Volume 8, Issue 12 — December 22, 2014

There is, of course, another kind of specialized rental company which in the industry we refer to as a staging company. This kind of company specializes in equipment and personnel for staged events. The use of the term staging has been an issue within the industry for some years as the term is also being used by sales companies for the assembly of an order. Also, when used externally, people often seem to assume that we are describing a company that assembles platforms and stages.

I’ve been fortunate enough to have spent several years in a company of each type. As I pointed out last month, I have often found major differences between rental personnel and sales personnel. I am also here to tell you that there are significant differences between rental personnel and staging personnel. One of the things I most often said while running a major staging company to friends in the rental industry was that we were a rental company that didn’t allow anybody else to touch our gear.

Probably the most significant difference between a staging company and a rental company is the emphasis on the show rather than the gear. I used to say the show was not the sum of its parts, and that a quote was not a proposal. When a rental company approaches a staging event, their quote is most often an assembled list of all the parts that are required, with a line item price for each. However, the same pieces can be used to produce shows of varying degrees of difficulty and as such make a poor way of quoting an event. The price for an event is much more dependent on the personnel and skills involved, the difficulty of execution, and in fact the creativity required to put it together. As such, a quote for a major event is more often a descriptive narrative with an attached price that does not refer directly to a list of hardware.

But this is not the only difference in emphasis between a rental company and a staging company. A rental company, especially one with a relationship with the house in which an event is conducted, is a servant that must please multiple masters. While it is important to the rental company to produce a successful show for the end-user, a company that has a direct relationship with the venue must also support the venue and its policies, and in fact must often support it more than the end-user, as that relationship will go on long after the show. An external staging company has only one client, and only one set of priorities.

There are also significant differences in the personnel required between a rental company, whose staff is oriented towards packaging, shipping, and renting equipment, and a staging company whose staff is much more theatrical in nature. A staging company will need to employ (or at least have direct relationships with) many more skills and trades than a rental company will. In major staging company, I have employed set carpenters and painters, lighting designers, CAD specialists and account executives whose major role was to hold the client’s hand during a major event.

As with the differences between a rental company and a sales company, I am not saying that there are not successful companies who are in both rental and event staging. I am, however, here to say that there are difficulties in combining the staff of these two things because of the differences in priorities and emphasis involved. Last month, I said that in operating a rental and sales company I had found it necessary to separate the staff and P&L between the two, I have also found it necessary in running a large rental company to separate my staging staff. If I thought of the rental staff is my army, I had to think of the staging staff as my special forces. These were people who could be dropped into another city and who were resourceful enough to do whatever it took to make a show happen.

There are also some differences in the way our rental company and a staging company would deal with equipment. A rental company often produces systems from components on the shelf, put together on-site. Most of the rental companies with which I’m familiar also pack and case gear per order, using utility cases, while a staging company cases each piece individually and tends to rely upon pre-racked systems to avoid infield failures. As such, a staging company will usually spend much more money casing its gear then a rental company will. When I first took over a major staging company, I was astonished to see a $100 piece being placed in a dedicated $250 road case, and mentioned it in passing to our owner. Without even looking up from what he was doing, he said, “Have you ever tried to find another one in Shanghai?” This, probably more than anything else, sums up the difference in attitudes between a rental company and a staging company. In a rental company values are determined and expenditures are made based on the value of a piece of gear, and its rental value. In other words, we invest as much in it as it takes to produce optimum rental dollars from the piece. In a staging company, these things are often backward, as we tend to look more at its importance to a flawless show.

Finally, I think the biggest differences between rental companies and staging companies tend to revolve around authority levels in employees. Rental companies tend to be hierarchical, with in-house and delivery employees having limited authority, and most detailed contact with clients being conducted by sales and management personnel. In a staging company, where the personnel are often on the road with the client, there are much more direct relationships between field personnel and high level end-user clientele. These people also have a great deal more authority in making changes to a show, and in general doing whatever it takes to produce successful events.

Again, as with last month, we could go on a long time talking about the differences, and there would be exceptions to every one of them. But, as with last month, I think the issues that we have talked about are ones that need to be considered by management, and by staff, in positioning their company within the rental and staging industry.

Also, this being our last column of the year, let me wish all of my colleagues in the industry a happy and healthy 2015.

I decided to do a side-by-side comparison between the white goods product and a professional light meter. I downloaded the light meter application and borrowed a pro light meter. An important note is that the Whitegoods LightMeter allows you to calibrate the meter, or simply set an option for a bright room or a dim room. I think it is very important to calibrate the software with a professional meter. In my testing, this is the only way that I was able to get consistent and reliable readings.

I first set up the meters side by side in an office setting. The reading on the light meter ranged from 41-43 FC. The Whitegoods app got a consistent reading of about 45. Second, I tested the meters out in a presentation space. I took light readings on the screen, and with the pro meter, the range was about 13. The Whitegoods LightMeter read 11. I tested in a few other scenarios, including a video conference room and our executive board room. While the readings from the Whitegoods app did vary above and below the pro meter, they were always very close.

These results left me very encouraged about the possibilities of using my iPhone as a light meter. A couple of other perks of the app are also very promising. In particular, while the app is taking its reading, the display will tell you what you can do in the amount of light. In my example of an office setting it reads “Ideal light for: …office desks, exhibition, conference, teaching spaces…” I find this particularly helpful because I believe it helps to demystify some of the work we do.

When we are doing a site walk through and pull out a professional light meter, many people react with a sense of: “This is being taken way too seriously” or, “Oh boy, this is gonna cost some money.” The reason is that most people don’t know or understand the device and taking the time to teach them the readings is probably not worth the time. However, pull out your phone and sit it on a table and have them see the readings, along with an explanation, and suddenly it is real but also very approachable. You can take it over to where the screen will be and allow the customer to play with lighting settings — having them watch the changes on the app is really powerful. Suddenly, they are part of a process and design, and you don’t have to “sell” them on the importance of lighting. They get it. They see it!

The application has some help on its info screen, but frankly is lacking overall in the area of useful documentation. There is no real explanation of how to calibrate the software. One page of their info lists common values of lighting. This is very useful and could be used to educate customers even more. It would be nice if this information was moved to the main page, and put on some type of meter (like a typical VU meter) where you could see how the light level affects projection or monitor display. Many customers are very visual and this type of image would be helpful for them.

Overall the Whitegoods LightMeter is an app that is worth its cost. Speaking of cost, it is free. I have no idea why, because it also does not have advertisements. Even at $4.99, this app would pay for itself immediately. Due to the limitations of angles that the lens on the phone can accept light, it will never be 100 percent accurate with readings. So, obviously if you are doing the final settings on a light system, or designing a light critical application, like a studio, then a professional meter is the way to go. However, for other instances where you are trying to get readings on your own, or help your customer understand the environment, this product is a hit!

Now, integrators can streamline their set-up procedures and achieve network discovery, Dante signal routing, and audio set-up of supported third-party devices from the two new manufacturers alongside Attero Tech and Stewart Audio with a single piece of software.

For Shure users, SymNet Composer 3.0 brings the MXWAPT4 and MXWAPT8 access point transceivers from Shure’s Microflex Wireless range into the SymNet fold.

SymNet Composer 3.0 also adds native Dante configuration for two leading products from another prominent microphone manufacturer, Audio-Technica. The two supported items are the ATND971 Dante-enabled cardioid condenser boundary microphone and the ATND8677 Dante-enabled microphone desk stand, which can be used with any gooseneck microphone sporting a three-pin XLRM-type output connector.

The new version of SymNet Composer also includes a number of Window Management (Composer UI) Framework improvements, giving the user greater freedom to move pallets to any side of the screen they desire, resize them in place and nest them into tabbed pallets. It is also possible to create specific menu bars for frequently accessed commands and customize toolbars to keep preferred shortcuts at hand.

Alongside the introduction of SymNet Composer 3.0, Symetrix also launched the SymNet Radius 12×8 EX. An upgrade to the popular SymNet Radius 12×8 DSP, the new version features the addition of an expansion slot which, when utilized, increases the total audio input/output count from 20 to 24 in the same 1U format.

In a development that boosts the future-proofing of an installation by allowing for subsequent expansion by simple I/O card addition, SymNet Radius 12×8 EX supports an array of optional SymNet cards, including analog, digital, AEC and telephone. A dedicated Migration Tool allows those with previous designs or work-in-progress using Radius 12×8 to easily convert their files to use the Radius 12×8 EX hardware without any further modifications or extra work.

Also available is the 2 Line VoIP Interface Card, which is an Asterisk– and Cisco-compatible plug-in card for the SymNet Edge and Radius DSPs that natively integrates with SIP-based call platforms and unified communications environments. Designed to be easy to deploy and manage, the 2 Line VoIP Interface Card is suited for a variety of conferencing, paging, remote monitoring and broadcast applications.

Here are the details.

HARMAN’s

Successor to the popular AFS224, the AFS2 provides feedback elimination, yet is simple to use, thanks to its one-button Wizard function that automates key setup parameters and walks the user through the configuration process. The AFS2 offers a full LCD display and 24 LED meters per channel for setup and monitoring. The AFS2 can be added to a system in minutes, thanks to its easy rear-panel connectivity and its optimized front panel.

The AFS2’s all-new DSP module provides for faster and more focused filter sets in both fixed and live mode.  While 10- and 12-filter feedback-elimination processors are commonplace, the dedicated processor in the AFS2 provides up to 24 programmable filters per channel with filter Qs up to 1/80 of an octave. This level of extreme precision, previously available only in high-end processors, enables the AFS2 to zero in on the exact frequencies needed to attenuate feedback.

The dbx AFS2 Advanced Feedback Suppression Processor lists for $499 and all the specs are here.

BenQ America

To increase setup convenience for installers, the P-Series models are equipped with two interchangeable color wheels (RGBYCW and RGBYCM) that allow users to pick between brightness or color accuracy and also seven optional interchangeable lenses are offered ranging from wide fix to long zoom sizes. In addition, the projectors offer 360-degree horizontal projection, motorized zoom, focus and lens shifting, built-in test patterns, integrated filtration system, LED indicators, and multi-projector management via LAN.

Inputs include HDMI, DisplayPort, USB, RS-232 (control), RGBHV on BNCs and HDBaseT connectivity which transmits audio and video over a single cable across distances up to 328 feet. Taking the setup simplicity even further, the projectors provide installers with a lens-memory option for instant storage of up to 10 different settings, a center-lens hotkey to centralize the units’ lenses, and mechanical shutter capabilities that turn today’s fast-moving images into more fluid content. Managers can also  change the units’ color wheels and 350W dual lamps from a top access door while the series’ optimized 10-fan cooling system ensures that the high brightness projectors always run at optimum temperatures.

Here are all the specs.

In addition, the ATH-MSR7 incorporates a mesh acoustic resistor that improves high-frequency response, and a low-frequency acoustic resistor for extended, accurate bass. The sonic result is a smooth, richly detailed, powerful and spacious sonic presentation that completely immerses listeners in the high-resolution audio experience.

Complementing its superlative sound quality, the ATH-MSR7 is designed for total comfort. Its cushioned, soft, memory foam earpads fit securely yet comfortably around the ears and its flexible swivel design and padded headband facilitate a perfect fit for any wearer.

The ATH-MSR7 is ideal for use with any music system or playback device whether it’s a home stereo, laptop, portable music player or smartphone. The headphones are supplied with a detachable 4-foot smartphone-compatible cable with an integrated controller and microphone that let the wearer answer phone calls and control music/video playback from compatible smartphones and other devices, including AndroidTM-based systems, iPhone, iPad and iPod. The ATH-MSR7 also comes with a standard 4-foot and 10-foot cable and a carrying pouch.

The $250 Audio-Technica SonicPro ATH-MSR7 Over-Ear High-Resolution Audio Headphones ship in March 2015. Here are the detailed specs.

These extenders support HDMI v1.4 (non-HDCP) signals with resolutions up to 4K (4096×2160/30p) over long cable distances. DVIGear says these extenders are similarly priced as other extension technologies (such as HDBaseT) while providing the same level of performance at much greater distances. The DVI-7313 supports multi-mode optical fiber, while the DVI-7314 supports both multi-mode and single-mode fiber optic cable.

Most single-fiber optical extenders transmit signals over multiple optical wavelengths, which can suffer from chromatic dispersion over long cable runs. To avoid this issue, these extenders employ a cutting-edge, high-speed SerDes that combines the DVI/HDMI signal channels into a single uncompressed 10.3 Gbps bit stream. This enables the optical transmission of the signal over a single optical wavelength, which provides increased signal fidelity, stability and flawless image quality, regardless of cable length.

The suggested list price for the DVI-7313 is $698.00/pair, while the DVI-7314 is $798.00/pair. Both extender sets are available now for immediate delivery. More information can be found here: DVI-7313 and DVI-7314.

The F8-U features an ultraviolet chip for what Zylight says is true black light applications, such as specialized lighting requirements for amusements park attractions or theatrical productions. It provides four times the fluorescent brightness of a traditional 400-watt Fresnel black light at the same distance, but only draws about one quarter of the electrical power as it’s LED. Integrated with a patented flat focusing system and eight-inch SCHOTT glass lens, the F8-U is one of the only dedicated LED UV instruments on the market that delivers variable zoom control.

The compact F8-U collapses to four inches thick for transport and storage. It is also water resistant (IP54) for use in challenging environments, and can be powered by a worldwide AC adapter or even standard 14.4V camera battery. Like other Zylight models, the F8-U features ZyLink wireless technology, which makes it easy to link multiple Zylights for simultaneous remote control and full DMX operation.

Here are all the specs.

Featuring both HDBaseT and BarcoLink technology, the RLS-W12 supports point-to-point transmission of video signals — up to WUXGA (1,920×1,200) at 60 Hz — from source to projector, over distances of more than 70 meters, via a single Cat 5 cable or a single BNC cable.

The RLS-W12 features a rugged design that reduces noise and minimizes power consumption and it gets its 12,000 center lumens with twin 465W NSH lamps, which provide a 40,000-hour life. What’s more, the RLS-W12 operates at full brightness on a voltage range of 110V – 240V, so that users who are based in the U.S. or Japan won’t require an extra adapter to use it.

The RLS-W12 can be easily controlled in multiple ways: via the new wired or wireless remote control, the projector control app for Android and iOS devices, and the user-friendly Barco Projector Toolset software.

Here are the specs.

The elektraBar ($899) is a 43-inch linear LED fixture that can be linked end-to-end or side-to-side for seamless, continuous coverage. Using 18 12-watt, 25-degree LEDs (10- and 40-degree lens kits available), the product’s six-in-one LEDs (RGBAWI) deliver the full color spectrum as well as a greater color palette than gels can provide. Combining high-performance with very little power draw (300VI), the elektraBar doesn’t generate any heat, unlike conventional current fixtures that can turn a downstage area into an oven. With no lamps or gels to replace, the elektraBar offers full-range dimming, strobe, DMX control, built-in auto program features, silent operation and an IP65 rating. An optional four-inch adjustable glare shield and beam trim flange is additionally available.

New to elektraLite’s popular Dazer line is the Dazer RGBA ($849), which pairs the same intensity of the Dazer RGB with added Amber for

Offering a choice of 200-watt output in Warm White (3,200K) or RGBAW Color options, the new MJ Parcan ($479) brings all the power, output and performance one would expect from elektraLite to the traditional PAR64 form factor.

Here are the details.

The new TD series are basically transportable domes have been developed for fast deployment with an absolute minimum of adjustment and can fit and operate in a standard ISO container.

The TD series is available in configurations with one, three or five specialized projectors, all with a diameter of 2.3 meter. The one-projector models have a horizontal field of view (HFOV) of 160° and a vertical field of view (VFOV) of +54° to -42.5°. The available models are the TD-135 (powered by a Barco F35 projector) and the TD-150 (with a Barco F50) which use just a single projector combined with an advanced optical mirroring system to minimize the installation and adjustment time. The TD-322 and TD-350 use three F22 or F50 projectors respectively. The HFOV amounts to 180°, the VFOV is +54° to -42.5° (for the TD-322) and +43° to -30.5° (TD-350) and the system resolution can be as low as 5.6 arcmin/OLP. The flagship model is the five-channel TD-522 with F22 projectors, covering a HFOV of 220° and a VFOV or +54 to -42.5°.

Here are all the specs.

With two color wheels built-in, users can select the one that best suits their content and application. The High-Brightness color wheel provides superior whites for enhanced graphic presentations while the Ultra-Rich color wheel delivers an expanded color gamut and lifelike images. The Q Series is equipped with a software function that allows for easy switching between the color wheels.

Features of Christie DWX851-Q, Christie DHD851-Q, and Christie DWU851-Q include:

• Two HDMI inputs
• Dual 350W UHP lamps
• Christie eClarity and HDCR
• Built in Ultra-Rich and High Brightness color wheels
• HDBaseT
• Portrait mode capable
• Edge blending and Geometric correction
• DICOM (Digital Imaging and Communications in Medicine) Simulation Mode for training
• Status monitor display
• Motorized zoom, focus and lens shift with memory
• PC-less presentation
• Black or white design
• 3G-SDI (HD model only)

Christie Q Series models ship this month. Here are all the specs.

The EM 9046 DAN extension card is inserted into the expansion slot of the EM 9046 eight-channel receiver. Internally, the card features sixteen audio inputs to send the digital audio and command signals over the Dante network. Connection is via two Gbit RJ45 sockets that serve to either establish two redundant network circuits or daisy-chain the signals. The card works with sampling rates of 44.1/48/88.2 and 96 kHz at a resolution of 24 bits.

The new firmware version 3.0.3 for Digital 9000 can be downloaded free of charge here. With this firmware update, the receiver’s clock menu will be expanded to include a “MAN” (multichannel audio network) option, enabling the receiver to synchronize to the word clock of the Dante network.

Additional benefits of the new firmware version include the monitoring of up to four daisy-chained receivers via any of the receivers’ monitoring outputs and the automatic assignment of frequencies after a scan. Engineers are now also able to scan just a 24 MHz portion of the spectrum instead of the entire booster range of 168 MHz. This increases speed in critical frequency situations.

Here are the details.

The FOXBOX T HD-SDI provides many features for simplified integration, including input equalization, audio gain and attenuation adjustment, real-time status LEDs, and alarm notification for fiber link loss. For increased system design flexibility, it sends embedded AES audio or stereo analog audio and bidirectional RS-232 control signals along with the video. SD Pro processing de-interlaces 480i and 576i signals for compatibility with HDMI and DVI-equipped displays without the need for additional scalers. This low-profile fiber optic transmitter is available as multi-mode and single-mode models. The FOXBOX T HD-SDI enables SDI signal conversion and extension in simple point-to-point applications, and can be combined with FOX Matrix Switchers to support installations up to 1000×1000 and larger.

Here are the specs.

Enhanced Narrow Band technology, a unique modulation scheme, is 10 times more spectrally efficient than the current FM (Frequency Modulation) technology currently on the market. This proprietary approach is a form of Amplitude Modulation (AM), and it makes the transmitter’s occupied bandwidth — a critical figure in wireless frequency coordination — more predictable.

As a result, the UV-1G offers RF channels possessing an occupied bandwidth of a mere 25 kHz with the audio characteristics one would expect from a traditional FM system. In addition, the system utilizes the relatively unused VHF range for all belt pack portable devices, leading more room for operation of other wireless devices, such as wireless microphones and in-ear monitors.

Further, with the application of contemporary engineering techniques, the UV-1G implement a host of digital processing technologies that help produce sound quality with the warmth and intelligibility of an FM system.

Rather than pre-assign modes of operation for the user interface buttons, UV-1G belt packs include two programmable buttons that offer users a choice of multiple independent functions that can be quickly programmed. This can be done locally at the belt pack or via the system’s accompanying software program, and it means that a single technician can program an entire event’s worth of packs in a matter of minutes rather the hours it takes to manually program current technology for the same number of packs.

The headset connector on both the belt packs and the base station is field changeable between 5-pin female and 4-pin male to accommodate a variety of systems based mostly on the industry served. This is a solder-less connection that only requires a mini Philips screwdriver.

The belt packs also implement internal antennas to alleviate the problem of bending, breaking, or completely losing the antenna. In addition, they include a 1/8-inch stereo audio input so that monitor technicians may connect IEM receivers directly to their belt packs. This input can be used for any audio source, and there’s only one band split so that every belt pack works with every base station on the event.

To minimize rack space and maximize ISO channel operation, UV-1G systems allow for up to six belt packs per base station, and up to six base station links, for a total of 36 ISO channels between packs.

The UV-1G base station comes with two transmitter RF connectors so that it may immediately be connected to a combiner, such as the RAD TX-8, without any modification of hardware. The base station can also be connected to all standard wired communications systems, including Clear-Com, RTS and 4-wire systems.

Here are the details.

Eliminating the external converter to connect video walls to DVI or HDMI inputs, the HD-SDI single to cable video wall is designed to handle the most demanding live broadcast or staging events.

The HD-SDI video wall solution is available in two sizes.

• PRV46LCWLUN6SDI – 46” HD-SDI Embedded LCD LED Video Wall Display
• PRV55SNG01SDI – 55” HD-SDI Embedded LCD LED Video Wall Display

Go here for the details.

HARMAN’s

The APS4 features multiple technical improvements including a flat frequency response. It is a wide-band UHF active antenna power splitter that can feed up to four receivers with the RF signal coming from one pair of antennas. It also supplied power to all connected receivers via BNC cables (each of which is individually protected against short-circuits).

Adjustable RF-level attenuation settings guarantee maximum operating distance, even when using difference cable lengths and different types of cables. The APS4 comes in a rugged half-rack metal housing and works with all active and passive AKG antennas available on the market (including the RA4000 B/W, RA4000 W, SRA2 B/W and SRA2 W).

For easy system setup, the APS4 is shipped with additional accessories, including 10 BNC antenna cables (MKPS), plus a rackmount unit (RMU4000) that includes two antenna front-mount cables.

Two rear panel antenna inputs provide a 12 VDC supply voltage for powering up to three active elements per antenna path — for example, one active antenna (RA4000 B/W or SRA2 B/W) and two AB4000 antenna boosters connected to one RF input. Also located on the rear panel are two sets of four BNC antenna output connectors for feeding up to four diversity receivers and two additional antenna outputs for cascading up to three further APS4 devices. Remote power for antennas and receivers makes installation even easier.

Here are the details.