Volume 9, Issue 4 — April 22, 2015
|A Troubleshooting Roundtable|
By Joel Rollins
Last month, we began talking about the highest form of art when it comes to audiovisual systems: troubleshooting.
In that article, I began to make the point that the use of a logical troubleshooting methodology began in your head, rather than by swapping equipment or blind experimentation. I don’t think many people had an argument with that.
But in order to further the conversation, I decided to involve several experts in the field. One of the great things that 30 years in the business will give you is an excellent Rolodex (and yes, I know many of you are too young to understand what a Rolodex was, so rest assured that at this point I am talking about an electronic card file of email, web and SIP addresses).
So, method of addressing them aside, I gathered three highly experienced industry people to give me their comments on the art of troubleshooting. They are:
Scott Wills, CTS-D, CTS-I, Director of International Member Services, InfoComm International
Scott is the oldest card in that “Rolodex,” to the point where he actually once was listed on a paper card. He spent many years as a service and installation manager, and has since spent years organizing training and teaching for InfoComm, before his present role directing member services for the international portion of our trade association. He’s one of the people I think of when I think of the art of troubleshooting.
Jim Smith, CTS, Partner Consulting Engineer, Polycom, Inc.
Many of you will recognize Jim’s name from your own Rolodex. He’s one of the people I have always gone to for insight into troubleshooting complex videoconferencing systems. I’ve taught alongside him for many years at InfoComm, and many of you will also recognize him as a regular panelist for both my columns and my podcasts.
Neil Willis, RCDD, CTS, President, Hypersign
Neil is the only one of the three who never had a paper card in my contacts file, but caught up fast. He’s the president of Hypersign, who formerly ran a large systems design and installation company. He’s one of those people where it only takes you 10 minutes talking to him to understand how deep his knowledge of this industry is.
So I think I gathered a good team for conference call about the art of troubleshooting, and I began by asking them a number of questions:
First, I thought I would open a broad discussion by asking what the first requirement for accurate, effective troubleshooting would be. I got some great answers:
Scott Wills: “Well, I learned my troubleshooting skills as a technician in the Navy. And I would say that the most fundamental thing about troubleshooting is that you must thoroughly know the system or piece of equipment that you are troubleshooting, and what its normal operation is. Absent that, you can’t have a benchmark for what you are trying to solve. For instance, in the Treasury Department they teach the people who detect forgeries by making them thoroughly familiar, first, with real currency. Then, when they see a forgery they know it. In the same way, if you are responsible for troubleshooting a boardroom system, you must first know its normal state of operation, and then you can recognize an anomaly.”
I then asked Neil Willis, who was driving at the time, to add to Scott’s thoughts.
Neil Willis: “I very much agree with Scott, as my troubleshooting skills were learned in the Air Force. We were taught to look at the output of any electronic system to see if it was normal. If it was not, we were taught to work backwards through the signal chain to locate the issue. With our industry and its systems becoming more logically complex every day, is necessary to have a thorough understanding of a given system and not just its components to troubleshoot it at all. If you don’t have an intimate knowledge of how the components are supposed to function together, you’re done. Years ago, we would look at the system physically, to determine if it was properly interconnected and if there were any termination errors. Today, many of those connections happen in logic, so beyond an understanding of the components we must have an understanding of the system and its programming and how these components have been taught to logically work together. So we have added a logical layer to the physical layer which you also must understand to effectively troubleshoot the system.”
At this point, I asked Jim Smith to jump in, with some understanding on a further issue that happens in system troubleshooting today, namely that systems now exist in disparate spaces, connected in the cloud.
Jim Smith: “From what I have seen, is now necessary to understand both ends of a system which is connected via network, in order to determine the intent of the programming and what correct results are. Simply understanding each gadget in the system as a separate unit is no longer enough, as they may have been program quite differently to interact in a specific way. In other words, understanding intent is as important as understanding the electronics. It is certainly possible for each item to function correctly and yet not to achieve its goal as a system which interacts with other systems. One of the traditional problems with AV troubleshooting is that traditionally the system stops at the wall jack. Today, with cloud-based and remote connections to other things, if you don’t know what’s on the other side of that wall jack you have no way to ascertain what the problem is.”
So, given our limitation for this month’s column, what do we draw from our comments so far?
My take is this: In the old days, I went to the field confident that I understood all of the components, and could figure out which one was not functioning correctly. Today, I need (before I go anywhere, or even log in remotely) to review the system as it was specified and installed, and have an understanding of the systems that interacts with before I can troubleshoot it correctly.
Next month, we will ask our panel (actually, I already have) to contribute some thoughts on how to properly prepare to troubleshoot complex or cloud-based systems.
Stay tuned.Leave a Comment
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|Share and Share Alike: What Does the Sharing Economy Mean to AV?|
By Midori Connolly
In one week of tapping away on my smartphone apps, I have ordered a ride to the airport from someone driving nearby, reserved a ski condo for a week from a private owner, found someone to pick up my dry cleaning for $5 and secured a boarding spot for my dog in a nearby home*. I am the uber consumer (yes, pun intended) of the shared economy, where underused assets are shared (access v. ownership), and the transaction is usually facilitated through the use of technology. This form of trade involves a heavy reliance on peer regulation/review and the assets involved are generally expensive to buy, or difficult to access. It is a collaborative process of mutual benefit to both parties that creates efficiency by cutting down on waste. Fueled by the tenets of sustainability, community and collaboration, this model of trade perfectly mirrors the greatest social trends of the current era.
First of all, lest you think it’s a fad, a PricewaterhouseCoopers report suggests that the global revenue from the sharing economy could hit US$335billion by 2025. P2P sharing is already a big business at US$15billion, but when businesses begin to connect through the sharing economy, we should see that number rise significantly. Currently, the sharing economy is largely a function of P2P, but it begs the question, what are the indications for a B2B sharing economy… and, further, the AV industry?
Some of the current trends in the B2B sharing economy easily translate to the AV industry. For instance, think of the hot trend of co-working spaces such as LiquidSpace, where freelancers, home-based business owners, telecommuters and other independent workers can pay an hourly, daily or monthly subscription for office or meeting space. This has been a boon for underused office space while the renter also often enjoys networking and front office services. Imagine how this could translate to AV capabilities. Imagine if the database of clients who had available telepresence, TV studio or other high-end, professional AV application was searchable to a community of users. This could be a powerful and useful exchange.
Labor is another hot area where there is great potential for the AV industry. For example, imagine having the ability to skip a labor broker or temp agency and simply find freelance talent akin to the Elance or experience. What about a marketplace to list projects that require collaboration/partnering?
In the staging business, I frequently searched for open cargo space on semi trucks – generally because of a focus on sustainability, but that is certainly a hallmark of the sharing economy. Platforms such as Cargomatic automate a process that used to take me two hours of calls and emails to find space in local delivery trucks.
How about a popup retail space for an AV demo? Storefront is the Airbnb of retail shops, allowing for daily/weekly rental of unused retail space. Have a 3D printer? Maybe a network of 3D printers becomes small-run manufacturing. The list goes on and on… and it’s a fun one to daydream about!
The implications for the sharing economy are massive. It is estimated that every car-sharing vehicle reduces car ownership by 9-13 vehicles: a revenue loss of at least $270,000 to an average auto manufacturer. What does this mean to an AV company? For stagers, UK startup Showslice is connecting event organizers with similar event needs to share resources. On the one hand, it might be viewed as a threat if you were ousted by another AV company. On the other, it’s potentially an opportunity to keep your equipment working more days without additional labor needs. Overall, the best strategy is always to be armed with more information and prepare for fundamental changes in how your clients source and purchase.
*The apps I used were Lyft, Airbnb, taskrabbit and DogVacay… check them out!Leave a Comment
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|HARMAN’s dbx Ships 676 Tube Mic Pre Channel StripHARMAN-owned dbx today announced the 676 Tube Mic Pre Channel Strip is now shipping. The dbx 676 is a vacuum tube-based microphone preamplifier that employs a high-gain, Class preamp section based around a 12AU7 vacuum tube that can be adjusted to be clean and pure-sounding or dirty and full of harmonic character. The 676 incorporates the Compressor/Limiter design from the highly sought-after dbx 162SL and a three-band parametric EQ, enabling exacting control of dynamics and tonal balance.
The dbx 676 offers ¼-inch and XLR inputs and outputs, a front-panel instrument input and a side chain insert. An optional digital output card is available. The 676 allows for precise tailoring of input and output levels, which can be monitored by its large multi-function VU meter.
The compressor/limiter section provides extremely flexible control of dynamics including threshold, attack, gain and release, auto attack and release, hard and soft knee compression, dbx-exclusive AutoVelocity manual and OverEasy modes and PeakStop limiting algorithm and many additional functions. The 676’s three-band parametric EQ allows adjustment of level and bandwidth at frequencies that have been carefully chosen for maximum musical effectiveness.
The dbx 676 Tube Mic Pre Channel Strip lists for under $1,000 U.S. and here are all the specs.Leave a Comment
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|Meyer Sound Announces New LEOPARD and 900-LFC Line Array System|
Meyer Sound introduced two new line array systems in the form of the LEOPARD and the 900-LFC as part of their LEO Family; these two are its smallest and most versatile members. Boasting what Meyer claims as tremendous power-to-size ratio with ultra-low distortion, the patent-pending LEOPARD line array loudspeaker and the 900-LFC low-frequency control element offer an unprecedented level of clarity, power, precision, and ease of use. With state-of the-art design, groundbreaking engineering, and premium quality components, LEOPARD AND 900-LFC are designed to create an exceptional listening experience across a wide variety of applications from rental to install and rock ‘n’ roll to classical.
- Newly designed and highly efficient class-D amplifiers that virtually eliminate distortion while consuming less power and generating less heat.
- LEOPARD can both anchor a main system in a medium-sized venue or integrate seamlessly with LYON in down- and out-fill systems.
- Six LEOPARD and two 900-LFC loudspeakers can be flown using a ½ ton motor.
- 900-LFC offers exceptional low frequency, clarity and impact inherited directly from its big brother, the 1100-LFC.
- A complete system solution with MAPP XT for acoustic prediction, Compass RMS for real-time system performance monitoring, the Galileo Callisto loudspeaker management system, and the new MDM-5000 distribution module for routing AC power, audio, and RMS signals.
The LEOPARD is here. The 900-LFC is here.Leave a Comment
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|Extron Introduces HDBaseT Recommended Twisted Pair Cable Assemblies|
Extron has launched a new cable line called the XTP DTP 24 Series that are precision-terminated shielded twisted pair cables in lengths from three feet (90 cm) to 100 feet (30.4 m). Available in both non-plenum and plenum-rated versions, the cables are constructed with the company’s HDBaseT Alliance-recommended XTP DTP 24 bulk cable and factory-terminated with XTP DTP 24 Plugs. The cable assemblies are certified to 475 MHz bandwidth at distances up to 330 feet (100 meters), and engineered and tested to exceed HDMI error rate specifications of less than one pixel per billion at 100 meters.
Extron XTP DTP 24 Series cables are constructed with 24 AWG shielded twisted pair cable that they say are specifically engineered to Extron’s exacting standards of performance. The cable utilizes an SF/UTP Shielded Foil/Unshielded Twisted Pair design for superior performance in digital video and audio distribution system applications.
Here are the specs.Leave a Comment
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|Listen Ships New IR Solutions|
Listen Technologies has expanded its IR technology offerings with the new LT-84 ListenIR Transmitter-Radiator and LA-141 ListenIR Extended-Radiator, as well as the new iDSP IR Receiver. In creating these new IR solutions, Listen Technologies says its engineers considered all aspects of how the product would be used, focusing on the user experience, ease of dispensing, inventory management and battery management at the venue.
Listen claims the new LT-84 ListenIR Transmitter-Radiator is the only product of its kind that provides complete, gapless coverage in a variety of venue sizes. The LT-84 provides twice the coverage as similar products — one unit covers an area up to 30,000 sq. ft. (2700 sq. m), and it is the first product of its kind to feature delay compensation. It is the only two-channel Transmitter-Radiator with up to four frequencies (2.3 MHz, 2.8 MHz, 3.3 MHz, or 3.8 MHz), eliminating the need to purchase additional transmitter-radiators. Simple to install (with the included mounting hardware and legislative compliance kit), it was designed to blend in with the design of any environment without disrupting a room’s design — in fact, it was developed with input from architects and interior designers. Up to four LA-141 Extended-Radiators can be added to the LT-84 for additional coverage. And, when coupled with iDSP IR Receivers, the experience includes enhanced management and storage tools for venues and exceptional listening for end users.
Listen also expands its iDSP (Intelligent Digital Signal Processing) offerings with a new IR version, joining the previously introduced iDSP RF 72 MHz receivers (LR-4200-072 Intelligent DSP RF Receiver and LR-5200-072 Advanced Intelligent DSP RF Receiver). The iDSP IR receiver features an integrated neck loop/lanyard for end users; streamlined dispensing, collecting and care; and environmentally friendly advanced battery technology.
The iDSP IR Receiver offers precise clarity with 20 dB less hiss than comparable products. The integrated neck loop/lanyard improves the experience for people who have hearing aids and cochlear implants with telecoils. iDSP IR receivers are the smallest of their kind, making them easier for venues to store, charge, and distribute; it also makes it easier for end users to wear and operate. Additionally, iDSP IR receivers use lithium-ion battery technology with battery management (same as a smartphone), eliminating the cost and hassle of traditional AA alkaline batteries.
For venues, the benefits of iDSP IR receivers are obvious. They streamline the care and management process — iDSP IR is easier to care for, store, and distribute than comparable products from other manufacturers. Additionally, since the iDSP IR receiver comes with an integrated neck loop/lanyard (making it compliant with the legislative requirement to provide neck loops for hearing aids with telecoils), the complication and guesswork are taken out of achieving legislative compliance.
There are also benefits for end users: iDSP IR is easier for end users to check out from venues, it’s easier to operate, and it’s easier to wear. Also, iDSP IR receivers can be programmed (using free iDSP software) with unique display names, like Theater, Chapel, Classroom, or more. Additionally, the iDSP software allows venue inventory management and a convenient USB port makes it easy to set up software and apply updates.
System components include:
- charging tray, which can be mounted in several ways
- charging case
- optional cable management system
- earphones (with leatherette cushions, or hard plastic, solving certain sanitary issues)
- log book
- free setup/inventory software and signage
Two headphone jacks accommodate neck loop/lanyard or two sets of headphones (could be shared if needed).
Here are all the detailed specs.Leave a Comment
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|Christie to Debut 60,000 Lumen Projector Next Week|
Christie is setting a new visual display standard at NAB in Las Vegas with a brand-new 60,000 lumens using 3P laser. Yes, 60,000. It will be demo’d in the Christie Innovation Theater where — using RGB laser technology in a large, open theater — Christie will demonstrate Rec2020 content and 60,000 lumens of brilliant light using 3P laser. Rec2020 color provides a better representation of real world color than the commonly used color spaces for television and cinema.
Also at NAB, the Christie D Series 3LCD single-lamp digital projector series with brightness ranges of 6,000-8,000 lumens and 10,000:1 contrast ratio, will debut in the USA. A new 0.38:1 Ultra Short Throw (UST) lens with an all-glass element lens that Christie says offers greater thermal stability and reduced image drift compared to lenses using plastic lens elements for greater flexibility in designing panoramic multi-projector displays, while providing high brightness and lifelike images.
We will report more on those as they are officially rolled out, but this is a heck of a scoop!
Christie is here.Leave a Comment
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|TASCAM Debuts TM-80 Studio Mic Aimed at Home and Small Applications|
TASCAM’s new TM-80 is a condenser microphone designed and priced for home recording and simple application recording. The condenser mic features an 18-millimeter aluminum diaphragm with a cardioid pickup pattern that sounds great on anything from vocals to acoustic instruments. Internal circuitry is optimized to reduce noise and distortion while retaining rich, full sound quality.
Included with the TM-80 are a tabletop stand, six-foot XLR cable and a elastic shockmount to reduce rumble and noise during recording. List for $60, the TM-80 is priced less than many dynamic microphones.
Other specs include:
- Cardioid polar pattern
- Frequency response: 20Hz to 20kHz
- Sensitivity : -38dB +/-2dB (0dB=1V/Pa at 1kHz)
- Phantom power requirement: 9 – 48V DC
- Output impedance : 200ohm +/-30% (at 1kHz)
- Load impedance : >1k ohm
- Max SPL : 136dB (at 1kHz=1% THD)
- S/N ratio : 77dB
- Housing : Die cast zinc
- Dimensions (W×H×D): 48mm×165mm×48mm / 1.9 inch×6.5 inch×1.9 inch
Here are the complete specs.Leave a Comment
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|Christie Intros Ultra-Short Throw LensTwo Christie Ultra Short Throw lenses will be shown this month at NAB — both 0.38; one each for Christie Q Series and the new 3LCD Christie D Series.
With all-glass element lens, the Christie Ultra Short Throw Lens offers greater thermal stability and reduced image drift compared to lenses using plastic lens elements and, with the higher quality materials.
Christie Ultra Short Throw Lens features include:
- Lens-tilt adjustment to change at ceiling setting and desktop setting
- Focus adjustment for center to middle area of image
- Focus adjustment for corners
- Fits tight spaces such as small breakout rooms yet can project images sized from 100 inches to 350 inches measured diagonally
- Compatible with Christie interactive technologies
- UST and D Series or Q Series combination weighs only 40 pounds
The Christie Ultra Short Throw Lens is now shipping for Christie Q Series and will be available in the fall 2015 for Christie D Series.
Here are the details.Leave a Comment
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|Meyer Sound Debuts New System Design Tool|
Meyer Sound has announced MAPP XT, claiming it to be the first audio system design tool that allows users to design systems with truly useful loudspeaker headroom information. In addition to an updated user interface and new features that streamline workflow, MAPP XT shows the maximum levels to which Meyer Sound loudspeaker systems can be driven while maintaining linear performance, empowering customers to specify high-performance systems that reflect the needs of their shows.
Headroom information is the most significant new feature in MAPP XT, and can be viewed from the perspectives of two different input signals. They include the traditional broadband pink noise and B-Noise, a new input signal designed to better represent the most common input spectrum in real-world applications.
Other new features in MAPP XT include:
- The Auto-Splay feature allows users to select the starting and finishing angles and automatically calculates the optimum splay angles between cabinets.
- Factor of Safety shows whether a proposed LEO or LYON array is within limits for the given configuration and angle to help users meet safety standards including 5:1, 7:1, and BGV-C1.
- The Gradient Subwoofer Array Tool quickly and accurately configures cardioid low-frequency arrays with the 500-HP, 900-LFC, and 1100-LFC models, saving valuable time for system designers.
- Trace Store and Recall provide fast comparisons of different configuration options.
- Relative Phase Response data allows users to combine different elements more easily.
- PDF Export promotes easier sharing of system designs among project team members.
MAPP XT is launched in conjunction with the new, patent-pending LEOPARD and 900-LFC linear line array system. To register or to learn more about MAPP XT, go here.Leave a Comment
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|Panasonic Claims Lightest 3-Chip DLP Laser Projector with PT-RZ12KU|
Panasonic’s new PT-RZ12KU laser projector is a three-chip DLP that’s specified at 12,000 lumens at native 1920×1200 resolution with a 120 Hz frame-rate. Integrate with two DIGITAL LINK (HDBaseT) ports, the PT-RZ12KU is aimed at the rental and staging markets but can be used in auditoriums, bars and even lecture halls. One unique features with the projector is it allows for vertical, horizontal and tilting 360-degree projection because of the laser light source.
The PT-EX12KU incorporates two 380-watt lamps to get the 12,000 lumen spec with a 4000:1 contrast ratio. The image quality is also supported by the Pure Color Control function and full 10-bit image processing system. The Pure Color Control function independently controls the light intensity of yellow coloring. This provides rich overall color expression while maintaining brightness. It’s also integrated with an Eco Filter which minimizes the need for filter maintenance for up to 12,000 hours. It weighs in at just under 95 pounds.
All the detailed specs are here.Leave a Comment
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|Sennheiser Launches AVX Wireless Microphone Systems for XLR-Based Video Cameras|
Sennheiser just debuted the AVX wireless microphone systems for video cameras and the receiver plugs directly into the XLR port of a camera, where it automatically pairs with the microphone and switches on when the camera does. The system automatically adjusts the correct audio levels and transmits using a specially protected link in the license-free 1.9 GHz range. Setting up and recording high-quality audio for video has never been faster or more convenient.
Convenience starts with not having to register the system or pay for its use: AVX operates in the license-free 1.9 GHz frequency range, which can be used in many countries worldwide. The convenience continues in operation: the plug-on receiver automatically switches on with the phantom powering of the camera, and automatically pairs with the transmitter. The system immediately sets the correct audio level, perfectly matching it to the camera’s input sensitivity, selects a free frequency – and is ready for the job at hand. If a source of interference appears, AVX will inaudibly shift to a new frequency.
AVX is equipped with adaptive transmitting power, meaning that the system always uses the power that is required to maintain a reliable connection between the microphone and the camera receiver. This not only ensures a stable link, it also reduces battery power consumption — as does the automatic on/off function.
The AVX receiver and transmitter are powered by special lithium-ion batteries, which can be recharged via a USB port. To avoid nasty surprises when filming for a long time, the transmitters display the amount of battery life remaining.
For DSLRs with a jack audio input, the AVX systems include an XLR-3/mini-jack adapter cable and the mounting accessories needed to attach the receiver to the camera hotshoe.
AVX is available in three different sets: with a handheld transmitter (evolution microphone head); with a bodypack transmitter and ME 2 clip-on microphone; and in a special professional version with a bodypack transmitter and an MKE 2 clip-on microphone, the benchmark product for film and TV productions.
For the USA, a special combo pack is issued, which includes both a bodypack and a handheld. The microphone head is an MMD 42, the capsule of Sennheiser’s long-standing MD 42 reporter’s microphone. All system components ‑ plus additional items such as a handheld transmitter with on/off switch -‑ are available separately so that users can put together their own tailor-made AVX systems.
The AVX systems and components will be available in June 2015. Specifics are here.Leave a Comment
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|TASCAM DP-24SD Digital Portastudio Is Truly a Portable Studio|
TASCAM has introduced the DP-24SD, a 24-track Digital Portastudio that’s has eight XLR mic inputs with phantom power provide enough pre-amps to record a full band, and each input has available compression and limiting during recording. In addition, it includes a color LCD display, channel control strip and integrated solid-state media (SSD) inputs.
Built into the DP-24SD are three types of effects. Up to eight dynamics effects can be routed to any or all inputs during recording for polished-sounding tracks. A multi-effects processor provides amp simulation, delay, chorus and more, ideal for using with the direct guitar input. And a adjustable reverb is available on send and return.
- 24-track / 24-bit Digital Portastudio
- Color LCD display
- 12-encoder channel strip
- Eight microphone inputs on combo XLR-1/4” jacks with phantom power
- 1/4” instrument level input
- Up to eight-track simultaneous recording at 48kHz/24- bit audio resolution
- Solid-state recording to SD Card media for better shock resistance than hard drive recording
- Send effect
-Two effects sends
-Multi-effect processor with guitar amp simulation
- Mastering effect
- Virtual tracks for alternate takes and undo
- Built-in chromatic tuner and metronome
- 1⁄4″ monitor, effect send and headphone outputs
- USB 2.0 connection to computer
Here are the full details.Leave a Comment
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|dnp Intros WVF Screen|
dnp just launched a new product in the rear projection product line for video wall cubes called the WVF. The dnp WVF Screen (short for Wide View FEL Screen) fills out the gap in the product range of the dnp Ultra Contrast Screen, dnp Cross Prism Screen, dnp FXS Screen, dnp CSI Screen and dnp Black Bead Screen. It’s available from 50″ to 80″ sizes.
The dnp Ultra Contrast Screen is the entry level screen offering, with a relatively high peak brightness but limited viewing angles. The dnp Cross Prism Screen, dnp FXS Screen, dnp CSI Screen and dnp Black Bead Screen are high-end products offering improved viewing angles.
The new dnp WVF Screen fills out the gap in between these two product groups, and with a peak gain of 2.0, a horizontal ½-gain angle of 38° and a vertical ½-gain angle of 21°, this new screen is perfect for small and mid-size display walls, where a superb image quality is required at limited costs.
The design of the dnp WVF Screen is, like all other dnp cube screens, based on an advanced Black Stripe lens technology, which absorbs the majority of ambient light, while transmitting the majority of the projector brightness. dnp is the only screen manufacturer offering this advanced Black Stripe lens technology.
The dnp WVF Screen is available in all sizes up to 1600×1200 millimeters, with a variety of Fresnel focal lengths to fit the actual projection engine optics.
Here are all the specs [PDF].Leave a Comment
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|Christie Debuts Five New 3LCD D Series Projectors|
Christie unveiled five new 3LCD digital projectors today spec’d with brightness ranges of 6,000 to 8,000 lumens with a single lamp (and an optional 0.38:1 Ultra Short Throw lens). The D Series are all 10,000:1 contrast ratio and come in resolutions of XGA (1024×768), WXGA (1366×768) and WUXGA (1920×1200).
Christie D Series are what the company calls “whisper-quiet,” aimed at higher education, corporations, museums, houses of worship, government facilities and selected rental and staging environments. Christie’s totally new aesthetic is used on all five new D Series models.
The new Christie Connect option with Wireless USB option provides monitoring and collaboration capabilities in multi-user environments. Users also benefit from professional tools including HDRC-Liteloc for “stunning images” even as the lamp ages, and the new Advance Color Management system provides separate controls for hue, saturation and luminance to create lifelike images.
Christie D Series features include:
- Optional* Ultra Short Throw (UST) lens with a 0.38:1 throw ratio
- Portrait or landscape mode provides installation flexibility
- XGA, WXGA and WUXGA resolutions
- Single-Connect cable option: Christie OneConnect — via HDBaseT
- 3G-SDI (WUXGA only)
- Multiple lens options
- Third party control system integration via AMX and Crestron
Christie D Series ships in May 2015 and here are all the specs.Leave a Comment
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|The World’s First 50 Gbps Digital Backplane Comes from Extron’s New XTP II Switchers|
Extron’s new XTP II CrossPoint matrix switchers claim the world’s first 50 Gbps digital switching backplane (think: uncompressed 4K).Extron says the XTP II enables the deployment of an AV system infrastructure with a switching bandwidth that exceeds the data rate required to distribute 4K/60 video with 4:4:4 chroma sampling at 16 bits per color. These matrix switchers can be configured with a variety of boards, including the new XTP II HD 4K PLUS input and output boards that support HDMI 2.0 and HDCP 2.2, a new family of XTP 4K fiber optic boards and endpoints, or any of the existing products in the XTP Systems family.
XTP II CrossPoint matrix switchers are engineered to exceed the bandwidth required by HDMI 2.0 and DisplayPort 1.3 signals. Three modular frames are available for 16×16, 32×32, as well as larger 64×64 I/O sizes, and can be configured with XTP II HDMI input and output boards, which offer the highest level of HDMI 2.0 performance with a full 18 Gbps data rate throughput at each port. The XTP II boards are also HDCP 2.2 compliant, ensuring reliable switching of encrypted, 4K video content. To streamline integration, all products within XTP Systems are compatible with one another. This enables complete end-to-end system solutions, and provides a wide range of possibilities for future system upgrades to support emerging video standards and formats.
Here are all the specs.Leave a Comment
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|PreSonus Ships AVB Networking for StudioLive Active Integration Mixers|
PreSonus is now shipping its SL-AVB-MIX Audio Video Bridging (AVB) audio networking option card for StudioLive AI-series console and StudioLive RM-series rack-mount Active Integration mixers. These options allow you to create a complete, networked live-sound solution, using CAT5e or CAT6 cables instead of a snake—and that’s just the beginning.
AVB enables precisely synchronized, real-time, low-latency, streaming of audio across an Ethernet network with no-hassle, self-configuring, true plug-and-play convenience. All StudioLive RM-series mixers already have the SL-AVB-MIX option card installed and just need a firmware update to enable the new AVB networking functionality. The card is offered as an upgrade option for StudioLive AI console mixers.
With this first phase of AVB support, you can use the StudioLive RM32AI or RM16AI as a stage box and monitor mixer for any StudioLive AI-series front-of-house (FOH) console mixer. Remote-control the StudioLive RM-series mixer’s recallable, Class A XMAX preamps from the console; take advantage of the RM mixer’s 16 additional aux mixes; and use the RM mixer’s Fat Channel processing and FX buses for independent monitor mix processing from the FOH mix.
Thanks to PreSonus Active Integration technology, the mixers on the AVB system can be set up, and your mixing workflows synchronized, in a single step. All input routing to and from the onstage RM mixer and the AI console mixer at FOH is configured automatically. You simply change the channel source from “analog” to “network” on the channels you want to source from the other mixer.
In addition, the talkback and main L/R mix from FOH are set up as the talkback input and main L/R outputs on the RM mixer onstage. The talkback on/off at FOH also engages the talkback onstage, making it easy to communicate with the band. PreSonus Active Integration also keeps your scene save and recall in sync between the mixers in the system.
Both mixers can be controlled using PreSonus UC Surface touch-control software or VSL-AI and SL-Remote AI for Mac, Windows, and iPad, and all aux mixes can be wirelessly controlled using PreSonus QMix-AI for iPhone / iPod touch. All audio and control data flows over one slender Ethernet cable, so you can shed that heavy, noisy analog copper snake.
The SL-AVB-MIX option card for StudioLive AI Console Mixers is available now for a U.S. retail price of $399.95
Here are all the specs [PDF].Leave a Comment
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|NewTek Adds Dante to TriCaster|
Audinate and NewTek announced an expansion of their partnership to enable Dante support in the TriCaster product line. As part of the new TriCaster Advanced Edition, customers will have the ability to install Dante Virtual Soundcard to enable seamless audio connectivity to other Dante-enabled products.
TriCaster has changed the way producers cover and distribute live events. TriCaster set a new industry standard as an innovative, easy-to-use appliance for portable live production and streaming, it has become the choice for video producers worldwide. TriCaster customers will now be able to download and install Dante Virtual Soundcard on the TriCaster platform. This transforms the production system into an end-to-end digital audio workflow seamlessly integrating TriCaster with Dante audio devices on the network.
Dante is a complete, reliable solution for high-performance audio distribution over standard IP networks, supporting hundreds of simultaneous channels of uncompressed audio with ultra-low latency and sub-microsecond synchronization accuracy. Dante provides manufacturers and users alike with a full suite of tools and capabilities for full plug-and-play operation, including automatic device discovery, software-based signal routing, and complete integration with PCs.
NewTek is here.Leave a Comment
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|Mackie Upgrades and Expands ProFX Series|
Mackie today announces the launch of ProFXv2 Series Professional Effects Mixers. The redesigned ProFXv2 series features an all-new preamp design and powerful new effects engine, delivering unmatched sonic performance for live sound applications. The series has been expanded with two new models, the four-channel ProFX4v2 and the 30-channel ProFX30v2, opening up the no-compromise ProFX toolkit to a wider range of applications.
To achieve the performance that ProFXv2 claims, Mackie has designed the all-new Vita preamp, designed specifically for the highly-dynamic world of live sound. A huge step up from the original ProFX series, Vita preamps are virtually noiseless, even at high gain levels. The Vita design features a Class-A front end, dual feedback stabilization and bias current optimization for unmatched low-noise performance.
Also contributing ProFXv2’s excellent sonic performance is the all-new ReadyFX effects engine. This new engine employs floating-point DSP, designed for the processing of high-quality audio signals. With more horsepower and all-new algorithms, ReadyFX delivers results that add depth to any mix, with premium sound that elevates live performances. Each ProFXv2 mixer features a choice of 16 reverbs, choruses and delays, each extremely useable for a wide array of sonic applications.
Each ProFXv2 mixer features multi-band GEQ, critical for tuning mains to get the best possible sound in any venue. Onboard GEQs are also great for eliminating nasty feedback from stage monitors. Each model features a flexible mix of I/O and, with six models available, covering applications ranging from 4 to 30 inputs, there is always a ProFXv2 mixer right-sized for your application.
The ProFXv2 Series features a wide range of models, each with their own complement of I/O and features to suit nearly any live sound application. There are three compact models – ProFX4v2, ProFX8v2 and ProFX12v2. These utility workhorses deliver professional live sound features in compact designs perfect for smaller applications. The ProFX16v2, ProFX22v2 and ProFX30v2 not only offer the higher-channel count needed for bands, Houses-of-Worship and more, they include additional features for professional applications. They each feature 4-bus architecture for additional mix management and dedicated inline channel compression on select channels that add life and punch to guitars or bass and increase the presence of any voice.
The ProFXv2 series expands on the models available in the line with the new ProFX4v2 and ProFX30v2. The ProFX4v2 is the most feature-rich ultra-compact mixer on the market. No other mixer of this size and price features the comprehensive toolkit that ProFX4v2 provides. It’s ideal for cafès and other small performance venues. It’s also perfect for vocal-only reinforcement in band rehearsal spaces. The ProFX30v2 extends the line into truly professional applications. It’s ideal for live sound venues looking for a higher-channel count solution without needing excess outboard gear. Bands that bring their own PA to the venue will also appreciate the flexibility and power of the ProFX30v2.
Mackie ProFXv2 series mixers will be available beginning May 2015. The series includes six models that range in list from $169.99 to $1149.99 and all are here.Leave a Comment
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|L-Acoustics Launches X Series|
L-Acoustics has announced the launch of the X Series, a new line of coaxial speakers for the installation and rental markets. There are three new enclosures in the X Series family — X8, X12 and X15.
The new X Series responds to the demands of the industry’s top sound designers. Improvements include high-excursion neodymium drivers, ellipsoid directivity, laminar vented ports and up to 30 percent weight reduction. Used as a stage monitor, the X Series offers low latency monitor presets and a seven percent lower profile. In installation applications the X Series comes with a complete range of flexible rigging accessories and a RAL custom color program. With improved radiation control and low frequency performance, the X Series is a true point-source system, boasting pristine sound for short throw applications.
The X8 is the live monitor of the X series. X8 delivers pristine sound with the L-Acoustics signature, a high SPL and extended bandwidth for operation at FOH position or in control rooms. Its wide conical directivity pattern imparts a sense of spatialization, with no minimum listening distance.
The X12 can cover multiple applications in rental and installation. An ellipsoid directivity of 90° x 60° makes it adaptable to FOH application. The X12 comes with a complete range of rigging accessories and RAL color program for maximum application versatility and seamless integration. Other features include low weight and optimized ergonomics for easy handling and a passive design for effective amplified controller management.
The X15 is the powerhouse of the series, with exceptional power in beamwidth and acoustic isolation. Its narrow, 40° x 60° directivity gives it immunity to feedback, making it perfect for the stage. Low in profile, light in weight and rugged in build, the X15 boasts integrated risers allowing it to go from 35° to 55° for maximum versatility.
The X Series comes as an addition to the ultra-compact 5XT fill launched in 2013 and will ship in Q4 of 2015. More information is here.Leave a Comment
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|HARMAN’s dbx Introduces PowerRack8 Power Supply for 500 Series Processors|
dbx recently introduced the PowerRack8 power supply for its new 500 Series processors. The PowerRack8 is an eight-slot, 19-inch rack-mount power source designed to hold up to eight 500 Series processors in a vertical configuration.
The dbx PowerRack8 provides eight slots of balanced XLR inputs and outputs along with eight slots of unbalanced 1/4-inch inputs and outputs. A 48V phantom power switch is located on the front panel, along with switches for the unit’s flexible, digitally controlled on-board signal routing with memory function. The PowerRack8 supplies 350mA per module slot and features rugged, all-metal construction.
The dbx PowerRack8 will be available in August 2015 at a suggested retail price of $699.95. Complete specs are here.Leave a Comment
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|Pivitec Adds New CMx64io-AVB Network Card|
Pivitec has introduced the new CMx64io-AVBTM Ethernet AVB network card. The card is designed to add AVB connectivity to professional audio equipment that supports the industry standard CM-1/CM-2 card format.
The network card is a complete off-the-shelf solution that features a USB 2.0 interface and 10/100/1000 Ethernet. USB 2.0 allows the host device to act as a USB audio interface for Mac and PC computers with simultaneous Ethernet AVB audio streaming. It also facilitates “daisy-chaining” of multiple audio devices to a single Gigabit Ethernet connection. As a result, installers can employ a much simpler network topology, dramatically reducing the cabling and installations costs for an AVB network.
The CMx64io-AVB hosts a variety of audio and control I/O signals which permits customization for numerous applications in pro audio, recording and broadcast. The board supports 802.1Ba, 802.1AS, 802.1Q, 1722.1 and 1722 Ethernet AVB Standards.
The network card, which can manage up to 64×64 channels, is field firmware updateable and provides Wi-Fi control and configuration. Sample rates range from 44.1k to 192k.
The CMx64io-AVB is available as part of Pivitec’s complete Ethernet AVB Hardware Reference Design Kit (XRDK). The AVB Endpoint hardware reference design is also available for licensing as is Ethernet AVB software/firmware stack licensing. Pivitec can provide custom OEM engineering design services and support to interested manufacturers.
Here are the specs.Leave a Comment
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|JBL Professional Intros VTX V20-DF Down Fill Adapter|
JBL Professional is introducing its VTX V20-DF Down Fill Adapter, which JBL Pro says makes it easier to cover audiences more accurately, powerfully and economically in terms of VTX V25-II and V20 cabinet counts. The adapter frame is purposefully designed and engineered as an easy attachment of up to six V20 loudspeakers to larger V25 line arrays.
JBL Pro says the V20-DF guarantees precise alignment and optimum line source array coupling of the vertical wavefronts of the V20 and V25 loudspeakers with minimum physical gap when attached, while offering four variable attachment angles (0, 3.5, 7.5 and 11 degrees) between the V20 down fill block and lower V25 enclosure. For added flexibility, the V20-DF can be used as a pullback accessory when deployed as part of the compression suspension systems on VTX V25-II-CS or VTX V25-CS and can also be used with VTX V25-II or V25 enclosures in fixed angle tension suspension mode.
Sonic consistency between the large and small format D2 dual diaphragm, dual voice coil drivers employed in VTX V25 and V20 as well as dedicated OEM factory V5 presets for V20 when used in down fill mode ensure a seamless transition from V25 to V20 in terms of sound quality. The 105-degree nominal horizontal coverage of V20 provides an excellent complement to the 90-degree coverage of V25-II and V20’s ability to achieve higher inter-enclosure angles (up to 12.5 degrees tightly wrapped) provides an effective, visually discrete and economical down fill solution for the short throw portion of a given audience area to be covered.
More information is here.Leave a Comment
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|Adamson S-Series Makes Debut|
Adamson Systems Engineering introduced the S-Series this week — a new sub-compact line array system consisting of the S10 line array enclosure, S119 subwoofer, Blueprint AV and the E-rack, Adamson’s new unified rack solution.
The S10 is a two-way, full range, sub-compact line array enclosure ideal for mid-size arenas, theaters, churches and dance clubs, as well as outdoor festivals. It is loaded with two newly designed 10” ND10-LM Kevlar Neodymium low frequency drivers and an NH4TA2 1.5” exit high frequency compression driver mounted to a wave shaping sound chamber which produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (H x V). The compact solution – 265/10.4 x 737/29 x 526/207 (mm/in) — weighs in at a mere 27/60 (kg/lbs).
Adamson’s Controlled Summation Technology is a design method that brings the LF drivers as close together as possible, while symmetrically outwardly splaying them, which enables what the company says is an “amazingly clean” overall sonic characteristic for the S10 enclosure. The end result increases usable frequency range while decreasing summation at the crossover point, reducing interference. The LF drivers are also recessed behind the exit of the HF sound chamber, so as to not limit the size and shape. A small amount of delay aligns the lows to the high frequency energy, with some dynamic overlap control in place as well to diminish any remaining noticeable interference.
The S119 subwoofer has a light-weight, long excursion, 19” ND19 Kevlar Neodymium driver with Adamson’s Advanced Cone Architecture and a 5” voice coil for power handling. It is mounted in an “ultra-efficient front-loaded enclosure, designed to reproduce clean, musical low frequency information.”
The cabinets for both the S10 and S119 enclosures are constructed out of marine grade birch plywood, aircraft grade steel and aluminum and feature Speakon NL8 connectors. The S-Series utilizes Adamson’s new SlideLock Rigging System that allows angles to be set prior to lifting, which then fall into place when weight is taken. A stacking pin is also present to maintain proper enclosure angles when ground stacked. The S10 enclosure is also available as the S10i, utilizing a plated rigging system for permanent installation. The S10i’s slimmed down rigging reduces the weight and cost of the enclosure.
The S-Series is designed to be powered by the E-Rack, Adamson’s unified rack solution that interfaces with and powers the S Series as well as the full range of Adamson loudspeaker products. The E-Rack incorporates Lab.gruppen amplification, combined with versatile I/O and industry standard power connections, as well as a 20 port managed Ethernet switch to route dual-redundant Dante and control signal. E-Racks are sold in eight-channel or 12-channel configurations with Lab.gruppen’s PLM 12K44 amplifiers — one 12 channel E-Rack can power up to 24 S10 enclosures. A personal license for Adamson’s Blueprint AV software is included with each E-Rack.
S-Series accessories include the S10 Support Frame, S10 Extended Beam, S10 Underhang (to adapt S10 to fly as an underhang with either the E15 or E12), S10 Dolly, S10 4up Cover and Dolly Stacking Legs (also used to increase or decrease tilt in either the E15 or E12 dolly).
More information on the S-Series is here.Leave a Comment
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|HARMAN’s JBL Professional Debuts VTX V25-II Loudspeaker|
JBL Professional, a subsidiary of HARMAN, has just announced the VTX V25-II, the successor to the V25 line array loudspeaker. It features a brand-new waveguide for what JBL Pro says is improved long-throw performance, improved wavefront control and improved power matching with the companion Crown I-Tech 4x3500HD four-channel amplifier.
VTX V25-II maintains the same outstanding horizontal coverage performance of the original V25 and current V25 owners can upgrade their cabinets to the new V25-II performance standard in a matter of 10 minutes with the VTX-V25-WG-UK Waveguide Upgrade Kit.
The new V25-II waveguide features design improvements that were motivated by the highly-effective VTX V20 waveguide and differs from its predecessor with revised internal acoustical path geometry and double the number of acoustic transmission paths. In addition, the V25-II waveguide’s exponential geometry assists with wavefront expansion while providing improved wavefront control and line source array coupling in the vertical plane at higher frequencies.
The V25‐II waveguide provides better acoustic loading conditions for JBL’s D2 dual diaphragm, dual voice coil compression drivers, resulting in over 10 dB higher sensitivity above 10 kHz. This sensitivity increase means that less high frequency shelving equalization is required in order to achieve the same acoustic output response and, as a result, there is a significant increase in amplifier headroom. Limiter thresholds can also be adjusted so there is less peak limiting activity and reduced distortion. All of this combines to provide higher maximum SPL and improved system packaging density since there is a better power match when V25‐II is used with Crown Audio I-Tech 4x3500HD four channel amplifiers.
Improved polar characteristics and wavefront control are also obtained with the new waveguide which translate to improvements in long-throw performance and overall, V25-II offers more even coverage, front to back. Improvements can also be found underneath and behind the array, where V25-II focuses significantly less high-frequency energy.
Also new at Prolight & Sound, JBL is introducing the VTX V25-II-CS, which includes the optional V25-CS-K compression suspension kit pre-installed at the factory and is intended for use with VTX V25-VTC Vertical Transporters and accessories.
All the details.Leave a Comment
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