Volume 9, Issue 8 — August 21, 2015
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The Backstage Cloud?
By Joel Rollins rAVe Columnist
This weekend, I was involved in a long conversation with a couple of colleagues from the industry. At one point during the discussion, I was asked what my favorite new technology announcement was. And I think that both of my colleagues were surprised that I did not mention some new piece of AV equipment.
My favorite new piece of technology: Amazon Prime Dash Buttons.
For those of you who did not see the announcement, Prime Dash Buttons are Jeff Bezos’ newest method of painlessly separating prime users from their money. They work like this: If there is a product that you use regularly, and you are a Prime member, you can order a stick on button from Amazon that is dedicated to a particular product that you use. You stick this button on the wall or in the cabinet where you store this product, and when you are running low you press the button. A new supply shows up two days later, delivered free via Amazon Prime.
What does this have to do with AV, you might ask? Well, my colleagues asked the same question. My answer: We are looking at the next generation of control systems, both for shows and for permanent installations. Essentially, this is the forerunner of true, decentralized, cloud-based control.
Why do I think so? Let’s look at history.
Twenty five years ago, when I first started designing systems for shows, the answer to control was simple. Homosapiens. With more complex shows, we would simply have more operators. Playback of media occurred from many types of dedicated playback devices. At one time, in my rental fleet, we had to accommodate eight formats of video tape, And at least five or six types of computers, along with myriad audio, still frame, slide and movie playback devices. Materials largely arrived on the day of show, often leaving us scrambling when a different format than the one that we had shipped showed up.
As the industry grew, and shows and installations progressed, we added overarching control systems. We would program the show, or the presentation, so that we could run it from a button panel, keyboard or touch panel. These control surfaces were connected to a large control processor that in turn controlled all of the other devices. In shows, this was often separated by department, with a lighting controller, a video controller and an audio controller. Later on, we added super control systems (my favorite being Dataton’s TRAX system) to control the controllers.
In the installation market, which is (and always has been) much simpler, we would centralize control with a lot of programming and a single button panel or touch panel.
In both markets, for many years, we have touted this as simplification. However, with today’s market, both in shows and in installations, we are now dealing with a class of customer who do not see big touch panels with lots of graphics and multiple menu pages as a “simple” way to control things. As with even the best programmed control system, the use of these panels does require some training, and today more people are using these systems on an ad hoc basis and for shorter periods of time. Many of my customers now point to the ubiquitous Apple TV remote control as their standard for controlling things. The control interface, and the playback, are now becoming a single thing.
Couple this with the current trend to make the meeting materials and presentations cloud-based. Google Docs as well as Microsoft’s and Apple’s cloud systems are changing the way our clients put together their presentations, allowing everyone to combine their materials online, at their leisure. This also ensures that on arrival at the show the materials are current.
Compare this to what happens at shows among the technical crew, where often we are integrating multiple types of control on site, often editing the control programming from the rig used for the last show to the rig for this one.
Now combine those two things and think about the next generation of show control. First, it should be based in a cloud, so that the various disciplines can do their editing online rather than on site. This means that both the programming and the materials need to be divorced from specific hardware playback devices, rather than preprogrammed into some large show or room controller, so that versions and edits become less difficult to deal with. This would be especially useful in touring shows, where parts of the crew travel and parts are obtained locally for each specific venue.
We have already done this with editing, we’ve already done this with presentations and we have already done this with project management, so I do not think it is a far out prediction to say that we will soon do it with control.
And, for me, the Prime Dash Buttons point the way to a decentralized control system where the programming occurs in a cloud and control points can be easily spread out to any user who needs that specific control point at a specific time in the show. But, more than that, it means that our presentation materials and our control interface can be combined, with control points embedded in the show, leading to more complex shows that can be more easily controlled by the end-user, as the client is rapidly changing from someone who doesn’t want to touch the controls to someone who does, but once that control highly simplified and painless to understand.
We are already seeing some of this philosophy take place among the control manufacturers, each of whom now offer some simplified online method of programming their control hardware.
Next, they need to divorce themselves from the idea of control hardware, and move the hardware requirement (or lots of it) to the cloud.
Hey control manufacturers — any takers? Leave a Comment
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Genelec Ships 7040A Ultra-Compact SubwooferGenelec is now shipping the new 7040A, an ultra-compact subwoofer. Designed to be used with Genelec’s 8010, 8020 and M030 active monitors, the 7040A features Genelec’s Laminar Spiral Enclosure (LSE) technology. This enclosure design claims a high sound pressure level (an essential property for a subwoofer) and move high volumes of air without distortion.
Small rooms have limited floor space, and Genelec engineers have optimized the 7040 subwoofer enclosure with this in mind. With external dimensions of 16.125 x 13.75 x 8.125-inch (410 x 350 x 205 mm), the 7040A has a footprint that is smaller than that of a small practice guitar amplifier. It is also narrow enough to fit in a 19-inch rack and weighs 25 pounds (11.3 kg).
Calibration of the Genelec 7040A subwoofer to the listening environment is done using DIP switches located on the subwoofer connector panel. These controls address typical monitoring placement configurations.
The 7040A is spec’d to produce 100 dB of sound pressure level (SPL) using a 6 ½-inch woofer and a powerful Genelec-designed Class D amplifier. At the lowest frequencies this SPL is radiated from the bass reflex port by channeling large volumes of air movement through it. The LSE enclosure is made from a spiral-shaped strip of steel, providing maximal mechanical stability for the large pressures generated inside the subwoofer. The spiral forms the bass reflex port as well, enabling linear airflow also at the SPL outputs. Genelec says this flow-optimized construction provides extended low frequency capacity and low distortion resulting in precise bass articulation.
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Audio-Technica Ships BP40 Large-Diaphragm MicrophoneAudio-Technica is now shipping its BP40 Large-Diaphragm Broadcast Microphone, a dynamic vocal microphone designed for applications including radio, overdubs, post-production, podcasting and live events. The mic’s hypercardioid polar pattern provides isolation of the desired sound source, and maximum off-axis rejection when working in close production environments. Its optimized capsule placement helps maintain a commanding vocal presence even at a distance, while the multistage windscreen provides superior internal pop filtering. It also includes a switchable 100 Hz high-pass filter to provide even more pop protection.
The BP40’s large diaphragm features patented floating-edge construction that maximizes diaphragm surface area and optimizes overall diaphragm performance, while the humbucking voice coil prevents electromagnetic interference (EMI) (e.g., from video monitors, AC power, etc.). The mic’s design, inspired by the visual representation of a waveform, features rugged, all-metal construction for dependable use in professional broadcast environments. The BP40 comes standard with the AT8483 mounting clamp, and for additional protection from noise, shock and vibration, the optional AT8484 shock mount is available separately.
BP40 specifications include:
- Element: Dynamic
- Polar pattern: Hypercardioid
- Frequency response: 50-16,000 Hz
- Low frequency roll-off: 100 Hz, 6 dB/octave
- Open circuit sensitivity: -48 dB (3.9 mV) re 1V at 1 Pa
- Impedance: 450 ohms
- Switch: Flat, roll-off
- Weight: 632 g (22.3 oz.)
- Dimensions: 164.0 mm (6.45″) long, 56.0 mm (2.20″) diameter
- Output connector: Integral 3-pin XLRM-type
- Accessories furnished: AT8483 mounting clamp for 5/8″-27 threaded stands; 5/8″-27 to 3/8″-16 threaded adapter; soft protective pouch
The $349 BP40 can be found here. Leave a Comment
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AV Stumpfl Intros Three-Stream Uncompressed 4K60 Media ServerAustria’s AV Stumpfl claims the world’s first triple-stream 4K uncompressed media server in their new Wings Engine Raw. Using a single custom engineered RAID 10 system, Wings Engine Raw is capable of delivering constant data stream of three channels of true 4K (4096×2304 pixels) uncompressed video content at 60fps plus up to 16 text and picture layers, and up to 24 uncompressed audio streams. The server removes the need to convert content into any intermediate codec format. Content can include native picture sequences such as TGA or TIFF and even instant PNG image format processing.
Wings Engine Raw is capable of processing and delivering video content at the full 4:4:4 color sampling ensuring picture perfect quality and color accuracy for the most demanding of installation environments. And, their system also features redundancy so if one of the SSDs fail, the data rate and the system’s functionality in general will not be impaired.
Wings Engine Raw hosts the new WingsRX render core engine which has been developed and optimized especially for premium picture quality applications. Its 64-bit program architecture and clever usage of SSE CPU instructions ensures unequaled decentralized processing power. The software has been designed for a wide range of applications such as themed attractions, digital signage, trade shows, live events and full dome systems.
AV Stumpfl says its Wings Engine Raw is based on professional server technology derived from IT data center equipment. Inside the rack mount system is a Xeon CPU, redundant high performance power supply, 2×10 GBit LAN, server chipset, up to 8 3G-SDI live inputs and Displayport 1.2 and DVI-D output connectors.
Here are all the tech specs. Leave a Comment
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Fohhn Adds LX-60 and LX-61 Compact Line Arrays to LINEA LX loudspeaker RangeFohhn Audio has announced the release of two new models in its LINEA LX range of compact line array systems. The Linea LX-60 and LX-61. The compact LX-60 is specially designed for installation applications in more challenging acoustic environments. The 200-watt, two-way system is equipped with four 4″ high performance low-mid drivers (arranged in a column) and a 1″ compression driver with Fohhn Waveguide. This combination forms the basis of Fohhn’s unique Hybrid Line Array Technology (a feature of all LINEA LX systems), which is widely renowned for delivering excellent reproduction of speech and music, superb dynamics and even audience coverage. Speaker adjustment is done via an integrated crossover with Intelligent Protection Circuit (IPC) to guard against overload. Components are enclosed in an elegant, lightweight aluminium housing, with slender dimensions — 64 (h) x13 (w) centimeters — that enable the unit to integrate unobtrusively into a range of venues. The system offers a dispersion range of 140º (w) × 30° (h) and is equipped with Phoenix terminals.
The new Linea LX-61 loudspeaker is designed for mobile applications. Incorporating the innovative technology of its LX-60 sibling, it is equipped with the same 4″ high performance low-mid drivers and 1″ compression driver with Waveguide. Its compact dimensions make for easy transportation and quick set-up. The unit is fitted with two Speakon connectors.
For even more powerful sound reproduction, the LX-60 and LX-61 can also be combined with a range of Fohhn subwoofers. LX-60/61 housing is available in all RAL colors.
For more information, go here. Leave a Comment
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PROXIMA is Back!Sam Malik, formally VP/GM for ASK Proxima as well as the person who ran Sanyo projectors back when they were #1, is the new president of PROXIMA DISPLAYS in Carson, Calif. Effective Aug. 17th, 2015, Malik is taking the reigns of the new company that will offer a full line of LCD and DLP projectors in North America. The new company with the famous legacy name PROXIMA and will offer projector displays and related product for the audiovisual industry in North America.
Malik’s extensive experience in the projector industry includes Toshiba, Vivitek, Sanyo and ASK Proxima, with a background specifically working with ProAV dealers and integrators. Proxima will focus on 5,000 to 12,000 lumen models and higher resolution for use in business, education, rental and staging and custom applications. We will focus on direct ProAV dealer and integration specialist relationships to sell our products throughout North America.
Sam Malik says, “The company and support team is ready and the new products are ready to start shipping in August to meet a strong demand for PROXIMA Projectors, we look forward to the continued success of the PROXIMA brand of products.”
PROXIMA DISPLAYS is here or you can call them at 855-899-6825. Leave a Comment
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Yamaha DXS18 Powered Subwoofer Offers Highest Output and Lowest Frequency in the DXS SeriesYamaha today announced the release of the newest addition to the DXS Series of powered subwoofers, the DXS18. Joining the DXS12 and DXS15 models, the DXS18 is spec’d with the highest output level of the series as well as the lowest frequency range capability.
Yamaha developed the DXS Series to complement its speaker lineup and add a more prominent, well-defined bottom end to their sound. The DXS18 is integrated with an improved cabinet construction, DSP processing, protection functions and crossover control. The new model adds flexible features and higher power output suitable for larger or more professional applications.
Powered by a 1020W Class-D amplifier, the DXS18 houses an 18” woofer with a 4” voice coil in a band-pass type plywood enclosure spec’d at 136 dB maximum SPL (and an extended LF response down to 32Hz). The new model features Yamaha’s DSP technology with original D-XSUB processing for additional control of the low frequency range via two selectable modes — BOOST and XTENDED LF — and a selectable crossover with three different options (80/100/120Hz) for various applications. The DXS18 also features a Cardioid Mode setting for sound systems with two or more DXS18 speakers, effectively reducing the energy directed towards the stage while increasing bass levels directed at the audience.
Built with the expectation that users will transport and use these speakers extensively, the DXS18 features advanced protection circuits in the speaker unit, amplifier unit and power supply that ensure optimum reliability and extended equipment life. The enclosure is coated with LINE-X finish, also used in disaster protection applications, giving the speaker exterior added protection from the elements. The model also comes equipped with M20 and 35-millimeter pole sockets allowing for more flexible set up, while an optional wheel kit is also available for improved portability. Yamaha also offers optional speaker covers with a functional design that provide protection from unfavorable weather conditions during outdoor performances, dusty and dirty warehouse storage and the rigors of the road.
The DXS18 lists for $1,949 and will ship in October 2015. All the specs are here. Leave a Comment
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Extron Upgrades SMP 351 Streaming Media Processors With Five Times More Internal Solid State StorageExtron just added two new models to its SMP 351 Streaming Media Processor lineup. These new models offer 400 GB of internal solid state storage to accomodate more AV content. All SMP 351 models feature five inputs, creating presentations by combining two high resolution signals, a background image, and metadata into dynamic layouts that enhance a presentation’s message. Extron’s FlexOS embedded operating system makes the SMP 351 easily-adaptable to changing requirements. Applications can be uploaded to FlexOS that empower the SMP 351 to automate system operation using control ports.
Requiring no license fees, the SMP 351 is a flexible, cost-effective media processor for delivering dynamic presentations to larger audiences. It is ideal for any environment where AV sources can be streamed live or recorded, and where multiple AV sources are combined to enhance a presentation. Organizations use the SMP 351 to communicate with staff or students who cannot be present at an event, affording all the opportunity to review and gain insight into the live experience. It can be adapted to many applications, documenting virtually any meeting, conference, or activity that uses AV sources. The SMP 351 is ideal for use in corporate, education, government, healthcare, courtroom, house of worship, and rental and staging applications.
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Audio-Technica Shipping AT2020USBi Cardioid Condenser USB Microphone Audio-Technica is now shipping its AT2020USBi Cardioid Condenser USB Microphone featuring iOS compatibility. Combining high-resolution audio with increased connectivity options, the AT2020USBi cardioid condenser microphone adds a new level of sound-quality and convenience to Audio-Technica’s USB microphone line.
AT2020USBi features include:
- Condenser microphone with digital output
- A/D converter with 24-bit/96 kHz sampling rate
- Mic gain control allows you to adjust input level on the mic itself
- Designed for podcasting, home studio recording, field recording and voiceover use
- Compatible with Windows 8, Windows 7, Vista, XP, 2000, Mac OS X and iOS
- Tripod desk stand with folding legs for secure and easily portable tabletop use
- Included USB and Lightning cables provide ready connectivity to computers and iOS devices
AT2020USBi specifications:
- Frequency Response: 20 – 20,000 Hz
- Power Requirements: USB (5V DC); Lightning (3.3V DC)
- Bit Depth: 24 bit
- Sample Rate: Up to 96 kHz
- Output Connector: Micro-HDMI
The AT2020USBi lists for $199.00 and all the detailed specs are here. Leave a Comment
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LAB.GRUPPEN Debuts Application Browser 1.2.0 Software for LUCIA Amplifiers
LAB.GRUPPEN has announced that the new version of its Application Browser configuration software for the LUCIA range of compact power amplifiers is available for immediate download on its website. The free download is offered for both Mac OS and Windows and are accessible in the Support/Downloads section of the site or by using this link.
With the new software, all six LUCIA amplifiers — including the two new 70V models — can access the full set of matrixing and DSP features, some of which were previously restricted to the premium M-suffix models that offer additional inputs and line level outputs. The common harmonized feature set now includes custom EQ on inputs, custom EQ or preset recall for each discrete output, reconfigurable GPI ports, and LAB.GRUPPEN’s exclusive ADLC (Automatic Dynamic Loudness Contouring). Each model also offers matrix mixing of all inputs to all available outputs as determined by the model’s available hardware I/O capability.
For current LUCIA 120/2 users, the software release enables a major upgrade of DSP capabilities at no extra cost, as the new features are unlocked by the software/firmware upgrade.
Here is where you can get it. Leave a Comment
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Aviom Ships the D400 and D400-Dante A-Net DistributorsAviom is already shipping its new D400 and D400-Dante A-Net Distributors. The D400 and D400-Dante A-Net Distributors are designed to distribute power and digital audio data to an Aviom personal mixing system and provide users with an easy and affordable way to get into Aviom personal mixing for live performance or recording applications.
The D400-Dante allows up to 32 Dante channels to be routed to the personal mixing system, which makes connecting to a Dante-enable digital console or audio network as simple as plugging in a Cat-5 cable.
The standard D400 has an A-Net input for those using an analog input module or a digital console card as the front end of their system, while the D400-Dante has Dante I/O instead of the A-Net input. Up to eight personal mixers can be connected to each D400 or D400-Dante’s A-Net outputs, and an unlimited number of distributors can be used when creating larger systems with more than eight performers.
The D400 and D400-Dante are compatible with both the original Pro16 version of A-Net and the new Pro16e version of A-Net, the technology driving the A360 and A320 Personal Mixers which allows multiple 16-channel banks of monitoring content to be delivered over a single Cat-5 cable. The new distributors can also be used with Aviom’s legacy products including the A-16II Personal Mixer.
If you want more details, go here. Leave a Comment
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Smart-e Debuts HDMI Extenders and SplittersSmart-e has launched a range of “cost effective” HDMI extenders and splitters that distribute signals over a single Cat6 cable, including some 4K signals. Starting at just £142 (approximately $222) for the 4K-700, a 3D compatible and HDCP compliant transmitter and receiver pair to extend HDMI, DVI or DP++, together with IR signals over a single 70-meter CAT5e-8 cable, the 4K-700. It uses HDBaseT Lite technology to extend 12 bit Deep Colour, 3D, 4K and 2K resolutions together with 1080p @60Hz. Other extenders in the family include: 4K-710, 4K-800 and 4K-810, which add RS232 and Ethernet capabilities up to 100 meters of cable.
In addition, they launched six HDMI/HDBaseT splitters starting at £178 for the 4K-TX720, just one of a collection of 4K compatible self-contained HDBaseT one input by multiple outputs capable of transmitting HDMI signals up to 4K UHD resolutions over 70 meters or 100 meters of Cat6 cable. The single HDMI input can be connected to the rear of the unit where it is split internally and fed to two outputs. Each HDBaseT connection also allows for IR signals to be received back from the receiver enabling remote control of the source device. Other splitters in the family include: 4K-TX740/780 and 4K-TX820/840/880 for two, four and eight outputs respectively which add RS232 pass-through and Ethernet capabilities up to 100m of cable.
Check out all the specs here. Leave a Comment
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Wolf Cinema Enters ProAV Market with Seven New ProjectorsWolf Cinema, a company known for high-end residential projectors, has announced an entirely new division focusing on projector for the ProAV market of business, prosumer, education and commercial environments. Starting at just $2,995 list, these seven new Wolf Cinema PRO projectors include multiple primary lens options, ample image offsets plus advanced integration capabilities with automation and control systems.
Wolf Cinema’s PRO line is spec’d to start at 4,000 ANSI lumens and extend up to 12,000 ANSI lumens, using both DLP and LCD imaging technologies. Many solutions offer multiple primary lens options, with precise lens shift and ample H/V keystone correction. Also carried over from Wolf Cinema’s home theater assortment, the company’s ProScaler MK III is available as an optional rack-mounted video processor — a useful complement when firing onto 2.35:1 CinemaScope screens, using our popular E-VariScope imaging technology.
Wolf Cinema’s PRO business and commercial projection line-up includes:
- PRO-85 – DLP Projector, 4,000 ANSI, Ultra Short Throw 2D/3D projector [0.25:1 optical throw]
- PRO-115 – DLP Projector, 4,200 ANSI, 2D/3D projector, Ultra Short [0.5:1 TD] and Extended Throw [1.39 – 2.09:1 TD] Lens Options
- PRO-415 – DLP Projector, 5,000 ANSI, 2D/3D, Five Lens Options [0.77:1 to 5.0:1 optical throw]
- PRO-715 – 3LCD Projector, 5,000 ANSI, Five Lens Options [0.8:1 to 8.3:1 optical throw]
- PRO-915 – DLP Dual Lamp Projector, 7,500 ANSI, 2D/3D, Seven Lens Options [0.77:1 to 8.25:1 optical throw]
- PRO-1215 – DLP Laser-Phosphor Illumination System, 5,000 ANSI, Four Lens Options [0.95:1 to 5.45:1 optical throw]
- PRO-1515 – DLP Dual Lamp Projector, 12,000 ANSI, Five Lens Options [0.85:1 to 4.0:1 optical throw]
The new PRO product line of projectors is available starting in August 2015 and will be priced between $2,995 and $34,995. All the detailed specs are here. Leave a Comment
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Listen Technologies Intros the Loopworks Measure SystemListen Technologies launches the Loopworks Measure system, a new induction loop measurement system, and a continuation of the Loopworks concept first launched in 2014. The Loopworks Measure systems combines a multi-platform iOS App, a self-calibrating receiver and a suite of online tools and resources.
The Loopworks Measure App and R1 Receiver are supported by the Loopworks online database and reporting tools that automate the process of collecting data, creating certification or test reports that give users direct access to support from Listen Technologies’ loop experts. Loopworks Measure brings together excellent value, high performance measurement, and ease of use to create a new end-to-end Hearing Loop measurement system.
- Measure R1 Receiver: The R1 Receiver is an audio induction loop receiver with a vertically mounted pickup coil designed to be used in conjunction with the Loopworks Measure iOS App.
- iOS device: Loopworks Measure will work with an iOS phone or tablet running iOS 8.0 or later. It requires an internet connection to set up, and to sync with the database, though is not required during testing.
- The App: The Receiver works via the App, which is available FREE from the iTunes store. The Loopworks Measure App + Receiver can be used in simple meter mode, and users can sign up for an account to access the full range of Loopworks functions and to save data or record audio.
- Loopworks: An Ampetronic‐hosted database, where all test data is stored, and data can be commented and edited into reports and test certificates.
Ampetronic will provide online training resources for the Measure platform. This includes a downloadable quick-start guide, a reference manual, a webinar introduction and a number of instructional video packages. These will all be accessible through the Loopworks portal.
The Measure R1 device can be purchased direct from Listen Technologies website. The list price is $240 and all the details are here. Leave a Comment
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Anchor Audio Ships Bigfoot Portable Audio SystemAnchor Audio is now shipping its Bigfoot Line Array portable speaker system that was announced at InfoComm. The portable, battery-operated speaker system 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 and one neodymium compression driver. It comes in a durable UV resistant enclosure and two rugged, heavy-duty 8” wheels.
It 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.
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Roland Introduces Compact M-5000C Live Mixing Console Roland’s Professional A/V division just launched the M-5000C Live Mixing Console. Measuring under 30 inches (74 centimeters) in width and weighing just 70 pounds (32 kilograms), the compact M-5000C maintains the quality and many features of the flagship M-5000, aiming it at theaters, portable churches, OB trucks/vans, touring or any application demanding power and flexibility in a small footprint.
Along with a 96 kHz sampling rate, the M-5000C has a 72-bit summing bus, newly designed, discrete analog circuitry and redundant power supply. In addition to 16 inputs and eight outputs on the console, the M-5000C also features two expansion interface slots that can accommodate REAC, Dante, MADI, Waves SoundGrid and other XI-Series expansion cards.
Control includes a 12” color touchscreen, 20 channel faders in three groups, anchor points, DCA spills, multi-function knobs and buttons and a user assignable section. Remote control software (Mac/Windows) that extends the user interface beyond the built-in GUI, resulting in flexible organization of critical pages or meters on external monitors will be available soon.
The O.H.R.C.A. (Open High Resolution Configurable Architecture) platform allows for 128 freely definable audio paths; open audio architecture supporting Dante, MADI, Waves SoundGrid, and REAC audio protocols; and audio delivery over video using SDI, DVI and SFP cabling. Built-in REAC ports support seamless integration from the console for multi-track recording/playback, Roland M-48 personal mixers and a plethora of I/O box choices to fit any need, all at 24-bit 96kHz.
The M-5000C will be available in Q4. Here are all the specs. Leave a Comment
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Aviom Intros Three New Personal MixersAviom has launched three complete personal mixing system packages, the Mix320-A Personal Mixing System, the Mix320-Y Personal Mixing System, and the Mix320-D Personal Mixing System. All three packages are available immediately, and will be sold in the US only.
Each system is built around the A320 Personal Mixer, Aviom’s most affordable Personal Mixer to date. Designed to accommodate six users live on stage or in the recording studio, each system comes complete with everything required to connect and configure the products, including mic stand mounts and Cat-5 cables.
The Mix320-A Personal Mixing System features the analog AN-16/i v.2 Input Module with 16 TRS balanced inputs as the front end of the system. The AN-16/i v.2 connects to a D400 A-Net® Distributor with supplies digital data and DC power to its eight A-Net ports. Six A320 Personal Mixers, six MT-1a Mic Stand Mounts, and seven 25-foot Cat-5 cable round out the package.
Created for users of Yamaha digital mixing consoles, the Mix320-Y Personal Mixing System includes a Y1 A-Net card to get digital audio from the mixing console into the Aviom system. The Y1 card’s A-Net output connects to a D400 A-Net Distributor, and from there Cat-5 cables connect the six A320 Personal Mixers. Mic stand mounts and Cat-5 cables are included in this system as well.
The Mix320-D Personal Mixing System has been designed specifically for use with Dante enabled consoles and audio networks. The Mix320-D includes a D400-Dante A-Net Distributor that allows up to 32 channels to be patched from the Dante network to the personal mixing system inputs.
No input device is required; simply connect the Dante network to the D400-Dante. The D400-Dante is also used to supply A-Net digital data and DC power to the personal mixers. The system includes six A320 Personal Mixers for the performers, six MT-1a Mic Stand Mounts for attaching the A320 mixers to mic stands, plus all the Cat-5e cables needed to connect the products.
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Linear Acoustic Debuts AERO.10 DTV Audio ProcessorLinear Acoustic is launching its AERO.10 DTV Audio Processor at IBC 2015 this week, claiming that it’s the highest quality processing found in the entire AERO range but at a significantly lower price point.
AERO.10 is an audio processor supporting up to ten channels of PCM audio via AES, SDI or stereo analog I/O. The AERO.10 comes equipped with a processing engine identical to those in the established AERO.100/1000/2000 products. Tools such as AEROMAX loudness and dynamics control, UPMAX II automatic upmixing and downmixing algorithms, along with ITU and EBU compliant loudness metering and logging.
Downloadable 7.5 day rolling and event-based logs include multiple ITU-R BS.1770-3 loudness measurements as well as True Peak values. The included TCP/IP remote application provides control and display of all AERO.10 system settings and processing parameters plus extensive metering of loudness from a PC located anywhere with a network connection. The remote also delivers up to 5.1 channels of audio, enabling users to audition signal quality anywhere link bandwidth permits. An HTTP server is included for simple get/set control of all parameters and retrieval of status and logging information. The AERO.10 has a simple LCD front panel GUI for local control, and a powerful headphone output is included for checking audio and adjusting processing. New with AERO.10 are +4dBu balanced stereo analog inputs and outputs, useful for analog plants or bridging between analog and digital paths. The lightweight and rugged AERO.10 fits in 1RU.
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Audio Video Furniture’s Mobile Display Stand Designed Accommodates SMART kapp 84
You know how most monitor stands and carts that have wheels have casters? Then you also know that casters don’t perform well on carpets. Well, AVFI’s SYZ84 is a mobile stand with modern ball-bearing wheels that allow this unit to be rolled on any surface. This matters as the old-fashioned caster-way is dangerous and just isn’t built to push them safely because of the weight (and ultimate center-of-gravity) of most displays.
Some great design features include the column has grommets both on the top and bottom for passing cables inside the unit, The base is built of steel rather than aluminum so that the center-of-gravity is low to the floor, the monitor bracket that attaches to the column cane be moved to accommodate varying heights for different applications and it has the same accessible base design (that many of the AVFI products have) to allow access to the monitor without tripping over support legs. And, this product was specifically designed to accommodate the SMART kapp84 capture board (model SYZ84-K) as well as 40″ – 65″ displays including SMART kapp IQ 55″ and 65″ capture board (model SYZ84-S) and 70″ – 80″ displays (model SYZ84-XL).
This SYZ84 is available in white or black metal in two configurations, SYZ84-K (white only) and SYZ84-S/XL (white or black). The entire stand is 68” high, 22” deep and 44” wide. More information is here. Leave a Comment
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Studio Technologies Introduces Portable Truck-End Unit for its Live-Link Mini Camera Interface SystemStudio Technologies has introduced a new, portable truck-end unit for its Live-Link Mini Remote Camera Interface System. Broadcasters now have three options to interconnect with the system’s compact camera-end unit, including two rack-mount truck-end units and the new portable truck-end version. Each allows a system to be optimized to get the right “fit” for a wide range of applications.
Live-Link Mini provides all the resources needed for a range of single-camera live events. Interconnected through one single-mode optical fiber, the system delivers the same, solid performance whether the camera-end and truck-end units are hundreds of feet or miles apart.
Housed in a lightweight aluminum enclosure that includes an integrated carry handle, the portable truck-end unit weighs less than four pounds, making it well-suited for “run-and-gun” operations in which the quick transport and setup of broadcast equipment is essential. Highlights of the unit include dual SDI outputs (active “mults”), two analog de-embed audio outputs and dual-channel party-line (PL) intercom support. The PL intercom interface can provide power for user belt packs or can be connected to an existing powered system.
For flexibility, the portable truck-end unit can be powered by two DC power sources. A four-pin XLR connector on the front panel allows a 12V DC power supply to be connected. A battery mount, located on the back of the unit’s cover, is compatible with industry-leading Anton/Bauer batteries. An optional V-Mount battery mount can be provided to allow for use of other broadcast-standard rechargeable batteries.
The Live Link Mini Remote Camera Interface System offers one SDI path in each direction, supporting a wide range of SD-, HD- and 3G video signals making it work as a camera extender system for electronic news gathering (ENG), uplink truck and specialized broadcast, corporate and education applications. For quick and reliable field deployment, the camera- and truck-end units interconnect using one single-mode optical fiber. Standard optical, video and audio connectors are used throughout. Unlike other systems from the Live-Link family, the Mini’s camera-end unit relies on the associated camera or camcorder to embed on-air audio signals into audio group 1 of the source SDI signal.
Check out all the details here. Leave a Comment
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RCF Debuts New VMAX Series of Passive SpeakersRCF is shipping its new lineup of passive solutions designed for the live sound market. The VMAX Series offers dedicated models with focused horn directivity designed for both portable and permanent situations where high SPL and long-term durability are primary specs.
The VMAX Series includes a 6”, 10” and 15” (all two-way cabinets), a dual 15” two-way cabinet, plus dual 18” and dual 21” subwoofers. And, a new V6-L dual 6” line array module is schedule to start shipping by the end of the year.
The VMAX Series incorporates RCF design and technologies including Precision Hyper-Vented woofers, high power and low distortion neo compression drivers, Constant Matching Design (CMD) of transducers with lower crossover points to maximize efficiency and output, CMD Coverage Matching Design providing consistent horizontal and vertical pattern control and their LICC Crossover Systems matching amplification and control system.
RCF claims the VMAX Series uses larger voice coils with inside/outside windings for better heat dissipation and mechanical resistance, high performance matched compression drivers enabling RCF to lower the crossover point for improved sound quality and musical clarity, mid-bass transducers providing accurate frequency response linearity with very low distortion, and designing cabinets of compact dimensions to the acoustic output.
The cabinets are a reinforced construction birch with coated weather resistant polyurea paint, free from any spurious vibrations. The grilles is an epoxy coated heavy duty steel grille, both cosmetically attractive and strong to handle the rigors of both permanent and portable use. The cabinets are multi-functional, with the two-way cabinets including pole mount cup and a number of M10 fly-points for permanent installation.
All the detailed specs on each model are here. Leave a Comment
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CAST Offers Lighting Designers Simplicity with wysiwyg Perform and wysiwyg DesignFor lighting designers looking to switch to wysiwyg lighting design and previsualization software for special projects, CAST Group announces the introduction of wysiwyg Design and Perform three and six months leases.
- wysiwyg Design: Created specifically for live events pros wanting to use an all-inclusive production design tool, wysiwyg Design Suite offers a customized 3D CAD application with complete equipment libraries for every shippable lighting product, realtime lighting design simulation, rendering engines and an integrated paperwork database. wysiwyg Design allows specifiers for the live event to explore the designs in a virtual environment and use the available tools to create lighting concepts and proposals
- wysiwyg Perform: wysiwyg Perform is an all inclusive end-to-end solution that offers an additional simulation component. Console, media server or compatible offline editor can communicate via protocols such as DMX, EDMX, Art-net, sACN, CITP, Motion Control Universes, Pangolin Laser System, Sollinger Laser Animation, StrandShowNet or SandNet can be connected to the computer and wysiwyg Perform, which will simulate the exact effect of the console or editor’s output in realtime.
Here are the specific details.
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