Volume 8, Issue 11 — November 5, 2015
|
Editorial Editorial Tiner’s Take
|
|
|
InfoComm: The Evolution of Higher Ed AV
By Dan Daley Special to InfoComm International
When tech managers and AV pros gather in Pittsburgh this October for the annual conference of the Consortium of College and University Media Centers (CCUMC), they’ll have a lot to talk about. The use of AV is evolving rapidly in the higher-education space, but experiences vary widely, based on everything from budgets to the types of schools that tech managers work in.
CCUMC, an InfoComm partner and participant in InfoComm shows, had a role in preparing the InfoComm white paper AV/IT Infrastructure Guidelines for Higher Education. We talked to some of the conference’s higher ed presenters to get a preview of some of the topics they’ll cover.
Moving to IP
Steven Anderson, CTS, instructional technology manager at the University of Maryland-Baltimore County (UMBC), is working on the school’s new and still-unnamed performing arts center — a process he’ll discuss in a CCUMC presentation and that illustrates the convergence of AV and IT in higher-education environments. What had been the school’s AV department was absorbed by its IT group about seven years ago. In the process, the AV division’s mission, which had been pedagogical support, morphed into a more comprehensive role of technology-infrastructure support.
Although there may have been some initial trepidation about the AV/IT consolidation, it has proven to be a positive transition, says Anderson, with a substantially larger budget for all of the services and platforms the group serves, including AV systems. At the same time, the technology simplification that comes from moving what had been legacy “one channel, one wire” AV solutions to a packetized networked environment has increased reliability by reducing the number of potential failure points. It’s also been more cost-effective.
“Renovating the AV for a lecture hall used to be a $50,000 project,” Anderson explains. “Now it’s much less because there are fewer components and less labor.”
Still, as AV moves deeper into the digital IT space, its analog heritage remains. “People still want to work on the platforms they’ve been used to,” says Anderson. “That’s human nature. And there’s lots of content out there that still needs legacy analog systems to be accessed.”
In other words, higher education technology won’t be 100-percent digital for some time yet.
No Pain, No Gain
Not far away from UMBC, at American University in Washington, D.C., Katie Kassof has undergone her own transition. Her title recently changed from Senior Audiovisual Technician to Instructional Technology and Learning Space Designer, but Kassof still faces the same challenge of securing budget dollars for new pedagogical technology platforms at a liberal-arts college.
The school is transitioning from a Panopto video-capture platform to the Kaltura platform, which she says offers more software-based options, which is especially important as classrooms try to integrate more sophisticated AV hardware. This means moving away from the webcam-based portable kits that her department used to distribute — a somewhat higher-tech version of the high school AV carts of yore, but which cost only about $150 each to assemble — to an integrated AV package with ceiling-mounted webcams and microphones that can record a wider range of classroom activities and distribute the content more widely.
The steadily falling price of consumer electronics is helping the transition, allowing classrooms to have integrated webcams, DVD players and HDMI inputs. However, Kassof says that her CCUMC presentation, wryly titled The Horror! Switching Video Content Management Systems, will also focus on the human element of platform change. Millennial students may enthusiastically embrace technology change, she acknowledges. Teachers? Not so much.
“You can never make it completely painless,” Kassof says.
All About Training
Lauren Turin, Manager of Media Services at Duquesne University in Pittsburgh, hasn’t seen her title change, but most everything else has. Her Department of Media Services moved three years ago from the support side of the school’s organizational hierarchy to the academic side. Reporting now to the school’s associate provost — who’s been a big booster of the technical changes the school has implemented — while maintaining a good relationship with the university’s IT department has exposed AV to the best of both worlds there, she says.
“They like what we’ve been doing,” she says of the university administration and professors who use the 100 classrooms they have been outfitted with audio, video, Internet connectivity and Extron MLC226 control systems. Five of the university’s spaces are active-learning, pod-type “FlexTech” classrooms with advanced AV systems, such as Barco’s ClickShare collaborative platform.
“That makes it easier to get funding going forward,” Turin Says, such as for the fourth and fifth FlexTech spaces, which are going online this fall. After the school’s president was so impressed by the first FlexTech spaces a year ago, he gave the green light to additional ones. She’ll talk about it during the session titled Building an ‘Affordable’ Active-Learning Classroom.
But as other AV managers have experienced, Turin says that although AV in higher-education spaces can be engaging for students, it can’t reach its full potential if teachers aren’t well trained. And getting them to embrace new platforms can be challenging.
“We explain to professors you can’t teach the old way in new rooms,” Turin says. “But at the same time, we have a responsibility to provide them with the right training.” She says AV tech managers in higher education also have a responsibility to pace the rate at which they implement change.
Pacing change, says Turin, means focusing on simplicity and ease of use. Her department works with the school’s Center for Teaching Excellence to help train instructors in the pedagogy of new learning spaces.
Plus, Turin says, it’s important to make sure both technology and the people who use it are in sync at a time when more learning — and more tuition dollars — are moving to online teaching. “This is all about creating the best possible classroom experience,” she says. “The technology has to be used to make the face-to-face experience memorable.”
Who Has The Podium?
Just as Albert Einstein, for much of his career, pursued a grand unification theory of physics, Rutgers University’s Digital Classroom Services (DCS) department has been chasing the idea of a single podium to contain most of the AV technology needed for teaching. Matthew Wilk, a DCS associate director who heads up Rutgers’ Technical Services and Operations, believes they’ve nearly reached that goal, though it’s still a work in progress.
Finding a median solution for the university’s 250 classrooms across five campuses, most of which are general-purpose rooms that can be used for English one period and STEM studies the next, was a challenge. All of those rooms now have basic AV, such as a projector and screen, and the vast majority of them have digital AV components. But the podium remained the Holy Grail. “The challenge was to find a way to fit it all together and make it affordable,” he says of the project, which began in 2012 and will be the subject of a presentation at the upcoming CCUMC event.
One tactic was to exchange the Crestron control and routing processor the school had been using for homegrown software that runs on Apple computers. They also added a 21-inch Planar touchscreen as the podium’s monitor. And although HDMI and USB inputs and a Blu-ray drive are used to bring in content, the next iteration of the podium will incorporate more wireless connectivity; the stand already has a wireless microphone that lets teachers move about the room.
DCS settled on two sizes of the podium — a 30-by-28-inch version and a larger one at 30 by 43 inches — to accommodate different-sized classrooms. Both types are movable and connect to the installed AV in classrooms through Cat-6 cables.
Wilk says they’ve established a five-year refresh cycle for the podiums’ components, but tweaks will inevitably happen more frequently, such as the Barco ClickShare collaborative platform and Mersive Solstice shared displays they’re planning on experimenting with in a few classrooms this year. But like his colleagues at other schools, Wilk says forward progress always has to accommodate legacy mindsets. “We still have one faculty member who insists on using a VCR,” he sighs.
What these conversations reveal is that in the university space, the transition from analog to digital — from conventional to new teaching paradigms — is a work in progress. It’s also one that will proceed at a different pace at different schools, dictated by budget and the ability of teachers to process the shift in pedagogical technology. What won’t slow it down is the enthusiasm that AV and IT managers at schools are showing to help make the transition happen.
This column was reprinted with permission from InfoComm International and originally appeared here. Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
|
If Your Clients Upgrade to Apple’s iOS 9, Your Wireless AV Collaboration Systems May Stop Working
By Gary Kayye rAVe Founder
There’s an interesting dilemma developing in the ProAV market where clients are calling their AV integrators because, ever since they upgraded to iOS 9 with their iPhones or iPads, they stopped working with their wireless transmission systems.
There are about a dozen or so companies who have wireless AV systems out there. It all started with Barco and its industry-leading ClickShare launch a few years ago. And, ever since, many BYOD or “collaboration” systems (as well as Huddle Rooms) have been built integrating wireless systems (or at least inputs on a system) that accommodate sending video and audio wirelessly via Apple laptops, Samsung phones, tablets, Windows devices and even iOS (Apple iPhones and iPads). The thought is that it allows for someone (an attendee of a meeting or a group in a brainstorming meeting) to share content without having to connect to the room’s VGA or HDMI cable. It all happens wirelessly.
But, oops, in iOS 9, Apple made that even harder and, all-of-a-sudden, many of the popular wireless systems out there (e.g. any system — other than Apple’s own — using AirPlay to transmit video) stopped working. So, an iOS 8 phone works, but not one using iOS 9.
So, who’s affected?
Well, let’s make this easier and tell you who’s not affected so far — these are the companies with wireless transmission systems are still working in iOS 9 as of October 20th. We will update this list as systems are updated or we hear back from the manufacturers. Here are the collaboration systems that DO work with iOS 9, as of October 27, 2015:
- Crestron AirMedia
- Extron ShareLink
- EPSON iProjection
- Panasonic Wireless Projector App
- Christie Brio
- Kramer VIA
- WolfVision Cynap
- AMX Enzo via MirrorOp
- Barco ClickShare
- wePresent’s MirrorOp Presenter App
We will keep updating this list as manufacturer’s fix their systems, but, again, this iOS 9 issue needs to be monitored as many, many installed systems aren’t working any more when your clients update their operating systems. Leave a Comment
Share Article
Back to Top |
|
Customer Service: Products That Are Ready
By Scott Tiner rAVe Columnist
As I sat down to write this column, I hemmed and hawed. I even got the column in a little late as I hesitated as to whether I should submit it or write a new one. I did not want to write something that was overly critical of a company, and yet I have had some negative experiences recently that I wanted to share. So this month’s column is really more of a suggestion to manufacturers, integrators and others out there who serve customers, much more than it is an attack on any specific company. Think of it as a “what not to do.”
Over the past few months, the equipment and service we have received from Crestron has left a lot to be desired. I wrote about some of our problems in my last column. We have several Capture HD boxes deployed across campus. Some of these randomly drop either audio or video. As one can imagine, recording without one of those creates a final product that is, well, useless. We have contacted technical support, and the first fix is usually a firmware upgrade, which may seem to work, until the next time the audio mysteriously drops. Part of the issue is that rebooting the box fixes the problem for some random period of time. So, we never know if the firmware fixed the issue, until we get another bad recording. Some of the boxes have gone back to Crestron. They come back with notes saying that nothing was wrong. Of course not — the boxes were rebooted during shipping, and the audio failures are random (it could be after 10 recordings or 30). So, if you set it up on a table and tested, it probably worked.
Next, we had problems with the DGE2 and the TSD-2020. Upon installation, the touch panel would not react to touch. Reboots, hour long phone calls with Crestron — nothing seemed to work — until suddenly one day, it was working. Then again a few days later, it wasn’t. More long phone calls to Crestron and promises of “we need to look into this problem and get back to you.” Eventually, we got sent some new DGE2s. Upon installation, they worked! Yay! Problem solved… until the next day, when they did not again. Today, we are at a point where they work “most of the time” and when they don’t, a simple reset of the USB connection brings them back. However, it is still very frustrating to have a $4,000 box which works “most of the time” and no real recognition of a problem or continued discussion of how to fix it.
Finally, we ran into major problems with a couple of installation that used a DMPS3 and an Epson projector. We decided to try and connect the projector’s HDBaseT connection directly to the DM output of the DMPS3. We had done this in other rooms with a DM 8×8 and it worked great. We installed it in these two rooms and initially everything was fine. However, after a day or so, we noticed that the projector would lose its Ethernet connection and not respond to commands. We tried a new projector. Same problem. We contacted Crestron, who asked us a lot of questions (including if we could take a working DMPS3 out of another classroom). Follow up answers to the questions brought more questions, but no solutions. Eventually, we decided on our own to install an RMC at the projector and go into it via HDMI and Ethernet. This has solved our immediate problem of the room not working, but again leaves us with a feeling of being abandoned by support.
For me there are several lessons in these experiences. First, if you are doing your own installs, you need to be prepared with equipment, money and experience to be able to quickly swap out equipment in case you need to get a room operating. This may include spare equipment of what you have installed. Second, you need to have a lot of time to spend on the phone with tech support in case of problems. If you are an integrator, the same applies to you. If this experience had happened with an integrator, it would have very likely soured our relationship. I would not have been happy going for three weeks with these problems, while classes were in session, waiting for a fix. Finally, if you are a manufacturer, please understand that when spaces are down for hours, it is a major problem. Asking to swap out equipment from a working room is a ridiculous request. Waiting days for responses to technical questions is simply not acceptable. Be there for your customers, and be ready to act fast to support their issues, or they may not be your customers for long.
Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
|
Extron Introduces DTP 4K Switchers for DisplayPort, HDMI and VGA With Audio Embedding
Extron’s new DTP T DSW 4K 233 and DTP T DSW 4K 333, three input switchers for sending DisplayPort, HDMI or VGA, audio and control over a shielded CATx cable to Extron DTP-enabled products. The DTP T DSW 4K 233 extends signals up to 230 feet (70 meters), while the DTP T DSW 4K 333 extends signals up to 330 feet (100 meters). They provide DisplayPort, HDMI and VGA inputs, and one DTP output. Both DTP T DSW 4K models support video resolutions up to 4K, including 2560×1600 and 1080p/60 Deep Color. Analog stereo audio embedding and RS-232 remote control facilitate integration in professional environments. Integrator-friendly features include EDID Minder, auto-switching between inputs, audio input assignment, and bidirectional RS232 and IR pass-through for remote AV device control.
The DTP T DSW 4K 233 and DTP T DSW 4K 333 can be set up to automatically switch when they detect active video signals, making them ideal for automatic routing and unattended operation. Stereo analog audio can be embedded onto the digital video output signal for transport over DTP. In addition, the analog audio input can be assigned to any of the three video inputs, or it can be set to follow the input switch. For added installation flexibility, the DTP T DSW 4K switchers can be remotely powered by Extron DTP-enabled products over the shielded twisted pair cable. They also offer a selectable HDBaseT output mode that provides compatibility with any HDBaseT-enabled display.
Here are all the details. Leave a Comment
Share Article
Back to Top |
Kramer Debuts VP-440 Switcher Aimed at Education
Kramer’s new VP-440 is a six-input switcher that’s part of their ProScale line. Aimed at classrooms and meeting rooms, it has four HDMI port and two VGA ports and all of the signals are converted to HDMI or HDBaseT on the output. Featuring front-panel control via an on-screen display (OSD) menu, RS232 and contact-closure control, it can be controlled via the web or through a control system.
VP-440 has unbalanced analog stereo inputs for each video input and embedded audio for its HDMI inputs as well as an unbalanced analog stereo audio output accompanying the HDMI and HDBaseT outputs. The VP-440 includes a separate microphone input that features audio equalization, microphone mixing and talker with delay. The unit also includes level control for the outputs and each individual input.
It’s not on the company’s website yet, but should be soon. Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
BenQ Debuts Large Venue ProjectorsBenQ America today added four new dual-lamp, high-brightness projectors to its Integrators’ Choice lineup. Designed to support large-venue installations, the Colorific PX9510, PW9520, PU9530, and SU964 provide up to 6,500 spec’d ANSI lumens and they are aiming them at command and control rooms, houses of worship, conference rooms, and other large spaces.
Dubbed the P-Series, the PX9510 and SU964 are both spec’d at 6,500 ANSI lumens (XGA and WUXGA resolutions, respectively), while the PW9520 and PU9530 output 6,000 ANSI lumens at WXGA and WUXGA resolutions, respectively.
In addition, the P-Series projectors are available with seven optional interchangeable lenses ranging from 0.79 short-throw to 8.56 long-throw versions; two interchangeable color wheels for higher brightness and improved color balance demands and 360-degree vertical projection capabilities. The SU964 features corner fit correction for independent adjustment of the corners of any projection, and a 1.5x big zoom lens to provide a wider throw distance range. To reduce the need to make frequent placement adjustments, the P-Series projectors feature horizontal and vertical motorized lens shift, while the SU964 offers manual lens shift, and all models include 2D keystone correction to align images easily using horizontal and vertical adjustments.
For connectivity, the professional series includes front and rear IR receiver points, HDMI (dual HDMI for the SU964), USB, RS232 and supports the HDBaseT standard.
All the specs are here. Leave a Comment
Share Article
Back to Top |
AtlasIED Launches New FAP Strategy III Series of In-Ceiling Speakers
AtlasIED has announced the release of the new FAP Strategy III Series ceiling loudspeakers. Their big push with them is something they are calling Safety First Mounting System (SFMS) and they claim that it prevents mounting tab damage during installation. The damage is caused by over torqueing during the installation process. This excessive torque can damage the mounting tabs that over time can increase the chance of mounting tab breakage and the loudspeaker falling from the ceiling. The SFMS is the result of over 100 tested prototypes until the final design was approved. This patent pending technology uses t-handles that are integrated into the front of the loudspeaker baffle to tighten the mounting tabs in materials up to 3/4”.
Claiming that the SFMS, decreases installation time by up to 60 percent, AtlasIED’s mounting design installs without the need for tools. A front mounted 70V tap selector allows installers to adjust and set the 70V power taps and a removable four-pole euro-style connector allows for pre-wiring and daisy chaining of additional loudspeakers and subwoofers. They also claim an improved waveguide design provides wider coverage than previous models. The benefit is cost savings due to fewer loudspeakers required, while still maintaining uniform sound throughout. Low-frequency response is enhanced and deeper bass definition is provided via the optimized low frequency tuning port. Additionally all models are safety listed to both UL1480 and UL2043.
All the tech specs are here. Leave a Comment
Share Article
Back to Top |
InFocus Releases Interactive JTouch Whiteboard and Touch Display to Simplify Group WorkInFocus Corporation just unveiled a 65” version of the JTouch Whiteboard (INF6501w) interactive touchscreen display. The 65-inch, 1080p-resolution, multi-point touchscreen INF6501w lets users display and control their Windows, Mac and Chromebook devices, allowing teachers and presenters to show and edit files from the display rather than behind their computers. It has a built-in interactive whiteboard that features digital pens, highlighters, shapes and a variety of colors to choose from, ensuring note-takers have all they need to capture ideas.
Aimed at people who want the Microsoft Surface Hub (but, a lot less expensive), the JTouch Whiteboard (INF6501w) has nearly identical specifications to the JTouch Whiteboard with LightCast (INF6501c) that InFocus released earlier this year but can access a network or the Internet only through a connected computer. The INF6501w supports edge-to-edge touch and Windows 7/8 gestures and offers integrated stereo speakers for 20W stereo sound. It has four front-facing USB ports as well as four HDMI ports, DVI, VGA (HD15 VESA), USB Type-A x 4, 3.5mm stereo audio in, 3.5mm stereo audio out and a USB Type-B port for touch screen control.
The JTouch Whiteboard will list for $2,899 and ship in Q4 2015. K-12 schools can purchase the device for $1,999. All the details are here. Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
Extron Adds Three New Models to DTP CrossPoint 4K Scaling Matrix Switcher Series Extron introduced this month three new models to the DTP CrossPoint 4K Series — the DTP CrossPoint 86 4K, DTP CrossPoint 84 4K and DTP CrossPoint 82 4K featuring 8×6, 8×4, and 8×2 matrix configurations, respectively. Extron says the DTP CrossPoint 4K Series are designed, technologically, so that they can be used to design and integrate an advanced AV system in one product. This includes a matrix switcher with 4K inputs and outputs, built-in 4K scalers powered by Extron Vector 4K scaling technology, seamless switching and logo insertion, integrated DTP and XTP signal extension, comprehensive audio DSP and AEC capabilities unmatched in the industry, a high performance mono or stereo amplifier, and an advanced control processor that is uniquely expandable. The DTP CrossPoint 4K Series greatly simplifies system design and installation, and dramatically reduces total cost of ownership.
The DTP CrossPoint 86 4K includes four built-in scalers, while the DTP CrossPoint 84 4K and DTP CrossPoint 82 4K include two built-in scalers. The scalers, powered by Extron Vector 4K scaling technology, are paired to the DTP outputs and enable independent scaling up to 4K. The exclusive Vector 4K scaling engine is specifically designed with best-in-class image upscaling and downscaling, and it embodies a new set of image processing algorithms that deliver uncompromising performance with 30-bit precision processing. The DTP twisted pair inputs and outputs provide extraordinary flexibility in distributing AV and control. They can be used to connect to any display with an HDBaseT input, or tie into a centralized, facility-wide XTP System to add local room-based AV systems. Customize any presentation using the professional source transition effects, or insert a custom logo into the foreground of the scaled output video.
The integrated professional-grade audio DSP technology features all of the audio processing tools and capabilities of a fully equipped, professional outboard DSP. All DTP CrossPoint 4K models also include four independent channels of high performance AEC for conferencing applications, as well as a digital audio expansion port that links the internal DSP to a DMP 128 for expanded I/O capacity. Additionally, the built-in mono or stereo 100 watt amplifier features the same Extron core technologies found in the ENERGY STAR-qualified XTRA Series.
DTP CrossPoint 4K IPCP models feature an integrated Extron IP Link Pro control processor, with the features, processing power and technologies found in the standalone Extron IPCP Pro 350 control processor. This allows for complete, customizable control of an entire AV system. DTP CrossPoint 4K IPCP models with LinkLicense allow a tablet or laptop to serve as the primary control interface for the AV system.
Here are all the specs. Leave a Comment
Share Article
Back to Top |
Martin Audio Debuts MA5.0Q AmplifierClaiming a new eco-friendly design, Martin Audio’s new MA5.0Q power amp is designed for both portable and installed systems and specified with four channels of 5,000 watts in a 1 RU enclosure. Minimum heat dissipation makes the MA5.0Q suitable for hot or otherwise challenging environments using a patented Class D output stage design.
The MA5.0Q is integrated with a switch-mode power supply, internally switchable 230/115 V nominal, a fixed frequency switch-mode amplifier and patented amplifier output filters with ripple cancellation network (Optimized for 4 Ω loads) thus, AC protection (shuts down power supply when AC mains voltage is outside operating range) and a Clip limiter (prevents severely clipped waveforms from reaching loudspeakers) makes it capable of being used in any environment on earth.
The MA5.0Q is scheduled to start shipping from mid-November. More information is here. Leave a Comment
Share Article
Back to Top |
Comprehensive Announces Pro AV/IT 1×4 4K HDMI Splitter with CEC SystemComprehensive just debuted its Pro AV/IT 1×4 4K splitter with CEC system reset and EDID capability. Dubbed the CDA-HD400EK, it is designed to distribute 4K video (12-bit color capable) to four simultaneous HDMI outputs from a single HDMI input. Comprehensive says it also supports 3D with resolutions up to 4Kx2K at 30Hz.
With selectable EDID settings the source unit responds to the user’s chosen settings for resolution and color and the CEC (Consumer Electronics Control) system reset feature allows user command and control when the device is switched “On,” the unit will automatically switch all connected displays to the HDMI Input 1 — every eight to 10 minutes.
Some other features:
- Supports Ultra-HD resolutions of up to 4K @30Hz
- HDMI and DVI compatible (with DVI adapter)
- Supports 3D, LPCM 7.1CH, Dolby TrueHD and DTS-HD Master Audio
- 12-bit Deep Color and High Definition Lossless Audio
- CEC System reset and EDID selection functions
Here are all the tech specs. Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
Mackie Launches Reach All-In-One Pro-Grade PA
Mackie today announced a new professional-grade PA system called Mackie Reach. Featuring Bluetooth music streaming, a six-channel digital mixer, and a control app for iOS and Android, Reach is a self-contained PA system. Integrated with a new ARC array, which they say provides “clearer” sound in large-audience environments, and EarShot — personal monitoring system, the six-channel digital mixer (controlled via the Mackie Connect app) allows the user to control everything from levels, EQ and FX to sound-enhancing tools.
The ARC (Amplified Radial Curve) high frequency array technology in Reach utilizes three horizontally angled high-frequency drivers paired with dual vertically spaced high-output low-frequency drivers, providing 150 degrees of coverage for optimal sound quality, even for audiences spread over a wide or deep area. Combined with the EarShot personal monitoring system, you get a total of 250 degrees of room coverage for ultimate versatility.
The Mackie Reach Professional PA System will be available worldwide beginning December, 2015 and will list for $1,249. Here’s more information. Leave a Comment
Share Article
Back to Top |
Premier Ships AV Shelf for Dual-Pole CartsPremier’s new A/V Shelf for Dual Pole Carts and Stands, the PSD-SHLF, is now shipping. This new shelf is designed to mate with our PSD-HDCA adapter, allowing it to be quickly mounted directly to the dual poles, without the need to remove the display.
Other benefits of the PSD-SHLF include:
- Durable steel construction
- Easy to install & adjust along any length of a Premier Mounts dual pole cart or stand
- 25-lb. weight capacity
Here are all the mechanical specs. Leave a Comment
Share Article
Back to Top |
PreSonus Intros R65 and R80 Active AMT MonitorsPreSonus’ new R80 active studio monitor speakers offer a custom Air Motion Transformer (AMT) tweeter, which delivers fast transient response to provide exceptionally detailed resolution. These biamped monitors feature Class D power amplifiers, with 100W RMS driving the woofer and 50W RMS driving the AMT tweeter, making them some of the most powerful monitor speakers in their category. As with all PreSonus studio monitors, both models are equipped with the company’s lauded Acoustic Tuning controls.
Both the R65 and R80 employ a 6.8-square-inch AMT tweeter that responds to the subtlest waveforms and high frequencies, making them an ideal choice for hearing ultra-highs that add “air” and a sense of space. PreSonus R-series monitors offer wide lateral dispersion for a broad “sweet spot,” along with very narrow vertical dispersion, which helps reduce ceiling reflections that can muddy the sound. This helps to minimize room anomaly interference, providing a more consistent sound in different listening environments.
The R65 employs a 6.5-inch, coated Kevlar woofer, while the R80 sports an 8-inch woofer. This design results in cohesive, less time-smeared audio with minimal coloration and extremely punchy bass.
The Acoustic Space switch controls a second-order, low shelving filter that helps to compensate for the boundary bass boost that occurs when the monitor is placed near a wall or corner. An HF-driver level control is also provided to help mitigate room problems. An onboard, four-position highpass filter makes it easy to integrate a subwoofer into your monitoring setup Balanced XLR and ¼” TRS and unbalanced RCA input connections make hookup quick and easy. Safety features include RF shielding, current-output limiting, over-temperature protection, and subsonic protection. Frequency response is rated at 50 Hz to 25 kHz for the R65 and 45 Hz to 25 kHz for the R80.
The PreSonus R65 and R80 are available immediately at PreSonus and list for $399.95 and $499.95, respectively. For more information about the R series, go here. For more about the entire PreSonus studio monitor line, go here. Leave a Comment
Share Article
Back to Top |
Listen Technologies Adds to iDSP Offerings With 216 MHz ReceiverListen Technologies has a new model in its iDSP (Intelligent Digital Signal Processing) family with the new iDSP 216 MHz Receiver. The iDSP line is focused on the assistive listening market.
The 216 MHz receiver is designed for larger venues such as stadiums and convention centers, with a range of up to 3,000 feet (914.4 meters). Two versions of the new 216 MHz iDSP receiver are available: LR-4200-216 Intelligent DSP RF Receiver (216 MHz) and LR-5200-216 Advanced Intelligent DSP RF Receiver (216 MHz). The LR-5200 Advanced Receiver features the ability for end users to select multiple channels for applications such as language interpretation.
LR-4200-216 and LR-5200-216 receiver features include:
- A display for customized channel name, volume level, battery level, and inventory management
- Integrated neck loop/lanyard, incorporating an advanced DSP loop driver
- Advanced lithium-ion battery and battery management
- Dual headphone jacks to accommodate neck loop/lanyard or two sets of headphones
- Convenient USB port, making it easy to set up with free iDSP software and apply firmware updates
Here are the detailed specs. Leave a Comment
Share Article
Back to Top |
Extron Ships New Cable Cubby EnclosureExtron is shipping the Cable Cubby 100, part of the Cable Cubby Series/2 line of furniture-mountable cable access enclosures. The Cable Cubby 100 is a compact, round enclosure for AV connectivity and USB power that is ideal for applications where a single user access point is required. Its round design eliminates the need to measure or use a routing template, making installation quick and easy using a standard four inch (102 mm) hole saw.
The Cable Cubby 100 features two connectivity openings for up to four single-space Mini Architectural Adapter Plates – MAAPs or two single-space MAAPs and three AV cables. Its modular design allows cables and MAAPs to be serviced from the top of the enclosure after it is installed. The Cable Cubby 100 is also available with two USB power outlets for charging mobile devices. The Cable Cubby 100 Switch Kit is available for “Show Me,” push to talk, or mute mic applications. A cover plate conceals mounting screws giving a refined appearance. The Cable Cubby 100 is available in a black finish.
All the specs on the Cable Cubby 100 are here. Leave a Comment
Share Article
Back to Top |
Click above to learn more
|
AtlasIED Launched Network-Controllable Mixer AmplifiersAtlasIED just released the DPA Series network mixer amplifiers. The DPA Series provides four output channel amplifiers with three models delivering up to 600-watts per channels. Each model can be used in two-channel 70.7V, four-channel 4Ω, or 3-channel 70.7V and 4Ω configurations making them incredibly flexible for a variety of installation types. AtlasIED says that internal digital signal processing allows each model to be customized to maximize its performance. The DSP software is embedded in the amplifier and is accessible via a web user interface. DSP adjustments include I/O routing, high and low pass filters, EQ, output level adjustment, delay and limiter. Additionally, input mute for both audio sense and contact closure, level control link assignments, and port assignment and output impedance can be configured in the software. Site manager software is available that allows network administrators to see all DPA amplifiers on the network for easy identification, set-up and troubleshooting if necessary.
There are three models, so far — the DPA602 is two by 300 watts, the DPA1202 is two by 600 watts and the DPA2402 is two by 1200 watts. All of the specs are here. Leave a Comment
Share Article
Back to Top |
Acoustic Geometry Launches New Curve Diffusor V2Acoustic Geometry just announced its new Curve Diffusor V2 as a part of the company’s line of natural-sounding, affordable acoustic products. Created by John Calder and Mark Stender of Acoustic Geometry, Version 2 of the Curve Diffusor features a more consistent-radius cylindrical design offering time-coherent diffusion from low-mid to very high frequencies, and a unique built-in low-frequency absorber. Bass absorption comes from the MLV limp-mass membrane on the back of the unit, coupled with a proprietary internal impedance system. This results in room-mode-controlling Acoustic Bass Management down to 45Hz, and it is only found on Acoustic Geometry’s Curve Diffusors.
The Curve’s bass absorption capability has been proven effective in lab tests by NWAA Labs, Inc. in Elma, Washington. NWAA Labs, Inc. is an independent laboratory providing sound and materials testing to the audio, acoustics and construction industries, and has the world’s two largest test chambers, enabling accurate absorption testing (without interpolation) down to 40Hz. NWAA’s Curve Diffusor low-frequency absorption test results can be found on Acoustic Geometry’s website.
Curve Diffusors may be placed in a variety of configurations, including vertically and horizontally on a wall, ceiling-mounted, corner-mounted (with the Corner Trap Stand) and free-standing in a room (with the Combo Stand) to achieve the best placements for greatly improving sound in any space.
The new Curve Diffusor V2 starts at $339.98 and is available in over 43 stock fabric colors, as well as many custom finish options like wood veneer and automotive paints. Acoustic Geometry products are available online and from GC Pro, Full Compass, Magnolia Design Centers, as well as others — to find a dealer near you, please visit our website. To learn more about Curve Diffusors and the lab test results, go here. Leave a Comment
Share Article
Back to Top |
Extron Ships XTP 4K Fiber Products for XTP SystemsExtron announced the immediate availability of the XTP CP Fiber 4K input and output matrix boards, XTP FT HD 4K transmitters, and XTP FR HD 4K receivers that expand the XTP Systems family. These products enable switching and long distance transmission of video signals up to 4K/30 with 4:4:4 chroma sampling at 8 bits per color (this is, so far, the highest spec for 4K we’ve seen int he market), along with multi-channel audio, bidirectional control, and Ethernet, over a single fiber. The I/O boards and endpoints are HDCP compliant, and support data rates up to 10.2 Gbps, 12‑bit Deep Color, 3D content, and HD lossless audio formats. XTP 4K Fiber products are compatible with the new XTP II CrossPoint Series as well as the original XTP CrossPoint matrix switchers. Available in multi-mode and single-mode, Extron exclusive and custom designed XTP 4K Fiber optical modules increase distance performance over standard OM4 fiber optic cabling.
XTP II CrossPoint matrix switchers are the first in the Pro AV industry to offer a 50 Gbps switching backplane. Designed and engineered to the highest standards, the 50 Gbps backplane delivers bandwidth performance that exceeds HDMI 2.0 and DisplayPort 1.3 signal requirements for all 4K/60 rates and gives future support for emerging resolutions, such as 8K.
All the detailed specs are here. Leave a Comment
Share Article
Back to Top |
Christie Improves M Series LineThe new Christie M Series line of upgraded 3DLP projectors include enhanced performance, portrait display capabilities and a 500-hour increase in the 450W lamp. Building on seven years of experience, the updated Christie M Series models can project on flat or curved screens in rental staging applications as well as large auditoriums, board and conference rooms, houses of worship, and post production in either single or multiple projector setups. All enhanced Christie M Series 3DLP projectors are 3D upgradable.
Rental/stagers will appreciate the Christie M Series’ new 450W dual-mercury lamp structure that now generates over 1,750 hours before a lamp change.
Addition Christie M Series features:
- Eighteen Christie M Series projectors are now portrait capable.
- Extended life on 450W lamp models.
- More user-friendly remote control.
- Dual input DisplayPort module allows for greater digital connectivity on the product when shipped.
- Dual mercury lamp operational in single lamp mode for built-in redundancy.
- Deliver high brightness on large screens, cutting through ‘show lighting.’
- Hot swappable lamps can be changed while projectors are in use.
- 3D capabilities operate in either active or passive stereoscopic modes in the Mirage models, and
- include triple flash capability.
- Embedded Christie Twist image warping and blending, and optional Christie AutoStack software to align Christie projectors in minutes.
- Multi-window processing for small tiled and blended arrays means no external processors.
- Patented embedded LiteLOC technology monitors and manages brightness levels.
The Christie M Series is here. Leave a Comment
Share Article
Back to Top |
|
For all you REGULAR readers of rAVe ED [Education] 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).
Don’t like us? Then go away — unsubscribe! Just use the link below.
To send us feedback, don’t reply to this newsletter. Instead, write directly to founder Gary at gary@ravepubs.com or Editor-in-Chief Sara Abrons at sara@ravepubs.com
Everything we publish is opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship publication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition is co-published with CEDIA, covering 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
To read more about rAVe’s team and what we do, go to https://www.ravepubs.com Back to Top |
Copyright 2015 – rAVe [Publications] – 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 contains the opinions of the author only and does not necessarily reflect the opinions of other persons or companies or its sponsors. |
|
|
|