AV Issue 45

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Editorial Three-Pin Imperialism One of the most disheartening things any of us can do is to revisit the site of one our previous technological or design triumphs, only to discover what time has done to our work. It can be okay to see that perhaps the crystal ball was a bit cloudy a decade ago and that serial data was reasonable guess for a control system that is likely to be a TCP/IP network today, or that RG59 would still be useful for video, although most of today’s bread and butter video distribution isn’t SDI. Other than a couple of hopeful Israeli engineers, who could have foreseen that something as disruptive as HDBaseT would even exist, much less morph from a consumer technology into the AV mainstream?

Most of our futures are impenetrably obscure, no matter what we may be told in the sales brochures and the spec sheets about new products being future proof, user proof is a much more desirable attribute.

The impact of the passing of time is much more devastating than simply making our technological guesses look like what they are. It’s the twin problems of either decay or disuse that can be so heartbreaking. So often the project scope or budget documentation fails to indicate the real levels of usage and the real operational lifespan of a project, information that would allow us to make more accurate technologiy and equipment choices. However, even when we do manage to get the right solution, the part that’s virtually impossible to predict with any accuracy (unless your cynicism knows no bounds) is the level of stewardship and maintenance support that will accompany the project during its operational lifetime.

Unless cosseted in a truly protective environment or included in an environmentallyappropriate maintenance program, everything will eventually fail, whether it’s water vapour and/or oxygen on connectors or commutators disrupting their connectivity, or dust ingress into cooling systems, or occasionally-out-of-spec power supplies, or a random cosmic ray passing through a hapless semiconductor on a chip. Even if, as so rarely happens, we are given sufficient resources at the installation and commissioning stages to set up good starting conditions, there are almost inevitably cuts in the recurring expenses program to save dollars.

Maintenance budgets are always lowhanging fruit when it comes to making savings in operational costs. The logic at the meetings goes something like this: ‘Look at how much money we’ve poured into the preventive maintenance

for this system. It has never failed, so it’s clearly unnecessary.’ (It sounds a bit like the misguided and ignorant stuff I hear these days about the years of work some of us older folk put into preventing the vast majority of the Y2K problems but that’s a subject for another day.)

Just about every one of my projects I’ve revisited, and almost without exception every project I’ve covered in my time writing about technologies, has been allowed to slide into a state of terminal decline. The key factor for the few that are still in good health, has been the existence of an enthusiast sponsor or guardian within the organisation who sees the value of the project and keeps its presence in the minds of the new management or ownership teams who then see its value and the potential costs of abandoning it.

“this extensive devastation of all the countries in our region using UK sockets is something that no system designer could have reasonably in envisaged”

laptops, book readers, wireless routers, Bluetooth earpieces and mouses, etc, what really drove me crazy was that every power socket in every public space (gate lounge, café, corridor, etc) was either badly intermittent on not working at all. I was totally appalled at what I considered to be KLIA’s abandonment of their power infrastructure.

When I happened upon the one only-slightlyintermittent outlet in an entire wing of the terminal, I dutifully plugged in my culturally-appropriate UK-style adaptor and got on with charging a few devices of my own and a few more for hapless fellow travellers who had missed out on a decent socket. While waiting for my devices to charge, the mystery of this aspect of KLIA’s maintenance was revealed to me. Some not very bright European had noticed something, and passed it on to his peers: you can push a European two-pin power plug into a UK-type socket, and for quite some time it will probably make a reliable connection.

Sadly this is not a good solution, because the round Euro pins are slightly wider than the rectangular pins in the UK socket. They stretch the UK socket to the point where the metal parts are no longer clamping tightly, safely or reliably on the Euro pins and not at all on a UK plug.

While not quite as devastating as the smallpox and opium the Europeans have visited on the rest of the world in previous generations, this extensive and systematic devastation of all the countries in our region using UK sockets is something that no system designer or long-term maintenance planner could have reasonably in envisaged. I offer them my unreserved apologies.  Andy Ciddor, Editor: andy@avapac.net

What brought these thoughts to mind was a recent extended stay in Kuala Lumpur International Airport. The pride and joy of Malaysia when it opened at the turn of the century, KLIA has like most other airports (most particularly LAX and Sydney in my experience) been successfully milked for its income by its managers, without sufficient budget to keep it in all in good working order. It’s all the tiny details that show. Toilet doors are hanging from one hinge, or don’t properly lock; areas aren’t cleaned all the way into the corners any more; the tile grouting is either stained black or missing; video displays are burned in, etc. Everything still works, but it’s clear that only just enough is being done to stop such places from grinding completely to a halt.

However, as a tech who travels with a lot of personal technical gear, like phablets, tablets,

Crew Marcus Pugh has worked in the entertainment industry for over 15 years. He has lit everything from TV to tours, corporate to circus, galleries to garages, and yet he’s still smiling and always up for a joke.

Marcus now spends much of his time looking after a large client base for Melbourne lighting company Resolution X. He is currently President of the Australian Lighting Industry Association, a member of the AVIAs judging panel, and has a continuing passion for lighting in all fields.

Advertising Office: +61 (0)2 9986 1188 PO Box 6216, Frenchs Forest, NSW 2086 Australia

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Editor: Andy Ciddor (andy@avapac.net) Publication Director: Stewart Woodhill (stewart@avapac.net) Editorial Director: Christopher Holder (chris@avapac.net) Publisher: Philip Spencer (philip@avapac.net)

Graeme Hague worked for the last twenty years in regional theatre venues as an audio, lighting and AV technician, before leaving to work freelance for local production companies and focus on becoming a full-time writer based in the south west of WA. Graeme is a regular contributor to Audio Technology magazine and was the principal writer for the new Guerrilla Guide to Recording and Production (www.guerrillaguide. com.au). He owns a Maglite, a Leatherman and a wardrobe of only black clothing which proves he is overwhelmingly qualified to write on any technical subject.

Art Director: Daniel Howard (daniel@avapac.net) News & Online Editor: Jen Temm (jen@avapac.net) Additional Design: Dominic Carey (dominic@avapac.net) Accounts: Jaedd Asthana (jaedd@alchemedia.com.au) Circulation Manager: Mim Mulcahy (subscriptions@avapac.net) Cover photograph: Auckland's ASB Theatre Courtesy of Meyer Sound Australia

Stephen Dawson is a long-time geek, whose geekery changes focus from time to time. He made his first microphone pre-amp from an Electronics Australia (remember them?) design back in the early 70s. His schooling involved melting a screwdriver on the school hall control panel, and receiving tingles from poorly-insulated antique lighting control pots. These days he spends just about all his time writing about audiovisual gear.

alchemedia publishing pty ltd (ABN: 34 074 431 628) PO Box 6216, Frenchs Forest, NSW 2086 Australia info@alchemedia.com.au All material in this magazine is copyright Š 2015 Alchemedia Publishing Pty Ltd. The title AV is a registered Trademark.

Apart from any fair dealing permitted under the Copyright Act, no part may be reproduced by any process without written permission. The publishers believe all information supplied in this magazine to be correct at the time of publication. They are not in a position to make a guarantee to this effect and accept no liability in the event of any information proving inaccurate. After investigation and to the best of our knowledge and belief, prices, addresses and phone numbers were up to date at the time of publication. It is not possible for the publishers to ensure that advertisements appearing in this publication comply with the Trade Practices Act, 1974. The responsibility is on the person, company or advertising agency submitting or directing the advertisement for publication. The publishers cannot be held responsible for any errors or omissions, although every endeavour has been made to ensure complete accuracy. 14/2/2015

Derek is an audiovisual consultant with AVDEC, specialising in tertiary education projects. Starting in broadcast TV and radio at the ABC, he bounced between event AV and video production before settling for 12 years at the University of Queensland. He is past president of the Association of Educational Technology Managers and has been a regular judge of the AVIA awards.

He now divides his time between consulting, writing and the occasional video production assignment.

Issue 45 REGULARS

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NEWS AV industry and product news highlights from the AV website.

12

NEWS FROM NAMM Some highlights from January’s NAMM audio show in L.A.

18

NEWS FROM ISEUROPE A tiny sample of the flood of new products recently seen at the ISE show.

22

FRESH BLOWFISH Jakarta’s Blowfish club gets an impressive makeover.

24

HDBASET GETS IEEE NOD HDBaseT is fast approaching Standards approval by the IEEE.

26

TERMINATION Having a Ball.

42 FEATURES

MEYER'S CONSTELLATION FOUND IN AUCKLAND Auckland’s ASB theatre is the first A/NZ installation of Meyer Sound’s variable acoustic system.

HANGING ON EVERY WORD A PA system for worship where every word is sacred.

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34

REVIEWS BENQ TH682ST DLP PROJECTOR BenQ’s latest generation of affordable short throw desktop projectors.

40

TUTORIAL REMOTE CONTROL 101 Contrary to the romours, total control doesn’t require the sale of your soul.

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NEWS

Highlights from AV News Online

ANALOG WAY EXPANDS LIVECORE SERIES

MINI MIC MIXER & POV MIC

ROGUE ON STEROIDS

Analog Way has completed its LiveCore series with the addition of the Ascender 16 multi-screen seamless switcher. The unit features 12 inputs with 42 source plugs (HDMI, DVI-I, DisplayPort, 3G/HD/SD-SDI and universal analogue) and can handle any source from composite video up to 2560 x 1600, and outputs formats including HD-TV and computer formats up to 2560 x 1600 and 4K. The model is available with full 4K resolution I/O as an optional feature, and includes an independent dual-link output for monitoring purposes, with a Live Source Mosaic layout. It delivers Mixer, Hybrid, Hard Edge and Soft Edge display configurations, and in addition to a native background layer, can display up to two true seamless scaled layers per output. One hundred slots are available to store frames or logos in the device’s non-volatile memory. Layers, including frames and logos, can be controlled individually in time and transition, and can be fully resized. Control options include Web RCS, the web-based software designed for LiveCore, AMX and Crestron control using drivers available on the Analog Way website, and tablet and iOS apps.

Axis AV: (03) 9752 2955 or www.axisav.com.au Analog Way: www.analogway.com

MXL’s latest mini mic mixer offers digital and analogue outputs, accepts four mic inputs and is compatible with multiple devices. Launched at NAMM, the MM4000 works with DSLRs, mobile phones, tablets, and computers, allowing users to record audio to any of these devices using up to four electret mics simultaneously, essentially turning four analogue inputs into one analogue or digital output. On one side, the mixer outputs analogue to any mobile device through a TRRS jack, and the included TRRS cable has the smallest available footprint in order to work with accessory cases; on the other side, a digital output allows it to work with an iPhone or iPad using Apple’s camera adapter. Applications include interviews, live recording and USB web conferencing. MXL also launched its GoLav mic at NAMM, the first lavalier mic that records directly to GoPro cameras with a right angle mini USB connector build into the mic cable. The omnidirectional mic works with GoPro’s Hero3, Hero 3+ and Hero4 models, and comes with windscreens, a clip to secure it to clothing and 1.5m Mogami cable.

Innovative Music Australia: (03) 9540 0658 or www.innovativemusic.com.au MXL: mxlmics.com

Chauvet has added the multi-use RH1 Hybrid to its Rogue series of moving heads. The model combines a powerful beam and spot effect in the one unit, and produces a tight beam angle of 1° to 4.5° in beam mode and a zoom angle of 5° to 19° in spot mode for an array of beam size options. The new Rogue emits a brilliant 111,000 lux at 15m thanks to its 330W 8000K Osram Sirius lamp, giving it the brawn to light up large concert tours while being equally suited to small and mid-sized productions, events and installations of all sizes. The fixture’s palette of visual effects includes two prisms — a 5-facet and 8-facet — that are independently controllable and can be overlapped to add depth and layers, and a Frost feature that can be layered with the 8-facet prism to morph into a distinct and dramatic opaque look, and further adds the versatility of a wash effect. It is equipped with two gobo wheels, one rotating and one static, for dynamic image projection and morphing, as well as a separate colour wheel with 13 vibrant hues.

Showtools International: (02) 9824 2382 or www.showtools.com.au Chauvet: www.chauvetlighting.com

NEWS IN BRIEF:

ClearOne has released its new Unite PTZ Camera, a professional-grade, hi-res 1080p60 camera that connects directly to any standard PC or laptop through USB3.0, and also connect to traditional video devices through its built-in DVI interface. The model transforms meeting rooms into professional video collaboration environments and is unique in its class, says ClearOne senior director Bala Krishnamoorthy: “It is ideally suited to business-grade UC applications and VC, as well as multimedia capture and streaming.”

Production Audio Video Technology: (03) 9264 8000 or www.pavt.com.au ClearOne: www.clearcone.com

DPA Microphones has reorganised its sales channels in South East Asia, appointing new distributors throughout the region. The new appointments are: Promedia (Indonesia), AV United (Malaysia), Shin Lee Sheng Music Group (Taiwan), Vision One (Thailand), and Pro AVL (Vietnam).

DPA’s general manager for Asia-Pacific, Ken Kimura, says the changes reflect the company’s commitment to develop new business and support its customer base. “Sales in virtually every APAC country are showing growth as the market recognises the quality and breadth of DPA’s product range,” Kimura says.

DPA Microphones: www.dpamicrophones.com

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Loud Technologies Music Gear Group has appointed Jason Tan to the position of product specialist for its Mackie brand in the APAC region, based in Singapore. Tan has a lengthy history in pro audio with more than 20 years in live sound and recording, and founded Eastwardaudio, one of the region’s major production facilities, where he oversaw productions for Sony BMG, EMI and other labels, as well as corporate clients including Coca Cola, Lexus and Hitachi.

Loud Technologies: loudtechinc.com Mackie: www.mackie.com

Extron Electronics has announced its exclusive Australian distributor, RGB Integration, will now be trading as Extron Australia. Although the name has changed there will be no change in ownership and Extron Australia will continue to be the sole distributor for Extron in the country, providing sales, support, training and certification for pro AV dealers. The company will continue to be headquartered in Adelaide, with additional product demonstration and training facilities in Melbourne, Sydney and Brisbane.

Extron: www.extron.com

Christie has acquired Pandoras Box developer coolux, integrating the company into its global market solutions team. “Christie is committed to deepen its marketplace lead in supplying a total solution for advanced applications,” says Christie’s executive VP for global market solutions, Jennifer Smith. “The fit between our products and services and those of coolux is a natural one.” coolux CEO Jan Huewel will report to Smith in his new role as senior director of processing solutions, and the company will maintain its office in Cologne.

Christie: www.christiedigital.com

RIEDEL AT ISE Innovative new products from Riedel launched at ISE include the standards-agnostic Tango platform, the Smartpanel communications interface and a professional-grade Skype interface. The Tango TNG-200 is Riedel‘s first network-based platform supporting Ravenna/AES67 and AVB standards.

With its own dedicated intercom application, it can be turned into a flexible solution for a variety of communications scenarios. The new RSP-2318 Smartpanel is the first control panel designed to serve as a powerful multifunctional user interface. The 1RU device boasts a unique feature set that includes three high resolution, sunlight-readable, multitouch colour displays, premium-quality stereo audio, a multilingual character set and 18 keys, and can be further expanded through apps. Ravenna/AES67 and AVB connectivity are standard, with optional AES3 over cat/coax. The STX-200 professional broadcast-grade interface brings Skype users worldwide into the professional broadcast environment.

Licensed by Microsoft, the new product provides a single-box solution that enables broadcasters to bring live contributions from reporters and viewers into live programming. The 1RU box offers broadcast-quality HD-SDI and balanced XLR audio I/Os, and is packaged with professional Microsoft Skype TX software.

Riedel Communications: (02) 9669 1199 or www.riedel.net

Hollywood studios, consumer electronics brands, content distributors, post-production and technology companies have announced the launch of the UHD Alliance. The coalition, revealed at CES 2015, aims to establish new standards to support technologies including 4K and higher resolutions, high dynamic range, wider colour gamut and immersive 3D audio.

Members include DIRECTV, Dolby, LG Electronics, Netflix, Panasonic Corporation, Samsung Electronics, Sharp Corporation, Sony Visual Product, Technicolor, The Walt Disney Studios, 20th Century Fox and Warner Bros Entertainment.

UHD Alliance: info@uhdalliance.org

Audinate has announced enhancements to the Dante Ultimo low-channel chipsets including support for the Marvell 88E6320 gigabit switch, enabling robust daisy chaining of Dante devices with multicast filtering capability. The company has also released new Ultimo 2.1 firmware, adding several features for AV manufacturers such as device control capabilities enabled by the Dante Device Protocol, which allows Ultimo messages and commands to be sent via SPI/ UART from the host processor to access parameters such as channel subscriptions and clock status.

Audinate: (02) 8090 1000 or www.audinate.com

Harman has announced its acquisition of Melbournebased SM Pro Audio, and its incorporation into its Professional Division. According to Harman Professional president, Blake Augsburger, “The depth of innovation and quality of engineering talent at SM Pro Audio provides Harman Professional with a strong internal technology partner for a broad range of products. We expect to introduce Harman products that feature SM Pro Audio technology in early 2015, including previews of two ground-breaking Soundcraft mixing products at NAMM 2015.”

Harman: www.harman.com SM Pro Audio: www.smproaudio.com

Apogee Electronics and Sennheiser have announced a newly formed partnership at the 2015 Winter NAMM show.

“This collaboration will result in innovative, high-quality products that will truly inspire our customers,” Apogee co-founder and chief executive officer Betty Bennett said. Sennheiser chief operating officer Peter Claussen added, “Our product portfolios perfectly complement each other and I am looking forward to collaborate with a company that has truly pushed the boundaries of digital audio.” Further details about the collaboration have not yet been released. Further details about the collaboration have not been released.

Apogee Electronics: www.apogeedigital.com Sennheiser: en-au.sennheiser.com

Martin Professional has appointed Glenn Loh as key account manager for its Asia & Pacific team. Loh will be based in Singapore and will report to architectural manager Alfonso Zarate Takano. Loh previously worked as a key account manager for Philips Lighting in Singapore and is highly experienced in account management, project sales and developing and setting up new business models across different markets in Asia.

Martin Professional: www.martin.com

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NEWS

CRESTRON 4K SWITCHER

EXTRON IP LINK PROCESSORS

NEW GEFEN DVI EXTENDERS

Crestron’s new DMPS3-4K-150-C is a 4K multi-format presentation switcher and scaler with fully automatic operation and DigitalMedia connectivity, working seamlessly out of the box with up to four Crestron Connect It tabletop interfaces. Designed for smallto medium-sized meeting spaces and classrooms, the ultra high definition switcher integrates a control system, multimedia switcher, 4K video scaler, mic preamp and audio DSP into the one compact device that will mount under a conference table or in an equipment rack. Crestron’s built-in Connect It functionality ensures easy configuration for media presentation applications using a choice of touchscreen, iPad or computer for set up and control. Auto-switching HDMI, VGA and analogue inputs provide connectivity to manage multiple computers and other media sources, and a mic input is included for speech reinforcement.

The selected input source and mic can be mixed and routed to one HDMI output and one stereo analogue output. Additional DigitalMedia 8G+ I/O afford a longdistance wiring solution for additional remote sources, the display device, and for facility-wide integration as part of a larger media distribution system.

Hills SVL: 1800 685 487 or www.hillssvl.com.au Crestron: www.crestron.com

Extron Electronics’ new compact, high performance IPL Pro CR88 and IPL Pro IRS8 control processors are now shipping. The CR88 offers eight contact closure inputs and eight relay ports while the IRS8 offers eight one-way IR/serial ports, and both are loaded with features inherent to the IP Link Pro family including more power, speed, and memory, as well as Ethernet control and enhanced security. They are compatible with TouchLink Pro touch panels and designed to take advantage of the configuration options within Extron's Global Configurator Plus and Global Configurator Professional. ”These are ideal as stand-alone control processors or can be grouped to accommodate a much larger AV system with the help of our new, powerful GC Pro software,” says Extron sales and marketing VP Casey Hall. The models are compatible with GlobalViewer Enterprise software for complete, centralised AV resource monitoring, management, and control over a computer network. They can be used as either primary control processors in smaller AV systems, or as secondary control processors in AV applications that require control for multiple devices.

Extron Australia: (08) 8351 2188 or www.extron.com.au Extron Electronics: www.extron.com

Two new DVI extenders join Gefen’s growing selection of extension solutions with handy product features and streamlined installation options. The EXT-DVI1CAT5-ELR is an extra long range extender over a single cat5 and provides a cost-effective solution for longerrange transport of uncompressed DVI using HDBaseT. It supports resolutions up to 1920x1200 (WUXGA) and extends DVI up to 150m using a single cat5e cable — 50m further than previous models. The EXT-DVI1CAT6-GI is a DVI extender with galvanic isolator that sends DVI video up to 40m using one cat6 cable, or up to 30m using one cat5e, and supports video resolutions up to 1920x1200 (WUXGA). Gefen‘s galvanic isolation design provides up to 5kV of isolation between the source and downstream equipment, decreasing the risk of electric shock or system damage – especially important in sensitive applications such as medical installations. This technology was developed to enable the use of copper instead of fibreoptic cables in applications where electrical isolation is a must and the signal extension range is short, and allows integrators to use more economical cabling.

Amber Technology: 1800 251 367 or www.ambertech.com.au Gefen: www.gefen.com

NEC LARGE SCREEN DISPLAYS

SYMETRIX FUTURE-PROOFS DSP

COMPACT 4K MATRIX SWITCHER

NEC has released two new feature-rich large screen displays for conference and boardroom presentations.

The MultiSync E705 and E805 each come with an OPS (Open Pluggable Specification) option slot for future expandability, allowing PCs, a tuner module, an HDBaseT receiver and other options to integrate directly into the display, simplifying installation and reducing points of failure. Full bidirectional RS-232 and LAN control allow for unabridged communication capability and full compatibility with new or legacy control systems. A full scheduler feature and commercial-grade thermostatic cooling further allow the models to suit educational and digital signage applications. Both displays offer a full-metal chassis and commercial grade panel with LED backlighting, internal 10W speakers and carrying handles, an infrared sensor and button-lock options, ECO power mode, and custom input detect and auto start-up options to give users flexibility with source recognition. The E705 and E805 models are shipping now for AU$6600 and $10,840 respectively.

NEC Australia: (03) 9262 1111 or au.nec.com

The latest version of Symetrix’ established SymNet Radius 12x8 DSP adds an expansion slot to increase the total audio I/O count to 24 in the same 1U format, allowing installations to be expanded quickly and easily as requirements change. The I/O expansion slot supports all standard optional SymNet audio I/O cards, including analogue, digital, AEC, VoIP and telephone, and paves the way for multiple system configurations: for example, a SymNet 4-channel analogue input card yields a 16-in, 8-out processor, while a SymNet 4-channel analogue output card facilitates a 12-in, 12out set-up. Like the unit it replaces, the new processor features a 64x64-channel Dante network audio bus and built-in GPIO, RS-232 and ARC wall panel support offerings for control, alongside free access to Symetrix’ ARC-WEB browser-based user interface.

Existing users wishing to upgrade to the new version, can use a migration tool.

Production Audio Video Technology: (03) 9264 8000 or www.pavt.com.au Symetrix: www.symetrix.co

The new DTP CrossPoint 84 matrix switcher‘s comprehensive feature list includes: an 8x4 matrix switcher with 4K inputs and outputs, two builtin independent scalers, integrated DTP and XTP transmitters and receivers, and comprehensive audio DSP capabilities. "The DTP CrossPoint 84 is a 4K matrix switcher in a compact form factor that integrators can specify for a very wide range of applications to deliver significant cost savings for their clients,” says Extron sales and marketing VP, Casey Hall. The model is ready for use with all of the latest 4K capable graphics cards, 4K cameras, and the growing number of displays with 4K and UHD native resolutions. DTP twisted pair inputs and outputs provide flexibility in how and where AV and control signals can be distributed, and the twisted pair inputs and outputs can also be used to connect to any display with an HDBaseT input or tie into a centralised, facility-wide XTP system to add local room-based AV systems.

Extron Australia: (08) 8351 2188 or www.extron.com.au Extron Electronics: www.extron.com

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NEWS

ONE PLAYER TO RULE THEM ALL

CRESTRON OFFERS COMPLETE 4K LINE

WACOM’S BIGGER PICTURE

Denon Professional has introduced its DN-300Z, a compact, all-in-one media player that handles all popular playback formats. The 1RU unit packs in Bluetooth technology for wireless streaming, frontloading media slots for CD, USB and SD/SDHC, an LCD screen, push encoder, support for CD-DA, MP3, WAV, AAC files and a built-in AM/FM tuner with inputs for 75· coax (FM) and loop-style (AM) antenna to boost reception. “We recognised the essential need for a professional playback device that embraces the BYOD trend in which many audio sources could be hand carried — even over the course of a single event,” says Denon Professional senior vice president, Costa Lakoumentas. The model offers 10-key direct track access, random and repeat playback modes and comes with a compact IR remote. It’s available now for a recommended USD $399.99.

Audio Products Group: (02) 9669 3477 or www.audioproducts.com.au Denon Professional: denonpro.com

The world is adopting 4K at breakneck speed, rendering 2K technology obsolete just as rapidly, according to Crestron. “There’s simply no point in purchasing 2K technology any longer,” says the company’s chief technology officer Fred Bargetzi.

“Additionally, we’re seeing more and more higher resolution devices, such as 2560x1440 output from Apple laptops, which require more signal bandwidth than switchers designed for 1080p and 2K distribution can provide.” The claim is a prelude to the Crestron’s latest announcement that it is shipping the only complete, certified 4K distribution solution with the latest additions to its DigitalMedia 3.0 lineup including a 4K/60Hz scaler, transmitters and receivers, input and output cards, distribution amplifiers, and DM Ultra cables.

Hills SVL: 1800 685 487 or www.hillssvl.com.au Crestron: www.crestron.com

Wacom has launched two flagship 27-inch graphics tablets, claiming best-in-class pen-on-screen and colour performance. The Cintiq 27QHD standard and touch versions offer large glass work surfaces with 1.07 billion colours and 97 per cent of Adobe’s colour gamut, a variety of stand options and a new ExpressKey remote that can be placed anywhere on the screen or desk to give users more flexibility as to how, when and where customisable keyboard shortcuts and modifiers are implemented. Both models feature a 2560 x 1440 seamless edge-to-edge glass screen and users can incorporate different pen nibs for a realistic pen on paper feel. Users can draw, paint, design and edit directly on screen with the Wacom pen and its 2048 levels of pressure sensitivity. On the touch version, the latest touch-enabled OS and software closely replicates the experience of working with two hands — users can directly manipulate their work by rotating, pinching and moving it around. The units are priced at US $2300 and $2800 respectively.

Wacom: www.wacom.com

ADVANCED FEEDBACK SUPPRESSOR

NEW FLAGSHIP ODYSSEY

CALIBRE LED VIDEOWALL SCALER

dbx has released its AFS2 Advanced Feedback Suppression processor, designed to completely eliminate feedback from a PA system. The AFS2 suits bands, DJs, live sound and fixed installations, and offers upgraded features including a completely re-designed Advanced Feedback Suppression module, a Wizard auto-setup function, and a large LCD display with 24 LED meters per channel for setup and monitoring. The model’s new dedicated DSP module offers faster and more focused filter sets in both fixed and live mode, the company says. The processor provides up to 24 programmable filters per channel with filter Qs up to 1/80 of an octave, a level of precision previously available only in higher end processors that enables the AFS2 to zero in on the exact frequencies needed to attenuate feedback. The one-button Wizard function automates key setup parameters and walks users through the configuration process. With easy rearpanel connectivity and an optimised front, the unit can be added to a system in minutes. The dbx AFS2 is available now for AU $569 RRP; US $499.

Jands: (02) 9582 0909 or www.jands.com.au dbx: dbxpro.com

Convergent Design has announced a new flagship for its Odyssey family, the Odyssey7Q+. The model expands on its predecessor with the addition of an HDMI 1.4b input that allows 4K and Ultra-HD capture over HDMI. The added capability makes the Odyssey7Q+ the most advanced and versatile monitor/recorders available, according to Convergent. It can record HD/2K/ UHD/4K via SDI and HDMI, and record RAW (with record options), uncompressed DPX, and Apple ProRes 422 (HQ). It features an OLED 1280x800 monitor with true blacks, accurate colours, 3400:1, extended colour gamut and a 176° viewing angle, along with an array of image analysis tools including an RGB waveform, RGB Histogram, False Colour, Pixel Zoom with finger drag, three-mode Focus Assist and monitoring LUTs. The Multi-Stream Monitoring mode allows up to four HD video inputs to be viewed at once in a quad-split view or to be live-switched between in full screen. It runs on any power source from 6.5 to 34V and is available for AU$3139, or US$2295.

New Magic Australia: (03) 9722 9700 or www.newmagic.com.au Convergent Design: www.convergent-design.com

Digital signage is a market often ignored when it comes to high quality scaling, according to UK manufacturer Calibre. Many clients rely on softwarebased solutions, which can create severe image quality issues. The company’s solution is its new LEDView325DS launched at ISE. Designed for cost conscious digital signage projects, the new model joins the LEDView range of LED videowall optimised image scalers and features Calibre’s pixel-accurate per edge image resizing algorithm, which allows each edge of the picture content to be independently dragged to the correct position on the LED videowall. Per input colour calibration capability, typically found on higher cost live events scalers, ensures content looks how the client wants, with control of RGB gains and blacks as well as saturation and hue. The scaler offers fast, simple set-up of picture size, colour calibration, and network-based settings back-up and restore for fast disaster recovery. Control and configuration is managed using an inbuilt webserver, which also allows remote control and status monitoring.

Calibre: www.calibreuk.com

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NEWS

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NEWS

Highlights from the NAMM Show

ALLEN & HEATH

DENON PROFESSIONAL

ELECTRO-VOICE

ZED POWER 1000 Extending A&H’s Zed series, the Zed Power 1000 is a compact 2 x 500W powered mixer with onboard FX, nine-band graphic EQ, and USB recording and playback. The built-in two-channel, class D amplifier is coupled to a linear power supply to deliver cool running efficiency, robustness and high peak headroom with smooth bottom end, and amp controls include individual level controls, status indication and routing matrix, allowing stereo PA or mono plus monitor/sub use. The mixer has eight mic/line inputs offering threeband EQ with swept mid, plus two stereo inputs. Two of the jack inputs can be switched to take a low level input from a guitar pickup so guitars can be plugged straight into the mixer without needing DI boxes, and the inputs have been designed to recreate the definition and warmth of a classic tube preamp. A flexible USB connection allows playback to and from a computer for capturing stereo recordings of shows, playing walk-in music or backing tracks from a laptop.

DN SERIES CONFERENCE LOUDSPEAKERS Denon introduced four new premium bi-amp two-way and tri-amp three-way loudspeakers for conference rooms and meeting spaces. Each features studio grade acoustics and proximity controls for flexible placement options.

EV EKX Electro-Voice’s new EKX portable loudspeaker series comprises four powered and four passive models including 12- and 15-inch two ways, and 15- and 18inch subs. Exclusive features include EV’s signature QuickSmart DSP digital signal processing singleknob interface, Signal Synchronised Transducers, waveguide design and EV’s exclusive cardiod control technology for subwoofers. The models are lightweight, compact and very durable for both portable and installed applications.

Electro-Voice: www.electrovoice.com

QU-PAC A&H’s new Qu-Pac is an ultra-compact digital mixer with both a built-in touchscreen and iPad control app.

The freestanding or rackmount mixer is designed for live music and installed sound. Connectivity includes 16 mono inputs, 3 stereo inputs and 12 mix outputs on the rear panel, but that can be expanded up to 38 in or 28 out by connecting to the company’s remote AudioRacks over Cat5. The mixer offers total recall of settings and preamps, multi-track recording to USB via Qu-Drive, a choice of personal monitoring, channel ducking, multi-channel USB streaming and the iLive FX Library for remote iPad mixing.

Allen & Heath: www.allen-heath.com SENNHEISER Evolution wireless D1 is a range of digital wireless mic systems for vocals and instruments designed for novices: transmitters and receivers automatically pair and select suitable transmission frequencies, while multiple systems automatically co-ordinate themselves. ewD1 operates in the 2.4GHz range, which is licence-free worldwide.

Sennheiser: en-au.sennheiser.com

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DELTA SERIES ACTIVE LOUDSPEAKERS Denon’s custom designed five-model Delta Series fuse studio-grade sound with extensive power for events and performing arts venues. Each model features wireless control over internal DSP to give operators powerful sound-shaping capabilities in the field with built-in DSP remotely controllable via the Delta Drive iOS app for custom calibration away from the mixing position.

DN271HE AUDIO EXTRACTOR Designed to augment the signal routing capability of an AV system, the new DN-271HE extracts encoded audio content from a multimedia signal transmitted over HDMI. Once extracted, users can route up to 7.1 discrete channels of audio to a mixer or sound reinforcement system. With support for UHD signals, the DN-271HE boosts the flexibility of any display-plus-speakers system up to 4K2K video with 192kHz audio.

DN-408X & DN-412X MIXERS Designed for events, rental and AV, the 8-channel DN408X and 12-channel DN-412X audio mixers come in a compact, 2-bus portable tabletop format. Both offer high-headroom DyNamic Audio (DNA) mic preamps and built-in audio compression to automatically tame unpredictable audio level surges, and include more than 100 studio-grade effects, 9-band graphic EQ and a wealth of input and output types, internal power supply and rigid metal construction.

DN410XB BLUETOOTH MIXER The new Bluetooth-enabled 10 channel DN-410XB rackmount mixer is designed for the BYOD era with premium sound, flexible routing and wireless streaming capability, letting users quickly play back audio content from smartphones and tables. Ideal for event spaces, restaurants and hospitality, the 10-channel 3RU mixer offers two front-panel XLR inputs along with a built-in Bluetooth receiver with dedicated volume control to integrate ad hoc audio sources.

Denon Professional: www.denonpro.com

MACKIE Mackie and Dante-developer Audinate have joined forces to bring high performance networked audio to the DL32R digital mixer with the new DL Dante Expansion Card. The DL32R is controlled completely wirelessly, using the Mackie Master Fader control app for iPad, and delivers 32-channels of digital mixing with direct-to-drive multi-track recording/ playback and new Onyx+ recallable microphone preamps in a 3U rackmount design. The new DL Dante Expansion Card provides 32x32 channels of network audio I/O, allowing the DL32R to be connected to any Dante-powered AV network and delivering an easy-to-use solution with automatic discovery of devices, simple graphical audio routing, low latency and interoperation with Dante-enabled products.

Flexible IO patching in the DL32R lets the user route Dante signals to any channel input, and send any of the mixer’s outputs to the Dante network. The new expansion card ships with a license for Dante Virtual Soundcard software, allowing direct recording/ playback of up to 64 channels of audio from any Dante network to a PC or Mac computer.

Mackie: www.mackie.com

REVIEW

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Highlights from the NAMM Show HARMAN

MUSIC GROUP BEHRINGER XENYX QX602MP3 MINI MIXER Behringer’s latest 6-input/2-bus ultra-compact mixer is packed with features: XENYX mic preamps with phantom power, British EQs, a multi-FX engine and an embedded MP3 player that gives instant access to audio files and playlists from a USB stick, for US $99.99.

Behringer: www.behringer.com BEHRINGER STAGE BOXES Three new stage boxes for Behringer’s X32 digital console offer more flexibility in form factor and U/O options. The SD8 (8x8) and SD16 (16x8) provide Midas-designed remote controllable mic preamps, balanced analogue XLR returns at the stage end and an integrated Ultranet distribution hub for digital connection with Behringer’s P16-M personal monitor mixers as well as Turbosound’s networkable speaker systems. The S32 I/O interface expands on the S16, doubling the I/O in a rackmountable design with 32 of the Midas mic preamps, 16 XLR outs, two AES50 ports, MIDI I/O and dual ADAT outs. Pricing: SD8 US $599.99, SD16 US $799.99, S32 $1499.99.

Behringer: www.behringer.com BEHRINGER HD UMC Augmenting the U-Phoria UMC series of audio interfaces are three 192kHz HD models: the 2-in/2out UMC202HD, the 2-in/4-out UMC204HD and the 4-in/4-out UMC404HD. Prices range from US $99.99 to $149.99.

Behringer: www.behringer.com BEHRINGER X-TOUCH Behringer’s X-Touch series is a trio of universal control surfaces: the full size X-Touch universal control service, the smaller Compact and the ultra-portable Mini. The controllers feature touch-sensitive motorised faders LCD scribble strips, rotary controls with LED collars and illuminated buttons for on-the-fly adjustments. All three support Mackie Control while the full size version adds support for HUI. Built-in Ethernet, USB and MIDI interfaces provide direct address to PCs or Macs, as well as MIDI devices and future X32 and X Air remote control. Prices range from US $99.99 to $599.99.

Behringer: www.behringer.com

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MIDAS M32 Midas has added the M32C and M32R digital consoles and the DL32 32 x 16 stage box to its M32 platform.

Both consoles are 40-input, 25-bus digital mixers with a host of connectivity options, while the DL32 doubles the I/O of the DS16 in a 3U chasses with 32 Midas Pro mic preamps, 16 XLR outputs, two AES50 ports, AES/EBU stereo outputs, MIDI I/O and dual ADAP connectivity. Pricing: M32C US $999, M32R $2999, DS32 $1999.

Midas: www.midasconsoles.com TURBOSOUND INSPIRE Turbosound has introduced its first modular column loudspeakers and subwoofers with its iNSPIRE series, featuring Klark Teknik Spatial Sound Technology, an onboard two-channel remote controllable digital mixer and Bluetooth audio streaming, all controllable via iPhone or iPad or locally via a dedicated LCD-based user-interface. The series comprises three full-range powered columns loudspeakers and two subwoofers with the optimised dispersion of Turbosound’s linearrays in a lightweight vertical form factor. Prices range from US $499 to $799.

Turbosound: www.turbosound.com TURBOSOUND IQ Turbosound says the Acoustic Integration feature of its new iQ series is an industry first, enabling digital mixers, personal monitor systems and loudspeakers to communicate directly with each other via the company’s proprietary Ultranet technology – as is the sophisticated modelling capability that lets users call up preset frequency contours that emulate the sound of 10 iconic loudspeakers. The range comprises four two-ways and two subs, priced from US $549.99.

Turbosound: www.turbosound.com TURBOSOUND IX Turbosound’s new iX series of remote controllable mixing and streaming loudspeakers are equipped with onboard two-channel digital mixers that can be remote controlled via iPhone or iPad apps, or locally via a dedicated USB interface. The iX12 and iX15 also feature wireless Bluetooth audio streaming, and DSP presets optimised for a range of applications and speaker orientations. Pricing: iX12 US $349, iX15 $449.

Turbosound: www.turbosound.com

AKG DMS800 Aimed at theatre, conference and live sound applications, AKG’s DMS800 reference digital wireless microphone offers two digital outputs (Dante and AES EBU), exchangeable mic heads, a transmitter mute switch that can be set to double as a power switch, and optional network remote control.

AKG: www.akg.com DBX 500 SERIES dbx’s latest compact signal processor family comprises the 560A compressor/limiter, 530 parametric EQ, 580 mic pre, 520 de-esser and 510 sub harmonic synth.

The models come in a smaller footprint than their predecessors and the first model to ship will be the 560A in April for US $399, with the others following soon after. dbx: dbxpro.com DBX DRIVERACK VENU360 Successor to the DriveRack260, dbx’s DriveRack VENU360 loudspeaker management system adds mobile device control via laptop, tablet or smartphone, with additional input channels, improved DSP and easier operation. It’s due to ship in April for US $799. dbx: dbxpro.com JBL SRX800 Series With the portable PA market shifting towards powered loudspeakers, JBL says it will redefine performance standards in the category with its latest SRX800 range. The two-way, three-way and subwoofer models incorporate premium JBL transducers and built-in Crown DriveCore amps with user-configurable DSP tuning, and they’re compatible with parent company Harman’s HiQnet network communications protocol via Audio Architect or JBL’s new iOS and Andoid app SRX Connect.

JBL Professional: www.jblpro.com SOUNDCRAFT SIGNATURE 12MTK & 22MTK Soundcraft’s small-format Signature analogue mixing consoles offer 12 and 22 input channels, with integrated multi-track USB interfaces, onboard Lexicon effects and Ghost mic preamps for studioquality multitrack recording. XLR and switchable Hi-Z inputs enable instruments to be directly connected and both consoles use tour-grade metal construction with internal universal power supplies.

Soundcraft: www.soundcraft.com SOUNDCRAFT UI SERIES Soundcraft’s Ui series digital mixers provide the ability to mix audio from any wi-fi connected device in any location with integrated wi-fi routers for remote control via tablet, PC or smartphone. The Ui12 and Ui16 are compatible with iOS, Android, Windows, Mac OS and Linux devices, and can use up to 10 control devices simultaneously. They feature signal processing from dbx, DigiTech and Lexicon, along with fully-recallable and remote-controlled mic gain and phantom power.

Soundcraft: www.soundcraft.com

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Highlights from ISE POWERSOFT

CHRISTIE

TVONE

POWERSOFT X SERIES The ’future-proof’ X Series is the first amplifier design to double as a system tool according to Powersoft, integrating functionality usually found in separate outboard units. This includes an innovative system of channel routing, a truly universal mono, bi- and three-phase balancing power supply (from 85V AC up to 440V AC without the need for manual selection), and a fully featured DSP. The two models in the range suit both concert touring and fixed installation, with the X8 offering eight channels in a 2U chassis and the X4 offering four channels in a single rack unit. Both share the same power density and can deliver up to 5200W @ 2 ohms per channel.

Future-proof expandability includes native support for AES3, two redundant Dante digital streams, and analogue inputs providing up to four different selectable input sources per channel.

CHRISTIE BOXER The first offering from Christie’s Boxer series of 3DLP solutions is the 4K30 projector for rental staging and fixed installations. With six 450W mercury lamps delivering 30,000 centre lumens, the unit weighs 68kg and is loaded with Christie Twist, which allows images to be blended and warped onto curved or irregular surfaces, and TruLife electronics which supports native 4K as well as HD signals with onboard upscaling.

The model is equipped with full connectivity including 3G-SDI, HDBaseT, Display Port, DVI-I, HDMI, VGA and 5 BNC, plus a colour LCD preview panel readout and a complete lens suite.

TVONE CORIOMASTER Feature enhancements to the new CORIOmaster and CORIOmaster Mini video wall processors headlined tvOne’s releases. The company has introduced its CORIOgrapher editing interface, enabling users to quickly position and preview videowall canvasses, an HDBaseT input module that allows sources to be connected up to 150m away, and software enhancements including the ability to move live video windows seamlessly with new source transitions — video windows can be transitioned live or with presets to fade through black, wipe, grow, squeeze, flip and spin. The software provides a simple interface to setup and trigger the dynamic visual effects. New monitoring module functionality for the CORIOmatrix processors includes two outputs to monitor audio and video inputs and outputs: users can choose from four different views, and drag and drop inputs or outputs to these views to monitor the video signals into the chassis from a remote location.

The set-up parameters of new series are fully integrated into Armonía Pro Audio Suite, which offers an intuitive interface for parameter adjustment, comprehensive control over the digital audio processing and complete real-time monitoring of system performance. An integrated wi-fi connection means the models can be accessed and managed via any smartphone or tablet through a user interface specifically developed for local monitoring.

POWERSOFT OTTOCANALI DSP+D Three new Ottocanali DSP+D amplifiers add two redundant Dante digital streams to the standard features of the series, which include a range of system control and monitoring functions, sound shaping options, and a total of up to 12,000W output power at 4 ohm over 8 channels for lo-Z or distributed line systems packed in a double rack unit. The Ottocanali 4K4 DSP+D, Ottocanali 8K4 DSP+D and Ottocanali 12K4 DSP+D work in any sized venue as stand-alone units and are ideal for multi-zone applications in mid to large-scale installs. www.powersoft-audio.com HARMAN JBL INTELLIVOX 380 LOUDSPEAKERS JBL’s new Intellivox 380 series fills the gap between its 280 and 430 line-ups, delivering an array with an acoustic length of around 3m. Designed to offer precise control, complex room coverage capabilities and pinpoint steerability, the new series suits applications where intelligibility and accuracy are critical. The three versions available are the DDC 380 (beam steering technology), DDS 380 (Beam Shaping Technology), and the DSX380 version with extended HF response and beam shaping. Typical throw for all models is 45m, and idle power consumption is very low at 0.5A @ 115V. The thin, unobtrusive units include a 16-channel amp/DSP module and eight presets, built-in ambient noise sensing microphone and control software, and redundant internal monitoring features.

JBL Professional: www.jblpro.com • Get your daily news fix at www.avapac.net

CHRISTIE H SERIES Christie’s latest H Series is its most powerful 1-chip DLP projector line with 12,000 lumens in HD or WUXGA and a compact design. Weighing 24kg, the dual-lamp D12HD and D12WU-H models suit mid-to-large rental staging and fixed applications, and can be installed in portrait or landscape mode.

Christie: www.christiedigital.com AVOLITES AVOLITES V8 Avolites’ new V8 software runs on the Ai range of media servers and includes an Autoblend feature that allows blending of large projection surfaces using multiple projectors. A new Surface Modelling page for the creation of editable 3D sets has been added and hugely improves performance, with render engine optimisation offering 50 per cent increased video throughput.

TVONE TOOLS New staging and integration tools from tvONE include the C2-2000 series: the C2-2855 universal scaler and its two new derivatives, the C2-2755 Video Scaler Plus, and C2-2655 Scan Converter Plus. The new designs have more input and output flexibility, and can be set up and managed via the redesigned front panel or a computer-based control panel that allows setup in less than a third the time of the previous generation. A new fibre optic KVM extender, the Voyager USB 2.0, enables users to locate USB devices up to 500m from a computer, well beyond the standard 5m-cable limit for USB peripherals. tvONE: www.tvone.com

AVOLITES QUARTZ Avolites’ small but powerful Quartz lighting console, running Titan V8, also made its European debut at ISE. Measuring 42.5cm wide and weighing 8kg, the compact touring console comes complete with onboard processing and a bright 12.1-inch screen.

Avolites: www.avolites.com REVOLABS YAMAHA YVC-1000 Revolabs demonstrated the Yamaha YVC-1000 unified communications and speaker system, marking the first collaboration between the two companies since Yamaha’s acquisition of Revolabs. Featuring Yamaha’s latest mic and speaker technology including its Human Voice Activity Detection, the YVC-1000 provides a seamless extension to any VC or audio conferencing solution. The audio peripheral allows users to connect to virtual calls via Bluetooth or USB, enabling participation from personal devices and laptops. It‘s equipped with audio I/O to support external speakers and also provides daisy-chain connectivity for up to five mics, enabling comprehensive AV coverage of significantly larger rooms.

Revolabs: www.revolabs.com

TRIPLEPLAY TRIPLESIGN 4K The UK’s Tripleplay has announced 4K compatibility for its TripleSign digital signage platform. The solution uses hardware from media player specialist Shuttle to enable its users to add 4K to digital signage deployments. “While 4K is not yet a mainstream requirement it is widely acknowledged that many businesses will demand the improved quality it can provide for large format display deployments,” Tripleplay chief executive officer Steve Rickless said.

“We have taken our time to weigh up options ensuring that when we go to market we have a genuine 4K solution that can be deployed in a cost-effective, low bandwidth impact manner.”

Tripleplay: www.tripleplay-services.com

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NEWS

Fresh Blowfish Since its opening 11 years ago, Blowfish has been established at the elite end of Jakarta’s nightlife. To keep its fresh edge and improve the ambience, owner Ismaya Group recently undertook an ambitious upgrade, closing the doors for five months to replace the Japaneseinspired design with futuristic architecture and a complete overhaul of the AV system.

Indonesian distributor PT Citra Intirama were heavily involved in the refit, working with third party consultant PT Rhema Multi Perkasa who provided the acoustic design and carried out the installation, commissioning, operator training and after-sales support. The new system includes the addition of Martin Audio AQ and Backline series full range speakers and subwoofers, with Powersoft control to optimise the audio system throughout the club’s five zones.

The task facing the installers was to integrate two new Martin Audio Blackline F15+, six Blackline S218+, four AQ215 subs and four WSX subs with system management from dedicated DX2 processors discreetly into the interior design, and tie it into the new set-up.

“There were definite efforts to keep the speakers and subwoofers as discreet as possible to meet the design objectives,” PT Citra Intirama’s Eric Haslim says.

“We added the Powersoft amps to complement the additional speakers. Powersoft provided a perfect complement to the speakers and subwoofers with their light weight, efficiency, power and excellent sonic amplification.

“One of the biggest challenges faced by the sound teams was to ensure even distribution while obtaining high intelligibility — even on hard hitting electronic dance floor tracks the vocals need to be clear and crisp.”

OFF THE HOOK

Powersoft provided a “tremendous boost” in delivering the desired sonic experience, Haslim says. “We most certainly took full advantage of Powersoft’s inherent electronics. One of the key features, for instance, is the availability of damping control inside the Powersoft amplifiers, where we can adjust the power delivery to complement the extended speaker cable lengths for subwoofers located as far as 100 metres away."

In terms of deployment, two Duecanali 5204 two-channel amplifiers are assigned to two single 18-inch subs, while seven Duecanali 3904 drive a

further seven 2 x 18-inch subs. Powersoft M50Qs are assigned to a further seven full range speakers dispersed throughout the club, and powerful K3 amps are designated to six further higher potency full range speakers.

In addition to Blowfish, the complex also houses the adjacent Puro Italian restaurant (which can double as an overspill) — and this, too, runs exclusively Martin Audio and Powersoft sound reinforcement. The system includes four Blackline F15+ (in two pairs, as a main FOH system), two S+218+ subs and several

F12+ infills at the back and sides, supplemented

by AQ215s at the rear for additional low-end extension. Duecanali 5204, 3904 and M50Q power the speakers.  Martin Audio: www.martin-audio.com Powersoft: www.powersoft-audio.com PT Citra Intirama: www.citraintirama.com

NEWS

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IEEE Adopting HDBaseT Standard HDBASET: SOMETHING ELSE AGAIN Although HDBaseT resembles some of the technologies that went before it (it uses familiar cables and includes an Ethernet channel), much of its implementation makes no real attempt to fit within existing standards.

HDBaseT originates from Valens Semiconductor, an Israeli startup formed in 2006 for the express purpose of developing technologies that push a lot of data down inexpensive cable using some clever asymmetrical digital signal processing. Once Valens had developed the transmitter and receiver chips that are its core product, in 2010 it set about finding partner companies that could take advantage of the technology in their own products, whilst helping to create a market for HDBaseT. Determined to start out with a big splash, the original partners in the HDBaseT Alliance were LG Electronics, Samsung Electronics and Sony Pictures Entertainment. Since then Atlona, Crestron Electronics, Epson, Extron Electronics, Microsemi Corporation, PulseEight, Quantum Data, Silver Telecom, SnapAV and Transformative Engineering have joined the Alliance as technology contributors. Another 50 or so companies, including such familiar faces as AMX, Belden, Gefen, Hitachi, Kramer Electronics, Projectiondesign and TV One, are now Adopter members of the Alliance, incorporating HDBaseT technology into their own offerings.

(Excerpt from HDBaseT: Standards vs Throughput, AV Asia Pacific, Issue 34.)

HDBaseT technology has been officially welcomed into the mainstream, with two of its specifications approved for adoption into the IEEE Standards Association (IEEE-SA) Standards Board portfolio.

HDBaseT is a successful technology for long-distance ultra-high-definition distribution of digital media, with hundreds of HDBaseTcertified products in the market place. It enables all-in-one transmission of UHD video through a single 100m (328ft) cat6 cable, delivering uncompressed 4K video, audio, USB, Ethernet, control signals, and up to 100 Watts of power.

HDBaseT simplifies cabling, enhances easeof-use, and accelerates deployment of UHD connectivity solutions. The cost-effective LAN infrastructure and power transmission support also help reduce and simplify installation and electrical costs.

The HDBaseT specifications 1.1.0 and 2.0 will join the IEEE P1911 family of standards once the adoption process is complete, with final approval expected in February 2015. The step is a major milestone for the technology and the Alliance, according to HDBaseT Alliance president Ariel Sobelman. “The IEEE is one of the leading standards organisations in the world,” Sobelman says. “The adoption

by IEEE will help enhance HDBaseT’s impact and influence in today’s connected world. We will be working together to further develop the HDBaseT technology for the benefit of HDBaseT’s and IEEE’s enormous constituency.”

The move will help advance the shift to UHD connectivity, says IEEE-SA managing director Konstantinos Karachalios. “IEEE is dedicated to delivering robust open standards that serve as a catalyst for continued technology and market

innovation,” he says. “We are very pleased to be working with the HDBaseT Alliance and look forward to a long and productive relationship.”

The HDBaseT Alliance will continue to offer its members HDBaseT branding and certification for commercialisation of the technology.  IEEE-SA: standards.ieee.org HDBaseT Alliance: www.hdbaset.org

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FEATURE

Meyer Constellation: Full Circle for Auckland Venue The story of the first installation for Meyer Sound's Constellation acoustic modification system in Australasia has an elegant symmetry.

Text:/ Derek Johnson

Auckland's ASB Theatre, part of the Aotea Centre performing arts and events centre, opened in 1990. A lower roof than ideal kept costs down, but necessitated a custom electronic reverberation system to make up for the missing acoustic volume. This wasn't a great success; the venue opened with a concert starring homegrown diva, Dame Kiri Te Kanawa, but after the system upset a visiting conductor, there for the venue’s second concert, it was turned off.

Consequently, the hall's acoustics have remained a compromise ever since. Five years ago, it was decided the problem needed to be tackled head on. Kerry Griffiths, Head of Technical Operations, Aotea Centre describes it as a complete refurbishment of everything front of house of the proscenium: “Acoustically, the audience area was not very good. Aesthetically it was pretty tired and in need of a spruce up.”

Raising the roof was once again not considered financially viable. “The majority of the improvements were around the natural acoustic in the room, with Meyer’s Constellation acoustic system giving us the variable aspect you couldn't get with just the room”, reports Griffiths.

CONSTELLATION’S NZ GENESIS

In one of those early audiences was Dr Mark Poletti, then at Auckland University's Acoustics Research Centre. His experience of the hall's acoustic, and the response to its short-comings, led him to research and publish academic papers that ultimately outlined an elegant approach to acoustic enhancement that is both revolutionary and, in concept at least, easy to understand.

The product of that research, the Variable Room Acoustic System (VRAS) is licensed to Meyer Sound by NZ research powerhouse The Callaghan Innovation, where Dr Pelotti is now a senior research scientist. VRAS is at the heart of Constellation: the story comes full circle.

Constellation is not an artificial reverberation system. Rather, it ‘samples’ a room in real time through a large number of carefully (and discreetly) positioned small DPA reference microphones (76 at the ASB). A newly-generated soundfield, created in a natural manner by adding many finely-tuned delays to the input, is output through a constellation (268, including subs, at the ASB) of critically-placed Meyer loudspeakers.

Constellation’s synthesized delays interact in

a way that mimics real-world audio and become a natural component of the room’s resulting reverberant field, as treated audio blends with the room’s original audio. Mic and speaker positions, together with processing calibration ensure that feedback and phase cancellation are not issues.

It might be a simple system to describe but Constellation requires serious DSP grunt to make it go. This is provided by Meyer D-Mitri ‘digital audio platform’ units, running the latest VRAS. These high resolution audio processors have a sample rate of 96kHz, 24-bit AD/DA conversion and up to 64-bit floating point processing. D-Mitri offers realtime networking, simultaneous multichannel processing and is hugely customisable.

The system can be configured to give the impression of any imaginable acoustic space, big or small; D-Mitri also allows complex panning for special effects and cinema surround sound simulation. The ideal, though, is to produce an environment that suits the room and doesn't distract the audience by, for example, sounding too ‘big’ for the space. The hardware is visually inconspicuous, with most of the mics and speaker cabinets in reasonably unobtrusive locations.

FEATURE

RAISING THE VIRTUAL ROOF

In the case of the ASB Theatre, Constellation simulates the acoustic of the space, had the roof been that five metres higher. The ASB is home to NZ Opera and the Royal New Zealand Ballet, so a traditional classical acoustic has been welcomed by performers, audiences and critics alike. That said, ASB hosts a variety of events, and Constellation can be tweaked to provided acoustics suitable for such events as stage musicals and spoken word conference sesions But Constellation goes beyond correction: the acoustic has been rendered consistent throughout the hall. Untreated, the under-balcony areas had been dead and oppressive. Treating the balcony acoustics wasn't an option. Now, without sounding unnatural or distracting, the acoustic under the balconies is as involving as the rest of the hall when Constellation is engaged.

On-stage performers also benefit from the hall’s new, well-rounded sound – a cumbersome hardware shell has been replaced by a ‘shell’ of Constellation mics and speakers. Being enveloped and involved in the acoustic inspires musicians to produce a more involved performance.

The artistic feedback loop is completed by the performers being better able to hear the audience, and the audience better able to hear each other.

The point was made that audio feedback can help the audience enjoy themselves more. The imprecise term 'vibe' comes to mind.

Overall, there are no distracting acoustic hot (or dead) spots, yet localisation of sound sources in the ASB's Constellation soundfield is uncompromised.

VIRTUOUS CIRCLE

Inevitably, installing Constellation was a collaborative effort, including Aotea Centre’s operations team, lead by Kerry Griffiths, on-site integrator Bartons Sound Systems (theirs was the joy of installing many kilometres of cabling, the mics and the speakers), and Marshall Day Acoustics, responsible for the physical acoustic remodelling in consultation with architects and builders. Constellation was commissioned in stages and last year integration and testing of the on-stage hardware brought the installation to completion.

The CV of Meyer’s John Pellowe, Constellation voicing specialist, includes Grammy awards for

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classical audio engineering and being front of house engineer for the Three Tenors. “All our best projects have been fantastic partnerships with acoustics consultancies such as Marshall Day. During the voicing process, the Auckland Philharmonia Orchestra has been rehearsing at the hall, allowing us to make adjustments in response to the musicians' advice.”

Marshall Day’s Peter Exton, a violist, also applauds the APO’s input: “Working with an orchestra has been a treat, allowing us to fine tune the acoustic for different repertoire, and in response to musicians’ feedback. The APO generously provided four full mornings of rehearsals, so we’ve tried a range of repertoire — Stravinsky, Brahms, Wagner, Beethoven and Mozart, getting progressively smaller in terms of orchestra size to hear a range of texture.”

Yet Pellowe adds: “We have to be very careful when we provide different reverberant presets.

We can make this room ridiculously long, which is great for some shows. But it’s my feeling that for a broad range of repertoire there is one setting you can leave with the client. Of course, if someone who wants to fine tune the strength, the length and the warmth, that’s fine, if they have

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Some 76 low-profile DPA microphone combine with 268 Meyer Sound loudspeakers to provide the in inputs and outputs of the Constellation system. Meyer's D-Mitri digital audio platform crunches the Variable Room Acoustic System numbers. Doesn't sound cheap; nor is it. But rebuilding a concert hall is undoubtedly more expensive.

the ears to do that. But once you hit the right numbers, the reference acoustic will work — as it does here — for a broad range of repertoire.”

CUSTOM SYSTEM

Harley Richardson of Meyer Sound Australia notes that while Meyer would rather install Constellation in a new-build venue, most systems are retro-fits, with each space presenting its own problems, solved by a bespoke system. “It can be installed by a third party but Meyer Sound tests everything the installer does, and tunes and voices the system.”

So while Meyer would prefer a dead room — less than half a second with not many early reflections — putting back what’s required for a given application, that luxury doesn’t often present itself.

FEATURE

Pre-Constellation, the ASB was notorious for uneven reflections: “You could sit in one seat four rows back and hear really loud vocal and the person next to you would be wondering what the performer was saying because all the reflections were missing them.”

John Pellowe reckons the theatre’s original reverb time was 1.3 to 1.4 seconds: “Quite low and not ideal for classical music.”

Tuning requires listening, but ears are an essential tool right from the start. The initial rough design is made in consultation with everyone concerned with the installation, with some compromise in response to the physical requirements of the renovation. Pellowe: “The integrators — Bartons Sound System — put the system in, while the hall was being renovated.

There was new flooring and new seat covers, and the under-balcony seating profile has been changed. The hall has been transformed.”

Testing the installed Constellation system is a scientific process, ensuring all the equipment is in the right place. “Then we go into a bit of a secret session where we calibrate the system, which we don’t say too much about.”

Tuning is rather more subjective. “Once it’s

calibrated, I come along and mess it all up!” says Pellowe. “I voice the system, which takes a long time. We can never be certain of the parts played by the wooden panels or the loudspeakers because we’re doing the two things at once, but it doesn't matter. I define an environment where people like to play, and where they feel comfortable. We want the end users to have something they feel they’re a part of, rather than having some arrogant guy present them with their hall.”

UPON REFLECTIONS

Pellowe referenced the work of Marshall Day cofounder Sir Harold Marshall on the importance of ‘lateral fraction’ to our perception of acoustic spaces. “He discovered something many of us knew but which no-one had documented: the acoustic energy coming from the sides is more important to our perception of localisation, imaging and so on than the energy coming from above.” Marshall Day pioneered ways of calculating a hall’s lateral fraction, information that’s now widely used.

Marshall Day’s Peter Exton again: “Technically, the sound of the room is a

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FEATURE

Microphone and speaker positions overlaid on a pre-upgrade photo of the theatre.

combination of direct sound from the musicians, reflections from the side walls and ceilings — early reflections — and reverberation, the sound energy that’s bounced off many surfaces. The energy of the reverberant tail becomes less and less after many bounces. Early reflections, those that arrive up to 80ms after the original sound, have travelled less than 27m compared to the direct sound. The ear can't separate them — they have a finite response time – so the initial sound seems stronger, and we hear that as increased clarity. This is good for ‘crisp’ music, or if you want clarity of speech. After about 80ms, the ear’s response clicks in and we hear that as a fullness of sound – the reverberant tail. If this later sound, and even some of the early sound, comes from the sides of the room, and if the signals are different to our two ears, we feel immersed in the music.

And if the reverberant energy comes from the sides, we feel much closer to the musicians and more involved in the musical performance. As acoustic designers, we can change the character of the sound that the audience hears in a room.”

But it’s VRAS that allows Meyer to work with these ideas electronically. Pellowe: “VRAS lets us produce much more complex reverberation, all mathematically derived. We’re not doing anything weird to the sound, there’s no time-variance.

Apart from the 3ms of latency in D-Mitri, everything is time constant in Constellation. The microphones are linear, the signal processing is

linear and time constant, and the loudspeakers are all linear: within their designed operating range, what goes in is what comes out — a John Meyer obsession. All the components are neutral so when you install them you really can, with confidence, calibrate the system: we’re capturing the true acoustic of the room.”

Pellowe explains further: “We don’t transfer any reverberation from the auditorium. All of the reverberant energy on stage is captured on 12 microphones, above your head. What we do take from the stage are early reflections; we progressively delay them and attenuate them throughout the building. The hall is divided into two zones because it’s more than 27m wide. All the microphones and loudspeakers in each zone are related to one another and they’re never more than 27m (80ms) apart — and we try to get closer than that. With bigger zones it’s impossible to organise time arrivals. With a Mahler symphony which has off-stage trumpets, for example, it’s important that those time arrivals are correct across the building and not just going out from the stage. You have to zone it otherwise you can’t organise the time arrivals in the right way. We have to organise the electronics exactly as a physical space. It’s one of the things that makes Constellation rather more expensive than some people would like, but it’s the way we have to do it.”

Even so, a small or medium performing arts centre would likely find installing a Constellation

system saves money over building the size of space they’d like. Constellation would allow the venue to be configured for many purposes with no compromise. This approach saves resources, and running costs — a small space means lower heating or air conditioning costs.

In closing, Meyer Sound's John Pellowe says: “I’ve been working with Constellation for seven years and the ASB Theatre has been in many respects the most interesting adventure for all of us, because of its origins, where it started, and how it inspired Mark Poletti to write his thesis that led us to Constellation.”  Visit the Callaghan Institute's website (www.irl. cri.nz) to search for abstracts of Dr Mark Poletti's acoustic research. Those related to VRAS are handily listed here: http://en.wikipedia.org/wiki/ VRAS#Technical_Papers

COMPANIES INVOLVED archoffice: www.archoffice.co.nz Meyer Sound Australia: www.meyersound.com.au Marshall Day Acoustics: www.marshallday.com Bartons Sound Systems: www.bartonsound.co.nz

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FEATURE

Hanging on Every Word For this house of worship, every word is sacred, and now every seat is the best seat in the house.

Text:/ Christopher Holder

A rabbi reading AV? Well, it’s not as far-fetched as it may first seem.

In the realm of house of worship, the evangelical Christian market may be leading the technological charge but at least one synagogue is turning to professional AV to enhance the experience of its congregants.

Melbourne’s Temple Beth Israel (TBI) is a progressive synagogue led by a youthful rabbi.

Rabbi Gersh Lazarow likes his tech and likes what it has done for his ‘business’: “Whilst there are no shortage of adaptable analogue systems, the ability to go into our digital system from an iPad makes us adaptable while running,” enthuses Rabbi Gersh. “That’s been extraordinary, and changes almost everything we do. I recently stood next to our lectern and saw a grandmother in the second row leaning in to hear her 12 year old grandchild publicly reading from the torah for the first time — straining to hear.

Without anyone noticing I discreetly reached for the iPad, and just went tap… tap… tap and in

each of those taps [of the fine gain] I could see the elderly lady gradually leaning back until she was sitting relaxed with a gleaming smile on her face.

The 12 year old’s delivery didn’t change — he remained just as quiet and terrified — I just gave him a little more support. It’s these things that have nothing to do with the reason why we’re established — our community and our purpose and mission — nonetheless it’s made such a difference.”

TBI has a painstakingly planned and integrated AV system that represents a perfect fit for its purpose: a PA that provides high speech intelligibility to every seat in the house, and a video capture system, under the auspices of bespoke control interface that aims to do virtually all of the heavy AV lifting with single button presses.

KNOWN KNOWNS

Modern houses of worship are curious and challenging. At their best, they’re a combination

of a theatre, a rock venue, a media distribution centre, a nightclub, and a conference centre… all marshalled by enthusiastic yet mostly unqualified amateurs.

TBI’s requirements weren’t necessarily as multifarious or ambitious as a ‘happy clappy’ church, but they were exacting. The core of the brief was simply to design an audio system that would replace the obsolete 25-year-old rig and provide better speech intelligibility. AV consultants, Hanson Associates, were engaged to provide the acoustic engineering and to put together a tender document for the job.

Melbourne-based integrator, Urban Intelligence, won the tender.

Led my Mark Hanson, Hanson Associates methodically mapped TBI in order to design the best sound reinforcement system. Week to week most of the synagogue’s activities take place in the main sanctuary, while an adjoining functions hall is opened via operable walls to make space for the throngs attending the big-

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KEEP THIS FREQUENCY CLEAR

ticket New Year high holy days in September.

What you see pictured is TBI in full high holy day grandeur. Two pairs of Martin Audio Omniline (powered by Crown CTS amplifiers) cover the space. Martin’s micro array is designed for maximum control, resulting in the least amount of unwanted acoustic reflections.

With the space mapped and then modelled in Martin Audio's Display program, the optimum positioning of the arrays could be determined, leaving only a handful of shaded ‘dead zones’ which have been addressed via surfacemount QSC loudspeakers that Urban Intelligence recessed into the cabinetry of the hall.

The sound is excellent. What’s most remarkable is the speech intelligibility. This is sound reinforcement at its least intrusive — natural, comfortable, and with crystalline clarity.

SATURDAY NIGHT’S ALRIGHT

The slender Martin Audio tendrils that hang so elegantly from the TBI ceiling may be the most

Temple Beth Israel in High Holy Day mode, accommodating 2000 people. Four Martin Audio Omniline arrays address the room. For the rest of the year, the podium is relocated forward and an operable wall closes off the front portion turning it into a multipurpose hall. The front arrays are then preset to be steered down for use as a presentation PA for the hall.

obvious aspect of the installation but arguably it’s the digital Dante backbone and the control aspects that steal the show.

Jewish religious ceremonies have been around while. And although the TBI community is progressive, they’re not ‘throw the rule book out’ progressive. By which I mean the vast bulk of the sanctuary’s use is foreseeable. The services maintain a structure where the rabbi, the cantor and other players are reliably in certain positions, reliably going about their weekly business.

The trick for Urban Intelligence was to observe the routines and build those observances into presets in the control system. What’s more, using wi-fi, the control system could be hosted

Mark Hanson, Principal of Hanson Associates on the whys and hows of speech intelligibility: “Our brief was to design a sound system that delivered high speech intelligibility and music clarity but was also flexible enough to allow the synagogue to mic up individuals, their acoustic instruments and a choir around the sanctuary. All this had to be achieved in a sensitive manner where the technology would not be visually distracting.

“The actively processed Omniline arrays fitted the bill. Martin Audio’s Display program allows you to carefully define your listening planes in the space and where you really don't want to send sound — for example, toward a rear reflective wall. With the assistance of Technical Director Ambrose Thompson at Martin Audio, we were able to optimise the design by tailoring the audio signal sent to each individual speaker. This allowed for the precise pattern control required to match the geometry of the room. The consistency in frequency response across all positions in the Omniline coverage zone using this system is incredible, and direct sound pressure levels vary by only a few dB from front to back — a stunning result for congregation members who now receive great sound wherever they sit.

This degree of uniformity in response and level is important when dealing with microphones wandering amongst the congregation. Synagogue staff can place a microphone or instrument where they want it, confident the system will be stable and not feedback.

“Each Omniline speaker within each array is individually amplified (using eight-channel Crown CTS amps) and individually processed. The processing is determined by the highly sophisticated optimisation algorithm. There are a few optimisation techniques on the market but most assume each element in an array has the same or equivalent dispersion characteristics as a box in isolation. But that’s not true — as soon as you start locating loudspeakers amongst others in an array, the characteristics change, and depending on where the box is in the array it has different dispersion characteristics. That’s all included within the model.

The output of the optimisation process is an FIR filter for each speaker, which is loaded into the London Blu signal processing system.

“High speech intelligibility is achieved as a result of generating a temporal response with strong direct sound, and a reflection pattern that is free from distractions: strong early reflections that change the colouration of the sound and late reflections that may be perceived as an echo. Flat frequency response that accurately produces the tonal qualities of a voice is also essential which is why reliance on objective measures alone (such as STI and C50) will not guarantee a satisfactory outcome for a speech reinforcement system. With temporal and frequency responses looked after, attention to system gain or signal-to-noise ratio (requiring a high feedback stability margin) is the third important component address when designing for high speech intelligibility and effortless listening conditions; where a listener is given the impression someone is talking to them from only a fewof metres away.

“Overall, the Temple now has a sound system that allows people to concentrate on the message delivered rather than using cognitive effort simply to interpret the words spoken.”

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by an iPad (a Ubiquiti UniFi pro wireless access point provides “bulletproof” wi-fi).

As it turned out, the control — with its source selection, and fine gain settings — is so elegant and ‘fall off a log’ easy to use, additional control hardware was unnecessary. Yes, there are touchpanel wall controllers if the wi-fi or iPads go down, but you won’t find an audio mixing console anywhere in the synagogue; you won’t find a vision mixer or ‘media booth’.

Come Saturday, Rabbi Gersh will select his Shure wireless mic (that’s been gain set for his use), and he’ll press Go on the vision streaming and recording, and duly commence proceedings.

Once sparked up, the four Basler fixed cameras (there are an additional three cameras in the function space) send video to the Dell server.

Each camera records to its own 1.3TB drive for eight hours of uncompressed recording. The drives are in a RAID array for redundancy’s sake.

Once the rabbi hits Go, the main camera (wide, front shot) streams live via a 50Mb/s up/down microwave link from the synagogue’s website.

When the service is complete, and the Stop button is pressed, the four video recordings are backed up to a Synology 10TB NAS drive as an MP4 file which can be accessed by the Temple Beth’s front office. The four feeds can be saved onto a 16GB USB stick and presented to the family of the 12 year old boy, for example, whereupon they can have it post produced and packaged if desired from the various camera angles.

The Basler digital cameras, although not PTZ, are more often found in labs and other commercial applications, appreciated for their extra level of calibration and tweakability. Urban Intelligence’s CEO Lior Rauchberger isn’t yet satisfied with the quality of the video, but that’s down to the lack of control of the ambient light

FEATURE

rather than any deficiency in the cameras’ optics.

Meanwhile, the captured audio from these recordings is exceptional. In no small part thanks to the lack of spill and controlled dispersion of the Martin Omniline — the ‘stage’ is whisper quiet. With any high-gain mics there’s always the spectre of background hiss, but Urban Intelligence installed a virtual Dante card in the Dell server with what Rauchberger as “unbelievable” results: “The capture and sync is of an unbelievably good quality.”

KNOWN UNKNOWNS

Not every aspect of the synagogue’s proceedings are entirely predictable. Occasionally a multifaith choir will perform, for example, or a band will be invited to play. Traditionally, this would be aesthetically messy (speakers on sticks and cables everywhere) and acoustically unpredictable.

Urban Intelligence has dotted some 15 patch points around the building. Custom engraved and colour coded for ease of use, the plates also mean a mixing console could be effortlessly dropped into the Dante network.

Also, by special request of Rabbi Gersh, a BlueTooth connection allows the rabbi to stream music etc straight from his phone. “We have some very expensive items of gear in this new system, but I find this $30 purchase from Dick Smith very satisfying,” noted Rabbi Gersh. “That said, we have to keep it off except for when I need it, or else teenagers in the congregation will discover it during a service and I’d hate to think how that could play!”

Rounding out the audio features is an Ampetronic inductive hearing loop which has proven to be a real revelation for the elderly and hearing impaired. “We’ve had some feedback from congregants who report that it’s the first

Each Martin Omniline element is individually addressed with its own FIR filter settings and amp channel. The iPad interface (right) helps staff run virtually every aspect of a service without recourse to specialist technical operators.

time they’ve properly heard a service in 40 years!” noted Rauchberger.

PERSONAL AUDIO

Integrating a hi-tech solution into a traditionally low-tech environment requires a champion.

Doubtlessly the TBI champion is Rabbi Gersh. He’s not only happy to indulge the use of technology, he’s genuinely enthusiastic about its possible future applications. But right now he’s still blown away by how the new system has changed the life of his synagogue in the here and now: “One of the challenges we face is fighting against the culture of prayer as performance art.

It’s not a performance. We want everyone in the sanctuary to be an equal participant. This new system allows that. You can be in any seat in the room and feel like you’re sitting a metre or so away from me. In fact, it feels like the sound is specifically yours. That really changes the experience.”  CONTACTS Hanson Associates: (03) 9815 3032 or www.hansonassociates.com.au Urban Intelligence: (03) 9514 6000 or www.urbanintel.com.au Technical Audio Group (Martin Audio, QSC): (02) 9519 0900 or tag.com.au Jands (Crown, Shure, BSS): (02) 9582 0909 or info@jands.com.au Hills (Ampetronic): www.hills.com.au Basler: www.baslerweb.com

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TUTORIAL

System Control 101 Automation is the fastest moving sector in our industry. Here’s the basics on staying in control of an AV installation.

Text:/ Derek Powell

There’s barely an audio or video component that doesn’t come with a remote control. While the ubiquitous hand-held IR remote is fine for controlling a single component like a TV or a DVD player, when we consider an audiovisual system with sources, switchers, displays and more, that’s no longer enough. Today providing a single, simple automated control interface to manage an audiovisual system is an essential part of any integrator’s role.

But for the newcomer, modern automation systems like those made by AMX, Crestron, Extron and others can be difficult to fathom because they use a variety of different electrical technologies to connect to the devices they command. These basic control techniques have been around for a long time though, so let’s try to simplify things and along the way explore a little of the history of remote controls.

LET’S START IN THE MIDDLE

The hub of any control system is the central control unit. It’s the brains of the system and is essentially a simple CPU, like a computer, though it has its own programming language that typically is a lot less user friendly than Windows or IOS programs. If we take a look around the back, where we connect up our controller, things start to look complicated.

In a perfect world, we might expect everything to hook together using something simple like USB connectors but for now at least, things are quite different. Instead, you’ll find a mass of D connectors, RJ45s and Phoenix terminals labelled with an alphabet soup of acronyms from AxLink to ZigBee. We can halve the complexity though, by splitting these interfaces into two kinds of controls — logical controls (that only provide on/off or yes/no outputs) and numeric controls (that send and receive coded numbers to invoke different functions: play/stop/rewind/zoom and so on).

REGARDING RELAYS

The relay is the most basic electronic control device. It was invented more than 150 years ago at the dawn of electrical communication but

it’s still so useful that you’ll typically find relay control outputs on most controller systems.

The invention of the relay is claimed both by the British (Edward Davey) and the Americans (Joseph Henry) in 1835. Within a decade, relays were an essential component used to enable the telegraph by allowing the press of a key switch in a local office to operate an electrical buzzer at a remote receiving station.

The relay is an electromagnetic device that allows an electrical current flowing in one circuit to move a set of contacts that allow current to flow in another circuit. Relays not only provide a logical control function (on or off) but they allow the control circuit to be both remote and isolated from the device it controls.

Relays quickly found much wider uses in all sorts of control applications, not least in early telephone exchanges. They remain very useful because we can use a safe, low voltage electrical current connected to our controller to turn on or off a high voltage mains circuit like an electric motor or a bank of lights. Audiovisual control systems often include a number of relay outputs to control mains powered devices that require only a simple on/off switch. Examples are lights, solenoid door locks, and motorised blinds, which commonly use two relays to provide up/ down control.

Relay wiring is very simple. Two wires are connected from the relay at the device to be controlled to the switching contacts at the audiovisual controller. When the switch inside the controller closes, a small current flows in the connecting cable and causes the electromagnet in the relay to pull in the mains voltage contacts and switch on the light, motor or whatever is being controlled.

I/O, I/O IT’S OFF TO WORK WE GO

Relay contacts aren’t the only kinds of ‘logical’ electronic components that can switch things on and off. The invention of the transistor

by Bardeen, Britain and Shockley at the Bell Laboratory in the 1947 opened the way for some very useful kinds of electronic switching.

I/O terminals, found on many kinds of central controllers, use transistors to switch remote

circuits on or off, like relay outputs, but they can also be used as ‘logical’ inputs as well. I/O transistor circuits can be used to detect whether a voltage is present or a switch is operated in a remote device, which opens up a range of useful applications. Controllers can use I/O ports to tell if doors are open or closed, if blinds are up or down or if an alarm has been activated.

This is very useful in an automation system.

We may wish to check that blinds are closed before operating a screen, for example. In many situations regulations require that audio systems are disabled in the event of a fire alarm so that people can hear emergency announcements.

I/O ports on audiovisual controllers are often connected to alarm systems that provide a voltage output for just this purpose.

Like relays, the wiring for I/O ports is quite uncomplicated — typically only two wires to the remote device — but you need to be certain the connected device is suitable. I/O terminals can only handle a limited range of voltage and current so you need to check the switch or circuit at the remote end is compatible, otherwise the port can be destroyed.

BEYOND ON/OFF

It took quite a long time for remote control technology to move beyond ‘logical’ on/off commands to the kind of functionality we find in IR remotes today. In fact the two people credited with co-inventing the wireless TV remote developed ingenious systems but their original work shared absolutely nothing with today’s IR remotes (see sidebar).

The second broad method of control involves sending coded binary numbers from the controller which are decoded by smart circuitry in the device being controlled. Each code refers to a specific function. It might be volume up (or sometimes, set volume to a specific level); change input or even a toggle function like power on/off.

There are three common ways remote commands can be sent and the one to be used depends mostly on the capability of the controlled device. The three are: infra-red (IR); wired serial control; and internet protocol (IP), which can be sent across a network connection. Of course,

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TUTORIAL

radio or ultrasonic can also be used as a wireless transmission technology for control instead of IR, but as the control proceess is essentially identical we’ll leave those aside for now.

IR: SIMPLE BUT STUPID

Infra-red remotes work by encoding the various control codes onto a stream of pulses generated by rapidly switching an infra-red emitter on and off. The receiver responds to the pulses by decoding the instruction and commanding the device to carry out the instruction (volume up, power on or whatever). So long as we know what codes correspond to the various functions, we can attach a simple IR emitter to our audiovisual controller and have the controller send a sequence of flashes that correspond to the control code for the function we want. Because the numbers are sent as a sequence of flashes, one after another, this method of control is one variation of what is known as ‘serial’ control — we’ll come back to that concept later.

We could leave the IR emitter (sometimes called a ‘blaster’) attached to the control unit and transmit it across the room but it is much more reliable to attach it directly to the receiving window on the unit being controlled to avoid needing everything in line of sight. Wiring is simple, we just need a pair of wires from the IR (serial) output on the controller to the blaster.

While that’s mostly reliable, there’s a big problem for automated systems with this kind of control.

There’s no feedback to confirm that the device has ‘heard’ the command and done what we asked it to do.

This is a major problem when the command being sent is a ‘toggle’ command such as on/off or up/down. Let’s look at a common example: If we want to play a DVD, we can program our automation system to first issue a ‘power on’ command to the player, then power up the TV and subsequently issue a play command to the DVD. Unfortunately, many devices have a single power button that commands the power. Push once and it turns on, push again and it turns off.

If the unit is already on and we send a ‘power’ command, then it will turn off and subsequently fail to play when requested. We can’t simply issue the command twice, just to be sure, because if it was off initially, it will come on, then turn off again. In a complex system this one-wayonly communication from controller to device rapidly becomes a big issue, making automated commands totally unreliable.

RS232 TO THE RESCUE

Fortunately, there is a better way. Devices equipped with serial control ports conforming to the RS232 protocol (or its cousins RS422 or RS485) respond to coded instructions from the controller but then go one step further. When the instruction is completed (such as ‘power on’ or ‘set input to HDMI 1’) the receiver then sends

a message back to the controller confirming that the power is or the input is ready on and awaits further instructions. Good programming practice is to have the controller wait to receive confirmation that an instruction has been executed before moving on to the next command.

To allow two-way communications, the wiring must be different from the two wires used in IR or relay control. RS232 connections have extra wires (at least three and sometimes more) so that there is a dedicated path to receive instructions and a different path to communicate back to the controller. It goes without saying that devices equipped with two-way serial connections must be ‘smarter’ than most simple IR-controlled devices but in commercial applications the difference in reliability is well worth the extra expense.

TO INFINITY & BEYOND

RS232 does have a few limitations, though. You can’t issue instructions terribly quickly and there is a distance limitation between the controller and the equipment being controlled.

Today, everything from a five-port Ethernet switch to a battery charger (and quite a lot of audiovisual gear) comes equipped with a network port and an HTML interface, as well as the equivalent processing power of the first generation of Space Shuttles. By assigning each piece of equipment an IP address, we can issue instructions (and receive feedback confirming correct operation) across a local network, a wireless network or to equipment located anywhere in the world across the internet.

IP connection is fast and reliable and this is rapidly becoming the default method for connecting and controlling anything more intelligent than a light switch.

CONTROLLING THE CONTROLLER

The last link in the chain of course is the control panel you use to command the central controller.

The user interface is often connected via IP to the central controller and may be as simple as a pad with half a dozen buttons that mimics the kind of control found on IR remotes. The difference is that each button could be programmed to fire off a series of commands to different devices. Most installed automation systems these days however use a touchscreen so the user interface can be anything you could imagine — buttons, sliders or even a track pad, and the screen can show many pages to allow in-depth control using deeper menus if you need them. Most systems will support multiple control panels so that you can have control of your system from front-of-house as well as the bio-box and the manager’s office — wherever you can connect to the network.

PER-APPS AN IPHONE IS BETTER?

Given the typical control panel is generally an IP device and a touchscreen, the latest trend is to use an app on a tablet or smartphone to emulate the

control panel. It is likely this trend will continue and it’s possible to imagine a future where everything is IP connected and the central controller becomes simply a software service running in the cloud, but that’s a few weeks off yet.

In a single article we can only scratch the surface of this subject of course! Hopefully, though, we’ve explained enough to lighten the darkness somewhat if you haven’t had in-depth exposure to automation systems. We haven’t talked about programming or monitoring and scheduling or what makes a good user interface but we’ll take those matters up another day. 

THE REMOTE CONTROL US Company Zenith Radio (now owned by LG) pioneered remote controls in consumer television sets. Their first system, dubbed the ‘Lazy Bones’ provided a useful range of control but required a thick umbilical cord attached to the TV, which proved deeply unpopular.

In 1955 Zenith produced the first of two revolutionary ways of implementing true wireless remote control. The Flash-Matic, devised by engineer Eugene Polley was a four-function logictype device that provided picture and sound mute and channel up or down. A Photocell was located at each corner of the screen and the ‘hand held remote control’ was simply a special torch which the user shone at one or other of the photocells to implement the required function. It worked great until the sun crept through the venetian blinds and shone on the photocells. When that happened, the channels were likely to change unpredictably and uncontrollably — most off-putting!

The next year, they released the futuristically named Space Command remote, that was was not only wireless, it didn’t even need batteries!

Invented by another Zenith engineer, Dr Robert Adler, the remote unit was a device of such elegant simplicity as to be pure genius. The remote casing housed four aluminium rods around 60mm in length that were struck by tiny hammers actuated by the control buttons. The rods functioned like tuning forks and were fashioned to resonate at precise frequencies in the ultrasonic range when they were struck by the actuators. At the set, a quite elaborate ultrasonic receiver circuit using no less than six valves responded to each tone by actuating the appropriate function: channel up/ down; audio mute or power on/off.

Incidentally, while the ultrasonic notes produced by the Space Command were inaudible, the mechanical action of the hammers produced a distinctive click when activated by the buttons of the remote. To this day, many Americans still refer to modern IR remotes as ‘clickers’ even though the click (and the mechanical hammers) have long disappeared.

Adler and Polley both lived into their nineties when they were somewhat belatedly honoured by the IEEE (in 2007 and 2009) for their pioneering work in developing the first consumer wireless remote controls. You can read more on the web, where there are plenty of sites devoted to early TV, including www.zenith.com/heritage/.

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REVIEW

BENQ TH682ST Short Throw HD DLP Projector BenQ’s latest generation of affordable short throw desktop projectors.

Text:/ Stephen Dawson

onto a fixed screen, and keystone adjustment to correct the consequently distorted picture, this will of course waste picture resolution and reduce the crispness of displayed text. That said, the projector actually did a decent job of rescaling with keystone, keeping text and graphics reasonably clean.

I found that once I’d gotten the projector positioned to the correct height, aligning the picture with the screen was easy. The focus ring and zoom control are inset somewhat into the top of the unit, were easy to reach and operated smoothly. When I first focused the projector, my attention was on the centre of the screen. This left the focus slightly off in the top left hand corner. Some careful nudging of the focus ring correct this without noticeably losing sharpness at the centre.

PICTURE QUALITY

There are many criteria to be considered in choosing a projector for presentations: brightness, flexibility, resolution, connectivity, special features, amongst others. But one that should always be high on the list is range. How close do you want the projector to be to the screen?

This doesn’t matter much for a ceilingmounted projector in most venues. But for deskor trolley-mounted ones, a long-throw projector is generally going to have trouble with human bodies getting in the way.

Short-throw projectors are often best, here.

Ultra short-throw projectors sit just about at the screen and use mirrors to project the image.

The BenQ TH682ST is more conventional than that. It uses a bulbous lens to make a big picture from a relatively close projector position.

DESCRIPTION

The BenQ TH682ST looks conventional in design: lens at the front, a small set of pressbutton controls on top, along with the lens controls, and inputs at the back. The body is finished in a rakish black and white.

Inside it’s a DLP projector offering a full HD (1920 x 1080 pixel) image. A 210W lamp provides the light. BenQ says that it can deliver up to 3000 ANSI lumens and that it has a contrast ratio of 10,000:1.

There’s a single HDMI input to handle digital video, supplemented by a standard analogue computer input. This can be configured to support component video rather than RGB if required. There’s also composite video and S-Video. And audio in and out.

In addition to a compact remote, the projector comes with a soft carry bag and a VGA cable.

INSTALLATION

To fill a 100-inch diagonal screen, the projector needs to be located between 1.522 and 1.674 metres away from the surface. As those figures suggest, the zoom range is limited (1.1:1). There is no lens shift. The image is projected upwards, so that the bottom edge is slightly above the centre of the lens – 28mm in the case of the 100inch projection.

While there are adjustable legs to allow the projector to be canted if required to get the image

The scaling of this projector was first class when I initially fed it with a 1366 x 768 signal from a notebook. But of course I mostly fed it 1920 x 1080 from both Windows and a Mac. Even under bright room lights (two 36W fluorescent tubes a couple of metres away) a computer or presentation image was clear, readable and with reasonable colours. Only fine graduations of detail at the dark end of the scale were lost. Just a minimal amount of dimming brought out that as well. With a room well darkened the black levels were very satisfactory — even in home theatre terms, let alone for presentations. In general, the Smart Eco lamp mode (more on this below) was fine for brightness.

If you want to show the odd movie with the projector, you’ll generally find it satisfactory.

It lacks some of the nifty features of a home theatre projector, such as motion smoothing.

You may find the odd section of movie judder — in which the picture seems to jump visibly in a rapid series of steps — during some poorly shot scenes. Because DLP projectors switch so quickly between frames, there’s no time-smearing to paper over this.

Furthermore, the same speedy switching

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REVIEW

The Teaching Templates built in to the projector.

between frames ensures the projector produces excellent ghost-free 3D if you purchase optional 3D active eyewear.

To my eyes the brightness of the picture seemed nicely uniform over the entire screen.

Instruments told a different story: top centre was around 73% of the brightness of bottom centre.

I think our eyes perceive brightness on some logarithmic scale, so this was simply not obvious.

PRESENTATIONS

The projector includes a number of potentially useful aids to users. There are three ‘Teaching Templates’. ‘Letter Formation’ evokes memories of primary school, with horizontal dotted and unbroken lines to guide formal handwriting.

‘Worksheet’ is simply 16 horizontal lines, while the ‘Coordinate Chart’ presents an X/Y axis.

These are available as both white on black and black on white. Clearly these are all going to work a lot better with a rear projection system.

Caution should be exercised with the ‘blackboard’ look. While the unit delivered just about no DLP ‘rainbow effect’ with normal use, the narrow white lines on a black background proved to be an exception, and a minority of the population finds the rainbow effect quite disconcerting.

There’s also a convenient digital zoom of up to 200%, with +/- keys on the remote. You can arrow the display area around to find the section of the picture of interest.

A ‘Presentation timer’ is provided. You can set where this goes on the screen, whether it counts down or up. You can even have it beep (with a 30-second warning) at the end of the time.

The unit has a very small built-in speaker — perhaps 50mm in diameter as far as I could see peering in through the front grille. Yes, the front. Projecting the sound forwards seems odd in a projector designed to sit in front of the people watching the presentation. Nonetheless, while fairly thin, the volume was sufficient for coherent sound for small groups in a quiet venue. In most cases though the addition of just about any powered speakers would greatly improve performance.

The USB connection allows the projector to communicate with a computer, delivering ‘page’ commands to its presentation software.

Page up/down keys on the remote allow the presenter to wander around instead of sticking near the computer.

PRACTICALITIES

There are three lamp modes. ‘Normal’ is full on — and is rated to deliver a lamp life of 4000 hours. ‘Economic’ is a low power mode that extends the lamp to 6000 hours. ‘Smart Eco’ adjusts brightness according to the picture content (not according to ambient light). The lamp is rated at 8000 hours at this setting.

The specifications say the projector uses a maximum of 320 Watts. My power meter never went above 244 Watts. That was in ‘Normal’ mode. For the most part with computer content ‘Smart Eco’ used pretty much the same as ‘Normal’ mode. With video content it varied quite a bit. Projecting an image which consisted of a full black screen it fell away to 178 Watts.

There’s a ‘Blank’ key on the remote which blanks out the screen, and this reduced the total power consumption to around 94 Watts.

The non-smart ‘Economic’ mode consumed a steady 202 Watts. The brightness was around three quarters of the ‘Normal’ mode.

Given all these variables, it’s a bit hard to work out running costs. As I write, a replacement lamp costs $225, but I’m told by BenQ there will be a significant (and imminent) price drop in the cost of projector globes. This will include this projector’s lamp falling to AU$195 (inc. GST).

So worst case, in normal mode, assuming electricity costs 20 cents/kWh, this projector would cost around 9.8 cents per hour. Half would be lamp replacement, half energy costs.

According to my power meter (which isn’t very accurate at low consumption), the projector consumed about 0.3 to 0.4 Watts in standby mode. BenQ specifies less than 0.5 watts.

Starting up, the projector produced its splash screen in about a dozen seconds, with the input picture being locked onto and displayed in 21 seconds. It was far from full brightness at that

point, another minute or two should be allowed to let the picture stabilise.

After running the projector at full brightness for a few hours on a moderately warm day, it took about 102 seconds for the cooling fan to switch off after putting the projector into standby. Obviously you need to wait that long before unplugging the power and packing up.

You will know when the fan has gone off because of the startling double-beep the projector emits when it does so.

CONCLUSION

The BenQ TH682ST projector turns out to be a good, bright, and low cost — both to purchase and to run — for those who want a desktop projector which can be placed reasonably close to the projection screen.  SPECIFICATIONS: Display Technology: 1 x Digital Micromirror Device (model not specified), 1920 x 1080 pixel resolution Lamp: 210W Lamp Life: 4000/6000/8000 hours (Normal/Eco/ Smart Eco mode) Brightness: 3000 ANSI lumens Contrast Ratio: 10,000:1 Inputs: 1 x HDMI, 1 x composite video, 1 x S-Video, 1 x RGBHV (D-sub15), 1 x stereo audio (3.5mm) Outputs: 1 x RGBHV (D-sub15), 1 x stereo audio (3.5mm) Control: 1 x RS-232C, 1 x Mini-B USB Dimensions (w x h x d): 312mm x 105mm x 248mm Weight: 2.8kg

MORE INFO Price: $1399 Warranty: Two years (first of 12 months or 1000 hours on lamp) BenQ Australia: (02) 1300 130 336 or www.benq.com.au

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HUMOUR?

Termination Having a Ball Text:/ Graeme Hague

There’s something wrong with my television.

It appears to have been infested by bugs. Not software bugs, but real ones – and crickets in particular. Again, not the chirpy kind that get squished on your windscreen. I mean the cricket with lots of sun cream-covered chaps dressed in Star Trek uniforms, standing around in a large paddock for five days until it all gets a bit much and everybody goes home with nothing to show for it. It’s on the telly all day, all night, every channel.

To be honest sometimes there’s the shorter type of game that only lasts an entire day and the even shorter games that merely run the whole night, but it’s still cricket and to an AFL footy tragic like me it turns summer into one long, televised grind of voiceover hell, and annoying, so-called expert commentators scribbling crayons all over the screen like Mr Squiggle on too much caffeine.

Although I have to say that part of the broadcast is kind of interesting. The on-screen graphics: the Sharpie doodlings in front of our very eyes; the total computerisation of Noel Coward’s mad dogs and Englishmen getting toasted under the midday sun.

STAYING FRESH

Each year, broadcasting sport on television is bit like re-inventing the toothbrush. Think about it: “We need a new kind of toothbrush”.

Okay, let’s put the brushy bit on one end and we’ll make the handle at the other end and then... hmm, hang on, it’s been done before.

Which pretty much sums up the problem faced by the networks whenever a new season of sport kicks off and the fans on the other side of the screen are expecting – everyone assumes – something new. What makes it even more of a challenge is the immediacy of the vision and the desired special effects to dazzle and impress the viewer. When you think about it, the latest audiovisual technology really gets to shine on live television. This is where it’s all happening in real time. Steven Spielberg and his ilk might be able to blow our collective minds with all the CGI stuff and furry ogres driving flying saucers, but don’t forget they’ve got something like five years to cobble together

those images – not to mention an enormous team of nerdy Dungeons & Dragons players to create the animation.

For live television and sport, it’s all done in the space of a googly – whatever the hell that is.

HOLO COMFORT

The passing reference to Spielberg and Wookies behind the wheel isn’t entirely gratuitous. Have you seen the latest trickery by the network cricket commentators? They sit around a kind of three-dimensional, holographic table. The players’ positions and the tactical implications are revealed in scenes reminiscent of... well, if one of the virtual cricketers were to get down on his knees and say something like, “Please help me, Obi-Wan Kenobi. Bowl a yorker,” no one would be surprised.

Don’t get me started on the tennis (you just did). A wise man once said – it might have been me – that the worst thing to ever happen to the sport was the discovery that a tennis court is the perfect shape to fit on a television screen.

Now look what’s happened. All that grunting and screaming, it’s worse than my mum trying to get the cap off a bottle of sherry.

While the game drives you nuts, you’ve got to be impressed by the AV technology that allows the commentators to analyse the fall of the tennis ball to within an nth degree in relation to the fault lines, or whether or not the player’s big toe crept over the service line. Why do they even bother having umpires anymore?

I suppose boy wonder, Nick Kyrgios, needs someone to abuse...

If the actual summer sports don’t float your boat, you must at least be partially gobsmacked by the enormous logistics behind all these outside broadcasts. The gazillion kilometres of cabling, the countless cameras, the tons of egg sandwiches. Between the cricket, tennis, golf and that weird game with the funny-shaped football (come on, a round ball? Anyone can kick a bloody round ball), spare OB vans must be as readily available as hen’s teeth at the moment.

BEER: INSIDE KNOWLEDGE

Okay, for the cricket fans I’ll agree it is kind of addictive at times. It’s almost impossible not to keep watching until the end of an over – maybe a few overs just to see if some bloke makes fifty. And the Big Bash League always threatens to seriously injure someone in the crowd with all those sixes hit into the stands, which is entertaining in its own macabre way.

Catching a cricket ball without dropping your beer and bucket of chips is always good for breaking a few fingers. All good clean fun.

But don’t get the idea I like this summer sporting rubbish, because I’ve been watching it so much lately. This is purely lounge room research into the latest AV broadcasting technology and I’m not enjoying it at all. That’s why I have to drink beer and eat potato chips while I’m doing it – to ease the discomfort.

By the way, thanks to the beer, I’ve figured out what new AV innovation will happen in sport next year. They’ll put a camera inside the balls. Ingenious, right? As always, you read it here first, folks. Please send congratulatory emails during lunch intervals or whenever bad light stops play. 