Shure – Announces New FP Wireless

FP Wireless Represents Flexibility and Simplicity in Portable Wireless

We are excited to announce FP Wireless is now available! FP Wireless is a cost-effective, portable wireless system targeted for videography applications, which offers easy setup and best-in-class audio right out of the box.

FP Wireless has intuitive and flexible components, including portable receivers and an XLR plug-on transmitter.

Up to 20 compatible systems
All components compatible with SLX Wireless Systems
Shure patented Audio Reference Companding

Automatic Frequency Selection locates an open frequency at the touch of a button

Automatic Transmitter Setup instantly syncs the transmitter to the receiver frequency

Transmitter gain attenuation control manages input level

Receiver output level control manages output to recording device

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Shure Apps Tech Tip – SCM410 & SCM810 Logic Functions

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Each input channel of the SCM410 or SCM810 has three Logic terminals:

MUTE IN

OVERRIDE IN

GATE OUT

Therefore, the SCM410, with four inputs, has 12 Logic terminals, plus a LOGIC GROUND terminal, for a total of 13. The SCM810, with eight inputs, has 24 Logic terminals, plus a LOGIC GROUND terminal, for a total of 25.  These Logic terminals are on a multi-pin connector, located on the left side of the SCM mixer rear panel.

 LOGIC GROUND

The LOGIC GROUND terminal never changes from its level of 0 volts.

 First Logic Function – MUTE IN

When the MUTE IN terminal is connected to the LOGIC GROUND terminal, the associated input is muted.  This connection can be accomplished using a switch, a relay, or an external control system.

 How can MUTE IN be employed?  Imagine a city council system with 16 microphone positions.  Each position could have a switch so that the council member could mute her microphone for privacy.  The mayor could be given a switch that mutes all the microphones in the chamber. There could be a main control console where the council secretary could mute and unmute microphones as required.

 Second Logic Function – OVERRIDE IN

When the OVERRIDE IN terminal is connected to the LOGIC GROUND terminal, the associated input is activated, even if no one is speaking into the microphone.  This connection can be accomplished using a switch, a relay, or an external control system.

 How can OVERRIDE IN be employed?  Imagine the same city council system.  There could be a need to have a mixer input activated at all times, overriding the voice activation.  This input might be used for audio from a DVD player or computer.  Just remember that OVERRIDE IN is the opposite of MUTE IN.

 Third Logic Function – GATE OUT

When the input channel is not activated (the talker is silent), the GATE OUT terminal has a voltage of +5 Vdc.  When the input channel is activated (talker is speaking), the GATE OUT terminal changes to a voltage of 0 Vdc.  Thus, the GATE OUT terminal will indicate if a mixer input channel is activated or not.

 How can GATE OUT be employed in the same city council system?  The GATE OUT could be used to trigger a video camera to view the person speaking.  GATE OUT could be used to activate a light near the talker to indicate that the microphone is “live.”  GATE OUT could be used to activate an external circuit that shuts off the loudspeaker nearest the microphone to control feedback.  GATE OUT could also control the MUTE IN or the OVERRIDE IN associated with another input…think about that.

 Again, there is a common element to all Logic functions discussed:  a Logic terminal only has two states:  +5 Volts or 0 Volts.  As with the MX microphones and the SLX4L receiver, the Logic functions are elementary:

Mixer input- Muted or Not Muted (MUTE IN)

Mixer Input – Forced On or Not Forced On (OVERRIDE IN)

Mixer input – Activated or Not Activated (GATE OUT)

 The User Guide for the SCM410, and for the SCM810, has a section that illustrates methods for using the Logic functions, including useful external Logic circuits.

 Epilogue: Do not be concerned if the implementation of the Logic functions remains a bit fuzzy; Applications Engineering can help with those details.  Just be cognizant of the Logic functions provided in the MX microphone line, the SLX4L receiver, and the SCM mixer line.

 Related links on this topic:

http://shure.custhelp.com/app/answers/detail/a_id/3064/

 http://shure.custhelp.com/app/answers/detail/a_id/2508/

 Arcana – mysterious or specialized knowledge. Shure Applications Engineering is full of it.

 One unique Logic function of the SCM810 is called Filibuster mode.  When implemented, the first microphone that is voice activated will block out all other microphones.  In Chicago, this mode is satirically referred to as “The Mayor Daley Option.”

 

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NEW Roland V-800HD Multi-Format Video Switcher

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V-800HD Multi-Format Video Switcher

Picture Quality at the Pinnacle of High Definition. Eight Multi-format Channels from Sixteen Inputs.

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The V-800HD Live Video Switcher is ideal for any live event or installation that requires the freedom to connect any type of source whether it be digital or analog, computer or video format.

Just like the design of the popular Roland V-1600HD switcher the V-800HD is a true multi-format video mixer meaning there is no need to match input sources to the output resolution. Every input has it’s own broadcast quality scaler that can individually scale, stretch, crop and zoom each source as required to fit any output resolution chosen.

The V-800HD is HDCP compatible and also features a built-in multi-viewer output that provides a convenient monitoring solution when connected to an HDMI monitor. The eight mixing channels provide connectivity to 3G/HD/SD-SDI, DVI-A/DVI-D/HDMI, RGB, component, and composite formats – as well as an additional two channels for still images assignable via USB memory stick or frame grab. A newly developed key-compositing engine lets you adjust phase range, amount of chroma, and HSV color space parameters.  Another key compositing feature includes an external keyer enabling CG titles and gradation clips, enabling impressive visual effects.

Assignable video cross-points allow reordering channel buttons which is especially useful when sudden changes in camera lines or differences in formats create blank spaces between select buttons on the bus. A dedicated composite output enables a down-converted SD signal that is always ready to use for archiving to a DVD recorder or to an encoder for streaming.

The Multi-Zoom feature can be enabled when one video input is shared internally with up to three more inputs – essentially daisy-chaining it. The scaler for each input can zoom into any position in the video image giving the appearance that additional cameras are connected – creating a virtual multi-camera environment. Additional effects include a down stream keyer (DSK), a composite keyer, Picture-in-Picture and multiple transitions.

The V-800HD supports an incredible variety of system design and creative production options for live or fixed installation applications. It is adept and handling LED wall sizing challenges and is ideal for any live event or installation demanding flexibility, stability, high quality, ease of use, and professional connectivity. With video output resolutions up to 1080/60p, 4:4:4/10-bit processing, and support for 3G SDI input resolutions; the highest quality video is achieved. The V-800HD Video Mixer strengthens Roland’s Multi-format video mixer line-up and is positioned to the pinnacle of quality video production for live event, broadcast, corporate, educational, and house of worship applications.

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NEW Shure ULX-D Digital Wireless

  • 24-Bit / 48 kHz digital audio
  • Wide frequency range with flat response for superb low range and transient response
  • Greater than 120 dB dynamic range provides excellent signal-to-noise performance

 Encryption-enabled for any application for which secure transmission is needed

  • Advanced Encryption Standard (AES-256) conforming to the US Government National Institute of Standards and Technology (NIST) publication FIPS-197
  • Enabled via front panel menu on the receiver and sent over IR sync
  • A new, unique, randomized encryption key is generated every time encryption is enabled

 Extremely Efficient and Reliable RF Performance

  • Up to 64 MHz overall tuning range (region dependent)
  • Up to 14 active transmitters in one 6 MHz TV channel (17 on an 8 MHz TV channel)
  • Over 60 compatible channels on one frequency band
  • Rock-solid signal stability with no audio artifacts extends over the entire 100 meter line-of-sight range using standard supplied dipole antennas

 Ethernet networking for streamlined setup across multiple receivers, Wireless Workbench® 6 integration, and AMX/Crestron control

Support for frequency coordination with the Axient™ Spectrum Manager

  • Optimized scanning automatically finds and deploys the cleanest frequencies available
  • Proprietary Shure Gain Ranging optimizes the system’s dynamic range for any input source, eliminating the need for transmitter gain adjustments
  • Interference detection and alerts provide instant confirmation when interference is present
  • Adapted from industry-leading Axient™ intelligent power management technology
  • Lithium-Ion chemistry and intelligent Shure battery circuitry results in rechargeable batteries with zero memory effect. The battery can be recharged at any time; a complete discharge is never necessary
  • Provides ULX-D transmitters with unmatched 12+ hours of performance time
  • Transmitters and receivers display remaining battery life in hours and minutes accurate to within 15 minutes

http://www.shure.com/americas/products/wireless-systems/ulxd-systems/index.htm

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QSC Introduces the Core 250i/500i

Shipping Spring 2012

QSC Audio has announced the next generation of Q-Sys products, designed specifically to deliver powerful digital networked audio solutions for the widest range of applications.

The new Core 500i and Core 250i provide advanced centralized processing, routing and control for contractors and consultants needing a solution for smaller venues such as restaurants, nightclubs, stores, schools and churches.

 These two new Core models are fully integrated solutions, each with I/O  eight card slots on-board. The Core500i is capable of up to 128 (flexible) network channels while the Core 250i provides up to 64 (flexible) channels. I/O is selectable via the various Q-Sys I/O cards. Options also include the MTP-64, and MTP-128 multitrack players.

 Like all Q-Sys Cores, these systems run under a customized Linux operating system on Intel microprocessors and motherboards. IT connectivity is easily implemented utilizing Layer 3 Gigabit networking protocols and standard Gigabit Ethernet hardware.

 The systems are capable of providing simple and fail-safe redundancy for mission-critical applications. Q-Sys cores are configured using an intuitive object-based drag and drop user interface that provides for the creation of nearly any imaginable signal flow. Control logic objects are provided and custom scripting may also be used to accomplish a wide range of interface or control tasks. The design GUI is capable of quickly and easily generating graphical control screens that may be run on network-connected computers, tablet devices or QSC touch-screen controllers.

 QSC has also announced that Acoustic Echo Cancelling will be included with a new version of Qsys Designer software to be released this spring as well.  The Core500i will be capable of 32 channels of AEC and the Core250i will be capable of 16 channels of AEC.

 Also coming this spring is the I/O-22 analog I/O box. It is a compact, standalone unit designed for widely distributed audio sources or destinations such as individual rooms in a multi-room venue (judicial chambers, classrooms, VIP suites, etc.)

 It provides two mic/line inputs and two line outputs and connects directly to the Gigabit Ethernet network. It is powered by PoE or 24 VDC and includes an 8.5 watt mono amplifier and mounting plate for discreet and compact installation.

http://media.qscaudio.com/pdfs/Specifications/Core250i-500i_SpecSheet_0112_web.pdf

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Shure Apps Tech Tip – VP68 Omni Wireless Mic Capsule and Its Attributes

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Shure Apps Tech Tip  – VP68 Omnidirectional Wireless Mic Capsule and Its Attributes

The Shure VP68 wireless mic capsule, introduced in June 2011, is sold as the model RPW124.  The VP68 audio pick-up pattern is omnidirectional (“all directions”), so the mic can be held upside down, or sideways, and the talker will still be heard.  This is a useful attribute when the mic is spoken into by a person that typically does not use a mic, e.g., an audience member asking a question, a family member giving a wedding toast, or a citizen addressing the city council.

Other useful attributes of the VP68 omnidirectional mic capsule are:

1) Minimal wind noise when used outdoors.

2) Minimal handling noise as the user touches or moves the mic.

3) Minimal “P” popping when the user speaks words beginning with “P”, “B”, or “T”.

4) No proximity effect [excessive bass] when the mic is positioned close to the mouth.

These forgiving attributes are beneficial for the novice mic user, plus these attributes improve the intelligibility of the spoken word.

 Link to the Shure Technical FAQ on this topic: http://shure.custhelp.com/app/answers/detail/a_id/78/

 Arcana – mysterious or specialized knowledge. Shure Applications Engineering is full of it.

A Shure omnidirectional microphone, the SM11, was installed in every NASA Space Shuttle.  The mic monitored the deafening sound level of the solid fuel booster rockets, and triggered a mechanism that captured the rocket exhaust gases for analysis after the Shuttle returned to Earth.  During the entire Shuttle program from 1981 to 2011, there was only one reported failure of the SM11, and this was due to the mic cable being pulled too tight by a service technician.  The Shure Archives contains an SM11 mic that flew on multiple Shuttle missions.

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Shure Apps Tech Tip – Difference between the SM57 and SM58

Shure Apps Tech Tip – Difference between the SM57 and the SM58

There is a plethora of pro audio myth regarding the SM57 and the SM58, and how they differ.  But no matter what is posted on the Internet, the fundamental difference is the type of protective grille: the SM58 has a metal ball grille and the SM57 has a plastic cylindrical grille that rotates.  The shape of each grille does slightly affect the high frequency response and this may seen on the frequency response graph printed on the User Guide supplied with each model.

Links to the Shure Technical FAQ on this topic:

 http://shure.custhelp.com/app/answers/detail/a_id/1118/

http://shure.custhelp.com/app/answers/detail/a_id/142/

http://shure.custhelp.com/app/answers/detail/a_id/256/

The SM57 was introduced in 1965, and the SM58 in 1966.  Both models employ the Unidyne III microphone element, developed by Shure engineer Ernie Seeler, and first used in the model 545 introduced in 1959.  The 545SD is essentially an SM57 with an on/off switch.   “SM” stands for Studio Microphone as the SM57 and SM58 were originally developed for use in television studios.   Two features were very important for TV: 1) The non-reflective gray finish to prevent reflections of the TV studio lights, and 2) the lack of an on/off switch to prevent onscreen talent from accidentally muting the mic.

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