Installation 256

SERVING UP A FEAST OF AV MAGIC

HOW AUDIO & VIDEO SOLUTIONS ARE BOOSTING BARS, CLUBS & RESTAURANTS

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CONTENT

Editor: Rob Lane, rob.lane@futurenet.com

Group Content Director, B2B: James McKeown, james.mckeown@futurenet.com

Graphic Designer: Sam Richwood, sam.richwood@futurenet.com

Managing Design Director, B2B: Nicole Cobban, nicole.cobban@futurenet.com

Production Manager: Chris Blake, chris.blake@futurenet.com

Freelance contributors: David Davies, Ken Dunn, Kevin Hilton

Cover image: Andrew Allcock

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ISSN

Post-Covid, AV is, seemingly, the tech tonic every sector requires, administering an electronic energy boost to help alleviate any residual pandemic pain. The hospitality and retail sectors are certainly demanding their doses of AV remedies, with high-end, future-proofed tech helping to revitalise bars, clubs, restaurants, and bricks-and-mortar shopping outlets. Check out our two lead cover-story features from page 20.

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This issue, we also preview InfoComm 2023, and visit Sony’s recently launched Digital Media Production Centre (DMPC) at Pinewood Studios near London. In addition, we’ve features on the ongoing supply chain crisis –our fourth look at this important subject since the start of 2022 – and the dark art of soundproofing. In our expanded installations section, Samsung’s The Wall wows Dubai resort visitors, Harman elevates a new Yokohama location, and AV Stumpfl servers drive Indian Republic Day celebrations. Our Movers & Shakers two-pager highlights picks for Absen, PPDS, Nanolumens, Samsung and Vioso, amongst others.

We have Q&As from Peerless-AV EMEA MD Keith Dutch, who answers questions on his transition from pro cricket to pro AV, whilst looking at company growth and future developments; Graeme Little, head of display UK, Samsung Electronics, who replies to our queries on changes to, and challenges in, the display market; and Blake Augsburger, founder and CEO, LEA Professional, who discusses offshore fishing and new technology. Insights come from Dave Spence, director of customer and technical services for Datapath, who explains why technology support services are crucial in control room environments; Bang & Olufsen’s global head of enterprise & B2B, John Howard, discussing why the rise of hybrid workers requires truly hybrid work tools; and Martin Izzard, head of media & entertainment at tech PR and marketing outfit Red Lorry Yellow Lorry, who says we should all stop gatekeeping technology, and come together, in tech-rich creativity. Amen to that! Enjoy the issue.

"AV is the tech tonic every sector requires, administering an electronic energy boost to help alleviate pandemic pain"

Chief Executive Officer Jon Steinberg Non-Executive Chairman Richard Huntingford Chief Financial and Strategy Officer Penny Ladkin-Brand

In this issue... 20

GETTING TO GRIPS WITH VIRTUAL PRODUCTION

THE LAUNCH OF SONY’S NEW DIGITAL MEDIA PRODUCTION CENTRE (DMPC)

6 Install insights

This issue, Samsung’s The Wall wows Dubai resort visitors, Harman elevates a new Yokohama location, and AV Stumpfl servers drive Indian Republic Day celebrations

12 Hitting AV for six

We speak to Peerless-AV EMEA MD Keith Dutch about his transition from pro cricket to pro AV, and company growth

14 Control rooms: Tech support services

Technology support services are crucial in control room environments. Dave Spence, director of customer and technical services for Datapath, explains why

15 UK display market: Changes & challenges

Graeme Little, head of display UK, Samsung Electronics, on changes to, and challenges in, the display market

16 Taking hybrid to the high-grade

The rise of hybrid workers requires truly hybrid work tools, says Bang & Olufsen’s global head of enterprise & B2B, John Howard

17 Come together, in tech-rich creativity

Stop gatekeeping technology, says Martin Izzard, head of media & entertainment at tech PR outfit Red Lorry Yellow Lorry

HOSPITALITY & RETAIL SPECIAL SERVIING UP A FEAST OF AV MAGIC FOR CUSTOMERS

INFOCOMM 2023: TECH & INCLUSIVITY

SOME OF THE PRODUCTS & CONFERENCES AT THIS YEAR’S EVENT

REFLECTIONS ON SOUNDPROOFING

HOW TREATMENTS IN CONSTRUCTION CAN IMPROVE ACOUSTICS

HOSPITALITY & RETAIL SPECIAL

20 Revitalising bars & clubs: A feast of AV

It’s been a tough few years for an already embattled sector, but it seems like brighter times are ahead for bar and club operators who are willing to differentiate their offers with the latest AV, according to David Davies

28 Retailers pursuing high-end & future-proofed AV

More creative visual content, improved audio and stronger sustainability messaging are among the ways in which retailers are working to lure customers back into stores, writes Ken Dunn

36 Getting to grips with virtual production

Jenny Priestley, editor of Installation sister magazine TVBEurope, reports from the launch of Sony’s new Digital Media Production Centre (DMPC)

38 Supply chain crisis: Building ‘visibility’

With the global chip shortage ongoing, AV manufacturers and SIs are seeking additional suppliers and alternative solutions

44 InfoComm 2023: Technology and inclusivity for AV

Installation looks at the new products and conference sessions lined up for this year’s AV technology showcase

48 Reflections on acoustics and soundproofing

The acoustic qualities of any space can be improved considerably through the use of special treatments in the construction process. Kevin Hilton talks to leading experts about how this is done

48 Movers & shakers

Key appointments from across the AV industry, including new hires for Absen, PPDS, Nanolumens, Samsung and Vioso

50 Inside Track

Blake Augsburger, founder and CEO, LEA Professional, on electrical engineering, offshore fishing and new technology

INSTALL INSIGHTS

This issue, Samsung’s The Wall wows Dubai resort visitors, HARMAN elevates new Yokohama location, AV Stumpfl servers drive Indian Republic Day celebrations, Yamaha boosts Park Holidays, Sennheiser helps preserve sounds of nature, and much more!

Luxury Dubai resort fitted out with Samsung signage solutions, including The Wall

Atlantis The Royal, a new resort from Kerzner International on Palm Jumeirah in Dubai, has been fitted out with Samsung displays, including the modular microLED display, ‘The Wall’, as well as Smart Signage displays, both indoors and outdoors.

Atlantis The Royal is the first hotel in the MENA region to install The Wall. Measuring 146in with 4K (3,840 x 2,160) resolution, The Wall has been installed to enhance the hotel’s most luxurious guest suite, the Royal Mansion, with a “one-of-a-kind, personal viewing experience”.

In the hotel’s lobby, Samsung Smart LEDs have been installed on three large water tanks, with the largest screen measuring 6m x 8.5m. The hotel’s spa and gym feature Samsung’s IER series, and by the outdoor infinity pool, the ceviche bar features Samsung Outdoor LED signage. Samsung Smart Signage has also been installed in restaurants and meeting rooms to enhance guests’ comfort and communication while boosting staff efficiency. In addition, 957 Samsung hospitality displays have been installed in the hotel’s 795 rooms.

Billboard Live elevates new Yokohama location with Harman solutions

To provide Billboard Live’s latest venue in Yokohama with a world-class live setup suitable for a wide range of performances, HIBINO and SC Alliance collaborated with Harman Professional Solutions to select and implement a range of JBL Professional audio and Martin professional lighting solutions.

To elevate the overall guest experience with state-of-the-art live sound as well as immersive and impactful lighting, the HIBINO and SC Alliance installation team deployed JBL VTX and VRX Series speakers and Martin ERA Series lights.

For the audio component, the team installed the JBL VTX A8 and B18 high-performance speakers. Equipped with proprietary JBL woofers, custom-designed high-frequency transducers and advanced waveguide technology, the VTX A8 is a compact-yetpowerful line array capable of high, distortionfree output.

AV Stumpfl PIXERA media servers drive Indian Republic Day celebrations

AV Stumpfl’s powerful PIXERA media server platform was on the front lines for Beating Retreat, the military ceremony at the heart of India’s Republic Day celebrations, which this year transformed New Delhi with a projection-mapping experience synchronised with a drone display.

Marking the formal end of Republic Day, Beating Retreat 2023 featured a 3D anamorphic projection mapped onto the facade of New Delhi’s Secretariat Buildings. It was the first time a show of its kind had been projected onto the imposing buildings, which are central to Lutyens’s Delhi, the historic government district also home to Rashtrapati Bhavan, the presidential palace.

The ceremony also included a drone show, featuring 3,500 drones, in sync with the projection mapping, as well as military parades and performances of Indian classical music by the bands of the armed forces and state police.

“This is the biggest projection-mapping project to date in India, as well as the first event in India where projection mapping and a drone show were in sync,” said Pratik Wadhwa, CEO of Delhi-based Modern Stage Services, which won the tender for the projection mapping.

To ensure the stability and reliability crucial to delivering the demanding 14-minute show, which took place during what Wadhwa describes as “one of the most prestigious events that happens in India”, Modern Stage Services turned to AV Stumpfl’s media server platform, PIXERA.

“We have been using PIXERA for all our projects since 2021,” he explained, “and we are very satisfied with the stability of the software. Features like 3D pre-visualisation, live input preview and dynamic soft edge make the job much easier for us.”

Eye-popping installations

Park Holidays UK has included Yamaha MTX3 and MTX5 matrix processors as part of a major investment programme in its entertainment systems, upgrading and digitising them to deliver an enhanced, more flexible experience for its customers. With 47 sites throughout England and Scotland, Park Holidays UK is the UK’s second largest holiday park operator, with holiday homes, touring and camping facilities.

The 47 sites utilise Willow Communications’ Event entertainment platform and Command venue AV control software, and the Northampton-based entertainment technology specialist was contracted to specify and supply the upgraded hardware systems. To deliver these, Willow managing director Steve Barlow recommended the Yamaha MTX series for the audio routing element of a completely automated audio/video/lighting system.

“We chose the MTX for several reasons,” said Barlow. “We have used MTX processors since their launch, as they provide a very reliable and flexible platform which integrates smoothly with our proprietary Command software. The availability of Dante on the MTX5 and Yamaha’s XMV series power amplifiers also provides a reliable digital audio network.”

Sennheiser helps sound recordist to preserve sounds of endangered species

Sound recordist Thomas Rex Beverly has Sennheiser to thank for accompanying him on his past three successful arctic expeditions to Alaska (2019), Iceland (2021) and Norway (2022). Sennheiser’s MKH 8020, MKH 30, MKH 8040 microphones and HD 280 PRO headphones have helped him to record and preserve the sounds of endangered species and ecosystems, including the thunderous calving of glaciers and underwater sounds of whales and other marine wildlife.

Beverly’s 90-plus nature sound libraries have been used extensively in the world of television, games, apps, museum exhibits and on high-profile film productions. As a nature sound recordist and composer with over ten years of experience, Beverly explores our evolving planet through sound. Through his field recordings, music, and sound art, he inspires listeners and hopes to help preserve the precious natural landscapes and their breath-taking soundscapes for future generations.

His fourth and latest major expedition took him to Greenland in 2022. This journey was part of Beverly’s project of recording and preserving the sounds of endangered species and ecosystems. Beverly focuses on field recording, with a particular passion for recording nature sounds, and he favours a pair of closed Sennheiser HD 280 PRO headphones. His main recording rig comprises a double mid-side set-up with a Sennheiser MKH 30 figure-of-eight and two Sennheiser MKH 8040 cardioid condenser microphones.

“You have a front and a rear mic, which in my case is a pair of 8040s, and the side mic is an MKH 30. This has been my ‘go-to’ rig, as you can do everything from a closeup animal recording to recording surround sound, all in one blimp,” he enthused. “Plus, it’s a compact rig, which is important for me as I always have to think about how much gear I can actually fit in my backpack.”

Yamaha MTX chosen as part of Park Holidays UK 47-site entertainment upgrade

Control4 scores at Accrington Stanley football club with GB Integrated Systems

Control4 control systems have been installed at Accrington Stanley football club within a new £2.5m hospitality and conference suite, with the build managed by Readstone Construction which subcontracted GB Integrated Systems to supply a turnkey solution for the new facilities.

Accrington Stanley boasts a following of life-long devotees, many of whom have supported the club since its home, Crown Ground, was opened in 1968.

Palmer Digital Group delivers dynamic menu board for dualconcept fast casual chain

Palmer Digital Group has installed most of the Chicago-area fast casual chain Buona locations with its turnkey outdoor digital menu board systems, beginning with two dual-concept locations with the Rainbow Cone system.

Tubular Bells chimes in 50 years with EM Acoustics throughout UK tour

A celebration of Mike Oldfield’s landmark debut album Tubular Bells, the Tubular Bells 50th-anniversary tour, recently finished its UK concert circuit with EM Acoustics systems, consisting of HALO and EMS series loudspeakers. They were deployed in a total of 32 venues over the course of two months.

Released in 1973, Tubular Bells gained critical acclaim, going on to become the highest-selling instrumental album of all time, following its use on The Exorcist movie.

AV installation and rental company Show Works specified a full EM Acoustics system consisting of HALO-B and HALO-C, as well as EMS-129s and EMS-81s. Two DQ20 amplifiers were deployed to drive the main part of the system. An established partnership with EM Acoustics also meant Show Works could get together the kit they needed in a short amount of time.

Digital Projection’s Satellite MLS provides ultimate flexibility for Nordic convention centre

Elmia, the leading convention centre in the Nordic region, has become the first venue of its kind to be equipped with Digital Projection’s advanced MLS projection system, thanks to Sävedalen-based AV specialist Austman Consulting.

LEA Professional provides seamless audio with Dante for Hawaiian residential complex

Integrator Pacific Audio & Communications (PAC Audio) has specified LEA Professional as the preferred audio system in the new Lilia Waikiki 28-story mixed-use development high-rise apartment complex in Waikiki, Hawaii, which opened in 2022.

Genelec loudspeakers provides healing sound for Brooklyn wellness centre

Gaia Nomaya Wellness Center, a 7,000-square-foot music, wellness and arts space in Brooklyn, NY, is calming visitors with a Wellness Womb, created using eight Genelec 4430A Smart IP installation loudspeakers. The 4430As are used to play continuous streams of soothing music and sounds that evoke forests, oceans and other tranquil environments.

Dedicated to using music as medicine and art as therapy, Gaia Nomaya is a social wellness environment where visitors can have fun and hear music, yet also experience a range of healthy self-care options; the space is also used for outside events that support the neighbourhood.

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Hitting AV for six

Installation speaks to Peerless-AV EMEA managing director Keith Dutch about his transition from cricket to AV, company growth, and future developments

Tell us a bit about your transition from cricket professional to MD at Peerless-AV EMEA

Where do I start…back in the 90s professional cricketers only had seasonal (6-month) contracts so, out of season, during the winter months when I wasn’t training or playing overseas, I would assist [my brother] Gordon Dutch [and his company] BBG Distribution during their busy periods. One winter, I started helping out at Selfridges where BBG had some brands represented. I learnt a lot and made a huge difference in sales turnover during that period. A few years later, at 31, in the latter stages of my cricketing career, BBG was in rapid growth and so I took the opportunity to be part of it as an external sales representative and then moved into business development. I moved back to the [UK] home counties, and I then looked after key accounts, such as Costco and John Lewis, learning and being taught about business along the way, from business development, to account management, to channel management to commercials.

In 2009, when Peerless-AV bought BBG, I worked very closely with the US in the transition and took responsibility for the UK professional business which then progressed to a promotion to operations director. I continued to expand my role taking on further regional responsibility until Melinda Von Horvath arrived as VP of sales & marketing. She and I worked very closely to grow the European business and team to what it is today.

Gordon placed tremendous faith and trust in my abilities by not only giving me my start, but also in assigning me tremendous responsibility for which he

knew I would rise to the occasion. I don’t think I would have gotten that level of faith elsewhere, and that immersion into so many of the facets of the business allowed me to develop a variety of skill sets along the way. I am very grateful to Gordon for that trust. Melinda, Phil Wynd and Ian Abernethy all played a huge role in my development over the years, and I would be remiss not to call out their impact. In the end, when Gordon decided to step away to pursue other passions, John Potts, our CEO, who has been unwavering in his faith of me – as has Nick Belcore our executive VP – doubled down on that faith by making me MD and VP for the EMEA business. I keep that in mind every day as I look for ways to continuously improve on our contribution to the global business.

It’s been an interesting period for me during the last seven years; navigating Brexit successfully, winning a Queen’s Award in 2020, manoeuvring around the challenges of Covid-19 and dealing with the untimely passing of Melinda. For good measure, we decided to relocate our whole UK operation in October 2022, which was completed in under 12 weeks. None of this would have been possible without a great team alongside me, including an impossibly excellent FD in Doug Stokoe. His steady hand and sage counsel has been foundational in my development as well.

How has your cricket background and connections influenced and impacted your career?

During my time at Peerless-AV, I’ve been fortunate to stay involved in cricket, previously coaching at Middlesex academy, playing for and captaining the

MCC in major matches and overseas tours, to having a seat as an MCC Players & Fixtures committee member. Now I’m a consultancy coach with Middlesex Professional side, so I’m never far from cricket and Lord’s cricket ground. I’ve always been respectful not to push boundaries with my cricket contacts, but over the years have brought connections through activities such as charity golf days. One year we raised over £18,000 for the Ruth Strauss Foundation, for example. Of course, my relationships have assisted in being able to host our annual AV Showcase at Lord’s. However, I still respect the boundaries of those relationships. It’s a fantastic, iconic venue and one we’re very pleased to be associated with.

In terms of useful skills that I’ve gained, being a professional sportsman teaches you about leadership, teamwork and discipline. It was a fundamental platform for launching me into my business career, supported and mentored by the aforementioned along the way.

Can you describe how Peerless-AV has grown over the years and the reason behind this?

Previously, Peerless-AV had been flirting in Europe. However, it had no real foundations or footprint in the UK and Europe before buying BBG. The next chapter saw us successfully establishing the UK business, quickly converting our business model to commercial from retail to more closely align with Peerless-AV’s global identity. This realignment allowed us to strategically grow our commercial professional business year on year without the volatility so often associated with the

retail market. Next followed the development within the European markets. They say timing is everything: the video wall market started to explode, we had the best product available and were ready to take market share, claiming the position of number one mounts brand in the UK; where we still stand today due to our continued innovation in product solutions.

How is the company addressing environmental initiatives globally?

As a global organisation, Peerless-AV is committed to achieving environmental sustainability. Our US HQ has been ISO 14001:2015 certified since 2020 and we're passionate about our obligations towards pollution prevention, responsible use of resources and to continuous improvement within manufacturing processes. We recently announced our 2023 environmental objective: to achieve 90% landfill waste diversion year on year and to reduce environmental footprint by 5% year on year. In a growth year, 20212022, Peerless-AV achieved a 9% (57 Tons) carbon reduction, which, in simple terms, equates to 6,414 barrels of petrol consumed. Enough to travel the earth’s surface by car.

As a growing company and expanding team, what advice do you have for anyone considering a career in AV?

Having been in the AV industry a long time, I’ve made many close friends and connections. It’s a fast-paced industry, very social from a networking perspective (you need a good liver!), and very dynamic and exciting with a lot of career opportunities. We’ve been hiring recently for our UK and EMEA sales teams as well as technical product positions, and there’s great talent out there. Also, there’s a lot of channel consolidation happening as well as crossovers between industries such as AV and IT, and AV and broadcast, with virtual production, AR and AI, for example. You only have to visit the world's largest AV trade show, Integrated Systems Europe (ISE) to see the level of cutting-edge innovation and the impact it’s having, or will have, on our daily lives. My advice would be to surround yourself with supportive people you can learn from,

progress and develop, and encourage others around you.

What would you say are the key USPs of partnering with Peerless-AV?

To be customer-centric an organisation must be employee-centric first, and this is something Peerless-AV has always aimed to build and cultivate. Our company culture is one that supports a diverse and inclusive team, where employees always feel valued and respected, which in turn breeds a high level of customer service and satisfaction. The tenure of our leadership team in all of our business units globally reflects our commitment to our team. Our products are renowned for their innovation and being first in their field, driving growth in new markets such as outdoor and dvLED. Our close partnerships with the leading OEM brands mean we always have a solution for the next big display advancement. Strong partnerships across all sectors of the industry also means we can host events such as our AV Showcase.

What exciting developments can you share that are coming up in the second half of the year?

With InfoComm Orlando coming up, this is our biggest trade show in North America and we have some new global launches to announce and showcase, including the

new, game-changing SEAMLESS Kitted Series Universal dvLED Mounting System for latching displays. This product is the first of its kind on the market, unveiled at ISE 2023 and available to order globally in June. The mount facilitates fast, easy latching of dvLED displays via quickconnect clamps, resulting in a dramatically simplified installation.

What are your hobbies/passions outside of work?

Normally, I run and play football regularly, when not injured (which is often at moment!), and I coach/manage my youngest son’s football team, so I guess this is my other sporting passion. I now admit to being an Arsenal fan rather than a ‘follower’. It's not officially announced yet, but the wheels are in motion for a Peerless-AV charity five-a-side football match next year. I also play golf when I can; however, I don’t find as much time as I would like on that front. Hence, I organise our charity golf day each year so I have an excuse to play.

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Control

rooms:

Tech support services

Technology support services are crucial in control room environments.

With mission critical responsibilities, a control room environment demands total efficiency from its technology, with issues and downtime having serious consequences. Having the right technical partner to support from the start is paramount. From the design stage to pre-testing, implementation and on-going support, the partner can very often be as important as the kit itself.

Clearly, any large AV investment benefits from a proven and reliable services offering, but in the command and control sector, there are very often more serious implications when technology does not operate in the way that is required; from loss of business to costly inconvenience or even risk to life.

With this large responsibility, plus considerable investment in system design, hardware, integration, training, and staff, it makes total sense for organisations to have reliable technology solution partners to ensure that all systems are operating correctly. An additional level of support from manufacturers, working alongside the integrator at every stage of the project, can ensure operator harmony and a robust and efficient installation.

PRE-SALES TECHNICAL

This is perhaps the most important stage of any large installation, as the right technical partner can help to identify and eliminate any issues that will affect future performance.

Asking the right questions and understanding customers’ requirements is default in any pre-consultation:

n Key requirements for operators. How many inputs and

outputs? Video wall and workstation sizes? Content and network security? Scalability requirements for the future?

n Bill of materials (the suggested components to be purchased) for video walls and workstations and give an understanding of why they are needed

n Drawings and specs. Offering a design of the installation, along with a 3D render of the room to see how it looks for people-flow, lighting, evac procedures and so on; all helps the end user

COMMISSIONING/INSTALLATION SERVICES

Technical commissioning of hardware and software ensures that every piece of equipment is being installed and will operate as per design. Commissioning packages vary from provider to provider, but in a control room environment, for reasons mentioned, the level of support needs to be comprehensive. During a commissioning phase, a ‘by your side’ offering is going to be the prime choice, with experts actually in the room to assist with installation and on-the-job training, plus quickly eliminate any technical issues.

SUPPORT

These days, the latest video management solutions in the control room space are likely to have in-built 24/7 diagnosis tools; maintaining a watchful eye on such things as CPU core temperatures, connectivity points and data rates. Good systems will also benefit from excellent failsafe measures in the hardware itself, such as auto switchovers to a second system/power supply/output should problems arise.

Dave Spence, director of customer and technical services for Datapath, explains why

UK display market: Changes & challenges

Graeme Little, head of display UK, Samsung Electronics, on changes to, and challenges in, the display market, barriers to success, and tips to youngsters entering AV

How has the UK display market changed in the last few years?

The pandemic disrupted the display market, leading to some real highs and lows. While we saw unparalleled demand in the monitor space, as offices closed, the corporate, retail and signage markets faced tough challenges.

We have seen a significant shift in mindset as to how display can move the industry forward. The overriding feedback from our customers seems to be around collaborative and experiential needs not only from display, but tech as a whole.

We have also seen a real upturn in outdoor display products demand, with the market beginning to truly adopt 'digital' as the future, with LED being the core driver, and both partner and customer ability to adopt and maximise the commercial opportunities it brings.

The market is beginning to retract from a truly remote working environment to hybrid; a mix of office and home working. This presents a huge opportunity for display as companies strive to make the office more appealing and experiential.

What do you see as the key challenges for the display industry?

Display and AV is an integral technology for digital transformation across all verticals and we must embrace the wider opportunities it creates. We must recognise that the benefits to display technology is no longer enough on its own to persuade customers. We must embrace their desire to incorporate data, AI, IoT, SmartThings, UC and collaborative technologies as part of a rounded solution. Display will always be the immersive and desirable piece of the solution as it is

where people engage and interact with the information being presented. It is how we use this information and translate that to quantifiable outcomes that will separate us as a business. As such, we need to be open to collaboration with channels, technologies and software partners who will allow us to form tangible, quantifiable outcomes and demonstrate benefits to customers that will set us apart from our competitors.

What are the things that keep you up at night? What do you see as the barriers to success or the greatest challenges for your company/team right now?

As the UK’s newly appointed head of display, I lead the display division within Samsung, reporting directly into our SEUK president. Our display division is made up of 58 staff members aligned into our four product category areas: LCD monitor, smart signage (LFD), LED, and hospitality TV. One of the key areas of responsibility for my role is people growth and development, as well as helping Samsung achieve its desired number one market position in each category.

Samsung is typically recognised in the UK as a consumer brand, but we are also a marketing-leading B2B solutions provider. This requires a lot of effort from across the entire business on positioning, as well as daily reinforcement from our teams to align as a true B2B brand. To establish Samsung as the leading vendor in all display technology sectors, one of our biggest challenges is improving our market share across the LCD monitor market, and maintaining our reputation as a trusted technology partner.

What are you most excited about in the industry in the near future? What are you looking forward to seeing? The opportunity for display is huge. As we make significant strides towards LED technology capabilities, we will inevitably see this migrate to the smaller format sizes, which has a huge impact on how and where we can adopt display technology such as Samsung’s latest LED signage, The Wall, [seeInstallInsights, page6], which has led the market in micro-LED.

Over the last four years, we have been able to grow the business over 130 per cent, and we are about to launch a new programme which we believe will elevate our standing within the network further; something we are truly excited about.

What do you think sets your team/ product/offering apart from others? As a brand, we have amazing solutions and technology which gives us a brilliant platform for success. It is people, however, that make the difference and differentiates Samsung from our competitors. I have inherited a phenomenally good group of people and I believe this is what sets my team apart from others. Samsung creates a wonderful culture which allows individuals to grow and flourish in a business that always looks to remain ahead as an industry leader.

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Taking hybrid to the high-grade

The rise of hybrid workers requires truly hybrid work tools, says Bang & Olufsen’s global head of enterprise & B2B, John Howard

As a result of hybrid working and the acceleration of digital transformation, companies have started to adopt high-end consumer-grade technology and incorporate it into their enterprise environment. Covid-19, restrictions and lockdowns are going away, but the hybrid worker is here to stay, which will further accelerate the consumerism of IT. Further, the pandemic has highlighted the importance of employee wellbeing, and organisations are expected to prioritise this even more in the future. This may include providing mental health support, flexible work arrangements, and remote or location-independent working; and you need the right tools for this.

CONSUMER GRADE

For several years, many employees have brought their personal smartphones and tablets to work and used them for work-related tasks, or companies provide employees with company-owned laptops that have a consumer-grade user interface. We know that the consumerisation of IT has many benefits, including increased productivity, improved employee satisfaction, and reduced IT costs. However, it also poses some challenges for IT departments, such as maintaining security and compliance standards, managing various devices and applications, and ensuring that corporate data is protected.

One technology company from Silicon Valley turned the enterprise market for phones on its head by creating a product that employees wanted to use for both work and leisure. The next wave is coming now, and that will impact a wide variety of work tools, including headphones,

earphones, and speakers. This will challenge companies to adjust to this new reality, realise the productivity potential of hybrid work and cater to their employees’ ways of working.

STABLE CONNECTIONS

When work can happen from anywhere, you need tools to support that and interfaces with the IT infrastructure. And to do that you need more than a stable internet connection and a great camera. You need great audio. Clear, seamless, and secure. And it needs to be multifunctional enough for employees to use it everywhere; on the train, in the café, in the fitness centre, and in an open workspace. So, it must also be both comfortable and look great when you wear it.

MULTIFUNCTIONAL TOOLS

At Bang & Olufsen, we believe that providing employees with multifunctional tools is the only way forward, with one audio device for everything being our mantra.

A headset that can be used for both work and leisure is much more convenient, as you only need to use one device for both purposes. This means you can switch seamlessly between work-related calls and personal entertainment without having to switch between different devices.

For this you need exceptional sound quality, noisecancelling technology, and a comfortable, lightweight and good looking product that you want to wear for hours at work, when you commute or when you are just listening to music at home.

Come together, in tech-rich creativity

Stop gatekeeping technology and focus on creating media-driven experiences, says Martin Izzard, head of media & entertainment at tech PR Red Lorry Yellow Lorry

It’s time to stop gatekeeping technology. Over the last few years, we’ve seen technologies from the AV industry, the broadcast space, filmmaking and gaming all come together in different ways to deliver new and exciting ways of creating, managing and delivering media. So instead of gatekeeping those technologies, they should be shared so everyone can take advantage of them.

The term 'media' has been used by those industries in different ways for years. Instead, it should be brought together and looked at as a singular term alongside what it enables; rich and immersive experiences.

MEDIA EXPERIENCES

A great example of how sectors can come together to create some great media experiences can be seen across the VFX and post production industry. With competition in the film and TV space fiercer than it’s ever been, the VFX/ post production studios doing the best are the ones who have moved into the AV space. You can now see their work in corporate installations, retail spaces, themed attractions or other immersive experiences.

Theme park attractions are a particularly interesting thing to look at as a proof point. We saw complaints from enthusiasts a few years back (guilty!) that screen-based media was making rides boring or less immersive. But now, screen-based media is being integrated with physical elements in interesting ways. Holographic displays, interactive or ‘gamified’ real-time media, projectionmapping – all staples of the AV industry – are now being bolstered by visuals from the same studios that deliver VFX

and animation for the biggest cinematic blockbusters.

One area that could do with some more cohesion is virtual production. AV, filmmaking, post production, VFX and broadcast have all tried to ‘claim’ virtual production as their own technology. There are of course major differences in the roll-out of VP techniques depending on where it’s going and what it’s doing, but in any regard, this is an area that needs to be much more joined up.

VIRTUAL PRODUCTION

Virtual production takes lots of cool bits of technology from all those different sectors and allows its users to deliver something so much better than the sum of its parts. Content management systems and displays from AV, the highest-quality 2D assets and 3D environments from VFX and post production, and real-time and live production tech from games and broadcast.

What I saw at a recent broadcast-driven show this year was the broadcast sector talking about virtual production like it was all their doing. And the people who were talking about it from a perspective of creating filmmaking or immersive experiences were sort of the outsiders. What I’d love to see, as we head out to InfoComm this month, is an opening of the doors to a much broader range of visitor from all these different sectors to see what everyone can learn from everyone else.

So, stop gatekeeping technologies. Instead, peek over the fence to see what you can learn from other sectors so we can all create the best possible media experiences, wherever they are.

Shaping ‘super offices’ for today's new hybrid workplaces

With a groundbreaking range of video conferencing solutions, Jabra PanaCast 50, as well as its own freshly enhanced offices and new Customer Experience Centre, Jabra is highlighting the potential of the latest tech-driven workplaces

In the pandemic era and beyond, there has been a huge amount of discussion about the need to create truly hybrid working environments that allow employees and visitors to collaborate effectively; whether they are located in the office or elsewhere. But few companies have acted on this so decisively as Jabra, which in addition to the ongoing development of its video conferencing & collaboration solutions has created a ‘super office’ and a Customer Showcase & Experience Centre at its site in Langley, UK.

Recent research conducted by Jabra underlines the extent to which office and meeting-related behaviours have changed in recent years. A remarkable 80 per cent of meetings are now either fully remote or hybrid, with only 20 per cent happening in person, while the perceived role of the office has evolved in favour of spaces where collaboration is enhanced when compared to working from home.

With this in mind, Jabra took the opportunity presented by home working during the pandemic to reconsider its own use of office space, and redeveloped its premises in Langley to accommodate a growing team and create an environment that exemplifies the benefits of the new hybrid era.

The result is an impressive space comprising five meeting/demo rooms, including The Lab for Testing and Research & Development, and a Microsoft Signature Teams Room, all of which have been installed with Jabra’s PanaCast video conferencing solutions.

The flagship Microsoft Signature Teams Room features a highly flexible space that will soon be equipped with the new PanaCast 50 Video Bar System,

which is due to hit the market this Autumn. Completing Jabra’s portfolio for small and medium-sized meeting rooms, the PanaCast 50 Video Bar System offers a suite of scalable deployment options and a collaboration experience on native UC applications such as Teams Rooms and Zoom Rooms.

INSIGHTS & ANALYTICS

Significantly, the new deployment also draws on Jabra’s ongoing collaboration with workplace digitalisation specialist UMA, including the integration of PanaCast 50 video cameras with the UMA Dashboard; a platform providing real-time insights and analytics into meeting rooms and workspaces.

Jabra also worked with UMA to create a digital map user interface of its office floor plans that can be accessed via both mobile and web applications. Benefits of this development include: easy viewing and allocation of resources, such as

desks and meeting rooms; a 3D view of the workplace that provides a virtual tour to support space planning and workplace re-configurations; and a feature called the Kiosk, which furnishes an overview of the rooms and resources being used at any one time.

The end-result of these efforts is a modern workspace for staff to feel motivated and inspired, to improve productivity and collaboration, and to meet the needs of hybrid working.

Visitwww.jabra.co.uktofindout moreonthePanaCastvideoportfolio, and www.askuma.ai for additional information about UMA

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Jabra'sLangley office has been redevelopedforthe newhybrideraof working

AJA Video Systems Dante converters set the foundation for a new pro AV IP video standard

New

AJA Video Systems doesn’t believe that there’s a single way to handle AVoIP, so it has married audio and video together with its new Dante AV 4K-T and 4K-R transmitter/receiver converters. The converters differ from other Dante AV products due to their ability to deliver the best of video over IP, thanks to their ability to harness Audinate’s new Dante AV Ultra high image quality JPEG 2000 solution for standard 1 GigE networks.

Intended for transporting and controlling low latency, professional quality 4K/UltraHD/2K/HD/VESA

Dante video and audio to/from 12G-SDI or HDMI 2.0 devices over a 1 GigE Dante AV network, the converters easily manage audio and video streams, and can be easily managed using the popular Dante Controller software.

Building on AJA’s OG-DANTE-12GAM 12G-SDI/Dante 64-channel audio embedder/disembedder, the two new devices allow AV teams, professionals who manage video distribution in a networked facility, and systems integrators to seamlessly incorporate

high-quality, visually lossless video into AV-over-IP environments. The converters are intended for use in stadiums, arenas, theatres, churches, schools, office complexes, hotels, conference rooms, and more.

LOW LATENCY

AJA Dante AV 4K-T converts 4K/ UHD/2K/HD/VESA SDI and HDMI to Dante AV Ultra signals, while Dante AV 4K-R supports conversion of Dante AV Ultra signals to 4K/UHD/2K/HD/VESA SDI and HDMI. Both devices offer unprecedented low latency and time synchronisation, ensuring perfect lip sync to in-venue screens and for external broadcasts and streams.

Both devices also allow AV teams to leverage existing IP infrastructure and digital AV equipment across multiple physical locations, for seamless video and boardroom conferencing tech integration. Built-in networked control and flexibility make it easy to deploy and manage video walls and digital signage at a lower cost, with end-user routing to screens or speakers supported in-venue.

AJA Dante AV 4K-T and 4K-R also pair well with professional baseband devices, including the AJA Ki Pro Ultra 12G and Io 4K Plus, and can be used with AJA KUMO SDI routers to easily route signals into or out of a Dante AV infrastructure.

“Audinate has a trusted reputation for providing reliable audio over IP in live environments, making its new Dante AV Ultra protocol an attractive option for seamlessly integrating video devices to Dante audio networks,” explains shared AJA president Nick Rashby. “Dante AV 4K-T and Dante AV 4K-R are helping set the foundation for a new pro AV IP video standard, along with delivering the easeof-use, multi-vendor interoperability, and an integrated control experience that customers have come to expect.”

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AJAVideoSystems'DanteAV4K-Ttransmittersand4K-Rreceiversconvertandcontrol lowlatency,professionalquality4K/Ultra HD/2K/HD/VESADantevideoandaudio from/to12G-SDIorHDMI2.0devicesovera1GigEDanteAVnetwork

4K-T and 4K-R transmitter/receiver converters differ from other Dante AV products due to their ability to deliver the best of video over IP

enlivenAURAinZürich

REVITALISING BARS & CLUBS

It’s been a tough few years for an already embattled sector, but it seems like brighter times are ahead for bar and club operators who are willing to differentiate their offers with the latest AV, writes

David Davies

Even before the pandemic struck, things weren’t looking especially rosy for the bar/pub and club sector. Confronted with soaring rents and operational costs, many businesses found themselves priced out of existence. It only follows, therefore, that being unable to open at all during Covid-19 was going to have a significant effect.

A quick look at the data confirms the scale of the resulting closures. In the UK, accounting services company UHY Hacker Young recently found that the number of pub and bar companies becoming insolvent had risen from 280 in 2021 to 512 in 2022, with a quarter of pub firms likely to go out of business after only three bad months. Meanwhile, the Night Time Industries Association has reported that UK clubs closed down at a rate of 10.63 per month between December 2019 and 2021

But if it’s undoubtedly a reduced sector, it’s also one in which the importance of AV as a method of securing – and then retaining – customers is increasingly wellunderstood. Throughout the interviews for this piece,

Installation heard of operators looking to rejuvenate their offers post-pandemic by improving their AV and, in many cases, using it to differentiate themselves in a more selective market. Therefore, what emerged was a more optimistic impression than might have been expected given recent events.

MARKET IMPROVEMENT

Jack Cornish is technical director of Tateside, an AV design and installation company whose clients include Soho House. “The market began to improve as soon as lockdown ended and people realised that they had to invest in order to encourage visitors once again,” he says, adding that this year has presented “a lot more hospitality projects that are of interest to us to quote for.

"[Technology-wise, customers] have tended to depend more on video than audio in the past, but I definitely notice that more clients are now seeing the value of investing more in audio as a way of differentiating the experience.”or reworked concepts,

Discussion of audio’s role in helping to deliver new or reworked concepts, and bring customers back into venues, tended to dominate contributions to this article. Geographically, it has been EMEA and the Americas that have led the resurgence, although APAC is now regaining momentum.

Michael Kinzel, global segment manager live & entertainment venues at d&b audiotechnik, notes that bars/clubs had been showing “double digit increases” for the company before Covid-19. “After a short hold-on period, both markets continued their growth even during the pandemic," he adds. "Pre-pandemic, APAC had been the strongest region, while from 2020 to 2022 EMEA and Americas proved to be more stable. This year sees APAC making a comeback, which results in a very even global picture for d&b in the bars and clubs market.”

The pandemic hiatus, indicates Kinzel, prompted venues to work on new formats and seek audio solutions that are well-recognised; including, for instance, if they are hosting international DJs and artists. “It is very clear to see that venue owners/

operators used the downtime to create new concepts to define and deliver fascinating enhanced customer experiences and new entertainment formats,” he says. “That change brought along a trend to invest in the latest high-end equipment/solutions that enabled the user to realise the multi-purpose use of venues combined with remote controlled applications.”

ENCOURAGING PICTURE

Rami Harfouch, general manager at K-array distributor ProCom Middle East, also paints an encouraging picture.

“The willingness to invest in new audiovisual equipment has returned in high volumes as the bar and club industry recovers from the pandemic hiatus. Establishments are keen on revitalising their offerings to attract customers and differentiate themselves," he says.

"High-quality sound systems – including speakers, amplifiers and mixers – are essential for creating an immersive audio experience that complements the venue's ambience and music quality.”

ListenEverywhere audio-over-WiFi solution, installed in NINE’ssportsbarin Warsaw, Poland

VIDEO PRODUCTION VIDEO NETWORKS COMMUNICATIONS

CONVENTION CENTERS STADIA THEATERS CRUISE SHIPS

Jonathan Reece, head of global sales strategy at KV2, reminds us that the outlook inevitably varies between territories, but that where investment is being made it’s often driven by venues’ desire to assert their presence. “It’s a situation that obviously differs from country to country, but in general we are aware that there are many bars and clubs under pressure, some of which have been forced to close,” he says.

“For those financially strong enough to survive, a proportion have taken the decision to re-invest in order to try and increase their market share. In some cases they have done this with refurbs and upgrades while closed during the pandemic. The Fleece in Bristol is a good example: they took the decision to completely refurbish during lockdown, fitting our flagship VHD [high performance touring and installation] system as part of the overall works.”

SEEKING SOLUTIONS

One recurring thread that emerged from the conversations with audio companies is that clubs, in particular, are more actively seeking solutions that support the ambience of their venue and the wishes of their clientele. Similarly, it’s apparent that audio systems need to be easily integrated – often into venue-wide network infrastructures – and subject to a straightforward upgrade path as and when needs change.

For KV2, Reece notes the popularity of its systems’ “clarity, detail and definition”, adding: “It’s a measurable fact for venue owners that the low distortion of our designs encourages people to stay longer in venues and wake up the next day without ringing ears, even at high SPL levels; a fact that has been reported back to us by venue owners and operators on many occasions. Similarly, a reduction in violent or anti-social incidents has been noted, suggesting that an aggressive, harsh-sounding distorted system can lead to an increase in aggressive behaviour and contribute to peoples' general unease in a venue.”

Kinzel highlights d&b’s introduction of a certified pre-owned programme (CPO) in 2021 – which has seen J-series touring line arrays, among other products, be refurbished for possible use in install venues such as clubs – and its ability to customise solutions for colour, construction and challenging climate conditions. Then there is a move “beyond the software and hardware” in the form of the onemonthly-payment d&b Subscription Series.

“Secure and flexible subscriptions make up an increasing portion of our everyday lives,” explains Kinzel. “With the d&b Subscription Series, users receive the system they need now and the comfort of

One recurring thread that emerged from the conversations with audio companies is that clubs, in particular, are more actively seeking solutions that support the ambience of their venue and the wishes of their clientele"

knowing they can adapt to changes later. Subscription Series includes an array of benefits, [such as] design and commissioning of an audio solution, 24/7 monitoring, full maintenance schedule, a simplified upgrade path when it’s time for something better, and decommissioning when it’s time for a change.”

VISUALLY UNOBTRUSIVE

Some requirements never change, of course, and that includes the call for loudspeaker systems that are visually unobtrusive and complement a venue’s aesthetic. If anything, this awareness has sharpened post-pandemic as operators work to deliver new and seamless concepts.

Anro Schroeder, sales manager for K-array distributor ProCom, points to a recent project on behalf of 88 Terrace, which is a bar on Bluewaters Island off the coast of Dubai. Hosting live music, performances and installations, 88 Terrace offers a “futuristic industrial design style combined with art, [providing] a unique ambience,” he says. For the audio system, a design of 40 K-array Python KP52 passive speakers “not only offers exceptional sound quality,

but also seamlessly integrates into the architectural layouts of the terrace, maintaining a visually discreet appearance. The tops have a narrow vertical dispersion which allows them to keep the sound inside the venue and reduce noise pollution.”

Meanwhile, bars are also proving to be a fruitful market for assistive listening solutions, especially in venues where sports is being shown on multiple displays but with the audio turned off. This is something to which Listen Technologies can attest; its Listen Everywhere audio-over-WiFi solution having been installed in venues such as NINE’s, a sports bar in Warsaw, Poland, where the owners wanted guests to be able to hear sporting events on multiple screens from anywhere in the restaurant and bar.

“Listen Everywhere works on a venue’s existing wireless network and allows guests to use their smartphones and smart devices as receivers for the assistive listening system," says Kasey Kaumans, regional sales manager at Listen Technologies. At NINE’s, guests download the free Listen Everywhere app, select their preferred audio channel and stream sound to their devices.

Bars are shaping up to be an important growth market for the company, according to Kaumans: “It’s a fairly new market segment for us, but it’s becoming more and more successful. We definitely notice that there are more venues thinking about how to deliver high-quality audio and how that [augments their] use of displays.”

Providing a comprehensive view of technology trends in bars and clubs is AV solutions designer and manufacturer Peerless-AV. Senior business development manager EMEA Tom Fenton believes hospitality as a whole registered a boom between 2021 and ’22 as people began travelling again “Operators and chains had to keep up with the demand," he says. "Now they are thinking more strategically and creatively to remain competitive. [For example] bars and clubs are prioritising digital signage to provide guests with the ultimate entertainment viewing experience that shifts from a passive to more active participation and engagement.”

This is happening in venues of all sizes. In the US, Fenton points to a large site such as the Mohegan Sun FanDuel Sportsbook lounge venue in Connecticut, which is “pushing boundaries by installing dVLED video walls of colossal size and scale”, integrated with the Seamless Bespoke Mounting System from Peerless-AV. He adds that smaller chains are also installing new systems – both LED and traditional LCD – while outdoor weatherproofed displays are being deployed widely by chains such as Fuller’s, for which Peerless-AV and Comcen provided multiple systems in the UK ahead of last year’s World Cup.

installed in the TAXX II clubinShanghai

In the longer-term, energy consumption and temperature range are becoming key customer priorities. “There are many fundamental considerations when choosing an outdoor display, but a major one relates to energy consumption,” says Fenton. “This obviously varies according to display size. Although there is variance per product, energy use can be controlled by changing backlight brightness or by incorporating scheduling to control brightness according to time of day. Temperature range is [also] a critical issue, especially with climate change affecting long-term shifts in temperatures and weather patterns.”

EXPERIENTIAL EXPECTATIONS

So no shortage of requirements for vendors and integrators to bear in mind when approaching this sector. And with nights out likely to become more infrequent due to pressures on disposable income –but at the very same time as experiential expectations are growing – it’s surely wise to perceive it as a ‘moving target’ for AV.

“A night out now is much more of an event,” concludes Cornish. “People still want to go out, but when they do they are aware that they are going to spend more and so want an experience [to match]. So I think that, more and more, you will see AV being seen as [a core element] of delivering that finished, highend experience.”

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With nights out likely to become more infrequent due to income pressures – just as experiential expectations are growing – it’s surely wise to perceive it as a ‘moving target’ for AV"

At 88 Terracerooftop bar,Dubai,40K-array PythonKP-52 speakerswerefitted

are now“moredigitally focused".

Image: Sony Bravia

During the past five years, it’s not been hard to find regular articles predicting the slow decline – or worse – of high-street retail and other offline outlets. With high business rates and energy costs encouraging many retailers to reduce their physical estates, it sometimes appeared that online retail was set to dominate. Then, of course, we had a pandemic and many stores were shuttered completely for long periods anyway.

But if this narrative seems fairly clear, then the reality is actually more complicated. In the UK, the latest ONS figures (for March 2023) do point to a new drop in retail sales volumes, but of a fairly modest amount (0.9%) and that following a modest increase (1.1%) in the previous month. And contrary to what some might have expected, non-store retailing (predominantly online sales retailers) have also declined by 0.8% in the latest period.

Meanwhile, the British Retail Consortium has been hinting at a possible resurgence in the second half of 2023 on the expectation that “inflation slows and consumer confidence improves, with growth of 3.6%

to 4.7% compared with 1% to 2.3% in the first half”. These are not the figures of triumphant economic periods, but then we aren’t remotely living through one of those. But it does indicate that there is plenty to play for, not least in physical retail, where it appears that absence may have made the consumer’s heart grow fonder.

ENCOURAGING SIGNS

“I do think the pandemic has shown that people like to leave the house more than not,” says Logan Helps, brand development manager Europe at AudioTechnica. “I certainly appreciate retail more because I couldn’t go there for a year or so. I also think that awareness of the experience of retail is encouraging more retailers [to invest in AV].”

For Cris Tanghe, vice president product Europe at display solutions provider Leyard Europe, it’s linked to a heightened awareness of offline’s role as a counterpoint to online, where much of the actual purchasing may take place. “So now stores aren’t always your prime countertop selling locations, but

Sony'sAdamDover believes retailers

More creative visual content, improved audio and stronger sustainability messaging are among the ways in which retailers are working to lure customers back into stores, writes Ken Dunn

are becoming [environments] where you can experience the brand and its goods,” he says. “Hence the rise of flagship experience stores, where digital elements have a prominent position; they create an atmosphere, allow interaction, and show branding or other commercial content.”

NOTABLE TRENDS

It should come as little surprise to discover that one of the most notable trends post-pandemic is a continued shift away from LCD displays towards LED elements, with a wave of new product launches aiming to ease this migration.

“There has been a dramatic move towards more digital elements in retail stores,” says Tanghe. “When looking more closely at those digital elements, there is also a change of technology, with LCD displays being replaced with more future-proof, feature-rich and creative LED elements.” He adds that Leyard Europe has recently expanded its Made in Europe LED portfolio with the Leyard NEV Series LED display for indoor fixed installation.

Adam Dover, trade & segment marketing manager at Sony Professional Display Solutions, agrees that retailers are now “more digitally focused", and are spending time looking at how to create enhanced in-store experiences. "And I think they are aware that an element of tech is required to do that,” he adds.

Awareness of picture quality is at an all-time high, and to this end Sony’s pre-eminent product for retail at present is the Bravia BZ30J LED-backlit LCD display with 4K HDR. “It’s an IPS panel, which means it has ultra-wide viewing angles,” remarks Dover, who indicates that the product also resonates with retail’s increased emphasis on sustainability.

Ian Beeley is head of digital display at audiovisual and digital signage supplier and installer Skratch AV (part of the LB Foster Group). He indicates that many brands’ awareness of their public profile evolved during the pandemic, when footfall was not in "specific open spaces, such as train stations and bus shelters”. Ultimately, he thinks that there is now an enhanced focus on "main retail spaces", including supermarkets, for display-based advertising. "This is something where Asda has really led the way in the use of digital signage to grow brands’ presence,” he says.

Skratch has recently partnered with the supermarket for the Asda In Run digital project, which sees in-bay digital advertisement screens being added to stores. Utilising a bespoke Skratch CMS that allows content to be uploaded and scheduled, the result is a series of “bright, dynamic and eye-catching displays", which add a new level to "traditional" static advertising.

One of the major retail trends of recent years couldn’t help but be called into question by the

Above and top: Audio-Technica Audio Pro Business installed avarietyofaudiokitat fashion store, END, in Manchester, UK

pandemic: the use of touch screens by consumers. It would be fair to say that the outlook for touch has become less clear as a result, although you could be forgiven for thinking otherwise if you have walked into a major fast-food chain in recent months.

Albert Baranera, managing director of digital signage software company nsign.tv, outlines the pandemic’s effect on interactivity: “It impacted the digital signage technologies for retail as many of them incorporated solutions to combat viruses in physical spaces, ensuring a safer environment for customers and employees, such as entrance, exit and capacity controls, digital gel dispensers, contact-less shift managers, or sending additional information to the consumer's mobile phone via QR codes (scan & read).”

To this end, nsign.tv offers an extensive range of interactivity choices. “We have integrated into our digital signage platform different IOT/RFID solutions, NFC, QR, capacitive sensors (KAS), touch kiosk, Lift&Learn, dynamic pricing and voice recognition systems such as Alexa, generating different types of interactions with retail audiences,” says Baranera. “[In addition] we have developed a facial recognition module integrated into our digital signage platform which allows the content of the displays in the retail stores to be adapted in a segmented or personalised way to the audience present in an establishment at all

Above & below:

Retailersarecreating enhanced in-store experiences,says

Sony'sAdamDover.

Images: Sony

times. Thanks to facial recognition, our digital signage platform can automatically activate certain content based on gender and/or the age group of whoever is looking at that display at all times.”

Dover also indicates that there will continue to be multiple requirements in terms of interactivity: “There’s likely to be a mixture of approaches. [In each case it] may depend on retailers’ strategies and how they want to engage with their audiences.”

INCREASED ENGAGEMENT

Meanwhile, the increasing engagement of retailers with environmental issues is highlighted by Bob Kronman, who is MD of LED displays consultancy Kronman Associates and a partner in project management, installation and displays maintenance company Ledtek Solutions. “ISE was a great demonstration of that because a number of [LED display] manufacturers were focusing on power efficiency and the level of recycling of components,” he says. People in retail and elsewhere are "very concerned", he adds, and won’t buy something that "isn’t energy efficient and doesn’t have a path to recycling somewhere down the road".

But while the actual solutions being chosen are critical, Kronman also senses “a recognition that the

Thanks to AI, digital signage platforms can automatically activate certain content based on gender or age groups"

energy consumption footprint across retail has to be managed better, be it shutting the doors when the air-conditioning is on or turning displays off at night.”

Audio has traditionally come after visual in many retailers’ priority list, and to a large degree that probably remains the case. But that doesn’t mean that its importance (and related spending) hasn’t grown over time, especially at the higher-end of the market where a refinement of ideas about what constitutes good in-store audio is evident.

“It used to be the case that a lot of retailers, especially in fashion, were looking for an audio environment that was more like a club with a strong bass sound and a high SPL,” says Helps. “Postpandemic, I think that has changed in favour of retailers wanting a more hi-fi-type sound, [with less demand for] loudness."

Audio-Technica distributes two commercial audio brands with a growing profile in retail, and Helps alludes to buoyant sales. In general, he says, retailers are now more aware of “having high quality audio

throughout a store; they know that spending £20 or so on a ceiling speaker isn’t going to cut it.”

UPBEAT PROSPECTS

Despite the obvious challenges to the physical retail sector, most are cheeringly upbeat about the sector’s prospects, underpinned by signs of an increasing focus on quality AV. Moreover, it seems there is plenty of reason for excitement about emerging technologies, too; for example, the scope for AR.

“Simplifying it to the maximum, [AR would enable the user] to navigate through a physical store as if it was an online platform,” says Baranera. “Pointing a smartphone at an aisle of an establishment and displaying navigation guides to a product of interest, displaying AV information when viewing product labels, or showing multimedia elements superimposed on a real image are just a few examples of the applications that AR tech will offer retailers to provide a better – and unique –customer experience.”

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ThankstoAI,digital signageplatforms canautomatically activatecertaincontent

GETTING TO GRIPS WITH VIRTUAL PRODUCTION

Jenny Priestley, editor of Installation sister magazine TVBEurope, reports from the launch of Sony’s new Digital Media Production Centre (DMPC), the first virtual production studio in the UK to include the company’s Crystal LED technology

Sony has joined the ranks of technology companies offering virtual production space in the UK. Based at Pinewood Studios in Buckinghamshire, and opening on 16 May, the company’s Digital Media Production Centre (DMPC) is the first virtual production studio in the UK to include the company’s Crystal LED technology.

The aim of the new studio is to help filmmakers, cinematographers and even actors get to grips with virtual production, which has been increasing in popularity ever since the internet fell in love with Baby Yoda in the first season of The Mandalorian The DMPC not only includes the Crystal LED screen but also enables visitors to get to grips with Sony’s Cinema line and CineAlta cameras, including the VENICE and VENICE 2 cameras.

The studio is a continuation of the centre’s tradition of bringing together years of knowledge with the newest, cutting-edge technology. Indeed,

4K cameras were the first products the DMPC showcased when it opened a decade ago, demonstrating both the advances in technology in the past ten years and the history the DMPC has of recognising revolutionary changes early.

NAB UPDATES

Sony recently announced virtual production updates at NAB 2023 in Las Vegas. These include the introduction of the Virtual Production Tool Set, designed to tackle common problems with virtual production and to support quality in-camera VFX. The key feature of the Tool Set is its Camera and Display Plugin feature, which uses Unreal Engine to connect the real and virtual worlds, achieving synergy between hardware and software to design, visualise and refine the virtual production shots before going into the virtual production stage.

The Pinewood launch, which followed the successful opening of Sony's first virtual production studio in Europe in Paris in February, took place on 16-17 May. At the opening, Sony VP staffers demonstrated the huge cinematic potential of virtual production and explained the technology behind it. There were also opportunities for guests to create visual content in the new studio.

“The purpose of the DMPC is really to focus on in-camera visual effects training and education,” explains Sebastian Leske, Sony’s head of cinema business development, Europe. “We really want to get everyone in here to experience virtual production, to test it and see what you can do.”

Anyone interested in testing out the equipment at the launch was able to sign up via Sony’s website, giving them access not just to the technology but also Sony’s experts who were on site. Leske believes that will prove to be a huge help as virtual production becomes more prevalent across broadcast and live events. “Directors of photography can come in and test out the equipment before they begin shooting. They can come here and prepare themselves for their shoot,” he explains.

HIGH RESOLUTION

The virtual production set-up includes the Crystal LED B-Series (C-LED) screen 4.86 x 2.74m with a resolution of 3072 x 1728, Sony VENICE 2 camera with an 8K sensor, the soon-to-be-released Sony Production Tool Set, plus a number of third-party products, including NCAM tracking hardware to precisely coordinate the X Y Z position of the camera in the virtual space, as well as lighting sources from ETC, Sumo Light and Prolycht with DMX control. The set-up has been built and supported by Lux Machina, while grip equipment has been provided by Egripment and Videndum.

The Crystal LED screen at DMPC has been designed for virtual production, with the engineers studying other products on the market before development. “[What we saw was] not as good as we thought it should be,” says Leske. The screen has also been calibrated to match the colours on the display monitors, which is crucial for cinematographers to see exactly what the camera is capturing as it moves about a scene.

“The camera is colour consistent so that what is displayed on the LED will be captured on the sensor and then displayed on the production monitor,” adds Leske. “There are no shifts in the colour.”

REDUCED COSTS

Whether production specialists are shooting the latest Star Wars epic, or using virtual production to enhance an episode of Coronation Street, filming with a volume is expensive.

Leske believes the DMPC will help reduce those costs by giving users the opportunity to understand the shots they want to achieve before they walk on set. “You can set up and test shots you want to shoot in the volume beforehand to avoid mistakes later on," he says. “It means DoPs can come to Pinewood and test what they want to shoot later on in Hungary or in Los Angeles. They are not wasting time.”

Will Newman, DMPC manager at Sony, adds: “Virtual Production is set to be the next technological step change for cinematographers, and we were keen to provide them with a space where they can learn and experiment with the opportunities offered by virtual production. There’s nothing really like getting hands-on, and we know that the combination of our VENICE cameras and Crystal-LED screens are the perfect way to achieve excellent quality images.”

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Shortages–especially aroundchipsets–are continuingtoaffect manufacturing

SUPPLY CHAIN CRISIS:

BUILDING ‘VISIBILITY’

We have covered the global supply chain crisis on a number of occasions over the past couple of years, and each time there has been a broad consensus around the view that things will see a marked improvement ‘next year’. Regrettably, that appears to be the case once again as a few days of speaking to vendors, distributors and consultants confirms that many of the shortages – especially around chip sets – are continuing to affect manufacturing and project delivery.

Toni Chalk is owner and managing director of StriveAV, a leading systems integrator (SI) working across the UK and internationally. Supply chain issues, she says, continue to represent “a massive issue”, especially in terms of project design and delivery. “For instance, you might design a project using X, Y and Z products, but when you go to the manufacturer you are likely to find that they either don’t have a lead time – a lot of people can’t give you dates now – or it could be eight or 12 weeks, or even longer,” she says.

Inevitably, this has meant significant challenges with regard to project scheduling and delivery. “One of the results has been a trend towards ‘part delivery’ of projects, because we have had no choice,” says Chalk. “We recently worked on a university project that took nearly a year because we were waiting for various bits of kit. So it can be very frustrating.”

Before looking at some of the ways in which vendors and SIs have adapted to these circumstances, it’s important to note that there are some signs of improvement. In response to the most recent Installation piece about supply chains, Jennifer Chonillo from Automoblog got in touch to provide some insight from their recent coverage of component shortages in the automotive sector, which draws on data from the 2022 Global Semiconductor Industry Survey

According to that survey, 45 per cent of respondents believe that there will be a surplus of microprocessors in the period between 2024 and 2026, indicating that “relief is coming” in this area. As well as overall supply problems lessening, the situation is also being assisted by some manufacturers deciding to remove features from their models, thereby reducing their reliance on microprocessors.

GEOPOLITICAL FACTORS

Nonetheless, there is little scope for complacency given that many of the geopolitical factors revealed to have had a big impact on the availability of microprocessors – including Russia’s invasion of Ukraine and escalating trade tensions between the US and China – are still very much in play. Looking

StriveAV installation at the Ortu Federation of schools in Essex, UK

With the global chip shortage expected to last some time yet, it’s fallen to AV manufacturers and systems integrators to seek additional suppliers and develop alternative solutions. Installation reports

ahead, you also don’t have to look far to find plenty of industry observers who are concerned about what impact any military action by China in Taiwan might have; Taiwan being one of the world’s most prolific manufacturers of semiconductors.

BURST CAPACITY

The impact of – and response to – the supply chain issues cited by Brad Hintze, executive vice-president of global marketing at Crestron, is not untypical. As he remarks, it has had an impact. "For instance, our relationship and partnership with our channel changed," he says. "We’re now working together to design and order much earlier in the process, and this gives everybody better visibility on what’s to come. Our relationship with suppliers also evolved, and we continue to be in constant contact to discuss supply and demand, and urgency.”

Crestron is also engineering many of its products with alternative designs at a component level. As a result, says Hintze, the company now has the flexibility to choose which "layout" it uses when manufacturing, based on the availability of the components. "Of course, the quality and user experience remain very high," he adds. "We’ve also built more burst capacity into our manufacturing process. Being able to produce more products in a short period of time, responding to short-term needs, gives us further resilience during spikes in interest.”

In addition, the company has invested more in online tools to communicate with its channel and provide visibility on lead times. Examples include the Pro Portal, which was developed to give pros all the tools and information they need to self-service their accounts. Notes Hintze: “We accelerated development for those kinds of tools to give more proactive capabilities to our channel.”

MANUFACTURING CAPACITY

Ross Noonan, technical sales & marketing manager at LED display solutions provider The LED Studio, indicates that the company’s self-reliant manufacturing capacity in China has been a major asset during the last few years. “Our ability to do everything on-site means we are in control of the materials and can be more flexible in terms of looking for alternatives when there are shortages in the market,” he says. “We have also looked at reducing the number of components in our products; for example with our latest display cabinet design [the V1 Architecture for LED displays debuted at ISE 2023] there is only a need for one power supply when historically there would have been four.”

Significantly, the company is also taking steps to minimise the impact of possible geopolitical developments on its China base by creating a second factory that is now “almost open to manufacturing.”

Crestron is also engineering many of its products with alternative designs at a component level, and has the flexibility to choose which layout when manufacturing, based on the availability of the components"

Whilst he was not in a position to confirm the location at the time of interview, Noonan notes that the relationship between Taiwan and China has "raised concerns across the globe, really, so as a manufacturer we have to look at alternative ways of fulfilling [our requirements]. So we are exploring manufacturing outside of China".

Although the supply chain crisis has undoubtedly presented its fair share of challenges, Noonan indicates that – along with “volatile energy costs” and Covid-19 – it has also precipitated a welcome wave of creativity throughout the industry. “I do think all these issues have got the tech industry to look inwardly as to how it can be greener and more sustainable,” he says.“In the same way that the car industry has thought carefully about how to make cars more efficient and less polluting.”

MORE ACCEPTING

Supply-related delays are inevitably frustrating to various stakeholders in a given project. But one saving grace of the last few years seems to be an increased awareness of the difficulties that individual organisations may be confronting at any one time. In particular, Chalk feels that the pandemic served to bring about a change of mindset.

“Covid massively affected the world and I think that customers are aware of how this has impacted

TheSupplychainhas impactedCrestron,but itisdesigningearlierto mitigate.

Pic: Crestron NY factory

technology and supply chains,” she says. “As a result, customers seem to be more accepting of some delays due to supply chain issues, to a point. [Previously] if I had told a college or university that I couldn’t give them a delivery date, they would have been very frustrated. But today, they understand that it is just how the world is at the moment.”

Keeping the lines of communication open between all parties is evidently vital in a period when deadlines are so subject to change. But what of the longer-term outlook for lead times: are more stretched timescales here to stay?

“Yes and no,” responds Hintze. “We have immediate availability for key products, but the business reality is also that in big projects, companies don’t decide which products they want today to have installed tomorrow. They plan ahead, and it’s okay if our dealers and we do the same. In fact, it’s better for our industry if everyone has visibility for future needs, not just for us to manufacture, but also for dealers to give them a better view on their calendar, or to get involved earlier in the project, allowing them to suggest optimisations in the building or design process.”

This systematic approach to visibility can also indicate at an early stage whether an extra supplier is likely to be required. Hintze adds: “It even allows us to come up with alternatives for, say, a shipment of components that is stuck because the Suez Canal is dried out. That being said, the disruptions that we saw over the last two years couldn’t have been avoided by having multiple suppliers as the

components disruption happened across the entire industry and had a multitude of reasons.”

DIVERSE SUPPLY

Longer-term, there is a good chance that the diversification of component manufacturing currently taking place around the globe will circumvent another crisis of comparable magnitude. In particular, semiconductor production is set to receive a major boost with a number of facility projects now under construction.

“Traditionally, a lot of component manufacturing was happening in Taiwan and China, and what we’re seeing now is that companies are investing in factories outside,” says Hintze. “Texas Instruments, for example, is building expanded manufacturing facilities in Texas and Utah. The Taiwan Semiconductor Manufacturing Company is also investing in new factories in the US. The European Union is mobilising over €43 billion to make itself more self-sufficient in semiconductors this decade.”

As troublesome as they might have been, the events of the last few years will ultimately usher in a more geo-dispersed component production map; one that had arguably been required for some time.

Last word to Hintze: “Political and environmental factors have always been a consideration, not just for us, but for everyone involved. Experts have been warning about the risks for ages, but this perfect storm of Covid-related restrictions, transportation challenges with the Suez Canal, and geopolitical changes accelerated the need for diversification.”

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CrestronOrangeburg "factoryofthefuture" in New York has expandeditscapacity

TECHNOLOGY AND INCLUSIVITY FOR AV

InfoComm has long promoted itself as much on its training seminars, workshops and focused events as on the new products on display in the exhibition halls. Now back in its stride postpandemic, the show returns to the Orange County Convention Centre in Orlando, Florida with an expanded event programme that both reflects today's modern AV sector and the breadth of technologies available to it.

Last year, 19,681 verified attendees from more than 110 countries and all 50 US states visited InfoComm 2022. The trade show floors in the North Hall and new West Hall at the Las Vegas Convention Center played host to 522 exhibitors showing innovative pro AV products and systems.

This year, the leading manufacturers and developers will be back, with focus areas including interactivity, virtual environments, interconnectivity and interoperability and artificial intelligence/ machine learning (AI/ML). Ongoing development and innovation will be highlighted in a new exhibitor pavilion: the Trailblazers Zone. Among those taking part is Artri, developer of a subscription, AR-based streamed meetings platform, which will demonstrate its Arti for Business system to enhance video calls and webinars.

Another exhibitor, DISPL, employs AI to measure shopper activity and preferences, allowing for personalised offline marketing. Over the past four years, DISPL has activated more than 50,000 'touchpoints' for clients including Dixons, Metro, Shell and Microsoft. A different application of AI will be shown by Insta360, which has produced the X3 action cam and mobile/desktop editing software

specifically for the creation of viral content.

For some time, efforts have been made to reinvent the conventional video studio. IT developer Jalinga will be in the Trailblazers Zone showing its next generation, interactive studios for online education and corporate organisations. These centre around a transparent glass 'board', which allows the presenter to both manipulate the presentation material and control the production without the assistance of a full technical crew.

More interactivity will be showcased by multimedia entertainment studio Moment Factory in the Interactive Experience (booth 361).

Working with LED display specialist Nanolumens, Moment Factory aims to demonstrate a variety of what it describes as "distinct visual systems" that will illustrate "the innovative opportunities available in digital signage". A broader spotlight will be shone on what InfoComm organiser AVIXA calls "the vibrant world of digital signage" in a series of events including workshops, show floor tours, the D=SIGN conference and a social event at the Vū Orlando LED virtual production studio.

The 16:9 Digital Signage Networking Mixer, hosted by AVIXA, will take place on the evening of 13 June, with the aim of bringing together, among others, integrators, designers and content creators from the display sector.

SIGNAGE SESSIONS

The D=SIGN conference – produced by AVIXA in partnership with the Digital Signage Federation and sponsored by Google and Samsung – runs from 13-15 June in the Digital Signage Pavilion. Key

MomentFactory displaytechniques will feature in the InteractiveExperience

sessions include: Is Your Legacy Digital Signage Network Ready for an Upgrade? (8:30am, 13 June), featuring Google global partnerships representative Filipe Ho and Lance Hutchinson, vice president of Alpha Audio and Audio Inc; Touchdown! Interactive Branding Across Sports and Stadiums (11am, 14 June), including contributions from Peter Beck, executive vice president of Forty Nine Degrees, Steve Bayer, special projects director at Daktronics and Ryan Lenocker, digital signage manager for the Dallas Cowboys football team; and The New Role of Digital Signage in the Hybrid Workplace (11am, 15 June), with Laila Hede Jensen, group chief commercial officer of ZetaDisplay.

In addition to this, on 14 June, Florian Rothberg of invidis consulting is to host the Market Insights

Lunch: Digital Signage. During this, Rothberg will present exclusive market data looking at global trends in the sector and how it affects the North American market. He will also discuss the influence of AI, sustainability, the experience economy and multi-channel retail on the design of DS systems.

As part of the workshop programme, Alan and Jonathan Brawn of Brawn Consulting will lead two full-day sessions: Digital Signage Certified Expert (11 June), examining what is involved in planning a successful digital signage network; and Digital Content and Media Expert (12 June), looking at the need to evaluate the objectives of a project, including content production and options for outsourcing.

In the exhibition, digital signage technology will feature on the stands of, among others, AMERIA (highlighting the Airframe gesture control and touch-free interactivity system), AV Stumpfl, Barco, Christie (featuring its Widget Designer control surface), Crestron (showing the Flex range of conferencing systems plus intelligent camera technology), Draper, Mersive, ROE Visual (which will premiere new products), ScreenBeam and Z-Band Technology.

AUDIO IN FOCUS

Commercial audio is, of course, a major element in AV, and many leading manufacturers in these fields will be either launching new products or showing recent releases. Biamp is to show a range of enhanced commercial horns and surface mount loudspeakers, while Bosch brand Dynacord will debut the V600:4, the first in a range of amps for small to medium sized spaces in education, hospitality, retail and houses of worship.

Meyer Sound launched its Panther large-scale loudspeakers in January, and will display it in Orlando. Panther is the company's new flagship linear line array and features longer-excursion 12in low frequency cone drivers, 3in compression drivers and a new design for the low frequency port. Alongside this will be the 2100-LFC low frequency control system, which combines a 21in driver comprising four voice coils with a Class D amp.

Lawo will showcase a specialdemoinvolving mc²36xp(pictured) and mc²56 consoles at InfoComm 2023

Line array pioneer L-Acoustics will display the L Series, introduced officially at the Hollywood Bowl in April after first being used at the BRIT Awards in London. This features Progressive Ultra-Dense Line Source (PULS) technology and is based around two components that can function together or separately: the L2 and the L2D.

Making its debut at the show this year is d&b audiotechnik's HeadroomCalc technology, which is able to predict how the company's loudspeakers will react to specific audio signals. It is part of the ArrayCalc system and is said to deliver a more precise SPL and headroom computation than other systems. The d&b demo room will enable visitors to hear the Soundscape immersive audio system.

Lawo is presenting an AV solution based on its HOME IP media infrastructure management platform. This will form the basis of a demo also involving mc²36 xp and mc²56 consoles, both powered by the A__UHD Core audio engine. Still in the IP domain but for different applications, PlexusAV is debuting the AVN4 4K60 transceiver, which is based on the proposed IPMX standard, while KVM specialist G&D will launch the VisionXS extender line for connections using either KVMover-IP or more traditional technologies, plus the PersonalWorkplace-Controller.

AVIXA ETHOS

The discussions and technology – software and hardware – are naturally a key element of InfoComm, but so too is the overall atmosphere and ethos. This year's show will build further on AVIXA's embracing of diversity, equity and inclusion (DEI), seeing more involvement of diverse voices in the show and conferences. To this end, sessions include Diversity and Equity in the Modern Workplace: Intentional Leadership; and An Ethical Revolution in Tech: Creating DEI Accountability and Psychologically Safe Workplaces. This year's AVIXA Women's Council Breakfast will have a keynote speech from Dr Tarika Barrett, chief executive of Girls Who Code, who is committed to closing the gender gap in technology and the perception of what a computer programmer looks like.

The DEI message was emphasised by AVIXA chief executive David Labuskes, who commented: "We want everyone to feel welcome to this exciting industry, because everyone deserves to belong and for their story to be heard."

InfoComm 2023: June 10-16 (education sessions), June 14-16 (exhibition).

REFLECTIONS ON ACOUSTICS AND SOUNDPROOFING

The acoustic qualities of any space – a recording studio, meeting room or home cinema – can be improved considerably through the use of special treatments in the construction process. Kevin Hilton talks to leading experts about how this is done and the differences between sound absorption and soundproofing

One control room at Metronome musicfacultyof Confetti Institute of CreativeTechnologies, partofNottingham University,UK

The Covid pandemic and the enforced isolation it brought through lockdown periods made people consider many aspects of life they might have previously not contemplated. The most obvious of these were just being able to see family and friends whenever one wanted and the importance of hand washing. Compared to those kinds of personal priorities, acoustics and the need for some form of sound treatments were most likely not on many people's lists. But the reliance on video conferencing for work and business, as well personal calls, made these hitherto specialist areas important in improving audio quality and making for successful and less fatiguing online meetings.

While using a decent standalone microphone and being close to it was a relatively straightforward first step to a better sound, many people also experimented with putting mattresses or coats against doors to minimise any noise coming from elsewhere in the house. Closing the curtains also helped in both excluding the sounds of the outside world and reducing reflections from the windows. These basic, practical measures no doubt improved the general experience of many conference calls and may have made people think about sound quality a little more, but they also highlight a fundamental misapprehension about the nature of acoustics.

SOUND INSULATION

In this particular case, it is mixing up sound insulation, what people might generally think of as soundproofing, and sound absorption. While the mattress against the door will deaden any sounds from outside, it will not exclude them completely. It will, in fact, be more effective in diffusing sound in the room and preventing flutter echo; the 'tinny' noise caused by sounds bouncing off parallel surfaces. Chris Parker-Jones, founder and director of ParkerJones Acoustics, comments that real sound insulation can only be achieved when it is built into a space.

"I see this issue a lot with residential soundproofing," he says. "I get people phoning me about noisy neighbours on floors above, saying they're surprised there is still a problem because they already had a soundproofing company around to inject insulation into the floor void. The problem is that many of these companies are builders who just read what's on the label. There are so many products that are [sold as] 'high acoustic performance' and ‘soundproof'. There are even things like 'soundproof' paint but it doesn't really exist. Products are only 'soundproof' when the constructions they are used with lend themselves to being soundproof."

A classic example of this is the box-in-box build. This is based around a floating floor and acoustically isolated walls and ceiling, which effectively

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disconnects the room from the rest of the building. It is most commonly associated with recording studios, which call for a high degree of isolation to prevent the transmission of sound from outside the studio space. While this remains the target for any facility of this kind, budget is always a deciding factor.

White Mark is an acoustic consultancy known for its work in both the music and post production sectors, but is also heavily involved with what managing director David Bell calls the "educational" market. Radio and television studios and even specialist esports venues, as well as music recording facilities, are now a key part of schools, colleges and universities. Bell cites the Confetti Institute of Creative Technologies, part of Nottingham Trent University, as an example of a studio building with a high degree of sound isolation.

“Part of this comes from the layout created, allowing spatial separation of the rooms and the concrete block construction that was possible," he says, adding that acoustic treatments such as specialist suspended ceilings can also offer economic solutions for the absorption of sound, particularly in dealing with low end frequencies.

While the aim is to create something that is close to, if not on the same level as, a professional studio, Bell observes that the principal thing limiting the quality of acoustic spaces in education is procurement.

"Price has frequently become the only issue considered and there is a steadily decreasing consideration of what the performance will be," he says.

"Too often the procurement department will consider that professional standards of performance are too expensive. This is not the case and the use of non-application specific acoustic designers, in concert with the limited standards set out in BB93, often leads to the design/build approach elevating budgets to the detriment of the final facilities' quality."

REVERBERATION FACTOR

The amount of reverberation in a space is a key factor in the acoustic design of a studio, but it should also be high on the list of priorities when it comes to AV installations such as meeting rooms, classrooms and public places; including bars, airports and shopping centres. A low reverb time plays a part in reducing the amount of reflected sound, which can adversely affect the intelligibility of speech.

If this is not addressed as part of the initial construction, it is possible to deal with reverberation problems retrospectively by installing sound treatments. These are able to absorb or deflect unwanted audio elements to produce clearer, more intelligible sound. Among the specialist companies producing treatment systems for education and office

7 Series Master Reference Monitors

Above: DolbyAtmosMixing StudioinMilan,with JBL Professional

environments are Ecophon and Standapart: the former offers a range of free-hanging units and baffles, modular ceilings, acoustic plaster and wall panels/screens; while the latter also produces acoustic screening, wall-mounted blocks, freestanding units and standalone 'pods' that can be installed in a larger room to create an isolated space.

Pro audio and musical instrument retailer Thomann has produced an online guide to acoustics that is primarily for what it calls 'home recording enthusiasts', but which is a useful starting place for the uninitiated. Reflections are identified as a major contributor to poor audio quality, causing comb filter effect distortions, room modes, flutter echoes and other problems. To combat these, the use of absorbers such as compressed glass fibre matting and Basotect foam, as well as plate resonators and diffusers, is recommended.

GRAND DESIGNS

In these days of grand design architecture and interiors, acoustics can often be a secondary consideration. Many architects and interior designers would no doubt baulk at the idea of putting acoustic baffles or panelling into a swanky hotel lobby, highend store or exclusive restaurant, but David Yates, founder and chief executive of technology design practice Recursive Digital, comments that simpler, less obtrusive methods of absorbing wayward frequencies and sounds can be employed to achieve a good quality outcome.

"If somewhere has been built from scratch you can specify something traditional, like acoustic ceiling panels," he explains. "If you're lucky, the interior design works with that and there might be other interiors to absorb sound, which helps beyond the standard acoustic tool kit. You could have absorbing panels in the walls but you can also put them under tables or change the furniture, for example from wooden seating to something with cushions. If you're trying to fix the reverberance in a space, sometimes you need to be a lot more creative."

While a completely dead acoustic is a very strange environment, there is a need to control the behaviour

In these days of grand design architecture and interiors, acoustics can often be a secondary consideration. Many architects and interior designers baulk at the idea of installing acoustic baffles or panelling"

Home cinema with acousticdeisgnby HarrisGrant,aboard thesuperyachtLady Aviva

of sound in any space where audio intelligibility and, or, quality is desirable. "On the whole, reflections are bad news," acknowledges Neil Grant, managing director of acoustic consultants Harris Grant. "But absorption is difficult. No single panel is absorbent across the whole range of frequencies and if you make the room dead, you're doing nothing about mid and low reproduction."

DEVICES AND TECHNIQUES

As Grant outlines, there are several devices and techniques available to deal with reflections and help create the right acoustic for the job. Key among these is the diffuser, a panel with a non-uniform (in other words, not flat) surface, which prevents direct reflections. A variation on this is the diffractal, usually used to control the low end and often in the form of a layered wooden diffuser.

When it comes to sound isolation/proofing, Grant says just having a concrete box structure is not enough. "You can't decouple from that, so you need a set-up of mass [outer wall, floor or ceiling], air in between, and mass [inner wall, floor or ceiling]," he explains.

Harris Grant made its name designing recording studios. One of its notable achievements is Peter Gabriel's Real World, which broke convention by

having no physical divide between the control room and the performance area. Grant observes that while the recording market has changed dramatically over the last 30 years – with many big name studios either going out of business or turned into much more lucrative real estate, such as apartments – the need for good acoustics and sound in other areas has become more recognised.

"In schools and colleges there is a need to link together multiple spaces, like classrooms and music facilities," he says. "In large rooms like that, the main issue is high background noise levels. My job is to integrate things like that. Home cinema has its own rules because you're creating a false environment, with surround/immersive audio formats from 3.1 or 5.1 to Dolby Atmos."

There is a wide range and variety of acoustic treatments and constructions available at the current time, so selecting the right one for a specific project is crucial. All of the experts agree that not only should time and money be allocated to include an acoustician in the design and building processes, but also state that the clients and architects/designers need to be made aware of the niceties of acoustic design. In this way, a good sounding as well as good looking result is more likely.

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Above: HarrisGrantdesigned control room at The Distillerystudiosin Wiltshire, UK

MOVERS & SHAKERS

INFiLED has hired LED veteran, Rick Bortles as senior VP of strategy for North America, as part of a planned transition to the fixed installation market. With more than ten years of experience under his belt in the dvLED field, as well as numerous high-profile installations globally, Bortles has joined to grow channel sales.

“INFiLED has historically been the recognised dvLED leader for live events, virtual production, and rental staging for many years,” he said. “My goal will be to pave the way for growth in the fixed installation marketplace. I’m dedicating myself to growing revenue in the fixed installation segments, with both the direct and indirect sales channels. INFiLED is perfectly positioned for major growth in this area with a solid product portfolio, and innovations. Stay tuned for more news on additional key staff we’ll be hiring.”

SAMSUNG ELECTRONICS (UK) has announced the promotion of Graeme Little to UK head of display. Previously head of distribution UK, Little brings more than ten years of sales and marketing experience to the role.

Since joining Samsung in 2017 as a corporate sales manager, he has been instrumental in establishing Samsung as the premier display vendor in the IT Channel space, said the company; “changing the way the UK display team engages by focusing on system integration, which has allowed the organisation to streamline operations and therefore improve operational efficiency.”

In his new role, Little will be responsible for driving people growth, development and establishing Samsung as the market leader in the key product category areas: LCD, smart signage (large format display), LED and hospitality TV.

VIOSO has appointed Klaus Hilles in the newly created role of global business development manager. Hilles will help grow the brand by finding new customers and partners, particularly in the field of simulation.

With more than 30 years of experience in AV, Hilles brings expertise in projection, having worked for Christie Digital Systems for 26 years as a regional director in the DACH region, European business manager, and EMEA executive director of sales. In the past, Hilles also earned his industry stripes working for Leyard, Sony and Pioneer and built up impressive knowledge in display technologies, project and calibration.

“VIOSO benefits from a reputation of being a very professional organisation with vast expertise in the broad field of multiple projection and display systems,” Hilles commented.

TRANSOM CAPITAL GROUP, a Los Angeles-based private equity firm, has announced the appointment of the highly experienced John Maier as CEO of the newly independent Bose Professional.

“John is an experienced and successful pro audio industry executive and it’s great to have him join the team at Bose Professional,” said Russ Roenick, managing partner at Transom Capital.

“We have known John for more than ten years and watched him grow Blue Microphones from a small professional microphone company to a global professional and consumer electronics brand. He also helped us transform Loud Audio from a collection of unconnected brands to the now thriving Mackie.”

Maier added: “I am thrilled to be joining the team at the new Bose Professional.”

SAMSUNG UK PROMOTES GRAEME LITTLE TO HEAD OF DISPLAY

INFILED HIRES RICK BORTLES AS SENIOR VP OF STRATEGY FOR NORTH AMERICA

VIOSO WELCOMES NEW GLOBAL BUSINESS DEVELOPMENT MANAGER

TRANSOM CAPITAL GROUP NAMES JOHN MAIER AS CEO OF BOSE PROFESSIONAL

Stay in the loop with the latest appointments, top hires, and promotions from across the AV industry…

ABSEN INVESTS IN TWO ADDITIONAL STAFF FOR ITS EUROPEAN LED SALES

ABSEN has welcomed Geoffrey De Schepper Bruggeman as business development manager for Benelux and Will Miles (pictured) as pre-sales engineer for the UK and Europe. The new additions are aimed to further enhance the level of technical and sales support from Absen to the thriving European LED market.

Bringing a wealth of experience from previous project and sales managerial roles in the live events industry, De Schepper Bruggeman has a “rich understanding” of client needs and expectations within the Benelux region.

For his newly created role, Miles’ ten years of project management and coordination experience within the digital and LED markets has given him a strong track record in delivering technically demanding projects. Most recently, he was the consultant project manager for AI Arabia OOH.

PPDS APPOINTS NEW CHANNEL MARKETING MANAGER

PPDS has appointed Megan Lipinczyk as the company’s new channel marketing manager to support its global growth ambitions.

Lipinczyk has been brought in to develop and execute new channel marketing plans and programmes in North America and build greater awareness of the PPDS brand and its evolving solutions on a regional and national scale.

“I’m excited to have joined PPDS, and to be embarking on the next phase and challenge in my career as the company’s channel marketing manager for North America,” said Lipinczyk. “PPDS is a company that continues to gain momentum in North America, delivering high quality, highly innovative, dedicated solutions that truly validate its ethos of leading from the front. I’m looking forward to contributing to its success, working with and learning from the team.”

MARK WILLISON & ROB WARFIELD CHOSEN TO LEAD US GOVERNMENT SALES

NANOLUMENS has appointed Mark Willison (pictured) and Rob Warfield as regional and government sales managers. They will provide Nanolumens channel partners with dedicated resources to serve US government customers. These newly developed positions will assist Nanolumens’ channel partners to create secure spaces to deliver mission critical data with integrated display systems.

“Rob and Mark both bring the knowledge and experience necessary to consult with clients,” said Kurt DeYoung, CRO for Nanolumens. “They each spent several years working for top-tier AV integrators and understand the challenges our partners face in these segments. Our goal is to enable partners to design efficient briefing centres, emergency operations, and other secure applications.”

LOUDSPEAKER manufacturer

Funktion-One has welcomed Andrew Low as its new director of business development. Low joins the company from Solotech UK, having previously worked with Shure, HHB Communications and Audio Pro International.

With more than 15 years in the pro audio industry behind him, Low brings experience and expertise in both business development and marketing. He will initially work alongside Bill Woods, who is set to retire in June after 11 years with the company.

Commenting on the appointment, Funktion-One’s Ann Andrews said: “We’re delighted that Andrew is joining the Funktion-One team as director of business development. We’ve known him since his Audio Media International days and have always kept in touch. He gets us, our ethos and approach.”

INSIDE TRACK

Whereabouts do you hail from and where are you based?

I am Texas born and bred, having grown up in the Houston area, later earning my bachelor’s and master’s degrees in electrical engineering from Texas Tech University. My early career took me to California and New York, before I settled in Indiana where I got started in my audio career at Crown International and later with Harman. When we formed LEA in 2019, we stayed close to home and settled our new headquarters in South Bend, most famously known as the home of the Notre Dame Fighting Irish.

How did you get started in the industry?

I am an electrical engineer by training, and I understand technology and how it applies to the audio signal chain. I got involved in this industry in 2001 and jumped at the chance to be involved with great, like-minded people driven to innovate and change this industry for the better. I have a built-in sense of curiosity and always want to make things better, more powerful, and easier to use. It’s been a great fit.

What advice can you give someone starting out?

Starting a business is hard, so you need a good plan and a strong team. Our strategy has four pillars and has been consistent since day one: differentiated product line; digital content marketing; global distribution; and scalable infrastructure. Stay above the day-to-day noise and just execute I can say with extreme confidence that at LEA we have a great plan in place and an even better team to execute. In business, it doesn’t always work out that way. I am very fortunate to have both. Our drive and enthusiasm are contagious, and we love what we do!

What sports teams do you support and sports/hobbies do you partake in?

I enjoy playing golf and offshore fishing. In fact, the LEA name was inspired by the name of my boat Loud Enuff, hence our company’s sharkfin logo. It blends both of my passions; fishing and audio and represents the hunger and fierce determination of our employees and this company.

I wish I could fish more but I do try and play golf several days a week. Living in the Hoosier state means the golf season is shorter, and the winter is longer. This leaves more time to design cool solutions.

How's business and what plans are afoot for LEA?

Business is strong and I am incredibly proud of our team. Despite launching this company during the pandemic and facing challenging supply chain constraints, we continue to grow this business year-over-year. That is a true testament to the spirit of our team and the belief that through a great user experience, unmatched customer service, and of course a stellar and innovative product line, LEA can truly be a gamechanger. Our industry has been slow to adopt new technology, specifically IT technology and all that it offers. We will not let up on our desire to use IT to differentiate our products, dramatically improve efficiencies, and provide software-based value-added services.

Most importantly we continue to focus on sounding great with lots of headroom!

LEArecentlyannouncedadistributionpartnershipwith Tech Soundof Hanoi, Vietnam

Blake Augsburger, founder and CEO, LEA Professional, on electrical engineering, offshore fishing and adopting new technology

I can say with extreme confidence that we have a great plan in place and an even better team to execute. Our drive and enthusiasm are contagious; we love what we do!"

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