Volume 9, Issue 5 — May 27, 2015
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A Troubleshooting Rountable Continued
By Joel Rollins rAVe Columnist
This month, we will be finishing up a three-part series on the art of troubleshooting in AV.
Over the last two months, we have been examining the troubleshooting process, how it has changed, and what we can do to make the process more efficient in the future.
For those of you who missed the first two parts of this series, they are here: Part 1 and Part 2
And, to refresh your memory, for this series I had asked three industry notables to participate in a roundtable with me to get their opinions on the troubleshooting process, how to organize it, and how to make it better. They are:
- Scott Wills, CTS-D, CTS-I, Director of International Member Services, InfoComm International
- Jim Smith, CTS, Partner Consulting Engineer, Polycom, Inc.
- Neil Willis, RCDD, CTS, president, Hypersign
To summarize for those of you who have not read the first two parts (which I strongly suggest), over the first two months we looked at the training and education necessary to be a good troubleshooter, and the need for an organized method and approach to the troubleshooting project. We left off last month by asking Jim Smith of Polycom about the changes in the troubleshooting process that are induced by cloud-based systems, and by the heavily software oriented nature of current installation systems.
This discussion got rather animated.
I expressed some concern over having responsibility for cloud-based system, in which changes can be induced by a third-party that was not part of installing the system, in fact, who knows nothing about it. Many of the software systems in use for conferencing today are oriented towards different kinds of conferencing than traditional business-based videoconferencing. I brought up the example of a current client of mine, who uses Google hangouts extensively, in conference rooms that have UVC bridges. Unfortunately, while they enjoy Google, (and especially the party hats feature) they find that depending on when they dial in audio quality can be highly variable. So I asked Scott Wills if he felt there were any industry standards for the level of responsibility that can be borne by the installer over a system which disappears into the clouds.
Scott, who I have always felt was one of the wisest people I knew in the industry, declined to comment as he represents an industry association. This was probably smart on his part, so I threw the question open to Neil and Jim.
Jim Smith, on the other hand, is one of the people I know who is willing to go where angels fear to tread. He responded with:
“A terms and conditions of service agreement is where that comes into play, and has become a necessity in most connective systems. You end up with a promise of an attempt to make good on a connection, and of support for equipment in the room. The term most often seen in these agreements from cloud suppliers is ‘best effort.’ Since these are the terms being used by the cloud suppliers, it behooves the installer to define their conditions well. In the old days, telephone companies defined their responsibility in terms of up-time, e.g., 99 percent up-time guaranteed. Their agreements are much more complex today. If you have a home account, you are guaranteed one service level, and in a commercial account your guaranteed another service level, all of which are based around the term ‘best effort.’ (Author’s note: With the free services there can be no guarantee at all at times.) Often times, we see commercial clients using home accounts because they save money, not realizing that their level of guarantee of service has ‘gone to hell in a handbasket’. We must be careful with a lot of these things, and how this level of service plays into our approach to the system.”
At this point, Neil Willis of Hypersign jumped in. Neil works extensively with Google, and was able to offer some advice from that perspective.
“The cloud suppliers are aware of these issues, and are trying to up the ante for cloud-based systems to the point where they become the default for business. To that end, they are beginning to incorporate troubleshooting applications in endpoints that give them data on performance and how to increase it. Google in particular has a new system for management of the Chromebox (Hypersign’s newest system uses Chromebox as the player and is completely based in the cloud) that allows them to manage its connection remotely. As you pointed out, Joel, the installer can be held responsible completely for performance, so having these kind of analysis tools built into your system can help with defining responsibility and troubleshooting problems.”
I knew at this point that this conversation could produce material for many more columns, and that I would be running out of space with this one. So I asked Scott wills to summarize his answer to my final question, which was, “When you are picking someone to send to the field to troubleshoot a problem, what qualities do you look for in them?”
Before I allowed Scott to answer, I interrupted, (as I am wont to do) to suggest that my own favorite quality in a troubleshooter was simple. The quality that I look for is calm. In other words, the ability to assess a problem clearly, rationally, and without excitement.
Scott acknowledged that, and added:
“The first thing is, indeed, calm. That person must be able to assess the problem without a knee-jerk reaction of flipping switches or trying new parts. This is important, because the first necessity is a clear understanding of the problem, as it is occurring, in the system. On top of that, before they go to the field, they must be prepared with knowledge of the system and its intent, rather than simply a competence with the parts that are included in it.”
At this point, to summarize, I suggested that this philosophy was rather Hippocratic — in other words “first, do no harm,” to which there was general agreement among the group. And for the series, having defined all the essential qualities, we will leave it there.
Author’s note: This series produced an awful lot of email from both technicians and managers as well as end-users around the country. While I enjoy receiving those emails, and while they contributed significantly to the outline of this article and the questions I asked our participants, I would ask this: go to our site at www.ravepubs.com, and share these thoughts with our other readers. Our industry is going through intense changes, and your comments are valuable. Share them with everybody. Leave a Comment
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Mackie Ships Dante Expansion Card For DL32R Mixer Mackie has started shipping its new DL Dante Expansion Card that allows for the networked audio to the DL32R wirelessly controlled digital live sound mixer. The DL32R is controlled wirelessly, using the Mackie Master Fader control app for iPad, freeing sound engineers to mix from any location in a venue. The DL32R delivers 32-channels of digital mixing with convenient direct-to-drive multi-track recording/playback, new Onyx+ recallable microphone pre-amps, in an ultra-compact 3U rackmount design.
The new DL Dante Expansion Card provides 32×32 channels of network audio I/O, allowing the DL32R to be connected to any Dante-powered AV network. Dante delivers the easiest-to-use AV networking solution, featuring automatic discovery of devices, simple graphical audio routing, incredibly low latency and flawless interoperation with hundreds of Dante-enabled products. Flexible IO patching in the DL32R lets the user route Dante signals to any channel input, and send any of the mixer’s outputs to the Dante network.
The DL Dante Expansion Card ships with a license for Dante Virtual Soundcard software, allowing direct recording/playback of up to 64 channels of audio from any Dante network to a PC or Mac computer.
All the details are here. Leave a Comment
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MUSIC Group Buys TC Group
MUSIC Group has today announced the acquisition of TC Group, one of the largest group of companies in the professional audio industry. Headquartered in Denmark, and with offices all over the world, TC Group owns and manages some of the most acclaimed brands such as Tannoy, Lab Gruppen, Lake, TC Electronics, TC Helicon and TC Applied Technologies.
The addition of Tannoy, Lab Gruppen and Lake allows MUSIC Group to round out their professional install and touring sound offerings alongside Midas, Klark Teknik and Turbosound, while TC Electronics and TC Helicon represent the industry’s leading brands in the guitar effects and voice processing sector, and perfectly complement MUSIC Group’s Bugera guitar tube amplifier brand and highly successful Behringer prosumer division.
TC Electronic has also long been established as a leader in broadcast, studio, mastering and production processing, where it gained ultimate authority in loudness control and mastering. For decades now, Tannoy’s HiFi products continue to win “Best in Class” Awards, and as a result the brand has developed a huge following of audio enthusiasts around the world.
TC Group’s strong focus on product innovation and IP creation is further demonstrated by their TC Applied Technologies company, which is invested in cutting-edge semiconductor designs, networking and interface technology.
MUSIC Group founder and CEO Uli Behringer commented, “MUSIC Group stands for relentless focus on innovation, business transformation and overall IP creation. Since the acquisition of Midas, Klark Teknik and Turbosound, we have been continuously pursuing brands that complement the mixing console, processing and loudspeaker excellence offered by these historic brands. Throughout our search, TC Group has clearly stood out as the ideal match because of their world-class brands, impressive intellectual property, sterling reputation and first-class team of people. I am very proud to welcome the TC Group team into our family.”
Tannoy, Lab Gruppen and Lake will now join MUSIC Group’s prestigious Midas, Klark Teknik and Turbosound anchor brands to further strengthen MUSIC Group’s continued expansion into the professional A/V market. Aimed at delivering complete system solutions to Install and Touring customers, the combination of these brands represents an unprecedented range of choice for the most demanding of applications.
Uli Behringer continued, “We will invest heavily in positioning TC Group’s brands at the very pinnacle of the industry, as we have done with Midas, Klark Teknik and Turbosound, where we have invested over $100 million in highly automated and integrated manufacturing facilities, quality control systems and engineering resources, including a new Center of Engineering Excellence in Manchester, UK.
TC Group will now equally have full access to MUSIC Group’s extensive resources and advanced automated system platforms in such areas as product development and lifecycle management, engineering, manufacturing, supply chain and finance.”
TC Group’s CEO Anders Fauerskov responded, “We are very honored that during the acquisition process, some of the largest industry players were bidding for TC Group; however we have selected MUSIC Group as they represent the perfect fit in terms of strategic direction, overall synergies and company culture. Our team is thrilled to join MUSIC Group and open a new chapter for TC Group and its prestigious brands. With the incredibly talented people and massive resources of the MUSIC Group behind us, the team is excited to enter a new era of unprecedented innovation and growth.” Leave a Comment
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Audinate Hosts 5th Annual Dante AV Networking World at InfoComm 2015For the fifth consecutive year, Audinate will be hosting the all-day Dante AV Networking World conference at InfoComm 2015. The event will be held Tuesday, June 16 at the Rosen Centre in Orlando, Fla.
The free all-day event will feature presentations, training workshops and interactive panel discussions led by industry experts. The event will also feature a major interoperability demonstration of Dante-enabled products from the industry’s leading audio manufacturers, including AEQ, Attero Tech, Ashly, Atlas Sound, Audinate, Audio Technica, Bose, ClearOne, Extron, Focusrite/RedNet, IED, Lab.gruppen, Lake, Presonus, Shure, Sound Devices/Video Devices, Stewart Audio, Studio Technologies, Symetrix, TC Group, Williams Sound and Yamaha Commercial Audio.
The agenda will cover a variety of topics, including:
- Industry Trends in Digital Audio Networking
- Dante in House of Worship: Willow Creek Community Church Case Study
- Networking 101: Understanding Network Basics
- Dante in Sports : Networking the American Airlines Arena for the Miami Heat
- Dante in Retail: National Retail Chain Case Study
- Live Demonstration: Building your First Dante Network
- Dante in Broadcast: Recent Advancements at Microsoft Production Studios
- Dante in House of Worship: Sojurn Church Case Study
- Dante in Education: University Case Study
- A Glimpse into the Future of Dante
The event will feature giveaways throughout the day, a sponsored lunch for all attendees and a hosted networking mixer at the end of the day. Conference attendees will also earn four CTS RU credits.
Seating is limited, so register now to reserve your place. Leave a Comment
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Camplex Launches FiberJuice Hybrid Fiber Optic Camera Power & Video System Camplex’s new FiberJuice hybrid fiber optic camera power system injects power over Neutrik opticalCON SMPTE DUO cables for powering outside broadcast and field production cameras to eliminate the need for local power and batteries at the camera end. FiberJuice delivers safe, low voltage camera power up to 328 feet over opticalCON SMPTE standard fiber optic cables providing enough juice to power cameras, lights, lens control units and more! The system is ideal for sports venues, live events and similar multi-camera shoots where having power at the camera is a necessity but local AC power is not available.
The FiberJuice system creates a complete tactical fiber end-to-end system. It’s available as both a single channel and four-channel unit. It includes options for talkback, tally, an external mic input at the camera and a program return feed. Now you can place cameras in multiple long haul locations and still provide power while keeping your switcher back at the truck.
The Camplex FiberJuice is already shipping and here are the details. Leave a Comment
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Turbosound Ships iQ Series Turbosound today announced that it’s started to ship the new iQ Series networked loudspeaker product line.
The iQ Series combines Turbosound’s loudspeaker product with Klark Teknik’s networking and Digital Signal Processing (DSP) technologies to create what they are referring to as “Acoustic Integration.”
Acoustic Integration allows for changes to overall sound system performance, in real time, without ever leaving the mixing desk. Users can easily set up and adjust built-in DSP parameters directly at the loudspeakers, or remotely via PC.
Perfect for FOH and floor-wedge applications, the iQ15, iQ12, iQ10 and iQ8 two-way loudspeakers are lightweight, portable, and provide premium-quality sound. Added support for low-frequency performance comes from the iQ18B and iQ15B subwoofers, which provide exceptionally deep and powerful bass. All enclosures feature standard 35 mm pole-mount sockets, for deploying dynamic full-range systems that are ideally suited for even the most demanding sound-reinforcement applications.
The iQ Series is affordable enough for small to medium-size venues, such as theaters, schools and houses of worship — yet powerful enough to easily accommodate festival stages, dance clubs and convention center corporate events.
The full range iQ8, iQ10, iQ12, iQ15, and Q15B and iQ18B subwoofers are available starting at $549.99 and all the specs are here. Leave a Comment
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BAE Audio Intros Compact 1073MPL Preamplifier BAE Audio’s newest offering, the 1073MPL, is a class A preamplifier in a compact package. A two-input impedance switch (1,200 and 300 ohms) allows the pre-amp to work with nearly any microphone and it also includes a high impedance DI for guitar and synth. Similar to the rest of the BAE 1073 line, the 1073MPL uses Carnhill transformers.
Detailed Specifications:
- Frequency Response: 10Hz to -3dB at 55kHz
- Line Input Impedance: 10k ohms
- Output Impedance: 65 ohms
- Common Mode Rejection Ratio: 100dB min @ 60Hz
- Maximum Output Level: +27.4 dBu @ 600Ω
- Gain dB: 0 to 71 dB
The 1073MPL is available now and lists for $899. All the specs are here. Leave a Comment
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Epson Adds PowerLite 4770W to Large Venue Projector Lineup Epson today introduced the PowerLite 4770W, a $1,999, 5,000 lumens (of color brightness) WXGA (1440×900) resolution 3LCD projector, the newest edition to the PowerLite 4000-Series.
The 4770W includes horizontal and vertical lens shift, has HDMI, VGA and DisplayPort inputs as well as wireless projection via Epson iProjection app as well as these features:
- Built-in lens shift: Up to 70 percent vertical lens shift and 38 percent horizontal lens shift
- Remarkable video processing: Faroudja DCDi Cinema technology for exceptional video quality without introducing artifacts
- Split Screen Capability: Project two images (video or still) side by side from two different sources, simultaneously
- Network management and control tools: Remote presentations, built-in schedule function and EasyMP
- Monitor tool to monitor and control all networked Epson projectors, setup email notification, and verify and change internal settings
- Advanced installation features: Including point and arc correction to easily adjust each side of an image for a perfectly rectangular image
- Centered lens design: Position the ceiling mount, screen and projector independently; screen will align with the lens at the center of the projector
- Convenient test patterns: Nine patterns to check linearity, color reproduction, bleeding and tone production; distortion detection included
- Long lamp life: High efficiency lamp lasts up to 5,000 hours in ECO mode and 4,000 hours in normal mode; lamp and filter located on the side panel for easy access and quick, easy replacement even if the projector is mounted
Here are all the tech specs. Leave a Comment
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Sescom Introduces New Line of Premium Audio Cables Sescom today announced the availability of an entire new line of Premium Audio Interface & Microphone Cables. These professionally hand crafted cables feature the highest quality connectors from Neutrik, Switchcraft & Connectronics. According to Sescom, they are built using industry standard star-quad cable from Canare, Belden & Mogami. Sescom’s audio cables come in a variety of styles and combinations including ¼ inch, 3.5mm, RCA and XLR and are manufactured in the USA.
The entire line of Sescom premium audio cables is available and shipping now and you can see it here. Leave a Comment
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Anchor Audio to Launch Bigfoot Powerful Portable PA System at InfoComm 2015 in OrlandoThe Bigfoot Line Array is being promoted by Anchor Audio as the most powerful battery-operated, portable PA ever built — and it will debut this June at InfoComm 2015. The Bigfoot outputs 130 dB and 400 watts AC/DC of sound through its five 8” neodymium woofers and one high-efficiency tweeter, all powered by three rechargeable batteries. It comes in a durable UV resistant enclosure and two rugged, heavy-duty 8” wheels.
The Bigfoot is the first Anchor Audio portable sound system that offers up to four built-in UHF wireless receivers. Standard inputs and outputs include: two universal microphone inputs, one 1/4” balanced line input, one 3.5 mm AUX balanced line input, and USB charging for portable devices. It also features standard built-in Bluetooth connectivity on all models and an optional built-in CD/MP3 combo player. The Bigfoot includes bass and treble controls for fine-tuning as well as a battery level indicator.
The Bigfoot Line Array is available à la carte as well as in packages with either two or four wireless receivers and microphones. The cost of a base unit starts at $3,350 and the top of the line package, the Bigfoot Quad, includes the system with standard built-in Bluetooth, a built-in CD/MP3 combo player, four wireless receivers and the customer’s choice of four wireless microphones.
Here are all the details. Leave a Comment
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Bogen to Debut Four New Lines at InfoComm Bogen Communications will be introducing several new products at InfoComm 2015 including a line of compact, half-rack width amplifiers; a 500-watt amplifier; a compact line array loudspeaker system; and a digital loudspeaker controller.
The CC4062MBT is the latest model in the CC-Series of amplifiers which are 40-watt compact amplifiers with varying inputs and features. The new CC4062MBT provides seven inputs (three mic/line, one aux, one tel, a built-in Media Player with EQ, as well as Bluetooth source-pairing capability) and an MOH output. In addition, it offers individual phantom power for MIC inputs, volume controls for each input, priority muting, bass and treble controls and a REC output. These amps are housed in half-rack width enclosures. Each amplifier measures 8-1/4” wide by 3-1/2” high by 10-3/8” deep and weighs 11 pounds. They work with 70V, 25V, 4-ohm and 8-ohm speaker systems.
Bogen has also added a 500-watt amplifier to its Gold Seal Series. This new addition, Model GS500, provides the same features as the other five models in the series but with double the power (500 watts). Features include seven inputs (four mic, one mic/tel, one mic/aux, one aux); 10-band graphic equalizer; loudness contour control; audio enhancement; phantom power for each MIC input; variable music muting; remote master volume control; automatic level control; balanced line driver output; low-cut filter for MIC channels; and AUX fade back after TEL page.
The Gold Seal Series works with 4-ohm, 8-ohm, 25V, 25VCT and 70V systems. The GS500 provides several safety features such as thermal and overload protection. Separately sold accessories include a tamper-resistant front cover, rack mounting kit and a remote volume control.
Bogen’s ALA-1 system is a compact line arrays system consisting of four parts:
- The ALA-1 is the main array, which incorporates four metal-alloy woofer cone drivers featuring the pioneering voice-coil guidance system by NEAR, with Ferrofluid in the magnet gap.
- The ALA-1LT Long-Throw module increases the array length by 50 percent, focusing this extra energy to augment and extend the performance of the ALA-1 for longer distances.
- The ALA-1DF Down-fill Module increases vertical coverage below the main array greatly improving articulation in front row near-field listening areas often eliminating the need for stage-based front fill speakers.
- The ALA-1S has a 12” woofer which provides high output and extended bass for music and video productions. In addition, a unique mounting bracket that allows the full ALA array to be suspended and tilted.
Finally, the Apogee Model DLX24 is a two-input by four-output digital loudspeaker controller that they say is designed for both live sound and fixed installations. The DLX24’s software allows custom configuration of any combination of Apogee speaker presets and provides remote volume control and monitoring of the speaker system through a PC USB interface. Users can access up to 8 bands of parametric equalization, up to 910 milliseconds of delay, LP and HP crossover filters, and peak compressor/limiter (per input channel). Output channels offer the same input capabilities and include an additional RMS compressor/limiter. Output channels can be specific protected Apogee speaker presets or non-protected for non-Apogee products.
All the specifics will be posted here when they officially announce. Leave a Comment
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Yamaha Ships TF Series Digital Consoles, Debuts TF StageMix Mobile Mixing AppThe new Yamaha TF series digital consoles are now shipping and, simultaneously, they have launched TF StageMix, a free iPad app that provides wireless remote control of TF digital mixing console functions via a simple, intuitive graphical interface. The app is designed to make setups faster and lets engineers adjust monitor mixes from the vantage point of the performers onstage or the listener out in the audience using a simple touch interface that directly controls mixing parameters, including channel strip, noise gate, compression and EQ.
The TF series (which stands for TouchFlow Operation) comprises three compact digital mixing consoles, the TF5, TF3 and TF1, which feature 33, 25, or 17 motor faders, respectively, along with 32, 24, or 16 rear-panel analog inputs. Each console includes recallable Yamaha D-PRE pre-amplifiers for the first time in a digital console, which facilitates support for live music and events where full setup changes need to be made on the fly. There are a total of 48 inputs on the TF5 and TF3, with 40 on the TF1, including dual stereo analog/USB digital inputs and dual returns. Advanced live recording features include up to 34 x 34 channel recording and playback via USB 2.0 and 2 x 2 with a USB storage device. All of this, plus seamless operation with high-performance I/O racks.
Some of the TF series features include a 1-knob COMP and 1-knob EQ features make it easy to dial in the ideal sound via a single rotary control on inputs for adjusting individual sources and on outputs for overall sound control. The GainFinder feature facilitates optimum gain setup for individual input signals, making ideal overall signal quality easily achievable.
The TF5 (List: $4,200), TF3 (List: $3,500) and TF1 (List: $2,950) are now shipping. Here are the detailed specs. Leave a Comment
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For all you REGULAR readers of rAVe Rental [and Staging] Edition out there, hopefully you enjoyed another opinion-packed issue!
For those of you NEW to rAVe, you just read how we are — we are 100 percent opinionated. We not only report the news and new product stories of the ProAV industry, but we stuff the articles full of our opinions. That may include (but is not limited to) whether or not the product is even worth looking at, challenging the manufacturers on their specifications, calling a marketing-spec bluff and suggesting ways integrators market their products better. But, one thing is for sure, we are NOT a trade publication that gets paid for running editorial or product stories. Traditional trade publications get paid to run product stories — that’s why you see what you see in most of the pubs out there. We are different: we run what we want to run and NO ONE is going to pay us to write anything good (or bad).
Don’t like us, then go away — unsubscribe! Just use the link below.
To send me feedback, don’t reply to this newsletter. Instead, write directly to me at gary@ravepubs.com or for editorial ideas, Editor-in-Chief Sara Abrons at sara@ravepubs.com
A little about me: I graduated from Journalism School at the University of North Carolina at Chapel Hill (where I am adjunct faculty). I’ve been in the AV-industry since 1987 where I started with Extron and eventually moved to AMX. So, I guess I am an industry veteran (although I don’t think I am that old). I have been an opinionated columnist for a number of industry publications and in the late 1990s I started the widely read KNews eNewsletter (the first in the AV market) and also created the model for and was co-founder of AV Avenue, which is now known as InfoComm IQ. rAVe [Publications] has been around since 2003, when we launched our original newsletter, rAVe ProAV Edition.
Everything we publish is Opt-in — we spam NO ONE! rAVe ProAV Edition is our flagship ePublication with what we believe is a reach of virtually everyone in the ProAV market. rAVe HomeAV Edition, co-published with CEDIA and launched in February 2004, is, by far, the largest ePub in the HomeAV market. We added rAVe Rental [and Staging] in November 2007, rAVe ED [Education] in May 2008 and then rAVe DS [Digital Signage] in January 2009. We added rAVe GHGav [Green, Healthcare & Government AV] in August 2010 and rAVe HOW [House of Worship] in July 2012. You can subscribe to any of those publication or see ALL our archives by going to: https://www.ravepubs.com
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