Electro-Voice X2 Launch & Demo Event
Prosound is excited to invite you to the launch of the new Electro-Voice X2 high-performance compact line-array loudspeaker systems.
The launch will be hosted by Mark Malherbe, Naledi Award winning sound designer and Technical Director for Prosound.
Come and have a listen to the new benchmark for outdoor line-array systems!
Andreas Koestlinger from Electro-Voice Europe (who is responsible for the technical training of Electro-Voice Concert Sound Equipment in EMEA, particularly the X2 system) will be hosting workshops between the X2 demos on:
- Line array theory and the design concept behind the X2
- Houses of Worship system design and application
- Electro-Voice portable sound systems
Dates: 12 & 13 September
- 10:00 / 12:00 / 14:00 for the X2 demo & launch hosted by Mark Malberbe
- Workshops by Andreas will be from 09:00 onwards
ETC embarks on a voyage with Norwegian Cruise Line
This summer, Norwegian Cruise Line welcomed the spectacular Norwegian Joy to its fleet. A custom-built ship for the Chinese cruise market, Joy offers a luxurious experience for up to 3,850 guests. The ship features the first racetrack at sea; multiple bars, restaurants and casinos; a shopping centre; a water park; and a theatre. To help set the right mood for the ship’s many and varied attractions, the vessel is equipped with multiple lighting control desks and an array of lighting fixtures from ETC.
At 167,725 tons and 326 metres (1,069 feet) long, Joy is one of the largest cruise ships ever built, and was constructed by major German shipbuilder Meyer Werft in Papenburg, Germany. AV systems integrator Wärtsilä Funa Solutions was appointed to deliver the entertainment systems for the ship’s numerous attractions. The Funa team specified a total of 10 ETC lighting control consoles, positioned in strategic locations throughout the cruise ship. Sarah Wegner, a freelance lighting programmer and event technology specialist, was entrusted with the installation, setup and programming of the desks. Reliability was the overriding factor in determining the choice of consoles. “It’s essential that the consoles function reliably, since it’s not possible to get a replacement when the ship is on the high seas,” explains Wegner. “There is a mobile Ion, which could be exchanged in an emergency, but otherwise you have to wait until you’re back on dry land.”
In the ship’s theatre, which provides an experience to rival venues on the mainland, an ETC Eos® RPU is used for primary lighting control, with a Gio® console as backup. Ion® and Gio consoles are dotted around the ship for lighting control for a wide range of the other on-board attractions. The requirements are quite diverse: the Supper Club restaurant offers an intimate theatre experience; the Spice H2O bar takes inspiration from summer beach parties; there’s an aqua park with waterslides; a small atrium stage; and an outdoor disco. An ETC lighting control desk is also used in the Galaxy Pavilion, which transports visitors into a virtual entertainment world featuring thrilling interactive experiences, including racing simulators and a virtual roller coaster.
“The theatre shows are programmed by the production team,” says Wegner. “For all the other areas I have saved cues and stored them either on a server or in the desk.” Media Tubes installed in the Galaxy Pavilion and Spice H2O for effect lighting take advantage of Eos’ pixel mapping capabilities. To achieve the desired looks, Wegner created the Media Tubes on an Ion control desk in pixel mapping view. “Eos software is ideal for this,” adds Wegner. “I was able to check in the preview how the parameters affected the overall picture. I prepared everything in there and saved some sample cues.”
Additionally, the Galaxy Pavilion, Supper Club and atrium are equipped with a selection of ColorSource® Spot and PAR luminaires. These four-colour LED fixtures are capable of supplying bright, colourful light that can be tailored to suit the distinct needs of the different venues. And, it’s not just the cruise passengers benefitting from ETC technology on Norwegian Joy. Behind the scenes, in the crew disco, Wegner has programmed an Ion console with a selection of different cues, comfortably retrievable by the crew from the server.
Symetrix serves at the Lincoln Presidential Museum
Just as Abraham Lincoln remains one of the most popular U.S. Presidents, the Abraham Lincoln Presidential Library and Museum (ALPLM) is one of America’s most popular presidential libraries. More than 300,000 visitors pass through its Gateway area each year to enjoy 40,000 square feet of immersive exhibits, historical artefacts, interactive exhibits, and dramatic performances. While only a few exhibit areas rely on spoken word, audio is everywhere: mostly music, sound effects, and occasional museum-wide announcements.
After a dozen years, the museum’s analogue audio system began to show its age, and some pieces could no longer be serviced. After research and consultations with systems integrators Video Services of America in Chicago, ALPLM Systems technical director Sam Cooper opted for a Dante-enabled network managed by four Symetrix Prism 16×16 DSPs and a Symetrix Radius 12×8 EX DSP equipped with a Symetrix 4 Channel Analog Output Card.
Music and effects are supplied by TASCAM DA-6400 64-channel digital recorders with Dante I/O cards connecting the recorders directly into the Dante network. An assortment of JBL Control-series ceiling and wall-mount loudspeakers deliver the audio, powered by Crown amplifiers.
Visitors buy their tickets at the Gateway, but you won’t hear networked audio there because, observes Cooper, “that would drive the front entry personnel nuts.” On entering the Plaza, though, guests begin an audio-intensive walking tour through the world of Honest Abe. “You might see and hear Lincoln giving a speech, or hear birds, bugs, chopping wood, and music in the Plaza,” offers VSA Senior Sales Representative Greg Bayer. “The museum uses a vast array of synchronised sound effects and music, and as you move between locations, you transition to new sounds and music. There are speakers everywhere, and getting the timing and flow right requires sophisticated control, which is a strength of Symetrix DSPs.”
The exhibits are organized into two major “Journeys.” Journey 1 presents the Railsplitter’s pre-Presidential years, while Journey 2 is about his presidency. “The cool thing about the Journeys is the 27 separate areas we call Scenes,” Cooper details. “For example, Scene 1 is outside the log cabin, and Scene 2 is inside the log cabin. As you wander through, the music changes from one scene to another-but at the doorways, the music is blended so you don’t notice that it changed. The composer wrote the music to keep the same feel throughout transition areas yet immerse you into the scene.”
This complex audio network covers the museum exhibit areas and the Plaza only, although plans are to extend coverage to the gift shop. It could eventually also cover the library if desired. The two theatres, both still on the older analogue audio system, will also be added to the Symetrix network eventually.
From the Plaza, you can enter “Journey 1,” which uses 28 channels of audio, while “Journey 2” has 56 input channels where every input is used, including XLR analogue inputs. “The Plaza has its own music,” notes Cooper. “The ‘Ask Mr Lincoln’ exhibit has separate dialogue. ‘Mrs. Lincoln’s Attic’ has its own music, as does the ‘Illinois Gallery,’ which changes with each exhibit. We didn’t use much EQ, but level control was very important, and the Symetrix DSPs made a big difference there.”
In fact, says Cooper, level setting was the most challenging part of programming the system. “We’d take it down 3 dB in one room, then realise that’s too much, so we’d adjust it again,” he recalls. “But because of that change, we’d have to go to the next room and make a little change. We spent a lot of time going back and forth and adjusting. We walked the Journeys with the VSA team over and over until we got it right – and they did a great job. Once we got the levels right, we generally haven’t had to change them.”
Symetrix’ products proved to be the right solution. “We chose Symetrix DSPs because they have the capabilities we need, including Dante, while also fitting our budget,” reveals Cooper. “They’re not hard to program in general, but neither VSA nor I had done something quite like this before. In addition to level control in the Plaza, we wanted two Symetrix ARC-3 controllers, mounted inside our operator control panels that mirrored each other to control the Plaza system. We have four zones in one scene that use multiple audio streams, depending on section, and those need to be controlled independently on a dedicated mixer in the DSP. Sometimes we mute individual scenes, which adds complexity. We have interactive exhibits on the network, each with audio. We also wanted the ability to expand the system. It was a lot to program. So VSA called Symetrix on the phone, and the Symetrix people were great about explaining how to do what we wanted.”
Beyond the Plaza, with its two ARC-3 panels, each Journey-except the two theaters- has a separate Symetrix ARC-series wall panel for control. That includes a Symetrix ARC-K1e rotary encoder mounted in “Ask Mr Lincoln’s” electronic control room, and three ARC-SW4e push-button wall panels remotely controlling audio functions for the Journeys.
Sam Cooper is thrilled with his new audio tools, and with life at the ALPLM. “I have a dream job, and I have a great staff that backs me up,” he enthuses. “We worked on all of this together and made a point of including the entire staff in the install as much as we possibly could. VSA did a great job making the system work the way we wanted it to. The Symetrix network has been bulletproof. I am very, very pleased.”
This article is originally from www.pro-systems.co.za
Please contact us for more information on Symetrix products.
Eos iRFR and aRFR mobile apps get an update
New versions of the iRFR and aRFR remote apps for Eos will be available for purchase on the App Store and Amazon Marketplace starting this week. The overhauled mobile applications feature fully redesigned user interfaces, more intuitive connectivity, and expanded feature sets that include a full-featured keyboard and Direct Selects.
Software v2.6 or higher must be installed on the host Eos device for the apps to function.
The new line-up of remote apps is as follows:
- iRFR-BTS/aRFR-BTS (sales benefit US-based charity Behind the Scenes)
- iRFR-Backup/aRFR-Backup (sales benefit UK-based charity Backup)
- iRFR Classic/aRFR Classic (previous iRFR and aRFR apps, renamed and available as free downloads)
- iRFR Preview (unchanged; available as a free download)
Customers who previously purchased the iRFR and aRFR apps may upgrade to the new versions free of charge with a simple update.
The new iRFR and aRFR apps are NOT compatible with Cobalt devices. Any users who inadvertently update can revert to the old software by downloading one of the Classic apps.
Join ETC’s video celebration of Source Four
This November marks the 25th anniversary of the birth of the Source Four® fixture at ETC. Between now and this year’s LDI tradeshow, we’re taking a look back at this product that has become such a major part of ETC’s story, the fixture that has made a long-lasting impact on our industry, and the product that has inspired many additional ETC fixtures.
When asked what he remembers about the first time he saw the Source Four, ETC CEO Fred Foster says “When I first saw the Source Four it was just a HPL lamp, glass reflector, and a lens on an optical rail in Dave Cunningham’s lab. But it was 40% brighter than a 1000W FEL and used only 575W of power. I was awestruck. It was even more fun to watch the looks on the faces of the LDI attendees when we launched the product a year later.”
Ellen White, outreach and training specialist at ETC, was working in ETC’s booth in 1992 when Source Four was first revealed. “We launched three products at that tradeshow and we really thought the talk was going to focus on the Sensor dimmers and the Obsession console. But Source Four started a small buzz that morning and became the topic of conversation at many dinners that evening.”
Since launching at LDI in 1992, ETC has shipped nearly 3.8 million Source Four fixtures. That gives us plenty of reasons to celebrate this milestone.
As part of the anniversary celebration, we’re creating a video showcasing the longevity of the Source Four fixture. We want to see as many of those millions of Source Four and Source Four LED fixtures as possible. As part of this crowd-sourced video project, we are asking you to send photos of your Source Four and Source Four LED fixtures hanging in your theatres, your churches, your schools, and your community centres.
You’ll find specific instructions and photo submission procedures here: www.etcconnect.com/sourcefouris25.
Between now and 1 October, please submit photos through this online form in exchange for a limited edition Source Four 25th Anniversary t-shirt (while supplies last) and the chance to win one of ten Source Four Mini LEDs.
The last 25 years with Source Four have been an inspiration. Here’s to the next 25!
Latest Eos family software unlocks output upgrades and empowers Element
When Eos® family console users install software v2.6, they may find that their systems get a serious boost. As announced at CUE, ETC’s professional development conference, Eos v2.6 brings major upgrades for Element consoles, and improvements to Snapshots and other programming features. The release also marks a change in the way the console family handles output upgrades for both new and existing users.
Eos v2.6 dispenses with the notion of incremental upgrades, by which customers could purchase consoles and output upgrades at a number of different levels. From now on, any upgraded console is a fully-upgraded console. Moving forward, each Eos family controller will be sold in two formats: base and unlocked. A base level Gio @5®, for example, will have 4,096 (4K) outputs, while an unlocked Gio @5 will have 24,576 (24K) outputs.
If a user wishes to increase a base-level console’s control potential, a one-time, very cost-effective upgrade may now be purchased to expand the desk to its full capacity. What does this mean for users who have already purchased incremental upgrades, or who have purchased a console above its base-level output capacity? Upon installation of v2.6, all existing upgraded desks above the new baseline – even those that have only been upgraded to partial capacity – will be automatically expanded.
Eos v2.6 brings massive upgrades to Element consoles, enabling a whole host of features previously reserved for the larger Eos family platforms. For entry-level Element users, day-to-day operation will not change. More advanced users, however, can now take advantage of multi-user control, partitioned control, virtual media server functions, full display controls, new timing options, filters, presets, highlight functions and more. Touring productions and receiving houses will also find the changes beneficial; a show programmed on an Ion® or larger desk can now more seamlessly transfer to a venue with an Element console.
More features for all
The software update also adds new display and playback features for all Eos family consoles. With the push of a button, users working in the live table view can now bring up part structures, output level, playback sources, or the DMX map. Manual timing masters enhance live playback options, and the ability to assign Macros to playback buttons unlocks a new layer of playback flexibility.
To download Eos v2.6, visit www.etcconnect.com/Products/Consoles/Eos-Family/Eos-Ti/Software.aspx
For a full rundown of Eos v2.6 features, download the release notes at www.etcconnect.com/Products/Consoles/Eos-Family/Eos-Ti/Documentation/
ETC Eos delivers dynamic looks for The Dream of Gerontius
As part of its summer programme, English National Opera appeared at the Royal Festival Hall for a captivating production of Elgar’s The Dream of Gerontius. Multi-award winning lighting designer Lucy Carter used light – controlled with ETC Eos® Ti and RPU3 – to create an additional layer of emotion and energy to support and reflect the music.
Widely regarded as Elgar’s finest choral work, The Dream of Gerontius relates the journey of a pious man’s soul from his deathbed to his judgment before God and settling into Purgatory. To evoke an otherworldly feel, Carter opted for simple staging with abstract lighting energies that combined with the music to create an ethereal quality.
“When I was researching this production and arrived at my eventual design decisions, I knew that in order to create the complex and detailed environments to match the expansive and evocative music and themes of the libretto, I would need an immense amount of flexibility from my rig,” says Carter. “I chose to work almost exclusively with the GLP impression X4 Bars and Eos pixel mapping, and to use video files to populate the designed structure of the lights with energies and light textures.”
Supplied by PRG, the rig consisted primarily of 163 GLP impression X4 Bars, arranged into six concentric triangles positioned over the orchestra, and three rows over the chorus. Lighting of the choir and orchestra was delivered by 12 Martin Mac Aura XBs, with the soloists and conductor lit by a combination of ETC Source Four® LED Series 2 Lustr and Vari-Lite VL1000 AS fixtures. The rig required in excess of 40 universes of DMX, delivered via 14 ETC DMX/RDM Four-Port Gateways mounted locally on the trusses by production electrician Martin Chisnall.
To deliver the dynamic range of looks required, Carter worked closely with lighting programmer Jenny Kershaw, with programming support from Andi Davis, on behalf of ETC. “Jenny and I have been working with these ideas for a few years, and the ETC desks are an essential tool for our design work,” says Carter. “I want the lighting textures to feel organic and not mathematically produced and Jenny is able to manipulate the effects tools to create the dancing light textures I want. These are not repetitive effects, but seemingly evolving and dynamic.”
“The Eos Ti’s ability to deliver pixel mapping via the on-board Virtual Media Server, along with its conventional channel-based control, meant it was the perfect solution for this project,” adds Kershaw. “The content was generated on-board via effect layers, allowing for fast and convenient creation and editing of the looks required.”
The demands of this project saw ETC further expand the capabilities of its celebrated Eos software by adding extensions to the existing Eos Family Virtual Media Server feature. The pixel map size limits have been enhanced, allowing for control of up to 16,000 pixels. Additionally, Virtual Effect Layers have been modified to enable generation and manipulation of content for much larger pixel maps, and a variable server smoothing feature has been added.
“Thanks to the fantastic support we received from ETC and Andi Davis, we managed to achieve the complexities I was looking for,” says Carter. “With almost 500 cues and effects and numerous cue lists running simultaneously, Eos never let us down.”
Indian Wells Tennis Garden selects RTS and Electro-Voice audio products for Stadium 1 upgrade
Burnsville, MN, May 2017: Located in Palm Desert, California in the Coachella Valley, Indian Wells Tennis Garden boasts 29 regulation tennis courts. At 16,100 seats its largest, Stadium 1, is the second-largest tennis-dedicated stadium in the world. Indian Wells is the host to the annual BNP Paribas Open, a major two-week pro tournament. Constantly evolving under the ownership of Oracle founder Larry Ellison, the facility recently rebuilt and refurbished Stadium 1, including a complete audio makeover that features premium products from two Bosch brands: RTS and Electro-Voice. Technicomm Industries, an area firm that has handled previous Indian Wells expansions and upgrades, was contracted to handle the upgrade.
“We had a loudspeaker demo shootout; six companies, no loyalties, and the EV products flat-out won on sound quality and aesthetics.”
“They decided to totally refurbish the main stadium last year. One goal of that change was to modernize the intercom system,” says Steve Burgess, project manager for Technicomm. “We wanted a system that could become part of our site-wide Dante audio network, and RTS was one of the few brands with that capability.”
Burgess contacted his regional RTS rep, Jeff Shorsher, to arrange a demo. Upon experiencing the system’s capabilities, Indian Wells and Technicomm agreed it was the smart choice. Operating as part of Indian Wells’ existing Dante matrix system would create great flexibility, enabling both in-house and external communications. In addition, it would enable Technicomm to address another need by eliminating equipment clutter in the broadcast booths.
“Over the years, the booths, which are quite small, had built up a variety of equipment to meet communication needs, including multiple radios, cell phones, and a computer,” notes Burgess. “By integrating everything together in a Dante network, the RTS system met every need and eliminated a ton of gear from that booth. That made a lot of people happy.”
The intercom system is based on an RTS ADAM-M digital matrix and utilizes OMNEO IP technology as its networking backbone. A total of 15 RTS DKP-4016 desktop keypanels and one rack-mount RTS KP-5032 keypanel are spread throughout the sprawling Indian Wells facility, each fitted with a gooseneck microphone.
“The programmability of the RTS intercom system put us miles ahead of our previous capabilities,” says Burgess. “We were able to route several Dante audio streams into the system and tailored each keypanel to what that operator needs on it. We were even able to incorporate the audio stream for the Hawk-Eye line judging system, which was a huge advantage for the broadcast team.”
The Hawk-Eye visually tracks ball trajectory and is used to adjudicate disputed out-of-bounds calls in professional tennis events, including the PNB Paribas Open at Indian Wells. The system requires audio input from the court effects and umpire microphones, which previously was achieved with the help of an outboard mixer.
“Having a Dante network with RTS keypanels changed all that,” says Burgess. “Now we use the speaker on the keypanel as the playback device. All we had to do was go into our Dante controller, drag the source channels over to the destination and boom, it was done. Very simple, easy to use, and sounded great. It’s a good example of the flexibility of a Dante-based system. It also eliminated a whole bunch of gear out of the broadcast booth, which was another goal of ours.”
Another major aspect of the Indian Wells upgrade was the public address system. When Technicomm learned that the Bosch family of brands included Electro-Voice, they were invited to be part of a multi-brand comparison. Quantum’s EV rep, Dave Brown, came in to consult on product selection and provide evaluation samples.
“We had a loudspeaker demo shootout; six companies, no loyalties, and the EV products flat-out won on sound quality and aesthetics,” explains Burgess. “The EVID ceiling speakers were the clear choice based on superior sound quality.”
A total of 60 EVID PC 6.2 premium ceiling speakers were installed in the facility’s premium areas, including the owner Larry Ellison’s private suite, along with other viewing suites, the champions’ lobby, and fitness center. For wall-mount indoor/outdoor applications, the facility chose the EVID 4.2, a weather-resistant design that combines attractive styling and flexible mounting with high fidelity and exceptional intelligibility.
The installation itself was a major challenge for Technicomm due to delays in the physical construction process of refurbishing Stadium 1. “We were joking that we needed more Bosch power tools, because we were basically working through February 5th, and the tournament started the next day,” says Burgess. “We ended up connecting and testing everything outside the audio cage before we deployed it. Jeff Shorsher and Calvin Ogawa from RTS really had my back, programming the system on site and interfacing it with the broadcast system. They made sure that when we put the gear out in the field, it worked right the first time. I want to thank them for their incredible support.”
While the audio and intercom upgrades were focused on Stadium 1 and broadcast logistics for the annual BNP Paribas Open, the facility is in year-round use for other events as well, including music and arts festivals, major concerts, and as a graduation venue for area high schools.
“By adding RTS intercoms and EV loudspeakers to the Dante-based system they had in place, Indian Wells now has the flexibility to provide the audio and communications for any type of event, with scalability that will make future expansion easy,” adds Burgess. “And history tells us that there will be ongoing enhancements at Indian Wells Tennis Garden for years to come.”
This article is originally from www.electrovoice.com
Chess Club Wins with Attero Tech
Played by more then 605 million adults and countless children, chess has long been one of the world’s most popular pastimes. Since 2008, the Chess Club and Scholastic Center of St. Louis has led the way for U.S. chess education and competition, including hosting the prestigious annual U.S. Championship, U.S. Women’s Championship, and U.S Junior Closed Championship, as well as housing the World Chess Hall of Fame. Along with chess classes, summer camps, and field trips, the center offers a variety of community events, including a family day, film night, and monthly music series.
Designing an advanced audio system for the Chess Club might not be as daunting as playing chess with a grandmaster but it was challenging nonetheless. “This is a group of very creative people, and they’re constantly coming up with new presentations, displays, and other projects,” praises Cignal Systems vice president Brian Rice, who headed up a design team that also included Project Manager Doug Hill and control systems manager Mark Olsen. “We had to step up our creativity to give them an audio system that matched the flexibility and creativity they demonstrate all the time. Using a Dante network connected with Attero Tech unD6IO 4-in, 2-out Dante wall plate interfaces, we were able to provide sophisticated audio distribution throughout the three floors of the facility and make it easy to use.”
Attero Tech’s role in the project went beyond supplying unD6IO interfaces. “Early in the project, we discussed with Attero Tech what we were trying to do,” confirms Rice. “They corrected some of our assumptions and pointed us in a more appropriate direction for best using their technology. And because they keep pushing their technology forward, the interfaces we ended up installing had a lot more inputs and outputs than we had originally specified. With their help, we brought a lot more value to the customer, and we were able to achieve greater results within the implementation of the design. We appreciated that.”
The Chess Club features three galleries and an assortment of classrooms and other spaces on the first two floors and a performance space on the third floor. Also on the ground floor are an outdoor patio and the Q Boutique, hailed by the local media as one of St. Louis’ best gift shops. The club wanted to be able to send audio from any source, including the performance space, to any speakers in the network, including in the gift shop and patio.
Rice’s team specified a distributed, IP-based sound system based on SoundTube IPD Dante-enabled IP speakers and a Symetrix Prism 8×8 DSP, with a unD6IO interface in each space. “Attero Tech unD6IO interfaces offered the best way to get inputs and outputs into each of the front galleries through our Dante network,” Rice reports. “We route the Attero Tech unD6IOs to a switch, which is connected to a Symetrix Prism DSP that manages our analog wireless systems and playback devices throughout the facility. From the DSP, digital audio goes into the Dante backbone, where it is routed and distributed. The IP speakers have onboard processing so we can adjust them to the acoustic environment. The DSP mostly manages the Dante network and provides some auto-mixing.”
The third-floor performance space also uses a distributed speaker system but with the addition of subwoofers. “It’s not a big room but they wanted a bit more intelligibility and a bit more lift,” Rice recalls. “The musical performances are acoustic, so they don’t need a lot of volume. When they do want big, booming bass-they have some rap battles, hip-hop, and other contemporary audio in their chess videos-they can hook up a subwoofer. We’ve done sophisticated programming with our control systems that crosses over the distributed system, rolls off the low end, and channels that to the subs when needed.”
All sources can be routed to any combination of speakers throughout the network. “If they have a multi-level showing, and someone comes in to speak about a particular chess set or exhibition, they can put a wireless body pack or handheld on the lecturer,” Rice details. “As the person moves from floor to floor, that audio can be piped to any or all floors. There’s no awkward microphone changeover; audio just flows from one space to the next.”
The monthly musical performances became so popular that the club wanted to pipe the music out to the patio in front of the museum. “The Chess Club is part of the cultural atmosphere of the Central West End,” offers Rice. “Immediately adjacent to the patio is a Starbucks coffee house, and people buy coffee and then sit on the patio and enjoy their drink while listening to the performance. The club also can channel the music to the first and second floor galleries.”
Attero Tech interfaces proved so useful that the Chess Club requested more of them. “We used at least six unD6IO interfaces to begin with,” Rice states. “When the customer saw the system’s potential, they had us add a couple more Attero Tech interfaces to expand their inputs and outputs. They’re pleased and excited about their new audio system-and so are we.”
Please contact us for more information on Attero Tech products.
See Attero Tech’s New AES67 Endpoint Products at InfoComm
Attero Tech will be debuting five new AES67 endpoints, as well as a 32 input Dante/AES67 1RU audio interface at InfoComm 2017 in Orlando.
The new AES67 endpoints include these 2-gang wall plate products:
unAX4I – 4 XLR inputs + 2 balanced outputs
unAX2IO+ – 2 XLR inputs, 2 XLR outputs + 2 separate balanced inputs
unA6IO – 2 XLR inputs, 2 RCA inputs, 3.5mm stereo input, 3.5mm stereo output + 2 balanced outputs
unA6IO-BT – Stereo Bluetooth audio input, 2 RCA inputs, 3.5mm stereo input, and a 3.5mm stereo output
The new flange-mount AES67 interface is the unAIO2x2+, which features 2 balanced mic/line inputs and 2 balanced line outputs.
The Synapse D32i allows up to 32 consumer or pro level line inputs to be introduced onto a Dante or AES67 network. The D32i includes primary and secondary RJ-45 ports as well as primary and secondary SFP fiber ports to make long distance connections simple. Options for 3-pin depluggable or DB-25 balanced audio connectors means the D32i will be at home in almost any venue.
QSC Q-SYS plugins for several Attero Tech Dante and AES67 endpoints will also be shown, along with the new Version 2.3 of Attero Tech’s unIFY software.
We look forward to seeing you at InfoComm and showing you the great solutions we have to make make your projects easier and more cost effective.
Please contact us for more information on Attero Tech products.