but my friends at Digital Marketer created one of the most useful and practical step-by-step processes that present the case for far better marketing conversion rates than any presentation I’ve created. Typically, I work through questions that identify the pain AV firms already know and pair those insights with the stats above and build a path for re-orienting Sales and Marketing towards the digital frontier.
The graphic below is a beautiful, simple and shareable resource to present to your firm’s leadership as a digital action plan your company needs to increase your marketing to sales conversion rates. As such, I see no point in reinventing the wheel, so to speak, when it comes to building a digital roadmap for church AV buyers.
I encourage you to read the entire action plan over at DigitalMarketer.com, as it’s something I’ve found to be ridiculously useful when having discussions with senior leaders unaware of the shift in engaging digitally with prospects and clients on new purchases of products and services.
The AV Industry Needs a Marketing Revival
This rAVe monthly column for the house of worship market has talked about marketing and the impact it can (and should) make on your company’s bottom line. The stats above are telling, but don’t miss out on previous articles on marketing content to this market, how the AV industry has sucked at marketing in the past, how content marketing automation is a key part of the buyer’s digital journey, and the importance of using social channels to create and promote marketing campaigns.
The house of worship market in the United States spends over half a billion dollars a year alone on video technologies. Billions of dollars are spent annually. The technology shifts have created huge cost-savings with vastly improved technologies like LED and the church buyers are looking at both big purchases for system-wide replacements and smart upgrades. The money is there. The need is there. The demand is largely untapped by traditional marketing efforts that focus on the old schtick of promoting features and benefits and adding yet another PDF slick that focuses on the greatness of the product instead of the greatness of the value.
The future of the AV Industry product and service providers increasing their revenues will include adding a digital value optimization roadmap to the marketing and sales mix. The stats already have spoken and the future patterns are unmistakable. The future of how churches will buy is going to follow how every other vertical market purchases: There will be a digital breadcrumb trail leading them to the companies who demonstrate fit, alignment and the greatest value.
What do you think? Do you agree with Anthony Coppedge’s thoughts for the future of the audiovisual industry?Leave a Comment
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|ProCo Sound to Show Latest Dante-Enabled AoD I/O Modules at InfoComm 2018
ProCo Sound is introducing its new Dante AoD I/O Modules for a simple connection to a Dante network while also providing studio-quality, low-latency audio, at this year’s InfoComm show (Booth C1734). ProCo is also showcasing two new Dante interface enclosure options for both mobile and fixed applications.
Built with uncomplicated designs and the highest quality A to D and D to A converters, ProCo’s AoD I/O Modules guarantee easy delivery of studio-quality, low-latency audio delivered through any analog source or Dante Network. The modules support 44.1, 48 and 96 kHz sampling rates and up to 24-bit depths.
Its latest modules include the AoDoM two-channel interface (AoD-FAN3-2XM) featuring one RJ45 Dante input and two Neutrik XLR analog outputs. Its rugged aluminum extrusion channels offer a durable solution for providing line level analog audio signals to output devices. It is designed with a 3-foot analog audio tail with black Neutrik XLR connectors. The AoDiMX4 four-channel interface is equipped with one Neutrik EtherCon Dante output and four Neutrik XLR analog inputs, while the AoDoMX4 four-channel interface has one Neutrik EtherCon Dante input and four Neutrik XLR analog outputs.
As with all ProCo’s Dante-enabled products, these latest interface solutions can be configured with Audinate’s free Dante Controller software. Users can automatically discover and configure device parameters such as device names, channel labels, signal routing, sample rates and latency. Power is supplied through a standard Ethernet cable via a Power over Ethernet (PoE) capable network switch or from a separate PoE injector circuit. Locking Neutrik EtherCon connectors ensure durability, performance and resilient cable strain relief.
ProCo is offering pro AV integrators two durable enclosure options for its Dante Interface hardware. ProCo’s new Drop Snake Boxes are a portable, handheld unit for audio transport, while its Dante Wall Plates can be easily installed into any established pro AV environment. Both chassis options offer the exact same functionality with differing rugged aluminum extrusion enclosures. Three configurations of two to four Neutrik analog XLRF inputs and/or XLRM outputs are available for each enclosure, along with one Neutrik EtherCon Dante input. Each module is designed with LED indicators, which can be configured to display the status of the user’s Dante ecosystem.
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|Alteros Expands GTX Series L.A.W.N. Ultra-Wideband (UWB) Wireless Microphone System with New Handheld Transmitters
Alteros has introduced two new handheld transmitters: the GTX24-HHP (performer handheld) and GTX24-HHB (broadcast handheld), along with a remote and network control platform for its GTX Series L.A.W.N. (Local Area Wireless mic Network) Ultra-Wideband (UWB) Wireless Microphone System.
The GTX Series L.A.W.N. UWB system is a broadcast/live performance solution that they claim offers immunity to radio frequency spectrum regulatory changes, bandwidth loss and channel crowding. The GTX L.A.W.N. UWB system is a digital 6.5 GHz solution that sets up without the need for frequency coordination, database registration, licenses or complicated support equipment.
The latest additions joining the GTX3224 control unit, GTX24 body-pack transmitter and GTX32 transceiver include the GTX24-HHP (performer handheld) and GTX24-HHB (broadcast handheld) microphone transmitters. The GTX24-HHP “performer”” version wireless handheld mic is intended for live performance applications and features a lightweight design which accepts popular thread-on microphone capsules using a 1.25″/28 thread pitch, allowing the performer to select the preferred microphone sound and performance from a wide range of manufacturers, including the new selection of Audio-Technica capsules. The GTX24-HHB “broadcaster” version wireless handheld mic includes additional features such as a dedicated “flag mount” section and incorporated “talkback button.” The GTX24-HHB also incorporates interchangeable microphone capsule mounts, allowing for maximum flexibility in sound and performance. Available this summer, the GTX24-HHP (performer) and GTX24-HHB (broadcast) handhelds will round out the Alteros GTX L.A.W.N system, making this wireless microphone system the ultimate in performance and flexibility.
The GTX Series system is currently available with three key components: the GTX3224 control unit, GTX24 body-pack transmitter and GTX32 transceiver. The GTX24-HHP (performer handheld) and GTX24-HHB (broadcast handheld) transmitters will be available in Q3 of 2018. No additional filters, combiners or distribution amplifiers are required.
The GTX3224 simultaneously supports up to 24 channels, an additional 24 channels of talkback audio and eight group assignment channels in just 3U of rack space. The unit features MADI, Dante and AES67 digital outputs that are all available simultaneously and allow for seamless integration with IP-based infrastructures. Fiber outputs support long-distance runs. The 7-inch front-panel touchscreen provides access to system settings, monitoring tools, performance reports and other controls.
Up to 32 GTX32 transceivers may be deployed, connecting to the GTX3224 over standard shielded Cat 5 cable, which is operational to 1,000 feet. The GTX Series system’s powerful management software maximizes operational efficiency, enabling users to set up and confirm operation of 32 transceivers and 24 transmitters in only a few hours.
The GTX24 body-pack transmitter is terminated with a standard LEMO connector, and may be operated with the user’s preference of several popular high-quality microphone brands or one of two Alteros Subminiature Omnidirectional Condenser Lavalier Microphones, the GTX899 or the GTX899SW, latter equipped with an in-line talkback switch. The GTX24’s talkback function allows talent to easily speak to production staff, eliminating the need for a separate wired talkback box, or may be used as a momentary “cough switch.”
Broadcast-friendly features of the GTX3224 control unit include two separate and fully redundant AC power supplies and the ability to synchronize directly to the house clock, with failover to an accurate internal clock. The front-panel GUI offers a real-time battery gauge that displays the remaining operational time for each transmitter and additionally allows users to set custom battery level alerts. The unit may be remotely monitored and controlled from a PC or computer network and offers a timestamped event logger tool that can track and record the performance of every GTX32 and GTX24 for up to one month.
Altero is here.Leave a Comment
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|EAW Adds New Line Array and Subwoofer to RADIUS Series Of Loudspeakers|
Eastern Acoustics Works (EAW) just announced the addition of the RSX212L line array module and RSX18F subwoofer to the RADIUS Series. The two new RADIUS products are aimed at both touring and permanent install applications.
Similar to the other products in the RADIUS Series, the RSX212L and RSX18F utilize EAW’s proprietary Focusing and Dyno technologies to improve impulse response throughout the coverage area even at the highest output levels. The accompanying EAWmosaic applications tackles prediction, control and monitoring for all RADIUS enclosures. For added convenience, EAW’s Resolution software can also be utilized for prediction of all Radius products.
The new, two-way RSX212L line array module is loaded with two 12-inch low frequency drivers and two 1.7-inch voice coil compression drivers. Like the smaller RSX208L line array, the RSX212L includes array self-detection via on-board infrared sensor and accelerometers that enables EAW’s OptiLogic technology to pre-optimize the array to reduce setup and tuning time. The RSX212L features three-point rigging, a new flybar, caster pallet and cover designed for quick deployment and pack down.
The new RSX18F is a single 18-inch, flyable, low frequency module that offers automatic cardioid functionality, in stacks of two or greater, via OptiLogic. The subwoofer provides significant low-end support for all full-range products in the RADIUS Series and can be flown with the companion RSX208L line array module via a new accessory adapter.
The entire RADIUS Series features all-wood enclosures, EAW Roadcoat finish, Power Factor Corrected Class D amplification and a rear-panel LCD screen and encoder to provide on-box access to all RADIUS functions. Dual locking etherCON connectors offer daisy-chain Dante connectivity for single cable audio and communications. There is also an integrated wireless router connection on every RADIUS loudspeaker that delivers router placement options. Analog input option and automatic fail-over redundancy is managed with XLR audio input and thru connections. Power is delivered via powerCON inlet and loop connections.
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|Crest Audio Debuts C1 Series Contracting Amplifiers with DSP and Dante-C
Crest Audio has unveiled the new C1 Series range of contracting and installation amplifiers — Class D designs with on-board digital signal processing, Dante protocol networking and USB/Ethernet connectivity for monitoring and control. The new C1 Series amplifiers are aimed at contractors thanks to the addition of Euro connector inputs and barrier strip outputs as well as fault relays and CV (control voltage) inputs.
The C1 Series currently comprises four models:
- C1 86k eight-channel amplifier with 750 watts per channel into 4 ohms
- C1 48k four-channel amplifier with 2000 watts per channel into 4 ohms
- C1 44k four-channel amplifier with 1000 watts per channel into 4 ohms
- C1 25k two-channel amplifier with 2500 watts per channel into 4 ohms
All models incorporate an efficient switch mode power supply and Class D circuitry with full bandwidth PWM modulators for ultra-low distortion, high efficiency and superior circuit protection. The clip/limiter function provides output monitoring to prevent speaker damage with gentle gain reduction at clip threshold as well as efficient heat dissipation and overheat protection for uncompromised reliability.
In addition to being powerful workhorses, C1 Series amplifiers are also capable and sophisticated loudspeaker processors thanks to a powerful internal DSP engine with sampling rates of 96 kHz/24bit and high performance 24bit AD/DA converters. Everything you need to optimize a loudspeaker system is at your fingertips; IIR HP/LP crossover filters, RMS compressor, parametric EQ, alignment delays and white/pink noise.
Users can set parameters, select input source and load presets via the convenient front panel LCD touchscreen. A Dante network module enables primary and redundant connectivity to a digital audio network and allows seamless external control and monitoring of the amplifier. The C1 Series amps will be fully integrated with Peavey’s MediaMatrix hardware and NWare software, allowing signal distribution, control and monitoring of the C1 Series amps in MediaMatrix projects. The C1 Series power amps may also be integrated with other DSP/control platforms that support Dante audio networking. Applications for these powerful, networked multi-channel power amps include stadia, transportation hubs, theme parks, arenas, convention centers, retail spaces or any other projects requiring high quality, reliable networked audio.
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|Just Add Power Expands 3G Ultra HD Over IP Portfolio With New HD-SDI Transmitter
Just Add Power (J+P) has unveiled the 725POE 2GΩ/3G+ SDI Power over Ethernet (PoE) transmitter at InfoComm, adding SDI video sources to a 4K system. The new J+P 725POE 2GΩ/3G+ SDI PoE transmitter provides SD-/HD-/3G-SDI format support to Just Add Power’s 3G HD over IP system. Eliminating the need for an SDI-HDMI converter in the IP video distribution chain, integrators have the flexibility to add an SDI source to their 4K infrastructure. Features include stereo output with audio delay, local HDMI loop-out, null-modem-integrated RS232 and HDMI pass-through.
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|Christie Adds Two New 4K HS Series Models to Its 1-Chip DLP Laser Projector Lineup
Christie is adding to its 1DLP laser lineup with the new 4K7-HS and 4K10-HS models. Featuring 4K UHD resolution and Christie BoldColor Technology for the most accurate color reproduction possible, both models are equipped with Christie Twist warping and blending software and the omni-directional capability to be installed in businesses, public spaces, hotels, higher education and selected entertainment venues.
Christie BoldColor Technology uses blue and red laser diodes as well as a patented optical chamber, video processing, and specialized software to produced enhanced color and saturation and more lifelike visuals when compared to typical laser projectors.
Both HS Series models allow 4K60 video over a single HDMI or Display Port cable, simplifying setup and cable routing, and the integrated camera assists users in ensuring the projector is set up and aligned to a single screen and delivers auto zoom and focus of the imagery. Both models offer two new 4K specific lenses for six overall options to meet your application needs.
Shipping in August 2018, both models are here.Leave a Comment
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|AudioControl to Unveil Lineup of 70-Volt Amplifiers at InfoComm 2018
AudioControl has announced the introduction of three 70-volt amplifiers with both DSP control and signal matrixing capabilities. DSP capabilities include onboard speaker profiles for loudspeaker manufacturers such as Dynaudio, Graysound, James Loudspeaker, Monitor Audio, Nuvo, Origin Acoustics, Stealth Acoustics and Triad Speakers. In addition, they also offer graphic and parametric equalization along with onboard crossovers.
The first model in the series to become available will be the four-channel CM4-700, followed shortly thereafter by two-channel and three-channel versions — all based on a similar high performance platform. The CM4-700 is spec’d at 750 watts in 70/100 volt mode, 500 watts at 8 ohms (stereo or mono output) and 750 watts at 2 or 4-ohms and 1500 watts bridged into either a 70/100v and 8- or 4-ohm load. The amplifier also offers eight analog inputs (four stereo) — plus four digital stereo inputs — digital coax and optical. The four outputs can be individually controlled or be controlled as two stereo pairs, giving integrators the system configuration flexibility they need to accommodate any system architecture. System setup and diagnostics can be managed remotely via an IP web-based browser or app for PC, Mac, iOS and Android, facilitating control of the amplifier via IP and/or RS232.
The AudioControl CM4-700 lists at $2,600. Here are all the specs.Leave a Comment
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|Bose Professional Expands DSP Offerings
Bose Professional broadens its ControlSpace sound processor line with six new DSP models and three attractive digital wall controllers. The new ControlSpace CSP-1248 and CSP-428 commercial sound processors offer right-sized I/O and simplified configuration for small-to-medium-scale projects. They are designed to serve as standalone DSPs in commercial applications such as retail stores and restaurants or any public place where modest processing, high-quality sound and facilitated installation are desired. They include balanced analog I/O, RCA inputs, eight GPIs, one GPO, a mute contact, RS232 serial, Ethernet network (for configuration or wall control) and Bose AmpLink out, for simplified digital audio connectivity to supported power amplifiers.
The new ControlSpace CSP models feature a quick-setup workflow using an integrated webserver with browser-based control software. Much like setting up a wireless router, installers use their PC (or Mac) and web browser to access the CSP configuration page. This real-time interface features live metering and is designed to augment the natural workflow of commercial projects with common tasks such as setting sources, paging thresholds, adjusting EQs and tuning limiters presented in an intuitive and logical manner. This approach reduces complexity by presenting common processing needs for repeatable commercial applications, minimizing design errors and ultimately reducing installation time — without extensive DSP training.
The new CSP models include the following Bose-proprietary algorithms, configurable using the control software, that bring predictable, reliable operation to commercial sound systems:
- AutoVolume compensation continuously adapts zone output level based on the ambient noise of that room (when paired with the new Bose ANC sense microphone accessory) to maintain consistent program material.
- SmartBass dynamic equalization enhances the low-frequency output of small loudspeakers.
- Opti-voice paging provides a smooth transition between the music and page signals.
- Opti-source level management monitors the input level of up to four sources. Source levels are continually adjusted to maintain a consistent volume level among different source.
In addition to the new ControlSpace CSP processor line, Bose has also rolled out an update to two popular ControlSpace ESP fixed-I/O engineered sound processors. New variants of the Bose ESP-1240 and ESP-880 models have been upgraded based on integrator feedback to include options for Dante audio networking and Bose AmpLink connectivity. The new variants — the ESP-1240A, 1240AD, 880A and 880AD — have a new appearance while maintaining key features from their predecessors.
New ESP-1240A and ESP-880A engineered sound processors have 12×4 and 8×8 analog I/O, respectively, with integrated Bose AmpLink output for digital connections over Cat5 to Bose AmpLink-equipped Bose amplifiers. The new ESP-1240AD and ESP-880AD versions have both AmpLink and 32×32 Dante onboard. All four ESP models use ControlSpace Designer software for configuration, control and monitoring, and support scalable networked audio systems.
To complement both the new ControlSpace CSP and ESP processors, Bose has also introduced three new user-friendly digital wall controllers: the CC-1D, CC-2D and CC-3D. Each model comes in white and is available in regional variants. They feature a single rotary encoder and circular LED ring. The CC-2D and CC-3D models allow the rotary encoder to be pushed for A/B or A/B/C/D source selection with LED source indicators on the panel. In addition to the new digital wall controllers, the new CSP and ESP processors are supported by ControlSpace Remote, where customized control panels can be built and deployed to end users for wireless control of their systems from mobile phones, tablets or laptops.
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|KLANG:technologies Debuts KOS 3.1 at InfoComm
KLANG:technologies has released a new OS (3.1) – adding a MIDI translator tool. This provides an MCU (Mackie Control Universal) protocol integration, which allows engineers to connect one or more MIDI MCU-compatible fader controllers to the company’s KLANG:app for tactile mix control. Designed for monitor engineers that want to dial into musicians’ mixes from a hardware-based controller, the new integration provides facilities for Mute and Solo buttons, Channel labels, Bank Select and Snapshot control, in addition to bi-directional fader control.
KOS 3.1 allows for daisy chaining of KLANG:fabrik and/or KLANG:vier devices into a hive of units functioning as a larger system. In this configuration, engineers can quickly move between various artists’ mixes within the cascade via the top mix bar, as well as create, save and recall snapshots and presets on all units in the setup simultaneously.
With KOS 3.1’s new master cue facilities, monitor engineers no longer need to use one mix for cueing into an artist’s mix, but can cue into the mixes of any unit in the cascade. This is accomplished by daisy chaining a cue output of a mixing console to the KLANG cascade and then choosing to listen to the KLANG cue or console cue.
Also, the newest OS increases the available channel count when working with EQs activated. And this software release is accompanied by a new Dante Firmware release for the new master cue routing, which now makes all KLANG products Dante Domain Manager (DDM) ready.
KOS 3.1 from KLANG:technologies is here.Leave a Comment
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|NEUTRIK NA2-IO-DLINE Dante Interface Ships
The new NEUTRIK intelligent NA2-IO-DLINE Dante I/O interface is available. This new end-of-network device provides an easy solution for integrating analogue signal devices within Dante based AoIP networks. With two line level analogue inputs and two line level outputs, it can simultaneously integrate two analogue audio channels within a Dante network and output a Dante stream as two analogue channels, in just a few easy steps.
The NA2-IO-DLINE is optimized for use in extreme environments and applications, offering all of the usual NEUTRIK standards of robust construction and protection. The unit is equipped with lockable etherCON connections for audio and network I/O, and comes ‘wrapped’ in a highly protective rubber casing for stand-alone deployment. This can be removed, to allow it be used with optional mounting brackets or a rack panel, enabling it to be mounted below tables, in floor boxes or in equipment racks for fixed installation applications.
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|NEC Display Debuts C and V Series of Displays
NEC Display Solutions of America today announced that it has launched six new large-size UHD displays. The new models are the 75-inch C751Q and V754Q; the 86-inch C861Q and V864Q; and the 98-inch C981Q and V984Q. These C and V Series models offer customers an all-encompassing UHD experience at an affordable price.
These new models feature high haze panels that scatter reflected light to significantly reduce glare and improve screen readability. They also come equipped with SpectraView Engine, NEC’s proprietary color management and stabilization system that provides unrivaled and complete color control and uniformity correction.
All models went through focused mechanical upgrades, including having a smaller, even bezel, lighter overall weight and thinner depth than preceding models. Both the C and V series models can also be utilized in both landscape and portrait orientation, allowing for flexibility of installation when used for digital signage.
Additional key features include:
- Advanced connectivity, including three HDMI 2.0 and two DisplayPort 1.2 connections, plus one DisplayPort out powers a 60 Hz signal for UHD performance via a single cable
- SoC Powered by Raspberry Pi and OPS allow for modular expansion
- Full external control via LAN or RS232 interfaces
- Full scheduler functionality, including holiday mode
- First, last and custom input detect functionality
- Full metal chassis and convenient carrying handles for easier installation
The new C Series and V Series large-size display models can be ordered this month and here are the details.Leave a Comment
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|Panasonic Debuts New SOLID SHINE Laser Projectors at InfoComm
Panasonic Systems Solutions Company will showcase its expanded portfolio of professional laser projectors. The expanded portfolio now includes the new PT-RQ22KU 21,000-lumen, 3-chip DLP laser projector with 4K+ resolution, and two new 1-chip DLP SOLID SHINE laser projectors featuring super high brightness: the PT-RZ120 providing 12,000 lumens of brightness and the PT-RZ870 offering 8,500 lumens of brightness. Also included will be the new PT-MZ770 Series 8,000-lumen LCD laser projectors. All of these new projectors will be on display in the Panasonic booth C3185 at InfoComm 2018 in Las Vegas, NV from June 6-8, 2018.
PT-RQ22KU 3-Chip DLP SOLID SHINE Laser Projector with 4K+ Resolution
The new compact and lightweight PT-RQ22KU 3-Chip DLP SOLID SHINE Laser 4K+ projector is perfect for a wide range of large-venue applications, delivering 21,000lm of maximum brightness. The PT-RQ22KU with 4K+ resolution (5120×3200-pixel) incorporates Quad Pixel Drive technology which creates extra pixels vertically and horizontally, quadrupling pixel density and by doing so, produces film-like image quality with the finest details in exquisite 4K+ resolution. Key features and advantages of the PT-RQ22KU include flexible 360-degree installation, long-distance HDBaseT-based DIGITAL LINK video/control transmission, Multi-Screen Support Systems and Geometry Adjustment software for network management over LAN complete with optional plug-ins for simultaneous auto-calibration of multiple projectors and expanded multi-screen support functions. Coupled with a 240 Hz-capable Real Motion Processor for fluid motion reproduction, Detail Clarity Processor 5+ technology with 4K optimization, System Daylight View 3 analysis technology, and digitally laser light-source modulated 20,000:1 dynamic contrast for spectacular visuals from fast action scenes to film-like text and graphic reproduction. The PT-RQ22KU also provides 4K BT.2020 color-space emulation and supports HDR standard for accurate handling of next-generation video formats. Other important features include highly desirable Quick On/Off, mechanical shutter functionality, and power management functions to ensure smooth, energy-efficient, virtually continuous 24/7 operation in long-term or temporary installations. The PT-RQ22KU will be available in August 2018.
New 1-Chip DLP SOLID SHINE Laser Projectors – PT-RZ120 and PT-RZ870
The new 12,000lm PT-RZ120 with 4K signal input and 8,500lm PT-RZ870 projectors blend crisp and vivid imaging with bright, dual-laser-module and dual-phosphor-wheel SOLID SHINE laser drives designed to support mission critical applications. A unique color-wheel system enhanced by dual heat-resistant phosphor wheels works in harmony to maximize color accuracy while reducing energy loss from the light sources. Both projectors are capable of maintenance-free operation for up to 20,000 hours thanks to air-tight and dust-resistant optical units and cooling systems negating the need for air filters. These projectors offer the flexibility for 360-degree installation and DIGITAL LINK (based on HDBaseT technology) for single-cable connection. The PT-RZ120 and PT-RZ870 projectors will suit the needs of many industries, such as education, corporate, museum and house of worship venues. The customers will have options to decide which high brightness, high reliability projector will best meet their needs. The PT-RZ120 will be available in October 2018, the PT-RZ870 begins shipping in July 2018.
PT-MZ770 Series of SOLID SHINE LCD Laser Projectors
The PT-MZ770 Series of SOLID SHINE LCD laser projectors offers a compact, lightweight design that delivers 8,000lm of brightness and high contrast to ensure exceptional picture quality. With Detail Clarity Processor 4 and System Daylight View 3, the PT-MZ770 Series delivers high resolution, sharp and vivid images in virtually any environment. Quick start/quick off and wireless capability also make the PT-MZ770 Series great for use in a classroom, a meeting room or in an executive boardroom. Featuring an airtight dust-resistant optical unit, one-way airflow, and a long-lasting ECO filter, the PT-MZ770 operates up to 20,000 hours with virtually no maintenance, significantly reducing operating costs. The ultimate projector for flexibility, the MZ770 Series provides powered lens shift, zoom, and focus, 360-degree installation, DIGITAL LINK (based on HDBaseT technology) for single-cable connection as well as Panasonic’s LinkRay Light ID technology to enable delivery of information to smartphones, making it a great match for signage and other exhibition/display applications. The PT-MZ770 Series includes two models, the PT-MZ770 that features WUXGA (1920×1200) resolution and 4K signal input, the PT-MW730 with WXGA (1280 x 800) resolution. Both models are available with a standard lens or without a lens, six optional lenses are available to choose from. The PT-MZ770 Series will be available in July 2018.
All the details are here.Leave a Comment
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|Waves Offers Dugan Automixer + Dugan Speech Plugin Bundle
Waves Audio just debuted its Dugan Automixer + Dugan Speech plugin bundle. Using these two plugins for auto-mixing several mics in real time (one for the eMotion LV1 mixer and one for other live consoles via MultiRack) makes mixing microphones simple. Dugan Speech and Dugan Automixer are a solution for broadcast news panels, radio and TV talk shows, houses of prayer, motion picture dialog recording, discussion panels and any other situation involving numerous microphones and participants.
In this package, users get the Dugan Speech plugin for integrated use inside the eMotion LV1 mixing console, and the Dugan Automixer plugin for use with other major consoles via the MultiRack plugin host. Developed with pro audio inventor Dan Dugan, both Dugan plugins are powered by his patented voice-activated process.
The Dugan plugins save the need to manually ride faders while trying to keep up with several people talking. They can auto-mix up to 64 channels simultaneously and make perfectly matched crossfades, without compression or noise gates that would cause unwanted artifacts. They also reduce noise, feedback and comb filtering from neighboring microphones, ensuring consistent overall gain even when numerous speakers are talking simultaneously.
Dugan Speech is here and the bundle is here.Leave a Comment
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|Alcons Intros the VR5 Mini Versatile Monitor
Alcons’ new VR5 is a two-way mini versatile loudspeaker, specifically designed for near-field applications where ultimate fidelity response needs to be projected with wide horizontal and vertical coverage. The VR5 consists of the RBN202 pro-ribbon driver for HF and a dedicated-designed 5″ mid-bass for extremely low-distortion LF reproduction. The VR5 HF section has a 400-watt peak power input, enabling a 1:16 dynamic range with up to 90 percent less distortion from 1 kHz to beyond 20 kHz.
The patented (90-degrees) horizontal and patent-pending (60-degrees) vertical dispersion of the revolvable waveguide, offers a wide and consistent coverage up to the highest frequencies; Very important for the imaging in stereo or immersive systems. Due to the “compression-less” principle of the pro-ribbon transducer technology, the system has a fully linear response at any SPL, for an intuitive 1:1 “input=output” performance.
For full system performance, the VR5 needs to be driven by an ALC amplified loudspeaker controller, delivering maximum sound quality with increased headroom and utmost operation reliability and flexibility. The Signal Integrity Sensing pre-wiring ensures dynamic cable/connector compensation between the VR5 and ALC, significantly increasing response accuracy, regardless of cable length and system impedance, with a tight and accurate mid and bass response as result.
The combination of the asymmetric multi-angle enclosure, the revolvable waveguide and the ACO color option provides for inconspicuous low profile stage-, stand-, wall- or ceiling positioning. The 5 M10 mounting points enable swivel bracket, shoulder eye bolt and mic stand deployment. Typical (short to medium throw) applications for the VR5 range from reference monitor, low-profile stage-lip/front-fill, stage monitor, under-balcony system up to a nearfield main PA system, in combination with a separate subwoofer, if required.
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|Optoma Introduces New Line of High Brightness, Laser Projectors
Optoma at InfoComm 2018 today unveiled four new laser projectors for higher education, houses of worship, rental and staging and corporate environments. The Optoma ZW500T, ZH500T, ZU500T and ZH500TST deliver 20,000 hours of virtually maintenance-free operation.
- Optoma ZH500T and ZH500TST are 1080p HD projectors that feature an impressive 5,000 lumens of brightness and a 300,000:1 contrast ratio with ExtremeBlack enabled. The ZH500TST offers a short throw of 0:79:1 from just a few feet away. These projectors feature horizontal and vertical lens shift, 360-degree and 24/7 operation, and portrait mode for maximum usability at any angle. Both projectors are also equipped with several connectivity options, including HDBaseT and HDMI inputs to maximize convenience. They are available for an estimated street price of $2,999and $3,999 respectively.
- Optoma ZW500T and ZU500T, featuring WXGA and WUXGA resolution respectively, provide stunning projection with a 300,000:1 contrast ratio with ExtremeBlack enabled, a powerful laser light source and 1.6x zoom. The ZW500T and ZU500T project 5,000 lumens of brightness and feature extensive connectivity options, including HDBaseT and HDMI inputs. Both projectors offer built-in installation features, including horizontal and vertical lens shift, four corner correction, 360-degree and portrait mode operation to support professional installations at all difficulty levels. The ZW500T is available an estimated street price of $2,499, while the ZU500T is available for an estimated street price of $3,199.
The Optoma ZW500T, ZH500T, ZU500T and ZH500TST are here.Leave a Comment
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|Waves Audio Debuts MultiRack Software
Waves Audio has debuted Waves MultiRack, a software host that lets FOH and monitor engineers run multiple, simultaneous instances of the same Waves plugins used in recording studios and mixing rooms.
MultiRack application is designed for live sound, broadcast, post-production facilities and more. With easy setup and advanced preset capabilities, MultiRack delivers all the flexibility and portability of software, with sound quality and convenience that Waves Audio says actually beats hardware. Features include:
- Full recall, full control
- Set and save presets, snapshots and Hot plugins per song and song sections
- Advanced side-chaining capabilities
- Windows- and OS X-compatible
- Run plugins live in real time and low latency (MultiRack SoundGrid only)
- Simultaneous processing and recording capabilities (MultiRack SoundGrid only)
- Plugin chain presets saved on MultiRack can be loaded in StudioRack and vice versa
- Supports 5.1 and 7.1 Surround plugins and plugin components
- Hot Plugin Panel with individual gain reduction meters for each plugin
Here are the details.Leave a Comment
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|VUE Unveils Expanded e-Class at InfoComm
VUE Audiotechnik unveiled at InfoComm two additions to its e-Class range of high-definition, ultra-compact architectural speakers. The new e-351 Nano Coaxial Cube and the VUEDrive V242 Systems Engine join the e-352 to expand the line of exceptionally high output, high fidelity system for discerning professionals.
Onboard ithe new e-351 Nano Coaxial Cube is s a 3.5-inch woofer that combines a large, high-temperature voice coil with a neodymium magnet assembly for improved heat distribution and distortion-free operation across a broad frequency range. Coaxially mated to the woofer is a custom-designed, beryllium-infused, 25 mm compression tweeter. The tweeter’s horn is built through the pole-piece of the woofer’s powerful neodymium magnetic assembly. The unique coupling optimizes space while dramatically improving efficiency and high-frequency dispersion.
VUE says a precision-engineered passive crossover network is precisely mated to the e-Class drivers and optimized to work in concert with the specialized DSP in the new VUEDrive V242 Systems Engine. The rack-mount V242 has been engineered specifically for use with e-Class systems. Highly sophisticated DSP maximizes response accuracy while providing both maximum power transfer and transducer protection.
Drivers and crossover are housed in a compact and elegant die-cast aluminum enclosure that is significantly more rigid and resonant free than typical plastic designs. The aluminum enclosure also works as a highly efficient heat sink for onboard components, further enhancing e-Class efficiency. Finally, the aluminum is innately corrosion and moisture resistant, making the e-351 well suited for use outdoors and in harsh weather applications. The e-351 also achieves peak sound pressure output above 112 dB SPL at one meter, in an enclosure measuring just 4.3 by 4.3 by 4.1 inches.
Here are all the specs.Leave a Comment
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|Sennheiser Announces Integration of Digital 6000 in Yamaha Consoles
At InfoComm, Yamaha and Sennheiser have announced that the Sennheiser Digital 6000 microphone systems can be seamlessly integrated into Yamaha CL and QL series consoles with the upcoming Sennheiser and Yamaha firmware updates. These updates mean that Sennheiser’s EM 6000 and EM 6000 DANTE wireless receivers can be monitored directly from the consoles, allowing engineers to check parameters such as RF performance, link quality, audio level and battery status directly from the console as well as adjust certain parameters without the need for additional software or screens. This integration is already available for Soundcraft Vi000 consoles.
Sennheiser is here.Leave a Comment
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|AJA Intros Hi5-12G and HA5-12G Mini-Converters at InfoComm 2018
At InfoComm 2018, AJA announced the Hi5-12G, a new 12G-SDI to HDMI 2.0 Mini-Converter and the HA5-12G, an HDMI 2.0 to 12G-SDI Mini-Converter, each available in three model configurations, with or without fiber SFPs.
The next generation of Hi5-4K-Plus, Hi5-12G converts a 4K/UltraHD/2K/HD 12G-SDI single-link input with eight channels of embedded digital audio to an HDMI 2.0 output with two or eight channels of audio. Hi5-12G can also generate HDR metadata in accordance with HDMI v2.0b/CTA-861-G. The device features a 12G-SDI single-link input with a re-clocked SDI loop out for simpler confidence monitoring or pass on for SDI pipelines. Fiber SFP-equipped Hi5-12G models include the Hi5-12G-R receiver, which extends HDMI 4K signals over long distances from either an SDI or a Fiber connected source, and the Hi5-12G-TR transceiver, which delivers a 4K/UltraHD SDI or Fiber source signal to an HDMI destination with pass on of the source through SDI or Fiber to a secondary destination. Hi5-12G models include a DWP-U power supply and USB port for firmware updates.
HA5-12G, the next evolution of AJA’s HA5-4K Mini-Converter, allows users to convert an HDMI 2.0 input with up to eight channels of audio from the HDMI source or two-channel analog audio (RCA) to two 12G-SDI single-link outputs with eight or two channels of digital embedded audio. HA5-12G is also capable of analyzing HDR infoframe data coming in over HDMI in accordance with HDMI v2.0b/CTA-861-G. The portable converter includes two SDI DA outputs and transmits 12G-SDI on each SDI link, reducing cable runs when transporting 4K/UltraHD SDI. Fiber SFP-equipped HA5-12G models include the HA5-12G-T single-channel transmitter, which extends HDMI 4K signals over long distances (10km Single-Mode), and the HA5-12G-2T dual-channel transmitter, offering two 12G-SDI coaxial outputs and two 12G-SDI over Fiber outputs to simultaneously enable HDMI 4K source extension to multiple locations without a distribution amplifier. HA5-12G models include a DWP-U power supply and USB port for firmware updates.
Hi5-12G and HA5-12G will be available summer 2018 for $795 each; Hi5-12G-R and HA5-12G-T will be available summer 2018 for $995; and Hi5-12G-TR and HA5-12G-2T will be available summer 2018 for $1,195 and all the specs are here.Leave a Comment
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|L-Acoustics Partners with Avid on L-ISA
L-Acoustics announces the development of an AAX DSP version of its L-ISA Source Control plug-in for the Avid VENUE | S6L console’s control surface, allowing sound engineers an expanded range of consoles in which they will be able to use a familiar workflow to manage immersive environments.
L-Acoustics’ L-ISA ecosystem consists of a comprehensive tool chain that can handle multidimensional audio projects at any stage. With the L-ISA plug-in for S6L, users have access to all “source object” controls, including pan, width, distance and elevation, as well as a designated aux send and all L-ISA parameters can be stored in the console’s snapshots engine and recalled in the same way as other console parameters. This integration offers many benefits in terms of show portability and live interaction and the loudspeaker layout can easily be adapted to location changes while maintaining the spatial properties of the mix.
In addition to the L-ISA AAX DSP plug-in, L-ISA can also be integrated into iPro Tools via an AAX native plug-in, opening up L-ISA’s 96-input multichannel mixing capabilities in the Pro Tools environment for sound design and other applications. L-Acoustics is here.Leave a Comment
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For all you REGULAR readers of rAVe HOW out there, hopefully you enjoyed another opinion-packed issue!
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