Installation March 2016 Digital Edition

Issue 189 / March 2016

AV INTEGRATION IN A NETWORKED WORLD

www.installation-international.com

2016 review p22 ISE Featuring our Best of Show winners meets virtual p28 Physical Conference venues keep pace with trends take a dim view p34 Don’t LED control issues have been resolved

WHICH 4K DO YOU WANT?

Turn to page 10 for entry details and new categories!

Why not all 4K is created equal p24 Connection of User Stations via LAN with PoE switches or via powered daisy chain lines Full color high-resolution displays 48 kHz / 16 bit uncompressed audio 4 Master Stations may be linked Remote Speaker Station

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WELCOME 03

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The death of offline

U

Installation is published by NewBay Media Europe, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LR, England Editorial tel: +44 (0)20 7354 6002 Sales tel: +44 (0)20 7354 6000 Please send press material to ukpressreleases@nbmedia.com Editor: Paddy Baker pbaker@nbmedia.com

US sales – Executive vice president: Adam Goldstein agoldstein@nbmedia.com

Managing editor: Joanne Ruddock jruddock@nbmedia.com

Production manager: Jason Dowie jdowie@nbmedia.com

Staff writer: Duncan Proctor dproctor@nbmedia.com

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Designer: Tom Carpenter tcarpenter@nbmedia.com Sales manager: Gurpreet Purewal gpurewal@nbmedia.com Account manager: Peter McCarthy pmccarthy@nbmedia.com

Contributors: Jon Carter, Mike Clark, David Davies, Rob Lane, Ian McMurray, Steve Montgomery Special thanks: Katinka Allender, Anna Webb

© NewBay Media 2016. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.

Printed by Pensord Press, Wales

Print ISSN: 2050-6104

Online ISSN: 2052-2401

Cover image: Panasonic’s ISE 2016 stand – photo

by Dorian Broekhuyse

Paddy Baker, Editor pbaker@nbmedia.com @install8ion

biquitous sensorisation isn’t a very beautiful phrase, is it?

But it’s one that was pertinent during ISE 2016 last month – particularly during the Opening Panel on the Monday and the Closing Keynote on the Friday. (If you didn’t see these events, ISE has put both of them up on YouTube.)

WIRED UK editor David Rowan, who moderated the Opening Panel, began with a whistle-stop tour of technologies that are set to disrupt the AV world in the near future – including drones, virtual reality and, yes, sensors. As he put it, the connected world, where “everything is online and there’s no offline any more” is in its very early stages; he likened it to the “home-brew, computerclub moment when Steve Jobs and Steve Wozniak started hacking around with computers”.

In the Closing Keynote, futurist Dr Michio Kaku took a five- to 15-year view and spoke about how sensors costing only a penny to

‘I suspect that’s not the last we’ll hear of “the Internet of Stupid Things”’ make will make connectivity ubiquitous – “everywhere and nowhere”, in his phrase – just like electricity is today. He described a world where we will be able to call up avatar doctors and lawyers on our online glasses, contact lenses or even wallpaper displays, and get advice from them “almost for free”.

Of the two, I was more taken with Rowan’s vision – partly because his shorter timeframe meant that most of the developments he was talking about are already at the demo stage. Also, he injected a note of realism when he acknowledged a point that is true of so many new technologies: just because you can do something, it doesn’t mean that you should. Do you really want a device in your kitchen that sends you push notifications when your milk is on the turn, or your eggs are slightly past their best? I suspect that’s not the last we’ll hear of “the Internet of Stupid Things”.

When I interviewed Dr Kaku recently for the ISE Daily, I reflected on how we were told in the 1970s that we could expect much more leisure time in the future, because computers and robots were going to handle all the menial tasks. (This is a long-standing gripe of mine, which I have probably mentioned in this column before.) So I asked him, when (non-humanoid) robots and artificial intelligence have taken on all the dull, dirty and dangerous tasks, whether the total number of (human) jobs will rise or fall. He wouldn’t be drawn, except to say that technology growth tends to create jobs overall – more people work in transportation in all its forms today than did in the days of coachmakers and farriers.

So sensor technology isn’t due to launch us into a life of leisure any time soon – but it does look like it will change our lives in many ways that we haven’t even thought about. Even without VR goggles, it’s going to be a hell of a ride.

Driving the Creation of Knowledge

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Presentation. Collaboration. Knowledge Sharing.

04 CONTENTS

March 2016

News & Data 06 Analysis Growing popularity of AMOLED displays Commercial UAV market set for growth 10 InstallAwards 2016: All you need to know 12 Regional Voices: Sweden

People 14 Industry Moves 16 Opinion Rob Lane on the rise of LED displays Deutsche Telekom’s Jon Carter on the battle between open and closed smart home systems 20 Interview Tobias Stumpfl discusses the role of CEO at AV Stumpfl and outlines his plans for the media server and projection screen manufacturer

20

Features 24 4K Manufacturers continue to push the technological boundaries, taking image quality and resolution to unprecedented levels 28 Conference venues Despite the popularity of virtual and videoconferencing, ‘traditional’ venues continue to be sought after with the latest AV technology enhancing their appeal 34 Lighting control Having overcome problems with cost and functionality, LED lighting is set for further growth, with commercial installs accounting for much of the demand

24

Solutions 38 Skyway, Mont Blanc This cableway makes the most of outstanding views by utilising an assortment of AV technology 40 Croke Park, Dublin Sound, communications and voice evac systems have been upgraded at this city-centre stadium 44 Théâtres de la Ville de Luxembourg A new intercom system has brought clarity and flexibility to the backstage communications at this theatre complex 46 Solutions in Brief Including a Signagelive network in Lithuania; Alcorn McBride show control at a museum; and E-V sound reinforcement in a Johannesburg church

38

Technology 49 New Products Including Lab.gruppen, Crestron and Exterity

52 Showcase Steerable audio

Also inside 22 Show Review: ISE 2016

49

Just add Power.

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06 ANALYSIS

March 2016

Flexible AMOLED display production rising

By Steve Montgomery

W

ith the growing popularity of smart devices and wearables, display manufacturers are expanding production capacity of flexible active-matrix organic light-emitting diode (AMOLED) displays.

Comprising just 2% of all AMOLED panel shipments in 2014, the share of flexible panels rose from 2% to 20% of the total display market in 2015, reaching 57 million units. Market share is expected to grow to 40% of total shipments in 2020. Rigid AMOLED panel shipments by comparison grew 30% to reach 233 million units in 2015.

Production capacity for flexible AMOLED panels is expected to exceed 1.5 million square metres, 24% of total AMOLED display production capacity area in 2016. “As the demand for flexible AMOLED rises dramatically, display manufacturers are investing heavily in the technology, including the latest foldable and rollable displays,” said Jerry Kang, principal analyst, HIS Technology. “The growth rate for flexible AMOLED panels is expected to be much higher than for rigid AMOLED panels.”

Supply capacity of flexible and rigid AMOLED displays (%)

100% 90% 80% 70% 60% 50% 40% 30% 20% 10% 0%

2015

2016* Flexible

2017* Rigid

Source: IHS Technology

www.ihs.com

2018*

* = forecast

Commercial drone sales to rise by more than 80%

By Duncan Proctor

A

ccording to a new study from Juniper Research, annual revenues from commercial drone sales are expected to rise by up to 84% from $261 million in 2015 to $481 million in 2016.

The prediction is partly attributed to the drop in price of UAVs (unmanned aerial vehicles), with high-performance models now available for under $3,000. The lower price point is said to have stimulated drone use in a number of commercial applications including mapping, inspection and monitoring.

Agriculture is a sector where strong growth is expected, with research predicting it will account for 48% of all commercial drone sales in 2016.

Additionally, the study found there is increasing demand for UAVs in the film and television sectors, where drones provide a cheaper and more flexible alternative to the use of helicopters.

Global drone sales revenue ($m) 600

500

400

300

200

100

0

2015

2016*

www.juniperresearch.com Source: Juniper Research

* = forecast

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08 ANALYSIS

March 2016

Smartwatch sales overtake Swiss watches

By Steve Montgomery Global smartwatch vs Swiss watch shipments in Q4 2015

400%

20

300%

15

200%

100% 5

0%

Q4 2014

Q4 2015

-100%

Q4 2015

Source: Strategy Analytics

10

0 www.strategyanalytics.com

Global Shipments Growth Year-on-Year (%) Swiss Watch

Global Shipments (Millions of Units)

Smartwatch

G

lobal smartwatch shipments rose by 316% from 1.9 million in Q4 2014, to 8.1 million units in Q4 2015. Meanwhile global demand for Swiss watches is slowing, falling 5% from 8.3 million units to 7.9 million in Q4 2015. It is the ďŹ rst time that smartwatches have outshipped Swiss watches on a global basis.

Smartwatches are selling rapidly in North America, Western Europe and Asia. Apple Watch captured a 63% share of the global smartwatch market in Q4 2015, followed by Samsung with 16%. Apple and Samsung together account for 8 in 10 of all smartwatches shipped worldwide.

The Swiss watch industry has been very slow to react. Sales of Swiss-made smartwatches are also low: Swiss brands, like Tag Heuer, accounted for 1% of all smartwatches shipped during Q4 2015, a long way behind the leaders in the smartwatch category.

Welcome, Dante.

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Welcome to System reality.

10 INSTALLAWARDS 2016

24th June 2016

l

March 2016

Grand Connaught Rooms, London

Tickets...

are now available for the InstallAwards on 24 June. Single seats cost £225, while tables of 10 are currently available for the early bird rate of £1,995. To find out more or to book tickets contact Georgia Blake on +44 (0)20 7354 6003, gblake@nbmedia.com.

Sponsorship... opportunities are available. For details, contact Gurpreet Purewal, sales manager, on +44 (0)20 7354 6000, gpurewal@nbmedia.com or Peter McCarthy, senior account manager, on +44 (0)20 7354 6000, pmccarthy@nbmedia.com.

Don’t miss your chance to enter The InstallAwards return on 24 June with a new format and a new venue. Here’s how you can get involved

T

he InstallAwards are back for 2016 – but you don’t have long to submit your entry. To get involved simply visit www. installawards.com and complete the form – entries close at midnight on Thursday 17 March.

We are inviting applications for projects – involving audio, video and/or lighting system integration – in six categories. Permanent or semi-permanent projects anywhere in the world may be entered so long as they were handed over to the client between 1 March 2015 and 28 February 2016. Any type of company – integrator, end user, manufacturer, distributor, dealer – may enter, as long as they have a UK office. Entry to the InstallAwards is free.

The 2016 event will take place on Friday 24 June at The Grand Connaught Rooms, close to Covent Garden, London. For the first time the event will be held during the day, with an after party running late into the evening.

AWARDS CATEGORIES The main awards categories divide into two ‘supercategories’, Business and Entertainment.

The Business categories are as follows: Education: This category covers installations in schools, colleges, and universities – and also other learning environments such as conference centres and corporate training centres.

Corporate/Industrial: This category covers installations in boardrooms, atriums, control rooms, simulation/visualisation facilities etc – facilities that are used by people while they are working, rather than by the public.

Hospitality: The Hospitality category is for installations in hotels, bars, clubs and restaurants: venues where the installation is an important contributor to the ambience.

The Entertainment categories are: Large Venues: This covers concert halls, stadiums, theatres, houses or worship – or anywhere that people have come to watch, and maybe participate in, a show of some kind. This category is for venues with a capacity of more than 500 people.

Small Venues: The same criteria apply as for Large Venues, but with a capacity under 500.

Visitor Attractions: This category is open to any installation (new projects or system upgrade) in a museum, theme park, gallery or historical site.

AWARD TYPES We will present a Best Project Award in all six categories, and a Star Product Award in the two supercategories (Business and Entertainment).

For the Best Project Award we will be looking for evidence of as many of the following as possible: • Technical innovation • Elegant design – technical or aesthetic • Meeting or exceeding the client brief • Expansion capability/futureproofing The Star Product Award focuses on a single part of the installation – a product that performs a key role in the overall system design. We’re especially interested in products that provide a new solution for an existing issue.

PEOPLE AWARDS Since their inception, the InstallAwards have recognised the important role of people and team in successful installation projects, For 2016, we’re broadening the scope of the teamwork achievements that we want to celebrate and reward.

Integrator’s Choice: In-House Team of the Year: This award will recognise contributions to successful installation projects by endusers and their in-house AV teams.

Distribution Team of the Year: This award will recognise the sterling work done by distributors of AV equipment.

Marketing Team of the Year: This award will go to a marketing team – either in-house or external – that has produced the best results for their client over the relevant period.

Also new for 2016 is the Rising Star Award – which will be given to someone aged under 30, or has fewer than three years of industry experience, but who has already made a major impact in the AV world.

Finally, three industry figures will be inducted into the new Installation Hall of Fame. This prestigious award recognises significant and substantial contributions to the industry.

This award will be chosen by the team at Installation; all other award winners, as in previous years, will be decided by our panel of independent judges.

www.installawards.com

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12

REGIONAL VOICES

March 2016

SWEDEN There’s no sense of Scandi noir in our latest country survey – there’s a prevailing sense of optimism, even if some familiar gripes still persist

S

ince our last survey of the Swedish market, just under a year ago, the country’s economic indicators have improved a little – and there seems to be a sense of optimism in some of the answers to our questions as well. For instance, roughly two-thirds of our sample thought that confidence levels in the country’s installation sector were higher than six months ago, and

3.9%

GDP annual growth, 2015 Source: Trading Economics

roughly the same proportion thought their company’s revenues were on an upward trend.

Similarly, when asked the prospects for different vertical markets in the country this year, our respondents’ replies averaged out so no vertical was on a downward trend – the most pessimistic view was that business in performing arts venues would be flat this year.

When we asked our respondents to pick their most pressing business concerns from a list of six, two predominated. The first of these was ‘clients going for lowest price rather than best value’. Jan Setterberg, senior adviser at consultancy Soliflex commented here: “Government business usually goes for the lowest price, as price is usually the only part of a purchase they understand.” The second issue, almost as prevalent, was ‘poorly qualified

newcomers distorting the market’. IT companies were among those coming in for criticism here.

We also asked for advice to companies entering the Swedish market – both manufacturers and integrators. An anonymous consultant made this observation to both types of company: “Sweden is such a big country area-wise but not very big population-wise. That means that entering cost is fairly high per capita. You have to have a staff that really knows the market.”

Turning to recommendations to integrators looking to do business in Sweden, Soliflex’s Setterberg said: “Do a very careful market investigation – and look extra carefully at Swedish business traditions and make sure, over time, to learn our language.” These thoughts

1%

Budget deficit (as proportion of GDP), 2015 Source: Trading Economics

were perhaps echoed in another respondent’s answer: “Business is local and long-term.”

Kenneth Edlund, CTO for AV/DS at integrator Mindspace Group, offered the following: “Certify and educate your personnel with InfoComm/ CEDIA and manufacturers’ [training] as there are no good [university courses] that suit the AV market in Sweden.” And that’s a point that would be applicable in many other countries as well.

What will be the business trend in the following vertical markets?

GREATEST INCREASE Digital signage Corporate Bars, clubs, restaurants Education Retail Worship Sports venues Museums/visitor attractions Performing arts venues NO CHANGE

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14 INDUSTRY MOVES

March 2016

Allen & Heath expands product management team Two new hires have joined the UK HQ team

CDEC

Brett O’Connor is now a director at CDEC. He will assist and work in partnership with managing director Toni Barnett who will continue to run the daily and strategic operations of the business.

O’Connor has previously managed a £50m+ technology logistics firm and brings with him a wealth of experience to underpin and support the management team at CDEC.

www.cdec.co.uk d3

Joe Bleasdale

A

llen & Heath has expanded the product management team based in its UK HQ with the appointment of Scott Mason as pro digital sector specialist and Ian Thomas as install sector specialist.

Thomas (pictured left) has a solid background in AV installation system engineering and project management, and for the past eight years has been working for UK-based international system integrator LSI Projects.

According to A&H, his experience in system design, tender proposals, system testing and commissioning will be key in supporting integrators and consultants and promoting the company’s products and solutions into the fixed install market.

Mason has over 30 years of experience in sound engineering, system design, technical training and pro-audio sales. Prior to relocating to the UK, Scott held several posts in APAC,

including business development and support at Nexo and Yamaha, and dealer and consultant for Martin Audio and XTA Electronics. His previous achievements include the technical direction of the Olympic Games in China. Mason will supervise and promote A&H’s pro digital offerings, with a focus on the GLD and dLive product ranges.

Both will be joining an established team of product specialists and support specialists who look after the diverse Allen & Heath portfolio.

Allen & Heath’s head of product management, Nicola Beretta, said: “Ian and Scott are highly valuable additions to the team, and the ideal profiles to support our vertical market strategy, contributing to market research, product management, marketing and support.”

www.allen-heath.com

New Partners Eyevis and Unilumin have announced a strategic partnership. The pair have already revealed a new product line, eyevis ePanels ‘powered by Unilumin’, which was jointly launched by the development teams of both companies. eyevis is responsible for customer care as well as the technical implementation of display control and signal processing whereas Unilumin produces the hardware. www.eyevis.de www.unilumin.com Tripleplay has expanded its Italian partner network with the appointment of Idea PM, an AV and IT specialist with experience in corporate and government sector technology delivery. www.ideapm.it www.tripleplay-services.com

Sunflower is now the new distributor of Powersoft products in Croatia. According to Sunflower’s Tomislav ‘Kuki’ Koran, the alliance will do much to raise the profile of both companies, as previously Sunflower had only represented a small OEM Chinese amplifier manufacturer. www.paudio.hr www.powersoft-audio.com RGB Communications has added Nest products to its residential portfolio. Professional installers can now train to become a Nest Pro installer and purchase products from RGB Communications in Hungerford, UK. Nest products available include Nest Cam, Nest Protect and Nest app 5.0. www.nest.com www.rgbcomms.co.uk

has joined d3 as a training manager at the company’s head office in London.

Working with regional teams in EMEA, APAC and the Americas, his focus will be to build on the existing training programme, organise and deliver d3 training courses and expand the training network worldwide.

www.d3technologies.com Riedel

Richard Seegull has been appointed manager of systems consultants at Riedel. In this new position, Seegull will manage the company’s growing team of systems consultants and also serve as one himself. He will be responsible for co-ordinating his team’s efforts with the Riedel sales team; scheduling consultant time for demos, client visits, and system designs; working with Riedel’s marketing department to address different vertical markets; and serving on industry panels as a representative of Riedel North America.

www.riedel.net Savant Europe

Mark Perrins is now European sales manager with responsibility for developing new territories, increasing sales and continuing the success of Savant into the whole of continental Europe. He joins from D&M Pro where he held the position of global vice president and general manager.

www.savanteurope.com Sound Directions

Hanieh Motamedian has been appointed business development manager at distributor Sound Directions. She was previously engaged in the voice alarm market with Application Solutions in the role of sales manager. In her new role Motamedian will be responsible for account management and sales functions in the UK market.

www.sounddirections.co.uk

www.KramerAV.com/Network

)RU \RXU ORFDO .UDPHU RɝFH Tel +44(0)1296 3300111 I info@kramerelectronics.co.uk I

www.kramerelectronics.co.uk

© 2016 Kramer Electronics, Ltd. All Rights reserved.

16 OPINION: ON THE AGENDA

March 2016

Rob Lane Beginning to see the light Is LED set to take centre stage?

A

nybody who took the time to stroll around ISE last month (particularly Halls 11, 8 and 6) could not have failed to take note of the myriad LED displays in evidence – and not just as a preferred residential display tool. LED has historically been mainly confined to those halls whose focus was live events and rental, a niche, eye-candy display option. This year it was in evidence across almost all of the halls, offered for serious consideration in a multitude of corporate and retail environments.

Most notably, a huge 9.5m x 5m 8K LED videowall featuring on the LANG stand at ISE was built using 64 Leyard TW Series LEDs with 54in diagonals and 1.2mm pixel pitches with resolutions of 7680 x 4320 pixels. Also of interest was SiliconCore’s 0.95mm pixel pitch prototype with a 165in diagonal and AOTO’s 0.75mm M Series – and there were many other examples.

So, no surprise then that while LCD continues to be the go-to choice for much of pro AV, LED is the rising star. Once the preserve of advertising, broadcast and stadium installations, it is increasingly being seen replacing projectors in auditoriums, and usurping LCD in retail environments and – more surprisingly, and perhaps less widespread – in corporate installs.

Reduced costs and shrinking pixel pitches for shorter viewing distances are helping the rise of LED. As these ultra-small pixel pitches become more affordable, pro AV uses are broadening.

High brightness also has a big part to play, allowing LED to function well, both indoors and outdoors. Add to this the superior image conformity, vibrant colours, true black tones and long life spans, and it’s easy to see why integrators are keen to use LED over LCD for

certain builds – despite the still higher prices.

The other major factor informing LED’s rise is its suitability for building videowalls. A lack of discernable bezels, build flexibility – walls can be built to virtually any size and aspect ratio – the relatively reduced weight and low power consumption all contribute to LED’s desirability.

And with the latest displays also curving and transparent it’s easy to see why videowalls will be increasingly LED-based going forward and why LED is the emerging technology of choice for building large, bespoke digital canvasses.

LCD still leads However, as attractive a prospect as LED is, costs need to come down considerably before the technology completely usurps its more affordable and popular LCD cousin. Indeed, further reduction in pixel pitches would also be desirable and help to increase market share. For now – despite the upsurge in popularity for LED – LCD remains the default single display of choice.

One of the reasons for this is the trend towards integrated large-format displays – still the preserve of LCD. For those demanding a large, single screen for a boardroom or meeting space there’s no LED product available that’s in the same price bracket, and it’s quicker and easier to buy and install an LCD. In addition, the major professional LCD display manufacturers now all offer products with builtin computer functionality (System on Chip or SoC), with many offering it as standard – for a keener price, of course, than the equivalent LED/ SoC offerings. There are obvious cost savings to not having to marry displays to discrete media players, and there are functional benefits too.

However, although LCD remains, for the time

being, the one-stop, SoC-integrated option for integrators, most wouldn’t yet consider SoC solutions for driving 4K videowalls or LED canvasses. This is because the processing power of SoC isn’t always powerful enough to provide the ‘intelligence’ required to run larger display groupings, meaning that – for LED at least – media players still have a role to play.

This further explains why larger, cheaper SoCintegrated LCD displays are preferred for one-off big screen solutions, while LED is the growing standard for walls. But with SoC LEDs growing in availability, and costs set to come down, LED will surely begin to replace LCD for one-screen solutions also.

The arrival of Samsung’s 1.5mm pixel pitch SMART LED range, featuring a variation on SoC, could possibly be a game-changer. Announced at last year’s InfoComm and set to make its UK debut as a demo unit in UK distributor PSCo’s Reading showroom, the range is exciting integrators with its embedded S-Box (Signal Box) housing the display’s ‘MagicInfo’ CMS and media player.

A lot of things still have to fall into place to enable LED to completely replace LCD across the various pro-AV sectors. Cost, lead times, familiarity with the tech, like-for-like replacements with embedded media players, perceived reliability – these factors all have a part to play. But as one industry professional said to me, LED also needs to be demystified in the minds of end users and, to a lesser extent, integrators, before it can truly become the number one display choice.

Rob Lane is a tech/business journalist and founder of Bigger Boat PR. He would like to thank the industry experts who contributed to this piece.

ISE 2016 BEST OF SHOW AWARD WINNER

CAMELLIA 0.95MM INDOOR LED DISPLAY Ideal for applications requiring extremely close proximity viewing, with a minimum viewing distance of less than one meter, the Camellia achieves 4K resolution at just 165” diagonal. SiliconCore’s patented custom LED driver

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technology ensures outstanding performance without compromise, achieving 2000 nits brightness, 2000 Hz refresh rate and 16-bit grey scale.

This advancement in pixel pitch is enabled by SiliconCore’s Common Cathode technology, which reduces the power consumption of displays by up to 40% for lower heat generation, a longer lifespan of over 100,000 hours and an industry leading total cost of ownership.

SiliconCore’s Proprietary Design

18 OPINION: ON THE HORIZON

March 2016

Jon Carter The battle for the smart home Will proprietary systems or open source solutions win with consumers?

T

he rapidly emerging smart home market is opening up a huge opportunity for installers and integrators. But when all the major manufacturers are building ecosystems designed to push their own hardware and serve their own business interests, and not necessarily those of the consumer, which ecosystem should integrators support?

This year’s CES show in Las Vegas saw the technological innovation around the Internet of Things (IoT) shift a gear with the launch of smarter, sleeker technologies, more sophisticated than ever; with prototypes promising driverless, connected vehicles on the road and in the skies, through to connected and virtual reality technologies to solve our everyday frustrations.

Of all the innovations, however, it was those that focused on the home that most captured consumers’ imagination. Smart TVs, sound systems, IP cameras, digital door locks and smart thermostats are now seeing rapid adoption, but the interconnection of these devices is where the real opportunity lies and innovative business models can be launched.

What was interesting to see was how all the major manufacturers are building their own ecosystems – although one or two have sought to position them as open, sadly too many are still pushing closed and proprietary implementations.

There’s no doubt that we’re in the midst of a battle as to who will control the smart home. It’s all about control, and ensuring that customers are locked into their ecosystem and buy their branded products. However, what is clear is that for mass adoption consumers need to feel that they are in control, gain innovative devices and great customer experience, while not being

locked into an ecosystem that provides them with little choice.

Security issues One of the other notable developments that came out of CES, which was less high profile than all the exciting consumer gadgets, was what manufacturers are doing to help protect consumers from the ever-growing security risk. This was only the second year where such technologies were on display as a discrete product category, even after another 12 months in which high-profile hacks have dominated the headlines. Smart installers will be in a powerful position as consumers will need their support, advice and integration expertise.

‘The connected home industry needs to abandon proprietary and closed aproaches and open up for collaboration’

At Deutsche Telekom, we believe the connected home industry needs to abandon proprietary and closed approaches and open up for collaboration – and not simply to drive sales of its own hardware. By ‘open’, we mean offering APIs (application programming interfaces) and software developer toolkits (SDKs) to allow easy interoperability with other products within the ecosystem. We also believe that there needs to be much greater focus on end-to-end security. And, most importantly, we need to

be giving developers the tools to access and built innovative features and capabilities that will enable installers and integrate to create personalised experiences for their customers.

Open source Deutsche Telekom is actively involved in the Eclipse SmartHome open source software community. It is one of the largest open source Java-based IoT communities in the world.

In the last months, some of the innovative enhancements from developers have seen integrations of Sonos with motion sensors and smoke alarms, so whether it is having a virtual dog bark when someone comes to the front door, alerting the whole home when a smoke sensor alarms, or creating the sound of an occupied home when everyone is out, developers are enabling endless enhancements to the basic ‘out of the box’ capabilities.

Mass-market connected home devices have an immense potential to expand the market for installers and integrators. By leveraging open white-label platforms – such as that offered by Deutsche Telekom, which exploits an open source developer community – integrators and installers can differentiate and extend the range of services they offer. They can also be the peacekeepers of the smart home, bringing together the widest range of innovations that enable their customers to truly stand out from the crowd!

Jon Carter is UK head of business development – connected home at Deutsche Telekom.

http://connectedhomeplatform.telekom.net

20 INTERVIEW: TOBIAS STUMPFL, AV STUMPFL

March 2016

The next generation

Forty years after AV Stumpfl was founded, Tobias Stumpfl moved into the driving seat at the media server and screen manufacturer last autumn. Paddy Baker asks him about how the company is set to change It’s always a major step when a family-owned company passes leadership on to the next generation. Last September, Tobias Stumpfl took over the CEO’s role at AV Stumpfl from his father Reinhold Stumpfl, who founded the company in 1975. As if to underline the transition, just a few weeks later the grand opening took place of the company’s new €7 million campus in Wallern, northern Austria. Various large-scale interactive displays and projections entertained visitors and gave them a taste of some of the company’s forthcoming product lines.

Following his first ISE in his new role, Tobias Stumpfl talked to Installation about his plans for the company.

When you became CEO of the company last September, what was your first major action?

Together with my team we have focused our efforts on the most important priorities. We have created a dedicated service and project management department to increase our ability to

help our customers all over the world.

During the last couple of years, we conducted intensive in-house research and invested a lot of time into developing new core technologies. Now we have put some of those technologies into new products which were unveiled at the ISE show in Amsterdam.

During the last couple of months, we have prepared a lot of new information about our products, typical applications and how to use them on our website. This was demonstrated to be very valuable, especially for finding new potential customers, so we are intensifying this even more.

My younger brother Fabian has now joined the company and he helps to achieve the new management goals.

In which areas are you looking to expand the company?

We plan to grow in various directions. First of all, we are developing new products, which cover more aspects of our current markets. This helps

to provide more seamless solutions for our clients.

We also have plans to grow into new geographic markets, which we currently cannot reach because we do not have access yet.

We will not just develop new products but also develop our global partner network. Probably the highest priority for us is promoting our current solutions that we already have developed but nobody knows about them yet.

We are a research, development and manufacturing company, so sales and marketing aren’t our core strength yet – but they will be.

You launched nine new products at ISE 2016.

Which would you say is the most significant and why?

The most spectacular new products were Wings Engine Raw, which is a media server capable of delivering 8x4K uncompressed content at 60fps; and also our new Fullwhite Curve – a gigantic projection screen which has no visible border and can be curved to almost any radius.

www.installation-international.com

INTERVIEW: TOBIAS STUMPFL, AV STUMPFL

21

A brief biography Tobias Stumpfl has a university degree in software and hardware development and economics He has an airline pilot’s licence, and has worked on projects in the aviation industry He joined AV Stumpfl as a software developer in 1999, and became a board member in 2009 He became CEO in September 2005 when his father Reinhold Stumpfl stepped down, remaining on the board of directors

What trends in customer requirements are you looking to address over the coming months and years?

This is difficult to predict as customer requirements change rapidly. All our core technologies are developed in a way that enables us to react quickly on changing market requirements. At the moment there is a strong tendency towards prioritising high quality, be it in mechanical product quality, content output quality and overall system reliability – so this is what we currently offer.

Should this change, we can be flexible enough to be the first to adopt any new requirements.

In fact the process is more than just fulfilling market requirements. If a customer already knows what he wants, then he will be satisfied best with AV Stumpfl. However, what we are aiming for is to better that and amaze our customers, so this process needs some sort of a reciprocal inspiration. This is what we are particularly good at!

I was interested to learn that the company’s origins were not in projection screens, as many people think, but were in electronics and software – you moved into projection screens at the request of your customers. How much of your business is in show control/media servers on one hand, and projection screens on the other? Do you expect this ratio to change over the coming years?

In fact, it is changing every year depending on the demands of our customers and projects worldwide.

Our new software and hardware research and development centre is doubling its current floor space. At the moment, there is a strong shift towards software and hardware products. In the same process, we have invested a lot into new machinery for our production of mobile and stationary projection screens so although we do not need more space yet we can produce more products when that need arises.

This is especially important because our

portfolio of different projection screens has also just been massively enlarged. We can store more raw materials, more components and produce more diverse products – all requiring more resources.

We own a lot of green land around our current campus which will allow us to increase production space, but at the moment we are collecting more experience to see where is the highest potential for future growth.

‘Probably the highest priority is promoting our current solutions that nobody knows about yet’

At the moment, one of AV Stumpfl’s USPs is the sheer processing power of its hardware. Some industry observers believe that as mainstream PC computing power increases over the long term, manufacturers such as yourselves are more likely to put their expertise into software that runs on standard PC hardware. Do you agree with this view, and if so does it worry you that you might be losing a USP? I would not say our USP is the processing power of our hardware – rather our USP is the clever use of the hardware’s limited resources. This is more a basic level software feature than a hardware feature. In fact, our challenge will always be to make the best result with the most economic platform.

Do you see projection mapping growing in importance over the coming years? If yes, will this growth be from fixed installations, events or both?

Projection mapping is one of those trends that

comes and goes on a regular basis. Our products are perfectly suitable for this since we have some unique features.

This market is only there as long as the end users are demanding it because they like the effect, the impressions and interactivity.

And those things change rapidly since they always want what the opinion leaders currently mark as a novelty, and according to ‘trends’.

What is the best thing about working in a family owned company? Are there any disadvantages?

You need to ask this question to our employees!

We believe it is our climate. By having open doors to everyone in the company, we can maintain a flat hierarchy, which means high efficiency.

We invest massively into the best possible work conditions for our employees. This is not a flowery phrase – here, this is an everyday reality.

Visitors who have been to our company in Wallern are intrigued and surprised about what they experience.

The downside of this is that it could happen some time that this open environment is abused by individuals, so it requires constant caution.

In larger public companies with strict rules and steep hierarchy, this would probably be less likely to happen.

What hobbies do you have? Do these feed into the business or provide a break from it?

Soaring, which is otherwise known as sailplane racing or cross-country flying. I also like mountain climbing and have been on expeditions in the Himalayas and Andes.

Both hobbies have challenges that are similar to running a business – you define a goal and find a way to reach it...

www.avstumpfl.com

22 SHOW REVIEW:

IN INSTALLATION

March 2016

ISE 2016 digital supplement We will have much more ISE 2016 coverage, comment and exclusive video content in a special digital supplement, available later this month. Keep an eye on our website, social media channels and daily newsletter for more details.

Top of the list ISE is now officially the world’s largest AV and systems integration tradeshow. Paddy Baker looks at some trends and highlights from the four days of ISE 2016

were promoting technologies that make the choice of networking protocol less of a key issue.

The Media Networking Association hosted a panel discussion on the effect of the AES67 interoperability standard on the industry. As Ethan Wetzell from Bosch commented: “AES67 is a unifying technology that gives users freedom of choice and doesn’t lock them into systems.”

The OCA Alliance demonstrated how open control architecture – now formalised into the AES70 standard – allows different manufacturers’ products, operating with different network transport protocols, to work under a single interoperable control system.

Collaboration

W

hen one considers how crowded some of the aisles and escalators were at the show last year, particularly on the middle day, we can be thankful for the addition of a fourth day at ISE 2016 – particularly bearing in mind the fact that attendance increased by just over 10%. This year’s total attendance was 65,686, making ISE officially the world’s largest AV and systems integration tradeshow.

While the final day – Friday – undoubtedly saw lower visitor levels than the other three days, it was always going to be something of an unknown quantity. The hope is that, as ISE MD Mike Blackman said in his interview in Installation last month, both exhibitors and attendees become accustomed to treating the final day as a ‘proper’ show day; and initiatives on ISE’s side, such as the Friday Keynote and other events – organised under the FRDY@ISE umbrella – continue to attract visitors to the latter part of the show.

Video trends Brighter projectors, smaller pixel pitches, higher resolutions, thinner bezels – many of the display trends at ISE 2016 were continuations of wellestablished themes. Just about every projector manufacturer seemed to be claiming a world first: for instance Barco with the smallest and lightest 4K laser phosphor projector; Christie with the brightest 1-DLP laser phosphor; and Epson with the first 25,000-lumen 3LCD model.

As Rob Lane mentions in his column on page 16, SiliconCore was displaying a prototype 0.95mm LED display, while Aoto had its 0.75mm

M Series on display. (Turn to Rob’s column for more on display trends at ISE.) Numerous products were unveiled with new capabilities for signal transmission: Wyrestorm’s first HDBaseT 2.0 extender can transmit 4K video a distance of 100m (or 1080p 150m) along a single Cat6 cable; and on the residential side, Metra Home Theater Group’s Ethereal Gigabit Accelerator enables 4K/60fps/4:4:4 video to be sent 15m over existing passive HDMI cables.

While 4K was a common theme across the show, 8K made a few appearances as well. Sharp had the first European showing of an 85in display with 8K resolution, and AV Stumpfl launched an 8K version of its Wings Engine Raw media server.

Audio While Hall 7 has unofficially been ‘the audio hall’ at ISE for a few years now, 2016 saw it gain that designation officially, as Audio became a dedicated showfloor area alongside Digital Signage, Residential Solutions, Unified Communications and Smart Building.

Audio networking was a key trend this year: the the number of Dante-enabled products had risen to 700, although the growth is so rapid that Audinate’s stand graphics and even its pre-show press release contained figures that were out of date by the show. Audinate showcased its Dante Via software, which enables computers and other devices to be connected to a Dante network via USB, Firewire or Thunderbolt. Genelec, meanwhile, debuted the world’s first audio-over-IP studio monitor.

At the same time, two industry organisations

We also noticed a continued emphasis on collaboration technology this year. While Microsoft was not exhibiting in its own right, a number of its partners, including TDMaverick and AVI-SPL, were demonstrating Surface Hub. Other notable products in this area include DisplayNote Montage, which connects up to 12 devices from anywhere in the world to a meeting room display; and SMART Technologies’ SMART kapp family, which can handle up to 35 remote participants.

Barco launched two new members of the ClickShare family: the CSE-200 for enterprise rollouts requiring enhanced security features or central management; and the more basic CS-100 huddle room solution, which displays one user’s screen at a time.

Polycom showcased the eye-catching RealPresence Centro. Featuring 360º voice and video technology that automatically tracks the speaker, while also showing the entire meeting space on the same screen, Centro is purpose built to put people at the centre of collaboration.

Oblong was showing version 3.0 of its Mezzanine Collaboration solutions, which supports 4K and an almost limitless variety of screen configurations. And Kramer introduced its Collaborative Classroom, which as well as providing main screen switching, also supports BYOD and interactive learning.

There was also an emphasis on audio quality in meeting and huddle rooms with the launch of products such as Sennheiser’s TeamComnnect Ceiling, Shure’s Microflex Advance and Biamp’s Devio.

www.installation-international.com

Best of Show winners Installation ran its Best of Show competition once again at ISE 2016. Companies showing products new to the show submitted their entries beforehand, and were visited at their stands by a member of our judging team. Here, with our congratulations, are the winners.

AptoVision – BlueRiver NT+ Visually lossless, delay-free transmission of 4K 60Hz in 4:4:4 colour space using standard 10Gb network switches solves the problem of limited network bandwidth for large AV installations requiring superior quality video.

Arthur Holm – Dynamic Talk H A beautifully designed product that is a delight to operate. We particularly appreciate the mechanism that straightens the gooseneck microphone to ensure that it fits neatly into the housing.

Audinate – Dante VIA Dante VIA enables more devices to be added easily and cost-effectively to a Dante network, without a massive increase in cabling infrastructure.

Barco – E2 4K screen management system An impressive live event solution that supports native 4K input and output, and can handle 4K projector blending at 60Hz. With full show control capabilities, it’s versatile, expandable – and durable.

Bosch – PAVIRO public address and voice evacuation system This ticks all the boxes: professional sound quality, excellent speech intelligibility, modular, easy to program in Basic mode yet almost unlimited design flexibility in Expert mode – and certified EN54-compliant.

Chief – SYSAUW suspended ceiling projector system A very useful system that saves time for installers (up to a third) with straightforward installation and tool-free design. Added adjustability and compatibility allows for placement above or below tile.

Cleerline – SSF fibre optic connectors This clever solution saves precious time on site terminating cables, doesn’t require special tooling and produces a superior result.

D-Tools – System Integrator software The complete integrator’s tool, System Integrator software ties together the entire integration process for the generation of faster proposals and system designs.

Now includes mobile app to update system remotely and enable even greater streamlining.

Draper – Optically seamless TecVision screen The seamless, high grain screen fabric with its high contrast characteristic makes this screen a unique and outstanding solution in prestigious AV installations.

DVIGear – DisplayNet-1208 A true award winner. This is cost effective, functional AV distribution that resides on the IT network. providing great control and scalability.

SHOW REVIEW:

IN INSTALLATION X 23

Edbak – VWPOP65 pop-out universal video wall mount Amazing construction and well-engineered design. ic audio – TH-100-EN54 The first EN54-certified tunnel horn for public address applications in difficult environments. Environmental protection, high SPL and balanced frequencies allow it to achieve an impressive 50m range.

IDK – MSD-402 Instant, out-of-the-box success is the key for this presentation switcher. Tech managers will appreciate the built-in scan converter.

Kramer – Kramer Network Source, manage, control and distribute any type of AV content – whether local, IP-delivered or cloud-based – to any destination in an enterprise-level solution.

Listen Technologies – Listen WiFi This free smartphone app, which primarily targets gyms, caught the eye due to its combination of ease of use and performance with users able to listen to 24 channels through simple plug and play operability.

Loxit – Slimline MultiPosition Fixed Height Mount A lot of thought about making life easier for installers has gone into this. Suitable for displays up to around 130kg, it solves the problem of mounting onto plasterboard by ensuring you can always find a stud.

Cost-effective too.

Matrox – Mura IPX4K capture and IP encoder/decoder cards Not only is this an innovative product, but it’s fantastic that it works with existing Matrox cards and graphics cards and so can be integrated into existing systems.

Oblong – Mezzanine 3 The Mezzanine update impressed with its new features including enhanced screen configurations across multiple surfaces and new remote participation capabilities allowing users to connect from any location.

Peerless – Universal Modular LED wall mounting system A well-designed product that meets a real need – and also a worthy attempt to create a standardised product for an area of the market that’s currently without standards.

Prysm – Prysm Enterprise An outstanding system for bringing disparate teams together no matter where they are located. The ability to integrate and share all forms of video, image and text delivers the ultimate in efficiency and team effectiveness.

Sennheiser – TeamConnect Ceiling Ideal for meeting spaces where an alternative to a traditional table-mounted conference system is desired.

Virtually invisible when installed and, with beamforming technology that follows the speaker around the room, it genuinely is an innovative design.

Sharp – LV-85001 85in 8K monitor Sharp is entering the market for 8K viewing. This panel was the biggest we saw at ISE, and bodes well for this area of the market.

Shure – Microflex Advance The Microflex ceiling array and table array offer sleek design but, more importantly, impressive speech intelligibility. Voices are clearer and background noise is minimised thanks to the new toroid pattern.

SiliconCore – 0.95mm LED display The usual SiliconCore benefits – low energy consumption, low heat dissipation, and great picture quality – but packing a Full HD image into an 82in diagonal display opens up many new markets.

Speakercraft – Dolby Atmos-enabled Speaker Series The engineers have clearly thought of the architect in creating this product. It’s perfect for discreet installations. tvONE – ONErack An interesting move for tvONE, offering universal mounting for any brand. Incredibly flexible, speeds up installation, offers easy servicing, looks professional looking and solves a problem for integrators.

VuWall – VuWall TRx An innovative product that guides technicians through all stages of deploying an IP-based videowall.

Best of Show: Prolight + Sound For the first time, Installation will be running a Best of Show award scheme at Prolight + Sound in April. Any exhibitor showing a product that’s new since last year’s show can enter. Full details are at www.newbay-awards.com

24 TECHNOLOGY FEATURE: 4K

March 2016

To infinity… and beyond?

Key Points Resolution is only one contributor to perceived image quality – but it is an easily understood headline number

ISE this year was, once again, home to the latest developments in screens and projectors, with exhibitors showing off images of unprecedented quality as they continue to push the boundaries of the technology. Ian McMurray asks – where it will all end?

I

t used to be that buying a new TV was a once per decade – perhaps once every two decades – exercise. Now, it’s more likely to happen every couple of years. Why is that?

The answer has much to do with resolution.

We bought High Definition. Then we bought Full High Definition. And now, we’re buying Ultra High Definition. The Tokyo Olympics in 2020 will be broadcast in 8K resolution (aka Super Hi-Vision) – so we’ll likely feel we have to trade up again.

Where – if anywhere – will it all end?

The reality At ISE 2016, there was much talk about resolution, with plenty of 4K resolution screens to admire. Trade show demonstrations, however, are one thing – but what’s the reality? Unsurprisingly, the answer isn’t 100% clear – not least because not all 4K is created equal…

“4K is absolutely deployable today, though there is a question of ‘which 4K?’,” smiles Andy Fliss, VP of sales and marketing at tvONE. “Today, we are often still sold UHD (4K30) which is supported by the current HDMI 1.4 chipsets. That’s the reason so many manufacturers have been able to quickly offer it. There was basically no change to their equipment, just a new resolution.”

“4K in all its glory is actually 4K60,” he continues, “and uses deep colour – 4:4:4 – which requires HDMI 2.0 at both the player and the

screen end. The colour depth is important to keep an eye on as there are many manufacturers offering 4K60, but only at 4:2:0.

“The main problem here all boils down to the problem of bandwidth. In terms of infrastructure, 4K can be distributed in uncompressed form but only over fibre. The accepted compression standard for 4K signals is H.265. 4K30 and possibly 4K60 (4:2:0) can be squeezed down a Cat6 cable for 100m, but when it comes time to fire up your 4K60 (4:4:4) system, you’ll need to pull cable.”

Franck Facon, marketing and communications director at Analog Way, sees a similar scenario.

‘Today, 4K resolution is not truly deployed, because there are still many holes in terms of transporting the signal’ Franck Facon, Analog Way

“Today, 4K resolution is not truly deployed, because there are still many holes in terms of transporting the signal,” he believes. “As we’ve already experienced in the past, when HD resolution was launched, we’re currently

‘Basic’ 4K is deployable today – but challenges still exist for ‘true’ 60Hz/4:4:4 colour 4K

There are numerous applications that are ‘pixel-hungry’ – but mainstream adoption of 4K (and 8K) will be driven by price

HDR holds significant promise as an ‘alternative’ to 4K – but the commercial reality is that it will largely be tied to 4K

experiencing non-coordinated 4K product launches, based purely on the interests of each market segment. The display is the tip of the 4K iceberg; the hidden part is full of issues that need to be solved for pro AV use. Overall, 4K is in a transition phase between 30P and 60P. The spread of HDMI 2.0 and DisplayPort 1.2 should allow the first generation of products to be proposed that are compliant with customer expectations. But some problems that we need to solve will still remain, such as network and storage.”

Headline marker 4K is the latest stage in a journey in which resolution has become the headline marker of image quality. It’s important to remember, though – as Fliss and Facon confirm – that there is much more to image quality than just resolution.

“There are several factors which contribute to perceived image quality,” explains Tobias Stumpfl, CEO at AV Stumpfl. “Resolution is one which is easily measurable, and so are frame rate and colour depth. But also, the human eye has an influence: its limited ‘capture rate’ does, in fact,

FEATURE: 4K 25

www.installation-international.com

limit the maximum possible resolution which can be perceived, especially in motion pictures.”

It’s also about contrast ratio and brightness.

Resolution is a key contributor – but far from the only one. It does, however, have the distinct advantage of being easy to comprehend – a point made by Virginia Cheng, director of business line management, Europe Region at BenQ. “Technical specification and price are easier to explain to customers,” she says. “Image quality or colour quality are subjective and not as easy to communicate. Manufacturers use numbers to try to quantify what they claim is their product’s superiority – and resolution is an easy-to-market, easy-to-understand number. Anyone can understand why 8K is better than 4K is better than 2K.” Enrique Robledo, Panasonic’s European marketing manager, has an interesting perspective. “Resolution is just a portion of the image quality perception – but image processing and the quality of the panel are the true drivers of the quality of the display,” he believes. “Our customers first and foremost want a screen that they feel confident will allow them to display products and information first time, every time.

For signage applications, high reliability is much more important than a few extra pixels.”

More pixels And yet… 4K is now so yesterday. What everyone is really excited about is 8K – even though all the challenges associated with 4K have not yet been solved (challenges that, for the most part, will only become tougher with 8K). Sharp had 8K screens at ISE 2016, and AV Stumpfl launched an 8K version of Wings Engine Raw. Does anyone really need all these pixels? The answer is yes. For sure, there are applications that can almost never have enough resolution. The question is: are there enough of them?

“There are certainly some industries that demand higher resolution displays,” says Cheng.

“For example: medical, the surveillance industry, VMS, the high-end camera industry and so on. However these are very small markets.

8K’s success will rely on the TV market to be successful and today, there’s not even much broadcast 4K content. Without the volumes that come from the consumer market, it’s hard to see how 4K and 8K will challenge 2K any time soon.”

Thomas Walter, product manager – public display solutions at NEC Display Solutions Europe, is enthused by the opportunities he sees and is convinced that 4K will be the industry standard resolution in a year or two. “There are many markets that are desperately looking for visual solutions in ultra-high resolution,” he claims.

“We are working with customers requesting the ultimate quality for applications like CAD/ CAM technical design, control room, simulation,

Case Study

4K delivers improved security Mass-market adoption of 4K resolution isn’t here yet – but in applications where resolution is everything, take-up has been enthusiastic.

A case in point is Harton Technology College in South Shields, England. The school has added two Sony SNC-VM772R 4K video security cameras to its existing network of around 100 cameras, becoming the first educational institute in the world with a Sony 4K surveillance solution.

Sony’s 4K SNC-VM772R cameras were selected for monitoring the entrance gate and school field, providing sufficient resolution to zoom in to areas of interest within the scene and pick up minute detail. High-resolution recordings are achieved regardless of lighting levels, even in low light situations and complete darkness with the in-built IR illuminator. videoconferencing, digital cinema projection and healthcare. Other vertical markets will enjoy the benefits of pixel-free viewing as soon as they don’t have to pay a huge premium for it.”

The content challenge Panasonic also believes in the 4K opportunity – but with a reservation. “The hardware for 4K is there now,” claims Robledo. “But,” he continues, “there remains a challenge in terms of the lack of content and its distribution. At the moment, production houses filming in UHD are working with far more data. The challenge of moving, storing and editing this data is time-consuming and costly, making it difficult to justify.”

Walter sees the situation similarly. “The move to 4K resolution is a logical evolution in the quest to achieve the perfect visual experience, comparable to when the market moved to Full HD, which we now consider the standard,” he says. “NEC

has won many customers with its broad range of UHD products, offering early adopters the chance to experience and deliver this new level of excellence. Just as with previous developments, the hardware will start and the content will follow.

As soon as content becomes available in 4K/UHD, the transition will be complete.”

Others believe that sophisticated compression algorithms means that 4K content files are not significantly larger than their 4K equivalents – but that provokes a different discussion.

“Whatever technology we use to create better images,” says Stumpfl, “they become virtually useless if video codecs are used to compress the content since these take away image information – resolution and colour.”

Walter believes 4K is a year or two away.

Facon sees it becoming widespread in the 201620 timeframe. Fliss believes it will become the de facto industry standard resolution in about

Bandwidth and resolutions

Data courtesy of tvONE

Standard

Resolution

Raw image bandwidth inc. blanking, 4:4:4, 24-bit

Best-case loss-less bandwidth (1% overall blanking), 4:4:4 24-bit

HD

1920 x 1080p60

3.6Gbps

3.0Gbps

4K30

3840 x 2160p30

7.1Gbps

6.0Gbps

4K60

3840 x 2160p60

14.3Gbps

12.1Gbps

8K30

7680 x 4320p30

28.5Gbps

24.1Gbps

8K60

7680 x 4320p60

57.0Gbps

48.3Gbps

FEATURE: 4K

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®

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TABLE ARRAY MICROPHONES

five years – by which time, if everything goes according to plan, the Tokyo 2020 Olympics will have been broadcast in 8K… Inevitably, much of the discussion about 4K and 8K revolves around flatpanel displays. There are many who believe that, below a certain screen diagonal, the difference between 2K and 4K can be hard to perceive – and the same holds true at even larger screen sizes for 8K. As many acknowledge: the importance of resolution is relative to screen size and viewing distance. It’s probably significant that the 8K displays that have been demonstrated so far have all been substantial screens: Sharp’s 85in at ISE, and LG’s and Samsung’s 98in TVs at CES.

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Where larger screen sizes have become the norm, Cheng believes that 4K has already established itself. “4K is already the standard for 84in interactive flatpanels,” she claims, “ and will soon be the standard for 75in versions.” She goes on to describe her belief that 4K will soon become widely available in projectors as their price point approaches that of today’s 1080p models.

It is certainly the case that, for large images, projectors have significant practical advantages – and as such, 4K resolution seems to have a practical justification: additional pixels will certainly count for something (although it’s worth recalling that digital cinema launched at 2K resolution, yet was still capable of delivering images almost indistinguishable from film to even the largest screens).

Koen Van Belle, product manager, projection at Barco, brings some sanity to the discussion.

“With increases in resolution, there comes a point where the human eye is the limiting factor,” he says. “When you get to the point where those with the best visual acuity – such as pilots using flight simulators – can’t see the difference, resolution has probably come far enough.

“Resolution is,” he smiles, “one of the elements that contribute to creating the perfect image – one that is so realistic, it is indistinguishable from reality. In order to achieve that, all pieces of the image quality puzzle need to fall into place.”

And that quest for perfection would explain the other hot topic of conversation at ISE: HDR, or High Dynamic Range. HDR displays are capable of delivering a greater range of brightness and luminosity, with a peak brightness around 10 times that of non-HDR screens. Here, the trick is not more pixels – but making each pixel better.

The result? A more realistic, more engaging image. Many believe it can be more significant than 4K. Inevitably, there are downsides. First: HDR content must be specially created – and, as yet, there’s not much of it about, although Netflix has committed to it. Second: delivering better pixels comes at a cost of around 20% additional

March 2016

bandwidth. On the other hand: 2K resolution with HDR requires less bandwidth than 4K resolution, and 4K/HDR less bandwidth than 8K. And third: there is, as yet, no industry standard for HDR.

Visibly superior In theory, the big advantage of HDR over 4K is that images are visibly superior on even the smallest screen sizes. That advantage, though, may be more significant in the consumer market than in the pro-AV market where, as Robledo notes, screen sizes are typically larger and thus derive more benefit from greater resolution.

Tobias Augustin, product manager, largeformat displays at NEC Display Solutions Europe, isn’t sure either. “While 4K resolution offers better image quality, and thus a real benefit for many applications and markets, the benefits arising from HDR will only address a very small market,” he claims. “It’s easy to create images and videos in higher resolution, even with consumer-grade cameras like smartphones or action cams, but creating HDR content is much more cost intensive. The limited availability of HDR-capable

‘There are many markets that are desperately looking for visual solutions in ultra-high resolution’ Thomas Walter, NEC Display Solutions Europe

LCD panels will also have an impact. Nextgeneration high-end displays will feature HDR, but it will take some more time to develop good product packages at a reasonable price.”

Given its potential for improving image quality while consuming much less bandwidth than 4K, it would be tempting to believe that 2K/HDR is in some way an alternative to 4K. Fliss doesn’t believe that’s the case. “The biggest expense with upgrading to HDR is buying a new screen,” he says, “and if you’re doing that, it doesn’t make sense to buy a screen that doesn’t do 4K also. Although it would be technically possible, there is no financial case for having one without the other.”

From a projection point of view, HDR has its attractions. Barco’s Van Belle notes his company’s commitment to bringing affordable 4K to the world of projectors – but says that HDR may also bring image quality benefits more easily.

“If you’re transitioning a projector design from 2K to 4K, the optics need to be re-engineered because the pixel sizes are different and the panel size is different,” he explains. “Also, the electronic inputs need to be capable of dealing with the higher bandwidth, and the internal image

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processing takes a lot more memory and more powerful processors. HDR, on the other hand, is relatively very straightforward to add to either a 2K or a 4K projector.”

The quest for quality So far as the quest for optimum image quality is concerned, the journey is a continuing one. 4K is still a technology in motion as it transitions to higher frame rates and greater colour depth – and the infrastructure necessary to support it. While there are many applications in which 4K resolution is desirable, its widespread adoption will be driven, inevitably, by price.

HDR unquestionably holds promise, not least because of the significant improvement in image quality it is capable of delivering, without the bandwidth overhead of 4K. It is also likely to deliver more visible improvements to screens below 60in than 4K will. However: it will require a new generation of panels and, as such, the future of HDR and 4K appear linked as it’s unlikely that manufacturers will invest in HDR for what is, to all intents and purposes, yesterday’s resolution.

And 8K? It will happen. For the large majority of screen sizes, it will offer no perceptible improvement in image quality over 4K – but that misses the point. The projection and display industry, like most others, is driven by headline specifications, and manufacturers will continue to push to have the highest. And: if you can have an 8K screen for the price you were paying for a 2K screen – why wouldn’t you?

That the projector and display industry can create these products – and we haven’t even mentioned Samsung’s commitment to an 11K TV – is undisputed. The big question is the impact that availability of content and distribution infrastructure will have – and the role that advanced signal processing will play.

The other big and, as yet, unanswered question in all this is: how disruptive will OLED technology be? Early indications are that it is capable of image

quality well beyond what is achievable with LCD – and offers the opportunity for radically new and exciting ways of deploying screens.

As a largely unproven technology, questions remain to be answered about its robustness, its longevity, its suitability for, for example, 24/7 digital signage applications. On the other hand, it plays well into the focus on cost of ownership and environmental issues. If it can achieve the appropriate price points, OLED could change the game in ways that make discussion of resolution superfluous.

HEARD BUT NOT SEEN

Growth potential “OLED technology is an obvious technology for innovative applications in the coming years,” says Facon. “Whether for flexible or rigid screens, the technology will be everywhere because it is the most effective to date. It has the highest growth potential for the display market. We’re only just at the start.”

When all is said and done, it’s not just about technology: it’s about market dynamics, as Van Belle points out. “Firstly: adoption of any new technology requires the alignment of all stakeholders, from content creators to end users,” he says. “Secondly, that adoption only happens when it is commercially viable. We at Barco want to support all stakeholders and listen to market needs: we don’t push technology for the sake of technology.”

Sound business sense, indeed. It’s hard, though, to see an end to projection and display technology being pushed far beyond where it is today in pursuit of that ‘perfect’ image.

www.analogway.com www.avstumpfl.com www.barco.com www.benq.eu www.nec-display-solutions.com www.business.panasonic.eu www.pro.sony.eu www.tvone.com

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28 TECHNOLOGY FEATURE: CONFERENCE VENUES

March 2016

Keeping pace with the trends While virtual and video conferencing are continuing to grow in popularity, ‘traditional’ conference venues are still doing good business – especially if they are prepared to invest in the latest AV technology and enhanced integration, writes David Davies

A

s increasingly sophisticated virtual conferencing systems began to reach the market in the Noughties, one might have reasonably expected the ‘traditional’, physical conference venue sector to have taken a substantial hit.

But with a steady stream of new-builds and refits seemingly being announced each month, the impact actually appears to have been less significant than one might have expected.

Instead, new and old technologies are often found to be co-existing and complementing each other seamlessly.

Of course, diversification has undoubtedly played a part in helping to keep some venues busy. As Bosch Security Systems EMEA

marketing manager Murat Keskinkilinc observes: “A clear trend we are seeing is that traditional conference venues more and more use their [facilities] for multiple purposes. Hence the conference room is not always used for meetings, but also for other occasions like weddings or cocktail receptions.”

But while modern conference centres “excel in flexibility”, it is also evident that “higher-end systems increase the attractiveness of such venues” for a variety of applications, as Televic product marketing specialist Bart De Ruyck observes. Hence, then, the increasing emphasis given to highly specified AV technology – in particular display systems and more userfriendly wireless audio systems – as well as the

Key Points Virtual/video conferencing are increasingly being fully integrated into the infrastructure of ‘traditional’ physical conference venues

A powerful network architecture is highly prized as venues look to add enhanced video and wireless capabilities to their set-ups

As IT departments assume greater responsibility over many projects, AV and IT teams will be obliged to work together more frequently – and more effectively than is sometimes the case at present

FEATURE: CONFERENCE VENUES 29

www.installation-international.com

implementation of a powerful network architecture as the bedrock of it all.

and benefit their everyday business – and the market is still hungry for these.”

Market conditions

Essential elements

By common agreement, the conference market remains highly competitive, with perhaps more pressure applied to budgets since the 200809 downturn. But there is still strong demand for higher-end systems, says De Ruyck, “and moreover, the demand isn’t restricted to any particular market. We see city councils, corporate boardrooms and institutions ready to invest in higher-spec systems. The key issue in any decision still remains what the return on investment is going to be. While inferior offerings might be attractive in terms of initial outlay, in the long run they become less attractive in terms of overall ROI.”

Given the frequent requirement to combine contributions from ‘present’ and remote participants at an increasing number of events, it is no surprise that “enhanced video links” and high-quality recording capability are top priorities

on many venues’ agendas for new-builds or refits.

For Gonsin – whose latest introductions into the market include the 10000 series dual-band and 30000 series FS-FHSS wireless conference systems – flexibility and extensive specifications are the name of the game. Factors that must be accommodated in new system design include “the adaptability of devices to the conference environment (for example, whether fixed/

‘At the moment [AV and IT teams] are fighting each other due to a lack of knowledge, The two factions need to sit around a table and understand their respective needs’ Bart De Ruyck, Televic

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Gonsin marketing co-ordinator Li Peihua acknowledges the popularity of remote videoconferencing, especially for smaller events, but asserts that “virtual conferencing cannot replace the traditional conference; [rather] it is combined with the traditional conference to connect the main conference venue and subconference venue with synchronous information.

So the traditional conference industry is still healthy, but it should be combined with more innovative applications.”

Audio-Technica conference business development manager EMEA Sandra Kellermann suggests: “Demand for new solutions is as big as, if not bigger, than ever in my experience.”

But at the same time, it is clear that prospective customers tend to be more engaged now with the process of selecting the most appropriate system for their current – and probable future – needs.

“In today’s market clients want to know about and understand the solutions open to them, they ask questions, put their demands, and are more involved in actively deciding what suits their application best,” says Kellermann. “In the past, sales people were more likely to close a deal by convincing a customer to pick a solution they wanted to sell. Now it’s more about educating customers as to the solutions that will improve

30 FEATURE: CONFERENCE VENUES temporary, outdoor/indoor); adjustability of system capacity; and extension through other devices, for example personal mobile devices that can be integrated into the conference system,” says Li. As “rich, multimedia meetings” become more commonplace, so to does the need for a “strong network architecture” as a crucial building block of the modern conference venue, says De Ruyck, adding: “Surprisingly, this is often lacklustre, even for larger venues. And even the most ambitious venue plans falter without great network connections.”

Once this is in place, a venue can set about accommodating a number of primary requirements – not least greater support for video and ease of connection for external devices. Successful use of video “requires displays of different sizes, multiple source selection, streaming options, recording capability and so on”, says De Ruyck. “Video simply increases productivity at the end of the day [since] participants see and hear more information, in higher resolutions, which enables better decisions. In addition, conference venues want to make the meeting information available to remote participants of all kinds. This requires seamless integration of multiple functions into

one global solution.”

And whether devices are located in the same room or beyond, “flexibility to connect to thirdparty hardware and software is paramount. Any audio or video streams on a network need to be

March 2016

distributed to a variety of devices. Therefore, having the ability to communicate easily with other equipment makes a system much easier to use and maintain; and the same applies to software integration.”

32 FEATURE: CONFERENCE VENUES Also not to be underestimated – particularly at a time when the breach of several largescale corporate networks has been in the news headlines – is the whole issue of security.

Vendors who can guarantee integrity of data will be particularly in demand, suggests De Ruyck: “Often overlooked in favour of more open system designs, security is today at the forefront in the larger debate on digital privacy.

We go to great lengths, even on the system level, to ensure absolute security of conference data. No matter the size of the venue… confidentiality is always key.”

March 2016

Flexibility and extensive specifications are central to Gonsin’s product offerings

Enhanced sound and ease of use ISE 2016 confirmed that, in particular, there is a significant amount of activity taking place around audio for conferencing applications. For example, Audio-Technica undertook its European launch of the ATUC-50 digital wired conferencing system at the show. “It’s designed to be simple to use and cost effective, but with premium sound quality and real flexibility. The ATUC-50 is aimed at small to medium-sized venues and delivers unrivalled intelligibility, browser-based control and 1+3 language interpretation and wired language distribution,” says Kellermann.

Also on display at ISE was Bosch Security Systems’ DICENTIS Wireless Conference System, which uses “state-of-the-art technologies, standard WiFi and smart wireless management to ensure interference-free (especially in environments with many WiFi networks) and highly flexible wireless conferencing. With minimal time required for set-up or breakdown, several events and meetings can take place in sequence, leading to the efficient use of meeting facilities. This new system is perfect for applications in multipurpose rooms and historical buildings where a flexible wireless solution offers significant advantages,” says Keskinkilinc.

Customers also have an increasingly broad choice of high-quality, aesthetically discreet microphones. “Earthworks is finding more clients that are looking for the audio quality to match the unbelievable performance and resolution that video has achieved,” says Earthworks director of sales and marketing Megan Clifford, who highlights a recent addition to the line of Installed Sound Microphones of the IMB boundary mics: “At just 3.6cm in diameter and available in a black, white or silver finish, the IMB30 provides a lowprofile miking option that seamlessly integrates into the room’s design aesthetic.”

Elsewhere, devices that can be added quickly and easily to a network to allow the addition of other elements to a conference session are also in demand. Televic’s De Ruyck points to a newly developed Plixus Video IN & OUT Box that is designed “to make working with video child’s play. In essence, it is a little black box that allows

you to inject or extract any video, presentations, streams, etc, anywhere on our network.

Participants can easily cycle between all active video streams. Since the product is based on our new Plixus architecture, all you need is a Cat5e cable and an HDMI cable. Meanwhile, all video is transferred over the Plixus network in Full HD 1080p video.”

Future features In the wake of the migration to HD resolution for large displays in many conference rooms, it seems fair to ask whether the new 4K/UHD format might soon be a significant target for investment. But not everyone seems to be convinced that it will be the ‘next big thing’…

“As much as 4K is impressive and eye-catching, the main purpose of any meeting between people is communication,” says Matthias Exner, Audio-Technica business development director EMEA, professional products. “Getting your message across clearly and overcoming cultural and language barriers is – and will be – of key importance for any meaningful meeting.

No matter how audio technology develops, intelligibility and ‘comfort sound’ (where participants can truly listen and understand effortlessly and without straining) should be the number one concern for any venue and conference room.”

Instead of any one specific technology, it is in the convergence between AV and IT systems and teams where many people expect to witness the most profound change over the next few years. “The biggest impact on the technological infrastructure will come from the merging of IT and AV technologies rather than the introduction of [something like] 4K,” says De Ruyck. “Any new technology that is integrating into a solution needs forward-planning and this is where AV and IT will come together.”

For now, it is evident that there is much work to be done to smooth this process. “At the

moment [AV and IT] are fighting each other due to a lack of knowledge, The two factions need to sit around a table and understand their respective needs,” he adds.

All this takes place in the context of a time where, as Kellermann notes, “IT departments frequently become the key decision-makers.

They tend to deal with conferencing equipment in the same way as IT equipment: as a depreciable asset, for which ROI, lifecycle and replacement policy have to be defined prior to the purchase decision. Obviously, higher-end systems will guarantee a better lifespan and more easily perform to spec.”

And as in so many areas of fixed install, it is evident that a unified IP backbone will be integral to delivering systems with an extended shelf life.

In this regard, Keskinkilinc highlights systems such as the Bosch DCN multimedia conference system, which utilises the IP-based OMNEO media networking architecture: “It has two key components that enable both the transport of low-latency, high-quality audio (by Dante) and the provision of a robust control protocol (by OCA).

This results in reliable and secure system control and monitoring of audio devices, over off-theshelf Ethernet networks.”

Remote and virtual conferencing might have altered the overall landscape for meetings – and have certainly obliged manufacturers to facilitate a level of integration that would have been unthinkable five or ten years ago. But on the evidence of our featured vendors, traditional conference venues continue to be in strong demand and are overwhelmingly willing to invest in the new systems that will ensure their customer base remains robust.

www.audio-technica.com www.earthworksaudio.com www.electrovoice.com www.gonsin.com www.televic-conference.com

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34 BUSINESS FEATURE: LIGHTING CONTROL

March 2016

Key Points Switching to LED lighting saves up to 90% in energy costs

Dimming LEDs further reduces power consumption and associated cost

Making the switch

Early problems of flickering, noise and erratic dimming control have been resolved

Central, automated and local user control enhance the environment and increase occupant comfort

Early problems with LED lighting control have been overcome as cost and functionality have improved, leading to dramatic growth in LED lighting in commercial installations. And the boom set to continue discovers Steve Montgomery

L

ED prices have declined since their introduction to the point at which this type of lighting is becoming the economical choice in almost every application. At the same time legislation on energy consumption globally has generated enormous demand for LED lighting across all major end uses: commercial, residential and industrial buildings and outdoor applications.

Navigant Research estimates that the worldwide shipment of LED lamps and modules is expected to grow from 864 million in 2015 to more than 4.1 billion by 2024, as 75% of the world’s light fittings are updated.

The consequent level of demand has provided a massive opportunity for commercial lighting and building services system integrators.

However the technology used to switch and dim LED lighting is completely different from that of legacy incandescent and fluorescent lighting, requiring integrators to learn and master new concepts of application and fault finding.

Over the 10 years or so that LED lighting has grown to become a widely available commercial

product, these early problems with electronic drivers and dimmers have been almost completely resolved. Today’s controllers no longer suffer from distracting effects of flicker, noise, irregular dimming, colour change and shimmer. In retrofit installations, incandescent

‘As LED technology advances, consumers are also becoming more interested in form factor’ Jim Uphoff, ETC

dimmer controllers are unsuitable, largely because they were not designed to operate with the much lower loads of LED or use electronic power techniques designed for purely resistive loads. Installing LED lamps as replacements for other types generally means the replacement of

control equipment too, which adds to the cost and complexity.

“LED lighting systems are different from incandescent lamps,” explains Lutron’s Samuel Woodward, customer education leader for Europe and Africa. “The various parts of an LED system, including the ‘light-engine’, the driver and the dimmer, all interact in electrically complex ways, unlike a resistive lamp. These complex interactions can result in flicker and other undesirable performance issues, which may vary considerably between different models of lamps when used with different models of dimmer.

The challenge in Europe is that, while there are many standards for product safety which apply to both lamps and fixtures, there are no industry standards in place by which to ensure the compatibility of light-sources and dimmers.

“This means that the only way a designer can be certain that a system will work is to test each combination of lamp and dimmer, as different combinations will yield different performance. Verifying compatibility must go far beyond a simple ‘look and see’ test for dimming,

36 FEATURE: LIGHTING CONTROL as electrical issues such as inrush currents, power-factor problems and noise, may vary in their effect on both performance and system life. In response to the global industry need for extensive compatibility test data, Lutron has developed a rigorous test regime, featuring over 25 electrical and aesthetic checks for every model of lamp, to validate its performance in combination with each dimmer type. We have been building a library of test data since 2009 and have tested over 2,000 lamps in combination with our ranges of dimmers.”

Peter Broome, director of Rako Controls, agrees: “The big problem of dimming LEDs is the massive range of interpretation of standards and general quality and product design. This applies to mains dimmable drivers and fittings as well as DALI and 1-10V control systems. We have experienced projects recently in which LED drivers operating well within the DALI spec simply did not work. Some needed a higher voltage to operate; with others, the light did not turn off when the DALI signal was taken to zero and required the mains to be switched – which is not ideal as some drivers initially power on at full brightness or flash, before dimming to their correct level: not desirable in, say, a restaurant, cinema or theatre-type environment.

“Unfortunately it is generally the controls company that is left to pick up the pieces and make it work.

“With mains dimmable devices it is the current surge that needs to be considered; it can vary greatly between fittings. To help, we test many lamps and drivers to allow installers to choose what is best for them and are happy to test new ones on request.”

LED is intrinsically less energy consuming than other forms of lighting. It is not untypical for savings in power consumption of up to 90% to be achieved when switching to LED, which drastically offsets the higher cost of drive electronics and lamps. Further savings are created in reduced maintenance overheads, with LED lamp lifetimes of 50,000 hours commonplace. This is of particular benefit in high-ceiling and outdoor installations where access is difficult and expensive.

Even with such valuable savings, there is still an economic benefit in controlling lights through intelligent switching and dimming. LED can be smoothly dimmed down to 0.1% of full brightness, with equivalent 1:1 power saving.

Lighting controls, including occupancy sensors, automated scheduling and daylight harvesting, can typically save around 60% of a building’s lighting energy use.

Alongside the potential for energy saving, there are many other features that make LED technology attractive to users. Among these are the flexibility and artistic control that it offers, allowing architects and designers to use light as

March 2016

Case Study

Cutting costs and adding colour in Kansas microbrewery venue refit 23rd Street Brewery in Lawrence, Kansas, US, does not fall into the category of bar and grill, or a typical microbrewery.

It is much more: a banquet facility, popular nightspot, fundraising machine for local charities and a venue to throw huge promotional parties, in addition to being a beer distribution operation. The brewery has established itself as a popular local hotspot with its award-winning beers and unique atmosphere.

Due to rising electricity costs and the dangers associated with changing the current lighting in the high ceilings over brewing barrels, LED Source recommended that 70 incandescent light fittings should be replaced by LED lamps and in so doing reduced power consumption by 73%, saving over $2,000 annually.

Combined with a Philips Color Kinetics controller and dimmer, there are now over 16 million colour combinations; sufficient to set the scene for every type of function hosted at the venue.

Matt Llewellyn, managing partner at the venue, said: “We think it was a smart business decision.

We’ll save money and have gained an amazing light show.” creative design elements in and outside buildings and to adjust the atmosphere and use of a building through control of individual luminaires.

Rooms can be repurposed by simple layout changes through the use of movable partitions and their lighting formats adjusted using preset scenes to completely change the style of a room.

Jim Uphoff, ETC’s fixture product manager, has observed a growing interest in LED lighting: “As LED technology advances, consumers are also becoming more interested in form factor. We see this in the market as LED replacement filaments are more often made to look like traditional tungsten sources. Flexible LED strips and panels are becoming more popular because they can be mounted onto many different types of surfaces.

Another technology trend we are starting to see is integration of other technologies into LED fixtures: such as occupancy sensors, speakers and network access points. These help solve issues of access and functionality by increasing the options available in placing light fixtures and creating areas of illumination.”

He notes that users are becoming more knowledgeable as the technology advances: “As with most new technologies, users need time to adapt and this has been particularly true with

LEDs. They are beginning to demand better, brighter and cheaper LEDs. Generally when it comes to lighting, output is always important; however, efficiencies in output and thermal characteristics, as well as quality of light, are starting to become higher priorities. There is now a bigger demand for better colour quality, or CRI [colour rendering index]. Many companies are starting to put CRI levels on their packaging as consumers become more aware of the value of this metric.”

The issues associated with control and cost of LED lights having been overcome, this type of lighting is now an economic and attractive alternative to less energy-efficient incandescent and fluorescent types, giving greater scope for cost-saving, creativity and functionality within the commercial environment. Growth has been phenomenal and this is set to continue – as end users, architects and installers recognise the enormous potential they have to offer in creating buildings of the future.

www.colorkinetics.com www.etcconnect.com www.lutron.com www.rakocontrols.com

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38 SOLUTIONS: SKYWAY, MONT BLANC

March 2016

ITALY

PROJECT OF THE MONTH Installed Audio

Sky-high tech The new Mont Blanc cableway uses the latest in AV technology to make the most of its outstanding views and facilities, writes Mike Clark

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ollowing an investment of €138 million, the new Skyway cableway on the Italian side of Mont Blanc offers a spectacular climb to the heart of the massif. The three stations (Pontal d’Entrèves at 1,300m, Pavillon du Mont Fréty at 2,200m and Punta Helbronner at 3,500m) are connected by two stretches of cableway and the construction, which aimed to get as close as possible to Zero Energy Building standards, features spacious panoramic areas at the stations and spherical 80-passenger glass cable cars that rotate as they move, offering visitors all-round views of the area.

Through Mont Fréty’s huge glazed facades, visitors can view the valleys of Val Veny and Val Ferret and take advantage of facilities such as two restaurants, a bar, a 150-seat multipurpose room, a small shopping centre, a wine vinification cellar, an Alpine botanic garden and a solarium.

Punta Helbronner reproduces the shape of a crystal and was designed vertically with overhanging terraces. The project’s main attraction is the 45ft circular panoramic terrace with its breath-taking 360° view of the majority of the Western Alps (Mont Blanc, Monte Rosa, Cervino, Gran Paradiso and Grand Combin). This station hosts a crystal exhibition, restaurant, bar and multimedia info points.

A concentration of technology is to be found in the multipurpose room at Mont Fréty, which provides a truly unforgettable location for cinema screening, conferences and other events.

The room’s designer, system integrator and

installer was Turin-based Lubiani Tecnologie and, assisted by the company’s technical manager Luca Aprato, sales manager Alessio Aprato followed all stages of the project and its development and modifications from 2013.

Alessio Aprato explains: “The equipment was installed by our staff, under the supervision of Andrea Salzano and Mirko Bravin. The room’s distinguishing feature is without doubt its unusual layout; it’s not at all a standard cinema format and there is a large amount of glazing.”

Apart from a JBL 4645C subwoofer ensuring a beefy bottom end, the 7.1 audio set-up’s speakers are Kelonik Cinema Sound models: three S-2001D two-way extra-flatscreen loudspeakers (left, centre, right), four SR-8-2 rear surround loudspeakers and four SR-8-A side surround loudspeakers. Control is via a Dolby CP750 sound processor and an Ashly DSP 3.6 biamp controller, while the Crown powerhouse comprises four XLI1500 amps for the screen speakers and surround FX, and an XLI2500 for the subwoofer.

Overcoming issues Several difficulties had to be overcome to meet acoustic performance requirements. “We had to carefully analyse all possible transmittance from and to the exterior, also taking into consideration acoustic comfort in the areas adjacent to the room. A reinforced concrete structure can be a double-edged sword – on the one hand it has a considerable mass and tends to deaden acoustic vibrations but, on the other, it leads to a more

Barco DP4K-19B projector Doremi DCP-2k4 ShowVault server LBN D-safe automation interface Barco ACS2048 video scaler Pioneer BDP-170 Blu-ray player Demospec Perlux screen DSE RS-DCC5 HD-SDI 1080P cameras Samsung series 5000 LED monitor DSE DH-S4 Full HD digital switcher Philips 55in Multi-Touch displays HDDS Vision Touch players Sharp PN-U473 47in displays HDDS Vision players

Control Restmoment RX-M9008 interpreter controller Restmoment RX-M1004XP controller for IR radiator Restmoment RX-M3500/2 digital conference controller Ashly DSP 3.6 biamp controller Ashly ne 8800M Network DSP processor Ashly FR-8 remote controller Ashly WR-5e remote control panel Dolby CP750 sound processor

Lighting Arena Luci recessed LED fixtures Elation Opti Tri White fixtures PR Lighting XPAR 336 RGB LED fixtures G-tronics ALU35 LED bars Viseo VBP24-3W25 LED bars Net.do TG-24 24-channel DMX lighting controller

SOLUTIONS: SKYWAY, MONT BLANC 39

www.installation-international.com

About the installer Headquartered in Turin, Lubiani Tecnologie has worked in the cinema technology field for over 60 years An in-house R&D department enables to offer clients custom hardware and software solutions As well as offering turnkey packages from northern Italy to Sicily and further afield (including India and Egypt), Lubiani also has consultancy and technical support experience with numerous internationally famous film festivals Although its core business is cinema technology, projects range from home theatre to multiplexes direct transmission of all impact noises and vibrations that directly affect the structure.

Mechanical decoupling of the various layers of acoustic insulation was thus very important and particular attention was paid to the stratification of the wall covering to make the room ‘dead’.”

One of the aspects of Lubiani’s brief was that the set-up had to be able to run totally automatically. This meant that all the equipment had to be reliable, as Aprato states: “The LBN D-Safe automation system, which we developed in-house, handles all normal operation and any eventual emergencies, which enables full compliance with safety regulations for public entertainment venues.”

The entire system is constantly monitored from the Control Room (NOC) in Lubiani’s headquarters, with immediate round-the-clock intervention in the event of problems or faults.

“The client wanted DCI-compliant 4K cinema projection, but the room also had to be optimised for all alternative uses – not just offer a good compromise. We were also requested to ensure the room’s long operating life and low maintenance costs. This implied the use of LED technology for the lighting and particular attention was paid to the air treatment and extraction systems in the control room.”

Another problem was the curved seating layout, with non-standard proportions (wider than usual and not so deep) and the projection booth located much higher than the screen’s centre.

A layout of this type could have caused viewing problems for the audience and for projection, and the high position of the projector booth

tended to worsen the situation, as distortion due to focal length was added to that caused by vertical offset. Based on these geometric limits a projector able to compensate for distortion was selected, and a short-throw lens applied to obtain linear images with ample shift possibilities, thus achieving the requested final results. These modifications necessitated the use of a projector lamp with higher power, a feature also borne in mind when choosing the projector. For the screen, a micro-perforated fabric with high gain was chosen to further optimise the images’ luminous yield, and the screen frame was inclined by approximately 3.5° to ensure uniform focus.

Video content is projected by a Barco 4K DLP Alchemy cinema projector for screens up to 19m, featuring 4K resolution and combining media server functionalities with Series 3 cinema processing electronics. The projector is fitted with a Barco XLD fixed short-throw lens (0.72:1).

The video control and playout set-up used with the Demospec Perlux 1.8 screen features a Barco ACS2048 video scaler, Doremi DCP-2k4 ShowVault server, LBN D-safe automation interface and a Pioneer BDP-170 professional Blu-ray player.

In-room cameras Four DSE RS-DCC5 HD-SDI 1080P cameras are used to cover events staged in the room and a DSE 4-input DH-S4 HD-SDI digital camera control and video recorder enables videos to be recorded in Full HD at 25fps, as well as remote P2P access via cloud server. A Samsung series 5000 LED monitor is used to monitor camera coverage.

The room’s Restmoment conference system

comprises an RX-M3500/2 digital conference controller, an RX-C3500/08LBI chairman mic and two RX-D3500/08/LBI delegate mics.

The set-up is completed by an Ashly ne 8800M 8-in/8-out digital signal network processor, an FR-8 network remote fader unit (8-channel + master), a WR-5e remote control panel, a Mipro ACT727-7H twin UHF receiver, two Mipro MM-707P hard-wired mics and a speaker podium with an AV-Leader AVL PA-321 gooseneck condenser mic and two Mipro ACT727-7H radio mics for audience participation.

The room’s two-language simultaneous translation system consists of two twin RX-E9008 interpreter stations, an RX-M9008 8-channel interpreter controller, RX-M1004XP 4-channel controller for IR radiator, 32-channel digital IR radiator and 90 RX-E1004XP IR receivers.

The all-LED lighting includes 18 Arena Luci recessed LED fixtures, eight Elation Professional Opti Tri White LED colour changer with 54 3W LEDs (18 Cool White, 18 Warm White and 18 Amber, four PR Lighting XPAR 336 RGB LED fixtures, 18 G-tronics ALU35 LED strips and three Viseo VBP24-3W25 LED bars, controlled via a Net.do TG-24 24-channel DMX lighting controller.

As well as the main installation by Lubiani, other technology was installed by HDDS Vision.

In the Mont Blanc room at the Punta Helbronner station, four Philips 55in Edge LED Backlight Full HD Multi-Touch Displays are used to screen the contents of five HDDS Vision Touch players, and an identical combination is in the station’s Crystal Room. Eighteen Sharp PN-U473 47in Full HD displays are used for digital signage in strategic points at all the stations (two are installed in protective casing outdoors), each used with an HDDS Vision player.

www.arenaluci.it www.ashly.com www.avleader.com.tw www.barco.com www.crownaudio.com www.demospec.com www.dolby.com www.doremilabs.com www.dseitalia.it www.elationlighting.com www.gtronix.it www.hddsvision.it www.jblpro.com www.kcsspeakers.com www.lubianitecnologie.it www.mipro.com.tw www.montebianco.com www.netdo.com.cn www.p4c.philips.com www.pioneerelectronics.com www.pr-lighting.com www.restmoment.com www.samsung.com www.sharp-world.com www.visio.com.au

40 SOLUTIONS: CROKE PARK, DUBLIN

March 2016

IRELAND

Successful conversion Situated in the heart of the city of Dublin, the 82,300 capacity Croke Park stadium has recently undertaken a major upgrade to its sound, communications and voice evacuation systems. Tom Bradbury reports

C

roke Park stadium is known as the home of fast-moving and much-loved Irish sports (primarily hurling and Gaelic football), and is accustomed to hosting a wide range of complementary events – including rock concerts and conferences.

Consequently the stadium’s audio technology has to operate flawlessly seven days a week.

However, the existing systems had become outdated, requiring constant maintenance, and lacking the necessary flexibility.

Based in County Kildare, AV integrator Mongey Communications has a long-term relationship with the client and operates an existing maintenance contract. “Because of the age of the old system and the inevitable support issues this created, we were making so many service calls that our strong recommendation was to replace it outright,” recalls managing director David Mongey. “And Alan Gallagher, head of stadium operations at Croke Park simply said, ‘What do we need to do?’”

After considering their options, the integrators, in consultation with Gallagher, chose an integrated Harman stadium solution combining JBL, Crown and BSS Audio components, supplied by UK and Ireland distributor Sound Technology; this met all the requirements laid down by acoustics consultancy Vanguardia.

With assistance from Ben Todd, Sound Technology’s project engineering manager, the project team evaluated the design

options based around the existing stadium infrastructure and cabling – a large scale project spanning 60-plus individual paging zones, around 280 speaker lines and just short of 2,400 speakers.

They chose an outright replacement of the entire original PA-VA head-end installation – comprising older BSS Soundweb ‘green’ routing DSPs – with the current generation of Soundweb London BLU Dante-equipped DSPs, integrated with 76 all-new Crown DCI-N DriveCore Install network amplifiers. A new under-balcony speaker system comprises 90 of JBL’s All-Weather Compact AWC82 IP56-rated 2-way coaxial loudspeakers.

Site-wide digital The new network design enables site-wide digital audio signal distribution using the Dante protocol to link rack rooms, with the BSS Soundweb DSPs and Crown DCI amplifiers within those eight rack rooms networked via Harman’s proprietary BLU Link low-latency, fault tolerant 256-channel digital audio bus.

“Having an existing Soundweb backbone was

Installed Audio JBL AWC82 2-way coaxial loudspeakers HiQnet Audio Architect and London Architect software Crown DriveCore DCi4/300N amplifiers Crown DriveCore DCi4/1250N amplifiers BSS BLU-806 signal processor with Dante BSS BLU-326 expanders Soundcraft Si Performer 2 console

one reason we decided to stay with a Harman/ JBL solution – the other being that we run a JBL VerTec VT4886 Subcompact in our rental stock,” Mongey continues. “The best sound system I ever heard at Croke Park was when we combined that with the house system. It’s fully integratable, so when we bring this in for special events (such as the biennial Croke Park American College Football Classic) in future we can plug straight into the system and run it over Dante, which offers a far better, more integrated and seamless workflow.”

About the installer Founded by brothers David and Cyril Mongey, Mongey Communications has more than 30 years’ experience in the sound and communications market Operating throughout Ireland, the company specialises in sporting, entertainment and cultural venues and events Major sporting projects have included the Ryder Cup, rugby and soccer internationals at Lansdowne Road as well as Croke Park, and all of Ireland’s major horse racing festivals

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42 SOLUTIONS: CROKE PARK, DUBLIN

March 2016

The system is controlled by Harman’s proprietary HiQnet Audio Architect and London Architect software, programmed by David Howe of Audomation Software, while the new racks – which offer far greater efficiencies and economies – were configured by LBI Projects, which was also responsible for speaker line and associated terminations.

Extensive audit Prior to finalising the system design, the integrators had carried out their own extensive audit of speakers and cabling, identifying and mapping in detail every audio source and destination in the stadium. David Mongey explains: “It was a complete root-and-branch review which told us what we needed to do within the budget to bring the system to the next level – and this was essentially life safety PA-VA, paging/public address and event day entertainment throughout the stadium bowl.

“The choice of the AWC82 had been entirely logical,” declares Mongey. “The sound is absolutely outstanding and it offers better distribution than the previous drivers.”

These speakers are evenly spaced to form a distributed system throughout the main (lower) balcony tier, addressing a legacy issue of poor sound quality in these areas dating back to the pre-existing sound installation.

The new system also had to integrate with existing equipment that included other Harman components, such as Intellivox speaker column/amplifier arrays (which provide coverage for the ‘Hill16’ open terrace).

The matched IntelliAmps also had to be integrated into the new control and monitoring set-up, alongside the new generation Crown 4-channel DCI DriveCore amplifiers (with BLU Link). These comprised 54 Crown DCi4/300N (4 x 300W) and 24 Crown DCi4/1250N (4 x 1,250W), while the first-generation Soundweb 9088s have been replaced by four I/O configurable BSS BLU-806 (with Dante) and 10 BLU-326 expanders.

This offers a much more elegant solution, with greater processing power and lower latency – and a significant reduction in rack space.

(Almost 30 fully fitted full-height 19in racks with their equipment still on board had been wheeled out of the stadium for environmentally friendly recycling as part of the project, to be replaced with just six comparably sized racks, reflecting the technological improvements in audio engineering that have taken place over the years.) “As a result, the power requirement is lower and the air conditioning systems no longer need to be on full whack,” observed a Mongey Communications spokesman. Power redundancy was a further issue, and each rack room is fully supported by a monitored UPS system.

Real-time fault recording and reporting were key features of the new installation, with all key system functions and variables fully supervised and tracked. Critical faults are reported immediately at the stadium fire alarm panels, allowing prompt investigation by the stadium security team. In addition, any critical faults are emailed at the time they arise to key Mongey Communications support staff for followup, and the system also provides a digest of its status (including details of any minor or non-critical faults) on a daily basis for further investigation by the same support team.

Custom front end The new fit-out has been further streamlined by the custom software front end written by David Howe – and both the Security Control Room and the Event Control Room have benefited from the simplicity of new, user-friendly touchscreen paging and control interfaces. A Soundcraft Si Performer 2 master mixing desk in the Event Control Room was supplied as part of the project with direct Dante feeds into the stadium audio network, providing greatly improved control, flexibility and resilience.

“There are a number of areas where the system can operate and there are distinct rooms for PA mixing, Visuals and Hawkeye,” David Mongey explains. Mixing desk positions have also been created for the side of the pitch from where they can submix or plug into the patch panel at the Event Control Room mixing desk, with the on-pitch entertainment linked to the big screen.

The systems also feature fully supervised interlinks with the stadium life safety/fire detection systems: live speech and prerecorded voice-evac announcements can be

triggered automatically from the fire panel, and fireman’s mic sets are available as further back-up in three locations.

The new Harman solution comfortably meets all of Vanguardia’s criteria for speech transmission (STI) and sound pressure (SPL) – as well as the local authority’s offsite noise monitoring thresholds (since Croke Park is in a densely populated area that is susceptible to noise pollution).

After months of careful planning, the entire DSP, amplification and fault monitoring system together with redundant UPS power supply was ultimately replaced within a two-week time window – a mammoth and extremely aggressive project plan requiring tight control

by Mongey Communications’ senior projects and operations manager, Kevin McGrath.

David Mongey reflects on a highly professional job, praising the management and scheduling maintained by his project manager.

“The massive challenge was the short time scale and the most difficult element was getting the old system out and finding the opportunity to fine tune the new system, all within the working life of a busy stadium.

“Everyone supporting the installation worked well together with invaluable help from Ben Todd and Joe East at Sound Technology, Jerome King at Harman, and the Harman EMEA Apps team.

As for the [JBL AWC82] under-balcony speakers, we are so impressed that we have just ordered a large quantity for our own hire stock.”

www.lbiprojects.co.uk www.mongey.ie www.soundtech.co.uk/ professional-audio www.vanguardiaconsulting.co.uk

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44 SOLUTIONS: THÉÂTRES DE LA VILLE DE LUXEMBOURG

March 2016

LUXEMBOURG

The next stage A new intercom system has made backstage communications at this theatre complex clearer and more flexible, reports James Christopher

A

udio and lighting technicians in the grand auditorium and the studio hall of Théâtres de la Ville de Luxembourg are able to communicate with each other thanks to a new Delec Oratis Compact intercom system with Dante interfaces.

Théâtres de la Ville du Luxembourg, which has two halls in the main Grand Théâtre venue as well as the Théâtre des Capucins within walking distance, has used Salzbrenner Stagetec Mediagroup technology since 2003.

In 2014, when it became apparent that the analogue intercom system previously installed

by Mediagroup had reached its limits, Claude Dengler, who has recently become head of the theatres’ audio and video department, visited Delec (part of Mediagroup) at the Prolight + Sound show, along with his predecessor.

Impressed by the feature set of Delec’s Oratis Compact matrix and the system’s Dante capability, the duo asked Bettina Guter of Delec to design a system that would fit neatly into the venue’s existing set-up.

As the pair had expressed their desire to use the venue’s existing cabling, Delec’s first job was to devise a network that would connect the CS0800 Dante matrix frame, seven control panels (three with Dante interfaces), two Unito DIOs, two Unito NIOs 0204 and a GPIO32 interface in such a way as to provide a flexible intercom system.

In addition to the new control panels with digital Ethernet connectivity, the venue decided

to retain its French-built analogue wireless radio system for behind-the-scenes applications.

These are connected to two Delec Unito DIO units, providing up to four independent communication channels. The reason for requesting a Dante system was the need for flexible connectivity of two Desk16 panels, which may be used in different places, such as the auditorium and backstage area. They can now be plugged in at almost any location.

Future capabilities Dengler is well aware that the venue is currently only scratching the surface of what the new Delec system is capable of: “We know that the system can be connected to our Nexus network for applications such as emergency paging and the like, and I’m sure we will take advantage of that as soon as the need arises.”

Based on Bettina Guter’s design, the theatre crew installed the required Delec components as well as a CAS 100 stage management system and a CAS Interface 64 under the supervision of Mediagroup Systems Integrator’s Matthias Panzer-Schmidt, after which Uwe Binder of Delec programmed the requested functionalities and provided on-site training.

The Grand Théâtre’s main hall now boasts pristine audio quality for all communication needs among the technical crew and the stage manager. The same also applies to the studio auditorium, where the need for flexibility is even more important, requiring the stage manager to

Installed Audio Delec Oratis CS 0800 Dante intercom unit and audio matrix Delec Unito DIO I/O interfaces Delec Unito NIOs 0204 I/O interfaces Delec GPIO32 interface module Delec Desk16 subscriber panels Salzbrenner CAS 100 stage management system Salzbrenner CAS Interface

About the integrator Salzbrenner Stagetec Mediagroup employs about 280 experts inaround the world Its offering includes development, systems integration and distribution of audio and video technology, communication technology and alarm systems Its headquarters is located in Buttenheim, Upper Franconia, and it has branches in Berlin, Loeffingen, Chemnitz, Rome, Vienna, Brussels, Kuala Lumpur, Beijing, Sydney, Sao Paolo, Moscow, Hong Kong and Atlanta rely on wireless communication.

Most of Théâtres de la Ville de Luxembourg’s opera, ballet and theatre productions are international guest performances that simply cannot be rescheduled – so Dengler appreciates the “excellent service, with superfast response times” provided by Mediagroup. And thanks to the new Delec intercom system, all the people involved can communicate in any language, secure in the knowledge that they will be heard loud and clear.

www.delec.de www.salzbrenner.com

r a e y t x e n in ga a u o y See in Amsterdam.

A joint venture partnership of

46 SOLUTIONS IN BRIEF

March 2016

GERMANY

Altonaer Theater chooses Alcons A new sound system has been installed in the of the Altonaer Theatre, Altona as part of a modernisation of the facility. Two flown arrays of five Alcons Audio LR7were chosen along with two BF302i installed as low frequency support under stage. Alcons ALC2 and ALC4 with DDP (Digital Drive Processor) were used for system drive and amplification. “The sound and vocal intelligibility of the LR7 was immaculate and significantly better than that of the comparative system,” said Andreas Meyer-Delius, technical director of the Altonaer Theater. “In addition, the Alcons system has a uniform signal transmission in all frequency ranges, without the so-called ‘beauty dent’ in the 1,000Hz range. This gives the engineer greater freedom in the sound scaping.”

www.alconsaudio.com

LITHUANIA

Signagelive for National Post Office

www.signagelive.com

Lithuania’s National Post Office has deployed a Signagelive-powered digital signage network to optimise promotional opportunities in its network of financial services, PayPost.

Signagelive’s SoC and HTML5-based digital signage platform has enabled PayPost to roll out a national digital signage network that can be managed from a centralised point.

The digital signage network is being used to reduce the organisation’s dependency on printed advertising and deliver a better customer experience by raising awareness of different products and services offered by the post office.

The network comprises 67 46in Samsung OMD46-W 2,500 nits high brightness displays installed in outdoor self-service payment kiosks located in front of all major post office branches.

USA

Alcorn McBride flour mill ride The Flour Tower interpretive ride takes visitors on an eight-storey freight elevator trip through a recreated flour mill at Minneapolis’s Mill City Museum. Historic still photos and film clips are projected in the sets on the ride’s five stops, and are accompanied by the oral histories of the millers who worked there.

The ride’s ageing show control system was recently replaced with Alcorn McBride’s V16 PRO with AMI/O to easily connect large amounts of field I/O with a single Ethernet cable, interfacing with the elevator control and the many machine motors on the show sets. A ShowTouch touch panel interface was retrofitted in the elevator cab for the use of museum interpreters. A new Alcorn McBride LightCue DMX recorder/player was also installed to replace the previous lighting system.

www.alcorn.com

SOLUTIONS IN BRIEF

www.installation-international.com

ITALY

47

SOUTH AFRICA

Single system for hotel IPTV and signage

Church opts for Electro-Voice – again

Tripleplay IPTV is on view in the four-star A.Roma Hotel in Rome, which opened in July 2015. In-room TV facilities have been installed all 276 of the rooms and suites, played out on Samsung 690 Smart TVs, with no need for a set-top box.

A.Roma knew it wanted to use the Cat6 cabling within the hotel’s LAN infrastructure. Another requirement was to have just one remote control for all systems on the TV, in order to keep entertainment simple for the guests. General manager Matteo Mancini stated: “We definitely did not want two systems to manage the digital signage and IPTV and we wanted something easy to use. Tripleplay’s single-platform solution was just what we desired and the management of the platform is extremely user friendly. I have found it a lot easier only having one platform to control for two solutions and it is very easy for guests to navigate too.”

The Bridge Church in Johannesburg recently upgraded its sound reinforcement system with Electro-Voice ETX powered loudspeakers, significantly improving sound quality and coverage in the 400-seat venue.

The church was pleased with the Sx300 speakers installed there in 2012

by EV partner Prosound, making the brand the first choice when it came to upgrading the system.

Now, four ETX-15P loudspeakers are flown at the front of the stage, with ETX-10P cabinets acting as flown side fills and delays. Six ultracompact S-40 loudspeakers serve as front fills to add high-frequency coverage for the first few rows, while two ETX-18SP and two ETX-15SP subwoofers handle the majority of the low-end enhancement. A DC-One sound system controller handles all time alignment and equalisation over the system and ensures user-friendly supervision and control.

www.tripleplay-services.com

www.electrovoice.com

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TECHNOLOGY

Kit you need to know about

PRODUCT OF Lab.gruppen THE MONTH E 10:4, E 5:4, E 2:2 amplifiers

It’s… The E 10:4 and E 5:4 are first fourchannel models in the E Series of installation amplifiers while the E 2:2 is a two-channel unit.

What’s different? With the introduction of four-channel models, the E Series can now offer eight channels configurable as any of 21 different power output and channel combinations in the same rack space as one 2U C Series unit. Options include one-to-one alternatives for the C 20:8X (with two E10:4 in a 2U space) and the C 10:8X (with two E 5:4 units).

Details: The new flagship model of the E Series, the E 10:4 provides four discrete

inputs and four flexible output channels producing 1,000W of maximum total output at 4, 8, 16 ohms or into 70V. Nominal maximum output per channel is 250W, but with the E Series’ proprietary asymmetric power-loading capability, one channel can produce output beyond the nominal maximum when other channels have lower power requirements. Each channel may be individually optimised to drive either a low impedance (4-16 ohms) or a 70V load.

The E 5:4 also provides four channels of Lab.gruppen amplification with all the same features as the E 10:4, but with a maximum total output rating of 500W (4 x 125W nominal at 4-16 ohms or 70V).

The new two-channel addition, the E 2:2 (2 x 100W), offers installers a cost-effective option for lower power applications.

Installation-oriented features of all E Series amplifiers include detachable screw terminal blocks for input (balanced) and output connections, 50Hz high pass filter switchable per channel, auto power on/off functionality, GPI facility for external control, comprehensive circuit protection and fault indication, and lownoise temperature-controlled fans.

Available: Now www.labgruppen.com

50 TECHNOLOGY: NEW PRODUCTS Aptovision BlueRiver chipsets Aptovision has released new reference designs for its BlueRiver chipsets enabling point-to-point HD video signal extension of up to 250m over CatX network cabling.

Available on new reference designs for its BlueRiver NT, BlueRiver NT+ and new BlueRiver 400 chipsets, these unprecedented distance specifications enable up to 250m/230m for HD video and up to 160m/150m for Ultra-HD/4K video on Cat6a/Cat5e cabling. www.aptovision.com Exterity ArtioSign Designed for organisations that want to install multiple displays to enhance the employee, visitor or guest experience, the Exterity ArtioSign system offers users a feature-rich, fully configurable digital signage application and IP video system in one. Every AvediaPlayer Receiver comes with ArtioSign built-in as standard to facilitate integration and enable organisations to benefit from the digital signage capabilities combined with the Exterity IP video system. Using ArtioSign, organisations can turn any connected display into a digital signage delivery point, centrally control the time, location and target audience for each of their messages, as well as tailor the experience to specific audiences and locations. www.exterity.com Crestron TS-1542 A new HD touchscreen, the TS-1542 features a metal construction and a 15.6in capacitive touchscreen with Crestron Smart Graphics that enables integrators to deliver a rich and immersive large-format interface at an affordable price. The TS-1542 boasts the technology feature-set of the TSW touchscreen line, as well as flexible installation options for in-wall applications or a stylish tilt table-top stand. www.crestron.eu Martin Audio CDD-WR Martin Audio has extended its CDD series with the addition of weatherised variants.

CDD-WR loudspeakers meet a rating of IP54 and are accompanied by a full range of weather-resistant mounting brackets. They also benefit from a weatherised water resistant grille made from zinc-plated mild steel with a powder-coated finish.

The CDD5TX-WR and CDD6TX-WR feature a dual cable gland for easy daisy-chaining of cabinets without the need for external breakout boxes, and also boast a 100/70V line transformer. The CDD8-WR through to the CDD15-WR feature a single cable gland on the input cover and the CDD10-WR to CDD15-WR are also flyable with stainless steel fixings. www.martin-audio.com

March 2016

Allen & Heath GR3, GR4 It’s… Two new installation mixers designed to provide simple yet comprehensive control of programme audio and announcements for multiple zones in bars, restaurants, stores and other leisure and retail environments.

What’s different? Both the GR3 and GR4 are 1U rack-mounting audio mixers, with standout features that include an easy access mic input on the front panel for announcements and paging, zonal auto-ducking for paging and emergencies, and optional wallplates for remote control. The innovative control layout allows system integrators to manage which controls are accessible for everyday use.

Details: The GR3 has two mic inputs and two stereo inputs, and the GR4 has four mic inputs and four stereo inputs. Additionally, the GR4 has a 3.5mm jack on the front to connect portable music sources, such as an iPod. Both units have two stereo zones, and an additional two mono zone outputs are available on the GR4.

There is individual mix and selectable control of all inputs to zone 1 and 2, and multiple options for configuring mix outputs to zones 3 and 4 via internal jumpers. Additionally, gain and two-band EQ is available on all mic inputs with a two-band EQ available on zones 1 and 2 outputs. There is automatic ducking in primary and secondary mic mode, as well as emergency mic mode and jukebox mode. Ducking parameters, such as attenuation, hold and release can be adjusted by entering ‘programming mode’ which also allows control over line input crossfade times and the priority line inputs hold and release times.

Available: Now www.allen-heath.com

eyevis eyeLED-M, ePanel It’s… Two new series of LED panels.

What’s different? The ePanel product family is said to be a perfect fit for bezel-free LED walls with high resolution and a minimal pixel pitch, while the eyeLED-M series (pictured) features single LED boards comprising a module that can be arranged in any way and even be installed separately.

Details: Currently, four types of ePanels are available, with pixel pitches ranging from 0.9mm to 1.9mm. All modules have a 16:9 aspect ratio, which enables the simple set-up of all standard formats such as Full HD or Ultra HD. Thanks to a pre-selection of high-quality LEDs as well as factory calibration, the single ePanel modules fit together as one. They are suitable for the presentation of videos and images for example in retail, TV studios and mission-critical control rooms.

The eyeLED-M series enables the implementation of specialised project

requirements, as the display surfaces can be assembled individually. A first project based on the eyeLED-M series has already been realised for a client who received a square LED module adapted to the dimensions of their exhibition booth.

To achieve such flexibility, the new series’ mechanics are built with high precision.

Moreover, the rearside unit, housing the power supply and image processing, can be detached if necessary and installed separately at a distance.

Available: Now www.eyevis.de

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52 TECHNOLOGY: SHOWCASE

March 2016

STEERABLE AUDIO A number of manufacturers are increasing the level of control over beam steering and splitting as well as increasing SPL output to target larger venues, writes Duncan Proctor

Fohhn offers incremental beam steering Fohhn’s Focus Modular loudspeaker systems bring the company’s beam-steering technology to larger rooms and venues. The series includes two high-frequency models, FM/I-100 and FM/I110, as well as a low-mid model, FM/I-400.

An advantage of these systems is the vertical sound inclination angle and beam width can be adjusted in 0.1° increments using a single Fohhn software program, which means they do not require built-in presets.

The FM range includes 1in compression drivers, waveguide and horn as well as an algorithm to suppress unwanted side lobes.

One FM/1-100 can produce a maximum SPL of 148dB at 1m distance and 108dB at 100m. The largest model weighs just 41kg, demonstrating the high level of performance for its size.

Focus Modular systems also offer installation flexibility both indoors and outdoors, and can be mounted flat against a wall or integrated into the wall itself. Their unobtrusive design and choice of RAL colours also allows them to blend with a variety of interiors.

Kling & Freitag delivers real-time monitoring The VIDA steerable system can be used for both speech and musical performances due to its coaxial three-way structure. VIDA also has a lower cut-off frequency of 57Hz with one module capable of over 134dB SPL. To provide 20dB of rear attenuation in the low to mid frequency range, VIDA utilises a combination of VIDA C and VIDA L, which makes it easier to use with headsets or lavalier microphones.

The system can be expanded up to 8.90m long and both electrically and mechanically inclined.

Beams can be adjusted in 0.1° steps for different listener zones, and electrical adjustment via tablet saves time when responding to changing sound scenarios.

www.fohhn.com

Meyer Sound brings HF steering and splitting The CAL product line consists of CAL 32, CAL Each model is capable 64, and CAL 96 models with between 32 and of between 5° and 30° 96 4in cone drivers and 0.75in dome tweeters, beam width adjustment with each driver having its own channel of in 5° steps, and the DSP and amplification. The HF drivers enable beam can also be effective beam steering up to 10kHz, and the steered vertically in 1° CAL 96 produces 106dB output at a distance stages to ±30°. The CAL of up to 90m.

64 and CAL 96 models The dedicated DSP output and amp channels offer beam splitting, help create uniform beams of sound with with upper and lower minimal grating lobe effects, even at extreme beams individually steering angles. adjustable for both In addition to the extended high-frequency vertical coverage and beam steering and beam splitting, CAL off-axis angle. systems also include greater coverage control and higher levels www.meyersound.com of accuracy and directionality.

www.kling-freitag.biz

JBL offers long-throw capability The Intellivox-DSX500 is the flagship array of JBL’s slimline Intellivox DSX range. Its 4m acoustic length offers long-throw capability as well as greater control at lower frequencies.

One DSX500 can cover 70m while maintaining even SPL, which makes it suited to transport hubs, lecture halls, and any other reverberant environments.

The DSX500 features 28 customdesigned 4in loudspeakers, arranged in accordance with a patented algorithm.

The eight 1in dome tweeters, driven by a 16-channel Class D amplifier, are designed to improve horizontal coverage at high frequencies.

Additionally, to broaden its possible uses, JBL has implemented an extensive set of surveillance functions to meet the demands of voice alarm applications.

www.jblpro.com

www.installation-international.com

Renkus-Heinz combines high output with slim design The IC32-RD and IC32-RN are the most powerful models in the Iconyx Gen5 range, covering up to 80m in a low-profile design.

The digitally steerable systems have beam steering technology effective down to 200Hz as well as multiple beams and acoustic beam centres.

Iconyx technology provides sound system designers with the tools to create a system that can function in the most acoustically demanding spaces. Up to 16 steerable beams can be individually shaped and aimed from a single IC32 column using the software-controlled DSP. Multichannel amplifiers power arrays of 32 4in coaxial transducers, each with a triple-tweeter HF array, to create an ‘array within an array’. This is designed to reduce the distance between HF sources for improved HF performance with broad horizontal dispersion.

www.renkus-heinz.com

TECHNOLOGY: SHOWCASE 53

Wide horizontal coverage from K-array The KH5 self-powered line array element, part of K-array’s Concert Series speaker range, has digital acoustic steering for wide horizontal coverage and is able to produce up to 139dB. Research to develop the next-generation Firenze Series touring systems has been applied to the Concert Series and resulted in a number of advances including integrated DSP with multiple analogue and digital inputs as well as an onboard touchscreen with matrix control.

In addition, the KH5 also features K-array’s signature ‘Slim Array Technology’ design, and includes capabilities to allow stacking and hanging in a number of positions.

The KH5 has two 15in neodymium woofers with a 3in voice coil and four 1.4in compression drivers. Despite

the size of the large format speaker, it maintains a strong performance to size ratio, making it highly suitable for houses of worship, theatres and stadiums.

www.k-array.com

PLANYOUR MONTH AHEAD

Our pick of what to see, do and discover in the weeks ahead, including a spotlight on Frankfurt, understanding Big Data and networking with pro-audio luminaries

PICK OF THE MONTH

Light + Building The 2016 event will run from 13-18 March at Messe Frankfurt. Confirmed exhibitors include Arditi, Basalte and Bosch.

LEARN

light-building.messefrankfurt.com

READ

solutions and technologies that increase the economic efficiency of a building and make life easier for the user will be on show along with the latest design trends in the luminaire market.

ENJOY

The motto for this biennial trade fair for the lighting and building services technology is ‘Where modern spaces come to life: digital – individual – networked’. A wide variety of

PSNPresents

Big Data in Practice

Installation 1: System Fabrication

The third edition of this panel debate and networking event returns to the Soho Hotel on 10 March. Confirmed speakers include producer Youth, engineer Phill Broan and West End sound designers Simon Baker and Ben Harrison. Register at www.psnpresents.com for your free ticket.

Bernard Marr This book shows how major companies are using big data every day, from an up-close, on-the-ground perspective. From technology, media and retail, to sport teams, government agencies and financial institutions, learn the actual strategies and processes being used.

This three-day course will take attendees through everything they need to know before they power up the rack. Taking place from 4 to 6 April in Fairfax, Virginia, this hands-on course will teach stepby-step methods and best practices for essential installation skills.

A BUSINESS PRESENTATION FOR 300 PEOPLE, WITHOUT MICROPHONES. Constellation delivers exible acoustics for business.

Learn more about Constellation at meyersound.com/constellation