Volume 9, Issue 12 — December 21, 2015
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Remote Cubed, Part 3: Phoning It In
By Joel Rollins rAVe Columnist
Last month, we looked at the ways that a rental and staging company can use videoconferencing and collaboration technology to maintain better contact with clients, and to better support shows in the field during planning and direction.
This month, I thought we would take a look at how these technologies can be employed when the rubber really meets the road — in other words, at showtime.
Count on it — on show sites, tasks will suddenly appear, taking the technician away from preparing for the show. A PowerPoint show needs to be re-arranged, titles need to be changed, or graphics need to be inserted after we thought the show was already finished. These kinds of tasks can make chaos out of the hours just prior to the curtain going up. This is where giving remote access to a specialist back at the office or in the field can both help smooth out the show and become billable. Let me give an example: Just a couple of years ago, we were doing an event for in which the opening skit was a takeoff on a live ESPN show. There were two traditional three-chip cameras with cameramen, a robotic camera, and lots and lots of titling and graphics. Immediately prior to the event, several of the executives involved in the skit were changed (something I still believe was due to stage fright on the part of the CEO). This left us, only tens of minutes out from the show, rearranging lower thirds titling for a very complex part of the show. The saving grace was that our graphics programmer, who had arranged all of the titling before we left for the show site, could access the computer remotely, and while I was rearranging camera shots and storing them, he was uploading and placing new graphics in the system. An important benefit here is that he was not just making and uploading new graphics to me, he was actually placing them in the show timeline, allowing the technical crew on site to get the hardware changes made without having to juggle software tasks.
We have since begun to do the same with script and show book modifications, saving the time of technicians who could be better used on-site, and converting the time of some staff back at the office to billable time. Even better, the staff at the office were also free to perform other billable functions on the same day. This also has another benefit — the people who are doing these things are doing them in an office with all of the appropriate resources, file libraries, equipment, etc., rather than trying to do them with just the laptop in their hotel room. The final (and perhaps largest) benefit is that these tasks do not have to be put off until after setup is done and the crew is in their hotel rooms, and they do not have to choose between sleeping and having these tasks done.
Another obvious benefit of these remote access technologies for the rental and staging crew is the ability to provide remote support and programming for other types of network controllable equipment, such as lighting boards, affects mixers, audio processing, etc. This allows us to have a competent operating crew that does not have to include a specialist for every type of equipment. When an on-site technician with operating skills has a question for a specialist, the specialist can “dial in” and look at what they are doing, and even adjust it if necessary. This can save us a lot of time compared to sneaking backstage to read a programming manual.
Now, I have to admit, most of my experience with employing these technologies on a rental basis has been within large staged events. But as I mentioned in my last column, there has been a lot of interesting discussion from the rental side of the business. In fact, last week I had a long talk with Scott Allard of Avnoc, whose company is mostly based around remote monitoring and support for the installation portion of the industry. He comes from a staging background, and shares many of my experiences using technology remotely on a staging basis. But our discussion produced some interesting ideas for rentals. Our talk left me asking, “If we can use remote technology to add support to an event with a crew, can’t we also use it to add support to rooms that are completely unattended?”
It has always seemed to me that managing conventions and breakout rooms were a great deal more difficult than managing a staged event. Back when I was national staging manager at Adcom, my friend Mike Schilz was director of convention services. I used to say that my job was easier than his, because mine all took place in one room where I could see it, while his could entail dozens (sometimes hundreds) of breakout and session rooms in hotels scattered all around a major city. I can well remember the way Mike’s crew would put together a command center in a hotel meeting room, and line the walls with flip charts and printouts and whiteboards in order to manage the crews, the equipment, and the room turns.
Think about the fact that virtually all of those rooms contain a PC, and most of the peripheral equipment is now network manageable, and the entire concept of managing that event from a central location has changed. It would now be possible to tell what equipment was set up and operating, ready to go, and what systems were not. It would also be possible to monitor that equipment for security purposes (something that is always difficult in that situation) and dispatch someone immediately to the room when a piece of equipment dropped off the network. Furthermore, it would be easy to add a single click button that the person using the room could use to summon technical help. The help could often be delivered by a remote operator communicating with the client via collaboration software, which would automatically pop up and connect them to the management center. I think this is an idea whose time has come, and that in the very near future it will become both economically necessary and relatively easy to do.
My point in all this? Folks, we purvey these technologies to our clients. We promote them, we talk about their benefits, and we make a profit by helping our clients with them. More than any other industry our clients deal with, they will be looking to us for these technologies. It is vital that we use these technologies ourselves in order to help our customers achieve the benefits that we promise.
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How Often Do Your Proposals Result in a Sale?
By Omar Prashad rAVe Blogger
As integrators, how many of us know exactly what it costs for each proposal we produce? I don’t have any empirical data, but from having had the privilege of doing this for almost 15 years, my anecdotal answer would be: very few. I know, I know — everyone thinks his own are great and his ‘way of doing it’ is leap-years beyond what the competition is doing. I beg to differ: The only thing that matters is the value perceived by the customer and 99 percent of the proposals I see are what I call ‘Look at me’ documents. We have to stop what we’re doing and put ourselves in the customer’s shoes.
What if we change our thinking for a minute and consider the cost of producing a proposal? Through the lens of cost perhaps I can inspire you to change your ways. Let’s think about the cost of producing a proposal as three separate buckets.
In the first bucket, we have the basic tangible physical costs of producing a proposal. These are things as basic as the cost of paper, marketing materials and printer ink. It’s easy to figure out how full the first bucket is; these are all costs that as integrators we understand and that are so miniscule that we don’t really need to consider them (unless any of you out there are delivering proposals on gold-leaf in which case we need to have an entirely different conversation). In the next bucket are our labor input costs. How much actual time does the account manager have invested in meeting the customer and creating the opportunity? How much time does our engineering team take in designing the proposed solution? Although these are proposal input costs that could be easily calculated, the reality is they often aren’t. The last bucket is the one that most integrators don’t consider at all, and it’s the one that has the biggest potential cost impact: the opportunity costs. Our most valuable resource is time; dedicating the time to create, deliver and follow up on a proposal means that we don’t have time to do something else. Opportunity costs represent a choice, choosing one activity over another and choosing one potential customer over another.
Using this ‘buckets’ framework, without even considering opportunity costs (which are difficult to quantify), producing a typical proposal probably costs somewhere around $200 – $400. A larger, more complex system can have proposal costs that climb well over $1,000 and even upwards of $10,000. Not a large sum on its own for most of the proposals that are being created, but when you consider that most integrators track and subconsciously incentivize sales teams on ‘net new opportunities generated’ or worse yet ‘number of proposals delivered,’ the costs of proposals can really add up. For the most part people do what they are measured on. This can lead to a system where our sales teams will put a proposal out to any warm body without properly qualifying and understanding the customer’s needs.
The first step is to change our thinking from proposal quantity to proposal quality. So the question becomes how do we create and deliver proposals that have a higher chance of acceptance? Most of the customer-facing proposals that I see are at one of two extremes. Either a proposal is a detailed parts list with line item pricing and no more, or a proposal is a comprehensive 40+ page dissertation that would rival the reading material burden for most graduate level MBA programs. The truth is both of these versions are actively losing you more business than they are winning.
Let’s take the encyclopedic version first. The problems here are what I’ll call kitchen sink-esque: The integrator includes every single piece of potentially relevant information that it has ever produced, from case studies to awards to resumes of key personnel to fancy cover pages signed by company executives. But length isn’t even the core issue here, it’s that everything is delivered from the perspective of the integrator, not the customer. It is all about how great we are, what we have done, our history, our certification and our achievements and awards. Here is a cold hard truth that many of you will struggle to believe: Our customers don’t care about that stuff. They care about what we can do for them, how we can improve their outcomes and how we provide them value unique to their needs. I consider great references, certifications and all of that other junk basic table stakes. You need them to get access to the game but once you’re at the point of proposal, it doesn’t matter anymore. We are selling technology that in theory is supposed to make our customers lives better, easier and faster. Do you really think that any of our customers are actually reading the entire proposal dissertation? Do you really think that the busy executive budget sponsor in your Fortune 500 account is looking at any of it?
Side note — in the context of an RFP, this sort of proposal diarrhea may be required. Although I don’t believe that responding to RFPs is a legitimate strategy for sustained and profitable growth (another one of those topics for another day).
On the other end of the spectrum, you’ve got the proposal as a one-page parts list that almost always uses very technical equipment descriptions and AV industry acronyms. On a personal note, I loathe those in our family of integrators that are still delivering a detailed parts list as the only component of their customer proposals (and while I’m a huge advocate for not delivering a detailed parts list at all within the context of a well presented proposal, it’s much less offensive). Those that are doing this, please help the AV industry out and stop immediately. We spend so much time thinking about and talking about strategies to differentiate ourselves in pro AV, how to move ourselves away from being seen as movers of product and how to show our customers that we’re valued partners (instead of transactional vendors). Every time a one-page parts list proposal is delivered to a customer, our entire industry is being pulled backwards. Let’s think about it from another perspective. We’ve all bought cars. Have you ever bought a car where on the proposal was every nut, bolt, belt and washer that went into making the car? The last time you bought a laptop was every microchip, wire and connector detailed? And when you buy a house, does the invoice itemize every nail, screw, sheet of drywall and shingle? Obviously the answer is no — we buy those things because of what they do for us as consumers. They fill a need that we have, one that’s Gestaltist (the whole being greater than the sum of its parts). Isn’t an integrated AV system the very definition of this?
So what are some actionable items that we can take as integrators to increase the likelihood of our system proposals being accepted? Here are some quick tips on how to produce proposals that have a higher chance of resulting in business. It will often take a strategic shift in priorities, and it will definitely take some effort, but let’s remember that we’re not in the business of proposal writing — we’re in the business of delivering impactful AV systems for our customers.
- The entire proposal needs to be from the perspective of the customer – What it does for the customer, what value it provides, and how it addresses her very specific need. I call this the project value proposition, which is separate from the scope of work and should be the first thing the customer sees in the proposal.
- The power of options – This is a topic for another day, but the gist of it is providing the customer options that changes her thought process from, ‘Should I hire them?’ to ‘How should I engage with them?’
- Scope of Work – A non-technical, simplified narrative on how the system will operate. Give it to your 11 year old son, if he doesn’t understand what the system will do, your scope is ineffective.
And most importantly, don’t ever deliver a proposal to a customer without first having an agreed upon and scheduled time to meet with her and review. If I was going to deliver a proposal on a Tuesday, I would first make sure that I had a meeting scheduled with the customer on Friday morning at 10 a.m. to discuss and review (this is a specific time and meeting, ‘I’ll call you on Friday to follow up’ isn’t sufficient). Don’t throw the proposal out there into the black hole. As I mentioned earlier, as the integrator, we assume a costly and time consuming burden to design the system and produce a proposal. We are partners with our customers, we need them (for obvious reasons), and we have to remember that they need us – the relationship is always that of equals. If we’re going to invest time in designing a system that fulfills their needs, we need to have mutual expectations of the partnership. One of those is a scheduled meeting time to follow-up and review the proposal. In my world, if the customer won’t commit to that, we won’t produce a proposal for them. Remember opportunity costs — our time is better spent on customers who understand that our relationship is that of a partners.
Too many integration firms boast proudly of their fantastic proposals, of which the content was unfortunately often written by owners, managers and executives that are furthest away from the customer and who don’t understand that our only purpose as integrators should be to solve a customer’s unique needs (which often have to be translated from the ‘wants’ that they communicate). Everyone should be proud of his own firm’s accomplishments; we’ve all done some really fantastic work. But in the context of the customer proposal, remember the only thing that our customers really care about is how we will fulfill their needs.
It’s not about us… it’s all about them. Leave a Comment
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PreSonus Notion for iOS Adds Handwriting and Apple Pencil SupportThe latest update to PreSonus Notion for iOS takes mobile music creation to the next level with a new in-app purchase that adds handwriting recognition for iPad users. Using a finger or stylus, you can write music in your own handwriting and see it effortlessly convert to digital notation. And with an Apple Pencil on the iPad Pro, you can even write with pressure and thickness, which gives you a much more natural feeling and even greater accuracy.
With Notion for iOS, you have your choice of easy-to-use note-entry methods. Use the onscreen fretboard, a MIDI keyboard, selecting and touching notes onto the staff, and now entry with your own handwriting — or any combination.
Notion’s handwriting recognition is powered by MyScript, the source of the world’s most advanced technology for handwriting recognition and digital ink management.
Notion for iOS is available on the Apple App Store and was recently featured as one of Apple’s “Amazing Apps for iPad Pro.
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BAE Audio Announces Shipment of New 10DCF Compressor/LimiterBAE Audio announced that its new 10DCF Compressor is shipping. BAE says the new bypass filter delivers increased flexibility while recording low frequency ranged instruments, and engages at 50, 80, 160 and 300 Hz — for users who want to compress a broad frequency range while leaving lower frequencies uncompressed. The 10DCF units are also stereo linkable, making them usable for the output stage of a mixer.
Aside from its unmistakably authentic sound quality, the 10DCF also features a useful range of features on its front panel, including Elma stepped switches for each control, BAE Audio’s trademark Marconi knobs, and a gas-tank style analog meter. The combination of these elements provides users with accurate visual and tactile reference points as they adjust and shape their sounds. The metering on the 10DCF incorporates a sleek and simple design, with easy to read white lettering set against a black background in a rugged gas-tank style encasement.
The 10DCF, which is available now and priced at $2,100 (including power supply), is hand assembled in California using only premium grade analogue components. Pricing is set at $1,900 for a single unit without power supply, $2,100 with power supply and $4,000 for a pair with power supply. Here are the details. Leave a Comment
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Genelec Debuts 1236 Smart Active Monitoring Main Monitor SystemGenelec recently debuted the new 1236 Smart Active Monitoring (SAM) Main Monitor System and its individually calibrated 3U-high Remote Amplifier Module (RAM-XL) in a large format, flush-mounted main monitoring system. The new design is based on the high-efficiency proprietary double-18-inch bass driver design of Genelec’s 1036.
The 1236’s frequency response extends from 17 Hz to 26 kHz, and it is capable of delivering 130 dB SPL at 1 meter through a combination of modern digital signal processing and efficient Class D amplifiers, providing two channels of 1000 watts, 800 watts and 400 watts of short-term power into woofers, midrange and tweeter channels, respectively. The 37.75″ H x 46.5″ W x 25.625″ D enclosure features two 18-inch high-linearity woofers, with two Genelec proprietary high-efficiency five-inch midrange drivers, as well as a two-inch high compression tweeter, mounted in a very large Directivity Control Waveguide (DCW) enclosure.
SAM technology is a vital part of the RAM-XL design. All crossovers, protection circuitry, and driver calibrations are implemented in the digital domain with the highest precision. In addition, the latest version (V2) of Genelec Loudspeaker Manager (GLM) and AutoCal couples with the 1236 to ensure that the speaker-to-room interface remains as near to perfect as possible from the moment the sound leaves the cabinet until it reaches the user’s ears.
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Christie Adds Boxer 30The Christie Boxer is now available in 2K. The new projector is built for rental staging applications including concerts, amusement parks, projection mapping, live theater and conventions, as well as permanent installations including museums, planetariums, higher education and houses of worship. Omni-directional with integrated Near Field Communication (NFC), a preview screen and 1,500-hour lamp-life to 70 percent brightness, the 30,000 lumen Boxer weighs 160 pounds and features 2K imaging with optional upgrade licenses to 4K DLP. Utilizing the same rigging frame, lenses, lamp modules and projector controls as the Boxer 4K30, the Boxer 30 expands the Boxer family and introduces a resolution upgrade path.
Christie Boxer 30 has six mercury lamps housed in two three-lamp cartridges, Christie TruLife electronics and built-in Christie Twist so without using external solutions, images can be blended and warped from multiple projectors on both curved and irregular surfaces.
Users can monitor the lamp hours and serial numbers through Near Field Communication (NFC) with each lamp – simplifying the effort required to track lamp-life as well as the ability to make fast changeovers so the show goes on without interruption. The Boxer 30 and the entire Boxer family deliver omni-directional orientation capability for greater installation and placement flexibility.
Other Christie Boxer 30 features include:
- 3GSDI, DisplayPort, HDBaseT, optional DVI, optional HDMI, Optional DisplayPort 1.2 connectivity
- 120Hz upgrade available
- Color LCD preview panel
- Lamp life of 1,500 hours to 70 percent initial brightness
- 3DLP image quality combined with Christie TruLife image processing
The Christie Boxer 30 is here.
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Camplex Shows Mini Fiber Optic Camera CablesCamplex just debuted its flexible Gepco mini fiber optic SMPTE camera cables with LEMO FUW/PUW connectors deployed on a rugged reel. The cable assemblies are designed for mobile truck and camera connections where smaller cables are required due to weight and space limitations, and are durable for long distances in outdoor environments when combined with the new Camplex JackReel cable reel.
The mini 7.8 mm SMPTE 311 cable assemblies feature bend insensitive fiber to reduce optical loss during handling which makes them a practical solution for use behind racks and in trucks where space is limited. The Kevlar strength member has the same pull strength as steel and is lighter and more flexible resulting in cables that lay flat and are easy to deploy.
The high capacity reel features an adjustable cam-lock drag brake for fast cable roll out and large, heavy-duty locking caster wheels. The main cable drum is engineered to protect the bend radius of fiber optic cables. A drum divider plate separates connectors and fan-outs from the main cable run during storage.
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Datapath Adds Pair of Capture Cards to VisionSC LineDatapath Ltd has introduced its latest professional AV capture cards: the VisionSC-HD4+ four channel HDMI capture card and the VisionSC-SDI4, a four-channel 3G-SDI capture card.
The VisionSC-HD4+can be used to meet a wide range of applications that demand multiple channels of video capture from a single card. It has been developed to suit markets from advanced medical and machine vision capture, military applications and security/surveillance systems, through live events broadcasting and lecture capture, to retail display.
Available with either HDMI or DVI adapters, the VisionSC-HD4+ has four on-board HDMI1.4 capture inputs allowing for two channels of 4096x2160p @ 30fps and two channels providing 1920x1080p @ 60fps. All inputs operate independently of each other to enable four separate video sources (including HDCP protected sources) to be captured and controlled simultaneously. The card also features embedded audio support across all four channels.
Developed as a half-length card (110×177-millimeter including heatsink), the VisionSC-HD4+ will fit almost any systems.
The second new Datapath capture card, the VisionSC-SDI4, has been developed to capture multiple high definition SDI video signals, making it the ideal solution for AV professionals working in the broadcast, live event or surgical markets, or for any SDI capable applications. It provides four 3G-SDI inputs, each one capable of capturing 1920x1080p @ 60fps. All of the capture channels are hardware time-stamped, allowing for larger surfaces to be captured and stitched together seamlessly according to requirements.
The VisionSC-SDI4 includes an eight lane PCIe Gen.3 interface, 768 MB frame buffer memory, Datapath unified Windows and Linux driver support, and full support of the Vision Feature set.
For streaming applications, the VisionSC-SDI4 can be used with Windows Media Encoder to compress and stream captured video. The RGBEasy SDK from Datapath is also available for customers wanting to integrate Datapath cards into their own software environments.
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Mackie Delivers Tons of New Features with Master Fader v4.0Mackie today announced the immediate availability of Master Fader v4.0, a control app for its DL32R, DL1608 and DL806 digital mixers. The most important new app feature is the addition of an RTA on each output. Users can now view a real time RTA beneath any output’s PEQ or GEQ. This delivers professional visual feedback that’s great when tuning the room or to make more precise EQ adjustments. For those newer to mixing, it also offers a great way to learn how EQ affects the sound of a mix.
Master Fader v4.0 marks the integration of iPad, iPhone and iPod touch support within a single app, doing away with the need for the separate My Fader app for personal monitor mixing. Now, Master Fader recognizes which device type being used and sets the features accordingly. Using a single app for all supported devices offers easier management and updating for users. Master Fader v4.0 also adds support for the iPad Pro.
DL1608 and DL806 users will benefit from a completely updated take on recording and playback. Now, users can install, see and access all of their recordings direct from Master Fader. This also allows for direct playback from Master Fader so users can audition their recordings or use them immediately for intermission music, room tuning and more. Exporting these tracks is also now simpler, taking advantage of Master Fader’s integration with the iOS share sheet.
DL32R users will see the addition of a built-in oscillator, perfect for testing system functionality, ensuring hookups are correct and general diagnosis. Route the oscillator’s signal (pink noise, white noise or sine wave with selectable frequency) to any channel or physical output.
Many other enhancements have been made to ease setup, aid workflow or increase customization. New to Master Fader is the ability to easily copy and paste channels and mixes. This provides real world flexibility sure to save time and improve organization. Master Fader now also has a completely scalable UI, including the ability to use the new Split View in iOS 9. Perfect for onstage musician’s controlling their own mix, users can easily see both Master Fader and things like a set list, lyrics or music sheets without having to switch apps. There’s a new quick assign function to make assigning channel ID easier than ever. There’s an update to access limiting that completely hides limited features, so installers can create a custom workflow for their customers. And, with tighter integration with iOS, things like importing and exporting get better, allowing easy export to a huge range of locations including the iCloud Drive, Microsoft One Drive, Dropbox and more.
Master Fader v4.0 is available for immediate download from here. Leave a Comment
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RCF Launches the HDL50-A Three-Way Active Line ArrayRCF’s D-Line has grown with the addition of the large format HDL50-A. The most powerful in the series, the HDL50-A is an active three-way line array module, designed specifically for large events — both indoors and outdoors.
Equipped with two 12” woofers, four symmetrical 6.5″ mid-ranges and two 2” drivers, it includes a built in 4400-watt powerful digital amplifier and uses neodymium magnets and a new housing constructed from lightweight plywood and polypropylene (and a weight of only 106 pounds).
The custom 4PATH designed waveguide allows a precise coverage of 90°x10° degrees and the unique shape of the four ducts forming the guide create an ideal isophasic load from 700 Hz to the highest audible frequencies.
The two ND850 large format compression drivers deliver one of the key advantages of the HDL 50-A, while the 3” voice coil allows a crossover point of 800Hz allowing this driver to produce almost all of the vocal range. RSF says this allows better coverage and superior efficiency. And, the symmetrical design of the cabinet produces identical left and right coverage. The component positioning and special DSP crossover filtering of the HDL50-A take care of the constant directivity without spots of break up or attenuation. The originally designed V-SHAPED front baffle provides co-planar mid-ranges and woofers and a controlled LF dispersion.
A 4400-watt peak power digital amplifier powers the HDL50-A: 800 watts for the HF, 1400 watts for midrange section and 2200 watts for the LF. New generation DSP handles all the processing within the cabinet and allows adjustment of Cluster size and HF projection.
All these settings are accessed by the encoder on the rear of the cabinets or using the integrated RDNet remote control. The controls on the back of the speaker allow a number of simple optimizations to be carried out at the flick of a switch.
The HDL50-A tour grade system comes in a composite wooden polypropylene enclosure, and is equipped with two aluminum side handles with rubber handgrips and two rear handles for portability.
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Roland Now Shipping Its V-1HD High-Definition Video SwitcherRoland announced it’s shipping its V-1HD Video Switcher, a four input HDMI switcher with compositing effects and creative video switching capabilities and HDCP copy protection. The V-1HD can also be controlled by the companion PC/Mac or iPad application when connected by USB. The V-1HD includes two HDMI program and preview outputs and a stereo audio output.
The V-1HD gives users an array of compositing effects, including picture-in-picture and keying, allowing for graphic insets plus titling and green screen capabilities. The V-1HD is ideal for live event video switching, thanks to its advanced transition and filter effects — more than 30 effects and transition types including mix, cut, full additive mix (FAM), non-additive mix (NAM), wipe and other performance effects. The V-1HD also has output fade, BPM Sync and Auto-Scan functions. The A and B video busses each have controls for effects assignment and parameter control. The output can be switched A/B or in PGM/PST mode where the B buss is used for signal preview. The preview output can be set to a multi-view mode, where all inputs are displayed with colored borders indicating the program and preview selections, or in a full-screen mode. The preview output can be used for additional, menu-driven set-up control, or as a second output for applications such as a simultaneous webcast or recording output.
The 12-channel audio mixer offers 3-band parametric EQ, reverb, up to 500ms delay for accurate lip-sync, a compressor/gate on the mic input and level/multi-band EQ on the master mix. A headphone output facilitates audio monitoring and the V-1HD supports mono or stereo plug-in-powered microphones.
The V-1HD features a clean, intuitive control layout with multi-function buttons and knobs and a large T-handled T-Fader for key and transition operations.
The Roland V-1HD High-Definition Video Switcher is now available at a suggested retail price of $995. Here are the specs. Leave a Comment
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elektraLite Debuts elektraBar MinielektraLite has just launched the elektraBar Mini, which is half the length of the original elektraBar — 23.6 inches (60 centimeters) versus 43 inches, basically an LED strip fixture. At the heart of the new elektraLite product are eight professional-grade, 12-watt, six-in-one LEDs capable of generating red, green, blue, white, amber and indigo. By mixing colors internally, the elektraBar Mini’s sophisticated diffraction lensing system provides perfectly blended single-color output. The inclusion of the amber component facilitates true white color toning, while the indigo component intensifies the color range for pastels and deep blues and purples.
The elektraBar Mini features individual control of each pixel, allowing for more than 16 million possible colors on the eight LED emitters. With individual control of each diode for effect sequences down to two-inch increments, the fixture’s precision spacing makes it ideal for low-resolution pixel mapping and video wall applications.
Available in 10-, 25-, 40- or 120-degree beam spreads for limitless applications, the product is also extremely efficient. Up to 16 fixtures can be connected on one 20-amp circuit and run in standalone or master/slave configurations, all with or without a control source, for fast, effective and “electric bill-friendly” operation. Furthermore, the product’s IP65/68 rating and rugged steel and aluminum build makes it a solid performer in even the most punishing environments.
The elektraBar Mini is $699. More details are here. Leave a Comment
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Barco Ships Event Master Line Aimed at Rental Barco’s latest Event Master image processing products are now shipping. Launched at this year’s InfoComm, the S3-4K compact screen management system and EC-50 controller are currently available through all major rental companies.
The S3-4K, the smaller version of the E2, but has the same processing performance and image quality and features 12 input channels, four program outputs, four aux outputs and two dedicated multi-viewer outputs. Compatible with both the S3-4K and E2 screen management systems, the EC-50 event controller is a compact, highly versatile control surface that provides instant access and excellent situational awareness for a multitude of event applications. It gives fingertip control over source, preset, layer and destination selection, along with a second touch-enabled display.
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GLP Introduces the Impression X4 Atom Light FixtureGLP’s new X4 Atom lighting fixture is IP65 rated, so it works anywhere, whether indoors or out, and all year round. The power of the Atom comes in a small package that measures less than 7 inches long and weighs under 3 pounds. It features a high powered 15-watt RGBW LED source that emits a bright beam with even color distribution across a full spectrum. Making the Atom unique in its class is a motorized zoom inside that gives a mighty 9:1 ratio, running from 3.5°-34°, and adding a huge amount of flexibility. Increasing its usability in multiple applications and further extending its uniqueness is the IP65 rating that the unit carries, allowing it to be used all year round outdoors or in.
Furthermore, the X4 Atom features a clever interlock mechanism that allows units to be built into different configurations quickly and easily. It is therefore set to benefit multiple applications from TV and film, to corporate events, set lighting and special events. Also benefiting will be concert touring stages, truss systems and architectural elements, as the interlock system quickly turns single fixtures into 4-Lites, 8-Lites or any other shape.
Control for the Atom heads is via an Atom PSU controller — starting with a 12-way, but with a six-way and other models to follow. The PSU supplies power and data down a single 4 pin XLR cable to each Atom head.
The impression X4 Atom offers other advanced features such as adjustable flicker free control, beautiful color mixing, smooth dimming without any color shift, variable speed strobe and more.
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FX Luminaire Drop-in LED Lamp Converts Incandescent Fixtures to LED with Luxor CompatibilityFX Luminaire announced the release of the new ZD MR-16, a high-quality drop-in LED lamp that converts incandescent fixtures to energy-efficient LED fixtures. When connected to a Luxor ZD transformer, the ZD MR-16 adds zoning, dimming, and Wi-Fi control capabilities to any brand of low voltage incandescent landscape lighting fixture.
The ZD MR-16 is compatible with any brand of low voltage fixture that accepts an MR-16 base. It is offered in two intensities, four beam angle options: 10, 25, 35, 60, and two color temperatures: 2700 and 3900 Kelvin. It works with both the Luxor ZD and ZDC controllers.
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RGB SPectrum’s New MediaWall V Video Wall Processor ShipsRGB Spectrum’s MediaWall V display processor now includes a second, larger chassis and expanded features bringing more flexibility and capability to the product line. The new Model 550 MediaWall V wall processor offers more inputs and outputs in high definition (HD) and 4K/ultra high definition (UHD) formats (but, no specification for color bit depth). Input capacity has been doubled to 36 direct sources plus IP inputs. Increased output capacity supports wall arrays of up to 24 HD/2K displays or up to 12 4K/UHD displays.
Functionality is further expanded with new switched output modules. These can take the place of an external matrix switcher, providing up to 18 additional outputs, a convenient, cost-effective way to route sources to other displays, operator control stations, conference rooms, or other downstream devices such as digital video recorders. Any input can be routed to any number of outputs, providing significant switching flexibility built right into the display processor.
These expanded input and output capabilities enhance RGB Spectrum’s MultiPoint Control Room Management System (MCMS) which adds arbitrated KVM control over system resources for the ultimate in control room management. An optional Application Processor decodes incoming IP streams. IP camera and other H.264 streams at resolutions up to 4K/UHD (3840×2160/30) are decoded on a separate processor embedded in the MediaWall V chassis. This unique dual-processor architecture guarantees adequate CPU resources to video wall operations while the second processor handles IP decoding.
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Mackie Reach Professional PA System Now ShippingMackie today started shipping their Reach Professional PA System. Reach is an all-in-one professional PA system that delivers ultra-wide coverage, unmatched sound quality, and built-in personal monitoring. Featuring Bluetooth music streaming, a full-featured, six-channel digital mixer and a powerful control app for iOS and Android, Reach is a self-contained PA system. With Reach, users can deliver their best performance ever thanks to powerful technology like the ARC array, which provides clear, high-fidelity sound to everyone in the audience, and the built-in EarShot personal monitoring system, giving performers true, flexible stage monitoring without the need for additional speakers and miles of cables. Plus, with wireless streaming and control over the built-in six-channel digital mixer via the Mackie Connect app for iOS and Android devices, you get wireless freedom to control everything from levels, EQ and FX to sound-enhancing tools like a feedback destroyer for amazing sound in any situation.
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.
Equally as important to what the audience hears, is a performer’s ability to hear themselves on stage. Reach’s built-in EarShot personal monitoring system offers the perfect solution. With a powerful full-range driver on each side of Reach, performers can get clear sound on stage to deliver their best performance. It also offers independent volume control and selectable configuration for flexibility.
One of Reach’s most powerful features is complete wireless control using the Mackie Connect app, available for iOS and Android devices. The Mackie Connect app puts the user in control of everything — from simple level adjustments to control over professional performance features like three-band channel EQ, a built-in feedback destroyer, application-specific speaker voicing modes,16 vocal/instrument effects, as well as three recallable memory settings to quickly get Reach back to your favorite settings. With the built-in six-channel digital mixer, you have all the inputs, processing and control you need, making Reach the ultimate all-in-one professional PA system.
The Mackie Reach Professional PA System is now shipping for $1,249.99 and here are the details. Leave a Comment
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Video Devices Releases PIX-E Series Firmware Update V1.10Video Devices announces Firmware Version 1.10 for the PIX-E Series of 4K-compatible recording monitors. With this latest firmware update, the PIX-E5 and PIX-E5H monitors now offer higher frame rate recording via HDMI, enhanced playback capabilities, and anamorphic desqueeze. Additionally, the PIX-E5 will also offer 6G-SDI to support 4K over a single SDI cable.
With firmware v1.10, the PIX-E Series now supports the higher frame rate of 1080p 120fps for high definition recording, which is designed for capturing slow motion footage. The update also enables a 4:3 anamorphic desqueeze feature to the LCD and SDI/HDMI outputs during both monitoring input and playback. This process stretches out the horizontally squeezed images that result from cameras using anamorphic lenses, such as the Panasonic LUMIX GH4.
The firmware also includes many PIX-E Series enhancements for playback, such as 16x fast forward and 16x rewind functionality, the ability to jog through playback frame-by-frame, and shuttle in slow or fast motion. The new shuttling capability provides efficient navigation of playback forward or backward at rates from 1/8 speed to 32 times normal speed. Audio monitoring is even retained while shuttling forward from 1/8x to 2x. This update also has the ability to select next or previous recorded files from Stop by pressing Rewind or Fast Forward soft key buttons.
For the PIX-E5 monitor, v.1.10 now offers users 6G-SDI support of recording 4K over a single SDI cable for cameras like the Blackmagic URSA, plus the added ability to enable or disable a Lookup Table (LUT) on an SDI output.
On both PIX-E models, this version of firmware also features a new 3:2 pulldown removal option for input to file conversion, as well as more options for using external timecode. When set to 3:2 Pulldown, PIX-E Series monitors will automatically apply 3:2 pulldown if it detects a 3:2 cadence in an incoming 1080i 59.94 signal. External timecode options now include Linear Timecode (LTC) via the 3.5 mm line inputs, and HDMI timecode. The LTC from the line inputs may also be striped to Line In 1 or Line In 2 audio tracks.
PIX-E5 / PIX-E5H firmware v1.10 is available for download here. Leave a Comment
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