Volume 9, Issue 9 — September 21, 2015
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DocuDrama
By Joel Rollins rAVe Columnist
Well, fall is upon us, and along with it comes the fall meeting season. For those of you in the rental and staging portion of the industry, this is a time of year when clients who have been away for the summer suddenly call in a panic to book a meeting for tomorrow (if you are lucky) or for this afternoon.
Along with a return to business in the autumn, we in the industry usually experience new requirements for those same sudden meetings. Not only are the manufacturers and distributors introducing new products that our clients will suddenly demand, mostly because they have seen them in airline magazines, but we usually also experience a wave of new government regulation. Here in beautiful southern Connecticut, our clients are mostly involved in the finance and banking worlds. Back in 2008, our industry was disturbed by simple government statements discouraging the financial industry from traveling for meetings.
(Side note: If you all remember, Las Vegas was a huge target of several senior government speeches even though, as we all know, Las Vegas is the least expensive city in the United States in which hold a large meeting.) Since then, although they have lightened up on our friends at the casinos, the federal government (in an effort to decrease the chances of another financial decline and to increase the legal compliance in other industries) has issued new compliance documentation requirements for many industries.
However, I was speaking yesterday with a colleague in Louisiana whose clients are mostly petroleum firms and they are experiencing the same autumn phenomenon this year that we are with regards to new government regulation. Most of this revolves around how we document a meeting.
Documentation of public events once had fairly light requirements. Often, simply making an audio recording, or at most a single camera videotape, fulfilled any requirements for compliance documentation.
However, today we face the challenge of the connected meeting. In other words, we are challenged by the fact that meeting content, and even meeting presenters, are not all in the same room or even in the same time zone. The location and time factor is complicated by the fact that there are also a number of ways people participate in these conferences. Besides those who are present (and can therefore easily be recorded), we can have participants via audio conference, video conference, email, instant messaging and collaboration software.
Whenever a change in regulation (or just accepted practices of an industry) occurs, it can, for a time, discourage people from undertaking the kind of activities that are regulated while they attempt to deal with the new requirement. So it behooves us as an industry to do some work to deal with it for them. And, since the term “AV professional” is generally used to refer to someone who gets paid for their efforts, it behooves us to go one step further than advance investigation, and to be prepared with a billable service offering.
So how does one offer comprehensive documentation of an event with these kind of multi-point characteristics? The answer to that will depend very much on your clients and their requirements, but the following are a few of my favorite thoughts to get you started:
Simple and inexpensive:
Remember, here, that we are talking about documentation and not production. So one easy and inexpensive method would be the use of a multi-track video recorder, such as a security recorder, where sources such as audio tracks, a camera, and the various computers that are used in a meeting for presentation and messaging purposes can all be plugged into a single recorder for the purposes of recording them in a single, time coherent recording. This can take some juggling of tracks and settings to produce a reasonable quality recording, and can be complicated by the fact that all the sources must become compatible with the inputs of the recording system (often now HDMI). However, if you are in the rental business, this can produce some additional hardware rentals and since it is for documentation purposes it can satisfy many clients needs to completely document the meeting in real time.
Slightly more difficult, more comprehensive:
As my readers will know, I am a big fan of collaboration software, with my personal favorite being Cisco’s WebEx. One of the virtues of these types of software packages (certainly not limited to WebEx; there are several alternatives) is that they can record in real time everything that happens during a meeting from video to graphics and from presentations to instant messages. So I have been experimenting lately with plugging everything into a WebEx client for documentation purposes, even those elements that are taking place in the room, and computers that are being used for presentation locally. This allows me to then send a link to the meeting to the meeting’s organizer, often fulfilling their documentation needs.
Really comprehensive while more expensive:
There are a number of comprehensive conference recording systems on the market that can produce outstanding documentation. One of these is Sonic Foundry’s Mediasite product, which can (with knowledgeable setup) produce recordings of all of the elements that we have talked about, producing documentation of extremely high quality, such that it can also be used for later educational purposes or even, in some cases, for post-production. There are a number of companies marketing recording products like this, and I mention the Sonic Foundry product simply because it is one that I have worked with and had excellent results. All of these systems require significant operator training for best results, but if your clients are in an industry type that requires that they comprehensively document strategic meetings, the investment in this type of product can be one that pays off well into the future.
One final caveat: All of these systems requires significant advance preparation, both on the part of the AV contractor and on the part of the client to ensure that on the day of the meeting all sources are compatible. A suggestion to those of you in the industry: This is labor you need to charge for, and a trial run should be done, because an offer to produce compliant documentation carries with it a responsibility to make sure that it is done right.
But that’s exactly what we are here for, isn’t it? Leave a Comment
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Blackmagic Design Ships New 3G Mini ConvertersBlackmagic Design has started shipping its line of 3G Mini Converters — all at $195.The 3G Mini Converters can convert between all SD and HD formats and frame rates, and feature 3G-SDI technology that makes them compatible with all existing SD and HD equipment. And, all of them include features such as redundant SDI inputs, AES and Balanced Analog Audio, upgradability via USB and some models include down conversion for working with HD on SD equipment.
New 3G Mini Converter Model Summary:
- Mini Converter SDI to HDMI converts from SDI to HDMI in all SD and HD formats up to 1080p60! Audio is embedded into the HDMI output and output separately as balanced analog or AES/EBU audio. Mini Converter SDI to HDMI is perfect for using HDMI televisions and video projectors as SDI monitors for all SD and HD formats.
- Mini Converter HDMI to SDI converts HDMI to SDI in all SD and HD formats up to 1080p60. Audio can be embedded from HDMI, balanced analog or AES/EBU inputs. Mini Converter HDMI to SDI is ideal for adding an SD or HD-SDI output to computers and cameras that have HDMI connections.
- Mini Converter SDI to Analog is perfect for converting from SD and HD-SDI to analog component, s-video or NTSC/PAL composite. Mini Converter SDI to analog supports all SD and HD input formats up to 1080p60 and includes a down converter for when you need to convert from HD to standard definition analog formats such as s-video and composite. Audio can be de-embedded to balanced analog or AES/EBU. Mini Converter SDI to Analog is ideal for converting to older analog equipment.
- Mini Converter SDI to Audio de-embeds audio from any SDI source in SD and HD formats up to 1080p60. Audio is output on 1/4″ connectors for balanced analog and AES/EBU audio output to equipment such as mixers, analog decks, audio monitors and more.
- Mini Converter Audio to SDI embeds audio into any SDI source in SD and HD formats up to 1080p60. Audio is input as balanced analog or AES/EBU using 1/4″ connectors from equipment such as mixers and analog decks.
- Mini Converter SDI Distribution distributes a single SD or HD-SDI connection up to eight different SDI outputs at the same time. You get a true 3G-SDI design with fully re-clocked outputs and automatic switching between all SD and HD formats up to 1080p60. You also get support for all ASI, ancillary and embedded audio formats.
All of them can be seen here. Leave a Comment
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BALD Launches Manual Kickstand for Large DisplaysHave you ever had a customer ask for a large touchscreen that’s tiltable but could still be transportable for trade shows, rentals and lift-assisted work surfaces (like what architects have)?
Well, a small company called BALD Technologies has what they are calling a simple to use and transportable two-piece product that included a near edge to edge, permanently mounted frame married to a multi-port, brushed aluminum base secured by dual, quick release pins.
Features:
- Power is not required to use/manipulate
- Pre-determined ports allow for 90°, 75°, 60° and 45° tilt
- Ultra wide, low profile, brushed aluminum footprint delivers an engineering showpiece
- 20” deep base allows the use on standard depth desks/work surfaces
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Joseph Electronics Releases DFT-16 for High-Density HD Signal Transport Over FiberJoseph Electronics (JE) today announced the DFT-16, the newest member of its Digital Fiber Transport (DFT) Series of signal-transport solutions. Designed for low cost and minimal rack space, the DFT-16 can be customized to accommodate a variety of production environments, especially electronic newsgathering vehicles, small stadiums, and anywhere else that requires point-to-point HD transport.
The DFT-16 can handle up to 16 channels of 3G/HD-SDI, ASI or MADI in just one RU and over just one single-mode fiber. The direction of the signal paths are user-configurable in pairs of two in order to meet any send/receive requirements, and redundant power supplies are standard for ensuring a complete backup of critical paths. In addition, full-fiber redundancy with automatic fail-safe switchover is available as an option for all DFT Series frames.
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Symetrix Adds Trio of New Control Options for SymNet DSPsFollowing the launch of SymNet Composer 4.1, Symetrix has added to its control and command offering for SymNet open architecture Dante-scalable DSPs with the addition of three new control options.
The first of these options, the ARC-3 wall panel remote, was introduced to the systems integrator community at ISE 2015. Arriving in a single SKU with both surface- and flush-mount capabilities, ARC-3 incorporates a brand new capacitive touch interface with LED feedback, as well as a multi-lingual graphics-capable OLED display that is expected to resonate strongly with Symetrix’ global customer base.
The second new option is the ARC-WEB browser-based dialler, which allows owners of iPhones, iPads, Android phone s, tablets and network-enabled computers to control audio via embedded web servers running on SymNet Edge and SymNet Radius DSPs.
Following on from its earlier update of Crestron modules to support the 2- and 3-Series, Symetrix adds multiple new control options for use with room automation systems available from AMX by Harman. Now available, the modules are designed to deliver accommodation of all pre-existing AMX systems as well as those currently shipping.
Symetrix is online here. Leave a Comment
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Clear-Com Debuts 2.4GHz FreeSpeak II Wireless IntercomClear-Com’s newest FreeSpeak II roaming wireless solution debuted last week. This is not a replacement of the 1.92 GHz system as the FreeSpeak II 1.9GHz system is designed to be used in countries where the 1.9GHz band is prohibited. The FreeSpeak II 2.4GHz offers identical capabilities as the 1.9GHz, and can operate as a standalone or an integrated wireless intercom solution with Clear-Com’s Eclipse HX matrix system.
Although the FreeSpeak II 2.4GHz version uses a separate yet similar set of beltpacks and transceiver antennas compared to the 1.9GHz version, the same base station or integrated matrix solution can co-operate with a mix of 1.9GHz and 2.4GHz beltpacks and antennas; thus increasing both the quantity of wireless users and cell roaming area.
When using the base station, up to 20 full-duplex wireless beltpacks using either or both 1.9GHz and 2.4GHz bands can be connected. In an integrated Eclipse HX matrix setup, as many as 50 1.9GHz and 40 2.4GHz (or 25 1.9GHz in North America plus 40 2.4GHz) full-duplex wireless beltpacks can be used at the same time by strategically placing up to 20 or more distributed remote antennas to create an expansive roaming coverage zone. These beltpack users are then able to directly communicate with any other remote or local matrix panel or other wireless or wired beltpack user who is on the Eclipse HX Matrix System network.
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Bose F1 Model 812 Flexible Array Loudspeaker and F1 Subwoofer Both Ship Bose Professional announced the availability of the F1 Model 812 Flexible Array Loudspeaker and F1 Subwoofer, the latest additions to the company’s range of portable P.A. offerings. Designed to serve an even broader set of applications than L1 systems, the F1 Model 812 is the first powered portable loudspeaker that lets users optimize sound by creating up to four different vertical coverage patterns. Offering exceptional power and clarity, the F1 system provides versatility for a wide range of applications and venues, easy setup, aesthetically pleasing design, and rugged durability. The F1 system is an ideal choice for live music, DJ, corporate AV, house-of-worship, AV rental and general P.A. applications.
With the F1 system, sound can be optimized for playing at floor level, on stage or facing raked seats or bleachers. To control the vertical coverage pattern, users simply push or pull the array into position to create “Straight” (tightest vertical control, for floor-level audience coverage), “J” (adjust vertical splay down, when P.A. is placed on stage), “C” (adjust vertical splay up and down, to cover extreme raked seating), or “Reverse J” (adjust vertical splay up, e.g. for bleacher seating coverage) dispersion patterns. Once set, the system automatically adjusts the EQ to maintain optimum tonal balance for each coverage pattern.
Engineered with an array of eight Bose proprietary 2.25-inch drivers, 100-degree horizontal waveguides, a high-powered 12-inch woofer and a lower crossover point, the F1 Model 812 loudspeaker (26.1″ H x 13.1″ W x 14.6″ D; 44.5 lbs. [664.66 x 334.3 x 372.5 mm; 20.2 kg]) delivers high SPL performance while maintaining vocal and midrange clarity that’s dramatically better than conventional loudspeakers. For extended bass response, the optional Bose F1 Subwoofer (27″ H x 16.1″ W x 17.6″ D; 55 lbs. [688 x 410.16 x 448.5 mm; 24.9 kg]) packs all the power of a larger bass module into a more compact design. The loudspeaker and subwoofer have a combined 2,000 watts of power (1,000 watts each), able to fill nearly any venue with immersive sound. A Bose proprietary mounting stand for the loudspeaker is integrated right into the body of the subwoofer, making setup fast and easy. The stand even includes cable channels to neatly hide the wires. Additionally, the loudspeaker and subwoofer feature strategically placed handles for stress-free transportation (the system easily fits in a car), made with highly durable materials to ensure years of reliability.
In addition, the F1 Model 812 has been designed with features to facilitate fixed installations through threaded inserts and accessory pan and tilt and yoke brackets.
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Video Devices Ships PIX-E5H Video Devices is now shipping the PIX-E5H, a 4K recording monitor equipped with HDMI-only inputs/outputs (no SDI). In conjunction, Video Devices also announced the release of Firmware Version 1.04 for the PIX-E5 and PIX-E5H. With v1.04, both the PIX-E5 and PIX-E5H support HDMI recording triggers for Sony and Canon cameras. The update also adds the 500GB Samsung 850 EVO mSATA solid-state drive to the approved media list, for use in the removable USB-based SpeedDrive. In addition to other enhancements, firmware v1.04 increases the previous HDMI audio inputs and outputs to four and eight channels, respectively.
Both of the five-inch 1920- x 1080-resolution, 441-ppi PIX-E5 and PIX-E5H monitors include a full suite of monitoring tools and the ability to record 4K edit-ready files to the SpeedDrive. Designed as an HDMI-only video alternative, the PIX-E5H records a range of Apple ProRes codecs from Proxy to ProRes 422 HQ. The PIX-E5, which comes equipped with both SDI and HDMI I/O, has the added ability to record the highest quality Apple ProRes 4444 XQ. Included in the suite of monitoring tools is TapZoom for focusing speed, false colors and zebras to help set exposure, guide markers for framing, and a range of scopes, including waveform, histogram, and vectorscope.
The monitors are enclosed in die-cast metal housings and have an LCD that uses Gorilla Glass 2.
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Atomos Launches Ninja Assassin for 4K/HD Camera
In 2014, Atomos did actually revolutionize the HD to 4K transition with the announcement of Shogun. Now comes their Ninja Assassin – combining professional 4K/HD recording and a 7″ 1920×1080 monitor (with playback and editing) in a compact add-on to existing DSLR, mirrorless and video as well as cinema cameras.
The Ninja Assassin claims the screen size, screen resolution, advanced recording capability and scopes of the Shogun model, but forgoes the 12G/6G/3G-SDI connectivity, RAW recording functionality, in-built conversion, Genlock and balanced XLR audio connections. The main benefit – a 10% weight reduction to an incredible 430g and an incredible $1295 price point including Soft Case, SSD Caddy and AC Adaptor. This targets 4K DSLM (Digital Single Lens Mirrorless) cameras such as the Sony a7s and a7RII, Canon XC-10 and Panasonic GH4 bypassing their known limitations such as compressed MPEG/h.264 recording, 4:2:0 color compression, 30-minute time limits and the disadvantage of monitoring on a small 3″ screen.
The Ninja Assassin has HDMI focused audio/video connections and ships with a brand new vibrant red Armor Bumper for increased protection. The Shogun of course is still the flagship product for high-end production that require SDI Raw, Balanced XLR, Phantom 48V and HDMI/SDI conversion.
Ninja Assassin Key Features:
- Record more accurate, higher resolution colors (4:2:2, 10-bit) direct to visually lossless editing formats (the only brand to do both ProRes and DNxHR).
- No Record time limits – Recording externally to the camera puts an end to the traditional 30-minute recording barrier and allows larger media capacity.
- Professional shot setup you can trust on a calibrated high resolution 7″ monitor with over 320 pixels per inch.
- Anamorphic de-squeeze, the perfect companion for Panasonic’s GH4 and affordable Anamorphic lenses/adaptors.
- Easy to use professional monitoring tools including Focus Peaking Assist, 1:1 & 2:1 Zoom with silky smooth image pan & scan, False Color (skin tones), Zebra and Waveform/Vector Scopes for in-depth image analysis.
- Go back in time with Pre-Roll cache recording, up to 8 seconds of HD or 2-3 seconds of 4K so you’ll never miss that shot
- Video Time-lapse with up to 10 different sequences, speed ramp and scheduled start and end times over 24 hrs.
- 3D LUT’s allow you to create a specific signature look or even recreate classic film stock instantly, with 50:50 split / LUT on / LUT off view, you can compare effects and make creative decisions on the fly.
- Playback for instant review and editing on the fly with a choice of 10 tags in both record and playback mode. Our NLE support means that whether you are Mac, PC, Apple, Avid or Adobe we support you.
The Ninja Assassin is available now and here’s the list:
US: $ 1295 ex. TAX
EU: € 1295 ex. VAT
GBP: £ 899 ex. VAT
AUD: $ 1899 Inc. GST
Please view the fill list of resellers here. Leave a Comment
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TASCAM Announces Celesonic US-20×20 TASCAM’s new Celesonic US-20×20 packs 20 channels of USB 3.0/2.0 connectivity analog and digital I/O into a single rack space. Eight Ultra-HDDA microphone preamps provide 56dB of gain and high headroom and up to ten channels of digital I/O are included on ADAT and S/PDIF connectors, with word clock also provided for use with external clocks like TASCAM’s CG-1000. MIDI I/O allows use with controllers and synthesizers, and sample rates up to 192kHz/24-bit are supported. A built-in DSP mixer includes parametric EQ and compression on every channel and a stereo reverb send for great-sounding monitor mixes. The DSP mixer can also be used as a live mixer or submixer with computer control. The US-20×20 has three modes: audio interface, digital mixer, and 8-channel digital mic preamp.
- Features of the $499 Celesonic US-20×20 include:20-in / 20-out USB Audio Interface
- Eight Ultra-HDDA Microphone preamps with 56dB of gain and high headroom
- USB 3.0 or 2.0 connection to computer (USB 3.0 requires Windows 10 operating system)
- Supports up to 192kHz / 24-bit audio (at reduced channel count)
- ADAT optical multichannel digital input and output supports S-MUX (8 ch @ 48k, 4 ch @ 96k, 2 ch @ 192kHz)
- Stereo S/PDIF digital in and out
- Word clock in and out
- Two headphone outputs with 70mW/ch output power
- MIDI input and output
- Class-compliant driver supports iOS connection over USB 2.0
- Includes both angled bio-cell side panels and rack ears
- Built-in DSP mixer with parametric EQ and compression per channel, stereo reverb on send/return
- Dedicated power supply included
- Three operation modes: audio interface/ mic pre/ mixer
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Sennheiser’s New EK 6042 Two-Channel Camera Receiver Works With Both Analog and Digital TransmittersSennheiser just unveiled a new slot-in camera receiver that redefines compatibility: the EK 6042 is a true-diversity, two-channel receiver that can work with both analog and digital Sennheiser transmitters across a bandwidth of 184 MHz. Designed for Sennheiser’s Digital 9000 series, it and can operate with all analog transmitters that feature Sennheiser’s HiDyn plus or HDX companders. The receiver will become available in spring 2016.
The camera receiver chooses its own operating mode depending on the transmitter, and also selects the appropriate bandwidth and frequency in the UHF range between 470 and 654 MHz. As a true diversity receiver with four separate receiver circuits, the EK 6042 is extra-reliable, even in difficult RF environments.
The EK 6042 can be combined with either a 15-pin adapter to slot directly into Sony cameras, or a 25-pin adapter for Unislot- and SuperSlot-compatible devices.
For camcorders without an audio receiver slot, a special backpanel adapter for the EK 6042 is available as an accessory. If the camera does not supply power to the receiver, a “piggyback” power adapter can be attached to this housing and fitted with two hot-swappable BA 61 battery packs.
The EK 6042 camera receiver will become available in spring 2016. Here are the details. Leave a Comment
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RTW Releases New Updates for Loudness and Mastering ToolsRTW is unveiling its new plug-in version 3.0 for its popular Masterclass plug-ins, Mastering Tools and Loudness Tools. This new update will be launched this week at the IBC show in Amsterdam.
RTW’s Masterclass Plug-ins provides RTW meters as standard-format plug-ins for Windows and Mac OS. With this new update, the software now adheres to SAWA and TASA cinema loudness standards and its window and instruments are modified to be freely scalable. In addition, Mastering Tools now supports a 12th octave RTA. Version 3.0 also comes with RTW’s newly developed USB connect software, which allows users to feed audio directly out of a DAW application via USB from any channel to a TM3-Primus hardware device. This software enables users to have a dedicated hardware meter at their fingertips.
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Wisycom Unveils MTP41S Pocket Wireless Transmitter Wisycom has launched the MTP41S Pocket Wireless Transmitter – a pocket transmitter designed for professional wireless microphone applications. The biggest feature added to the MTP41S is the integrated hardware limiter. The limiter acts as a variable attenuator maintaining a distortion less than three percent, without lost quality. These features have been added to standardize performance in Wisycom’s body-pack transmitter product line.
The MTP41S presents users with up to 232 MHz bandwidth in 470/798 MHz range, offering a wide range of frequency options. Setup is easy and fast via an OLED display, a gain/frequency button and a ‘joggle’ selector. The miniature design of the MTP41S features flexible PCB (no connectors) for extended reliability, and an ultra-light metal alloy body. It also offers user-selectable multi-companding systems: ENR (noise optimized) or ENC (voice optimized). Power options include one AA Alkaline or rechargeable NiMH or Lithium battery.
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TASCAM Premieres DA-6400 64-Track RecorderTASCAM’s DA-6400 is an all-new 64-track recorder that records to an internal SSD drive caddy for live and event recording. Professional I/O options like MADI and Dante position it for live recording, event capture, or as a backup for critical DAW sessions. Available with a single or dual/redundant power supply, the DA-6400 is an unbeatable option for professional remote recording.
The $3499 DA-6400 records 64 tracks at 48kHz/24-bit or 32 tracks at 96kHz/24-bit. Included on the rear panel are SMPTE timecode, word clock, RS422, parallel and Ethernet connections.
Included with the DA-6400 is an AK-CC25 hot-swappable caddy containing a 240GB TASCAM solid-state drive. The caddy includes a USB 3 jack for stand-alone use — simply hand the drive to the client to offload the BWAV files into their DAW session. The DA-6400 records 64 tracks at 48kHz/24-bit or 32 tracks at 96kHz/24-bit. Included on the rear panel are SMPTE timecode, word clock, RS-422, parallel and Ethernet connections.
As mentioned earlier, I/O options for the DA-6400 include the IF-MA64/EX interface card, with both coaxial and optical MADI connections. This card includes a redundant coaxial connection so that MADI is passed through even if power is lost, making it an ideal backup recorder for DAW sessions. Other I/O options include the lower-cost IF-MA64/BN coaxial MADI card, IF-DA64 Dante card, and IF-AE16 AES/EBU card, with more to come, according to TASCAM.
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AKG Intros MicroLite Series Ultra-Miniature Microphones AKG, a brand owned by HARMAN, just launched the MicroLite series of miniature wearable “reference” microphones — including a lavalier, ear-hook and headworn options.
The LC81 MD is the smallest cardioid lavalier microphone on the market (a diameter of 4.8 millimeters, a length of 10 millimeters and a weight of 2 grams). The microphone’s sensitive cardioid polar pattern picks up a wide range of frequencies and provides flexibility in getting the best sound from the source. It’s available in four colors.
The LC82 MD omni-directional lavalier microphone has a diameter of 3 millimeters and a length of 6.5 millimeters, making it one of the smallest omni-directional microphones in the world, according to AKG. Ideal for musicals, theater, churches, broadcast and large-format presentations, the LC82 MD also ensures that moisture and makeup won’t dampen a performance. Like the LC81 MD, the LC82 MD is available in four colors.
Similar to their lavalier counterparts, the EC81 MD and EC82 MD ear-hook microphones provide additional options but it’s designed for theater, broadcast, musical performances and conferences. Each microphone offers a flexible ear-hook and adjustable boom length for comfort, while users can choose between a cardioid (EC81 MD) or omni-directional (EC82 MD) model. The EC82 MD also features a highly moisture-resistant design. Both microphones are available in two colors.
For those who prefer an even more traditional fit, the HC81 MD and HC82 MC omni-directional headworn microphones features ear-hooks and an adjustable boom. Each microphone is available in two colors, and the HC82 MC features a moisture-resistant design.
All MicroLite microphones feature a cable with a Microdot connector, which is compatible with a variety of different connections, as well as all major manufacturers of wireless microphone systems. This provides the flexibility to integrate the MicroLite microphones into a variety of environments, and customize the system for optimal performance.
A variety of accessories are also available with the MicroLite series, including wire-mesh protection caps, foam windscreens, phantom power adapters, lavalier clips, and perspiration and makeup protectors. More information is here. Leave a Comment
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Extron Ships XTP CP 4i 3G-SDI BoardThe Extron XTP CP 4i 3G-SDI board provides four inputs for connection of 3G-SDI signals into any XTP II or XTP CrossPoint matrix switcher. Each input features automatic equalization to optimize signal quality over long cable runs, plus buffered loop-throughs with reclocking to support local monitors or additional distribution needs. Also, four analog stereo audio inputs offer embedding capability and two channel AES audio extraction allows flexible audio management and breakaway audio switching. The XTP CP 4i 3G-SDI supports signal rates up to 2.97 Gbps, and is ideal for connection of remote PTZ cameras and other broadcast video sources in professional applications such as videoconference environments and live events.
Other features include:
- Accepts 3G‑SDI/HD‑SDI/SDI signals up to 2.97 Gbps
- Automatically adapts to SMPTE and ITU digital video standards for 3G‑SDI, HD‑SDI, and SDI
- Buffered 3G‑SDI/HD‑SDI/SDI input loop-throughs
- Input equalization and reclocking on buffered loop‑throughs
- Audio breakaway enables independent audio and video switching
- Immunity to pathological signal patterns
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Cosmic Truss Adds to U-Torm Product LineThe U-Torm system from Cosmic Truss has an expanded range offering even greater flexibility in creating hanging positions for lighting, video projectors and other equipment.
Added to the system is the new U-Torm 100 and U-Top 100 which have been built to accommodate larger pieces of equipment including high output moving lights, larger loudspeaker, and video projectors and other AV equipment. With an open inside width of 39.3 inches / 1 meter, the U-Torm 100 uses the same simple and fast rigging techniques that make it suitable for both permanent and temporary or touring situations.
Allowing continued versatility for any designer, the U-Torm 50 and U-Torm 100 can be configured together in a multitude of different set-ups, and customized add-on’s can be created using standard off the shelf product from Cosmic Truss’ extensive range of adaptors and pipes.
As a system, the U-Torm is a new, flexible solution to the problem of suspending drop fixtures and finding tormentor positions, in a completely modular solution. Designers across the country have been finding innovative uses for the system on everything from large scale TV shows, festivals, corporate events and in fact anywhere where they needed a bit more flexibility.
All U-Torm brackets and components are available in a natural aluminum, or black finish as standard, but custom colors can be provided on request. All the details are here.Leave a Comment
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K-array Launches Coaxial SpeakerCoaxial systems have the ability to cumulate low and high frequency outputs on all positions of the off-axis to transcend into a point source. This helps combat uneven frequency response in the crossover region especially close to the loudspeaker, establishing coaxial devices as the optimal solution for near field applications where pressure is needed upfront.
However, a significant detractor of a traditional coaxial device is the reduction of high frequency dispersion when frequency increases, which K-array claims to have addressed in their KX12. The KX12 has the flexibility to be adjusted to any desired incline as a single array element.
And, K-array claims it maintains a balanced dispersion pattern at all frequencies on the axis through a horn with an adjustable orientation.
Consistent frequency and SPL at any point in the coverage area can be expected from the fixed dispersion, 100° by 30° horn. The ability to rotate the horn and select between a more narrow, vertical coverage or a wide, horizontal coverage based on the needs of the event, install, sound design, etc is one of the biggest advantages the KX12 holds.
The exceptional coverage provides the freedom to spread out the setup of the system and even decrease the amount of speakers needed making the KX12 one of the most useful tools to an installer. Additionally, dedicated accessories assist in the set up of joining, flying and stacking the speaker, making it a perfect line array component. The KX12 can be flown with up to 8 units with a safety factor of 7:1 to form a line array in which each speaker can be individually adjusted with a different horn position to put sound farther and wider then a typical line array.
Its compact, steel chassis offers maximum rigidity in a minimum size. The speaker delivers a continuous SPL of 127 dB and has a frequency range of 150 Hz to 18 kHz. It is compatible with all K-array KMT subwoofers because of the dedicated presets stored on board every K-array amplifier. With powered subwoofers that maintain the same digital editing features of all K-array active subwoofers, the KRX systems feature an integrated touch screen, providing intuitive control over the main DSP functions, such as input/output levels, signal routing, offset delays for subwoofer and mid-high speaker output (up to 12m each) and overall system delays (up to 330m). All DSP functions, including EQ, can also be controlled remotely via software through USB or RS485 (3 pin XLR).
The KRX202 is the smallest of these three new systems and is composed of two KX12 speakers coupled with a pair of KMT18 18” subwoofers and includes an extendable pole and proper joining and stacking hardware. Possible applications are DJ sets, clubs and anywhere a lot of pressure is needed close to the speakers.
The KRX402 is the middle range system that delivers more pressure and a more extended bass response than the smaller KRX202. It is comprised of four KX12 speakers paired with two 21” KMT21 subwoofers.
The largest of the three systems is the KRX802. With six KX12 speakers combined with two KMT218 dual 18″ subwoofers, the system converts into a line array that delivers maximum SPL, very low frequency and best bass response. No longer a point source, the KRX802 covers larger distances with higher pressure in larger venues.
All three can be found here. Leave a Comment
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