Friday, June 13, 2014
Kenton Cultivates More MIDI Connections With New GPI-Compatible Converter
Bi-directional GPMX-16 comes with 16 GPI inputs and 16 GPI outputs arranged across four standard 9-pin D-sub connectors
Kenton has introduced the GPMX-16, a MIDI to GPI (and GPI to MIDI ) converter that allows any GPI-equipped device to “talk.”
Background: commonly called GPI (General Purpose Interface), IEEE-488 is a short-range digital communications bus specification that dates back to the late 1960s for use with automated test equipment. While still used for that purpose today, it has since been the subject of several revisions.
As a standard contact closure format used in broadcast-level post-production, it allows computer-based editing equipment to synchronously “start” at the same time, for example. Now any such equipment can be integrated into commonplace MIDI (Musical Instrument Digital Interface) setups with the new GPMX-16.
The bi-directional GPMX-16 MIDI to GPI and GPI to MIDI converter comes with 16 GPI inputs and 16 GPI outputs arranged across four standard 9-pin D-sub connectors — sockets for inputs (labelled GPI 1-8 IN and GPI 9-16 IN) and plugs for outputs (labelled GPI 1-8 OUT and GPI 9-16 OUT).
When inputting a manual switch signal into a digital circuit the signal needs to be debounced so a single press does not appear as multiple presses; in the case of the GPMX-16, the debounce value for all switch inputs can be set between one to 100 milliseconds (defaulting to 10 milliseconds) to ensure that this does not happen.
The GPI inputs themselves are arranged with internal pull-ups, so shorting an input to ground will send the appropriate MIDI ON message and releasing the short to ground will send a MIDI OFF message (unless disabled). The GPI outputs are floating and can switch up to 50V at 100mA of resistive load. They can also be controlled by MIDI ON and OFF messages or provide a pulse of settable length in response to just MIDI ON messages (by default).
Each block of eight GPI inputs and outputs can be assigned a MIDI starting number, and subsequent inputs and outputs follow on consecutive note numbers (defaulting to 36-43 for the first block and 44-51 for the second). MIDI channels can be set independently for the GPI inputs and outputs (defaulting to transmitting on Channel 1 and receiving on Channel 2).
As well as allowing users to control the GPI outputs using MIDI, the MIDI IN socket also allows several GPMX-16 MIDI to GPI and GPI to MIDI converter boxes to be daisy-chained together (without any limit to the number of units that can be daisy- chained as the data is regenerated rather than being merely copied).
Any data received at the MIDI IN socket is merged with any new data generated from the GPI inputs and everything is subsequently sent to the two MIDI outputs (MIDI OUT and MIDI OUT 2) carrying identical information. A second MIDI output has been thoughtfully provided so that data can be sent to a backup computer system at the same time as supplying a primary one.
In a nutshell, then, the GPMX-16 MIDI to GPI and GPI to MIDI converter can receive and output MIDI messages as Note, Controller (CC), or Program Change data when operating in normal operating mode.
However, it also has a number of additional parameters that can be edited and stored when it is put into edit mode (using a screwdriver or pen to press the recessed front panel-positioned EDIT button and adjacent INC, DEC, and SELECT buttons to receive and display different types of MIDI messages). Such settings are stored in EEPROM (Electrically Erasable Programmable Read-Only Memory) for future use.
The GPMX-16 also has a built-in MIDI analyser, allowing users to see what types of MIDI messages are being transmitted by their master keyboard or sequencer; for instance, doubling up an already well-specified MIDI utility box that is indispensable to GPI- equipped device owners to also act as a useful diagnostic tool.
The GPMX-16 MIDI to GPI and GPI to MIDI convertor can be purchased directly at the Kenton online store (here).
Thursday, June 12, 2014
Live Recording: Splitting The Microphone Signals
Following is an excerpt from the just-released Second Edition of Recording Music on Location by noted LSI/PSW author Bruce Bartlett and Jenny Bartlett, published by Focal Press.
Let’s consider a different way to make a multitrack recording. Plug each microphone into a mic splitter, which sends the mic signal to two destinations: the PA mixer and recording mixer. The splitter has one XLR input and two or more XLR outputs per mic.
Some splitters have a third output which goes to a monitor mixer, and a fourth output might go to a broadcast mixer. (In Chapter 1 we described transformer-isolated splitters and Y-cable splitters.)
Splitting the mics is the most expensive method, but is the most professional. It gives you and the PA operator independent control of each microphone’s recording level and signal flow.
Pros: Ultimate sound quality. Independent control at each mixer. Consistent sound.
Cons: Complicated. Expensive if transformer splitters are used.
Equipment: Mic splitters, maybe mic preamps, mic cables, mic snake, recording mixer and multitrack recorder or audio interface and laptop, mixer-to-recorder cables, headphones or powered monitors.
(click to enlarge)
There are many advantages of splitting the mic signals. You use your own mic preamps, so you are not dependent on the quality of the PA console mic preamps.
Also, you are not hassling the operator about adjusting gain trims. Each mix engineer can work without interfering with the others. The FOH engineer can change trims, level, or EQ and it will have no effect on the signals going to the recording engineer.
Another plus: a splitter provides consistent, unprocessed recordings of the mic signals. This consistency makes it easy to edit between different performances.
(click to enlarge)
What’s more, splitters let you use mic preamps on stage if you wish. That way, the cable from each mic to its preamp is short, which reduces hum and radio-frequency interference.
As shown in the illustration, connect the outputs from all the splitter channels to the PA snake and to your recording snake. Connect the recording snake to your recording mixer mic inputs.
This mixer is used to set up your own monitor mix and to set the recording levels. Connect the recording mixer’s insert sends to a multitrack recording system of your choice.
Whether you record in the local rock club, jazz café, or in an orchestra hall, the Bartletts offer sage advice on each stage of the process of location recording. The Second Edition of Recording Music on Location has been thoroughly updated and includes new sections on iOS devices, USB thumb-drive recorders, and digital consoles with built-in recorders, along with updated specs on recording equipment, software, and hardware. The book provides an exceptional collection of information regarding all aspects of recording outside of the studio, and is available from Amazon and Barnes & Noble.
Digital Audio Labs Shipping Livemix Personal Monitor System With Dante
Available with both analog and Dante digital inputs
Digital Audio Labs is now shipping the Livemix personal monitor system with both analog and Audinate Dante digital inputs, and it will be on display at the upcoming InfoComm 2014 show in Las Vegas at booth C12116.
“One of the things we hear a lot about personal monitor mixers is that they can be complicated to use, especially for the volunteer or non-technical user,” says Ted Klein, president of Digital Audio Labs. “Ease of use is a big thing for us,” he continues “so we built Livemix to be simple to use, and this extends to setting up Livemix to work with your Dante network.”
Each personal mixer allows for two completely separate mixes, reducing stage clutter and overall per node cost. Custom channel names and easy navigation is possible via a touch screen display. Livemix also offers remote mixing, permitting any user in the system to hear and adjust the mix of another mixer, allowing more experienced musicians or sound techs to assist novice users.
Setting up Livemix with a Dante network is straightforward—the entire configuration can be done with the Livemix CS-DUO personal mixer, removing the need for a PC application.
Digital Audio Labs
SurgeX Launches Smart Energy Management Mobile & Desktop Apps
Axess Manager and Axess Manager Mobile provide real-time monitoring and control of electronic systems and devices on a network from anywhere in the world
SurgeX has introduced Axess Manager and Axess Manager Mobile, new desktop and mobile apps designed to let users monitor power conditions and control power functions of multiple installations from a single location. They’ll be on display at the upcoming InfoComm 2014 show in Las Vegas at booth C8725.
The new apps automatically discover devices on a network and allow remote management through an intuitive user interface on a desktop PC or mobile device. Axess Manager also offers enhanced management of all SurgeX Axess Suite products, including Axess Elite, Axess and Axess Ready products, allowing users to execute reboots, power cycling, outlet on/off, user permission management and more.
Integrators using Axess Manager to manage multiple locations will benefit from the single interface and the ability to uniquely classify and manage each installation. The streamlined approach makes it easier to identify power-related issues and allows for simple navigation and management of existing installs, especially when new devices and systems are constantly being added to the network.
“What integrators have been missing is an intuitive way to monitor and manage power across numerous installations,” says Shannon Townley, president, SurgeX. “Axess Manager is the ideal solution to securely track the status of all installations from a single screen, and immediately act on issues when necessary.”
SurgeX designed Axess Manager to give Admins all the tools needed to effectively manage devices and user permissions. A single username and password is all that’s required to add or access any device on the network, there’s no need to memorize hundreds of unique usernames and passwords.
Admins also have more control over users. Additional features include the ability to deactivate a user though a simple mouse click so they no longer have access to any install or device on the network. If there is an issue or unauthorized actions taken through the app, Axess Manager can provide a PDF or Excel report documenting all system and user activity to quickly pinpoint the problem.
As an added benefit, dealers can customize the GUI with their own logo and branding. Axess Manager and Axess Manager Mobile will be available for a nominal fee at surgex.com, the apps work with iOS, Android and Windows desktop operating systems.
EightyTwo Lounge In LA Bolsters Reputation With QSC Sound
QSC loudspeakers with Q-Sys Core 250i processing
QSC Audio K Series and AcousticDesign Series loudspeakers are delivering tunes to the gamers at EightyTwo, a new 4,000-square-foot classic video arcade and pinball bar that recently opened in LA’s Downtown Arts District.
EightyTwo—a reference to 1982, the peak year of the golden age of arcade games—offers a DJ, a dance floor and video games in one room with pinball machines in another room, with the sound system controlled by a Q-Sys Core 250i integrated platform.
EightyTwo features more than 40 period arcade games from the 1980s, such as Donkey Kong, Ms. Pac-Man, and Space Invaders from the personal collection of Scott Davids, who co-owns the venue with Noah Sutcliffe. Across the 1,700-square-foot outdoor patio is a roomful of vintage pinball machines supplied by “Pinball Molly” Atkinson, owner of the Pins and Needles arcade in Echo Park.
Design and installation services for the project were completed by Gridworks, a professional AVL company located in Torrance, CA at the recommendation of Ben Frederick from Audio Geer.
According to Christopher Johnson, VP of sales for Gridworks, the sound design focused on adding power to the dance floor: “We have two K8s and a KW181 sub local to the dance floor and there are two K8s along the wall where the patio is, shooting into the venue and providing support for the back of the room.
“We also added a KSub for low frequency response in the back of the room and all of the full range speakers are at the ceiling line, including the ones fixed on the wall,” he adds.
A pair of AcousticDesign AD-S52 five-inch, two-way surface-mount speakers provide fill along the side wall by the bar. “We added the AcousticDesign speakers because we wanted to fill in the space so there wasn’t a dead spot and maintain the sound quality, but keep the sound levels lower so that people could actually talk and order at the bar,” Johnson explains.
In the pinball room at the rear of the venue, Gridworks installed two K8s at opposite ends of the room, hung from the ceiling facing downwards, with a KSub for low end response. “It’s a smaller room, so one KSub for that area was fine,” says Johnson. “That room is kept at about 85% of the volume of the main room.”
“We installed a Q-Sys Core 250i as the brains of the operation; that gave us a couple of different options,” he adds. “We could scale the project if they want us to, and it allowed us to use a wireless router connected to Q-Sys to give them control of the system from their iPad. They are able to adjust the levels independently in each area or for the whole system.”
Gridworks provided several level presets with programmed crossfades that can be selected according to the number of customers and time of day.
In addition to the main input from the DJ booth there is also an audio input in the staff room that allows different music to be played in the back room or just in the restrooms. “We added a parametric EQ for both of the inputs that will allow Scott and Noah to fine tune each input to their liking.” says Johnson.
Gridworks also installed an Extron Electronics MAV 84 AV 8x4 Video & Stereo Audio switcher that allows video feeds from some of the games to be projected onto the wall above the bar. This switcher is controlled by Lua script sending command codes via the RS-232 out of the Core 250i. “They’ve even had a DJ doing some video mixing use the system,” Johnson notes, “A video feed from the DJ booth allows connection to the projectors for just this purpose.”
Johnson says the response to the new audio system has been great. “The comments that we’ve gotten back, both from the owners and from guests are that they really like the fact that the music can be loud, and clear enough that you can still have a conversation.”
Wednesday, June 11, 2014
Neutrik USA Appoints David Kuklinski As Applications Manager
Will oversee Certified opticalCON Cable Assembler (COCA) program and work with Neutrik fiber optic product line
Neutrik USA has appointed David Kuklinski to the position of applications manager, where he will focus on the broadcast market and new solutions offered by Neutrik and its channel partners.
With a background of sales and professional services management in the technology sector, Kuklinski is a good fit for this newly created position. He will be based out of Neutrik USA’s Charlotte, NC offices.
In his new position, Kuklinski will oversee Neutrik USA’s Certified opticalCON Cable Assembler (COCA) program, and will also identify and participate in the sales and implementations of new opportunities for the Neutrik fiber optic product line.
Kuklinski’s prior positions include channel accounts manager (Southeast) for Lifesize Communications (a division of LogiTech), broadcast manager for Avid Technology, vice president of business development for Diversified Systems, and professional services manager for Sony Electronics.
“I’ve been fortunate to have some wonderful professional experiences over the years,” Kuklinski says. “My new position with Neutrik marks yet another significant step in my career advancement. Neutrik is a recognized global leader in its market segment. To be an active participant in the development and marketing of its products is another rewarding opportunity. I’m ready to roll up my sleeves and dig in.”
Peter Milbery, president of Neutrik USA, adds, “I am delighted to be welcoming David aboard,” says Milbery. “David’s diverse background in the high technology sector is impressive. His broad range of experiences make him ideally suited to assume an integral role in advancing our fiber optic products and to work with our channel partners to find solutions for their customers. All of us at Neutrik USA are happy to welcome him as a vital contributor to our team.”
Millersville University Chooses Avid For End-to-End Media Production Environment
Integrated, efficient workflow based helps prepare media students
Millersville University in Burlingon, MA has implemented an end-to-end Avid workflow for its media production facility.
The Millersville University Communication and Theater Curriculum offers students a variety of options, including documentary filmmaking, broadcast news reporting, and digital media creation. In order to provide students with the tools they need to create quality content, Millersville recently decided to invest in upgrading their media production workflow.
After researching solutions from a variety of providers, Millersville decided to implement a workflow built on the Avid MediaCentral Platform. Now, from the first day students enter the campus, they have access to a fully integrated and efficient workflow that covers every aspect of broadcast production and audio and video creation.
Millersville students use creative tools from the Avid Artist Suite, including Media Composer and Media Composer|Symphony Option for creating video projects, and Pro Tools|Software, Pro Tools|HDX, and Mbox for audio creation and production tasks.
The university also needed a centralized storage and media management solution that would allow students to access their media from any editing computer in the facility, and enable easy collaboration on projects. Millersville chose media management solutions from the Avid Media Suite, an efficient storage solution from the Avid Storage Suite.
“We chose Avid ISIS and Avid MediaCentral|UX because they have worked extremely well for other schools and media organizations,” says Mark Mullen, broadcast systems specialist at Millersville University. “Avid provides the proven tools, workflow, and infrastructure we need to help students realize their creative potential and prepare for rewarding careers in the industry.”
“Knowledge of Avid solutions is very valuable to students after graduation,” Mullen adds. “Other media companies seem to be focusing more on the consumer market; however Avid remains concentrated on the unique needs of professional customers. We see this as the beginning of a long and fruitful partnership with Avid, and look forward to meeting the educational needs of students together.”
“Millersville University is an academic leader, and understands that the media professionals of tomorrow need to be adept at the entire creation-to-consumption workflow,” states Jeff Rosica, senior vice president of Worldwide Field Operations at Avid. “That’s exactly what the Avid Everywhere vision is all about. By getting on the Avid MediaCentral Platform and implementing Avid’s proven and trusted broadcast, video, and audio applications, Millersville is giving students the real-world experience they need to excel in a challenging and constantly evolving media industry.”
Huntsville, AL Church Relies On Muzeek World For Dual Yamaha CL5 Consoles
New consoles joined by two Rio3224-D input/output boxes, one located on the stage and the other at front of house
First Seventh Day Adventist Church in Huntsville, AL worked with Muzeek World of San Juan Capistrano, CA on implementing dual Yamaha Commercial Audio CL5 digital audio consoles in its new 1,200-plus seat sanctuary.
The two Yamaha CL5 consoles were installed along with two Rio3224-D input/output boxes, one located on the stage and the other at front of house. “The purchase of the dual CL consoles was based upon the fact that the church previously owned a Yamaha console in their former sanctuary and had a wonderful experience using it,” states Muzeek World’s John Sardari.
“There are several new features in the CL5 which helped us decide this was exactly what we needed for the new sanctuary,” adds Julian Ray of First Seventh Day Adventist, who designed and installed the new system. “For starters, the expandability of the number of channels we can use. We enabled the board with 64 channels initially, and if necessary, we can expand in the future to its maximum.
“Second, the ability to have the sound engineer control the monitor mix on stage with the musicians, and while doing a sound check using an iPad, he/she can fine-tune and make changes on the monitors and have an accurate overview of the monitor mix,” Ray continues. “This eliminates the potential discrepancies between what the vocalists’ need and what they get in the monitors. We use floor monitors for the vocalists while the entire band is on in-ear system.”
Ray notes that another reason for the selection of the CL5s was based on the framework of the church’s previous Yamaha console. “We used an M7CL for about six years and had the team already trained on the same software, so the learning curve moving to CL5 was a breeze,” he says. “Other than the initial network programming and a few changes in the setup, we had the entire team up to date very quickly.”
The contemporary worship services at First Seventh Day average five to nine musicians at any given time. There is also a seven-member praise team and several choirs ranging between 30 and 100 members.
While the CL5 at FOH is in the center of the sanctuary on the balcony level, the second CL5 is in a room used to mix sound for recordings and video streaming over the Internet, also utilizing Yamaha CL Nuendo Live software.
Yamaha Commercial Audio
Pesky Ground Loop Problems Plaguing You?
When a system contains two or more pieces of equipment that are grounded, whether via power cords or other ground connections, a “ground loop” will likely be formed. (See Figure 1, below.)
Although ground loops often involve power line safety ground connections, disabling them is both highly dangerous and illegal.
However, devices called “ground isolators” can be inserted in the signal path to break the loop safely. This approach attacks the problem at its fundamental roots, while tampering with safety ground does not. In simple language, a ground isolator is a device that transfers a signal across an electrically insulated barrier.
This is how it stops the flow of power-line currents that would otherwise generate noise as they flow through signal cables. Because an isolator is not a filter that recognizes and removes noise, it must be inserted in the signal path at the point where the noise coupling actually occurs.
Figure 1: See the ground loop in this home theater system?
On the other hand, a transformer can serve as an extremely effective ground isolator. As shown in Figure 2, it transfers signal voltage from one winding to the other without an electrical connection between them. This electrical isolation blocks the flow of ground noise current in the signal cable.
While the isolation would be total for an ideal transformer, physics imposes limitations on real-world transformers.
Two Basic Types
In practice, noise reduction depends critically on the design of the transformer. Audio transformers fall into two basic types.
The first, known as an output transformer, is by far the cheapest and easiest to build. Because its primary and secondary windings are physically interleaved, considerable capacitance is created which allows noise currents, especially at higher audio frequencies, to flow between windings. This limits its ability to stop ground noise.
Figure 2: A transformer can serve as an extremely effective ground isolator, transferring signal voltage from one winding to the other without an electrical connection between.
The second type, known as an input transformer, is built with internal metal foil shielding between its windings. This “Faraday shield” effectively eliminates capacitive coupling and vastly improves noise rejection. A magnetic shield serves a completely different purpose and, if used, is on the outside of a transformer surrounding both the core and the windings.
Figure 3 shows noise rejection versus frequency for a typical unbalanced interface. With no isolator, by definition, there is 0 dB of rejection in the interface, as shown in the upper plot.
The middle plot in Figure 3 shows results for a typical isolator using an output transformer. Hum at 60 Hz is cut by 70 dB, but buzz artifacts around 3 kHz are reduced by only 35 dB. The lower plot shows results for a typical isolator using an input transformer. Hum is cut by over 100 dB and buzz by over 65 dB.
Figure 3: Noise rejection versus frequency for a typical unbalanced interface.
The overwhelming majority of “black boxes” intended to solve ground loop problems use output transformers. One advantage of these boxes is that they can be installed anywhere along the length of a cable or can be used at patch-bays. Although boxes made with input have some 30 dB better noise rejection, they must be installed thoughtfully.
In Figure 4, we see a commercial black box. Because high-frequency response can be degraded by excessive cable capacitance at their outputs, these types of boxes must be installed near the equipment input they drive, generally through no more than 3 feet of cable.
Some commercial interface devices are “active” (i.e., powered) devices. Although these often have useful features, they invariably use differential amplifier circuits to “isolate” their unbalanced inputs.
Figure 4: A Jensen ISO-MAX transformer, up close and personal.
In a future discussion of balanced interfaces, we’ll find that ordinary diff-amps do this job very poorly. Typical products in this vein often deliver only 15 dB to 30 dB of noise rejection under typical real-world conditions.
Incidentally, to eliminate noise in an unbalanced cable run, it’s not necessary to “balance” the line (using a converter at the driving end) and then “unbalance” it (using another converter at the receiving end).
The noise rejection of such a scheme is no better, and often worse, than that of a single high-performance isolator (i.e., input transformer) installed at the receiving end.
Check performance data for isolators carefully. Many have scanty, vague or conspicuously non-existent specifications, and many use cheap, telephone-grade transformers.
These can cause loss of deep bass, bass distortion, and poor transient response. Data for high-quality isolators is complete, unambiguous, and verifiable. Input-transformer-based isolators have other benefits, too, including:
Their inputs are truly universal, accepting signals from either unbalanced or balanced sources, while maintaining extremely high noise rejection
They provide inherent suppression of RF and ultrasonic interference. The subsequent reduction of “spectral contamination” is often described as a marvelous new sonic clarity
They are passive, requiring no power
They are inherently robust, reliable, and virtually immune to transient over-voltages.
Explore The Options
In many systems, including the one seen earlier in this article in Figure 1, there is more than one way to break the ground loop.
Observe that the noise voltage between the CATV ground and the AC power safety ground at the subwoofer causes noise current flow in the shield of all the signal cables between the CATV ground and the subwoofer.
Figure 5: Two safe ways of breaking ground loops. The figure above shows a ground isolator inserted in the audio signal path between TV and subwoofer, the figure below depicts a potentially less expensive method of inserting the isolator in the CATV feed.
Common-impedance coupling will induce noise in both audio cables in the path, generally in proportion to their lengths. CATV feeds are notorious for having “ground” at their shield several volts different from utility AC power ground, so this system might exhibit a very loud hum regardless of preamp control settings because of coupling in the 20-foot cable.
Of course, the loop could be broken by defeating the subwoofer safety ground—but don’t do it! Remember, audio cables that connect equipment together will also carry lethal voltages throughout the system or could start a fire if the subwoofer develops a defect.
A safe way to break the ground loop is to install a ground isolator somewhere in the audio signal path from TV to subwoofer. Because longer cables are more likely to couple more noise, the preferred location in this system would be at the receive end of the 20-foot cable (Figure 5, above). Another safe, and potentially less expensive, solution is to break the loop by installing a ground isolator in the CATV feed as shown in Figure 5, below.
CATV isolators must be installed downstream of the lightning ground and should generally be installed where the cable first connects to the audio or video system, such as at a VCR or TV input.
Bill Whitlock has served as president of Jensen Transformers for more than 25 years and is recognized as one of the foremost technical writers in professional audio.
Posted by Keith Clark on 06/11 at 12:05 PM
Bose Pro Integrates Configuration For Dante Devices In New Version Of ControlSpace Designer Software
Also allows pre-programmed Dante audio routing to be recalled from any of the Bose user controls, or via a connected third-party control system
Bose Professional Systems is making it easier to connect its ControlSpace processors and PowerMatch amplifiers using Dante digital audio networking, with new version 4.1 ControlSpace Designer software allowing users to discover, route and control Dante channels from within the application.
In addition to integrating the core functionality found in Dante Controller software, ControlSpace Designer 4.1 also allows pre-programmed Dante audio routing to be recalled from any of the Bose user controls, or via a connected third-party control system, so that everything from basic source selection to the remapping of entire systems can be activated by end-users.
Dante accessory expansion cards are available for the ControlSpace ESP-00 II engineered sound processor, ControlSpace ESP-880/1240/4120 engineered sound processors, and for the line of PowerMatch configurable professional power amplifiers; in total, 12 devices are Dante-capable. The cards all foster 48 kHz/24-bit digital audio with 16 x 16 channels for ControlSpace processors and 8 x 8 channels for PowerMatch amplifiers.
“With Designer software version 4.1, we continue to expand the capabilities of our processors and amplifiers without sacrificing ease of use,” says Darryl Bryans, Bose DSP product line manager. “By integrating Dante’s automatic device discovery and configuration tools into our ControlSpace Designer software, Bose has taken yet another step toward making it easier for system integrators to create and configure distributed audio systems quickly.”
ControlSpace Designer software version 4.1 will be available September 2, 2014, as a free download at http://pro.Bose.com.
Bose Professional Systems
Tuesday, June 10, 2014
Roland Systems Group Announces XS Series Of Multi-Format AV Matrix Switchers
Designed for fixed installations requiring high-quality integrated video and audio conversion and switching
Roland Systems Group has announced the Roland XS Series, a new line of multi-format matrix switchers designed for fixed installations requiring high-quality integrated video and audio conversion and switching.
The series is adaptable, supporting eight HDMI, RGB/Component/S-video/Composite inputs and up to four HDMI or HDBaseT outputs with scalers to support picture-in-picture, resizing, rotating, and flipping. Audio can be embedded into outputs via eight stereo audio inputs (2 microphone) and/or HDMI audio as well as de-embedded on output. Additional features include iPad control, EDID emulation and HDCP management.
The XS Series is available in three configurations: 8-in x 4-out (XS-84H), 8-in x 3-out (XS-83H), and 8-in x 2-out (XS-82H) and is ideal for many applications that include conference rooms, education, 4K switching to 1080p, performing art centers, churches, convention centers and teleconferencing.
Remotely control the Roland XS Series using the native iPad app, XS Remote, via RS-232C interface, and control over LAN connections. Remote control is valuable for installed applications where front panel controls are not accessible or a programmable touch control interface is required that can access functions of the XS Series.
The XS-84 model is capable of switching four video sources as a group enabling the use of up to two 4K inputs. The multi-format capabilities allows users to switch 4K, HD, SD, XGA and other computer formats up to 1920 x 1200 (WUXGA).
Advanced video processing functions makes multiscreen video productions possible for both signage and live applications. Scale a single image across multiple displays using the SPAN mode and then switch to a different image on each screen in MATRIX mode. Each input channel supports adjustments for scaling, positioning and aspect ratio before output ensuring the best possible picture.
In education environments the XS series can switch between and route HDCP video from computers, smart phones, blu-ray, and even still images from internal memory to displays. Up to four HDBaseT outputs for long distance transmission of audio and video content to displays throughout a campus.
For teleconferencing applications, the XS series features four internal buses each for video and audio. It can be used to create minus-one audio to feed directly into teleconferencing systems. Switch up to eight computer and video devices both analog and digital formats. Audio ducking functions lowers audio levels when microphone audio is detected making it ideal for conference or boardroom environments.
The Roland XS Series of multi-format matrix switchers will be on display at InfoComm 2014 in Las Vegas at booth 10536.
For further details about the new XS Series, go here.
Roland Systems Group
Monday, June 09, 2014
Audient Names New Distributor For South Korea
Kinoton Korea to distribute the full range of Audient products
Kinoton Korea has been named distributor for the full range of Audient products in South Korea, including the iD22 USB interface and ASP880 8-channel mic preamp and ADC.
“We’re very pleased to work with Audient and are very ambitious to promote the high-quality products to the Korean market, and look forward to having great success and feedback from the market very soon,” states Chris Bae, managing director of Kinoton Korea.
Audient sales and marketing director Luke Baldry adds, “Audient’s focus is on quality, which is supported by a proud heritage. Chris Bae and his team have a strong knowledge of the South Korean market, and we have every confidence that they will handle Audient sales, support and service at exactly the right level.”
What Comes First, System Design Or Functionality?
The neverending plight of the control system programmer is to program a system with nothing more than a set of drawings and a best guess at what the system should do.
Why is this such a common occurrence?
Because of the problematic approach of designing the system first, then worrying about what it should do later!
The first question any programmer asks when approaching a project that is already designed is, “How do you want the system work?” In many cases this becomes one of the most difficult questions to resolve, leading to responses like “use your judgment,” “the client is open to suggestions,” or “provide what is typical.”
The end result of these conversations is a solution that is too complex, too simplified, too flexible, too restrictive, or too far out of budget. What the client really needs and wants to pay for is “just right” but that can’t happen if there isn’t a conversation about functionality needs.
This situation happens way too often but it can be avoided if we change the discussion in the beginning. If we shift from conversations that begin with what equipment should be used to conversations about what the system is intended to do, what need we are trying to satisfy, what challenge the system will resolve, and what top functions the user wants, we are better able to produce solutions that deliver what the client needs.
The answers to these questions help to shape system functionality and define system operation.
Moreover, conversations early in the project that get to what the user actually needs on the most basic level lead to other conversations about features and custom software solution options.
When we define system functionality and user requirements from the start, system design follows naturally to support the operation. The question, what should the system do, is now removed from the discussion and we avoid delays, misfires, and costly errors at the end of the project.
Allowing functionality to shape system design ensures:
—Proper devices are selected with the necessary number and types of inputs and outputs.
—Ample signal paths are established to support system operation and future needs.
—Feature sets of selected equipment provide proper control to support the defined operation.
—User interface size, resolution, and type comfortably supports necessary functionality.
—Control methods and protocol enable effective integration of all equipment and provide the expected user experience.
Again, this demonstrates how a project and client benefit from involving the AV programmer in the early phases of project discussion. Early AV programmer involvement means well-defined functionality executed efficiently.
For more details on the benefits of connecting with the programmer early, ways to learn from others’ experiences (good and bad), and how to define an effective scope of functionality, we have created a community exclusively for Technology Mangers called TechTalk—join us for our inaugural event during InfoComm week on Tuesday, June 17 in Las Vegas.
Steve Greenblatt, CTS, is president of Control Concepts, Inc., a leading independent provider of audiovisual control system solutions.
Go to Commercial Integrator for more content on A/V, installed and commercial systems.
Allen & Heath Digital Consoles Help Manage Sound Reinforcement For Carnival Of Brazil
iLive-112s for live performances by internationally renowned artists, GLD-80s for broadcast feeds
Allen & Heath iLive-112 digital mixing systems played an important role in sound reinforcement at the renowned Carnival celebration in Rio de Janeiro, Brazin, featuring performances by renowned international artists including Claudia Leite, Jota Quest, Pericles, and Michel Telo. Mixes were also routed to four Allen & Heath GLD-80 mixing systems, which handled the worldwide broadcast feeds.
Allen & Heath’s distributor Teleponto supplied the consoles, designed the systems, and managed the live performances and global transmission of the carnival. Six teams and a total of 70 staff were required to ensure the successful operation of six straight days of transmission and 72 hours of live broadcasts.
The GLD-80 consoles were used to handle audio feeds sent from several remote locations spanning over 2 kilometerrs. In addition, four AR2412 and eight AR84 audio racks, feeding 7 kilometers of fiber optic cable.
“With more than 2 million people in attendance and simultaneous live feeds to more than a dozen international broadcast and online networks, reliability was of the utmost importance, and as expected Allen & Heath delivered,” states Antonio Pereira Neto, president of Teleponto.
Allen & Heath
Americian Music And Sound
Friday, June 06, 2014
System Upgrade At New Jersey Courthouse Headed By Yamaha CIS Components
Serves up to 16 mics at one time for live feed and multi-track recording
The municipal courtroom for the township of Evesham, NJ, which also serves as a council and township meeting room and a township meeting room, was recently outfitted with a new system by ACIR Professional (Mars Landing, NJ) that incorporates Yamaha CIS (Commercial Installation Solutions) components.
Between the court and various meetings, there can be up to 16 microphones on at any given time, and they need to be fed to the live loudspeakers and for multi-track recording purposes.
“In addition to obtaining a better quality sound, the customer still wanted to be able to send audio via multi-track to record,” notes Bobby Harper, ACIR vice president of sales. “Having just demoed the new Yamaha CIS Series products, the design became obvious.”
ACIR Pro chose a Yamaha MTX5-D processor with the EiX8-8 channel extender in order to accommodate the 16 required inputs. The processor also handles the routing of multi-track and a 4-zone (mix minus) to the Yamaha XMV4280-D Dante-enabled 4-channel amplifier.
In addition, Yamaha VXC8W loudspeakers were chosen for their clarity and ease of installation. They’re zoned for maximum gain before feedback, with assistance from a Dugan MY-16 auto mixer card installed in the MTX5-D and the parametric EQ capabilities on each zone output,
The system’s presets are stored in the Yamaha MTX5-D library, with recall available from an in-wall-mounted Yamaha DCP1V4S-US controller that the clerk has at his/her fingertips.
Yamaha Commercial Audio