A virtual press conference from Sound & Video Contractor

Press Releases For : March 28, 2014

BitWise Controls Announces New Yamaha Module, Giving Integrators the Ability to Instantaneously Setup and Integrate More than a Dozen Popular Home Entertainment AV Receivers into BitWise Controls Systems

 

ENGLEWOOD, COLORADO, USA   MARCH 28, 2014 – BitWise Controls, a leading innovator of powerful and flexible control and automation systems, announced today the addition of its Yamaha Module to its ever-expanding lineup of third-party templates and modules available to BitWise Controls dealers. These modules—single files containing pre-configured GUI content and device programming—make it easier for integrators to set up, design, and install various products and subsystems. Each module is available for download at the Bitwise Online Store, where BitWise dealers can see his or her entire module purchase history, making it simple to provide updates, additions, and enhancements in the future.

“Yamaha’s YNCA receivers are very popular, are feature rich, and provide multi-zone capability, making them ideal products for home integrators and custom installers alike,” says Mark Buster, CTO of BitWise Controls. “By adding Yamaha AV receivers to our GUI Module lineup, we will be dramatically expanding the base of supported receivers on the BitWise Controls platform, making it easy and both time- and cost-efficient to integrate these components into any supported BitWise Controls system. It’s a win-win for both integrator and end user.”

The BitWise Controls Yamaha AVR Module lets dealers take full advantage of newer Yamaha AV receiver’s music streaming and multi-zone capabilities. Compatible with all receivers that support the YNCA protocol, the BitWise Yamaha GUI Module allows the end user to navigate and control supported music services like Pandora®, Rhapsody®, and SiriusXM®, as well as any attached USB storage, connected iPod®/iPhone®, or network attached storage (NAS). The module provides easy drag-and-drop GUI content for phone- and tablet-sized interfaces, as well. Other features include support for a main zone and a second zone, with simultaneous control of volume/mute across both. Additionally, a receiver’s scene functionality is integrated seamlessly, allowing the user to turn on the receiver, select the input, and choose the Surround option with a single touch from any BitWise-enabled device. Convenient popups make it easy to add tone, option, and surround mode selection to any GUI page in the BitWise environment.

The Yamaha Module works on both iOS® and Android® platforms, and is compatible with automation projects that use BC1, BC2, and BC4 controllers and with Yamaha RX-V671, RX-A700, RX-A710, RX-V867, RX-V871, RX-A800, RX-A810, RX-A1000, RX-A1010, RX-A2000, RX-A2010, RX-A3000, and RX-A3010 receivers, or any other Yamaha AV Receiver that utilizes the YNCA protocol.

 For more information, contact Katye (McGregor) Bennett of KMB Communications by phone, +1(425) 328-8640 or email, Katye@kmbcomm.com.

About BitWise Controls

Designed and backed by more than 20 years of mission-critical control, monitoring and AV systems integration experience, BitWise Controls provides powerful and flexible control and automation solutions for commercial, industrial, education and residential control applications. BitWise Controls was founded in 2008 with the goal of offering innovative and reliable new products, designed and tested and manufactured in the United States. For more information, go to www.bitwisecontrols.com. Dealership opportunities are available. To learn more, send an email to sales@bitwisecontrols.com or call +1 (866) 932-2292.

About Yamaha

Yamaha Corporation of America (YCA) is one of the largest subsidiaries of Yamaha Corporation, Japan and offers a full line of award-winning musical instruments, sound reinforcement and home entertainment products to the U.S. market. Products include: Yamaha acoustic, digital and hybrid pianos, portable keyboards, guitars, acoustic and electronic drums, band and orchestral instruments, marching percussion products, synthesizers, professional digital and analog audio equipment, Steinberg recording products and Nexo commercial audio products, as well as AV receivers, amplifiers, Blu-ray/CD players, iPod docking systems, earphones, headphones, home-theater-in-a-box systems, sound bars and its exclusive line of Digital Sound Projectors. YCA markets innovative, finely crafted technology and entertainment products and musical instruments targeted to the hobbyist, education, worship, professional music, installation and consumer markets. For more information, go to www.usa.yamaha.com.

Accompanying image: BitWise Controls Yamaha AVR GUI Module Screenshot

 

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Jünger Audio Shows The D*AP4 VAP Voice Processor At NAB 2014

At NAB 2014 (Booth C2134), dynamics processing specialist Jünger Audio will be showing its recently introduced D*AP4 VAP Voice Processor – a unique unit that is designed to make life easier for engineers working in radio stations, TV production voice-over studios and feature film ADR facilities.

What makes this processor so special is the inclusion of Jünger Audio’s proprietary Spectral Signature™ dynamic EQ – a totally new creative tool that offers automatic and dynamic EQ control to balance spectral differences. By analyzing incoming audio and comparing its spectrum with individually predetermined voice ‘fingerprints’, this clever unit can automatically apply dynamic EQ corrections to give a consistent sound.

For people working in TV voice over and feature film ADR, this facility is a Godsend. Imagine, for example, that you have booked an expensive and well-known actress to voice the cute little rabbit in your new children’s TV series. Over the course of the recording sessions you notice that her voice sounds different at different times of the day – maybe because she is tired, or has developed a sore throat, or has had a heavy night and smoked a lot of cigarettes. If you want your rabbit to sound exactly the same every time, how do you overcome this?

Jünger Audio’s D*AP4 VAP Voice Processor is the answer. On day one you record the actress’ best rabbit voice, and then measure it using Spectral Signature. The voice’s tonal characteristics are analyzed and recorded as a curve on a graph, which is used as a template for all future recordings. The next time your actress does her rabbit voice, the unit compares the new recording to the saved version and automatically adjusts the frequency until both voices match. Voilà! A perfect rabbit voice every time, thus saving a fortune in repeated ADR and voice over sessions, not to mention a lot of frustration on all sides.

Jünger Audio’s D*AP4 VAP Voice Processor is equally interesting to radio broadcasters who want to create an aural identity for their radio stations. By using exactly the same spectral sound management principles, the unit measures specific voice recordings and then uses these sound fingerprints as a reference. The Spectral Signature algorithm matches all subsequent live recordings to these fingerprints, thus creating a dedicated ‘station sound’.

“The D*AP4 VAP draws on our extensive experience with previous Voice Processing devices such as our popular VO2, but adds new tools and algorithms to create an easier and more efficient approach to voice processing with no compromise in sound quality,” says Peter Pörs, CEO of Jünger Audio. “We have also included processing such as HP/LP filtering, versatile dynamics section, full parametric EQ and de-essing, and made the unit really easy to use – even for non-technical radio staff such as producers and journalists.”

Jünger Audio has also provided a dedicated voice leveler combined with an auto-mixer circuit to help mixed voice programs into loudness-based broadcasting on the fly. Using the optional SDI I/O card automated voice over for SDI embedded audio becomes an attractive feature of the D*AP4 VAP.

Available as either an insert into a mixing desk or as a stand-alone unit, D*AP4 VAP offers interfaces that allow integration in existing environments via an AES insert. The unit can also be used with an optional analogue board that adds two high quality mic-preamps.

For more information about Jünger Audio’s D*AP4 VAP, please visit NAB booth C2134 or visit the company’s website at www.jungeraudio.com

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About Jünger Audio
Established in Berlin in 1990, Jünger Audio specialises in the design and manufacture of high-quality digital audio dynamics processors. It has developed a unique range of digital processors that are designed to meet the demands of the professional audio market. All of its products are easy to operate and are developed and manufactured in-house, ensuring that the highest standards are maintained throughout. Its customers include many of the world’s top radio and TV broadcasters, IPTV providers, music recording studios and audio post production facilities. www.jungeraudio.com

OneRepublic Wraps Its “Native” World Tour with Clay Paky B-EYEs, and Sharpys

OneRepublic’s headlining “Native Tour” wraps in the UK March 24 after spending last year circling the globe and breaking new ground as the first tour to utilize Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights. A complement of Clay Paky Sharpys was also on hand.

The American pop rock band toured Europe, North America, Asia, Australia and New Zealand last year in support of its third studio album, “Native.” OneRepublic’s tour has continued in 2014 with more dates in Europe and the UK.

On this final leg of the tour lighting designer Chris Lisle has carried over a diamond-shaped theme from last year, which features trusses, video screens and even some of the same fixtures. “The show has some big visual moments, so I had to come up with a design to meet that need,” he says. “The band likes cutting edge, so using the latest technology is important to us.”

Programmer Scott Chmielewski notes that, “Chris always designs his projects with the artist in mind and tries to keep the focus on the music. It’s important for him to make sure that the technology doesn’t overshadow the talent but still has the capabilities he needs. This has been a very technology-heavy show, but it was used tastefully and was well in control.”

Lisle was introduced to the B-EYEs at LDI and “knowing the feel that the band wants in their show, it was a no-brainer to use them,” he reports. “We used all 12 upstage on the diamond pods, both floor and flown, and facing directly out toward the audience. They have so many tricks up their sleeves that I think we used them at just 50 percent of their capacity.”

He notes that the band was “amazed” to see the new B-EYE fixtures during rehearsals and immediately asked what they were. Chmielewski says, “these guys have been around the world over and over again on countless shows and stages so you’d expect them to look past new toys like this. But not this time!”

Lisle explains that he let “the fixture show itself off gradually throughout the show. First it was just a wash light, then we added a couple of ‘inner/outer’ ring tricks, then a couple of ring chases, and ultimately the lens spin tricks toward the end of the show.”

Chmielewski likens the B-EYEs to a “firecracker – knowing that the fuse is always lit and about to go off. For a portion of the show they were used as typical wash lights, but we were able to mimic the effect of every kind of traditional fixture from big to small and use the entire bag of tricks a programmer has with color, dimming and pan/tilt effects. Plus, they added an entirely new set of looks that were quite literally the first of their kind. As a programmer, I spent hours just exploring these new abilities and looks, and when we finally used them in the show they became the centerpiece of the design.”

Lisle says that two weeks into the final dates for the tour the B-EYEs were working “amazingly well” and proving to be “a very solid fixture.”

“Through marathon programming sessions they didn’t have a single issue, and we were really putting them through their paces,” Chmielewski adds. “I was surprised to see just how few moving parts were involved in creating whirlwinds of amazing effects.”

In addition to the B-EYES 30 Sharpys were an integral part of the lighting design since Day One, Lisle says. “I love the fact that they can punch through video intensity when needed. They also gave us some great beam/aerial effects. You can’t beat them for speed: They were super-fast for the ‘techno’ moments of the show.”

“The Sharpys were a perfect complement to the B-EYEs in the rig,” agrees Chmielewski. “It takes a lot of power to compete with the look and brightness of a Sharpy, but the B-EYEs held their own.”

Chmielewski programmed the tour on a grandMA2 light with three active NPUs. A back up grandMA2 light was also available on the road.

The equipment was supplied by Neg Earth, UK.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a very interesting tour visually and we’re proud to be a part of it. The B-EYEs have been a big hit since they were introduced and the One Republic tour is a great example of what the fixtures can achieve.”

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The Music Producers Guild Introduces Mastering Engineers To Broadcast WAV

As the music industry prepares to adopt the Broadcast WAV file format as the best means of embedding ISRC data into future recordings, the Music Producers Guild is hosting an event to highlight the importance of this initiative and give recording professionals the information they need to make it a success.

The event, which is primarily aimed at Mastering engineers, will take place at the Hospital Club in London on the evening of April 9th, 2014. It is sponsored by digital audio workstation manufacturers Magix/Sequioa, Merging/Pyramix and Prism Sound/SADiE, all of whom have recently announced their support for the initiative by backing file exchange between their systems.

Headed by Alchemy Mastering’s Barry Grint, the MPG has led a strident campaign to get Broadcast WAV accepted by the music industry in place of ordinary WAV files, which don’t contain a method for embedding ISRC information. Their efforts have been successful as the boards of both the BPI and AIM have now recommended to their members that this new format be adopted.

“Our event on April 9th is the only opportunity Mastering engineers will have to understand and prepare for this format change,” Barry Grint explains. “Each of our DAW sponsors will demonstrate how the ISRC embedding process fits within their workflow, and how they are working together to ensure seamless exchange of the data between all of the workstations. This is a massive step forward for the industry and we really hope that Mastering engineers and other recording professionals who are interested in ISRC will take the opportunity to come along and learn more.”

Grint adds that the importance of ISRC cannot be understated. ISRC, which stands for International Standard Recording Code, is uniquely allocated to every song recorded. These codes are then registered with royalty payment agencies, thus ensuring that recording artists and copyright holders are properly remunerated for their work when it is played on radio or TV.

Broadcast WAV, the professional WAV format created by the European Broadcasting Union, can carry ISRC information and this is why MPG is so keen to see is adopted by as the de-facto standard for music interchange in the production process.

“The inclusion of ISRC information will remove the need for it to be re-entered and reduce the opportunity for error,” Grint says. “The new system is simple to implement and, once adopted, it will allow ISRC to flow through the whole production chain.”

The MPG’s aim is to establish ISRC as the cornerstone of every aspect of digital asset management, from tracking and reporting through to royalty reporting and song identification. This will give the entire music industry a robust and secure system for identifying tracks, and who had input into their creation, so that it can safeguard the incomes of all artists and copyright owners.

Ultimately, the adoption of BWF as standard will provide a cornerstone for the MPG’s Credit Where Credit is Due campaign, which aims to highlight the woeful lack of credit information within the digital domain.

“Our overall goal is to ensure that all music creators receive proper credit and proper payment for their work, and having an industry-standard technical solution that allows credit information to be included in the metadata is a major step forward in achieving this ambition,” Barry Grint says.

To register for this event, please visit: http://www.mpg.org.uk/events/279

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About Music Producers Guild (UK):

The Music Producers Guild (UK) is an independent and democratic organisation that encourages the highest standards of music production, and actively engages with other music industry organisations to campaign and lobby on matters of important mutual interest.

The MPG represents and promotes the interests of all those involved in the production of recorded music, including producers, engineers, mixers, re-mixers, programmers and mastering engineers. www.mpg.org.uk

DK-Technologies Shows its New DK T7 Audio Meter at NAB 2014

Danish manufacturer DK-Technologies is using the NAB 2014 platform to highlight its new DK T7 Audio and Loudness meter, which will be on show for the first time in the USA (Booth N1201, in conjunction with Ward-Beck).

Launched to enormous critical acclaim at IBC 2013, the ‘everything included’ DK T7 is now shipping with the first units already installed into two Calrec consoles destined for Al Jazeera London.

Designed as a cost-effective, one-box solution for broadcast and post production engineers, the DK T7 incorporates as standard every Audio and Loudness meter function currently offered by the award winning DK Meter range. These functions include Bargraphs, Moving Coil Emulation, DK-technologies’ proprietary StarFish™ and JellyFish™ display technology, FFT spectrum analysis and, of course, industry compliant Loudness and Logging.

The new DK T7 also includes 3G SDI Picture Preview, as well as the ability to read and log against SMPTE time-code – a feature that has only recently been added to the DK Meter range. At just 20 x 135 x 180 mm (depth, height and width), its compact design also allows it to be highly portable and easy to position, while its intuitive multi touch interface makes it very straightforward to use.

“The DK T7 allows end-users to adapt to virtually any format including 3G SDI I/O,” says Uffe Kjems Hansen, Product Marketing Director at DK-Technologies. “The unit also offers 8 AES/EBU input/output channels, 2ch Analogue input channels, headphone output and HDMI monitor output. At just €3,495 and USD 6,390 MSRP, there is simply nothing else on the market in this price range that gives users access to so much functionality.”
At NAB 2014, DK-Technologies will show a new Theatrical Mixing 7.1 Surround display feature for the DK T7, which will have particular relevance to engineers working on big motion picture productions. Also on show is a new pause/resume function for Loudness Logging that will save engineers time when they are adjusting Loudness to hit targets on larger time spans.

“Essentially, this function allows engineers to work step-wise through the entire audio clip, rather than having to go back and measure loudness from the top for every tweak,” Kjems Hansen adds. “The DK T7 was already the most comprehensive audio meter on the market but with these new features it can deliver functionality that no other audio meter can offer.”

DK-Technologies will also be using the NAB 2014 platform to launch its new Matrix PC application, which allows complete audio routing, preset handling, backup and overall management of an audio meter from the end user’s computer. Designed to work with all DK meters including the new DK T7, the Matrix PC application gives users a much better graphical overview of their meters – and significantly easier setup and handling.

Also on show for the first time will be the new DK T7 Stereo – an entry level version of the DK T& meter that is designed for engineers working in stereo.

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About DK-Technologies
DK-Technologies develops and produces a wide range of audio meters, video sync and test signal generators and video waveform monitors. Alongside its worldwide distributor network, DK-Technologies also operates branch offices in Denmark, Germany, UK and USA. www.dk-technologies.com

Press Releases For : March 27, 2014

RTI Now Shipping RP-4 RF Control Processor for Single-Room Installations

Cost-Effective Processor Combines Rock-Solid Reliability With Support for RTI’s Award-Winning RTiPanel App

SHAKOPEE, Minn. — March 27, 2014 — Remote Technologies Incorporated (RTI) has announced that the company is now shipping its new RP-4 RF control processor. The next generation of RTI’s RP-1 processor, the RP-4 is designed to provide reliable one-way operation of audio/video and other electronic systems using the company’s family of wireless RF interfaces and now the RTiPanel App. A small, cost-effective package with expanded control options, the RP-4 is the perfect control system for single room installations such as home theaters, media centers, and bedrooms.

The RP-4 boasts an integrated 433-MHz RF receiver, four assignable IR ports with adjustable output, two voltage sense inputs, and two programmable relay outputs; all in one compact package. Perfect for use with any RTI 433-MHz wireless interface, the processor also supports one-way control via the RTiPanel app, allowing users to incorporate their smartphones and tablets easily into their control system.

With the RP-4, A/V components and other equipment can be hidden away in a closet for a clean, professional look. The processor stores all system commands and macros for rock-solid reliability, providing a powerful alternative to IR repeater systems which can suffer from inconsistent performance. Using RTI’s award-winning Integration Designer(R) software, programming the RP-4 is simple and fast via USB or Ethernet.

“Some single-room installations may not require the functionality of our more advanced XP processors. With the added features and reliability of the new RP-4, dealers can offer a simple yet powerful control solution at a lower price point,” said Pete Baker, vice president of sales and marketing for RTI. “Furthermore, with support for our RTiPanel application, installers can provide this amazing value while also meeting the high demand for integration of tablet and smartphone devices.”

# # #

About Remote Technologies Incorporated (RTI)
Remote Technologies Incorporated (RTI) is a leading control systems manufacturer offering innovative, sophisticated, and user-friendly devices for professionally installed electronic systems. The company’s wide array of award-winning handheld and in-wall universal controllers, central processors, audio distribution systems, and accessories are marketed exclusively through a worldwide network of professional integrators. For complete control and monitoring over electronic systems from virtually anywhere in the world, the power of RTI is available on iPhone(R), iPod touch(R), iPad(R), and Android(TM) devices through the company’s RTiPanel application, just as the award-winning RTI Virtual Panel program offers access and control via any PC running Microsoft(R) Windows(R). All RTI solutions are programmed through the company’s world-renowned Integration Designer(R) software, easily allowing dealers to provide a completely customizable user interface for intuitive command over the entire electronics system.

Founded in 1992 with a committed focus on the custom installation market, RTI offers a number of award-winning support and incentive programs to its dealers, including educational opportunities through the Advanced Control University (ACU), and the popular Control Bucks and Dealer Accommodation programs. In addition, through RTI’s Integration Partner Program, the company has reached out to manufacturers across the industry to ensure that RTI products integrate seamlessly with a wide variety of components and systems.

Additional information on RTI and its innovative control solutions is available at www.rticorp.com.

Follow RTI on Twitter: https://twitter.com/RTICorp
Find RTI on Facebook: http://www.facebook.com/rticorp

All trademarks and registered trademarks mentioned herein are the property of their respective owners.

PR Link: www.ingearpr.com/RTI/140327RTI.doc
Photo Link: www.ingearpr.com/RTI/RTI_RP-4.jpg

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CAST Software’s wysiwyg allows Pinnacle to scale new heights with Rudimental

The lighting and stage design for BRIT Award-winning band Rudimental’s recent tour may have been deliberately ‘old school’, but there was nothing old-fashioned about the technology used to create it. Award-winning LD, Jonny Gaskell of Brighton, UK-based Pinnacle Event Productions used R32, the latest version of CAST Software’s wysiwyg previsualization software suite, to give his creativity maximum bandwidth and ensure that what was programmed in theory was deliverable in reality.

Rudimental’s multi-performer approach to their live show meant the band felt there was no need for video in their set design. Instead, they gave Gaskell a brief to create a set reminiscent of an old-school rock festival, with the Hackney Peace Carnival mural as a backdrop that could be lit from behind or in front.

“Lighting was absolutely key to the design,” Gaskell explains. “The rig was based on three overhead trusses and six vertical truss towers on floor bases, with the latter at different heights to draw the audience’s gaze towards the mural. Thanks to wysiwyg, I was able to do a single plot from which I could get rigging points, rendering and programming – something no other software can do.”

Like so many LD’s today, Gaskell does a great deal of work in the corporate-event space as well as in live music touring. Ideas developed for one market often influence designs for the other and, as Gaskell points out: “When you have a tool like wysiwyg, it is just so much easier to convince a client – whether they are a band manager or a corporate account-holder – of the strength of your idea because they get a realistic snapshot of what things will look like.”

Bruce Freeman, Chairman, CAST Group, concludes: “The latest R32 version of wysiwyg takes our class-leading software to a new level, with over 300 library additions and great new features such as the Wall Tool and Room Builder, which make it easier to create scalable props and walls, and produce CAD files of a specific set or room.

“Lighting designers and production professionals the world over continue to rely on wysiwyg, and the major graphics upgrade in version R32 and much more to come in future releases, ensures that our software continues to be the most comprehensive precuing and previsualization tool available in the market today.”

About CAST Software
Established in 1994, Toronto Canadian-based software and hardware developer, CAST Software celebrates its 20th year in business in 2014. CAST Software serves its core markets in entertainment production, special events and meetings. Its award winning flagship software products are wysiwyg design and previsualization suite, and Vivien — Virtual Event Designer. All products are designed and created in-house and supported by an established global distribution and reseller network.
www.cast-soft.com

Community Completes New Loudspeaker Test Facility

Hadi Sumoro at Community's New Loudspeaker Test Facility RoomIn keeping with its commitment to accurate and complete loudspeaker technical data, Community has opened a new, state-of-the-art indoor test facility at its factory in Chester, Pennsylvania USA. Designed by Charlie Hughes of Excelsior Audio and operated by Senior Measurement Technician, Hadi Sumoro, the new test facility enables loudspeaker measurements with unprecedented accuracy and precision.

With its indoor location, the new facility makes it possible to control temperature and humidity. It eliminates wind problems and minimizes interference from outside noise sources. This allows Community engineers to accurately measure complex loudspeaker data and to gather polar data in precise 1-degree resolution. Measurements are automated with an ELF robotic rotator system controlled by EASERA™ software.

The new test facility follows in the footsteps of a long tradition of loudspeaker measurements at Community. Community’s first test facility was a 32-foot-high tower built in 1975 on a southeast Pennsylvania hilltop which provided measurements that closely corresponded to

anechoic chamber standards and established Community as an early leader in providing accurate loudspeaker specifications. In 1981, Community built a semi-anechoic room in its factory to manually collect spherical propagation data of loudspeakers using Time Delay Spectrometry (TDS) technology developed by Richard Heyser and Gerald Stanley. In 1994, Community built a new outdoor test facility extending from the third floor of its factory building in Chester. At 40 feet above the ground and with a microphone to loudspeaker distance of 39 feet, this system is still utilized today and uses TDS software to collect far-field and free-space data and to minimize outdoor noise and reflections. The outdoor test system provides the ability to measure low-frequency loudspeakers in near-free-space conditions.

Regarding the new test facility, Community’s Director of Technical Services, Dave Howden said, “Community’s outdoor measurement systems were an important resource for our TAG (Technical Applications Group) group as we worked with systems designers and end users. Now, this new indoor facility provides phase data and other new information for systems designers and will help Community’s engineering team design the next generation of great loudspeakers.”

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HRS Control Launches New Products at NAB 2014

HRS Control invites NAB 2014 attendees to drop by Booth SL 4707 in the Las Vegas Convention Center’s South Lower Hall where they can explore a number of new products and product upgrades designed to meet the needs of customers in all market segments from rental and staging to broadcast, corporate and houses of worship.

The HRS Control booth will include:
*New Recording Scheduler for UDC software
*New eTouch wall-mounted touch screens for the Embedded Control Server product line
*New bridge products for Embedded Control Server products

The record scheduler feature for UDC (Universal Device Control) Software is tailored to broadcast studios or production facilities using multi-channel video recorders. “It was a specific request from AJA Ki Pro users,” says Drew Taylor, director of sales and applications for HRS Control, “and will have its first formal showing at NAB 2014.”

UDC Recording Scheduler enables users to schedule recordings on each deck or record channel and see when records are blocked out. Users can assign names to each segment and take advantage of other UDC features, such as the ability to execute macros to other equipment at the start or end of a record.

The Recording Scheduler works with the AJA Ki Pro family as well as any other recording device supported in the UDC Software such as the PIX 260i from Sound Devices.

UDC Recording Scheduler is available for purchase now by contacting HRS Control. “The new feature is already being used by a major network affiliate’s studio as well as a house of worship,” Taylor reports.

Also making its NAB debut is the new eTouch series, a wall-mounted touch screen controller that works in conjunction with HRS Control’s Embedded Control Server series of products, including the Raptor for permanent AV installs.

“We’ve been moving more and more into commercial integration, and as we work with clients on projects in commercial spaces a common request has been for in-wall mount touch screens,” says Taylor. “Even though Raptor supports the HRS Control Pro iPad and Windows RT apps, people have been asking for a dedicated device performing this sole function. So we’re excited to introduce 4- and 7-inch eTouch controllers with wall mount and desktop options.”

The wall mount kit is available now with a desk mount kit to be announced soon.

Joining eTouch in the Embedded Control Server product line are three new bridge products – Lighting Bridge, Studio Bridge and Time Code Bridge – designed to work stand-alone or as part of a larger system with the Raptor.

“Customers using the protocol translation features of UDC Pro Plus and the custom GUI features of Raptor now have dedicated boxes to perform separate the functions,” Taylor explains. “It’s more cost effective since they’re not buying a full software package they may not need, and it allows them to allocate resources in other systems to specific functions for greater reliability and easier maintenance.”

When the Raptor provides the GUI, the bridges act as back-end workhorses linking external equipment for smooth communications.

The Lighting Bridge permits Art-Net connections with non-Art-Net-speaking devices, such as video switchers. The Studio Bridge translates PBUS, VDCP and Sony 9-pin protocol in broadcast environments enabling switchers to talk to equipment such as Vista Systems’ Spyder, AJA Ki Pro recorder and any other video wall processors, players, recorders and more. The Time Code Bridge listens to external time code so macros can be executed to control equipment via Time Code Triggers at user specified points in the Time Code.

Each of the bridges is one-half rack wide and a single rack high. Sharing its form factor with the Raptor, a bridge can sit side-by-side with the Raptor and occupy just a single rack height. The bridges are available to order now.

Visitors to the HRS Control booth at NAB will have a chance to see all of these new products in working demos by HRS Control staff, who will supply additional details and delivery information.

About HRS Control
High Resolution Systems known as HRS Control is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audio visual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.hrscontrol.com.

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Gefen Wins Three Awards

Building upon its heritage in delivering best-in-class solutions, Gefen has been recognized with three awards
in Q1 2014. While each award honors a unique product from Gefen’s lineup, reliability, quality and innovation played crucial roles in the key areas of wireless high definition signal extension, fiber optic extension and system integration.

Wireless HD Extension

The GefenTV Wireless for HD 60GHz extender took home the Electronic House Product of the Year award at CES 2014. Selected by a panel of distinguished industry leaders along with the editors of Electronic House and CE Pro, this new solution joins an exclusive group of products deemed the most noteworthy at CES. The Wireless for HD 60GHz extender transmits uncompressed 1080p full HD content up to 33 feet (10 meters) supporting 3DTV and all audio formats including High Bit Rate (HBR) 7.1 channel Dolby True-HD and DTS-HD Master Audio. It uses wireless technology based on the 60 GHz EHF (Extremely High Frequency) radio band. This method of extension eliminates the need to run cables, making it a great solution for retrofits or any environment that wants to streamline cabling. Because data is transported wirelessly, this solution is ideal for use in hotels, cruise ships, conference centers, historical buildings and anywhere it is challenging to run long-range cables.

High Resolution Signal Extension

Gefen was recognized for its part in the implementation of Reality Deck at Stoney Brook University at the Digital Signage Expo 2014. The Silver Apex Award was received by Gefen at the opening-night banquet in Las Vegas. This winning project was chosen from a field of more than 100 entrants. All projects were individually assessed on the basis of originality and innovation by three independent panels, all of whom have long reported on the digital signage sector and are recognized as versant in current industry trends.

Reality Deck is a permanent installation in the Center for Excellence in Wireless and Information Technology in Stony Brook University’s Research & Development Park. It the first 1.5 billion pixel surround installation of high resolution LCD displays with real-world immersive capabilities. After a decade of planning, Reality Deck tiled more than 400 displays along four walls so anyone standing in the room has a very realistic view of large-scale, scientific, computerized data. To transport data from the machine room to the Reality Deck, the team selected an assortment of Gefen DisplayPort Extreme Fiber Optic extenders in 75 and 100 foot distances. Displays had to support very high video resolutions of 2560×1440 to ensure an absolutely pristine transmission of video with no degradation.

System Integration

Gefen’s 32×32 Modular Matrix for HDMI took home an award from NewBay Media’s first annual Product Innovation Awards. Honoring product introductions that serve TV, professional video and broadcast/online radio users, Gefen’s 32×32 Modular Matrix was recognized in the Video/TV category for excellence in manufacturing. Winners were selected by a panel of professional users.

This solution routes up to 32 sources to 32 displays in any configuration. Optional extension over CAT-5 cable via 8x output boards using HDBaseT adds flexibility to the customization of the infrastructure. Displays can be located anywhere within a 330 foot (100 meter) distance of the matrix frame. Users can tailor their outputs to enable displays in increments of eight to be connected locally or extended using modular output boards. Gefen’s POL (Power Over Line) technology eliminates the need to power the receiver units, which obtain their power from the matrix. Gefen FST (Fast Switching Technology) is included, improving the HDCP authentication process and reducing switching time to nearly zero. EDID management settings are included to ensure a stable connection even when powering on/off individual displays and/or sources. Dual, redundant power supplies offer added security for a reliable performance.

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