Sound & Communications April 2019, Vol 65 No 4 by Sound & Communications

C O M M E R C I A L

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T E C H N O L O G Y

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A P P L I C A T I O N

April 22, 2019 Vol. 65 No. 4

A Monumental Undertaking

High-Impact Worship Experience

Rock Springs Baptist Church boasts modern AVL, archiving and streaming

Rock City Church’s tour-level AVL network, with streaming to other locations

Two Rooms, Many Functions AV transforms St. Thomas High School’s gym and performance hall into worship spaces

Visual Wonder, Audio Challenge Church of the Presentation’s expansion is a great success, despite acoustical obstacles

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CONTENTS Volume 65 Number 4

38 HIGH-IMPACT WORSHIP EXPERIENCE

70 A MONUMENTAL UNDERTAKING

By Dan Daley

Rock City Church’s tour-level AVL network, with streaming to other locations.

50 TWO ROOMS, MANY FUNCTIONS

AV transforms St. Thomas High School’s gym and performance hall into worship spaces. By Anthony Vargas

Rock Springs Baptist Church boasts modern AVL, archiving and streaming.

76 A WORLD OF AV TECHNOLOGY

A dispatch from Prolight + Sound Guangzhou 2019. By Andy McDonough

62 VISUAL WONDER, AUDIO CHALLENGE

Church of the Presentation’s expansion is a great success, despite acoustical obstacles. By Dan Daley

T E C H N O L O G Y

A N D

A P P L I C A T I O N

F E AT U R E S

COLUMNS

DEPARTMENTS

8 WAVELENGTH

11 NEWSLETTER 32 INDUSTRY POV

A V

By Dan Ferrisi

14 SOUND ADVICE

By Peter Mapp, PhD, FASA, FAES

18 IOT C O M M E R C I A L

By Mike Brandofino

Sound & Communications April 2019

20 HOUSE OF WORSHIP: BUSINESS By David Lee Jr., PhD

22 THE COMMISH

By James Maltese, CTS-D, CTS-I, CQD, CQT

24 WHAT WOULD YOU DO?

By Douglas Kleeger, CTS-D, DMC-E/S, XTP-E, KCD

28 AVIXA POV By Brad Grimes

108 AVENT HORIZON By Pete Putman, CTS

Two Macro Trends Affecting AV: What’s driving our decision-making now and into the foreseeable future? By Fred Morgenstern, CTS

34 INDUSTRY POV

Selecting Technology To Build Tomorrow’s Conference Spaces: Bringing clients tangible value, while creating new business opportunities. By Loren Shaw

36 INDUSTRY POV

How Projectors ‘Illuminate’ Worship Services: Projectors remain the optimal display technology for houses of worship. By Ramzi Shakra

84 MARKET BRIEF 85 NEWS 88 CALENDAR 93 PEOPLE 94 PRODUCTS

99 SOFTWARE 101 MEDIA 103 CENTERSTAGE 106 MARKETPLACE

WAVELENGTH Springtime is an especially busy time of year for the commercial AV industr y. My own itinerar y includes two major trade shows: Digital Signage Expo (DSE) in March and the NAB Show this month. I just returned from a hugely productive DSE, where I saw the latest in directview LED displays, digital menu boards, interactive wayfinding solutions, and 4K- and 8K-capable flatpanels. One of the highlights, however, occurred before the show-floor ribbon cutting even took place. On Monday, March 25, several other media members and I participated in a Samsung-organized tour of eye-popping AV implementations on the famed Strip in Las Vegas NV. Given our industr y’s collective focus on technologyinfused experiences, there could be no better showcase of contemporar y AV excellence. The afternoon began at The LINQ Hotel & Casino, where the traditional sportsbook has been transformed into a guest-focused immersive environment. “The Book” features fan caves—not to be confused with man caves—that were

reimagined in Phase One of a multiphase AV-integration process. The space is outfitted with Samsung QM Series LED displays, all boasting 4K resolution and offering high dynamic range (HDR). Between 80 and 90 displays are already deployed—the sizes range from 43 inches to 98 inches—and another 60 to 65 displays will be integrated in Phase Two. McCann Systems, the source of many Sound & Communications installation feature leads over the years, was The LINQ’s integration partner. The hotel and casino didn’t limit itself only to attention-grabbing displays, however. The McCann Systems team also integrated sound reinforcement and control systems. Another ver y cool aspect of the project centers on the “Beer Yourself” area, where guests can utilize mounted touchscreens to order their beverage of choice, and then have the order filled from taps right below the screens. The LINQ’s offerings, taken together, deliver the essence of an immersive, AV-infused fan experience. Next up on that busy Monday after-

noon was a private ride on the High Roller, a grandscale, 550-foot-tall Ferris wheel. And then, the gathered media members toured the Strip to check out the diverse applications Dan Ferrisi of display technologies on the glitziest four miles in the US. The Samsung team pointed out prominent clients, including SLS Las Vegas, The Mirage, The Bellagio, Aria, The Cosmopolitan and CityCenter. And, we got to see Walgreens’ wow!-worthy cur ved LED deployment, the largest on the Strip. Guest-focused immersive environments are undeniably the way of the future for AV professionals. Las Vegas, perhaps more than anywhere else, exemplifies the exciting possibilities inherent in them.

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CONTRIBUTORS A V F O R S Y S T E M S I N T E G R AT O R S , C O N T R A C T O R S A N D C O N S U LTA N T S

Editor Dan Ferrisi dferrisi@testa.com Associate Editor Anthony Vargas avargas@testa.com Assistant Editor Amanda Mullen amullen@testa.com Contributing Editors Pete Putman, CTS Jim Stokes

Contributors Mike Brandofino Dan Daley Brad Grimes Douglas Kleeger, CTS-D, DMC-E/S, XTP-E, KCD David Lee Jr., PhD James Maltese, CTS-D, CTS-I, CQD, CQT Peter Mapp, PhD, FASA, FAES Andy McDonough Fred Morgenstern, CTS Pete Putman, CTS Ramzi Shakra Loren Shaw Technical Council Joseph Bocchiaro III, PhD, CStd, CTS-D, CTS-I, ISF-C, The Sextant Group, Inc. Douglas Kleeger, CTS-D, DMC-E/S, XTP-E, KCD David Lee Jr., PhD, Lee Communication Inc. Peter Mapp, PhD, FASA, FAES, Peter Mapp Associates Pete Putman, CTS, ROAM Consulting LLC

Art Director Janice Pupelis jpupelis@testa.com Digital Art Director Fred Gumm Production Manager Steve Thorakos Sales Assistant/Ad Traffic Jeannemarie Graziano jgraziano@testa.com Advertising Manager Robert L. Iraggi riraggi@testa.com Classifieds classifiedsales@testa.com Circulation circulation@testa.com Operations Manager Robin Hazan Associate Publisher John Carr jcarr@testa.com President/Publisher Vincent P. Testa Editorial and Sales Office Sound & Communications 25 Willowdale Avenue Port Washington, New York 11050-3779 (516) 767-2500 | FAX: (516) 767-9335 Sound & Communications Sound & Communications Blue Book IT/AV Report The Music & Sound Retailer DJ Times • DJ Expo ConventionTV@NAMM ConventionTV@InfoComm

Brad Grimes is Senior Director of Communications for AVIXA, the Audiovisual and Integrated Experience Association, and the former editor of Pro AV magazine. He edited the McGraw-Hill Education books CTS-D, Certified Technology SpecialistDesign Exam Guide; CTS: Certified Technology Specialist Exam Guide: Second Edition; and Networked AV Systems.

Andy McDonough has been a musician, freelance writer and technology consultant for more than 25 years. His company, LearningFirm Media, provides education, training and technology solutions for Fortune 500 companies, arts institutions and government agencies.

Fred Morgenstern, CTS, is Product Director for Neutrik USA. Each year, he helps thousands of AV professionals optimize their connectivity solutions.

Ramzi Shakra is a Product Manager for commercial large-venue projectors at Epson America, Inc. In his role, Shakra is responsible for strategizing and implementing product management and marketing initiatives to help bring commercial largevenue projectors to market.

Loren Shaw’s responsibilities with InFocus include management of global marketing activities and oversight of the product-management team. He joined the company as Product Line Director, and he’s served as Director of Marketing. Shaw has experience with every aspect of the product lifecycle, from development and sales to marketing and support.

Dan Daley has covered the confluence of technology, business and culture for almost 30 years. He has also been a successful composer and recording studio owner, and he authored the book Unwritten Rules: Inside the Business of Country Music.

Technical Council member Douglas Kleeger, CTS-D, DMC-E/S, XTP-E, KCD, shares insights gained from more than 35 years’ experience in the AV industry in his “What Would You Do?” column, as well as “Secrets To Success.” He offers a unique perspective on the AV industry and how it affects our lives.

Technical Council member David Lee Jr., PhD, is CEO of Lee Communication Inc., Orlando FL. He is a licensed minister who has more than 25 years’ experience as a systems integrator. He writes the monthly “House of Worship: Business” column. Contact him at dlee@testa.com.

James Maltese, CTS-D, CTS-I, CQD, CQT is the VP of Quality Standards at Level 3 Audio Visual, where he has commissioned thousands of AV systems. He is a board member of the Association for Quality in AV Technology (AQAV). He is a Senior Academy Instructor for AVIXA, and he was Educator of the Year in 2017.

Contributing Editor Pete Putman, CTS, President of ROAM Consulting LLC, is a Senior Academy Instructor for AVIXA and was named 2008 Educator of the Year. Putman is a member of SMPTE and SID. He writes the monthly “AVent Horizon” column and occasional feature articles.

Sound & Communications (ISSN 0038-1845) (USPS 943-140) is published monthly for $25 (US), $35 (Canada & Mexico) and $65 (all other countries), by Sound & Communications Publications, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779. Periodicals postage paid at Port Washington, NY, and additional mailing offices. Copyright © 2019 SOUND & COMMUNICATIONS PUBLISHING, INC. Reprint of any part of contents without permission is forbidden. Titles Registered in the U.S. Patent Office. POSTMASTER: Send U.S. address changes to Sound & Communications, PO Box 1767, Lowell, MA 01853-1767. Canada Post: Publications Mail Agreement #40612608. Canada Returns to be sent to Bleuchip International, P.O. Box 25542, London, ON N6C 6B2.

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NEWSLETTER VIZRT ACQUIRES NEWTEK, EXPANDING VIDEO SYSTEMS CAPABILITIES Vizrt (Bergen, Norway) has acquired NewTek (San Antonio TX), a prominent company in the IP-based, software-driven live video production category. The acquisition, according to the principals, creates the largest company in the broadcast space that is dedicated to enabling IT-based video production. The combined company emerges as a driving force in the transition to IP video for live production with NDI and SMPTE 2110, with each serving different needs. The company will deliver end-to-end workflows for all levels of production and software-based products and services for media, sports, entertainment, education, enterprise and esports. “Combining our organizations allows us to pursue our joint vision of software-based video production, leveraging the power and flexibility of computing and IT-based systems,” Michael Hallén, President and CEO of Vizrt, remarked. “The combined business will be very well positioned to deliver turnkey systems that give creative power to any organization that has ambitions of producing content for any output platform.” Hallén will lead the business. Dr. Andrew Cross, current President and CTO of NewTek, will assume the role of President of Research and Development of the combined company.

PRO MEDIA AUDIO & VIDEO ACQUIRED BY ORIGINAL FOUNDER Pro Media Audio & Video (Denver CO) has been acquired from Panasonic North America (Newark NJ) by the original Founder, Andrew Serb, leading a group of private partners composed of senior staff members. The new ownership will leverage the company’s core of industry veterans to expand on its 43 years’ experience engineering AV solutions for the sports, live entertainment, performing arts, corporate and transportation markets. The acquisition was effective March 1. Pro Media’s legacy is steeped in live sound production in settings with discerning quality standards. This ethos has extended across the business as the firm has diversified its offerings with IPTV, digital signage and enterprise network integration. “Our 43-year history designing, integrating, installing and operating...audio and video systems has given us a mastery of the technical and practical nuances required to create outstanding technology experiences,” Ted Leamy, Pro Media General Manager, stated. The business will maintain its iconic name, Pro Media. Headquarters are located in Denver, with operations and sales offices in Dallas TX and northern California.

NSI INDUSTRIES AND PLATINUM TOOLS ANNOUNCE MERGER NSI Industries, LLC (Huntersville NC), a provider of electrical and control products, has announced a merger with Platinum Tools (Newbury Park CA), expanding its product portfolio and market reach. Platinum Tools is a player in the datacom products category, encompassing the preparation, installation, hand termination, and testing of wire and cable. “The Platinum Tools product portfolio is entirely complementary to our NSI electrical solutions and will add immediate category depth,” G. R. Schrotenboer, CEO, NSI Industries, stated. Platinum Tools’ portfolio includes cable-management solutions, structured wiring products, tester kits, cutters, crimpers and other products for electrical, industrial, security, audiovisual, commercial, residential, datacom and telecom applications, which expands NSI’s market reach. Founded in 1997, Platinum Tools employs approximately 40 people. It will continue to operate out of Newbury Park.

PLANTRONICS TRANSFORMS INTO POLY IN COMPANY REINVENTION Plantronics, Inc. (Santa Cruz CA), has announced that the company has transformed into Poly, a technology company focused on the human experience of communications and collaboration, aiming to make communication as rich and natural as in person. Poly, which means “many,” leverages the auYou could have received this NEWSLETTER information about three weeks ago, with more detail and live links, via email. Go to www.soundandcommunications.com to sign up! April 2019

Sound & Communications 11

NEWSLETTER dio and video expertise of Plantronics and Polycom and its breadth of smart endpoints that connect across and between unified communications (UC) platforms to reduce the distractions, complexity and distance in the modern workspace. “Today feels like my first day as CEO of a new company,” Joe Burton, President and CEO of Poly, said. “We see limitless opportunity for how people communicate and collaborate today. With advancements in AI, machine learning and new technologies, we see a future where Poly makes the connection, then quietly steps out of the way to become the one thing you don’t notice in the meeting.” Poly will focus on four distinct areas: making workspaces intuitively work for everyone; helping people collaborate, their way; designing solutions that are mobile-first for the modern workforce; and advancing cloud services that help IT professionals and users get more out of their devices.

B-TECH AV MOUNTS ACQUIRES MODE-AL B-Tech AV Mounts (Northamptonshire, UK) has acquired Mode-AL Display Engineering (Northamptonshire, UK), strengthening its position in the commercial AV market. Mode-AL, founded in 2000, is a designer and manufacturer of multiple monitor mounting solutions for digital signage, broadcast, the collaborative environment, the retail sector and high-end AV. These solutions have been installed in a variety of applications, from monitor stacks and desking systems in broadcasting and industrial process control rooms, to structures supporting digital signage in department stores, shopping centers and blue-chip receptions. Mode-AL also offers solutions for meeting rooms and auditoriums. Matt Bennett, CEO of the B-Tech International Group, said, “The integration of Mode-AL into the B-Tech AV Mounts family will allow B-Tech to offer enhanced solutions, including expanded product range, specialist knowledge and expertise, into the existing business-to-business markets of both B-Tech and Mode-AL.”

TSL PRODUCTS ACQUIRES DNF CONTROLS TSL Products (Marlow, UK), a designer and manufacturer of broadcast workflow solutions, has acquired DNF Controls (Northridge CA), a company that offers a range of human-to-machine and machine-to-machine solutions. According to the principals, the joining of the companies provides opportunity for TSL to expand its presence in the broadcast control systems market for customers worldwide, while also offering audio and power solutions locally to the Americas. The TSL and DNF teams exhibited together at NAB 2019. DNF customers in the US region will have increased access to TSL’s complete product range, offering audio and power solutions in addition to control systems, with the ability to place orders and utilize its support department out of Northridge. Meanwhile, TSL customers in the US and around the world will benefit from DNF’s dedicated hardware control panel and integration capabilities, allowing them to add further functionality to their systems.

ISE ISSUES CLARIFICATION ON AV INTEGRATED SYSTEMS EXPO MUMBAI In February, Integrated Systems Europe (ISE) 2019, organized by Integrated Systems Events (Amsterdam, The Netherlands), drew more than 81,000 registered attendees and 1,300 exhibitors to 15 halls at the RAI Amsterdam. There are other events in the commercial AV and systems integration field, however, with which it has no connection. That includes the AV Integrated Systems Expo Mumbai (AV-ISE). ISE wishes to make that fact clear to its exhibitors and attendees to ensure there is no confusion. “We put a lot of time, resources and effort into creating a show experience at Integrated Systems Europe that is second to none. We trust that, when deciding whether to attend any given show, AV and systems integration professionals will look beyond the chosen name and make their own judgments,” Mike Blackman, Managing Director of Integrated Systems Events, said. As well as the main ISE show each February, Integrated Systems Events also organizes Integrated Systems Russia and the Digital Signage Summit series of events. In addition, Integrated Systems Events produces a number of the conferences that take place during ISE. COMPILED BY DAN FERRISI 12 Sound & Communications April 2019

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SOUND ADVICE

What’s All The Noise About?, Part 3 It’s in the bag! By Peter Mapp, PhD, FASA, FAES

s we have seen over the past couple of months, it is desirable to have low noise levels in teaching spaces, theaters, cinemas and, most particularly, concert halls. Modern, high-performance concert halls are often designed to have background noise levels of around NC15 or even less, and NC20 is the design aim for many others. That latter value is also often adopted for theaters, with NC25 being the upper ideal limit, which is also the target for many movie theaters. However, these are targets for unoccupied spaces—so, what happens when audience members arrive? The answer is, the background noise level (or “noise floor,” in electronic terms) goes up, and potential dynamic range is lost. For example, various studies have shown that, in concert halls (where the audience tries its hardest to be quiet), the occupied noise level is generally 5dB to 7dB higher than the empty condition. So, NC15 becomes NC20 to NC22, whereas NC20 becomes NC25 to NC27. That is purely due to people breathing and moving slightly in their seats. This clearly demonstrates how low and onerous the design noise levels of NC20 or less really are. Even the choice of lights and other equipment (e.g., video projectors) can be critical in achieving these super-low noise levels. In theaters and movie theaters, where people are more relaxed and often make the occasional remark—albeit usually in a hushed tone—the levels can increase even more. And that, of course, is without the attendant (and often mandator y) noise generated by popcorn consump-

14 Sound & Communications April 2019

Figure 1: Typical confectionary packaging noise levels at 1m.

Figure 2: Packaging noise-emission spectra at 1m.

tion and rustling candy wrappers and packets, which can take the background noise up to 50dBA. I know I am probably more sensitive to unnecessar y noise than many are—it goes with the job! That said, there is

something about the crackle and rustling of candy wrappers and confectionar y packaging that I find particularly annoying and disturbing. Therefore, I was intrigued to note that moves might be afoot with EU regulators to

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SOUND ADVICE

limit acoustic emissions from food and confectionar y packaging. According to Dr. Olaf Proil of the European Packaging Association (EPA), confectionar y and food-packaging noise levels of up to 95dBA have been measured. Although, from personal experience, I can attest that the noise levels associated with confectionar y packaging can be high, the claim seemed extraordinar y. So, for various reasons, which I won’t go into here, I decided to carr y out my own noise-emission measurements. To make a long stor y short, I tested a range of confectionar y packaging, and the results for 10 of those evaluations are shown in Figure 1 and Figure 2. Figure 1 summarizes the overall noise levels produced in terms of a 15-sec. LAeq. As can be seen, the average sound level was around 60dBA at 1m, with the quietest being 54dBA and the noisiest being 69dBA (Leq). In this context, 15dB is a huge range. Of particular interest to me were the spectra of the noise that the packaging produced. Whereas, just from listening, the noise was clearly broadband with predominant high-frequency content, I was quite surprised to see the very significant emissions right out to 20kHz, as indicated in Figure 2. (Does opening a bag of candy drive the ultrasonicsensitive minority mad? For insight, see “Sound Advice” in the July 2016 issue.) The highest noise level (sample B) was from a small paper carrier bag, which was also the material of the secondhighest noise emitter. Other materials I tested included various polymers, cellophane and Mylar. I present the averaged spectrum-emission curve in Figure 3, and it’s shown to follow a nice mathematical relationship relating emission level and frequency. For the math geeks among you, the formula is as follows: y = -0.1164x2 + 3.7575x + 19.345

Considering the quite different character of the sounds produced by the various sample confectionary bags, I was surprised to see how similar the noise spectra were. All had a broad peak

16 Sound & Communications April 2019

Figure 3: Average packaging noise emission spectra.

Figure 4: Packaging noise crest factors.

between 2.5kHz and 8kHz—right where most of us are most sensitive to sound. Some of the bags emitted sounds with a distinct “crackle” and “sharpness,” whereas others had a softer and slightly less annoying character. To a certain extent, this corresponded to the crest factor of the sound (peak to rms SPL ratio). That is, the subjectively louder and more annoying (more intrusive)

sounds tended to have higher crest factors, as shown in Figure 4. Crest factors of more than 20 are unusual, with typical speech, for example, being around 15dB and 20dB maximum, whereas pink noise is 12dB to 14dB. I can now begin to see why I become so annoyed in theaters with other people’s confectionar y noise, as high-frequency scrunching at 60dBA

to 66dBA just two feet from your seated ear really isn’t particularly pleasant. To put this further in context, I converted some of the measurements into NR, NC and RNC values (see Part 1 and Part 2 of this series), remembering that the normal occupied background noise would typically only be around NC20 to NC25. Table 1 presents the results. It is interesting to see the differences between the various measures, as well as the difference in the dominant frequency band that determines the overall NR/ NC/RNC value, which is the figure in parentheses. The current need to reduce plastic waste has also affected the food/ confectionar y packaging industr y, although, sometimes, with unintended acoustic side effects. For example, one manufacturer changed to a biodegradable material based on polylactide, but the resulting product produced noiseemission levels some 20dB higher than

Sample

RNC

67 (8kHz)

64 (8kHz)

70 (8kHz)

67 (4kHz)

65 (4kHz)

69 (8kHz)

66 (8kHz)

63 (4kHz)

70 (8kHz)

66 (8kHz)

63 (8kHz)

70 (8kHz)

59 (4kHz)

56 (4kHz)

62 (8kHz)

56 (4kHz)

53 (4kHz)

60 (8kHz)

Table 1: Summary of equivalent NR/NC/RNC values.

conventional materials had produced! But what causes the packaging to emit such noise in the first place? The sound generated by the “crinkling” of a stiff surface is caused by the sudden acceleration of the surface, with a portion of the surface abruptly deforming to a new shape. The failure of the shape under an applied force (opening or moving/deforming the packaging) occurs suddenly, with considerable stored energy being

released. Furthermore, the size of the bag or package (or, to be more precise, its surface area) is a determining factor that affects the level of sound produced. Another associated factor is the relative humidity of the air, which affects the moisture content of the material and inherent dampening. Prof. Joseph King is working with the Nordic Agriculture and Food Foundation to (continued on page 102)

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Trends That Will Shape The AV Industry Encouragingly, many have already begun to adapt and embrace change.

By Mike Brandofino Yorktel

s we enter the second tenance and managed services can be negatively affected when customers migrate to quarter of 2019, AV integrators and self-service rooms. That said, it’s important to note that “self-service” doesn’t mean manufacturers now have the proper “no service,” as we are finding that customers who migrate to self-service rooms still perspective to take stock of what haprequire support for their users and monitoring of connected devices in the rooms. pened in 2018 and determine how it will Microsoft Teams (MS Teams) is going to impact the AV industr y in a big way this affect our industr y moving for ward. year. Almost ever y discussion with large enterprises will eventually cover their stratIf you are tired of hearing the term egy for MS Teams. We will see new ecosystems of hardware and managed ser vices “huddle room,” then don’t read the being launched this year, and they’ll be specifically tailored to MS Teams. The migranext few sentences. The tion to smaller, self-ser vice rooms is the precursor to massive rollouts of migration away from larger MS Teams for many global organizations. meeting rooms continues Another trend that might finally make its way into the AV industry is Whereas we used to to progress at an alarming AV-as-a-Service (AVaaS). The concept of renting a complete room of AV pace. We have seen some equipment, including the installation and service, for one monthly fee, has focus on supporting customers adding thoubeen tried in the past—with little success. However, we have seen lenders rooms, we now must sands of smaller collabooffering more creative leasing options and demonstrating a willingness to ration spaces around the work with AV integrators to create packages that now make it feasible to support end users. globe, while only adding offer solutions of this type. That fact, combined with the increasing willinga fraction of larger rooms. ness of enterprises to leverage cloud-based services, might just mean that Whereas we used to The continued growth of this year will be the one when we start see traction in the AVaaS space. provide a small huddle rooms is coupled As customers continue to expand the number of meeting spaces they with the growth of the new have in their facilities, we are seeing an increased demand for data number of large “self-ser vice” model, which about usage patterns, attendance and the overall performance of the is substantially impacting collaboration environment. Customers are no longer happy just to see rooms, we now must how traditional AV integrahistorical information about how many tickets were opened or closed provide a large tors provide ser vices to in a given period; instead, they want data that can be analyzed and used customers. to make meaningful decisions about their continued investments in number of smaller Self-service rooms are technology, ser vices and real estate. AV integrators will be called upon essentially meeting rooms to provide creative ways to capture points of data—for example, how rooms. that have a room PC or many people are physically in the room or which rooms are used most. similar Microsoft WindowsThis represents a new, ser vices-based opportunity for those capable of based device preloaded supporting the associated data and reporting demands. with collaboration and video-commuThese trends represent both a challenge and an opportunity for the AV industr y. nication software. In 2018, enterprises We continue to be pushed to develop closer ties with IT organizations, as the Internet started to take Cisco and Polycom video of Things (IoT) continues to involve AV components and as meeting spaces exchange codecs out of production and replace codecs for PCs. This opens up a new way of delivering ser vices for customers. them with PCs running Zoom and Whereas we used to focus on supporting rooms, we now must support end users. BlueJeans. That has affected a number Whereas we used to provide a small number of large rooms, we now must provide a of traditional revenue sources for AV large number of smaller rooms. integrators and manufacturers. Even setThe status quo is not what we should expect this year. The AV industr y must ting aside the loss of potential hardware evolve and adapt to these new trends, and it is encouraging to see that many have sales, revenues associated with mainalready begun to do so.

18 Sound & Communications April 2019

HOUSE OF WORSHIP: BUSINESS

Display Systems For HoWs A fresh look at the technologies competing for attention. By David Lee Jr., PhD Lee Communication Inc.

isplay systems are one of the most sought-after technologies in houses of worship (HoWs) in the United States and in many countries around the world. Looking back, overhead projectors enabled pastors and teachers to put handwritten information onto transparencies, which then could be projected for the audience to see. Fast-for warding a few years, software called PowerPoint entered our lives, enabling us to use a computer to create slides for presentations. Megachurches emerged in that same era. A typical megachurch, measuring from stage to back wall, was 300 feet or more. Although HoWs of that size were exciting, they also became large, dark caverns that led to a disconnect between congregants and worship leaders. Thus, these HoWs started to use cameras to capture close-up shots of the presenter, and then they projected those images onto screens. Using the technologies in that way essentially closed the distance between the congregants and the presenter. We were excited to use display technology in this simple, fundamental way. But worship settings have changed. Today, houses of worship range from traditional, longstanding structures to settings that were formerly retail spaces. The use of display systems has also changed. In progressive HoWs, one will find many types of display systems in use. Progressive churches typically have the budget to purchase and use almost any type of display system they desire. Other churches might want to update their display systems, but they’re tr ying to make sense of the 20 Sound & Communications April 2019

newer systems that are now available. In light of these facts, let’s take a fresh look at front projection, rear projection, laser projectors and LED walls, so as better to understand how they can be used in traditional and newer HoW settings. HoWs use front-projection configurations more frequently than any other setup. In most cases, front projection looks ver y good. However, I think we can all agree that front projection is a compromise we have to make when there is no space to create a rear-projection system. Front-projected images can end up being washed out when lights are reflected onto the screen, essentially creating a duller image as compared to rear projection. Rear-projection configurations will result in a much brighter display as compared to using the same projector in a front-projection setup. But, as noted, many new church campuses are being created on a weekly basis, oftentimes in spaces that were formerly shopping centers. Rear projection might not be a practical option in such locations. In addition to traditional projectors, we now have new options to consider. Laser projectors are a possibility that many worship leaders are considering. A number of technical personnel who work in HoWs have expressed to me that they like laser projectors, and, thus far, they’ve operated them essentially maintenance free. Indeed, low maintenance or no maintenance is a unique selling point! As compared to traditional projectors, which require monthly ser vicing and routine bulb replacement, laser projectors are proving a nice solution for reducing HoW operating costs. However, to this point, we don’t have enough examples of long-term use in HoW settings to determine if these units will ser ve as advertised. LED walls might be the next super-hot product for us to sell to, and install in, HoWs. These walls offer a number of unique and highly creative opportunities for progressive users. For example, 16x9 is the typical format for projectors; by contrast, although LED systems can be used in 16x9, the panels can also be arranged in a variety of shapes to create unique display designs. In addition, there’s no need to focus or zoom the image, as one must do when using projectors. One feature, in particular, that I like about LED technology is the fact that, when no image is displayed, the screen is black. In comparison, a traditional projection display screen is white; as such, even when not displaying an image, one can’t truly achieve a complete blackout. Other bonuses that LED systems offer are that they’re bright and they can be installed reasonably quickly. Those facts would seem to make LED a great choice for new campuses that were formerly, for example, retail spaces. Nonetheless, some challenges are associated with LED walls. First, they are heavier than projectors; as a result, users must make sure they have a proper structure to support the weight. Second, not all LED systems are created equal. What I have obser ved is that the lower-priced, “generic” units change colors depending on where one sits. The name-brand units are more expensive, but they offer accurate color reproduction. Thus, I only recommend name-brand LED systems, coming from (continued on page 102)

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THE COMMISH In the AV industry, the end users are typically represented by two separate, yet equally important, groups: the designers, who specify the systems, and the integrators who install them. My company acts as a third party to commission these systems. These are our stories.

Occupancy Sensors Can they be trusted?

By James Maltese, CTS-D, CTS-I, CQD, CQT Level 3 Audio Visual AV9000 Checklist Item Under Test: 6.4.4: Any web-based system control or monitoring features, and other IP functionality of system (time ser vers, system-generated email, etc.) are functioning. Reasoning: The power of being able to sense room occupancy accurately cannot be overstated. One of the most exciting, and most rapidly expanding, areas of AV nowadays is monitoring room usage so as better to plan conference room resources. Sensing occupancy plays a huge part in that. It is also a common pain point for many technology managers because it notoriously does not work well. Either occupancy is not accurately detected when there are people in the room, or occupancy is falsely detected when people walk by the room (or, worse yet, when people talk in adjacent rooms). Many times, this powerful monitoring tool is simply disabled because users cannot get it to perform meaningfully. Taking the time to set up occupancy sensors in today’s world of seamless automation can make or break a system. The Stor y: My kids have a love-hate relationship. They can go from cuddling on the couch together, dreaming up make-believe universes, to screaming and kicking at each other because one of them looked at the other with “a bad face.” When I am in the room, I do a decent job of playing referee. I declare, “Iris, you pushed Lucas first. But, Lucas, you did instigate it by calling her a booger. Your personal fouls negate each other. No ‘time outs’ required at this time!” Playing ref when you are not there to see the fouls, however, is a whole different ballgame. You might come in to find two screaming kids, claiming wildly dif22 Sound & Communications April 2019

ferent (yet equally plausible) stories, but not know whom to believe. It can make laying down the law difficult! Therefore, in most cases, you just separate and/or punish bothare Make sure your systems of them because you can’t know what really happened. And, honestly, fan readyI’m for neither business abefore send them outkid on a of punishing a kid who didn’t do anything wrong nor a fan of letting you a misbehaving years-long camping trip in go scot-free. It’s very frustrating. Naturally, this got me thinking about commissioning the cold, relentless world of AV systems—in particular, about confirming the accuracy of occupancy sensors. enterprise users. Occupancy sensors would be so easy to integrate if the rooms they were monitoring were just boxes, with no doors, no glass and nothing else around the room. That would make setting them up a piece of cake. However, typical conference rooms provide several challenges to occupancy sensors. Doors might be left open, meaning people who walk by the room could trigger occupancy. Glass walls that don’t provide a barrier to IR signals could also yield false triggers from people in the corridor. Additionally, rooms with poor sound isolation might sense occupancy inaccurately if sound from neighboring spaces is transmitted into the room. Most of the time, those challenges can be overcome as long as the location and intended areas of monitoring are well documented during the design phase. Without direction, many installers would place an occupancy sensor in the middle of the ceiling in the room. After all, that would allow the sensor to have the easiest line of sight to the entire room. However, placement of that sort typically creates lines of sight through glass walls and doors, as well. A designer or engineer should specify how the sensor should be integrated. For example, in a typical conference room that has a glass exterior wall and door, it might make sense for the sensor to be placed along the glass exterior wall, opposite the door, so that a filter can be put in place to ignore the glass wall completely and provide no line of sight out the door (because the filter disables that 180 degrees of sensing). Additionally, time must be spent to adjust the sensor’s sensitivity and test its accuracy. It is not as simple as physically installing the device. It must also be tested using all the methods of sensing occupancy within the room, while, in addition, making sure that loud talkers and passersby don’t trick the sensor into thinking the room is occupied. Many clients want that walk-through-the-door-and-the-system-turns-on experience. Even more clients want the when-no-one-is-in-the-room-the-system-is-powered-down experience. In addition to room automation, measuring room occupancy to collect usage data is incredibly powerful, and it should be taken seriously. For all these ideas to work, however, our users require properly calibrated and integrated occupancy sensors. It’s not as simple as sticking one on the ceiling and calling it a day. To integrate these devices into their specific rooms, time in the field is required. I mostly just discussed traditional occupancy sensors, but a new generation of sensors uses cameras not only to sense occupancy, but also to provide the number of people in the room by being smart enough to count the occupants. I’m sure these next-level sensors require even more rigorous commissioning so they can provide meaningful feedback. I just hope they advance enough to determine which kid started the fight. Then they’d be invaluable both at work and at home.

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WHAT WOULD YOU DO?

You Have The Time But do you have the patience? By Douglas Kleeger, CTS-D, DMC-E/S, XTP-E, KCD

or some time, I have been known to get on my soapbox and talk about humility and kindness…about doing the right thing. I tr y to live by those guidelines ever y day. Well, this month, I want to touch on another important attribute: namely, patience. A recent conversation with an associate, who came to me for counseling on an issue, reminded me of a story I haven’t yet shared here. I think it’s a great example of how you can separate yourself from the crowd. Let’s get into it! I was working as Senior Design Engineer for a mid-sized specialty consulting firm. It was mainly low voltage, but with some AV thrown in. So, in short, AV was not the focus. My primar y role was to focus on corporate, religious and higher-education projects, and I was quite busy, juggling the usual frenzy of consultant documents. Schematic design documents due this week for one architect; construction documents due for a different architect the following week; design development for another project due in a few more weeks for yet another architect. Whew! A brief digression: For those of you who do not know, the main factor in being a successful consultant—that is, in getting repeat work—is working well with the architect. I never realized that fact until I was working as a consultant. It was put ver y bluntly to me that we were to follow the direction we were given by the architect, period—even if it went against what we should be doing for the end user and the project. It was further explained to me that the architect would send the consultancy 24 Sound & Communications April 2019

repeat work, whereas we’d likely never see the client—be it a university, a corporation or something else—again. They wouldn’t hire the consultancy, either—end users hire architects! Back to my stor y! A juvenile courthouse that was designed by someone who was no longer with the company was going under construction. That meant it was time for site walk-throughs, going over the minutiae of the drawings, etc. For the architect on the job—a large and well-known firm—our contact was “Dave.” I knew his name from hearing chatter whenever Dave was on the phone. No one wanted to take his call! I inquired about this, and I found out it was known that, if you took his call, you would be on the phone with him for at least an hour—and no one wanted that. They just hoped he would stop calling! I made the decision to step in. Although I had not worked on any courthouses, I knew I could figure it out. So, I told them to send the calls to me. After it was agreed, I took a call from him and explained that, now, I would be his point of contact. I assured Dave that I’d take good care of him. And, yeah, sure, Dave was a little slower than others were in getting to the point, and there were always a lot of points to discuss. But—and this is a big “but”—Dave was a really great architect! He was catching a large number of issues that were either missed or not anticipated, and he liked to talk them through to make sure his client, the end user, got its money’s worth. Imagine that! I found that, the more I took his calls, the more work I had to do on the job to make it right. Mmmm…could that have been why no one wanted to take his calls? Was it about avoiding accountability? For some months, I worked with Dave, giving him the time he needed to convey all his points. I always respected him for who he was. Then, there was a change in my own situation. As you might have gathered, the consulting firm I worked for had some issues with doing the right thing, and I ran into those issues repeatedly. There was so much conflict that I was forced to leave; at that time, I went out on my own to

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WHAT WOULD YOU DO? Each individual you encounter might be the key to your next big project. The relationship you foster—a relationship based on humility, kindness and patience, if you’re wise—will serve you well.

26 Sound & Communications April 2019

work freelance. I called Dave to let him know I was no longer working on the project. I wished him the best, and I gave him my new contact information in case any work might be coming up. A few months later, he called, saying the architectural firm was talking with a perspective client. He asked if I’d be interested in bidding on being the AV consultant on the project—a new courthouse. He didn’t seem to have a lot of confidence in the project at the time. Nevertheless, I said, “Yes, I’d be glad to. Thank you for thinking of me.” Four months later, Dave called, said his company got the job and let me know he needed a quote from me to do the project in its entirety. Wow! My first real, large bid! “Will I get it?” I found myself wondering. I, as an individual, was bidding against other consulting firms—no easy task! Expending a great deal of effort, I came up with a price and delivered a quote. As it turned out, I was bidding against places for which I had previously worked, and my price was higher than theirs were. And you know what? I got the job! It turned out to be more than one million dollars in AV. Moreover, what I learned in the next few years on that project was invaluable. The patience I showed with Dave really paid off. And that is the lesson for today. Yes, humility and kindness are important, but so is patience. Each individual you encounter, regardless of whether it is apparent, might be the key to your next big project. The relationship you foster—a relationship based on humility, kindness and patience, if you’re wise—will ser ve you well. I’m still friends with Dave today. That friendship is rooted in my willingness to take the call that no one was willing to take. So, next time you are about to say “no” to a call, tr y saying “yes.” You never know where it might lead. Let me know if you have any examples of how patience paid off. Email me at dkleeger@testa.com.

AVIXA POV

How To Prepare For InfoComm 2019 The annual trade show doesn’t just reflect the state of an industry, but also its state of mind. By Brad Grimes AVIXA

t begins, as it always does, with comfortable shoes. Only, this year, make them running shoes. InfoComm 2019, scheduled for June 8 to 14 at the Orange County Convention Center in Orlando FL, will once again span more than half-a-million square feet of exhibit and event space. (Be good to your feet, if you plan to cover it all!) However, it will also host a new 5K race to benefit the AVIXA Foundation’s work to develop the next generation of AV professionals. Find all the information and register for this year’s show at www.infocommshow.org. And that’s just one of the changes in store. In short, the annual InfoComm trade show keeps evolving, along with the industr y it showcases. It attracts new and longtime participants who come to learn, experience, make new connections and nurture old ones. What follows are a few ways, aside from 28 Sound & Communications April 2019

packing those ASICS, to position yourself for a successful InfoComm.

Broaden Your Thinking AV is ever ywhere, being used in a variety of ways. The market for bread-andbutter conferencing and collaboration solutions remains strong, for example, even as a new community of creative professionals is using AV to invent new experiences for retailers, hotels, public organizations and more. From product activations, to digital art, to what are called “public interactives,” applications for all the technology on the InfoComm exhibit floor are virtually limitless when combined with the right content and consideration for the space in which the experiences will occur. Anyone who visited Integrated Systems Europe (ISE) 2019 in Amsterdam, the Netherlands, earlier this year witnessed the projection-mapping skills of Bart Kresa and his BARTKRESA studio. Kresa will take part in this year’s TIDE conference (Technology. Innovation. Design. Experience.) in Orlando. TIDE is in its third year, and it’s coming on June 11, the day before the InfoComm exhibit floor opens. It was developed in response to industr y feedback, seeking new perspectives on the application of AV technology. TIDE will offer an opportunity to gain fresh context for what takes place later in the week. This year’s TIDE includes speakers from companies such as ESI Design, iLuminate, MASARY Studios, Mood Media, Storied Systems and Wildbytes. Representatives of the University of Texas at Dallas will hold a workshop on executing AV experiences in public spaces, and Srinivas Rao, host and founder of the popular podcast “The Unmistakable Creative,” will deliver the keynote. They’re artists,

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dancers, scholars and entrepreneurs—and, chances are, their ideas about technology might be new to you. If you can’t attend TIDE, or if your line of work never requires you, for instance, to build an interactive videowall for a public art installation, get on your Google machine anyway. Drop some of those company names in the search box and simply explore the ways in which people are using AV.

If your company operates in the AV channel, be prepared to engage

Prepare To Address The Questions Of AV Customers

end users at the InfoComm show. That might sound obvious, but it can mean a different conversation.

InfoComm—and the overall ecosystem that we call the AV industr y—has grown and evolved to include technology managers and the decision makers who buy AV systems. Depending on the year, they now make up about 40 percent of InfoComm attendees. Say what you will about this evolution, but InfoComm exhibitors have long sought more interaction with what we’ve come to call “end users.” And many solution providers throughout the industr y agree that better-informed buyers lead to better solutions, stronger customer relationships and more business. If your company operates in the AV channel, be prepared to engage these end users at the InfoComm show. That might sound obvious, but it can mean a different conversation than those to which some on your team might be accustomed. For manufacturers, it’s one thing to tell a reseller or an integrator about a new product’s technical specs; it’s another thing to ask end users about their business and then describe a solution that meets their needs (and includes your products). Anecdotally, feedback from some end-user attendees has indicated that it 30 Sound & Communications April 2019

can be hard to get the information they want on the show floor. (Indeed, some have even felt ignored when they visited booths.) They’re not necessarily going to wear shirts that scream, “I’m an end user,” and their faces won’t be as familiar as those of the industr y friends with whom we catch up ever y June. It behooves all of us to be able to talk not only about the products, but also about the real-world application of those products. If there’s any question about how different markets are applying AV technology, or what business challenges they’re facing that AV can help address, InfoComm continues to integrate those communities into the show. This year, the emphasis is on the retail and hospitality markets— two sectors in which sales of AV solutions and ser vices are growing faster than the overall AV industr y. There will be more than 30 sessions at InfoComm 2019 centered on AV in retail and hospitality, covering ever ything from Americans with Disabilities Act (ADA) compliance in hotel meeting spaces to using sensors and data to create unique retail solutions. Such sessions, part of the show’s seminar and workshop package, are designed for AV, retail and hospitality professionals, and they include the perspectives of all. They’re part of an overall push to bring industries closer together and allow AV professionals to have better conversations with customers.

Consider The Ultimate Users Of AV It’s exciting to hear the AV industr y discussing the importance of creating solutions with users in mind—not just end users, as we commonly call customers, but also the end users’ end users, such as workers in conference rooms and shoppers in front of digital signs. This might also sound obvious, but the concept of usercentered design, or user experience (UX) design, is relatively new. But, as has been noted many times, Apple didn’t make the first MP3 player—it made the one that best reflected how users would interact with the technology. The rest is histor y. Designing AV solutions should incorporate the same focus on (a) what users require technology to do for them, and (b) how they want to do it. It’s at the heart of ever y needs analysis, a critical component of AVIXA’s AV design curriculum and CTS-D certification. As Mark Coxon, CTS-D, CTS-I, Sales Director at Tangram Technology, has noted on Twitter, “If you want to be a better partner to your customers, you should be talking more about their business and their people, and less about technology.” (Coxon will be teaching a session at InfoComm 2019 called “Using AV Technology to Trigger Customers’ Biological Responses”—a uniquely user-centric seminar.) For a deep dive, Lisa Perrine, CTS, CEO of Cibola Systems, and Jesse Fishman, CTS-D, Senior AV Systems Design at The Sextant Group, will run a special three-day workshop the week of InfoComm 2019 on “Design Thinking for AV.” It starts with a field trip to watch people experience a space, and then proceeds to an exploration of five design-thinking principles—empathize, define, ideate, prototype and test—and how they apply to AV experiences. None of this is to say that ever ything you’ve come to expect from InfoComm will not be part of the 2019 edition. There will be thousands of products, opportunities to study and test for your CTS certification, standards development, networking opportunities like the Women of AVIXA Breakfast and the AVIXA Diversity Council, and much more. But context is also king. Encouraging new conversations and fresh approaches to applying AV technology makes InfoComm a must-attend event. So grab those running shoes, and I’ll see you in Orlando.

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INDUSTRY POV

Two Macro Trends Affecting AV What’s driving our decision-making now and into the foreseeable future?

By Fred Morgenstern, CTS Neutrik USA

recent television news segment about old-fashioned letterpress printing got me thinking about the state of AV. Artisanal bookmaking is beautiful—slow, deliberative and peaceful. Its practitioners are gentle, serene people. They make objects intended to be lovingly handled a hundred years from now. I have enormous respect for these people. I pray that they stay out of AV. Our industr y could not be any more different. We are dynamic; we move fast. Today’s state-of-the-art technology is tomorrow’s landfill fodder (a topic for another article, for sure). With the possible exception of a select few pieces of audio gear, we all agree that today is AV’s best day ever. Tomorrow will be better still. With this in mind, I’ve been thinking about the big trends—the macro trends—that permeate our industry. Here are two that I think are undeniable.

is today’s “meh.” The winners of the AV game (and the signers of the lucrative AV contracts) are the visionaries and risk takers who take up the next challenge, turning engineering possibilities into production realities. And as our industr y continually raises the razzle-dazzle bar, we drive to put more technologies into play simultaneously. Image magnification (IMAG) is a good example. It wasn’t that long ago that IMAG was cutting edge for the largest stadium concerts; now, I see it in the local bar as the band plays “Sweet Home Alabama.” The same goes for live multi-track recording. It’s becoming so ubiquitous that one begins to wonder if there’s something wrong with an audio console that costs a few thousand dollars if it doesn’t let the user record ever y track at 384kHz. The march of technology is great, and it continues. It challenges ever y company that owns equipment to be ruthless in calculating depreciation, given the fact that the hot product ever ybody wants today might be unrentable 18 months from now.

More Is More

More With Less

Bigger, brighter displays with everincreasing pixel densities. Audio amplifiers measured in the thousands of watts. Speaker drivers and arrays with unprecedented dynamic linearity and textbook dispersion patterns. Subwoofers that challenge your continence. Lower latency. Deeper bit depths. Foggier fog machines. Make no mistake: The AV industr y is fundamentally maximalist. Ever yone involved in our world— from product designers through to distributors, clients and audiences—craves the next big thrill. Yesterday’s “wow” 32 Sound & Communications April 2019

At the same time, inevitably, the profusion of technologies has led to opportunities for simplification. How many discrete networks do I have to run? Is there really a reason that my six different, best-of-breed solutions cannot talk to one another or share the same pipe? Clearly, the manufacturers see this. When the most popular current audio-networking technology announces the addition of video, you know that the company sees the writing on the wall. Our industr y’s standards organizations deser ve big credit for giving us convergence standards like SMPTE ST 2110 and AES67. There is a battle of protocols— you know what they are—that is far from over; indeed, as much as our industr y progresses, it might never be over. Certainly, the technologies that can ingest, route and output the greatest variety of signals, with the lowest latencies, the easiest management (including security) and the most reliability, will win. Some of those technologies will be “sharers,” playing nicely with a variety of different manufacturers’ products. Others will be proprietar y, locking users into one (continued on page 102)

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INDUSTRY POV

Selecting Technology To Build Tomorrow’s Conference Spaces Bringing clients tangible value, while creating new business opportunities. By Loren Shaw InFocus

echnology adoption is booming. It’s in our cars and in our entertainment, it’s how we shop, it’s how we work out, etc. But what’s the commonality? In purchasing a virtual reality (VR) headset, a voice assistant, a smart gym system, or an autonomous or electric vehicle, there’s a sense of fun or novelty. By contrast, a valuefocused, analytical process drives the selection of conferencing, presentation or collaboration equipment, along with the system software to equip meeting rooms, huddle spaces and classrooms. Today’s conference room is designed to increase business value through the strategic use of the right technology. Although the industr y is innovating, and there are many amazing, collaborative conference spaces being created, the average business today often still operates on clunky systems; frequently, they use desktops, older-model projectors and cabled connectivity for presentations. Startup is slow, sharing is a multi-step process, and it’s difficult to encourage participation from meeting attendees or employees. Small classrooms and conference spaces often have a system, or a technology, that ser ves just one function, operating completely independently of other technology. Even an office that has a state-of-the-art automation system to control its display solution, lighting and window shades can lack a conferencing solution robust enough to provide real-time conferencing and collaboration. Instead, presenters have to juggle 34 Sound & Communications April 2019

different cables based on their device and what they’re connecting to, and they have to choose between viewing a document or videoconferencing with partners, remote employees or clients. But things are changing. Thanks to new, more versatile office technologies, more businesses and classrooms will be able to add new systems and devices to their spaces, creating “the conference room of the future.” Touchscreen collaboration devices are leading the new wave of user-friendly, adaptable office solutions. They’re the next evolution of the traditional dr y-erase board. And, in recent years, they’ve become available from manufacturers that include Cisco, Google, InFocus and Microsoft. Research presented in a new whitepaper from Nemertes, titled “Moving Beyond the Whiteboard: The Business Value of Touchscreen Collaboration,” shows that the evolution in touchscreen collaboration technology has already begun to shift IT and business leaders’ approach to tomorrow’s conference rooms. In the value-based purchasing approach of schools and offices, Nemertes identified several factors that affect touchscreen collaboration device adoption. The biggest driver of touchscreen collaboration device deployment is user demand, the paper revealed; other answers included “conducting a pilot,” “identified use case” and “wanted to tr y.” Perhaps that user demand originates from collaborators wanting new ways to work, having become frustrated by the limitations of traditional equipment in today’s mass-market conference rooms. Adoption of touchscreen collaboration devices continues to grow throughout industries and offices sizes. According to Nemertes, “Today, almost 28 percent of organizations are already using touchscreen collaboration devices within their meeting spaces.” That number, although impressive, leaves room for expansion. And the key piece to note is that those who are already using touchscreen collaboration want more of it. According to Nemertes, “Thirty-six percent of those using touchscreen

collaboration solutions are planning to increase deployments by the end of 2019.” The move from a single touchscreen collaboration device to a more extensive deployment comes from the tangible business value that the devices can provide, when they’re properly implemented. In analyzing the benefits from touchscreen collaboration devices, Nemertes noted several use cases in different work teams and vertical markets. The benefits are as follows: • For engineering teams, faster analysis of designs through manipulation and annotation of schematics, diagrams, etc. • For marketing teams, the ability to unite, by creating a real-time collaborative space that spans offices, to create and launch campaigns. • Customers and partners gain the means to work together in product development across the supply chain, with simultane-

ous viewing and production of designs, research, mockups, packaging, etc. • For software development, allowing teams to track changes, tests and deployments while running the agile software development approach. Touchscreen collaboration devices’ feature flexibility, as well as their adaptability to different spaces, is key to the wide variety of use cases to which they’re applicable. Touchscreen collaboration solutions can be an efficient model for integrators in situations in which installation time is limited. Indeed, they might usher in a new customer segment—namely, businesses that previously hadn’t sought communication systems, but to which the devices’ versatility appeals. In addition to new customers, touchscreen collaboration solutions bring new opportunities for repeat business; after all, organizations with successful pilot

deployments often expand similar systems into other rooms. To capitalize on these opportunities for new and repeat business, integrators must navigate the growing array of touchscreen collaboration device choices to find the solutions that best suit clients’ needs, meeting spaces and budgets. In the whitepaper, Nemertes identified flexibility, features and openness as some of the crucial features for adoption. Flexibility should suit the use case— or multiple use cases—of a client’s conference space, its initial needs for the system and its unique business goals. For these devices, a one-size-fitsall solution doesn’t exist. A variety of screen sizes—from a 75-inch display to accommodate a conference space, to a 55-inch display for a huddle room— is necessar y. So as best to provide tangible business value propositions (continued on page 101)

INDUSTRY POV

How Projectors â&#x20AC;&#x2DC;Illuminateâ&#x20AC;&#x2122; Worship Services Projectors remain the optimal display technology for houses of worship. By Ramzi Shakra Epson America, Inc.

here has been a steady evolution in how worship centers strive to enhance spirituality and foster greater congregational participation. One of the most prevalent and cost-effective ways to deliver inspirational content is using multimedia technologyâ&#x20AC;&#x201D;most often, projectors, sound systems, content ser vers, control systems and software. The drive to create immersive experiences also continues to progress, and multimedia content is being adopted to engage, inspire and motivate congregants. Although, for a number of years, large congregations have been using projection technology to inspire their members, the latest projector technology is enabling small to medium-sized churches to enhance their ser vices, meeting rooms, classrooms and more. Delivering a cost-effective and easy-to-integrate display solution, projectors are still the optimal display technology to elevate church ser vices.

36 Sound & Communications April 2019

Technology In Worship The use of multimedia technology for spiritual purposes dates back to the mid1900s. At a time when media was beginning to take over many social and spiritual functions that religious institutions once performed, worship centers began to leverage film to help enhance spiritual discussion. As a natural extension of the use of film, the use of media as a form of communication to reignite engagement began to grow rapidly in the early 21st centur y. Individuals were already immersed in contemporar y media forms; by incorporating spiritual messages into relevant media, faith-based expressions became natural extensions that worshippers found relatable. Music, in particular, became a force in reintegrating faith and popular media, with houses of worship (HoWs) incorporating folk, countr y and even rock music into their ser vice. Soon after, as the cost of multimedia production and projection devices decreased, worship centers found themselves able to create immersive media environments that rivaled, or even exceeded, entertainment destinations like movie theaters. Worship centers following this approach, regardless of denomination or faith, help create a sense of shared community and belief. Uplifting multimedia sermons and worship ser vices bring all participants closer together, delivering a spiritual experience that is more immersive.

Media Effects On Worship According to a 2015 study by the Hartford Institute for Religion Research, worship centers that incorporate the use of technology into their ser vices were more likely to succeed and grow. In addition, at the time, the percentage of churches that always included visual projection as part of their ser vices showed a steady rise across

a 10-year period; it increased from 38 percent to 53 percent. In today’s world of innovation, with visual media continuing to advance and adapt, using multimedia technology to increase spiritual participation in HoWs remains highly valuable. The following are examples of enhanced congregational engagement, facilitated by projection: • Widescreen lyric displays can help prompt participation. • Projected sermon highlights can assist hard-of-hearing individuals and underscore uplifting messages. • Live, close-up displays of the sermon, the musicians and choir, and congregation members can capture attention. • Special slide programs and videos can present personal inspirational stories and testimonies. • Clearly visible announcements of important events can keep all members informed. Regardless of the specific application, projection continues to grow steadily as a spiritually uplifting addition to worship communities.

Latest Projector Technologies As quality projectors are becoming more affordable and easier to operate, worship centers of all sizes are beginning to integrate video and projection. Today’s projectors are designed with the user in mind, having become easier to install and evolving to incorporate new technology. They support a wide range of content, with resolutions ranging from XGA to native 4K. A more recent breakthrough in projector technology is a laser light source, which delivers stunning images in any worship center. Apart from enhanced picture quality, laser projectors require no warmup or cool-down period. Plus, a laser light source lasts longer than traditional lamp projectors do; as such, they offer a low-maintenance solution that’s ideal for permanent installations. Many of today’s laser projectors include a variety of robust features

that ideally suit worship centers; they frequently include flexible connection options, 360-degree installation and projection at any angle. Delivering clear, bright and colorful messages of faith, while seamlessly integrating into facilities of any size, today’s projectors deliver a higher level of multimedia engagement, while easily accommodating

current content and infrastructure. Projectors continue to advance in brightness, but they’re just one part of the equation in creating arresting visuals; the screen is also critical. Fortunately, new projection-screen technology increases the displayed brightness, while minimizing the effects of ambient (continued on page 101)

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WORSHIP

Rock City Church’s new home, in Columbus OH’s Hilliard neighborhood, where nearly 3,000 people attend services each week. It’s the hub for what Outreach Magazine in 2016 named the 16th-fastest-growing church in the country, and the fastest-growing one in the state.

38 Sound & Communications April 2019

Courtesy Tyson Wiens.

ating is a location’s se The Hilliard d theater of fixed rake combination ats to se or flo le ovab ding seats and m an st pe ncert-ty allow for a co Thus, the e. ag st e th of area in front ature will rberation sign ont area room’s reve fr at ly when th change slight t by enough to affect t no is empty, bu tively. gibility nega speech intelli

EXPERIENCE

Courtesy Tyson Wiens.

BY DAN DALEY Rock City Church started in a movie theater; now, its main location could pass for a concert hall. Back in 2011, Pastor Chad Fisher and his wife, Katie, started the first Sunday ser vices of what would become Columbus OH’s newest nondenominational house of worship (HoW) at the AMC Lennox Town Center cinema. Since then, the church has planted a total of four permanent and portable locations. The most recent is its new home, in the city’s Hilliard neighborhood, where nearly 3,000 people attend ser vices each week. It’s the hub for what Outreach Magazine in 2016 named the 16th-fastest-growing church in the countr y, and the fastest-growing one in the state. Inside Hilliard, built with a budget of about $11 million, and which opened this past Januar y, the sound and lighting could easily pass muster at any of Live Nation’s Fillmorebranded performance spaces—and the volume would certainly reinforce that. “They do like it loud,” Deron Yevoli, Project Manager for Summit Integrated Systems, the AV integrator for the Hilliard location, chuckled. The project began in 2017 with new, ground-up construction—designed by architecture firm Live Design Group—for a 1,450-seat sanctuar y that would become the church’s first streaming site; it would distribute Sunday ser vices to the other three Rock City Church locations in Wester ville OH, the Short North Arts District and the Lennox Town Center April 2019

Sound & Communications 39

neighborhood. “Chad is a musician,” Yevoli added, and he wanted the best-sounding church in Columbus. He has a critical ear for music, and he wanted the sound to have impact and warmth, even at concert-level volumes.” (It’s worth noting that the church isn’t named for a particular genre of music. According to Ben Genson, Film and Production Director for Rock City Church, its founders were intrigued by the “See Rock City” advertisements painted on the sides and roofs of barns in Tennessee. Those billboards, over the last century, have become

as famous as the rock-formation attraction near Lookout Mountain that they promote.) That underscores what has become a significant trend in the HoW AV sector in recent years. We’re in a time when churches are using more contemporar y music, at greater volumes, to attract new congregants—particularly younger ones, whose ears are attuned to what top-line touring music shows currently sound like. Thus, more churches are turning to what the secular concert-touring business has long referred to as “rider-ready” sound-

system brands. (Basically, that means systems that comply with the contractual riders that music artists append to their performance agreements, stipulating that the venue must supply a system from one of the handful of manufacturers that have obtained this unofficial, but nonetheless widely obser ved, imprimatur.) The manufacturers in that group include d&b audiotechnik, Meyer Sound and LAcoustics, the last of which Rock City Church ultimately selected. “It’s become a real thing for churches,” Yevoli affirmed. “Pastors will go to concerts, hear a particular PA system and decide that’s the experience they want for their church. And if you go to enough concerts, the ‘rider-ready’ PA systems are the ones you’re going to hear the most often.” Genson said the sound-system choice was purposeful, intended to be part of an overall high-impact worship experience. “We have a great band with incredible musicians, and we wanted to showcase them well,” he stated. “The audio, video and lighting for Hilliard literally determined the shape of the room itself—not the other way around, as is usually the case, where you have to adjust the room later with acoustical treatments. And the sound was really the number-one priority of all. You leave a great concert feeling [wonderful], but, too often, you leave church not feeling blown away. Traditional churches have a mindset about what churches are supposed to sound like, but, as a result, they miss out on what an experience it can be.”

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The L-Acoustics K2 system that was installed gives the church a left-right hanging array that consists of nine K2 boxes per side, with six KS28 subwoofers on the floor in an array. They are powered by eight L-Acoustics LA12X amplified controllers, with two LA12Xs used to power four ARCS II enclosures used as out-fills, one X15 HiQ as a center fill and seven X8 enclosures as front fills. There are a number of other speaker brands in the church, as well. Those include a Meyer Sound MM-4XP miniature self-powered speaker used as speech reinforcement for the pastor, as well as six JBL C60PS/T and 28 65PS/T pendant speakers deployed in the lobby and open-office spaces. In addition, JBL Control 45C/T

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I don’t think I’ve ever had such an easy experience on a monitor console, It’s all right there and a very nice, simple process. Stephen Maddox, JRA’s Audio Director

SD7

SD5

SD10

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SD11

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Courtesy Tyson Wiens.

cated e screens lo Digital signag ies and other bb tion around the lo s—a combina ea ar on m m co ch -in d 32 of 55-, 40- an shed ay content pu displays—pl s, er ay pl ia ed em s through thre ne zo te e separa creating thre of video.

ceiling speakers are installed throughout the building in the hallways and restrooms. The JBL ceiling and surface-mount speakers are used to distribute prerecorded music and announcements from the three Sonos media players that are located in the audio rack. Plus, four Yamaha VSX8 surface-mount speakers are used to project the same music to the building exterior. Sound is mixed through a Yamaha CL5 audio console at front of house, which also distributes a feed to the Sennheiser ew300 in-ear monitors used on stage. The building’s live sound is managed through a QSC Q-SYS DSP processor, with control accessible either through wall-mounted panels or wirelessly on personal mobile devices equipped with the QSC app. Audio is distributed digitally to the Q-SYS processor as Dante audio, and it’s then converted to AES to drive the amplifiers. 42 Sound & Communications April 2019

Some acoustical treatments are installed, but they’re not obvious, keeping with the church’s polished aesthetic. Notably, those treatments were planned for ahead of time, as opposed to being installed reactively after the PA was implemented. Absorbent materials are placed behind fabric-covered side walls, and the auditorium’s rear wall is canted about 25 degrees downward so that reflections off it are redirected back toward the seating area. According to Yevoli, room shaping of that sort is more effective and efficient for truncating backslap echoes than absorptive treatments are. Additionally, a large bass trap filled with vertically hung MBI Products Lapendar y panels spaced 18 inches apart is in place above and behind the canted rear wall. “Room shaping is the way we prefer to start acoustical treatment, using absorptive and [diffusive] materials to fill in what

shaping doesn’t,” Yevoli explained. “The sound from the line array is hitting the back wall at about 105dB, and traditional absorptive treatment might cut that down by about 20dB, but it still needs more [attenuation]. Shaping the rear wall redirects the energy into the seats, people and floor, where it will ultimately terminate.” About half of the room’s seating is fixed and raked theater-type seating; the rest is movable so as to allow for a concert-type standing area in front of the stage. Thus, the room’s reverberation signature will change slightly when that front area is empty, but not by enough to affect speech intelligibility negatively, Yevoli affirmed.

The Big Picture(s) Rock City Church has put an equivalent emphasis on its imaging for the Hilliard campus. A 146"x260" Da-Lite drop-down

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Courtesy Tyson Wiens.

r, located in tion switche hind the A live-produc be om ro ntrol the control the master co as es also serv ntent stage, which co church’s live hing for itc room for the sw e th anages streaming, m eras. cam five cinema

main screen is paired with a Panasonic PT-DZ16K2U projector suspended from a Chief VCMU ceiling mount. Meanwhile, two 120"x216" flanking projection screens are illuminated by a pair of Barco RLM W14 projectors that the church already owned. The church purchased and installed a 30'x10' videowall directly, although Summit Integrated Systems specified the electrical and structural infrastructure for it. Yevoli said the main challenge for video in the worship center was making sure sightlines were good for all seats, meaning that at least one screen is visible from ever y

44 Sound & Communications April 2019

location at any time. There are ample digital signage screens located around the lobbies and other common areas; they are a combination of 55-, 40- and 32-inch Samsung displays. Accessing the control systems for the AVL is done through one of four QSC TSC power-overEthernet (PoE) touchscreens located in the lobby, kids’ hallway and office reception areas. Content for digital signage is pushed through three BrightSign media players, creating three separate zones of video in the building. In the sanctuar y, the switching for five Panasonic Varicam LT 4K Super

35mm cinema cameras—two on stands, one handheld wireless, one atop a 20-foot jib and one mounted to a spider dolly—is done through a Ross Video Carbonite Black 2 2 M/E live-production switcher. It’s located in the master control room behind the stage, which also ser ves as the control room for the church’s live content streaming. Genson proclaimed that the cameras set apart the Hilliard campus as much as the touring-grade sound system does. “We really wanted to achieve a cinematic feel, and the 24p cameras can give us that,” he explained, “even as they’re able to seamlessly

switch frame rates within the cameras for a more traditional 60fps video look for teaching.” He continued, “In fact, that’s part of the reason why we went with Summit Integrated Systems as our integrator for this campus. The other integrators we talked to about that scoffed at the idea of cameras like that for a church. Summit was fine about pushing the envelope for what works in a church environment, [and] we appreciated that.” “We encouraged Rock City to look into these Panasonic cameras because we knew that these cameras of fer them a more cinematic feel, which was a direction that would fit the DNA of where they wanted to go,” Yevoli explained. “These cameras allow them to get a 24p look to the video out of the camera for worship, while [maintaining] its output frame rate at 59.94fps, so there are no latency problems, because the camera does the drop frame itself internally.” He continued, “[Although] they use 24p for the worship portion of the service, they have the ability to switch back to a 59.94 frame rate so they can get a nice broadcast-teach look from that, as well. Combined with the roaming camera, the jib and the dolly, you get a very professional-looking production with dynamics and a lot of creative direction possibilities.” Streaming is a key technology for Rock City Church’s future strategy, and it’s putting a lot of weight on Living As One, a purpose-built streaming platform aimed at the HoW market that can livestream over public internet. Its multisite version provides multiple encoders for real-time video capture, local area network (LAN) and cloud distribution for scalable delivery, multisite decoders for live/DVR playback and weekend support. “Some of the features of Living As One really put it over the top for multisite churches,” Yevoli remarked, citing the ability to embed eight channels of audio to each stream (mixed over a separate Yamaha QL5 audio console in the video control room). He also cited time-slipping capability, which allows satellite locations to start their Sunday ser vices when the local team is ready. Each location receives two separate streams: one “clean,” without the lower-third graphics (thereby allowing each church location to add its own graphics), and one with the Hilliard graphics in-

cluded. The same eight audio channels are embedded in each. “We’ve integrated Living As One with their Ross switcher, so they can cue up start times easily and reliably,” Yevoli said. “And, while the Hilliard location is streaming out at 1080p, [and] some of the satellite locations are set for 1080i, the streaming box can output a converted signal.” He also praised Living As One’s technical support. “They’ll often discover a problem before the church realizes it and email the customer to let them know it’s been taken care of,

or what the next steps are,” he explained. “That level of suppor t ever y Sunday is something [that] churches need.”

Lights On The need for livestreaming to unite Rock City Church’s various locations meant that the Hilliard location’s lighting would be critical. As always, lighting a space for both a live audience and broadcast/livestreaming can be tricky. “They wanted to complement the sound with the right kind of light(main story continued on page 49)

“This is the first facility we’ve purchased a large scale LED system for and Absen really helped make it a reality. Absen and Crown Design Group helped us engage with our congregation in a much deeper way for our worship experiences.” Parker Womack

Worship Pastor, Action Church

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EQUIPMENT 2 ADAM Audio A8X active studio monitors 1 ADAM Audio Sub8 active sub for smaller studio monitors 1 AJA 3GDA 1x6 3G/HD/SD reclocking distribution amp 4 AJA OG-2x4-SDI-DA openGear 2x4 3G-SDI re-clocking DAs 3 Apple 21.5" iMacs 1 Apple Mac Mini 2 Argosy V2RGE universal workstation desks w/2 VR1005 10 front rack modules 2 Barco RLM-W14 14,500-lumen WUXGA 3-chip DLP projectors 2 Barco TLD+ (1.5-2.0:1) projector lenses 2 Blackmagic Design HyperDeck Studio 2 file-based decks 2 Blackmagic Design UltraStudio 4K Thunderbolt capture and playback devices 1 Blackmagic Design UltraStudio mini monitor playback device 1 Camera Goat The Adventure Kit 2 Canon CN-E 18-80mm T4.4 COMPACT-SERVO cinema zoom lenses (EF mounts) 2 Canon CN-E 70-200mm T4.4 Compact-Servo cine zoom lenses (EF mounts) 12 CHAUVET Professional COLORdash Par-Quad 18 LED wash lights 14 CHAUVET Professional Rogue R2 Spot moving heads 16 Chroma-Q CHCF212RGBA Color Force II 12, RGBA LED batten fixtures 1 Chroma-Q CHINCTRLBOX924 Inspire external control box UL924 16 Chroma-Q CHINHLRGBW65E Inspire RGB + W LED house lights 21 Chroma-Q CHINHLRGBWXT Inspire XT RGBW LED house lights 3 Clear-Com CC-26K-X4 single-ear lightweight headsets 8 Clear-Com CC-300-X4 single-ear headsets w/4-pin female XLRs 3 Clear-Com CC-400-X5 double-ear headsets w/5-pin male XLRs 1 Clear-Com FSII-BASE-II-5 FreeSpeak II base station w/XLR-4M headset connector 4 Clear-Com FSII-BP19-X4-US FreeSpeak II 1.9GHz digital wireless beltpacks w/Li-ion batteries 1 Clear-Com HS-6 telephone-style handset XLR-4F w/coiled cord and push-to-talk button 1 Clear-Com MS-704 Encore 4-channel headset main station 2 Clear-Com RM-702 Encore 2-channel headset stations 1 Clear-Com RM-704 rackmount 4-channel headset/speaker station 46 Sound & Communications April 2019

4 Clear-Com RS-701 single-channel standard beltpacks 1 Da-Lite 35277C 146"x260" Professional Electrol motorized projection screen 2 Da-Lite 94012V 108"x192" Cinema Contour projection screens 1 Da-Lite single-motor low-voltage control system 5 DECIMATOR MD-HX miniature HDMI/SDI cross converters w/scaling and frame-rate conversion 12 Elation Arena Par Zoom 19x10W RGBW LED par cans w/zoom 6 Elation CUEPIX Blinder WW4 LED lights 10 Elation Platinum FLX 3-in-1 luminaires 2 ELO Touchsystems 2201L 22" touchscreen monitors 1 ENTTEC Storm 24 Ethernet-to-DMX interface w/24 RJ45 DMX ports 16 ETC S4LEDS2LS-0-X Source Four LED Series 2 Lustr light engine bodies 1 EZFX Extension Kit for EZ Jib 1 EZFX EZ Jib jib arm 1 Global Caché iTach IP2CC w/PoE option 1 Interactive Technologies CS-940 CueServer 2 DIN 5 Interactive Technologies ST-MD2-CW-RGB Mystique 2-wire, 2-button network stations in white w/RGB LED indicators 1 Interactive Technologies ST-MD8-CB-RGB Mystique 2-wire, 8-button network station in black w/RGB LED indicators 2 JBL 308P MkII powered 8" 2-way studio monitors 28 JBL Control 45C/T 2-way 5.25" coaxial ceiling speakers 6 JBL Control 60PS/T pendant subs w/crossover (white) 23 JBL Control 65P/T compact, full-range pendant speakers (white) 4 L-Acoustics ARCS II constant curvature WST line sources 18 L-Acoustics K2 variable curvature WST line sources 6 L-Acoustics KS28 high-power subs 9 L-Acoustics LA12X amplified controllers 1 L-Acoustics LA4X amplified controller 1 L-Acoustics X15 HiQ reference stage monitor 7 L-Acoustics X8 live monitor enclosures 1 Logitech GROUP videoconferencing system 1 MA Lighting 120120 onPC command wing 1 MA Lighting 120125 onPC fader wing 1 Marshall Electronics M-LYNX-702W dual 7" loop-through 3G-SDI rackmount monitor w/loop-through HDMI input/output (equipment list continued on page 48)

Courtesy Tyson Wiens.

Rock arts early at The music st tion, ca lo t es w ne City Church’s ic us m from a where tunes lobby ped into the pi e ar er rv se . rs ke ea sp ant through pend

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(equipment list continued from page 46) 8 Martin Professional RUSH MH 6 Wash CT LED moving heads 1 MDG Fog ATMe haze generator 2 Meyer Sound MM-4XP miniature self-powered speakers 5 Panasonic AK-HRP1000GJ remote operation panels 5 Panasonic AU-V35LT1 VariCam LT 4K super 35mm cinema cameras 1 Panasonic ET-D75LE20 3-chip DLP projector zoom lens 1 Panasonic PT-DZ16K2U 3-chip DLP large-venue projector 1 Primacoustic London 12 room kit 2 Primacoustic Nimbus acoustic cloud kits (black) 2 QSC CAES4 AES-3 digital input/output cards 1 QSC CDN64 Dante audio bridge card 1 QSC Core 510i Kit integrated core w/8 I/O card slots 2 QSC CXD8.4Q networked amps w/analog inputs and network connectivity 3 QSC TSC-55w-G2 in-wall touchscreen controllers 2 QSC TSC-7t tabletop touchscreen controllers 1 Ross Video CB2-PANEL Carbonite Black 2 control panel 1 Ross Video CF-116PLUS 2RU rack frame for 16x10 1ME Carbonite Plus live production switcher

48 Sound & Communications April 2019

Courtesy Casey Serrano.

meras e cinema ca One of the fiv , this one ch ur ch e th installed in t jib. on a 20-foo

2 Ross Video MUX-8258-8C 3G/HD/SD SDI analog audio embedders 1 Ross Video NK-3G72(32) 32x32 3G/HD/SD reclocking SDI routing system 2 Ross Video NK-O3G72 8-channel 3G/HD/SD reclocking SDI output cards 1 Ross Video NK-SCP/A ASCII/RS232 control interface 1 Ross Video oGx Frame OpenGear platform for ultra HD and IP 3 Ross Video RCP-ME remote control panels 13 Ross Video SHC-9642 SDI-to-HDMI converters 2 Ross Video UDA-8705A-R2 1x4 analog utility distribution amps 3 Samsung DB32E DB-E Series 32" slim direct-lit LED displays 1 Samsung DB40E DB-E Series 40" slim direct-lit LED display 2 Samsung DB55E DB-E Series 55" slim direct-lit LED displays 2 Samsung UN50NU7100 50" class NU7100 smart 4K ultra-HD TVs 1 Samsung UN55NU7100 55" class NU7100 smart 4K ultra-HD TV 6 Samsung UN58NU7100 58" class NU7100 smart 4K ultra-HD TVs 4 Samsung UN75NU7100 75" class NU7100 smart 4K ultra-HD TVs 10 Sennheiser ew 300 IEM G3 wireless monitoring systems 6 Shure UR2/BETA58A handheld wireless mic transmitters 3 Shure UR4D+ dual wireless receivers 1 Sonnet Technologies RackMac mini 1RU rack enclosure for Mac mini 2 Sonos CONNECT wireless streaming music stereo components 3 Sonos PLAYBAR soundbar wireless speakers 3 Vinten V8AS-AP2F Vision Pozi-Loc aluminum tripod systems 3 Vinten VB3-AP2M Vision blue3 video tripod systems w/mid-level spreaders 4 Westone UM Pro10 single-driver universal in-ear monitors 4 Whirlwind PW-1 personal wedges 1 Yamaha CL5 digital mixer 1 Yamaha NY64-D Dante digital interface card 1 Yamaha QL5 digital mixer 1 Yamaha Ri8-D Rio Series 8-channel remote input rack 1 Yamaha Rio3224-D Rio Series 32-in/16-out remote stage box w/4 AES/EBU outs 1 Yamaha Ro8-D Rio Series 8-channel remote output rack 1 Yamaha TF-Rack digital rackmount mixer 4 Yamaha VXS8 8" 2-way 70V/100V surface-mount speaker pairs List is edited from information supplied by Summit Integrated Systems.

Courtesy Casey Serrano.

(main story continued from page 45) ing, and to achieve audience engagement,” Yevoli described. “That’s why the full lighting package of movers and static fixtures were complemented with the [Elation CuePix WW4] blinders—for energy and impact with the audience.” The Chroma Q Inspire XT house lights were selected to keep the house connected to the stage by visually bringing color and lighting energy into the audience area. That being said, a more practical consideration also came into play. “The XT is 30-percent brighter than the standard version, so we were able to use fewer of them, which helped the budget,” he added. Summit Integrated Systems installed the MA Lighting grandMA lighting console that the church already owned next to the audio console at the FOH position. Genson said that Rock City Church paid more attention to lighting than many HoWs do because of streaming. “We haven’t had much of an [online] presence in the past, because it’s difficult to convey [over video] the level of energy of how we worship,” he explained. “But, with this campus, we intended from the beginning

paid more The church many lighting than to attention e of us ca be do es other church g. livestreamin

to change that. We wanted lighting that was designed around video, right down to the washes, to make sure there were no dead spots. The color washes were especially important because we wanted to set a mood, instead of going with [moving fixtures] and other eye candy.” Rock City Church adroitly uses audio,

video and lighting to communicate its message, but, according to Genson, the real achievement is that it’s done without the AVL being noticed. “People are able to walk away from a worship experience where they weren’t distracted by the technology,” he concluded. “That’s how you know you got it right.”

Cemo Performance Hall. When set up for mass, seating is oriented toward the west wall, which features two projection screens and two steerable line arrays on either side of a large crucifix.

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MMAANNYY FUNCTIONS AV TRANSFORMS ST. THOMAS HIGH SCHOOLâ&#x20AC;&#x2122;S GYM AND PERFORMANCE HALL INTO WORSHIP SPACES. 50 Sound & Communications April 2019

BY ANTHONY VARGAS

Reckling Gymnasium. When set up for mass, folding chairs are placed facing the east wall, which houses the two 7x7 LED displays. In Mass Mode, the speaker cluster on the east wall is used to cover the front two thirds of seating, whereas the center cluster is used as a delay for the back third of seating.

Creating a top-tier worship experience in a school is a tricky proposition. Although some religious schools may have their own purpose-built worship spaces, these spaces are typically not large enough to serve the entire student body and faculty (and, when necessary, friends and relatives) simultaneously. So, in order to accommodate everyone for worship services, schools tend to rely on larger spaces like gyms and auditoriums that are outfitted with versatile, multipurpose AV systems. St. Thomas High School, a Catholic all-boys school in Houston TX, is one such school that utilizes multi-use spaces for worship. During a recent AV upgrade, St. Thomas made it a point to outfit two areas of its campus, Reckling Gymnasium and Cemo Performance Hall, with flexible AV systems that could be used for worship ser vices, in addition to supporting the rooms’ more typical use cases. To achieve this goal, the school enlisted the help of AV design consultant touch thirty three, inc. (t33), which had previously overhauled the AV at the school’s outdoor ball field, Granger Stadium. t33’s work on the project was spearheaded by its Principal Designer, Bruce Coffman. LD Systems was the integrator for the installation; the LD Systems installation team was led by Ron Jones. St. Thomas High School’s Director of Technology, Christopher Hodge, laid out the school’s expectations for Reckling and Cemo’s new AV systems. “The scope of work for Cemo was to replace the overhead speakers that were pointed directly down from the ceiling; we wanted a versatile setup that would allow sound from

In Sports Mode, Reckling Gymnasium functions like most typical high school gyms. The announcer’s audio comes from the center cluster over the court, while audio for the LED screens comes from the nearby speaker cluster on the east wall.

either our north stage or west wall for mass. There was also a need for projector screens on either side of the crucifix for mass,” he shared. “The scope for Reckling was very much the same: Update the sound system for better coverage of the area and [add] screens for mass.”

Reckling Gymnasium Reckling Gymnasium pretty much resembles any typical high school gym at a glance, with a hardwood basketball court and pull-out bleachers along the side walls, but the room’s history makes it rather unique. “The interesting thing about the building itself is that it used to be an airplane hangar that was located approximately 120 miles north of Houston, apparently during World War II, and then it was donated to the school, so it was disassembled and brought down to Houston and assembled on site,” Coffman shared. Unique histor y aside, Reckling boasts the same hard, reflective surfaces common to most gyms, as well as windows above the entire north set of bleachers. In addition to athletic events, Reckling is used to host large assemblies and gatherings, and it is intended as a backup option for outdoor events during inclement weather. Reckling is also the largest interior multipurpose space on St. Thomas’ campus, so it is the setting for some of the most well-attended masses of the year, including family masses, the annual Christmas Eve service and the Baccalaureate Mass held in honor of each year’s graduating class. 52 Sound & Communications April 2019

Hodge described the lengthy process of preparing Reckling for mass services. “We can accommodate about 1,500 people for mass. In preparation for mass in Reckling, we first put down carpet so chairs don’t damage the basketball court,” he said. “We next pull out the sports seating on the north and south side of the gymnasium. After that, platforms are placed on the east wall for the altar and podium. Decorations are then placed throughout the room depending on the mass being hosted. We use the soundboard from [Cemo Performance Hall] to run the larger masses. Area mics are set up for the student choir, along with a cantor and organ mic.” AV is an important part of creating an environment conducive to worship in any multipurpose room, and St. Thomas sought for several years to make major changes to Reckling’s AV system. According to Coffman, the installation documented here began when t33 made some initial audio upgrades in Reckling. These would be the first steps in a larger process to transform the gym into a true multi-use space equipped with high-end audio and video. “The current system in Reckling is a logical outgrowth of the baby steps that we took initially,” Coffman explained. “The first thing we ever did in there with their existing system was to put a Symetrix SymNet 8x8 DSP processor frontend on it. A few years later, we added [a new speaker cluster] and a small AMX control system with a five-inch rackmount touchpanel. Another couple of years later, we added a SymNet BreakIn12 input expander, so then we had 20 inputs into the system. We ended up taking a 12-channel analog snake with a stage box attached to it, and we threw that underneath the north bleachers—that’s the side of the room where the combo or orchestra is set up when they do a mass. So, they had a 12-channel analog snake that led into the SymNet system, and then they had mic jacks around the room that were put in by the original installer. Programming-wise, it was pretty much nanny controls on ever ything, where all they had was the ability to control the volume of each input. The final step was providing wireless AMX control via iPads and programming an Expert Mode of AMX operation that gave them password-controlled access to custom text labels, adjustable compression, three-band sweep EQ, global snapshot memory and four

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aux send buses from all 20 inputs.” As a result of these initial system upgrades, t33 had laid the groundwork for further audio improvements. When the time came for the recent full-scale AV upgrade, t33 only had to make minor tweaks to the audio system’s frontend. “We replaced all the original SymNet components that we’d installed there a long time ago,” Coffman said. “It’s now all Prism 16x16 DSP, and there’s a Symnet xIn 12 12-channel input expander that services that 12-channel analog snake—that’s still there. Because of the way that these Prism devices leverage Dante, whatever’s plugged into that mic snake is now a digitally accessible source anywhere on the AV network.”

Speaker Solution Reckling’s existing speaker setup also required an overhaul. At the same time it added the initial AMX system, t33 had replaced St. Thomas’ old center-court cluster that Coffman described as “woefully inadequate” with a Renkus-Heinz PN15/4-4(T) Reference Point Array installed on the east end of the room, supplemented by two Renkus-Heinz PN81/12DF downfills; this speaker cluster is still used for both athletic events and mass. “Reckling had the RPA cluster at the east end of the room, and it was capable of reaching the back—no sweat—when they set it up for a mass,” Coffman said. “I went in there and mixed it with no feedback and good intelligibility all the way to the back row. However, I will admit that I was When Cemo Hall is in Stage Mode, audio is played through the stage’s LCR system. The flown left and right arrays contain two speakers and a sub, whereas the center array only contains two speakers.

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Hall’s DiGiCo S21 digital console can be wheeled in and connected via Dante using an AV network input box near the 12-channel analog snake.

Reckling Video The other major part of the Reckling half of the installation included adding video playback capabilities to the east side of the gymnasium. Because of the nature of the room, with its large windows and high amount of ambient light, it was determined that projectors would not work. Instead, t33 specified two 16:9 displays made of Vanguard Rhodium LED panels. The two 7x7 LED displays each have a protective covering to shield the panels from errant projectiles—Coffman described it as a system resembling “thin black rubber doilies” that cushion the face of each panel. The displays also feature custom aluminum dress panels for the sides and bottom. According to Coffman, the LEDs have no trouble standing up to the ambient light in the room. “Those things are running at about 70 percent, and they are still brighter than a supernova,” he exclaimed. “I mean, those LEDs have got serious firepower. It’s bright in Reckling, but those Vanguards will just pop your eyes right out.” The protective covering does reduce off-axis visibilThe Cemo Hall control room. The digital mixing console is stored on a cart that can be wheeled into Reckling Gymnasium or out into Cemo Hall itself.

bringing a lot of the tricks that I’ve learned over the last 40-odd years of doing live sound to bear during that process. Chris, on the other hand, found it challenging to hit the back third of the room without dangling on the edge of screaming, howling feedback. And no matter what I would do with the system in terms of processing, you can only push the laws of physics so far. So, we started talking about an additional cluster.” For the additional cluster, Hodge wanted a solution that would cover the rear third of seating, and the school’s Athletic Director, Mike Netzel, wanted a traditional centercourt cluster for basketball games. Coffman specified three Renkus-Heinz PN15/42(T) arrays for the new center-court clus56 Sound & Communications April 2019

ter. “Each array has two 15-inch, two-way powered cabinets,” Cof fman described. “You’ve got two speakers dedicated to the north bleachers, you’ve got two speakers for the south bleachers and you’ve got two speakers facing west.” t33 programmed two distinct modes into the AMX control system for Reckling: Sports Mode and Mass Mode. “During basketball games, the two speakers facing west do not operate. But when you go into Mass Mode, now it’s a distributed system, and each speaker in that cluster goes on its own dedicated DSP delay/EQ delay, so you now have the ability to reach the back of the room with no feedback and tons of headroom,” Coffman explained. For larger events and masses, Cemo

ity somewhat, but the effect is negligible. “I calculated it would start falling off in just in the last two or three seats closest to the video displays in the top rows of the bleachers, and I did the math right on that one,” Coffman said. “So you don’t have quite the viewing angle that you would have without the protective covering, but then again, the LEDs also don’t get destroyed when Junior kicks a basketball at them.” A video rack loaded with an Extron 8x4 HDMI matrix switcher is stored in the equipment room on the east end of the gym; however, there are multiple ways to send content to the displays without interfacing with the rack. “There’s a dual-input HDMI/DisplayPort input panel over in the northeast corner of the room where Chris sets up and where that 12-channel analog snake happens to live and where the S21 plugs into some RJ45s that are in a box on the wall,” Coffman explained. “There’s a

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Because of the high amount of ambient light in Reckling, the school decided to install LED screens instead of projectors. The LEDs have no trouble standing up to the brightness of the room.

30-foot HDMI cable that coils up into the bottom of the rack in the equipment room that you can pull out and use if you want to. There are two HDMI inputs on the rack panel itself, and there are two Apple TV interfaces that feed the Extron router. So, if you have the proper creds and the AMX password, you can take your iPhone and watch it on the LEDs. Anything that can be interfaced into that system can also be sent over to Cemo Hall on an HDMI bounce.” The video rack also features an AMX seven-inch touchpanel that is used to interface with the AMX control system. A ToteVision 15-inch rackmount LED panel mounted just above the AMX touchpanel can be used to preview any source or monitor any video feed from the rack. Audio for the video system is handled by the speaker cluster on the east end of the room in both Sports Mode and Mass Mode. “When the system is in Sports Mode, the cluster at the east end of the room—which has far more low-frequency capability—still drives the video,” Coffman said. “So, when they’re playing hip-hop videos in between plays, you have this stomping system at the east end of the room that is tied to the video image because it’s in close proximity.” 58 Sound & Communications April 2019

To wrap up our discussion of the Reckling AV system, Coffman broke down how everything ties together and how the various components are controlled. “In terms of the video system, the volume controls are based on sources and on the screen. You can turn the left screen up or the right screen down however you want,” he described. “In terms of the audio system, it’s pretty simple. Symetrix DSP frontend, powered Renkus-Heinz speakers, the speakers and everything else in that room are under the control of a LynTec panel, and every output curcuit on the LynTec panel has a SurgeX protector built into it. You’ve got that analog 12-channel snake that shows up as faders on the AMX system, as do the other mic inputs and the video sources. All of the mic inputs are programmed so they’ve got a DSP eight-channel feedback fighter in front of them. And the LynTec panels are under the control of the AMX system, so we can turn everything on and off when we need to. It’s just a big, happy system.”

Cemo Performance Hall The other area of St. Thomas’ campus impacted by this installation, Cemo Perfor-

mance Hall, is the setting for the school’s plays and musical recitals. It also sees quite a bit of use as a worship space; each Sunday, Cemo Hall serves as the sanctuary for Seven Mile Road Houston, a local Christian church. Cemo Hall also hosts all worship services at St. Thomas that are not large enough to be held in Reckling; these typically involve about 700 students, faculty and staff. Cemo Hall presented the team with significant acoustical challenges, according to Coffman. “It has a full-size proscenium stage built back into the north wall,” he described. “The room has a polished granite floor, and walls that are fossilized limestone slabs down low and gypboard above. The acoustical treatment, which is two-inch compressed Owens Corning 703, is all 12 feet and up, right where it needs not to be. So, the room itself is nasty in terms of its acoustic signature. Reverb for days, flutter echoes…you name it.” The process of transforming Cemo Hall into a worship space is almost identical to the process for Reckling; it involves a 90-degree reorientation of the room, plus a lot of folding chairs. “For mass in Cemo, we set up chairs on the bare floor facing the west wall,” Hodge explained. “Our crucifix is cen-

tered on our west wall, and platforms for the celebrants are set up underneath it. Typically, we set up for a student choir to the right of the platforms, along with the organ.”

Cemo Hall AV The Cemo Hall AV system functions in much the same way as the one in Reckling. Cemo Hall also has two distinct modes in the AMX control system: Mass Mode and Stage Mode. In Mass Mode, audio is played through two Renkus-Heinz IC24-RD-CC steerable line arrays, which are hung on the west wall on either side of the crucifix. In Stage Mode, audio is played through an LCR system flown above the stage: the left and right arrays are composed of two Renkus-Heinz IC2-FR speakers and one Renkus-Heinz IC212S-FR sub, whereas the center array only contains two flown IC2-FR speakers. “The mass system is a dedicated dual-array Iconyx system—totally steerable—and the stage LCR system is a Renkus Heinz IC² system, which is also steerable,” Coffman explained. “We used that to great advantage in this room. touch thirty three was one of the original commissioning agents for Renkus-Heinz when they first started doing the Iconyx stuff, and I was pleased to be able to use the Iconyx for both of those systems in Cemo because, as I said, the natural acoustics in there are dreadful, and being able to keep the energy off of the walls and direct it where you want to go makes a huge difference.” A DiGiCo S21 mixing console is housed on a wheeled cart in the Cemo control room

and used to mix audio for both Cemo Hall and Reckling. In much the same way the audio cart can be wheeled into Reckling, the cart can also be wheeled out into Cemo Hall to allow an audio technician to mix from a more traditional front-of-house position. A preexisting Hitachi CP-WX11000 feeds a Da-Lite 240"Wx135"H Professional Electrol projection screen that lowers from the proscenium stage on the north wall; this display is used in Stage Mode. Two Da-Lite 192"Wx108"H Advantage Electrol projection screens are hung on either side of the crucifix on the west wall. They are fed by two Epson Pro L1405U projectors, which are used when the system is in Mass Mode. The two mass screens are mounted in soffits, and complicating matters, each soffit houses three recessed ceiling lights that cast their beams in front of where the screens go. “We used some AMX interfaces—off-the-shelf units—so we can shut off those down lights that are in front of the screens when the projectors are in use,” Coffman said. “We have the screens under AMX control, and when you retract the screens it turns the lights back on.” The projectors receive their inputs in a similar fashion to the video system in Reckling. “In Cemo, we have two projectors instead of two LEDs, but otherwise exactly the same HDMI sources being routed to an Extron 10x8 HDMI switcher,” Coffman said. “In this case, we’ve got more ‘gozintas’ and ‘gozoutas’ because we have three projectors and a control-room display. The cart has two Extron dual-input HDMI/DisplayPort panels on it. You have a 30-foot HDMI

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cable that coils up in the bottom of the rack. There’s a stage box that’s built into the stage that has eight mic inputs, and it has one of those Extron HDMI DisplayPort panels in it. There’s a 10-inch AMX touchpanel on the roll-around cart next to the S21, and there’s a seven-inch AMX touchpanel in the rack.”

Control System The video rack is housed in the Cemo Hall control room, alongside the wheeled audio cart. “The Cemo control room is very small, with a tiny glass window, and vision in there can be kind of a nightmare,” Coffman described. “So we mounted a Sony 4K HDMI PTZ camera up above the door, and there’s a 32-inch LCD mounted above the window that can show that camera feed, because a lot of times when it’s crowded in Cemo, people stand in front of the window. That camera also routes through the Extron switcher, so they can output the camera feed just like any other source.” After a few weeks with the system, Hodge requested that an additional seveninch AMX touchscreen be placed near the stage. “It’s a really smart addition to the system. I can’t tell you how many times I’ve walked from the stage to the control room to make a touchpanel change and then back to the stage,” Coffman joked. He added, “It’s exactly the same touchpanel that’s in the rack, so you can completely operate the system from there.” Hodge also requested that an additional mode be added to the Cemo Hall system. “He wants us to create a Hybrid Mode for him where he can use the entire thing as

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EQUIPMENT RECKLING GYMNASIUM – AUDIO SYSTEM UPGRADE 1 Apple AirPort Express Wi-Fi extender/audio interface 1 Juice Goose SCV-10001 on-line double-conversion UPS 2 Middle Atlantic PWR-8-V Essex power strips 1 Middle Atlantic RCS-3524 Essex RCS Series residential configured rack system 3 Renkus-Heinz PN15/4-2(T) Reference Point Array speaker arrays w/custom rigging hardware 1 Renkus-Heinz PN15/4-4(T) Reference Point Array speaker array (existing) 2 Renkus-Heinz PN81/12DF powered downfill speakers (existing) 1 Symetrix Prism 16x16 digital signal processor 1 Symetrix xIn 12 12-channel analog input expander RECKLING GYMNASIUM – VIDEO/CONTROL SYSTEM UPGRADE 1 AMX MSA-RMK-07 rackmount kit for 7" Modero S Series touchpanel 1 AMX MSD-701-L2 7" Modero S Series touchpanel 1 AMX NX-2200 NetLinx NX integrated controller 1 AMX PSR4.4 13.5VDC, 4.4A power supply w/3.5mm phoenix connector 1 Apple TV 64G personal video input adapter 1 Extron DTP Crosspoint 84 4K 8x4 seamless 4K scaling presentation matrix switcher 1 Extron DTP HDMI 4K 330 Tx long-distance DTP transmitter for HDMI 1 Extron DTP T DWP 4K 232 D 2-input DTP transmitter for DisplayPort and HDMI w/audio embedding – decorator-style wallplate 1 Luxul XFS-1816P 18-port/16 PoE+ managed switch 20 LynTec MB-20 20A 1-pole snap-on motorized circuit breakers 1 LynTec SCLC 326-20 3-phase load center circuit breaker panel ` w/20 RS232 controls 2 LynTec SGX20-10 power conditioning surge suppressors w/10 module units 1 Middle Atlantic RLM-15-1CA standalone switchable power module 1 ToteVision LED-1562HDR 15.6" LCD rackmount monitor 2 Vanguard LED Displays Rhodium P3.3 16:9 15’ LED displays w/wall-mount/rigging hardware CEMO HALL – MASS SYSTEM UPGRADE 1 AMX MSA-RMK-07 rackmount kit for 7" Modero S Series landscape touchpanel 1 AMX MSD-701-L2 7" Modero S Series touchpanel 1 AMX MST-1001 10.1" Modero S Series G4 tabletop touchpanel 1 AMX NX-3200 NetLinx NX integrated controller 1 AMX PSR4.4 13.5VDC, 4.4A power supply w/3.5mm phoenix connector 2 AMX UPC-20+ control interfaces 2 Chief VCM106E heavy-duty custom ceiling projector mounts 2 Da-Lite 192"Wx108"H Tensioned Large Advantage Electrol projection screens w/screen downlight relocation and wiring 2 Epson Pro L1405U laser WUXGA 3LCD projectors w/4K enhancements and standard lenses 1 Extron DTP CrossPoint 108 4K 10x8 seamless 4K scaling presentation matrix switcher

60 Sound & Communications April 2019

2 1 1 3 1 1 2 1 1 1 1

Extron DTP HDMI 4K 230 Rx DTP receivers for HDMI Extron DTP HDMI 4K 330 Rx long-distance DTP receiver for HDMI Extron DTP HDMI 4K 330 Tx long-distance DTP transmitter for HDMI Extron DTP T DWP 4K 232 D 2-input DTP transmitters for DisplayPort and HDMI w/audio embedding – decorator-style wallplates Luxul XFS-1816P 18-port/16 PoE+ managed switch Middle Atlantic WR-37-42R rotating equipment rack (existing) Renkus-Heinz IC24-RD-CC digitally steerable line-array speaker systems w/Dante Samsung U32J590UQN 32" ultra-HD 16:9 flat monitor Sanus Premium Series VST4-B1 tilt wall mount Sony SRG-300HW 1080p desktop and ceiling mount remote PTZ camera (white) Vaddio thin-profile wallmount bracket

CEMO HALL – STAGE SYSTEM UPGRADE 1 AMX MSD-701-L2 7" Modero S Series touchpanel 1 AMX NI-700 NetLinx integrated controller (existing) 1 AMX NXD-CV5 5" Modero wall/flush mount touchpanel (existing) 1 AMX PS4.4 13.5VDC, 4.5A power supply w/2.1mm coaxial barrel connector (existing) 1 Apple TV 64G personal video input adapter 1 Da-Lite 240"Wx135"H Tensioned Professional Electrol projection screen w/custom dress panel, cover 1 DiGiCo D-Rack 32x8 XLR interface panel 1 DiGiCo S21 digital console 1 Extron DTP HDMI 4K 230 Rx DTP receiver for HDMI 1 Hitachi CP-WX11000 Professional Series installation projector w/custom mounting hardware (existing) 1 Juice Goose IP 1520-RX iP Series web-based power controller 1 Juice Goose SCV-10001 on-line double-conversion UPS 1 Luxul XFS-1816P 18-port/16 PoE+ managed switch 1 LynTec MSLC 326-12 3-phase 4-wire 120V modular sequencing load center w/26 circuits, 12 sequences (existing) 1 LynTec SGX20-8 power conditioning surge suppressor w/8 module units 1 Middle Atlantic RCS-1824 Essex RCS Series residential configured rack system w/custom stage rack input/output panel 1 QSC CX502 2-channel low-Z power amp (existing) 1 QSC CX602V 2-channel 70V power amp (existing) 2 QSC GX3 power amps 4 Renkus-Heinz CFX121M 2-way complex conic speaker systems 2 Renkus-Heinz IC212S-FR dual 12-inch subs 6 Renkus-Heinz IC2-FR digitally steerable array speakers 5 Renkus-Heinz RHANG-IC2FB rigging bars w/custom rigging hardware 4 Shure SLX Series wireless mic systems (existing) 1 Shure UA-844+ antenna distribution system (existing) 1 Symetrix Prism 16x16 digital signal processor 1 Symetrix xIn 12 12-channel analog input expander 1 Symetrix xIO 4x4 Dante-enabled analog I/O expander List is edited from information supplied by touch thirty three, inc.

one big system,” Coffman said, “because, when you go into Mass Mode, the audio naturally comes out of the Iconyx speakers, and when you go into Stage Mode, it comes out of the LCR array. So, for instance, if you’re doing a meeting in there and you want to show a video on the big screen, you have to go into Stage Mode to get the audio to come out of the appropriate place. Chris wants to be able to make the audio assignment sticky to where he can assign them himself and have this input staying on this playback system and that input staying on that playback system and have that be a third mode in addition to Stage and Mass Modes.” Throughout the discussion of this system design, Coffman was sure to emphasize the importance of designing the right control system for the client and how important it is for system designers to approach programming with simplicity in mind. “My AMX programmer, Jim Titus of JT Programs, I drive him insane. We’ve been working together since 1998. I am very, very, very proud of the AMX control system touchpanel pages and how painless they are for the users to use them,” Coffman shared. “In our AMX programming, we use colors like crazy, so if a customer calls me and tells me they’re having a problem, I can ask them, ‘What color screen are you on? Purple? Okay, you need to be on the green screen. Go back and find the menu button that gets you to the green screen. Guess what color it is? Green!’” He added, “You will not find any animated gifs or spinning logos on any of our AMX control systems. They are all big buttons with lots of space around them. Big text and colors, that’s what we do. It’s boring, but it works.” t33 can also access all of its control systems remotely via VPN /VNC for troubleshooting purposes. In addition to both Reckling and Cemo Hall having two dedicated settings for Mass Mode and Sports Mode or Stage Mode, respectively, there are two master modes for the AMX user interface: Simple Mode and Expert Mode. Which mode is activated depends on which credentials are entered. “Simple Mode basically allows you to turn the system on and off and do a couple of defined things that they do on a daily basis,” Coffman described. “Basically, you are presented with a page of finger-touch

faders that allow you to control the volume level of different things based on sources. When you’re in Simple video mode in each room, you have a fader on the left side of the touchpanel that controls whatever is coming out of the left screen, and you have a fader on the right side of the panel that controls the right screen, and the AMX programming automatically tracks all of that.” He continued, “In Exper t Mode, you can’t get yourself into trouble—I still have several nanny controls on there—but you can do some pretty cool things. For instance, you have to have the Expert path activated in order to plug the S21 into the system via Dante.” The system also includes a t33 signature feature—an emergency reset called “the Big Red Button.” “It’s either a software or hardware button, and basically what it does is it completely turns ever ything off, including the AMX processor, and turns it all back on again in a ver y controlled manner,” Coffman explained. “It takes 10 to 15 minutes to do it, but if you ever get the system to where it just won’t respond

or for some ungodly reason something’s locked up or you think it is, you can press the Big Red Button and, after all the passcode warnings, the system will reset.” This feature relies on a Juice Goose UPS feature to reset the AV system components, the Ethernet switches and the AMX control system in a particular sequence. For its part, St. Thomas High School seems pleased with its new AV systems. “I feel the [project] has accomplished everything we set out to do,” Hodge said. “The versatility of the system has proven itself through many events. The 15-foot displays in the gym have withstood several basketball hits without a problem. Overall, we are getting feedback that the masses are clearer, and the new video screens in both areas have really brought a new modern feel to our masses.” Hodge added that the system upgrades have also served a welcome educational purpose, as well. “Students are trained to use the new soundboard for plays,” he said, “and they have been very successful in learning some sophisticated sound techniques for our drama productions.”

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ISUAL

62 Sound & Communications April 2019

ONDER AUDIO CHALLENGE

Church of the Presentationâ&#x20AC;&#x2122;s expansion is a great success, despite acoustical obstacles.

Opposite: Permanently installed outdoor speakers that are remotely controlled with a digital sound system control panel in the sacristy replicate the audio from the church during special events. Top: Church of the Presentation, a Catholic community located in Upper Saddle River NJ. Bottom: Extensive structural renovations to the nave of the old, rectangular church removed vertical trusses to eliminate the left-side interior wall. The installation of new, curved pews oriented the worship space to the new glass entrance and narthex.

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V W The auditorium, with a moveable wall, continues to operate independently from the worship space. However, it can easily become part of the extended transept area to accommodate large attendance during services and special events.

64 Sound & Communications April 2019

By Dan Daley The single biggest challenge for live sound in houses of worship (HoWs) centers on acoustics. That said, the issue is also usually a fairly straightforward one: Architecturally speaking, the majority of churches tend toward one variation or another on either the classic cathedral design—rectangular in shape and with high ceilings—or the increasingly popular rooms that are wider than they are long, which are characterized by fan-shaped seating areas. But then there is the Church of the Presentation. Founded in 1961, this Upper Saddle River NJ congregation has grown from its original 270 families a half-century ago to an estimated 3,500-plus families today. They come from throughout a four-state region, and, according to the church’s website, the group is composed of more than 130 ZIP codes. That means it’s the largest parish in the Archdiocese of Newark. Like many churches, the Church of the Presentation had to figure out strategies to accommodate growth of that magnitude. In this case, the church embraced an ambitious architectural approach, taking its main church building, which had accommodated a separate auditorium and meeting room, in addition to its main seating area in the nave, and turning it into a single worship space. That created a contiguous trapezoidal and modular worship space.

at the pivot point of the two largest seating areas, which are now at a 90-degree angle from each other, with the narthex in the middle. Architecturally and visually, it was a brilliant move, with sightlines clear from the rear of all three areas. The overall seating capacity remains at slightly above 1,200. However, according to Father Bob Stagg, the church’s pastor, uniting all the seating areas has made the church “better, not bigger, and that was our goal—to

create ‘one church’ without the need to build a new one.” Acoustically, however, these major changes created a complex scenario as it relates to speech and music, with sound traveling through a range of spaces of different dimensions, and with var ying distances from any particular point source. Complicating matters, the church has a mix of worship styles, ranging from its organ and choir for traditional hymns to provisions for a full band behind and to

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The project, which reportedly cost between $6 million and $7 million to complete, was significant in its scale. It entailed removing the left-side interior wall of the church—the structure’s single longest wall, at 84 feet, which ran from the rear wall behind the main altar to the cr y room next to what had been the main entr y to the church—and replacing it with an equally long, laminated-wood glulam truss. That opened up what had been an 800-seat auditorium and the narthex—the church’s groupmeeting space, located at the middle of the right angle between the auditorium and the existing seating area—into a contiguous space, allowing both areas to face openly on the altar. The altar is

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the right of the altar. A different set of acoustical challenges arose than would have occurred in a conventional cathedral or other large worship space designed with a single logistical and acoustical profile.

Sound At The Turning Point The solution was a hybrid pointsource/distributed-speaker sound system, according to Steve Minozzi, one of the Co-Owners of Monte Bros., a Westchester NY audio-systems design and integration firm that specializes in sound for HoWs. “The church went from a typical, rectangular design to a big, open space—but one that the sound needed to make a big left turn in,” Minozzi explained. Church of the Presentation selected the right partner, though, given that, 40 years ago, Minozzi was the front-of-house mixer for Cardinal John O’Connor, the late Archbishop of New York. Moreover, Monte Bros.’ business is firmly centered on HoWs and related spaces, such as the Cardinal Dolan boardroom in St. Joseph’s Seminary in Yonkers NY and a new theater for the Diocese of

Brooklyn. “We specialize in challenging spaces for sound in houses of worship,” Minozzi affirmed, adding, “but this was the biggest challenge yet.” With the vertical architectural trusses removed, there was a clear line of sight from the altar to the back walls of all three spaces; however, each one presented a different geometr y. The nave was long and relatively narrow, like most cathedrals; the former auditorium was somewhat boxier, but still large; and the newly enlarged narthex was nearly square. For each one, the audio had to arrive at each seat at the same time. A point-source system made the most sense, given the distance of the throws from front to back; however, a series of distributed speakers along the walls of each of the longest spaces would be needed for support, ensuring the full spectrum of sound would make it to each part of each room coherently. Monte Bros. began work on the system while the church renovation was still in its blueprint stage, using its extensive database of systems designs, compiled during 30 years in business, to estimate

the most effective speaker locations. Minozzi said the team decided on the Terra Speakers CAMM Series DT speakers, using four of the larger DT800 speakers flown as point-source transducers (one each to cover the auditorium and the narthex, and two as a left-right pair for the nave). Complementing those are 14 wall-mounted DT400 speakers as the distributed suppor t system along the walls (eight in the auditorium and six in the nave). All of them are mounted using custom brackets locally fabricated to Monte Bros.’ specifications. They are powered by a combination of three Powersoft 1204 QuattroCanali amplifiers and a JBL CSA-140Z amplifier. System control is via a pair of Biamp TesiraFORTÉ AVB AI DSP processors, each connected to its own Biamp Tesira TEC-1S controller. The main sound system design had been determined and approved, but, first, the integrator had to set up another sound system. This one used the existing system assets of the church, inside the auditorium, across the front of which a temporar y sheetrock wall had been put in place; that allowed it to be used as the

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The new narthex provides natural light to the entire worship space, and it’s used as an extension of the worship area to accommodate large attendance. It’s also a gathering place before services commence.

EQUIPMENT

American Data Link multicable 2 Aphex DA-120 distribution amps 1 Applied Microphone Technology AMT M40 piano mic system 2 AtlasIED GD87W 8" coaxial in-ceiling speakers 2 Audio-Technica AD-SA1230XA power supplies 2 Audio-Technica AT8687 charger link kits 3 Audio-Technica AT899cH subminiature omnidirectional condenser lavalier mics 4 Audio-Technica ATW-CHG3 2-bay smart charging docks 2 Audio-Technica ATW-DA49 UHF antenna distribution systems 6 Audio-Technica ATW-3210EE1 3000 Series (4th-gen) true diversity receivers 5 Audio-Technica System 10 PRO ATW-RC13 rackmount digital wireless receivers 10 Audio-Technica ATW-RU13 System 10 PRO receiver units 10 Audio-Technica ATW-T1001 System 10 digital unipak transmitters 5 Audio-Technica ES915/ML MicroLine condenser adjustable-length gooseneck mics 4 Audio-Technica ES935/ML MicroLine condenser gooseneck mics 3 Audio-Technica ES961W unidirectional condenser boundary mics (white) 6 Audio-Technica ESW UHF wireless receivers (reserve model products modified for Monte Bros.) 5 Audio-Technica ESW-T411 beltpack transmitters (reserve model products modified for Monte Bros.) 2 Audio-Technica ESW-T412D wireless transmitters (reserve model products modified for Monte Bros.) 5 Audio-Technica ESW-T421EE1 wireless bodypack transmitters (reserve model products modified for Monte Bros.) 2 Audio-Technica ESW-T441 handheld wireless mics (reserve model products modified for Monte Bros.)

68 Sound & Communications April 2019

3 Audio-Technica ESW-T451EE1 wireless handheld transmitters (reserve model products modified for Monte Bros.) 12 Audio-Technica PRO 92cW-TH omnidirectional condenser headworn mics 3 Audix MB1255B miniature condenser mics w/25' cables and 50" booms Belden mic cabling Belden RG-8/U coax cabling 2 Biamp TesiraFORTÉ AVB AI digital audio servers 2 Biamp Tesira TEC-1s Ethernet control devices 1 Crown Audio XTi 1000 stereo power amp w/DSP 1 Galaxy Audio PA6S portable PA speaker 1 Gator Cases GRC10X12PU popup console rack case Genesis Cable Cat6 cabling IsoTek speaker cabling 4 Kaltman Creations IWXCPA2 sets of circular polarized antennas 1 JBL CSA 140Z audio amp 1 Penn Elcom R6612V-1032 12RU wallmount rack cabinet 3 Powersoft Quattrocanali 1204 4x300W amp platforms 14 Terra Speakers CAMM Series DT 400 sound-reinforcement speakers 4 Terra Speakers CAMM Series DT 800 sound-reinforcement speakers 4 Terra Speakers CAMM Series DTC-1 ceiling speakers 1 Ubiquiti Networks secured remote access system 1 Whirlwind custom 20-pair snake fan 1 Whirlwind custom snake cable 1 Whirlwind custom power strip surge protector List is edited from information supplied by Monte Bros.

worship sanctuar y for the entire church during the reconstruction process. (Additional weekend ser vices had to be added to accommodate the large congregation in that smaller space.) It was subsequently replaced by a pair of retractable doors that can close off the auditorium as a separate space for events and performances. “When [the wall is] closed, the church and auditorium operate independently,” Minozzi explained, mentioning that each has its own wall-mounted Tesira TEC-1S controller. “That is one of the logistics that makes this install so unique and also challenging: When the retractable doors are closed, the auditorium is focused in the opposite direction, which requires a completely different speaker time alignment and source speaker for the auditorium.” The main constr uction took nearly two years, having started in early 2017. Between the end of the construction and when the church was scheduled to open on December 8 of last year—the Feast of the Immaculate Conception on the Catholic calendar—the integrator found itself with a total of five working days to finalize the locations for all the speakers and then hang them. Wiring—an estimated 15,000 feet of mainly Isotec speaker cable, Belden microphone cable, and Genesis Cat6 wire used for the control panels and Bluetooth audio inputs—was installed by Monte Bros. at predetermined periods during the renovation. Cabling to a rack in the sacristy behind the altar accommodates the four AudioTechnica ATW-R3210EE1 receivers, and, in the storeroom in the auditorium, the additional four ATW-R3210EE1 wireless receivers and 10 System 10 Pro wireless

receivers. But the most critical aspect of the installation was left for last, with just days until when it was intended first to be used.

Ready, Aim, Fire It Up The point-source DT800 speakers were hung from the newly installed truss beam that replaced the old flyingbuttress trusses and that now spanned the length of the original church. A laser was used to measure the distances from the point source to the various estimated locations for each distributed DT400 speaker. Those values were input into the Tesira processors, which then determined the exact amount of delay that each distributed support speaker required. That created the correct timealigned interval, in milliseconds, to allow the sound from the main DT800 speakers to arrive at each location coincident with the sound emanating from each DT400. “The laser measurement is accurate to within a foot,” Minozzi explained. “So, between that measurement and the information we have in our database of about 1,500 installations, we were able to get the speakers placed and firing perfectly.” He continued, “The key was getting the source speakers placed correctly on the new beam and having their yaw [angle of elevation] correctly set, relative to the rooms they are to cover, and to each other in the case of the speakers on the main beam. Once we had that, everything else was just math in the processor.” The sound is zoned within the processor, but all of that is transparent for the end users, who have individual Tesira controllers to regulate the sound in the

two main areas. Each of those controllers has several presets that are preprogrammed by Monte Bros. for various system applications. Those include sound to only one or the other of the main areas, or to both, with a separate on/off setting for the narthex speakers; an on/off setting for the wireless microphones; and individual volume settings for the Audio-Technica AT-899cH wireless lavalier, ESW-T441 handheld and ES961W altar microphones. They also control two Terra Speakers outdoor speakers that are installed on either side of the new main entr yway; those can be used as overflow monitors.

No Acoustical Issues The careful attention to speaker placement also eliminated the need for acoustical treatments anywhere in the church; that’s a surprising fact, given the high number of reflective surfaces inside, and it’s fortunate given the church’s desire to keep the interior aesthetic as clean as possible. “It just wouldn’t have looked good,” Minozzi stated, noting that the padded seats of the folding chairs used in the auditorium provide some serendipitous absorption. “We evaluated the possible use of pew cushions, but the precision of the DSP means we didn’t need it,” he continued. “People have a tendency to put acoustical treatments in churches whether it’s needed or not, because everyone assumes that churches are highly reverberant. They are, but you can deal with that in better ways—using DSP and precise measurements, as we did here. We’ve seen them put padding everywhere, including 60 feet up on the ceiling or under the pews, but (continued on page 102)

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A MONUMENTAL UNDERTAKING R O C K S P R I N G S BAPTIST CHURCH BOASTS MODERN AVL, ARCHIVING AND STREAMING.

Rock Springs Baptist, which is 122 years old, built its current home in 2004, centering it on a 3,200-seat sanctuary that also encompasses a 200-voice choir for the church’s two Sunday services; they’re accompanied by a sizable orchestra. 70 Sound & Communications April 2019

A 25-foot-tall scaffold was built on the altar wall to enable projection screens and other AV installations where hydraulic lifts could not be used.

By Dan Daley Easley SC is in the upper northwest corner of a decidedly southeast state; home to a bit more than 21,000 residents, it’s close to much larger neighboring Greenville SC. A little more than 5,000 of the residents in and around Easley are members of the congregation at Rock Springs Baptist Church. Not surprisingly, Rock Springs Baptist has also become a social and community hub for the city, as well as its spiritual center. And, now, this very traditional church has AV systems that give it a rather modern look and feel. Rock Springs Baptist, which is 122 years old, built its current home in 2004, centering it on a 3,200-seat sanctuar y that also encompasses a 200-voice choir for the church’s two Sunday services; they’re accompanied by a sizable orchestra. It’s a ver y traditionallooking church in what is considered one of the more conser vative religious denominations in the Deep South. Yet, Rock Springs Baptist has kept itself part of the larger social conversation. For instance, last year, it sponsored and held a church safety-security

seminar, for clergy and others in church leadership of any denomination, that touched on topics such as creating a safety plan, essentials for having an effective security team and related legal issues. So, it wasn’t surprising that Rock Springs Baptist wanted its AV systems kept up to date, as well. What surprised the AV integrator the church hired for the project, The WH Platts Co., was that the church didn’t stop there. According to Rusty Galloway, Lead Field Engineer and Audio Engineer on the project, “They originally had targeted the larger of the two main worship spaces,” referring to the 3,200-seat main sanctuar y on the church’s six-plus-acre campus. That venue was to receive a new video production system and new video projection systems. However, over the course of three years, as the church planned and made provisions for that project, it expanded the vision. Rock Springs Baptist chose to upgrade the audio and video in the 1,100-seat chapel space, as well as in a 400-seat, youthApril 2019

Sound & Communications 71

A view from the front-of-house control area.

The technical team has incredible video capabilities at its fingertips, thanks to expert integration by The WH Platts Co.

Rock Springs Baptist is now fully equipped to stream its services across the campus and across the world.

2 oriented auditorium and in a 250-seat space aimed at college-age worshippers. “It just seemed economically prudent at the time,” he explained.

Taking AV Seriously The chapel was the only space to get both audio and video upgrades; the other spaces had had their sound improved within the last five to seven years. All the spaces, however, received new video and graphics systems. “We had moved into 72 Sound & Communications April 2019

3 the current worship space from the chapel about 14 years ago, and we had taken the video systems we had there with that move,” Jim Cawthon, the church’s Minister of Media for the past year, explained. “So, ever ything was four by three [aspect ratio] and standard-definition resolution. The youth room’s projector, I think, came from Sam’s.” He elaborated further, saying, “It was very behind the times. It was a good time to upgrade and replace the existing systems, as well as aspects like streaming

and archiving. It’s hard to be taken seriously as a media ministr y with what we had.” Going for ward, that certainly won’t be the case. All the spaces have been enhanced with new Panasonic projectors, with two larger Panasonic PT-RZ21KU 21,000-lumen laser-light projectors installed in the main sanctuar y. There, they illuminate a pair of fixed Da-Lite 195"Hx312"W projections screens. A third Panasonic PT-RZ21KU 21,000-lumen laser-light projector was installed in the chapel, with a

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EQUIPMENT VIDEO AND IMAG PROJECTION 3 AJA DRM rackmount frames 2 AJA FiDO-2T 2-channel 3G-SDI to single-mode LC fiber transmitters 1 AJA FiDO-4R 4-channel single-mode LC fiber to 3G-SDI receiver 2 AJA FiDO-4T 4-channel 3G-SDI to single-mode LC fiber transmitters 14 AJA FiDO-R 1-channel single-mode LC fiber to 3G-SDI receivers 6 AJA FiDO-T 1-channel 3G-SDI to single-mode LC fiber transmitters 1 AJA FS1 universal frame synchronizer/converter 15 AJA Hi5-PLUS HD/SD to HDMI converters 1 AJA KUMO 6464 compact 64x64 3G-SDI router 1 Analog Way RK-350 remote control keypad 1 Analog Way SPX450 Saphyr high-resolution mixer and seamless presentation switcher 6 Belden 2413F Cat6+ (350MHz), 4-pair, F/UTP-foil shielded, plenum-CMP, premise horizontal cables 25 Binary 540 Series 4K ultra-HD HDBaseT long-range extenders w/IR, RS232 and Ethernet 2 Cartoni F126 Focus HD fluid heads 1 Clear-Com CZ11513 4-UP HME DX210 intercom system w/intercom headsets 5 Clear-Com RM-702 2-channel, 1RU remote stations 12 Contemporary Research ICC1-232 RS232 TV controllers 1 Contemporary Research ICE-HE-DXL display control center 1 Contemporary Research QDA4-45 RF amp combiner 1 Contemporary Research QMOD-HDMI RGB HDTV modulator 1 Contemporary Research QMOD-SDI 2 HDTV modulator and IPTV encoder 1 Contemporary Research SSV-DX Display Express PC 1 Crestron DGE-100 digital graphics engine 1 Crestron PRO3 3-Series control system 2 Da-Lite 195"Hx312"W cinema contour projection screens 1 Da-Lite 162"Hx259.25"W motorized projection screen 4 Extron DA4 HD 4K 4-output HDMI 4K distribution amps 3 Kramer Electronics VP-734 7-input ProScale presentation switchers/4K30 ultra-HD scalers 1 LG Electronics 32" class commercial TV w/RS232C control 9 LG Electronics 43LV340C 43" class commercial TVs w/RS232C control 8 Magenta Research HDMI 4K ultra-HD HDBaseT extender kits Marco Consoles custom video furniture Middle Atlantic miscellaneous rack accessories 2 Middle Atlantic UPS-OL1500R Premium Online Series UPS backup power units 2 Middle Atlantic WRK-44-32-LRD WRK Series 19" gangable rack enclosures 3 NewTek TCMiniCS TriCaster Mini control surfaces 3 NewTek TriCaster Mini Advanced systems w/TriCaster Advanced Edition software 1 NewTek TriCaster TC1 video production system 3 Panasonic AJ-PX270PJ professional video cameras 5 Panasonic AW-HE130WPJ full-HD cameras w/integrated pan/tilt 8 Panasonic AW-HE40HWPJ9 PTZ cameras w/HDMI outputs 6 Panasonic AW-RP120G remote camera controllers 3 Panasonic PT-RZ21KU 3-chip DLP SOLID SHINE laser projectors 8 Panasonic PT-RZ770WU 7,200-lumen WUXGA DLP projectors 4 Panasonic TH-55LFE8U 55" digital displays 2 Panasonic TH-65EF1U 65" class full-HD LCD displays 1 Planar PT1745R 17" touchscreen monitor 20 Planar PXL2270MW 22" LCD monitors 6 Planar PXN2770MW 27" LCD monitors 2 Sharp PN-LE901 90" class full-HD commercial LED TVs 2 tvONE C3-310 CORIOmatrix mini 4K universal I/O scaling matrix routers 2 tvONE CM-3GSDI-2IN 3G-SDI CORIOmaster input modules 4 tvONE CM-DVIU-2IN universal DVI CORIOmaster input modules 4 tvONE CM-HDBT-SC-2OUT-1ETH HDBaseT CORIOmaster scaled output modules

74 Sound & Communications April 2019

3 7 2 2

West Penn 254245EZBL1000 8-conductor, 24AWG solid unshielded Cat5e plenum cables West Penn 25819IV1000 RG59/U type SDI coaxial cables ZeeVee ZvPro 620-NA 2-channel component-VGA-in/QAM-out encoders/modulators ZeeVee ZvPro 820-NA 2-channel HDMI-in/QAM-out encoders/ modulators

Chapel Sound System 2 Aviom A360 personal mixers 1 Aviom AVIOM16/o-Y1 A-Net card 2 Aviom D400 A-Net distributors custom sound and video booth 1 Lowell LER-4022 enclosed rack 1 Lowell SEQ-4 power sequencer (4-step) 2 QSC AP-5102 high-power, 10", 2-way, 105Â° conical DMTs 4 QSC K12.2 active 12" speakers 6 QSC PLD4.5 processing amps 2 QSC WL118-sw 18" subs 10 QSC WL2082-i installation line-array systems RapcoHorizon 2-pair audio snake cables RapcoHorizon 6-pair audio snake cables RapcoHorizon 6-conductor speaker snake cables RapcoHorizon 8-conductor speaker snake cables 2 Shure UA844+SWB antenna distribution systems 2 Shure UA874 active directional UHF antennas w/integrated amps 2 Shure ULX1-G3 ULX Series wireless bodypack transmitters (G3 band) 6 Shure ULXS24/BETA58-G3 ULX-S Series single-channel wireless mic systems w/Beta 58A handhelds (G3 band) 2 Shure ULXS4-G3 ULX-S Series UHF standard wireless receivers (G3 band) 1 TASCAM CD-200BT professional CD player w/Bluetooth receiver 1 TASCAM SS-R200 solid state recorder 1 Yamaha QL5 digital mixer List is edited from information supplied by The WH Platts Co.

The main sanctuary has a pair of 90-inch LED displays used as confidence monitors for the large choir. The mounts had to be installed on custom-fabricated welded aluminum frames to accommodate a curve in the wall to which they were mounted.

Da-Lite 162"Hx259.25"W motorized projection screen in the center. Panasonic PT-RZ770WU 7,200-lumen laser-light projectors were installed in both the youth and college spaces, shining onto existing screens in each venue. In addition, Panasonic PTRZ770WU 7,200-lumen laser-light projectors were installed in the choir practice room and in the balcony of the main sanctuar y for choir confidence monitors. The main sanctuar y also has a pair of Sharp PN-LE901 90-inch LED displays, which are used as confidence monitors for the large choir. Their SnapAV mounts had to be installed on custom-fabricated, welded aluminum frames to accommodate a curve in the wall to which they were mounted. The main sanctuar y now has five Panasonic AW-HE130WPJ full-HD cameras with integrated pan/tilt that are remotely controlled using AW-RP120G remote camera controllers. There are also three Panasonic AJ-PX270PJ professional video cameras that are manned, yielding a total of eight cameras around the sanctuar y. That’s double the number of cameras previously utilized.

Excellent Sound As part of this project, the chapel got its first new sound system in 14 years. At its heart is QSC’s ILA Series. In particular, there are 10 QSC WL2082-i modules in a single center-hung array, backed by a pair

of QSC WL118-sw subs flown behind the main array. All are powered by six QSC PLD4.5 DSP-equipped processing amplifiers. As with the main sanctuary, the chapel has a Yamaha QL5 digital mixer with an Aviom card to feed an Aviom A360 personal monitor-mix system for the stage, as well as a Shure ULX-S Series wireless microphone system. The chapel’s stage is traditional, but tight; that created some interesting challenges in taking out the old and bringing in the new. In the case of the latter, the existing, custom-built PA system actually had to be cut up into pieces in order to take it down safely. (That was due, in part, to the fact it wasn’t possible to bring a hydraulic lift into the space.) Instead, the integrators built a 25-foot-tall scaffold on the altar wall, which ser ved as the means to remove the old sound system and install the new speakers and video screens. Referring to the task of getting the DaLite motorized screen into its soffit in the chapel and the Da-Lite fixed screens into the main sanctuar y, Jerr y Harrison, Project Manager, Design Engineer and Programmer on the project, from The WH Platts Co., said, “It was a monumental undertaking.” And, in the main sanctuary, the task was complicated by the need to work around Sunday and Wednesday ser vices. Positioning the new projectors in there

was also a challenge: They were originally going to be placed on top of the room’s catwalk, but interference by the line-array sound system, which was going to remain in place, resulted in them instead being suspended beneath the catwalk. In the chapel, hanging the new QSC sound system presented the same problem as integrating the new screen did. Unable to use a motorized chain hoist to lift a completed array that would have been assembled on the floor, the team instead installed the hang frame for the single, centrally mounted line of 10 speakers and then brought each speaker up one at a time.

Expanded Streaming The one thing that really sets this round of AV upgrades apart, however, is the expansion of the church’s streaming broadcast capability, as well as the addition of a network that connects all four of the worship spaces. Streaming is based on a NewTek TriCaster TC1 video production system in the main sanctuar y control room, with three NewTek TriCaster Mini Advanced systems with TriCaster Advanced Edition software. One TriCaster Mini is installed in the chapel, youth and college spaces. TriCaster production systems integrate HD switching, streaming and recording; they provide up to eight external video inputs (continued on page 104) April 2019

Sound & Communications 75

A World Of AV Technology

A dispatch from Prolight + Sound Guangzhou 2019.

By Andy McDonough

Innovative applications of AVL technologies, as exemplified by this laser-eyed creation, dotted the show floor. 76

Relationships are complicated. International business relationships that center on evolving AVL and production technology in Asia certainly appear complex to the outsider, and they can be a world away for US-based manufacturers, designers and integrators. However, despite the challenges presented by distance, language and evershifting trade policies, creative companies from the US are joining like-minded entrepreneurs from around the globe to find ways to tap into what is one of the world’s largest suppliers of, and markets for, AVL technology and integration expertise. Although several common factors mark these intrepid international players, a key element in their success has been active participation in one of China’s largest, most established technology fairs: the annual Prolight + Sound Guangzhou (PLSG), organized by Messe Frankfurt and the Guangdong International Science and Technology Exhibition Co. (STE). This year’s edition of the show took place Februar y 24 to 27 at the China Import and Export Fair Complex in Guangzhou, China.

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PLSG attracted around 80,000 visiting professionals, marking solid growth from last year.

Overview To say that PLSG is a large and comprehensive trade fair would be an understatement. This year, the four-day event played host to a record number of international exhibitors and multinational visitors. Areas A and B of Guangzhou’s busy China Import and Export Fair Complex provided space for some 1,350 exhibitors from 25 countries, as well as around 80,000 visiting professionals (up solidly from last year). The expansive fair represented the entire systems integration and commercial AV technology chain. In addition to hosting major exhibitions of lighting and audio gear by international and Chinese companies, the show encompassed all aspects of production and performance technology, including stage design, event management and the supply chain. 78 Sound & Communications April 2019

To help show visitors find what they were looking for, all exhibitors and exhibit areas were clearly mapped out in the comprehensive Visitors’ Guide, which presented information about the show in both English and Chinese. The guide aligned with the layout of the halls and exhibitor booths, which were clearly marked. (Admittedly, areas with smaller booths did become dense.) Along with a color-coded map to get visitors to any of the eight halls on the first floor (five of which have a second level) and several outdoor line-array areas that emulate concert settings, the Visitors’ Guide included schedules for all educational presentations and for key product demonstrations. At a fair of this size, at which English was not the primary language, Western visitors were bound to require some help from

time to time. Expressly for that purpose, PLSG, in addition to offering the Visitors’ Guide, provided several well-marked and well-staffed information booths, located in convenient spots along the main concourse. The young attendants who staffed them were anxious to help; they communicated directions and advice about navigating the fairgrounds utilizing their more-thanadequate English-language skills. A well-organized show like PLSG, held at a well-equipped facility that has ample space and amenities for a show this size, negates most safety-related concerns for international visitors. Security at PLSG was obvious, but not overstated. Once registered at the fairgrounds, visitors entered the show daily through a security checkpoint that provided expeditious screening of bags and cases. Subsequent entrance to each

under the show’s popular Audio Brand Name Hall. Major attractions at PLSG included the show’s four line-array listening areas, which featured many different line-array manufacturers’ setups. The outdoor spaces effectively emulated a concert situation, and they provided a welcome opportunity to audition line arrays at a distance (as they would be heard in practice). Each was spaced away from the others and away from the audio goings on in the indoor exhibition halls. The outdoor line-array areas cycled through programmed audio materials to display the best features of each manufacturer’s technology, while also offering listeners an opportunity to audition several manufacturers’ products side by side. Mode Audio’s Founder, Ruben Rodriguez, brought his latest line-array deigns to PLSG 2019. “It was a last-minute decision to invest in a booth,” Rodriguez began, “but it is really paying off for us.” Rodriguez has more than 20 years’ professional experiPlatinum Tools 1/3 Square ad ence in audio, and, prior to Mode Audio, was the original creator and Co-Founder of

VUE Audiotechnik. He is also not new to the Chinese market, having come in 2006 to work on various high-profile projects, including the Beijing Olympics. Active in the Asian music industry as a top FOH and sound engineer for many top artists and venues, he splits his time between California and Beijing. “This show, in par ticular,” Rodriguez continued, “has been a great place to meet our clients from this part of the world. I also think our line-array demonstration has turned some heads.” He continued, “That’s important because these are people who don’t know us yet, and [it] has brought them over to our booth.” He also believed that additional interest was generated by his company being from the US. Rodriguez shared that he made some last-minute tweaks to his original mixes for the outdoor demonstrations so as better to meet the expectations of the Chinese market. “It’s a big sound that they’re looking for, and Mode Audio can do4.625”x that, too.”4.875”) for SD&I (Size: At the Bose Professional exhibit, the recently introduced ArenaMatch outdoor

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Exhibits With a staggering combined exhibition area of more than 130,000 square meters, PLSG 2019 ser ved as an opportunity for brands from around the globe to showcase their latest innovations, many of which were tailored to the Chinese market. Thirteen spacious thematic halls and the “Y-Channel” demonstration area on the lower level provided organized space that logically grouped related products and interests. Halls were labeled accordingly. For example, Hall 5.2 was “Media Systems and Solutions” and Hall 4.2 was “Communication and Conference,” with both located

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Fringe programs were arranged in meeting rooms throughout the complex. They included 50 industry-oriented seminars and product presentations.

array modules, along with the company’s EdgeMax in-ceiling premium loudspeakers, were hot topics, according to Joyce Tang, Marketing Manager for Bose Professional, Bose Electronics (Shanghai) Co. Ltd. “This year’s PLSG provided Bose a great stage to answer questions about the new ArenaMatch DeltaQ array loudspeakers and ArenaMatch Utility loudspeakers,” she said. “The combination generated a lot of interest from both consultants and international buyers.” As with most professionally run trade shows, sound policies for audio demos seemed to be enforced. Sound patrols were visible throughout that day in all exhibit areas, monitoring and recording sound levels. Although some indoor demonstrations clearly violated a typical 85dB maximum level at times, none seemed to do so for any extended period. Ear protection was available in some areas, and, generally, things were loud only where they were supposed to be—for example, during the outdoor line-array demonstrations.

Fringe Programs & Education Fringe programs were arranged in meeting rooms throughout the complex, and they included 50 industr y-oriented seminars and product presentations spread logically over the show’s four days. Speakers were typically industry experts hailing from leading enterprises and global associations, with presentations sometimes being 80 Sound & Communications April 2019

quite detailed. A highlight for many who attended PLSG was the annual Advanced Audio Forum, organized by the Guangdong Association of Recording Engineers. Other topics included Techniques for Acoustic Division Control and Remote Smart Interaction for Smart Audio Systems; product presentations organized by HC360 (one of China’s leading business-to-business websites for domestic trade); Application of Audio Technology in the AI Era; and the featured PLSG annual training course, Maintaining and Modernizing the Performance Venue. Many informative, often informal sessions were held in a comfortable temporar y classroom area on the second floor, which was constructed specifically for the event. There, the schedule of speakers and topics was intended to brief attendees on hot industr y topics and technologies. Seminars typically provided ample time for question-and-answer periods after the talk; presenters seemed more than willing to speak after their presentations. Not all sessions were in English, however; as such, visitors had to plan their attendance accordingly. Handheld translation devices and phone apps were common both at the education center and on the exhibit floor. Highlighted presentations included those on topics related to AV/IT, including theater-based applications of AVoIP, along with a panel discussion entitled, “AI, New Era!” Dante Level 1 and Level 2 courses

were of fered, as were seminars on the AES67 audio networking standard (the published technical standard for audio-over-IP and audio-over-Ethernet interoperability), innovative networked control systems, lighting control of theme-park attractions, and techniques for acoustic division control and remote smart interaction. All seemed to be well attended. Although Dante training and certification have been popular topics at PLSG, this year’s show was the first at which Audinate, the company that developed Dante technology, had a booth on the exhibit floor. With its global headquarters in Sydney, Australia, and a North American headquarters in Portland OR, Audinate has to reach customers on multiple continents. “We’ve been coming here for years to meet and do business,” John Rechsteiner, Audinate’s Senior VP of Global Sales, explained, “but we never had a booth.” As with Mode Audio, the decision was a last-minute one, and it was driven, in part, by the availability of new Audinate products—for example, the company’s AVIO Dante adapters. AVIO adapters facilitate the use of legacy audio gear with any Dante-connected system. As for Mode Audio, Audinate’s booth proved to be a wor thwhile investment. “There has been a lot of interest and good discussions,” Rechsteiner affirmed. “We’re happy to be here.” Something of interest to many visitors, PLSG hosted its first interactive multimedia

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display, the Lighting and Art Space, in cooperation with Chinese media giant Visual Jockey. Built in the common area of Area A, away from the noise and hustle-bustle of other demonstrations, the walk-through display showcased new media technologies for 3D mapping, stage machiner y, lighting installations and new media art, along with stage tech innovations and effects. It provided a venue for 16 professional lighting companies to demonstrate their latest systems.

International Players d&b audiotechnik’s CEO, Amnon Harman, recognized the important role that PLSG plays for the audio industr y during his meeting with the press on day one of the fair. “Our company is dedicated to our clients in this region,” he said. “Being here at PLSG is one of the ways that we show our commitment. Additionally, we have recently established a subsidiar y here with 45 employees to better ser vice d&b’s regional business.” As is the case with many audio manufacturers, d&b has evolved in the region, finding new ways to be closer to this important market. Similarly, Eduardo López, General Manager for D.A.S. Audio, with its headquarters in Valencia, Spain, explained his company’s initiatives to support its extended network of dedicated distributors around the globe. “Finding ways to move our products and people closer to this important market is key to building mutually profitable, long-lasting business relationships,” he stated. “That is how we increase our business and profitability.” With regional sales and distribution centers located in both Singapore and Miami FL, D.A.S. Audio is providing clients what they need, where they need it. “Our partners are looking for rapid response in this demanding market,” López continued. “Being closer, we can offer exceptional customer support, both before and after the sale, as well as [providing] on-site technical training seminars.” Having solid relationships, if not official partnerships, seems to be key to success in the Asia-Pacific markets. “Not much can happen here without someone who intimately understands the unique business environment,” John McMahon, Senior VP of Marketing for Meyer Sound, observed. In 2011, the company set up Meyer Sound 82 Sound & Communications April 2019

China, in Beijing, and it has had a longstanding partnership with Shanghai Broad Future Electro Technology Co. Ltd., now the company’s exclusive distributor for China and Macau. “Our partnership has been critical to succeeding here in China,” McMahon noted, while meeting with press and potential clients in the company’s combined exhibit that offered guests a traditional Chinese tea ser vice. McMahon has been attending trade shows in the region for more than a decade, and, for him, PLSG is a mainstay. In the 5.1 Lighting Hall, where a sea of lighting manufacturers pulled out all the stops to vie for the attention of potential buyers, colored lasers cut smartly through

the haze at the Pangolin Laser Systems booth. Headquartered in Orlando FL, Pangolin products are used by some of the world’s largest events, companies and brands; they include major theme parks like Disney World, SeaWorld, Universal Studios and Six Flags, and major motionpicture companies like 20th Centur y Fox and DreamWorks. After turning down the mix and releasing the lighting console back to his team, Pangolin’s CEO, Justin Perr y, explained the importance of PLSG for his company. “We come every year,” he began, “because PLSG is not only a place to demonstrate our products, but [also] an opportunity to connect with the many manufacturers here, as well as our laser

major hall, and he wants to enlarge it to meet with more potential clients. He hasn’t designed the booth yet, but his plan is to show his clients “how it’s done in the US.” He added, “Maybe we’ll have a tiki bar or something else that will really make us stand out. Whatever it is, it will be big, and it will be a party.”

Location & Stay The fairgrounds are somewhat isolated from the amenities of Guangzhou, but several excellent hotel options are within easy (15 minutes or fewer) walking distance. Once at the fairgrounds, there are only a few food options, and restroom facilities are limited. As such, it’s probably advisable to stay close by, and to plan morning and afternoon sessions at the fair. Even though the city is a short cab ride away, there is not a lot to do in the evenings when you’re situated close to the fairgrounds. The streets are generally quiet (unless a new show is being set up in one of the halls), and there is private security at key points, such as the hotels and metro station. The few hotels within easy walking distance of the fairground complex, including Langham Plaza and the Westin, do an excellent job of providing for English-speaking travelers. They offer a few choices of lounges (often with entertainment) and restaurants conducive to business meetings or just relaxing.

PLSG 2020 A view of the lighting hall.

light show and entertainment industry clients.” A prominent player in production laser technology, Pangolin boasts more than 50,000 clients. In addition, Pangolin software has contributed to more than 400 artistic awards. Another global business owner who has roots in the US, Noe Ybarra, took a small booth at PLSG 2019 for his company, Global Stage Techs, LLC (GST). A Las Vegas NV native, Ybarra also lists Beijing, Hong Kong and Shanghai on his business card. A decade ago, when he was recruited to oversee technology for some extraordinarily large shows in China, Ybarra saw many challenges, but also identified opportunities. “Right off, I saw an opportunity here

in China for more experienced stage technicians and riggers,” Ybarra recalled. “But there was also a serious need for better safety training.” As a result, Ybarra established GST Training Ser vices to augment his successful stage tech and rigging operation. GST can supply the theater and touring markets with local, GST-certified techs, or it can arrange for qualified expatriates to meet production needs. GST also helps clients with theatrical procurement and rigging rental ser vices. “Doing theatrical productions in this part of the world is unique,” Ybarra noted, “and we fill [in] the gaps.” Ybarra plans to upgrade his booth at PLSG next year to a better location in a

Judy Cheung, Deputy General Manager of Messe Frankfurt (HK) Ltd., was pleased with the show’s turnout this year. “PLSG is committed to supporting the industr y’s development by offering a firstclass business and information-exchange platform for the enter tainment sector,” she declared. “We wanted our exhibitor showcase and fringe events to cover ever y corner of the industr y’s needs and to echo the growing trends in media technologies and systems integration. We’re proud to be able to capture so many opportunities all under one roof.” The 2020 edition of PLSG will be held from Februar y 19 to 22, 2020, in Areas A and B of the China Import and Expor t Fair Complex in Guangzhou. For more details about the show, visit www.prolightsound-guangzhou.com or email plsgz@hongkong.messefrankfurt.com. April 2019

Sound & Communications 83

MARKET BRIEF By Amanda Mullen

Worship Centers Nashville’s First Baptist Church is tearing down its East Building to build a more contemporary worship space for its congregants.

A rendering of the outside of LDS’ Pocatello temple, which will be white granite and bronze.

As is evidenced regularly in our “House of Worship: Technology” and “House of Worship: Business” columns, worship centers make up a large portion of end users in the commercial AV industry. Houses of worship (HoWs) are increasingly investing in AV solutions to enhance the worship experience and expand their influence, and it’s easy to understand why. Advanced audio technology better enables attendees to understand and participate in worship services, and video solutions allow congregants from a wider range of locations to tune in to them. Given the growing focus on technology in worship centers, it makes sense that many HoWs are either building additional facilities to accommodate their growing numbers of congregants or renovating their current facilities to embrace a more modernized worship experience. Gone are the days of clinging to traditional worship experiences; people have come to expect a higher standard of worship, and worship leaders are doing whatever they can to give it to them. The Church of Jesus Christ of Latter-day Saints (LDS) is one church seeking to widen its reach by having multiple campuses. In fact, it broke ground on a new temple located in Pocatello ID on March 16, a groundbreaking that has purportedly been a long time coming for the Pocatello community. Members of the LDS church have been attempting to build a worship space in the city for years, a fact that even Gov. Brad Little confirmed at the groundbreaking ceremony. The new temple, which will be located right off Satterfield Dr., will mark the LDS’ sixth temple in Idaho. 84 Sound & Communications April 2019

Official construction on the 67,000-squarefoot building began the week following the groundbreaking ceremony, with Okland Construction overseeing the project. The temple will be three stories high, combining both classical and modern styles of architecture. If all goes according to plan, the Pocatello temple will take between two and three years to build and amount to a total of $62 million upon its completion. Around $395,000 in fees will be paid to the city of Pocatello by the LDS church. It is estimated that the new worship center will serve more than 64,000 members of the LDS church when it opens to the public. While on the topic of expanding a parish’s presence, Nashville TN’s First Baptist Church (FBC) is also renovating its facilities along Broadway and 6th St., where it owns a significant amount of real estate already. The church intends to invest $36 million to modernize

its current campus. The church has reportedly landed a construction loan of $11 million to help fund the project. The renovation will include tearing down the East Building on the corner of 6th and Broadway in order to replace it with a more contemporary space for worship services, among other activities. The building that replaces the old one will include a 500-seat worship center, a fellowship hall, and education spaces for youth ministries, classrooms and Bible study groups. The church is also planning to add a coffee shop to that building, which will be open to both congregants and the general public. Apart from the new building, the church’s sanctuary will also be upgraded. FBC has chosen ESa to design the project. As of the time of this writing, construction is slated to begin this month, with the project being completed by summer 2021.

NEWS

Compiled by Amanda Mullen and Dan Ferrisi

NSCA Announces 2019 Excellence In Business Award Winners NSCA has announced the winners of the 2019 Excellence in Business awards in five categories. Beacon Communications of Englewood CO won in the Customer Experience category. Over the past year, the company has refined its approach to the customer experience, and prior to beginning each day, the team discusses what they can do to improve client experiences overall. Horizon AVL of Blackwood NJ will receive the award for the Differentiating Strategies category. The company addresses the AV needs of events and arenas in this market, but it also helps its clients build teams, launch marketing campaigns and increase their knowledge of the industry. Spinitar of La Mirada CA won an award in the category for Employee Engagement. With the launch of its Chairman’s Club event, Spinitar takes its top sales performers, teams and employees of the quarter—along with significant others—to an all-inclusive resort to celebrate success. Quarterly breakfast meetings also keep all employees updated about news and company initiatives. Vistacom of Allentown PA won for Strategic Transformation. Vistacom has steadily experienced growth despite being a smaller integration firm. Over the last year, Vistacom has expanded its services to include training programs, 24/7 help desk services, design consulting, and remote management, monitoring and diagnostics. And finally, Innovative Collaboration of Winter Park FL won in the category for Talent Development. At Innovative Collaboration, career development comes after an employee has worked with the team for a few months and discovered underlying interests and talents. “Every year during this process, we’re more and more impressed by the new strategies and initiatives that innovative companies of all sizes are taking on to create new business and keep up with industry shifts. There are some great lessons to be learned from these leaders,” NSCA Executive Director, Chuck Wilson, said.

SDVoE Certification Program Approved For AVIXA CTS Renewal Units The SDVoE Alliance is now an official AVIXA Certified Technology Specialist (CTS) Renewal Unit (RU) Provider. The online SDVoE Design Partner Program offers AVIXA CTS RUs, along with SDVoE certification. This online program, available through the SDVoE Academy, publicly recognizes experts in the creation of SDVoE systems that take advantage of AV-over-IP scalability, yet offer matrix-switch-like performance. As a service to the industry, the growing list of more than 300 Certified SDVoE Design Partners is published on the SDVoE Alliance website. End users interested in leveraging SDVoE technology to meet their business needs can tap into the expertise of this specialist community. “With the future of AV being network centric, the importance of the right training, backed by AVIXA’s high standards for education, is paramount,” Justin Kennington, President of the SDVoE Alliance, said. “The SDVoE Academy provides entrée into designing with products from all 41 members in the growing SDVoE ecosystem as we work together to support the alliance’s mission of transforming the matrix.” “Organizations like the SDVoE Alliance that invest in education resources enable AV professionals to continue to grow their expertise, and, in turn, propel the entire industry forward,” Amanda Beckner, CTS, VP of Learning for AVIXA, added. “We’re thrilled that the SDVoE Alliance recognizes the value of AVIXA’s CTS program and has made this commitment.”

AVIXA Reaches 1,000 Certified Technology Specialists In Europe AVIXA has reported that there are now 1,000 AV professionals with a Certified Technology Specialist (CTS) certification in Europe. For more than 30 years, AVIXA has administered the CTS program, which is an AV professional credential recognized worldwide. There are currently more than 12,000 CTS holders, and more than 2,000 of those are CTS-D or CTS-I holders. “This marks a significant milestone in AVIXA’s development in the European market,” Chris Lavelle, Senior Director of Development Europe, AVIXA, said. “The AV market is flourishing in the region, and we are thrilled that many industry members are committing to professional development. CTS holders across Europe are reaping the benefits of their hard work, with the program allowing dedicated AV professionals to stand out from the crowd and prove their expertise. We would like to congratulate all our CTS holders for achieving this hard-earned credential, and we look forward to seeing them utilize their knowledge to deliver outstanding integrated experiences.” Many CTS holders in Europe are also progressing further in their AV education and going on to achieve specialized credentials: CTS-D (design) or CTS-I (installation). All three certifications are ANSI accredited under the International Organization of Standardization (ISO), and the International Electrotechnical Commission (IEC) ISO/IEC 17024:2012 General Requirements for Bodies Operating Certification Schemes of Persons program. April 2019

Sound & Communications 85

NEWS Professional Wireless Systems Continues Growth With New York Office Orlando FL-headquartered Professional Wireless Systems (PWS) has opened an office in New York NY to support its expanding customer base in the region. The announcement was made by General Manager Jim Van Winkle. “PWS has been very active in New York City since we opened our doors,” Van Winkle explained. “We have a tremendous customer base that continues to grow exponentially. Being able to provide local support and service with a trained, experienced professional is going to be a win for everyone Don Kuser heads the PWS New York office with the support involved.” of Jim Van Winkle. The New York office is headed by RF Technician, Don Kuser, who has been working as an RF coordinator since 2012. His experience includes TV studio projects throughout Manhattan, working on area awards shows and in the fashion production industry. “This is a very exciting opportunity, as I have been a huge fan of Professional Wireless Systems since I began working,” Kuser added. “With the products and experience the organization brings to the table, I think we can do great things. Sales, customer support, project management, RF coordination—we have everything necessary to create successful projects and events for clients throughout the region.”

Peerless-AV Named Official Wall Mount, Outdoor TV Provider Of Forbes Travel Guide Peerless-AV has been named the Official TV Wall Mount & Outdoor TV Provider of Forbes Travel Guide. Each year, Forbes Travel Guide selects brand officials to represent the products and services available in the luxury hospitality industry. As an authority on the subject, the company launched this program to help hotels and spas determine which brands would aid in providing guests with high-quality experiences. This year, 35 brands, offering everything from caviar to cleaning services, met Forbes Travel Guide’s standards. With a range of AV products, including LED and LCD videowall mounting systems, fully sealed outdoor TVs and displays, TV wall mounts and kiosks, Peerless-AV’s solutions align with the customercentric features expected in luxury hospitality settings. “Peerless-AV provides hotels with a wide range of audiovisual solutions, from high-quality UHD outdoor televisions suitable for year-round use to strong yet sleek indoor TV wall mounts,” Filip Boyen, CEO of Forbes Travel Guide, said. “Plus, these solutions have a seamless aesthetic that can be easily installed and maintained, which is essential for hotel guest rooms, lobbies and more.” 86 Sound & Communications April 2019

Audio-Technica Extends Trade-In Rebate Program Audio-Technica has extended its existing trade-in program for 600MHz wireless systems through March 31, 2020. This initiative was designed to provide options for end users as the industry moves away from wireless systems operating in the 600MHz band (614MHz to 698MHz), mandated by law as a result of the ongoing FCC wireless spectrum reallocation. The program is designed to help wireless users switch to a new system that accommodates the new guidelines outlined by the FCC. The transition period will create an uncertain operating environment for users of 600MHz wireless systems, who will be affected differently depending on their geographic location. Audio-Technica’s extended trade-in rebate program allows additional flexibility and options for this switchover. Due to the complexity of the reallocation and the number of parties involved, there is no way to accurately predict just how— or when—individual users will be affected by these changes. Those who utilize AudioTechnica’s program will receive a rebate on an eligible Audio-Technica wireless system for each 600MHz wireless system traded in.

Vistacom To Offer Continuing Education Course For Architects Vistacom has been approved to offer American Institute of Architects (AIA) members continuing education credits for its course focusing on the value of collaboration between AV design professionals and architects. Rapid advances in technology are changing workspaces, affecting how buildings are designed and technology is integrated into a cohesive environment. Vistacom works closely with architects and developers to create plans for AV and communications solutions that take into account acoustics, wiring considerations and architecturally appealing designs from the beginning of a project. The newly accredited course is worth 1.5 learning units (LUs) and helps fulfill continuing education requirements within the AIA and some states for licensing. Through the session, attendees will have the chance to review the latest AV technology and applications, understand the role of AV design professionals, understand and implement the best practices in the design and integration of AV technology, learn how to avoid pitfalls surrounding projects and learn vertical-specific design techniques.

NEWS ViewSonic Forms Partnership With Hiperwall ViewSonic Corp., a global provider of display solutions, formed a partnership with Hiperwall Inc., which specializes in commercialized videowall technology. ViewSonic joins Hiperwall’s OEM Program for a videowall software and collaboration platform. This move ensures maximum synergy and product roadmap alignment between ViewSonic professional-grade videowall displays and media players, and Hiperwall’s portfolio of unified visualization and collaboration solutions. From professional desktop monitors to large format commercial displays, ViewSonic has a number of display technologies that create visual solutions through a high-impact videowall. ViewSonic displays come in a variety of sizes and offer an assortment of features, including 4K resolution and next-gen connectivity options. Since 2008, Hiperwall has simplified the implementation and enhanced the capabilities of a flexible and expandable videowall software solution. Through this partnership, Hiperwall will enable ViewSonic to deliver advanced, collaborative solutions to its clients.

TAG Opens First US Office In California TAG Video Systems is opening its first US-based office in the Los Angeles CA area, underscoring the company’s commitment to, and presence in, the US market. The announcement was made by the company’s CEO, Abe Zerbib. TAG’s LA operation will be run by industry veteran Bil Apker, who brings more than 27 years’ experience in the broadcasting and manufacturing industries to his new role as VP of Sales, US. “We are extremely excited to be able to work more directly with our customers in the US now, and increase our presence in this vital region,” Zerbib said. “We are also delighted to welcome Bil to the team. We have every confidence that his outstanding business skills and technical prowess will be a tremendous asset to our current and growing US customer-base. Bil’s firm grasp of Bil Apker our industry’s technology evolution allows him to clearly identify TAG’s IP-based multiviewer and monitoring systems as the disruptors that they are. We couldn’t ask for a better representative to serve as the face of the company in the US and deliver the message that we are changing the way media is viewed.” Prior to joining TAG Video Systems, Apker served as Director of Western US Sales for ChyronHego. He also held management-level positions for numerous companies, including Director of Strategic Accounts for BroadStream Solutions, Western US Sales Director for the Snell Group, Western US Broadcast Account Manager and Senior Field Support Engineer for Miranda Technologies, and Customer Support Manager for Harris BCD Group. Apker also served as an engineer/consultant for NBC Universal Network News.

Extron Announces Retirement Of VP Of Engineering, Steve Somers Steve Somers has retired as Extron’s VP of Engineering, effective April 1. Somers was with Extron since 1988, and he’s made significant contributions throughout that time. Somers has overseen the expansion of Extron’s Engineering department into a world-class team. “Under Steve’s leadership, Extron has grown the capabilities to engineer and deliver well over 100 new products each year,” Andrew Edwards, President of Extron, stated. “I’d like to personally thank Steve for his dedication and years of service, and to wish him the very best in retirement.” For more than three decades, Somers has been an instrumental part of the Extron leadership team, guiding the company’s engineering efforts and supervising the team that has developed solutions across all AV technologies. His ingenuity and foresight have been essential in growing the company’s catalog to more than 5,000 products. Somers remarked, “It has been my personal pleasure to work alongside so many talented professional people both within Extron Engineering and throughout the company worldwide. My best wishes for continued success to all at Extron and to all of my friends over the years in AV.” Somers has been involved in many industry organizations, and he’s recognized for many substantial contributions to our industry throughout his distinguished career. Somers is the recipient of numerous external awards and recognitions. In 2009, he was named InfoComm Volunteer of the Year for his work as Engineering Manager of the InfoComm Projection Shootout from 1992 to 2001. He has authored numerous Extron publications, including articles, technical primers and whitepapers. And, he’s served as a mentor to many young men and women in their engineering careers.

NEXT MONTH’S IT/AV REPORT WILL ADDRESS ENTERPRISE TEAM CHAT SOLUTIONS, COLLABORATION TECHNOLOGIES REDEFINING EDUCATION, BLUETOOTH IN AV, PERSPECTIVES ON SOFTWARE VS. APPLIANCE AND MORE. April 2019

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NEWS Shure’s Schyvinck To Keynote AVIXA Women’s Council Breakfast Event The AVIXA Women’s Council, a global community for supporting and empowering women in the AV industry, will host its annual breakfast event at InfoComm 2019, on June 13. The keynote speaker will be Christine Schyvinck, President and CEO of Shure Inc. At the breakfast, Schyvinck will discuss attracting and retaining women in the audiovisual and technology industries. “Women in the audiovisual industry and, more broadly, technology have been a lifelong interest to me,” Schyvinck explained. “Being a mechanical engineering student in the 1980s, I was joined by a small number of women in lecture halls. And I thought now, three decades later, things would have changed a lot. We’ve made progress, but not enough. Our industry needs to have more Christine Schyvinck discussions about reaching women at a younger age—about junior high age—to show them what a career in technology looks like. At the Women Council’s breakfast, I’ll talk about how to get young women engaged in the AV industry, and I’ll also talk about diversity overall in the workplace— why it’s important and how it delivers results and satisfaction.” “The popularity of our breakfast has surged year after year, so it’s important we deliver a compelling event,” Brandy Alvarado, Women’s Council Chair and Marketing and Business Development Manager for rp Visual Solutions, added. “It’s a great opportunity to bring people together from around the world to share ideas about how we can encourage more women to join the industry and support them throughout their careers. We’re thrilled to have Christine as our keynote speaker. She is an excellent role model and mentor for women.”

RGBlink Joins SDVoE Alliance RGBlink, a manufacturer of commercial AV solutions, has joined the SDVoE Alliance as an adopting member. “The mission of the SDVoE Alliance aligns beautifully with our philosophy of a standardsbased approach,” Justin Knox, Marketing Director at RGBlink, said. “We’re excited to see the SDVoE community continue to develop and are looking forward to bringing our unique RGBlink solutions to customers taking advantage of video over IP.” “RGBlink serves a diverse worldwide customer base for whom uncompromised quality, seamless video switching and advanced video processing are paramount,” Justin Kennington, President of the SDVoE Alliance, added. “In the live events market, latency performance is absolutely critical, and SDVoE delivers like no other AV-over-IP approach can. We applaud their decision to design their next-generation pro AV products on the SDVoE standard and look forward to collaborating with them in the global marketplace.” RGBlink will be exhibiting at Booth #601 at this year’s InfoComm show, taking place from June 12 to 14 in Orlando FL. The SDVoE Alliance will be in Booth #1143.

CALENDAR

Factory Raid In China Results In Seizure Of Counterfeit Audio Products Shure Inc. recently revealed that a police raid on Enping Soundpu Electronics Equipment, a factory in China that was manufacturing counterfeit products, was conducted in October of last year. The successful onsite enforcement action was initiated by Shure and accomplished with close cooperation and assistance from the Enping Public Security Bureau (PSB) and Enping Administration of Industry and Commerce (AIC). The targeted factory is purportedly a repeat offender and known counterfeiter to the Enping enforcement authorities. Soundpu was fined in August last year by the Enping AIC after counterfeit Shure wireless microphones were found at Soundpu’s factory during a routine market investigation carried out in April. In addition to Shure, other prominent audio companies were impacted by the counterfeit operation, including Sennheiser, Yamaha and Harman. Among the goods seized were wireless microphones and receivers, consoles, amplifiers and processors. Shure has taken steps to initiate a criminal prosecution against the owner and managers of Soundpu, given its continued counterfeiting activities. “Counterfeiting is an ongoing problem for the audio industry, and we remain vigilant in our anti-counterfeiting efforts,” Christine Schyvinck, Shure President and CEO, said. “Shure is deeply committed to protecting our valued customers from low-quality counterfeits and ensuring that our customers experience only the quality of a genuine Shure product every time they purchase a product bearing the Shure name.” Sennheiser, Yamaha and Harman will be assisting Shure with the forthcoming criminal prosecution of Soundpu. 88 Sound & Communications April 2019

May

ASA’s 177th Meeting May 13–17 Louisville KY ASA www.acousticalsociety.org InfoComm South East Asia May 15–17 Bangkok, Thailand AVIXA www.infocomm-sea.com/en

June

AIA Convention 2019 June 6–8 Las Vegas NV AIA www.conferenceonarchitecture.com InfoComm 2019 Jun. 8–14 Orlando FL AVIXA www.infocommshow.org GlobalShop 2019 June 25–27 Chicago IL Emerald Expositions, LLC www.globalshop.org

NEWS

Oak Cliff Bible Fellowship Upgrades Its Systems Founded in 1976 by pastor and author Dr. Tony Evans with just 10 members in his living room, Oak Cliff Bible Fellowship (OCBF), in Dallas TX, has grown into a megachurch of nearly 10,000 members. Its sanctuary seats approximately 3,284 people in a semi-circle with generous balconies and great sightlines. However, OCBF’s existing audio, video, lighting and acoustics were outdated and failing. The church called on AVL integration firm Clair Solutions, which met with church officials to determine the best path forward to meet current and future needs. After designing a well-integrated system, the installation team at Clair Solutions turned plans into reality. The crew worked through the week and then turned the sanctuary back over to the church on Friday, so it could hold its regular weekend services without interruption. Part of OCBF’s vision involved making a bigger musical impact, and the

engineers at Clair Solutions called on sister company Clair Brothers for a beefy line array composed of C15 loudspeakers for mains and kiTCurves for sides to energize the sanctuary; powerful low-end support comes from eight Clair Brothers CS218 subwoofers. The subwoofers form a cardioid array that pushes more low-end energy to the seats and less to the stage. Lab.gruppen D-Series multi-channel amplifiers with integrated Lake DSP power the system, with additional processing from standalone Lake LM44 DSPs. Studer digital consoles at front of house, monitors and broadcast (with full Pro Tools recording and playback capabilities) provide user control for OCBF’s technically savvy staff. Antelope Audio digital clocks keep the entire system in reliable sync. Roland personal mixers and Shure wireless microphone systems deliver substantial improvements on the stage.

Gig Gear Debuts New Health And Safety Training Initiative

AVI-SPL Wins Multiple SAMA Excellence Awards

Gig Gear LLC, a manufacturer of accessories designed for AV techs, musicians, roadies and live event production professionals, announced its new personal health and safety training initiative, Safe and Sound. As the manufacturer of Gig Gloves, work gloves designed to protect the hands of AV techs, musicians and live event pros, the company saw the need to create an initiative that brings personal health, safety and wellness to the forefront of the AV industry—as well as all production industries. Although there are many programs and trainings regarding the use of specific equipment or certain processes in production environments, Gig Gear noticed the large lack of information and discussion on how to best take care of a staff’s overall health on a daily basis. Safe and Sound aims to address this gap by providing content in the form of articles, videos and in-person workshops, all aimed at informing and educating professionals on how to best stay safe and healthy while focusing on the various activities and workload one typically encounters. “We at Gig Gear are very excited to finally be debuting Safe and Sound—the only initiative of its kind in the industry,” Danny Shatzkes, Founder and CEO of Gig Gear LLC, said. “Our goal is to help people continue doing what they love for longer. Personal health, safety and wellness are not necessarily topics that come up a lot in our industry, but it’s time that they be given the attention they deserve.”

AVI-SPL was honored with two 2019 SAMA Excellence Awards, recognizing its Global Account Management (GAM) program for its ability to produce growth and profitability for AVI-SPL customers. Presented by the Strategic Account Management Association (SAMA), the awards received by AVI-SPL include Outstanding Young SAM Program of the Year and Best Implementation of a Disciplined Process to Quantify and Monetize Specific Customer Value Solutions. Each award focused on how AVI-SPL implemented its new GAM program, which was formally launched last year with the intention of creating more value and profit for its multinational customers. In its inaugural year, the GAM program customers reported consistent and ongoing improved key performance indicators, including in some cases, up to a 20-percent increase in conference room utilization and reduced real estate cost, according to market research firm Forrester Research. “[AVI-SPL’s Global Account Management program] is a great example of how SAM programs should be designed and implemented: Build with a subset of your most strategic relationships, and demonstrate the program approach through best practices,” Michael Stevens, President and CEO of the consultancy firm Simplexity Group, and one of the judges on the SAMA Awards panel, said. “The rate in which these highly selective accounts have grown with AVI-SPL in its initial year proves the strategy, program design/concept, approach and results are there. I felt customer-centricity throughout this application, and I rated [it] accordingly.” April 2019

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NEWS Lake Morena Community Church Shines Bright At Lake Morena Community Church (LMCC), in Campo CA, community is everything. Beyond its Sunday morning services, the church hosts a variety of events almost every night of the week. With groups of people constantly moving in and out of the sanctuary, it’s extremely important that the church’s leadership stay on top of any facility needs to minimize possible downtime. That’s why, when the church’s main projector failed on a Sunday morning before services, Elder Ken Northcote immediately turned to Shephard Multimedia for help. Together, Northcote and the Shepherd Multimedia team were able to fit the sanctuary with a new Hitachi CP-WX8265 LCD projector. The main projector at the church is installed at the front of the sanctuary for the congregation to read scripture, follow lyrics and enjoy other content prepared by the worship team. Outside of Sunday services, LMCC also uses projection for Celebrate Recovery ministry and for its youth and children’s programs throughout the week. With LMCC using the projector almost every night, it was important to Northcote not only for the old projector to be quickly replaced, but also for the new one to fit the needs of all the church’s programs. LMCC’s sanctuary has three large windows, so it can get pretty bright. The team wanted to make sure that any new projector would be sufficiently bright so that the lights wouldn’t have to be dimmed. The team

also wanted to explore the latest technology that projectors had to offer for image quality, because the church hadn’t looked at a new projector in more than a decade. In the end, Shepherd Multimedia specified the Hitachi CP-WX8265 projector, and LMCC is extremely happy with how much its worship space has been improved.

Harvest House Church Reaps Audio Excellence Established in 1977, Harvest House Church, in Boone NC, is dedicated to worshipping through the performing arts. In 2008, it transformed its facility into a performing arts venue that includes a recording studio, dance studio, art studio and venue. As part of the ongoing operation of the facility, church management decided to upgrade its soundreinforcement capabilities with a variety of products from PreSonus Audio Electronics, including new CDL Series loudspeakers and two StudioLive Series III mixers—a StudioLive 32 console and a StudioLive 32R rackmount digital mixer—plus additional equipment. Selah Media Productions Inc. was contracted to design and deploy the new sound system. The Harvest House Church auditorium measures 70'x65', with the stage facing into the length of the room. The space was acoustically treated by Selah Media Productions during the initial installation several years back. The removable seating accommodates roughly 400 people. The new loudspeaker setup includes six PreSonus CDL12 constant directivity loudspeakers, with three enclosures each flown for the left and right sides of the stage area. The CDL12 combines attributes of point-source and line-array technologies into a single design, radiating a highly focused pattern with consistent SPL throughout the frequency-response range, both on- and off-axis. They are accompanied by four PreSonus ULT18 active soundreinforcement subwoofers—two per side, positioned on the floor. For stage monitoring, six PreSonus EarMix 16M AVB-networked personal monitor mixers are deployed, along with two PreSonus AIR10 90 Sound & Communications April 2019

active loudspeakers to be used, as required, for floor monitors. An NSB 8.8 AVB-networked stage box provides additional I/O, as needed. At front of house, the PreSonus StudioLive 32 40-input digital console/recorder with motorized faders handles mixing responsibilities. It is augmented by a StudioLive 32R rackmount mixer configured for use in stage-box mode. A PreSonus SW5E AVB switch handles the system’s network configuration.

NEWS RMB Deploys System For Selma Baptist Built in 2002, the Selma Baptist Church, in Selma NC, was constructed to accommodate 500 members; the original sound system was planned for an upgrade in 2018. Seeking a system that would provide highly articulated intelligible speech for all attendees, the church opted for Martin Audio O-Line, provided by RMB Audio of Raleigh NC. RMB’s Matt Johnson headed the design team, and his expertise with a wide variety of Martin Audio products was critical to making the best recommendation for the church. While conducting the initial site survey, Johnson listened to the existing sound system, laser-measured the room and spoke with a representative from the church to understand its concerns. Beyond achieving the optimal clarity of speech in the sanctuary, it was requested that the sound system be as visually unobtrusive as possible. Preserving the clean lines of the 45-foot peak ceiling, while covering the single balcony, choir loft and orchestra seating, proved to be the deciding factor in recommending the Martin Audio O-Line as an audio solution. The small, “pencil-like” arrays would blend into the sightlines and not become a distraction from the church’s architecture. Inputting the room dimensions into Martin Audio Display software allowed Johnson to simulate varying numbers of O-Line cabinets, amplifier resolutions and placements before the installation. That was particularly useful in determining the optimal balance of audio performance given the church’s sanctuary and budgetary guidelines. He determined that two arrays, each consisting of 12 O-Line cabinets, supplied the best performance-to-cost balance. The accuracy of the software model was verified to be consistent with the measurements taken after the O-Line was installed.

TeachLogic And CareHawk Join Forces In US Classrooms The classroom technology market has seen significant advances with the integration of several key functions that not only maximize learning, but also bring the potential of increased safety and security to the modern educational facility. Intercom and paging systems are two common technologies used to achieve these ends in the classroom. CareHawk/Dukane and TeachLogic are two providers of paging systems and classroom audio systems, respectively, that frequently work together to outfit education facilities. In fact, the two companies have joined forces in more than 1,000 classroom proj-

ects in the US. Some of the services they team up to provide include the following: page muting of TeachLogic audio systems with the incoming signal from a CareHawk/ Dukane paging system; transfer of audio from CareHawk/Dukane using TeachLogic amplifiers; installation and connection between systems from both companies; and seamless triggering of classroom security alerts sent wirelessly from TeachLogic’s pendant mic to the associated amplifier’s contact closure, connecting to the CareHawk paging system in the front office and instantly showing the location of the event.

Speaking of his experience with the two organizations, Tom Kaufhold of Ohiobased US Communications and Electric, Inc., said, “All in all, I feel like our newest install…project was super successful. We installed all 117 of the TeachLogic Maxim III amps we bought, and we integrated them successfully into the CareHawk paging system. It seems to be flawless overall in how the classroom sounds and mutes for a page, and the duress button calls into the main office when pressed and held to alert the office if some emergency situation is to occur.” April 2019

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NEWS Faith Baptist Bible College Gets Flexible Sound Reinforcement From its campus near Des Moines IA, Faith Baptist Bible College (FBBC) serves a tight community of 300 students, providing a bible-based education. The Faith Eagles basketball and volleyball teams practice and play in the fieldhouse within Nettleton Center. With both sets of bleachers engaged, the games can host up to 1,500 fans. The fieldhouse serves multiple purposes, with one side having a platform that is used for daily chapel, concerts and seminars; meanwhile, the other side of the fieldhouse is used for volleyball, basketball and other sports. After putting up with poor sound quality for years, FBBC recently asked AV design and integration firm Sound Specialty Co., of Racine WI, to design and install a new sound-reinforcement system. Sound Specialty Co. installed Danley Sound Labs loudspeakers and subwoofers in the fieldhouse, and everyone at FBBC is extremely happy with the results. After exploring the available options, Jeff Saunders, Design Engineer at Sound Specialty Co., decided on three clusters of three closely packed Danley SH50s each. One cluster hangs above the platform; the other two clusters hang above center-court and face in opposite directions to cover both retractable bleachers. In addition, a Danley SH100F fires straight down above either side of

the court (two SH100Fs total), and a single Danley TH118 subwoofer flown between the court clusters reinforces the low end. Six presets give FBBC all necessary flexibility for the various events that occur in the fieldhouse: (a) just the platform cluster, (b) just one-half of the cluster at the center for lightly attended events, (c) the platform cluster and the court cluster that faces in the same direction for large, podium-based events, (d) everything except the platform cluster for games, (e) everything except the platform and the down-firing SH100Fs for games, and (f) everything except the platform, but with one of the court SH50s turned down to prevent announcer feedback.

Oregon Church Breathes ‘Life’ Into Sanctuary Sound Alpha Sound, of Salem OR, recently installed a NEXO M6 line array and Yamaha QL5 digital audio console into the Valley Life Center, in Dallas OR. “The 400-seat, intergenerational congregation sanctuary previously had a mono center cluster of horns enclosed in a fabric cloud and a simple analog console with a few wedges for monitors,” Devin Sheets, Head Engineer at Alpha Sound, stated. According to Sheets, the sonic demands of modern worship styles and the need for consistent and ergonomic functionality drove the decision for the Valley Life Center to purchase the Yamaha and NEXO systems. “The very first Sunday on the new Yamaha QL5, with no previous rehearsal, we had 32 inputs and 15 monitor channels (12 in-ear monitors via the Monitor Mix app) up and running, within satisfaction, in under an hour,” he said. People of all ages and technical skill levels can easily download the Yamaha Monitor Mix app on their phones and, within minutes, receive the exact monitor mix that they need to hear. “For Valley Life Center, he continued, “this freed up the personnel at front of house to concentrate entirely on the house mix.” A Yamaha Tio digital I/O stage box was also installed. The NEXO M6 line arrays cover the 180-degree room very well, with added localization from ultra-low-profile outfills. Along with the subwoofers, the speaker system naturally delivers a “modern” sound that is fitting for a 92 Sound & Communications April 2019

contemporary worship style. The M6 line-array configuration consists of six per side, one per side of NEXO LS18 subwoofers, one per side of NEXO ID24 speakers used for outfills and two NEXO NX4x1 Mk2 amplifiers.

PEOPLE

Compiled by Amanda Mullen

S. Gindea

P. Angerame

R. Cowles

D. Rivera

J. Ward

J. Chordas

C. Pierce

C. Anet

J. Major

C. Gille

P. Manoukian

J. Hurst

Hylan appointed Scott Gindea as CFO, and Paul Angerame as President of its Datacom & Electrical Division…Biamp hired John Major as VP of Operations…AVPro Global Holdings welcomed Kevin Billingsley as VP of Sales, and hired Steve Baker as Regional Sales Manager for the West Coast of the US…G&D North America promoted Don Hosmer as VP Sales Americas and General Manager…EM Acoustics welcomed Theater Sound Designer Gregory Clarke to the team…Meyer Sound appointed Rob Cowles to Director, Product Marketing, promoted Daniel Rivera to Business Development Specialist and hired Chris Gille as Business Development House of Worship (HOW) Specialist…Steve Pollock retired from Auerbach Pollock Friedlander…Datapath promoted Dave Spence to Director of Customer and Technical Support, and John Hohenstein is now managing the company’s key customer relationships in the US…

K. Billingsley

D. Hosmer

G. Clarke

S. Pollock

D. Spence

J. Hohenstein

J. McClellan

S. Remich

A. Errigo

G. Haas

R. Jenkins

J. Maichele

Allen & Heath appointed Jamie Ward as Sales Director APAC…ZeeVee appointed James Chordas as Sales Territory Manager for the Northeastern US and Eastern Canada…K-Array hired Pablo Manoukian as Area Sales Manager for the Latin America region…Riedel North America promoted Justin McClellan to Business Development Manager, and Stephen Remich to System Consultant…RCF appointed Anthony Errigo as Digital Marketing Manager…CSS Presentation Systems appointed Crystal Pierce as Business Development Representative…QSC appointed Christophe Anet as Product Marketing Manager for the Live Sound Division…Leyard and Planar welcomed John Hurst as Account Manager for its Florida sales team, as well as Greg Haas and Rob Jenkins as Account Managers for its Washington DC sales team…L-Acoustics named Josh Maichele as House of Worship Specialist…. April 2019

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PRODUCTS Compiled by Amanda Mullen and Anthony Vargas

ClearOne’s COLLABORATE Live Line

ClearOne’s COLLABORATE Live line is a series of 4 video collaboration solutions that can be utilized in rooms of any size. Intended for larger environments, the COLLABORATE Live 900 features a suite of built-in videoconferencing capabilities including a Skype for Business client, SIP/H.323 videoconferencing, wireless presentation, interactive whiteboard, recording and streaming, and a simple user interface. The COLLABORATE Live 600 delivers crystal-clear, fullduplex audio for medium-sized conference rooms. It offers the same suite of built-in videoconferencing capabilities, the UNITE 200 PTZ camera and a user-friendly interface. For small-room and executive-office video collaboration, the COLLABORATE Live 300 offers the same features as the other systems, along with 1 CHAT 150 speakerphone and 1 UNITE 150 PTZ camera. And the COLLABORATE Live 200 is designed for small huddle spaces, featuring the UNITE 50 EPTZ 1080p30 camera with 3x digital zoom and a 120° wide-angle field of view, as well as features included with the other systems. ClearOne www.clearone.com

Audinate’s Networking Solution

All product information supplied by manufacturers and/or distributors.

Extron’s eBUS Button Panel

Audinate’s Dante AV is an integrated audio and video networking solution, offering users complete interoperability with more than 1,600 Dante-enabled audio products already on the market. Dante AV utilizes a single network clock for sub-microsecond accuracy. With Dante AV, audio and video signals are independently routable in a single interface using the Dante Controller software. Manufacturers can also take advantage of Dante API to customize their management user interface. Dante AV solves time alignment issues and eliminates the need for audio de-embedders in applications such as sports bars, live events and multi-zoned AV systems. The Dante AV Module supports 1 video channel and 8 bidirectional channels of uncompressed Dante audio. It includes Dante control, transport and synchronization. The architecture is codec-agnostic, so manufacturers can use the codec of their choice. Audinate www.audinate.com

Extron released the EBP 108 RAAP Rack Mount eBUS Button Panel. The EBP 108 RAAP is a customizable AV system control interface designed for use with Extron eBUS-enabled control systems. This control panel connects to an IPCP Pro control processor to perform a variety of AV system functions, including power on/off, input switching, volume control and much more. The EBP 108 RAAP features 8 dual-colored backlit buttons for operation in low-light environments and a volume control knob for smooth, precise volume adjustments. 4 eBUS ports are available for system expansion. eBUS button panels are linked to a control processor and to each other using a single cable that carries both power and communication. The EBP 108 RAAP has openings for up to 4 single-space or 2 doublespace Architectural Adapter Plates (AAPs). Extron www.extron.com

William Sound’s WaveCAST

Extron’s EBP 108 RAAP

Audinate’s Dante AV Module 94 Sound & Communications April 2019

ClearOne’s COLLABORATE Live 600

Williams Sound’s Assistive-Listening System

Williams Sound introduced WaveCAST, the next generation of Wi-Fi-delivered assistivelistening systems. WaveCAST is built on a hardware-based audio DSP audio system architecture, allowing system optimization to achieve the highest quality audio experience for the particular audio stream being delivered. As a result, hearing assistance can be optimized for hearing loss, music can be optimized for high-fidelity playback and voice can be set for maximum speech intelligibility. Custom presets can also be established where tweaking is necessary for specific performance applications. Professional audio inputs on the WaveCAST include 1/4" XLR connectors, phantom power and a line level output jack. In addition to multi-stage gain control inputs, the DSP features include AGC, limiters, high and low pass filter, and adjustable range compressor control. The 16-bit DAC provides a 48kHz sample rate for a smooth digital stream and minimizes the digital harshness that occurs in low-bit-rate DACs used in embedded computer-based assistivelistening systems. Williams Sound www.williamssound.com

PRODUCTS AtlasIED’s IP Endpoints

AtlasIED’s IPX Series IP endpoints are designed to make Voice-overIP (VoIP) communications for mass-notification systems more efficient through audio and visual messaging. Through a Unified Communications (UC) environment, or the GLOBALCOM.IP ecosystem from AtlasIED, the IPX Series delivers smart automation, including preprogrammed notifications for common functions like bells and critical alerts. A comprehensive library of prerecorded messages is available through GLOBALCOM.IP or .EDU, which can be broadcast across the facility or directed to specific zones. The IPX Series is also compatible with 3rd-party scheduling and communications software, including Cisco and Avaya. The IPX Series uses existing IT infrastructure and offers Auto Provisioning once it is on the network. “Talk To Me” interoperability ensures the IPX units will work within any VoIP system, as they are open-platform engineered to communicate and be controlled by providers of UC software platforms and standard SIP PBX systems. AtlasIED www.atlasied.com

Blackmagic Design’s Capture Card

Blackmagic Design’s DeckLink Quad HDMI Recorder is an 8-lane PCIe capture card featuring 4 independent HDMI 2.0b input connections for simultaneously capturing any combination of SD, HD, ultra HD, 4K DCI and even computer video formats. It can transfer data at rates up to 32Gb/s. Featuring 4 independent HDMI 2.0b input connections for multi-channel capture, the DeckLink Quad HDMI Recorder can capture 4 different streams of video at up to 60fps. Each HDMI input connection can capture a completely different video standard or computer input signal. The DeckLink Quad HDMI Recorder plugs into an available PCIe slot and appears as 4 separate capture cards on the host computer. Using Blackmagic Desktop Video software developer kit (SDK) for Mac, Windows and Linux, software developers can choose different HDMI channels for recording. Blackmagic Design www.blackmagicdesign.com

Lynx Technik AG’s HDR Evie

LYNX Technik’s Video Image Engine

LYNX Technik AG introduced HDR Evie, a video image engine powered by the greenMachine multi-purpose processing platform. HDR Evie uses algorithms that automatically analyze and apply optimal corrections in real time on a frame-by-frame basis. Along with dynamic HDR conversions, greenMachine is also equipped with integrated frame synchronization, up/down cross conversion and a suite of audio processing capabilities. HDR Evie supports single-channel 12G SDI 4K/UHD conversions, or it can be configured as a 4-channel device for 3G (HD) applications. 4K Quad 2SI inputs and optional 12G fiber I/O connectivity make it compatible with almost any system. An array of conversion possibilities is supported, including 4K HDR to 4K SDR, 4K HDR to HD SDR and even conversion between HDR standards. HDR Evie supports a range of open standards for conversion, tone mapping and color gamut, including HLG, PQ, SDR and SLog3. LYNX Technik AG www.lynx-technik.com

Matrox’s Fanless 4K IP Decode And Display Card

Matrox Graphics released a fanless cooling version of its high-density 4K IP decode and display card. The new fanless, single-slot Matrox Mura IPX card for IP-based multi-viewers and personal videowalls features decoding of multiple 4K and fullHD streams for display across up to 4 4K outputs. Mura IPX decode-and-display boards provide OEMs with system design flexibility to seamlessly build low-footprint, maintenance-free multi-viewer platforms for control room, process monitoring, security and other networked AV applications. Matrox Mura IPX multi-viewer cards feature a dedicated onboard network interface controller (NIC) enabling decoding density of up to 2 4Kp60, 4 4Kp30, 8 1080p60, 16 1080p30 or more SD streams. Built into the same board are 4 DisplayPort connectors to attach up to 4 4Kp30 displays. Matrox Graphics www.matrox.com

Blackmagic’s DeckLink Quad HDMI Recorder

Matrox’s Fanless Mura IPX

AtlasIED’s IPX Series April 2019

Sound & Communications 95

PRODUCTS Analog Way’s Live Presentation Systems

Analog Way’s LivePremier series of videowall processors is composed of 4 high-performance preconfigured products: Aquilon RS1, RS2, RS3 and RS4. In addition, 2 fully customizable models, the Aquilon C and C+, can be tailored to match the requirements of any project or event. Designed around a flexible modular hardware platform, all the LivePremier Aquilon systems combine real-time 10/12-bit 4:4:4 video processing power, clear image quality, and pure 4K60p on each input and output with ultralow latency. Their field-replaceable I/O connector modules allow connectivity to a variety of formats, including HDMI2.0, DP1.2, 12GSDI and future potential formats, such as single-cable 8K60 and IPTV transports. In its largest chassis configuration, LivePremier Aquilon offers up to 24 4K60 inputs and 20 4K60 outputs, configurable as single screens, edgeblended widescreens or scaled auxiliary outputs, 2 dedicated 4K multi-viewer outputs, and up to 24 4K or 48 HD freely assignable layers. Analog Way www.analogway.com

IHSE USA’s KVM Matrix Solution

IHSE USA introduced the Draco compact ultra, a prepackaged KVM matrix solution for HDMI 2.0. Supporting configurations offered as 16x8 to 32x16, the Draco compact ultra enables fast switching of HDMI 2.0 computer video with embedded stereo audio and USB-HID for keyboard and mouse connections. The Draco compact ultra features IHSE’s Flex-Port technology and doesn’t require that systems installers preconfigure ports to specific I/O standards. Draco compact ultra utilizes the Fraunhofer Institute’s Lightweight Image (Lici) codec and includes a full set of transmitter and receiver modules supporting 4K resolutions and I/O connections up to 4096x2160 and 3840x2160 at a real 60Hz refresh rate and full color depth (10 bit, 4:4:4). The solution extends computer signals from host systems to workstation areas over signal-mode fiber, delivering visually lossless output with clear graphics and video playback performance, even when the computer is located miles away. IHSE USA www.ihseusa.com

Roland Professional AV’s Multi-Format Video Switcher

Roland Professional AV’s V-600UHD Multi-Format Video Switcher delivers the full capabilities of 4K image quality in a switcher that allows end users to transition to 4K workflows. By incorporating Roland’s Ultra Scaler technology, scaling and format conversion is provided on each of the V-600UHD’s inputs, allowing simultaneous use of full HD and high-pixel-density 4K sources, while also offering simultaneous output of 4K and 1080p resolutions. The V-600UHD employs HDR technology to preserve the details in the darkest areas and brightest areas of an image. Through its full 60Hz frame rate support, the V-600UHD delivers a smooth, crisp video image without the blur that appears with fast motion when only using 30Hz refresh rate. The V-600UHD supports BT.2020, as well as the RGB and BT.709 standards, in order to display the widest range of visible colors. Roland Professional AV proav.roland.com

PAG’s Linking Batteries

PAG’s Mini PAGlink offers the features of PAG’s battery linking technology in a more compact format. Mini PAGlink comprises 50Wh Li-Ion battery packs and smaller battery mounts. This system is scaled down to suit smaller camcorders, such as the Panasonic EVA1 and Sony FS5, and power them in combination with broadcast accessories. The PAG MPL50 batteries feature 12V and 5V outputs that camcorders lack and provide a single power source for the entire setup. Built into the battery are a fixed D-Tap output and a removable 2A USB, which can be swapped for a Lemo, Hirose or another D-Tap. This allows the power source to be configured with precisely the outputs needed. PAG’s patented digital linking technology allows battery capacities to be accessed in combination to provide an increased current draw, from 10A individually to 12A when linked. PAG www.paguk.com

PAG’s Mini PAGlink IHSE USA’s Draco compact ultra

Analog Way’s Aquilon

Roland Professional AV’s V-600UHD 96 Sound & Communications April 2019

PRODUCTS Sony’s Professional Displays

Sony’s BRAVIA 4K HDR line of professional displays offer features ranging from cloud-based digital signage to complementary Touch Overlay Panels (TOP) with IR touch technology. The 6 current BRAVIA 4K displays range in screen size from 43" to 85". The BZ35F BRAVIA series adds features such as network and serial communication control, flexible installation options and high brightness. All BRAVIA displays feature an all-in-1 “system on a chip,” resulting in ease of installation and high reliability. Sony’s BRAVIA displays support enhanced 4K resolution, HDR imagery, integrated support for HTML5 and open API support optimized for businesses. The 6 BZ35F models are ideal for professional digital signage, information and monitoring applications, as well as use in meeting rooms, classrooms, retail, showrooms, sports venues and more. A new 98" 8K BRAVIA professional display, FWD-98Z9G, features Sony’s next-generation image processor, the X1 Ultimate, equipped with an 8K ultra-resolution algorithm that enables 8K up-conversion of any content. Sony www.sony.com

Arista’s HDBaseT 2.0 Transmitters/Receivers

Arista Corporation introduced its Emerald Series HDBaseT 2.0 family of transmitter/receiver products, which consists of 4 products. Based on the HDBaseT 2.0 architecture and controllable via either Telnet or an RS232 interface, each product has a built-in web server and can be controlled via a common web browser. The products that constitute the Emerald Series are: ARD-0201-A00RX: dual HDBaseT inputs receiver; ARD-1017-A00-TX: HDBaseT transmitter with HDMI loopout; ARD-0104-A10-TX: 1 HDMI input, 4 HDBaseT transmitters splitter; and finally ARD-0104-A11-TX: 1 HDBaseT input, 4 HDBaseT transmitters splitter. Features include video source switching, a built-in CEC command emulator, a built-in RI emulator, and PoE capability to power a remote transmitter or receiver. The USB connection on each model can be routed to either of the Transmitter’s USB ports if remote USB accessibility is required. Each model also has a power-saving circuit that can be controlled remotely. Arista www.arista.com

Key Digital’s Matrix Switcher

Key Digital introduced its multiview presentation matrix switcher, the KD-MLV4x2PRO. The 4-input 2-output video matrix features multi-view processing and UHD/4K resolution up-scaling. The KDMLV4x2Pro adds HDBaseT output with an included Rx unit for ease of integration with displays and projectors. This multi-viewer release adds support of multichannel audio formats that are de-embedded on a PCM connector. The KD-MLV4x2PRO provides multi-view functionality and seamless switching, allowing installers to give videowall functionality to any professional or consumer large panel or screen. In full-screen mode, the screen will display any of the 6 (4 HDMI and 2 VGA) video sources. In quadrant mode, 4 video sources are viewed in equally sized-quadrants, and in multi-view mode, the option is to choose a primary video source on the top, bottom, left or right of the screen while still viewing the additional 3 sources in smaller windows. Key Digital www.keydigital.com

Lumens’ IP Camera Controller

Lumens introduced the VS-KB30 IP camera controller for PTZ cameras. The VS-KB30 is applicable for education, broadcasting, events, house of worship (HoW) and other environments. The camera controller supports Sony VISCA protocol, VISCA over IP, Pelco P&D, ONVIF and NDI|HX. This camera controller features quick access functionality that allows instant adjustments to exposure, white balance, focus, PTZ speed and 6 assigned keys for frequently needed camera functions. The camera controller is equipped with the RS232C/RS422/Ethernet communication interfaces with PoE. It’s able to extend the installation distance up to 100m and controls up to 255 cameras. Lumens www.lumens.com/tw

Lumens’ VS-KB30

Arista’s Emerald Series

Key Digital’s KD-MLV4x2PRO

Sony’s BZ35F BRAVIA April 2019

Sound & Communications 97

PRODUCTS Absen’s All-In-1 LED Display Solution

Absen’s Absenicon is an all-in-1 display solution specifically developed for meeting rooms, event spaces and lecture theaters. Absenicon features high brightness, contrast and color saturation and comes in 5 different standard sizes, ranging from 110" to 220", including 4K compatibility. Absen www.absen.com

Adamson Systems Engineering’s Line Array Cabinet

Da-Lite’s ALR Surface

Adamson Systems Engineering’s IS10n is a 2-way, full-range line array cabinet with 2 ND10-LM low-mid drivers (2x16W) and an NH4TA2 1.5" exit compression driver (8W). The critically optimized wavefront offers a nominal dispersion pattern of 80°x10° (HxV). The waveguide’s efficiency allows for increased vertical dispersion without sacrificing high-frequency presence in the far field. Controlled Summation Technology further eliminates low-mid lobing normally associated with 2-way line-source systems. Adamson Systems Engineering www.adamsonsystems.com

Da-Lite’s Parallax Stratos 1.0 is a contrast-based, 80% ALR surface engineered for large-scale projects. This surface is available up to 16’H in a variety of products, including Da-Lite’s core lineup of electric screens and fixed frames. This contrast-based ALR surface rejects up to 80% of ambient light with 1.0 gain for standard throw projectors (1.0:1 or greater). Contrast Based ALR prevents projected images from appearing washed out by maintaining and enhancing brightness. The gray color of Parallax Stratos 1.0 absorbs ambient light rather than reflecting it. Da-Lite Parallax screens combat environmental and projection deficiencies to produce bright, crisp images. Parallax Stratos 1.0 can be gently cleaned with water and is mildew resistant. Da-Lite www.sndcom.us/da-lite-paral lax-stratos-10

Bose’s ArenaMatch Models

Adamson Systems Engineering’s IS10n

Da-Lite’s Parallax Stratos 1.0

98 Sound & Communications April 2019

Absen’s Absenicon

Bose’s Speakers

Bose Professional introduced ArenaMatch DeltaQ array loudspeakers and ArenaMatch Utility loudspeakers for outdoor installations. ArenaMatch arrays incorporate DeltaQ technology for improved sound quality, consistency, vocal clarity and flexibility. Featuring an IP55 weather rating, ArenaMatch DeltaQ modules make it easy to create durable and reliable outdoor loudspeaker arrays that bring consistent, intelligible sound to listeners. DeltaQ array technology allows directivity, or “Q,” to vary in each module to more precisely match coverage to audience area. With 9 coverage patterns available, designers can choose from modules with 10°, 20° or 40° vertical coverage and swap between 60°, 80° or 100° horizontal waveguides—even in already-assembled arrays—to adjust horizontal coverage and create asymmetrical patterns where needed. All ArenaMatch models ship standard with bi-amp capability, a passive crossover and 70/100V transformer inputs. Bose Professional pro.bose.com

Information about the latest software releases, apps, online tools, and software and firmware updates. Send details, with supporting graphic, if available, to dferrisi@testa.com.

SOFTWARE

Compiled by Amanda Mullen

JBL Professional’s Updated Firmware

JBL Professional released an update to the PRX800 series of powered portable loudspeakers. The PRX800 v2 firmware update adds a default tuning preset with enhanced low frequencies on the PRX815 and PRX812 models. Users can also choose a preset with neutral EQ settings. In addition, on all PRX800-series loudspeakers, except for subwoofers, the line level input sensitivity has been adjusted to provide a greater range of gain control. Users can also revert input sensitivity back to the previous default setting. The v2 firmware can be installed on PRX800 series speakers via the latest versions of the PRX Connect App for Android and iOS, now available through Google Play and Apple App Store, respectively. In addition, Harman has begun shipping JBL PRX800-series loudspeakers with the v2 firmware preinstalled. JBL Professional www.jblpro.com JBL Professional’s PRX800 v2 Firmware

Peavey Commerical Audio And Neets’ TanGo Driver

Peavey Commercial Audio And Neets’ TanGo Driver

Peavey Commercial Audio (PCA) has partnered with Neets to produce a TanGo driver for PCA’s Digitool family of digital audio processing units for loudspeaker management, matrix mixing, room combining and more. The driver is available for the Digitool MX16 and Digitool Live devices, both of which are 8x8-channel units. The Neets TanGo is a control system enabling intuitive touch control of 3rd-party devices—such as Digitool—either through the array of Neets touchpanel devices, Android/iOS touchpanels or standard browsers allowing for custom-built GUIs. TanGo comes with PoE-in and PoE-out to eliminate the need for an external power supply for either the control system itself or any external device. The Neets TanGo driver offers an IP-based command set, including input and output channel level and mute control, level and mute functionality for all audio matrix points, and the ability to trigger internal preset loads. Peavey Commercial Audio www.peaveycommercialaudio.com Neets www.neets.dk

PreSonus’ Music Notation Software Update

PreSonus’ Notion 6.5

PreSonus unveiled Notion 6.5, an update to the company’s music notation software. With version 6.5, PreSonus has enabled further integration between Notion and PreSonus’ Studio One 4 recording and production software. When drum tracks are transferred from Studio One 4 to Notion, they are now automatically translated into standard drum set notation. Chords imported from Studio One’s Chord Track now automatically play back in Notion if slash notation is present. Notion 6.5 also includes a major update to its MusicXML implementation. The MusicXML file format is used for exchanging scores with other compatible notation applications, and the features of 6.5 make it easier to switch to Notion or to add Notion to a workflow. Notion 6.5 also features expanded import and export support for an assortment of articulations and symbols and new guitar tablature support for better compatibility when sharing guitar files, particularly with other tabfocused applications. PreSonus www.presonus.com April 2019

Sound & Communications 99

SOFTWARE DAS Audio’s Group Manager App

Sound Devices’ SL-6

Sound Devices’ Firmware Updates

Sound Devices announced firmware v4.60 for the 6-Series, v2.60 for the Audio Limited A10 System and the A-FLIP accessory. v4.60 features Auto-Mute for the 688 and 633. Auto-Mute silences the AUX output of the 633 or 688 while in stop mode and will resume output during record and playback. Additionally, the 688 and SL-6 now support use of the A-FLIP and the Lectrosonics SRc-941 as a SuperSlot receiver. v2.60 for the A10 System offers new system features, reduces tuning time of the system and supports the new A-FLIP. This adapter can be attached to any A-SL to change the orientation of the A10-RX, adding flexibility to the A10 System. Sound Devices www.sounddevices.com

DAS Audio released an app that creates and manages groups of VANTEC and ALTEA 700 systems. The DASlink GM app is designed to monitor and control these systems in groups and individually. Compatible with Android and Apple OS, the app eases the configuration of cabinet parameters from a mobile device. It allows users to group systems according to their models or physical locations, which facilitates and speeds up the setup. DASlink GM accesses the parameters of the systems grouped by “zones,” so the user can adjust them while checking and monitoring the signal that reaches the systems in real time. DAS Audio’s DASlink GM App DAS Audio www.dasaudio.com

Luxul’s App

Luxul released its Easy Setup App, compatible with both Apple and Android devices. For integrators, the app speeds up the installation process and ensures that key installation points are covered. Luxul’s Easy Setup App allows users to install a Luxul wireless router and up to 2 wireless access points (APs) simultaneously from an iOS or Android phone. The router’s wireless controller takes care of the configuration; the installer simply plugs it Luxul’s Easy Setup App in. In addition to speeding up installations, the mobile app also ensures that the product is installed with the appropriate security settings and the latest firmware. Luxul www.luxul.com 100 Sound & Communications April 2019

RCF’s RDNet v3.1

RCF’s Software Release

RCF released RDNet software v3.1. Features include direct control of the onboard hi-pass filter, a Shape Designer tool and Bass Shaper function. The interface has been altered for faster adjustments and enhanced visuals, with high-contrast colors and intuitive control for touchscreen devices. The Shape Designer assists with line-array setup in audio systems, performing a 2-dimensional calculation to provide system curvature, system rigging point and cabinet angles. The Bass Shaper tool allows the user to adjust the desired timbre on low frequencies. RDNet 3.1 also takes control of the internal High-Pass filter on each cabinet, simplifying satellite-to-subwoofer phase alignment. New views, like the single-channel equalization views, have also been added. RCF www.rcf.it

MEDIA

The latest literature, whitepapers, new or updated websites, course materials, webinars, training videos, podcasts, online resources and more. If you can read it, watch it or listen to it, you’ll find it here! Send details, with photos, if available, to dferrisi@testa.com.

Compiled by Amanda Mullen

Nemertes And InFocus’ Whitepaper

In collaboration with InFocus, Nemertes released a whitepaper entitled, “Moving Beyond the Whitepaper: The Business Value of Touchscreen Collaboration.” This whitepaper illustrates use cases, implementation strategies and surveyed companies’ plans for creating the “workplace of the future.” In the report, Nemertes discusses how nearly half of enterprise IT organizations interviewed are currently deploying touchscreen Nemertes And InFocus’ Whitepaper collaboration solutions, with the goal to optimize workflows, shorten process times and provide tangible business value. It demonstrates how these systems are growing based on user demand, with use cases of how sales, engineering, training, software development and other teams are using this technology to streamline decision-making and collaborate on content. The whitepaper goes into detail exploring optimal features for designing a conference space with touchscreen collaboration technology. Nemertes www.nemertes.com InFocus www.infocus.com

Premier Mounts’ Convergent Video Screenshot

Premier Mounts’ New Video

Last October, Premier Mounts launched the Convergent Series of direct-view LED mounting solutions. The company also recently released a Convergent video, created to reveal how the components of the Convergent Series expand and come together, showcasing the ability to transform into a range of configurations through a customizable modular design. The video shows how to solve the problem of wall unevenness how to and create an on-the-shelf mounting solution that can be customized to fit even the most ornate architectural designs. Premier Mounts www.premiermounts.com

INDUSTRY POV: SELECTING TECHNOLOGY TO BUILD TOMORROW’S CONFERENCE SPACES (continued from page 35) across many use cases, the devices have to be fully featured, support wireless document sharing and digital whiteboarding, integrate with multiple videoconferencing platforms and synchronize content across displays. In addition to a diverse feature set, the device’s software should be open to

support the client’s unique work environment, as well as its preferred applications and processes. According to the Nemertes report, “Closed systems may limit users to only the set of applications and capabilities supported by the vendor and may only support the touchscreen vendors’ own videoconferenc-

ing and team-collaboration platforms.” Understanding the reasons behind an organization’s touchscreen collaborationdevice purchase, as well as how the devices can provide clients with tangible business value, will better equip integrators to succeed in attacking this growing business

opportunity. When deployed properly, these solutions ser ve as a catalyst to diversify an integrator’s customer base. Together, integrators and manufacturers are partners in creating the conference room of the future, where tangible business value becomes the driving force behind meeting spaces.

INDUSTRY POV: HOW PROJECTORS ‘ILLUMINATE’ WORSHIP SERVICES (continued from page 37) light hitting the screen. As such, projectors can deliver vibrant displays that truly captivate audiences, even when a worship center is well lit. A wide range of interchangeable lens capabilities, including ultra-short-throw (UST) lens options to deliver large images from ver y short distances in space-constrained

environments, along with rear-projection options, means projectors can meet the needs of highly varied sanctuaries and religious buildings. Because of today’s everchanging worship experience, multimedia engagement continues to grow around the world. Worship facilities continue to adopt projection

as the most adaptable and cost-effective way to motivate and enliven services. Although projection is used in intimate, 200-seat sanctuaries; in Sunday School areas; in multi-projection, large-venue environments; and in many other worship-related spaces, the wide range of projection solutions—from large to compact,

with several brightness levels, with numerous lens options— means projection technology capably serves all of them. By providing affordable and stunning displays without limitations that deliver engaging experiences to worship centers of any size, projection remains the presentation technology of choice. April 2019

Sound & Communications 101

VISUAL WONDER, AUDIO CHALLENGE: CHURCH OF THE PRESENTATION’S EXPANSION IS A GREAT SUCCESS (continued from page 69) it doesn’t accomplish anything. DSP power, when used properly, is awesome.” Another application for the DSP has been in managing the sound system’s low end. With no subwoofers in Monte Bros.’ design, the Terra Speakers CAMM Series full-range speakers have to handle the entire frequency spectrum, including the LFE. Minozzi confirmed that’s not a problem because the processing is set to engage audio compression by applying

frequency-specific limiting at 100Hz. “We build the file for the music program with that in it,” he explained. “And it doesn’t need to be applied to the speech program.” The outcome of the entire project was a complete success, Father Stagg affirmed. “It makes maximum use of the infrastructure in place, while creating a worship space that reflects our parish mission, dedication to welcoming others and commitment to future genera-

tions.” But he singled out the sound system as perhaps the project’s most notable achievement. “Ever y pastor has a bug about something, and, for me, it’s sound,” he admitted. “I’d rather have good sound than a good roof. Fortunately, now we have both!” The topic of live sound in HoWs is well-trod ground, but the singular nature of the Church of the Presentation’s revamped architecture makes this project unique. It also

might ser ve as a template for similar situations; as churches respond to a changing cultural and economic landscape, they’re looking for cost-effective solutions for their physical buildings in times of expansion. It’s worth remembering that churches were very much at the forefront of putting acoustical considerations on the table for commercial sound-system design in the last 20 years or so. That’s at least one mystery they’ve helped everyone to figure out.

INDUSTRY POV: TWO MACRO TRENDS AFFECTING AV: WHAT’S DRIVING OUR DECISION-MAKING? (continued from page 32) solution. Both will win their places because, at the end of the day, what matters is cost and performance, rather than some abstract ideal of communitarianism. How do we combine the trends of (a) delivering ever more quality and quantity of AV while (b) driving toward simplification and unification? Well, my friend, that’s your challenge, whether you’re a product designer, a systems integrator or a tech. Good

luck to you. The good news is, there’s so much profit to be made in creating the solutions to these problems that they’re sure to keep coming at us. The cheapest fully functional technology will not always win. For example, if low-cost ecosystems were terribly important, then I’d be writing this article—and you’d be reading it—on opensource software. I’m not, and I’ll bet you aren’t, either.

(You certainly aren’t if you’re reading this on paper. That’s a ver y expensive deliver y mechanism as compared to the electronic alternative.) The engineers working on various open-source, royaltyfree AV solutions would do well to study similar cases from outside of AV, so as to avoid falling into analogous traps. Emerging royalty-free AV technologies have incredible upside potential, but they also could flame out before

ever gaining significant traction. Time will tell. The best technology also will not always win. The incursion of consumer connectors into the commercial AV space is proof positive of that fact. As an industr y, we have no choice but to continue navigating our way through the cost/ time/quality triangle. More is More and More with Less certainly will continue to drive our decision-making into the foreseeable future.

SOUND ADVICE: WHAT’S ALL THE NOISE ABOUT?, PART 3: IT’S IN THE BAG! (continued from page 17) standardize the measurement of packaging emissions. At present, he is trying to develop a “standard hand” that applies a known force to packaging to simulate its opening and typical movement. Until this excitation of the material can be standardized, it makes potential EU and national regulations open to measurement discrepancies and disagreement. Prof. King’s team has also discovered that those people who wear hearing aids, along with users of assistive-listening systems, find confectionar y and food-packaging noise to be particularly difficult to deal with. Not only does it ver y ef-

fectively mask the frequencies critical for speech intelligibly, but, in addition, current technology is unable to cancel or attenuate the high-crestfactored, rapidly changing, pseudorandom nature of the noise effectively. I hope this brief series covering room noise measurement, and the examples I’ve cited, has been of interest and educational. However, before I leave the subject, I must mention a disturbing discover y I made while researching some of the associated standards. It would appear that a theorist in the International Standards Organization (ISO) feels that

102 Sound & Communications April 2019

we should change from using log10 for acoustic work to natural logarithms, that is, log to base e (ln). Although that is arguably technically more correct, it completely loses sight of the fact that ever y sound level meter and acoustics textbook in the world would be rendered useless at the stroke of a pen. (Should that be the click of a word processor?) By my calculations, though, all one has to do is to apply a correction factor of 7.389! That would mean that we would then be measuring sound in Nepers or deciNepers (dN, rather than dB). One would hope that this

change will be challenged before the revision to ISO 8000-8 is released. One really cannot make this stuff up!

HOUSE OF WORSHIP: BUSINESS (continued from page 20) companies with strong technical support. I believe display systems are one of the most important revenue streams that we, as AV integrators, have available to us. I also believe that HoWs will continue to increase the visual-display footprint in their worship settings. I believe this is Good News for our industry. That is what I believe. What do you believe?

THE CENTERSTAGE AN ADVERTISING SUPPLEMENT TO SOUND & COMMUNICATIONS

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LYNX Technik HDR Evie™ HDR to SDR Conversion Solution HDR Evie™ (www.hdrevie.com) is the world’s first HDR to SDR conversion solution using advanced algorithms which automatically analyze image content and apply optimal corrections in real-time on a frame by frame basis. There are available tools on the market, which apply “global correction” across HDR content. However, for truly exceptional results which will automatically adapt for changes in image composition and brightness levels encountered in any production or live event, then frame by frame processing is required. This frame by frame processing is accomplished during a post-production process, which is in non real-time, expensive and timeconsuming. HDR Evie™, powered by greenMachine®, addresses all of these issues by offering an automated, real time and frame by frame HDR to SDR conversion. The technology is both proprietary and patented, following years of research and development in close cooperation with Hochschule RheinMain University of Applied Sciences in Germany. WEB ADDRESS: www.lynx-usa.com E-MAIL: info@lynx-usa.com

Meyer Sound ULTRA-X40 New Generation Compact Loudspeaker

Arista Video Projection Mapping Turnkey System Arista’s Video Projection Mapping Turnkey System is a compact, all-in-one solution for projection mapping applications. The system is pre-configured, producing a streamlined setup that merely requires connecting / disconnecting etherCON cables to and from the projectors. The system integrates a 4U rack mount computer named QuadMosaic. Powered by an Intel Xeon 10-core processor, it can be upgraded to a 22-core processor. The system is populated with 128 GB DDR4-2400 system memory and is upgradable to 512GB. Five swappable 2TB SATA HDDs are installed and configured in a RAID-5 configuration with one hot spare SATA HDD. The second section is Arista’s ARD-5816-A07-TX HDBaseT Cluster, accommodating up to sixteen HDBaseT transmitter blades. Each blade is located on the unit’s front and is hot swappable. There are up to sixteen I/O blades located at the rear of the unit—each being hot swappable. WEB ADDRESS: www.aristaproav.com/projection-mapping E-MAIL: sales@aristaproav.com

The ULTRA-X40 is the first in a completely new generation of Meyer Sound point source loudspeakers that will redefine the category of compact loudspeakers much as the UPA-1P did when it was first introduced back in the late-nineties. The ULTRA-X40 offers significant advantages across an exceptionally broad range of portable and installed applications. Drawing from the proven design approach of LEO Family loudspeakers, the ULTRA-X40 employs a concentric driver configuration with dual 8-inch neodymium magnet cone drivers coupled to a low-mid waveguide surrounding the single 3-inch diaphragm high-frequency compression driver. The 110° x 50° Constant-Q HF horn is easily field rotatable, and working in concert with the concentric design it ensures that the full bandwidth coverage pattern will be uniform with either horizontal or vertical orientation. WEB ADDRESS: www.meyersound.com/product/ultra-x

April 2019

Sound & Communications 103

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IC-Live X family is the next generation of high-powered steerable arrays from Renkus-Heinz. With greater power density, higher output, simple integrated hardware, and coaxial driver arrangement the IC-Live X brings a new level of flexibility for integrators, contractors, and production/rental houses to provide the best solutions for any application. The IC-Live X family includes two freely combinable steerable modules, the ICL-X and ICL-XL, plus two types of matching subwoofers, the ICL-XS and the ICL-118S. Together, these modules comprise a versatile, easy-to-use, powerful steerable array that delivers the output and sound quality you expect from Renkus-Heinz. The ICL-X series provides a new level of versatility from fewer speakers. ICL-X and ICL-XL together provide steerable performance in point source, column, or line array form factors, providing true acoustic solutions for any application. The ICL-XS and ICL-X-118S subwoofers allow freedom to choose the best form factor for any venue. WEB ADDRESS: www.renkus-heinz.com/iclive-x

The ADX60 is a professional pre-polarized condenser microphone designed for stage, studio and broadcast applications. The ADX60 has a wide frequency range of 50Hz - 18kHz and is known for its high sensitivity and ability to handle distance and area miking for a wide variety of applications including conferencing, plays, theatre, and acoustic instruments. Characterized with a uniformly controlled hemi-cardioid polar pattern, the ADX60 is designed to capture a specific designated area, hence the name “boundary microphone.” The ADX60 is very easy to position, durable, and manufactured to high standards and tight tolerances. Roadworthy construction includes a precision die cast zinc casing, high-performance 12 mm capsule, black e-coat finish, steel mesh grill, space saving mini-XLR connector, and rubber base for dampening purposes. The ADX60 is requires 9 - 52 Volts phantom power for operation and is equipped with a 25’ cable and phantom power adapter (APS910). WEB ADDRESS: www.audixusa.com/docs_12/units/ADX60.shtml E-MAIL: info@AudixUSA.com

A MONUMENTAL UNDERTAKING: ROCK SPRINGS BAPTIST CHURCH BOASTS MODERN AVL, ARCHIVING AND STREAMING (continued from page 75) and four mix outputs; and—importantly here—they connect to compatible IP devices via NDI, which is NewTek’s Network Device Interface technology. That enables compatible systems, devices and applications to connect and communicate over IP to share video, audio and data. Combined with approximately a half-mile of fiber cabling that the integrators laid to connect all four spaces across campus, the NDI platform provides plugand-play network infrastructure for streaming ser vices and events from the main sanctuar y to the internet. However, it also ser ves as a transport mechanism to bring sanctuary audio and video to the other three rooms; as such, they can serve as real-time overflow spaces. A dozen strands of Belden

cabling run from the master control room—constructed as part of the streaming installation—behind the main altar to each of the other venues, and 48 strands run from the altar to the amplifier rack room. Half are in use now, and there are enough, Galloway said, to allow for future expansion of the network. “The NDI option for the TriCaster TC1 and TriCaster Minis had just come out when we were in the final planning stages, and that made a huge difference,” Tommy Cario, The WH Platts Co.’s Sales Engineer, affirmed. “The Advanced Edition software wasn’t available as recently as 2017, but, once it was, then it made sense to connect all four of the spaces on the NDI network.” The NDI network, which

104 Sound & Communications April 2019

utilizes HP Aruba Ethernet switches, was preferable to a Dante or other proprietar y network solution, Harrison opined, because it accommodates digital audio embedded in the SDI video feed, as well as data from the Crestron PRO3 3-Series control system installed and integrated to manage the spaces’ AVL. (New lighting systems were installed by another company after the main AV renovation was done, according to Cawthon.) As importantly, the NDI network also provides two-way connectivity, which means that programs and content from any of the spaces can be sent to any of the others; moreover, real-time, bidirectional communications can take place between them. “We weren’t exactly sure how

we were going to use that capability at first,” Cawthon admitted, “but we’ve already started by sending video and audio of baptisms to the kids’ space so they can watch them live.” As a result, Rock Springs Baptist is able essentially to modularize its campus, retaining a traditional hierarchy between spaces, but, from an AV perspective, functionally equalizing them. Just as that bidirectional capability found its way into being used, the larger project at Rock Springs Baptist entailed figuring things out as the planning progressed. But the result is what ultimately matters, and, according to Cawthon, everything turned out well. “We’re happy with how it all looks and sounds,” he enthused. “Everything is where it needs to be.”

THE CENTERSTAGE AN ADVERTISING SUPPLEMENT TO SOUND & COMMUNICATIONS

VocoPro New IEM-Digital Wireless Monitoring Systems For singers, bands, speakers and production teams looking for true stereo/ dual mono capabilities in an affordable wireless monitoring system, audio leader VocoPro today announced its new IEM-Digital systems, which come with 4, 12 and even 50 receivers and one transmitter. Traditional wireless monitoring systems use MPX technology utilizing a single frequency to send encoded stereo content, which is similar to the technology used for FM radio broadcasts. This method limits 100 percent separation between the right and left channels. VocoPro’s new IEM-Digital systems use two separate digital frequencies to send out 24-bit high-quality stereo/dual mono signals to each stereo body pack receiver, giving the user a true stereo experience. The new IEM-Digital Systems are now available in 4, 12 or 50-pack configurations ideal for performing, practicing or production, as well as assisted listening or translating at events, too. WEB ADDRESS: www.vocopro.com

Hall Research HD-AUD-IO HDMI 2.0 Audio Inserter & Extractor The new HD-AUD-IO, is an all-in-one HDMI audio manager capable of extracting audio from (de-embedding) and inserting audio into (embedding) an HDMI video signal. The product also provides EDID management features. The product supports one HDMI input and one corresponding HDMI output. The HDMI input audio signal simultaneously extracts to both 2-channel L/R analog and Digital SPDIF (TOSLINK). The product provides two audio inputs (analog and digital). Users can select which audio to embed in the HDMI output. It can be the same as the original HDMI audio (pass-thru), SPDIF digital, or 3.5mm L/R analog. The product has a video bandwidth of 18 Gbps and supports resolutions up to 4K @ 60 Hz 4:4:4 with HDR. Excellent for environments where the audio path follows a different path than the video, like sports bars, houses of worship, and other similar situations. WEB ADDRESS: www.hallresearch.com/page/products/HD-AUD-IO E-MAIL: sales@hallresearch.com

Whirlwind Introducing Catdusa CT-F and CT-M RJ45 Solutions Catdusa CT-F and CT-M are the latest addition to the Catdusa family. Like other Catdusa products, they use Cat cable to transmit four channels of analog audio. Both have a Neutrik Ethercon connector broken out to four XLRs on 18 inch tails. They are wired with 110 ohm cable to maintain AES and DMX performance when using shielded Cat cable. The CT-F has four female XLRs, while the CT-M terminates to four male XLRs. They can be used together to create a simple 4 channel fan to fan snake, or combined with other Catdusa pieces to create a flexible and comprehensive stage sub snake system. Log on to whirlwindusa.com to see the entire Catdusa family, and find out what RJ45 solution works best for you! WEB ADDRESS: www.whirlwindusa.com/new-products/catdusa-ct-f-and-ct-m

Vanguard LED Displays Axion Feature-Rich LED Panels Vanguard LED Displays’ Axion line of LEDs features 16:9 native aspect ratio and supports HD, 4K or 8K. It is fully front serviceable using magnetic modules, and it includes cable-free internal and external design. Other features include a 3840Hz refresh rate, built-in seam brightness compensation for high-profile applications, 12- to 16-bit gray scale, flicker-free images and 24-bit color-processing technology. Axion options can include Vanguard Chip-OnBoard (VCOB) lamp protection, touchscreen technology, moiré-reduction masks, redundant power supply, receiving cards and HDR 10-/12-bit support. WEB ADDRESS: www.vanguardleddisplays.com

April 2019

Sound & Communications 105

AD INDEX Company

Page #

Absen America....................................43 Acoustics First....................................66 Anchor Audio......................................52 Apart Audio/TMP-Pro.......................55 Arista....................................................17 Audio-Technica...................................11 Audix....................................................29 AVIXA/InfoComm..............................79 Barco....................................................19 Bosch/TMP-Pro.................................21 Camplex...............................................33 D.A.S. Audio........................................71 DiGiCo/Group One............................39 Digital Projection................................31 ENCO Systems...................................59 Extron Electronics.........................C-IV G&D/Guntermann & Drunck..........57 IDK America.......................................46 L-Acoustics..........................................13 Lawo.....................................................23 Leyard/Planar.....................................38 Listen Technologies...........................25 Luminex/A.C. ProMedia.....................6 LYNX Technik....................................27 Maxell Corporation of America...........8 Meyer Sound.................................... C-II Neutrik USA........................................43 Platinum Tools....................................77 Pliant Technologies............................15 Renkus-Heinz......................................65 Riedel Communications.....................53 Rose Electronics.............................C-III RTS/Bosch Communications Systems...........................................41 Sennheiser/TMP-Pro...........................3 Sony/Shoreview Distribution...........42 Sound Productions.............................47 Vanguard LED Displays......................5 VocoPro...............................................24 Whirlwind............................................45 Yamaha Pro Audio..............................51

106 Sound & Communications April 2019

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AVENT HORIZON: COMING FULL CIRCLE (continued from page 108) classroom videos and lectures. (Naturally, there would be a monthly storage fee, by the gigabyte, for keeping all that stuff accessible.) Scheduling and playout software will also be required, as will analytics so you can see who logged in to watch, for how long they watched, etc. (You’ve got to take attendance somehow!) Fortunately, there are plenty of companies operating in the scheduling/playout/analytics space that can configure the required hardware and software. How fast a network will you require? I wouldn’t settle for anything less than 10Gb, if you expect to stream a lot of video. And I’d probably use optical fiber for most, if not all, of the backbone. The ideal AV/IT approach would be to design and install a separate, dedicated videostreaming network that might have tiny

bits of transmission control protocol/ internet protocol (TCP/IP) traffic on it— mostly control and status requests for connected AV hardware. If you’re streaming real-time lectures and classes over your network to inroom viewers, then you’ll have to use a more bandwidth-hungr y codec (JPEG or DSC-based) with low latency. Other wise, you can stream the more commonly used MPEG-based codecs, such as H.264 AVC or the newer H.265 HEVC. Both require far less bandwidth (tens of megabits per second, as opposed to hundreds or thousands for JPEG-based codecs), but they have higher latency, which is typically on the order of 90 to 120 frames (one to two seconds). But that doesn’t pose a problem for non-realtime distance learning or “classroom-ondemand” streaming.

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All this “brave new AV world” stuff will require more competence in software— for instance, installation, debugging, monitoring and updating—and less in hardware. Still, it’s the near future of our industr y, and it represents a convergence with what’s going on in the broadcast and communications industries. The lines of demarcation are slowly disappearing. As a Baby Boomer, I find it ironic that, in the 1960s, we longed for the day that we could rent or buy a copy of a movie to watch at home—something with better quality than a Super 8mm reel from Blackhawk Films. Now, we’ve come full circle through VHS, DVD and Blu-ray and moved on to streaming, which is the 21stcentury descendant of broadcasting. The only difference is, now, we watch on our schedule, rather than someone else’s.

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n Hudson County Schools of Technology opened a new high school in Secaucus NJ last fall: High Tech High School. Each space is outfitted with its own standalone AV system and Denver • Austin • Houston • Dallas • Phoenix is also interconnected to the other spaces. That interconnect allows complete collaboration. Oklahoma City • San Antonio • Tulsa • Las Vegas n Western University’s Dental Simulation Lab, in Pomona CA, recently underwent a Atlanta • Blackwood, NJ • Washington, DC major integration project. The goal was to replace components within the existing AV system to bring it up to today’s technology standards and to ensure consistent, reliable performance. n Mt. San Antonio College (Walnut CA) recently completed AV integration in three new buildings on its sprawling campus, part of a Business & Computer Technology (BCT) initiative, where 48 new classrooms address some of the school’s most advanced and esoteric programs. n Two of the most respected names in digital-signage-centered AV integration, Mike White and Robert White, will offer a detailed, analytical review of last month’s Digital Signage Expo (DSE) trade show. They’ll share their key takeaways and offer expert insights about this exciting category. n And much, much more! April 2019

Sound & Communications 107

AVENT HORIZON

Coming Full Circle

As streaming comes to dominate, Blu-ray might be the next VHS.

By Pete Putman, CTS ROAM Consulting LLC Netflix, Amazon Prime, Hulu, YouTube, iTunes and Google Play. They’re six of the most powerful players in the streaming media business, and they’re all subsidiaries of, or jointly owned by, multi-billion-dollar corporations. Together, they’ve managed to disrupt traditional methods of media distribution and consumption, putting a dent in optical-disc sales and box-office receipts. The first three companies are even producing their own television programs and theatrical films. So, what do they have to do with the commercial AV industr y? Well, it’s not so much about what any of them, in particular, has to do with us. Instead, it’s about the paradigm shift they’ve unleashed on consumers—a shift that will have a definite impact on both AV hardware installations and media access and consumption. Since the 1980s, it’s been pretty much de rigueur to incorporate some sort of media-playback device—perhaps several—as part of meeting-room AV installations (classrooms, conference rooms, boardrooms…you name it). Over time, VHS tapes were replaced by DVDs, which, in turn, were being replaced by Blu-ray discs. Now, however, as we near the third decade of the 21st centur y, it appears that Blu-ray discs will be replaced by…nothing. At least, not anything that plays a physical tape 108 Sound & Communications April 2019

or disc. And that’s because of three developments: (a) the availability of super-fast networks for streaming video, (b) a plethora of mobile devices that can put those networks to use and (c) a growing industr y in “cloud” storage of media. Now, anyone can shoot, edit and finish a professional-looking video for just hundreds of dollars, even using something as mundane as a smartphone camera. And anyone can create a YouTube channel to upload and store those videos for ever yone to access and watch, no matter where they might live or work. Those facts haven’t been lost on schools and universities, which are rapidly building online channels for classroom instruction, distance learning and lecture capture. After all, who doesn’t have YouTube on their smartphone, tablet or computer? Again, you might be asking: But what impact will this have on our industr y? For starters, you will have to either build out or access a fast wide-area network (WAN) that’s suitable for streaming as part of your future installations; this is particularly true for classrooms and media centers. That will be an additional challenge as, simultaneously, you build your AV/IT network for all connected hardware and spend hours to set up firewalls and malware protection. What you won’t have to install will be the previously mentioned Blu-ray players, unless you simply have to show copies of theatrical movies as part of a film-criticism class. (Oddly enough, you might find a Roku box or other, similar streaming device a more essential item on the bill of materials.) Maybe a “smart,” internet-connected TV would be a better investment. Or, you could simply stream content on an ad-hoc basis to a student’s mobile device and use a collaboration platform to share it with ever yone else. (If it’s part of a class, then it’s likely fair use, but I’m no attorney….) Some of my colleagues question my predictions, until I ask them how many DVDs and/or Blu-ray discs they have sitting at home and how often they watch those discs. Usually, the answers to those questions are (in order) “a lot” and “rarely.” Why? Well, how many times do you have to watch a particular movie? Once you’ve seen it, you move on to the next film (unless you’re a “Star Wars,” Mar vel Comics or anime fanatic). Another potential influencer of our industr y centers on the reluctance of some content owners to go the YouTube route. In that case, they’ll be looking for a more localized form on online storage and archiving—perhaps even one with more secure access. That could be a real opportunity for for ward-thinking AV integrators, as I outlined in last month’s feature, entitled “Not Your Father’s AV Industr y Anymore.” Setting up a cloud-storage-and-deliver y ser vice for clients could be a nice way to make some extra money at a time when it’s getting tougher to squeeze profits from hardware sales. There is a ton of video content being created ever y day, and it has to be stored somewhere—preferably, on a virtual “mirrored” drive off-site in the cloud. As part of the ser vice, the facility can create automatic daily or monthly backups of (continued on page 106)

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