SS_Sandy

Page 1




50 53 76

Hot Products... Check Them Out! •INSTALLS•

10 22 29 32

38 Adversity to Advantage India

Sporting the Commonwealth Spirit

INSTALLS Unique A/V Comes Alive with Rahman

SA Reverbs with ‘Jai Ho’ ISHQ-e-DILLI

First Indian Video Son et Lumière

•SPECIAL FEATURES•

contents

SS

SoundSolutions

E&E: A Tradition of 60 Years

Excellence Ensemble

48 82

TRADESHOWS PREVIEWS

• InfoComm Asia Roadshows REVIEWS

Sounding

• InfoComm Asia 2010

the Paradigm Shift

OS

OfficeSolutions

57 60

SPECIAL FEATURES Essentials of Videoconferencing –

•INSTALLS•

• Broadcast India 2010

63 Art and Technology in Full View

64 66

The User-Level

67

74 75 SS

4

INSTALLS Soundcrafted at Waterside Robsham Rejuvenated

January-March 2011

•INSTALLS•

AS

AudiSolutions

INSTALLS Cité de l’Energie Glows in New AV White Oak Worship Center: Message Clear

FIRST PERSON The Formula of Being ‘Simple’

72 E&E Powers Kannada Sangha Audio





SS

SoundSolutions Issue # 33 / January-March 2011

Never doubt that a small group of thoughtful committed people can change the world. Indeed, it is the only thing that ever has.

MINDSHARE SS EDITORIAL

Sporting Technology In the current era of digital living, there’s practically nothing that is not touched, if not impacted by technology. In a way, every aspect of human life sports a technology of a sort. Communications, business, education and

Bhavanashi Ramakrishna - Editor ram@sandy.in; +9198 4587 2794

Bobby Chetia - Advertising bobby@sandy.in; +9198 9250 4871 Meera Bai J - Sales Support Mohanraj P - Web Support Raghavendra T - Design & Layout Yashodhara S - Circulation

entertainment, in every sphere of human activism technology has a play. Interestingly, much of 2010 had been taken by big time sports, globallySoccer World Championship, IPL, T20, Commonwealth Games et al, and technology had played it big too, contributing to scale up the thrills of watching and hearing sporting performances. While beaming the imagery of sporting extravaganza to distant locations is one, enabling the audio and

Printing Ramya Reprographic, Bengaluru

video relating to the performances reach the audiences watching live at the sporting facilities is a much bigger and impacting task. The whole ecosystem of

Published by Sandeep Mittal on behalf of Sandy Media 231, 7th Cross, Indiranagar 1st Stage, Bengaluru 560 038, India Phone +9180 2521 5107 / 2527 2812 Fax +9180 2521 5094 info@sandy.in www.sandy.in

sporting events – facility builders, managers, design consultants, contractors, manufacturers, vendors and installers – will vie to bring their best to reflect

Regional Offices 51 Regency Chambers, National Library Road, Bandra (W), Mumbai 400 050 Phone +9122 2643 9732 Telefax +9122 2640 5023 67 Masjid Road, Jungpura Bhogal, New Delhi 110 014. Phone +9111 2437 8061 Telefax +9111 2437 4848 B5, 2nd Floor, Gems Court, 14, Khader Nawaz Khan Road, Nungambakkam, Chennai 600 006 Phone +9144 2833 0906 Telefax +9144 2833 0907

the sporting action, often in amplified format. Cricket commentators like Tony Cozier and Sushil Doshi have glamourised the game with their vocal expertise during the non-television days, while some Latin American commentators during the World Cup soccer matches, added verve into the aural thrills of the game screaming into the mic ‘gggggggoooooooooooooooooooooooooal…’ when the ball finds its flight into the net. Today, where every nuance of the sporting action is captured, amplified and reproduced by technology, it is much more thrilling for the audiences while it is equally demanding for the system designer/installers. We saw and heard that during the Beijing Olympics, the IPL, and the latest Commonwealth Games – shown in our Cover Story this time – and we will do it again in the forthcoming IPL, and beyond.

RNI # KARENG02795/10/1/2002-TC SS (SoundSolutions) is a quarterly publication on AV, sound, architectural acoustics, noise control, technical lighting and design for private circulation. SS reaches to architects, interior designers, acousticians, performing space owners and trade professionals in India and select cities in the world. SS seeks a healthy promotion of acoustics, AV and allied fields through dissemination of useful information. Some of the information is compiled from industry sources, trade journals, company brochures, etc. for the benefit of readers. SS acknowledges with thanks the authors and publishers of these source materials. SS is a trademark under registration and the contents are under copyright registration. All rights reserved. Reproduction by any means in whole or part without written permission is prohibited. Unsolicited printed material is welcome but no responsibility is undertaken for the same and will not be returned. Letters to the editor are welcome but subject to editing for publishing. SS does not take responsibility for absolute accuracy of information published.

SS

8

January-March 2011

The industry is sporting technology, and it has huge takers too. No?

Bhavanashi Ramakrishna Editor



Products... Check Them Out! The domain of audio-visual technologies is a very hot space. Exciting, often amusing, if not crazy! With technologies impacting the space faster than even one's imagination, there is a new concept, if not a product straight away, coming to the market almost every day, to take the user communities by wonderment! SS continues its effort to present some exciting products that have either hit the market recently or going to hit soon. They might as well be in the market even as this feature goes to press, or reaches you! (Bear with us, in case you know these products already!)

iPad ‘StageMix’ App for M7CL Consoles from Yamaha

SS

Since its release, the Yamaha M7CL Digital mixing Console has become a staple of the live sound industry worldwide. Features and usability were significantly enhanced with the ‘Version 2’ and ‘Version 3’ software upgrades, effectively implementing feedback and suggestions from the field. Introduction of the EtherSound based M7CL-48ES model allowed direct digital connectivity to Yamaha SB168ES stage boxes while maintaining the same intuitive operating environment with stunning sound in a surprisingly budget-friendly system. And this August the M7CL V3 Editor for Mac was released, giving Mac users full offline and online console editing and monitoring capability.

System Requirements

Display Only Parameters

Input Channel Names

Input Channel Meters

Mix/Matrix Bus Names

Mix Bus Meters

The M7CL series represents a highly evolved... and evolving... live sound system for a wide range of applications. StageMix is an application for the Apple iPad that allows remote control of M7CL mix functions via a simple, intuitive graphical interface from anywhere within wireless range. This allows the engineer to set up monitor mixes from the performers’ positions on stage, directly controlling mix parameters via the iPad rather than having to rely on verbal directions to a second engineer. The result is better mixes in less time: a huge advantage during high-pressure pre-show setup.

10

January-March 2011

StageMix running on an Apple iPad Wireless connection from the iPad to a WiFi access point Ethernet connection from the WiFi access point to the M7CL Version 3

Functions The following M7CL Version 3 parameters are scheduled to be implemented in the StageMix. Controllable Parameters •

Sends on Faders

Input Channel Faders

Input Channel On/Off

Input Channel Parametric EQs

Input Channel Cue

Mix Master Faders

Mix Bus On/Off

Mix Bus Parametric EQs

Mix Bus Cue

Last Cue/Mix Cue Mode

Clear All Cues

Graphic EQs (*)

EQ Input Meter

EQ Output Meter

AuviTran Network ASIO Streamer support for the M7CL-48ES: The AuviTran Network ASIO Streamer brings two eminent digital audio standards together: EtherSound and ASIO. The ability to directly connect an EtherSound network to highperformance ASIO based recording and playback software makes it easy to add high-quality digital live recording and playback to EtherSound capable sound systems. A single CAT5e Ethernet cable connected between the M7CL-48ES and a Windows-based computer running Steinberg Nuendo 5 or similar DAW software allows simultaneous recording of up to 48 channels, for example. That’s sufficient capacity to handle all 48 inputs to three SB168-ES digital stage boxes connected to the M7CL-48ES.



EAW’s s JF Series Loudspeakers Audio solutions leader EAW recently introduced its latest ten additions to its celebrated JF Series of highdefinition two-way loudspeaker systems, including four comprehensively integrated NT models. Designed by EAW’s Whitinsville, Massachusetts, USA-based engineering team for a wide range of contractor and system integrator uses, the new JF and JFNT Series are scalable, compact lightweight loudspeakers ideal for a multitude of small and medium-sized sound reinforcement applications. The newest additions to the JF Series of two-way loudspeakers include the JF8, JF10, JF26, JF29, JF56 and JF59, packing even more capability and application flexibility into the ultracompact series. New comprehensively integrated JFNT units include JF26NT, JF29NT, JF56NT and JF59NT. The JF models include low-directivity eight-inch and 10-inch systems and four 12-inch and 15-inch systems (60degree x 45-degree and 90-degree x 45-degree versions of both sizes are available). The integration of lightweight, premium neodymium components and legendary crossover design into an ingeniously adaptable package offers unprecedented utility. When used in conjunction with EAW’s UX8800 Processor and its revolutionary EAW Focusing, the JF Series provides the pinnacle of performance in any venue. The four JFNT models (comprehensively integrated versions of the 12-inch and 15-inch JF models) elevate the notion of power and utility. They offer 1500 Watts of fully

integrated amplification, revolutionary EAW Focusing processing, EAW Pilot softwareaccessible front-end DSP, proprietary U-Net audio and communications network, and the JF Series adaptable enclosure design. This provides multichannel digital audio transmission with remote software control and monitoring capability. Contractors have the ability to initially install standard JF models for their clients, and then at a later date, upgrade those cabinets in the field to the NT model. The entire product line is architected on a core cabinet philosophy that allows users to utilize universal hardware accessories to tailor their JF product to meet the specific needs of their application. For the ultimate in flexibility, a variety of available accessories offers the ability to tailor the new JF Series products to any application. All JF and JFNT models natively employ a combination of portable features and M10 installation points. Available universal accessories include trim plates that hide handles and provide a connection point for adjustable ubrackets, quick-release flytrack segments that integrate into any enclosure and adjustable legs for use as a stage monitor. For contractor and system integrator applications such as corporate A/V events, small-to-medium-sized live sound reinforcement, performing arts venues, houses of worship, retail spaces, ballrooms, theaters and theme parks, the new JF and JFNT Series are the perfect solution.

New AEC Algorithm for Soundweb BSS Audio, a Harman International Company introduced a new fullbandwidth Acoustic Echo Cancellation (AEC) algorithm for its Soundweb London conferencing processors. The new full-bandwidth AEC algorithm is released with HiQnet London Architect v3.04 and can be used with existing Soundweb London AEC Input Cards and the recently-introduced Soundweb London BLU-101 and BLU-102 devices. The existing 8kHz-bandwidth AEC algorithm is optimized for POTS, VoIP phone system and digital phone system applications. The new fullbandwidth AEC algorithm facilitates enhanced fidelity for specific applications, while also offering a reduced processing latency. A property within HiQnet London Architect v3.04 allows users to switch between the new full-bandwidth AEC algorithm and the existing 8kHz-bandwidth algorithm. Dedicated full-bandwidth ‘dry’ signals for local sound reinforcement or recording are offered for both AEC algorithms. Existing installations can be upgraded to accommodate full-bandwidth content, without the requirement for additional hardware. However, when upgrading systems to HiQnet London Architect v3.04, they will continue to use the 8kHz-bandwidth AEC algorithm unless manually switched to use the new full-bandwidth AEC algorithm. Therefore, changes will not be forced upon existing systems. New Soundweb London designs will default to using the new full-bandwidth AEC algorithm, which also gives excellent performance with POTS and VoIP systems, in addition to the accommodation of fullbandwidth content. The addition of a full-bandwidth AEC algorithm as a software upgrade for the AEC Input Cards and the BLU-101 and BLU-102 devices brings another important conferencing tool to applications large and small. The BLU-101 and BLU-102 along with the other members of the Soundweb London family provide the building blocks of the perfectly tailored system solution.

SS

12

January-March 2011



New Product Range from Harman New iPad/iPhone App from Crown Underscoring the comprehensive integration value of its long-term commitment to a standards-based Ethernet backbone for its winning amplifier lineup, Crown Audio announced the addition of the ‘powered by Crown’ iPad/iPhone App, designed to provide users with enhanced control and configuration of its amplifiers. The new application can be deployed to control and monitor amplifiers by setting the basic control panels on an amplifier or handle a complete setup through Harman HiQnet System Architect. The new application benefits both touring professionals and integrators as it can be used to control numerous lines of Crown amplifiers including ITech, I-Tech HD, CTs, and Macro Tech I Series amplifiers. Users can instantly connect by plugging their amplifiers into a wireless router. The app can be deployed on two, four and eight channel amplifiers. Users can now create a custom control panel in HiQnet System Architect, save it and directly import it onto the app using iTunes. Sound engineers now also have full capability to setup, troubleshoot, and monitor systems remotely. This application will also be compatible with the iPod Touch and is now available on Apple’s iTunes store.

New Amp Series Redefining the category of affordable and high-quality power amplifiers, Crown showcased the next generation line of XLS Series amplifiers. The line consisting of four models and offering an unprecedented level of performance and configuration flexibility ushers in a new era of power amplification at the entry level.

SS

14

January-March 2011

eliminate the need for external crossovers, limiters, and EQs, immediately saving rack space and money.

The XLS series amplifiers implement a flexible PureBand Crossover System. A user can select crossover points from 50 Hz to 3 kHz, allowing for precise matching of specified crossover points on most bi-amplified loud speakers. Increased Control is also highlighted by the three selectable channel modes and clip limiters designed to protect loudspeakers that can be turned on and off by channel. Further simplifying ease of use, an intuitive front panel work surface with LCD display provides fast and easy menu-based system setup and full amplifier diagnostics. XLS Series amplifiers conform to Harman Professional’s Green Edge environmental initiative. Crown’s advanced circuit components use fewer resources in manufacturing, but have also contributed to significant weight reduction in the amplifiers that result in less energy consumption. The XLS amplifier’s high operating efficiency translates into greater efficiency for each watt of output and a significantly reduced carbon footprint. New Portable Amp Series Resetting the standards for portable sound amplification, Crown Audio introduced the XTi 2 Series of amplifiers. Offering increased control, an enhanced feature set and a sleeker design, the XTi 2 Series amplifiers bring together features and performance never before available in an amplifier designed for portable PA applications. Providing a complete suite of integrated speaker processing, the new XTi amplifiers

The XTi 2 features enhanced control with Crown’s revolutionary PeakX Plus limiters. The limiters are derived from the same framework as those found in I-Tech HD and the new XLS DriveCore Series amplifiers allowing users to manipulate threshold, attack and release times. A new and improved subharmonic synthesizer offers more accurate control over which frequencies are targeted and can be tailored for a specific system or room setup. Offering increased amplifier functionality, users now have Advanced Thermal Control giving them the ability to tailor the fan performance to their specific application. XTi 2 also increases the amount of presets a user can save and recall from 20 to 30. Enhancing power management, a new status section on the amplifier allows for the monitoring of power supply temperature and AC line voltage making troubleshooting even easier. XTi 2 amplifiers are also fully compatible with HiQnet Band Manager software. The free-ofcharge application provides a sleek redesigned function-driven interface, which has been re-skinned to simplify system setup and management while enabling audio professionals, musicians, and engineers to configure and control a rack of Crown XTi and now XTi 2 series amplifiers.



JBL Introduces New PA, Loudspeaker Series EON210P can deliver 124dB peak system output and each speaker provides smooth, even coverage over a 100º x 60º listening area. The EON210P’s speakers can be placed on a floor or table, or pole-mounted using the speakers’ 36mm pole-mount socket.

Portable PA System JBL Professional announced the introduction of its EON210P Portable PA system, a complete powered system that is compact, lightweight and simple to use. It includes two 10-inch, 2-way speakers, an 8-channel powered stereo mixer with four digital effects, two 15foot speaker cables and a convenient storage compartment for microphones and accessories. The mixer and storage compartment attach to the rear of the speakers, allowing for ease of movement when transporting the system. At a total weight of just 33 pounds, the EON210P is 20 pounds lighter than most other package PA systems in its class. The EON210P can accommodate multiple microphones, instruments, portable music players and other audio sources. Channels 1–4 include XLR/1/4-inch combination connectors, individual Bass and Treble controls and an effect send, channels 5-6 have a pair of 1/4-inch stereo and a pair of stereo RCA jacks, and channels 7–8 have a 3.5mm stereo jack. The mixer also features a 30V phantom power supply for use with condenser microphones, 1/4-inch TRS and RCA stereo output jacks for connection to recording devices or for external routing, in addition to a dedicated 3.5mm headphone jack. Although compact, the EON210P packs plenty of sonic punch, thanks to its 300-watt-peak stereo amplifier and high-efficiency 2-way speakers, each with a 1.5-inch neodymium compression-driver tweeter and 10inch high-excursion woofer. The

SS

16

January-March 2011

Loudspeaker JBL also introduced its best ever EON515XT active loudspeaker. As the flagship of the iconic JBL powered portable speaker collection, the EON515XT was engineered for durability, high performance and ease of use. JBL has extended the reach of the current EON technology by improving input sensitivity, lowering the noise floor, adding user selectable EQ control and re-voicing the system for peak performance and enhanced audio precision. The 2-way EON515XT incorporates a JBL 2414H high-frequency neodymium compression driver and a 15-inch JBL 265F-1 Differential Drive dual-voice-coil woofer perfectly matched to a proprietary Crown Class D amplifier. The system has been revoiced from previous models for better clarity and frequency balance and now delivers a stout 132dB maximum SPL. The input sensitivity has been increased by 10dB to accommodate keyboards, musical instruments, drum machines and lower output sound reinforcement and DJ mixers. The EON15XT now offers user-adjustable EQ with individual bass and treble controls and a simplified 3-channel mixer configuration—an especially

beneficial live performance feature that allows users to plug in multiple instruments and microphones. Built to take the rigors of the road, the JBL EON515XT has been restyled for discretion with a tough, molded black enclosure, black metal grille, black JBL badge, and charcoal EON grille logo. The EON515XT can be pole-mounted on a subwoofer or tripod stand using its 36 mm pole-mount socket, used in a floor monitor position or flown using its integrated M10 suspension points. It offers two 1/4-inch TRS inputs, one combination XLR/TRS input and an XLR loop-through output for connecting another EON speaker, recording device or for routing to an external devices. Weighing just 32.5 pounds, the EON515XT features multiple grip points designed for comfort, safety and balance. Hardware Accessories JBL also introduced latest suspension hardware accessories for its VERTEC subcompact line arrays. The VERTEC hardware enables quick assembly of variable curvature vertical or modular constant-curvature horizontal line arrays. In addition to the standard VT4886-AF array frame for suspending up to 24 boxes, along with the VT4886-UB and –UB1 for supporting smaller groups of speakers, the line of equipment now includes the VT4886SF Short Frame, the VT4886-HB Horizontal Bar, and VT4886-DF88 and VT4886-DF89 Downfill Frames. The VERTEC Subcompact System is specifically designed to be one of the most versatile tools in a portable sound rental company’s inventory. Application flexibility also ensures VT4886 and VT4883 elements provide effective sound design tools for performance audio facility system designers. The VT4886-SF Short Frame suspends VT4886 arrays by coupling to existing integrated hardware on the VERTEC enclosures, and works well when limited space is available above or behind the array due to wall surfaces or venue obstructions.



DPI, Mechdyne Bring Next Gen. 3D Media Server Digital Projection International (DPI) an Emmy Award-winning manufacturer of high performance projection systems, and Mechdyne Corporation, specialists in immersive, networked and collaborative visualization solutions, introduce two new 3D-enabled media servers under the Dimension brand. The Dimension 3D and Dimension 3D Ultra deliver two options through which home entertainment enthusiasts can enjoy 2D and 3D movies, gaming, digital pictures, video files and more. When paired with a Digital Projection 3D projector such as the award-winning TITAN Reference 1080-3D, the Dimension servers present dynamic, immersive 3D entertainment. Based on the Dimension 1.0 platform launched at CEDIA Expo 2009, the newly launched Dimension media servers have been completely redesigned from a user interface and navigation perspective. A customcreated interface replaces the previous Windows Media structure, enabling a more intuitive and straightforward user experience. Additionally, numerous hardware upgrades, including the inclusion of latest generation graphics technology, have been built in to the new Dimension servers. The Dimension 3D servers remedy a common concern among home entertainment enthusiasts regarding the confusion surrounding the large number of incompatible 3D file formats by creating an easy to use server that focuses on the emerging standards. Whether enthusiasts create their own 3D content from nowavailable 3D cameras, enjoy 3D Blu-

ray, or simply want to up-convert their 2D content to 3D in real time, the Dimension 3D servers act as flexible content hubs for a wide variety of 3D formats and file types. Simplified usability is a key component of the Dimension platform, so the Dimension 3D servers can be easily integrated with industry standard control systems or easily controlled through a simple iTouch control interface. Both second generation Dimension 3D servers are optimized to leverage Digital Projection’s latest 3D technology advances, ensuring enthusiasts experience captivating, awe-inspiring stereoscopic 3D. The Dimension 3D servers will be sold by Digital Projection and delivered by Digital Projection’s select integrator network. All of the necessary components have finally aligned to deliver high quality, truly immersive 3D home entertainment to the home cinema channel: server, content, user interface, and a DPI 3D display for the ultimate presentation. When combined, this “Total 3D Experience” system brings the latest 3D movies, games and events home, for an extraordinary entertainment experience.

dnp’s New Rear Projection Screen dnp, the world’s leading supplier of optical projection screen technology, unveiled its new rear projection screen line, the dnp Zenith Screen, at ISE 2011. In recent years, brighter, more powerful projectors have become available giving rise to new challenges, such as how to prevent hot-spots showing up on the screen and, at the same time, improve contrast and brightness uniformity and balancing viewing angles. Designed as a complement to modern, high-lumens projectors, dnp’s new Zenith Screen line meets these challenges head on. dnp Global Sales Manager, Søren Kræmmergaard, says the new screen is an ideal match for

SS

18

January-March 2011

the latest projectors: “The fully balanced image gives optimal ‘eyegonomics’, the vital viewing comfort that’s crucial to the usability of display systems.” Key to this is the screen’s improved contrast and uniformity. Søren continues, “We’ve achieved this with a lower gain, of 2.2, along with more tint and a anti-glare surface that minimises reflected ambient light. In particular, the improved uniformity eliminates the distracting hot-spot often observed with today’s highlumens projectors.” This is backed up by the experience of Hansen Yang, vice-general manager of Wincomn Technology, one of China’s leading AV suppliers: “We tested dnp’s new screen with a Christie projector, and the image quality was even better than we expected. We have no hesitation in approving the dnp Zenith Screen for the most demanding of rear projection applications.” The new screen, however, still gives users all the advantages you would expect of rear projection installation: a neat, totally flush screen surface, silent operation, top-quality images and no risk of shadows from people moving around in front of the screen. It is designed for the 100"-plus market, and is especially suitable for use in TV studios, control rooms, conference rooms and mission-critical applications where high-quality images in ambient lighting are essential. The dnp Zenith Screen line will be available from January 2011 in widths from 2m to 4m, with heights customised to the standard 4:3, 16:9 and 16:10 aspect ratios.



DPI’s New High Resolution DLP Projector Digital Projection International (DPI) announced the launch of dVision 35WQXGA, the precision DLP projector to deliver over 4 million pixels of imagery. Recently recognized as a ‘Best New Product’ finalist at the 2010 CEDIA Expo, as well as a CE Pro BEST Award finalist, the dVision 35WQXGA delivers a 1080p solution for 2:35 aspect content without the need for an anamorphic lens solution. Through a capable combination of programmable lens control and software, the dVision WQXGA delivers the CE channel’s first anamorphic lens free, full resolution, constant height, aspect ratio shifting projector. DPI’s single-chip dVision 35-WQXGA boasts high resolution. WQXGA is the nomenclature that represents 2560 x 1600 pixels – nearly twice the resolution of a 1080p projector. Twice the resolution capability means highdefinition content experienced through the dVision WQXGA attains a high level of entertainment quality for home cinema enthusiasts. The dVision 35-WQXGA produces 4,096,000 pixels from a single projector. Over 4,000,000 pixels results in imagery with more resolution detail and higher small area contrast. In addition to the unprecedented pixel density, the dVision 35-WQXGA XC presents a superior solution for moving between 1.78:1 and 2.35:1 aspect ratio content (or any content wider than 1.78). Traditionally, an anamorphic lens has been required in order to move between different aspect ratios while displaying constant height. While this approach produces solid results, anamorphic lens solutions add significant cost, as well as mechanical and optical complexity to a home theater system. Equally as important, anamorphic optics consume about 10 per cent of the projector’s brightness while also reducing the contrast ratio. Bypassing the need for an anamorphic lens when employed in a constant height application, the dVision 35-WQXGA presents a compelling and cost effective alternative to purchasing

SS

20

January-March 2011

and installing a peripheral anamorphic lens. The new 35-WQXGA projector inherits the field-proven reliability and exceptional optical qualities of DPI’s long-respected dVision series. Suitable for home entertainment venues with medium to large screens, the dVision WQXGA is quiet, elegantly designed and offers a diversity of system capabilities. Installation flexibility is assured through an extensive array of ultra-accurate optics, which provide throw ratios as short as .8:1 and as long as 4.5:1. Further extending this flexibility is the availability of three different factory installed color wheel sets, allowing the user to select the projector / color wheel combination that provides the best balance of lumens and color depth for their venue. Projector lumens and black level can be further optimized to suit venue conditions through the straightforward adjustment of the motorized lens iris. Additionally, the dVision’s quick-change motorized lens mount provides a broad range of horizontal and vertical lens shift, allowing the projectors to be placed in a wide variety of locations in relation to the screen. Intuitive user controls and comprehensive source compatibility assure all dVision displays are simple to integrate, control and operate.

Barco’s Compact 14k Lumens 3D Projector Barco announced a newly designed three-chip DLP platform for midsized event venues. The HDX-W14 is a 3D projector with advanced image processing, increased and easy control options, and a compact

design. The HDX-W14 comes with a 14,000 lumens light output, a WUXGA (1920x1200) resolution and active 3D capabilities. It features controls through a user-friendly, built-in LCD screen with a preview mode, and control options through wired and wireless IP. Furthermore, users can control the projector through new technologies such as tablet PCs and smart phones. ”The development of the HDX was heavily influenced by three key areas where Barco has gained considerable expertise,” explains Chris Colpaert, Strategic Marketing Director of Barco’s pro AV business, “We carried over our experience in 3D from our digital cinema portfolio and fused it with our intimate knowledge of what the events industry will expect from projectors now and in the coming years. For example, the HDX is compatible with the 3G protocol, gearing it up for lightning-fast, future video transmission.” While it is a heavy-duty three-chip DLP projector, Barco’s HDX platform is 25 per cent more compact than comparable solutions, and consumes up to 30% less power. Its modular design, consisting of just five building blocks, was conceived for quick servicing. ”The HDX builds on the legacy of its predecessor, the SLM-R12+ projector, which has long been one of our most successful and reliable products in the events market,” says Mr. Colpaert, “So when we designed the HDX, we knew we had to offer a product that was just as good. By making the HDX line smarter, more compact and more feature-rich, I think we succeeded in doing just that.”



E&E India in Pact with Community Bangalore-based E&E Systems Pvt Ltd entered into an exclusive distribution alliance with the Philadelphia, USAheadquartered Community Loudspeakers and Rational Acoustics. As part of the alliance, E&E India will be distributing Community’s highperformance audio systems in India for all the segments of install sound, rental market and MI. The American audio major – with over 50 years of industry existence and quite a few innovations in audio – had been scouting for some time now for a strong associate to take its cause into the Indian market, and it’s being put out as coming together of two strong brands towards enriching an upwardly mobile market that India is. “We have been looking for a potential partner, and we found that in E&E India,” said Christine Howze, VicePresident, Sales at Community Loudspeakers. “Poncho (Gopinathan) is a popular and dynamic brand in himself,” she said, “with him at the helm of E&E India and our association, and given the strong growth potential that Indian market offers today, we believe we can have a great value addition to either side.” Interestingly, Community had tried setting afoot on Indian geography long back but the ‘conservative nature’ of the market of the time undid the ambition. “Today, the market is much more vibrant and dynamic,” says Christine, “it’s vast and potential too.” For E&E India, coming of Community brand brings a high level of excitement and opportunity, says Poncho, Executive Director at E&E India. “Community loudspeakers offer great reliability for both indoor and outdoor applications in a wide range of vertical markets,” said Poncho. “The interesting part of this association is the installation-focused speakers that are renowned amongst consultants and systems integrators,” explains

SS

22

January-March 2011

Poncho. “What’s more, they come with a great price performance.” According to him, it’s been an effort to introduce Indian market to something it has never experienced both in terms of technology and economy. The association will bring to place very cost-effective solutions with high performance systems and long life. The alliance has certain products and system solutions that perfectly suit Indian market. “Community is a brand that understands the markets perfectly and develops solutions accordingly, he explained, “through this association, we make sure that we treated Indian market with products and systems that are clearly technology leaders and aggressive in pricing.”

Sushil John is QSC India Country Head QSC Audio is getting to its aggressive best in Asia. Having realised the growing potential in the region, and set up its Asian head office in Hong Kong recently, it lost no time in strengthening its direct presence in another key Asian market, India. The American audio major has brought onboard Sushil John – one of the most popular names in the Indian audio industry – as its Country Head for India and SAARC region. Sushil is widely known industry veteran and has considerable experience working for some of pro audio’s industry heavyweights. He is qualified as a power electronics engineer and was most recently

employed as the Country Head for India with Harman for almost six years. Prior to Harman, he was Director of Operations at EVI Audio India Pvt. Ltd. and AMX India Pvt. Ltd., where he built EVI’s and AMX’s network of channel partners throughout India. Based in Bangalore and reporting to Asian Pacific sales manager David Fuller, Sushil will manage all sales and support activities within the SAARC region for QSC Audio. In addition to regularly visiting dealers, contractors and consultants throughout his territory, he will also act as a liaison between the field and QSC Audio in regards to product development, large-scale sales opportunities, and various marketing issues including trade shows and advertising. He will be working closely with QSC Audio’s distributor for the professional range of products, Pro Visual Audio Pvt. Ltd., who is headquartered in Chennai with sales and marketing office in Bengaluru. “I am excited to be able to represent the interests of QSC Audio in the SAARC region and to be working with such a great team of people,” Sushil commented. “QSC Audio is a solutions based company who have earned their merits based on their brand value, quality, reliability and design philosophy. My appointment comes at a perfect time for the SAARC region as there are huge developments taking place in the growing infrastructure. QSC’s evolving speaker and amplifier range and Q-Sys DSP technologies are best of category products to fulfil the needs of the consultants and SI’s involved with these projects.” The South Asian Association for Regional Cooperation (SAARC) is an organization of South Asian nations, founded in 1985 and dedicated to economic, technological, social, and cultural development emphasizing collective self-reliance. Its seven founding members are Bangladesh, Bhutan, India, the Maldives, Nepal, Pakistan, and Sri Lanka. Afghanistan joined the organization in 2007.


Harman India Trains Sound Professionals Harman India continues with its endeavor to provide sound professionals in the professional audio market in India with the essential tools and training necessary to design, install and use the most effective audio systems for their customers. The training programme for 2010 began with an exclusive training and workshop on the latest in the integration of sound technology using BSS Soundweb London- BLU 100 series featuring Acoustic Echo Cancellation (AEC) techniques. The second part of the programme featured training module on AKG DMS 700 series of Digital Wireless microphone systems with RF configuration techniques of large systems.

In order to reach out to participants in different parts of India, all these workshops and trainings have been organized across the regions- North (Delhi NCR region), West (Mumbai), and South (Bangalore) with an expansive schedule: •

BSS Soundweb London training was held on the at Delhi NCR on 29 November, followed by Mumbai on 1 December and by Bangalore on 3 December

AKG training started in Delhi on 6 December) and followed by Mumbai on 8 December and Bangalore on 10 December

The training programmes were conducted by global experts Alwyn Wong and Raymond Tee, Technical Experts, Harman Professional Asia for BSS and AKG respectively. They provided insights into the latest audio technology and engaged the participants in an interactive workshop. •

The BSS training extensively covered Soundweb London BLU 100 series, Conferencing Solutions, demonstration of Acoustic Echo Cancellation (AEC) and various applications like conferencing

The AKG training covered various topics such as Digital Wireless Microphones, Multi Channel setting, sessions on AKG DMS 700 and WMS 450 with videos & Live Demo. Topics like the system architecture for the various microphone systems gathered positive response from the participants

“We are excited to launch the training programme for our customers in India. Harman in India, with its wide of range products and technical expertise has launched the training cum workshop programs to enable our customers with the know-how of the Harman range. We also had a range of equipments for demonstrations highlighting the capabilities of today’s latest and most advanced pro sound technology.” said Ankush Agarwal, Marketing Manager, Harman Professional India. The training programme received tremendous response with over a 170 participants attending both programs across all three regions. Participants were interactive and live demo helped them in understanding the concepts and nuances of sound integration with relevant case studies. “We are pleased to roll-out these training programs for our customers and channel partners in India and very pleased to note the high levels of interest and attendance participation. We are confident that Indian system integrators, tour sound, studio and install sound specialists can derive extensive benefits from these regular training programs. This is part of our ongoing strategy to get closer to our customers. Going forward experts from group brands like Soundcraft will also conduct training modules across the three regions in the coming months.” said Kaushal Garg, National Sales Manager, Harman Professional India.

Indian School of Media’s First Training Course Bengaluru-based Indian School for Media Studies recently conducted the first of a regular series of six day training and certification courses in Bengaluru for Avid’s Venue digital console, encompassing 110V and 210V level material and both certification exams. Organised by Avid partner Ansata – the company that established the Indian School for Media Studies – the course was split into two halves, with January-March 2011

23

SS


the 110V level training titled ‘Essentials of live sound production 1’, and focusing on basic concepts as well as the SC48 desk. The 210V training was intended for advanced students and working professionals who had already used a Venue console. Among the topics covered were the configuration of an expanded Venue system, the installation of option cards in an FOH rack, stage rack and mix rack, and advanced mixing concepts. Advanced monitor mixing and using Pro Tools HD with Venue for multitrack recording were also included. Additionally, the course saw students discuss the basic differences between digital and analogue consoles. One Venue Profile console and two SC48 desks were set up in the training room for students to use. According to Leslie Lean, director of the Indian School for Media Studies and managing director of Insata, the course was intended to reflect the popularity of Avid consoles within India. ‘With over 40 Venue consoles installed and working in India, there is a very high demand for trained engineers. As we plan to conduct one training program per month, it will help in improving the demand supply gap.’ Nadiyam Ravisankar, manager of live sound emerging markets for Avid, added that ‘many of the first generation of engineers were self-taught or given basic training by Ansata. I am happy that we are stepping that up now with Avid Authorised courses which are well designed to provide basic to advanced training. The Indian School for Media Studies is the right partner as they are already teaching authorised Pro Tools courses’.

Clair Brothers Hoists VerTec LA at Beacon Theatre Professional audio design and installation company, Clair Brothers Audio Systems, has installed a complete JBL VerTec line array system in New York’s famous Beacon Theatre. The installation marks the third audio retrofit of an MSG-owned venue by Clair Brothers, which has also installed JBL VerTec line arrays in New York’s

SS

24

January-March 2011

Radio City Music Hall and the Chicago Theatre. Part of a $16 million full venue renovation, Clair Brothers relied on JBL’s new DPDA-equipped powered line array elements, featuring AES digital audio, BSS Omnidrive HD signal processing, and HiQnet compatibility. A total of 16 JBL VerTec VT4888DP-DA powered midsize line array elements with DrivePack technology are included in left-right arrays of eight per side, with three VT4880A fullsize arrayable subwoofers per side. In addition, two VT4888 midsize line array elements and two VT4882 midsize arrayable subwoofers provide top balcony fill, with four VT4487ADP-DA powered compact line array elements providing down fill. ”We’ve had a lot of great experience with the VerTec line arrays, not only in terms of performance, but also with consistent positive feedback and requests from clients,” stated Jim Devenney, senior engineer, Clair Brothers. “With the success of the Radio City Music Hall and Chicago Theatre installations, it was a simple decision for us to continue relying on VerTec.” The VerTec arrays comprise the first inhouse PA system that has ever been installed in the Beacon, according to MSG Entertainment / Radio City Music Hall Head Audio Engineer, Tom Arrigoni. Previously, acts would load in, set up and sound check their own sound equipment hours before the show opened. “With the new system, our clients can leave their own PA’s on the truck and simply utilize our in-house system, saving time and energy. Touring engineers have told me that our venues now have some of the best sound quality and acoustics in the world,” Arrigoni said. ”MSG prides itself on providing the best in sound and entertainment to the customer in every venue we have,” Arrigoni continued. “No touring sound engineer would have the time, during a load-in, that we had while installing and perfecting this system.”

EV Systems Echo India’s Republic Joys

India’s Republic Day celebrations this year had anew reinforcing elementnew sound systems incorporated into the live commentary of the Parade. An Sx300PIX Electro-Voice system featuring 156 loudspeaker cabinets was recently specially designed for 62nd Republic Day Parade. The Parade – the most famous and respected annual event of national spirit in the country – is organized along the Rajpath in the Indian National Capital, beginning from Raisin Hill near the Rashtrapati Bhavan and passes through the India Gate, en route to the historic Red Fort in the Old Delhi. It commemorates date of enactment of the Constitution of India as the governing document of the country on January 26th 1950. The Sx300PIX system was designed for the parade by Bosch Security Systems, India, centring around Sx cabinets which were fitted on a series of light poles positioned all along the 2.6km parade route. The systems reportedly provided a ‘loud and spectacular’ reproduction of the commentary and music that accompanied the traditional dance troupes taking part. New Delhi-based Hi-Tech Audio Systems – who were awarded the contract to install the systems – carefully chose EV after a thorough examination of the solutions available for the purpose. The systems were then evaluated by the Indian Army and cleared for install. ‘It was a stiff competition – Electro Voice was chosen over other major brands in the country and also from abroad,’ admitted Tushar Srivastava, Senior Manager-Product Marketing at EV, New Delhi.


Beyerdynamic Forays into India German audio major beyerdynamic GmbH has joined the big multinational league foraying into India. After Harman, E&E, and QSC, it’s beyerdynamic to set afoot in India. The microphone and headphone specialist has opened a subsidiary office in Bangalore with the intention of catering to the rapidly expanding Indian A/V market. Making a swift movement, the company had appointed Naveen Sridhar – a pro audio professional with over 10 years into the sound industry – to the newly created portfolio of Sales Manager, India. While working closely with beyerdynamic’s existing sales partners in the country, Sridhar is tasked with identifying new business opportunities for the company. He will report directly to Asian Pacific Sales and Marketing Director Michael Kinzel who has been instrumental in steering the Indian business for over three years now. The microphone and headphone manufacturer intends to roll out a wide product range comprising five business units: •

Conference (conference systems and installation microphones)

Music and performance (microphones and headphones for professional use in theatres and concerts)

Broadcast, studio, video and production (microphones for recording studios, live broadcasting and headphones for professional use)

Consumer (in-ear headphones, hifi headphones and gaming headsets)

Aviation (headsets for amateur pilots)

Having seen new business potential opening up in most Asian markets,

beyerdynamic has changed its distribution model in China over the past three years by appointing several key distributors in identified vertical markets according to the five business units it operates.

AMXhome with Energy Management Leading automation solutions provider AMX announced AMXhome with energy management. This new feature provides homeowners greater energy-efficiency as they can monitor and manage their utilities, including electric, water, gas and oil, from a touch panel. AMXhome energy management allows users to monitor utility consumption performance through color-coded icons and view estimated monthly utility costs at a glance. Homeowners can ‘go green’ by taking advantage of pre-programmed options that can automatically adjust energy usage, such as global light dimming and HVAC control. In addition, historical data can be retrieved on the touch panel through comparative reports, and can be viewed by the hour, day, week, month and year. Utility usage patterns can be analyzed to prevent over consumption and ultimately reduce utility costs. In addition to monitoring consumption, alerts can be set for low oil and propane tank levels. “AMXhome with energy management comes along at a crucial point as the marketplace is seeing a strong demand for green, eco-

friendly solutions,” said Mayank Gupta, AMX India, country manager. “AMXhome applies the latest technology to deliver a total solution for home energy management benefiting homeowners by giving them simplified control and automation, with reports and monitoring, of their home’s systems and utilities.” AMXhome can automatically manage HVAC activities and building pressure control, based on inputs from weather forecasts and various indoor and outdoor sensors, inclusive of pressure sensors. Building pressure is measured and controlled to achieve neutral to slightly positive pressure which optimizes healthy air quality and building envelope performance. Other smart features include, trigger alerts that notify homeowners of abnormally high usage, such as an 85 degree thermostat in winter, and automated response that will correct over-usage as the owner desires. These types of systems not only provide significant energy savings and greater comfort for the homeowner, but are likely to increase the value of the home itself. Says Eric Thompson, President of Thompson Modern, one of the initial installers of AMXhome: “The fatal flaw in most of today’s standalone energy-monitoring products is the inability to control a home’s environment with the data the products produce. To achieve real results, products must present specific, actionable data coupled with welldefined business rules, or triggers. AMXhome energy management delivers these ‘smart’ capabilities and provides an intuitive platform for homeowners to amplify their home’s energy efficiency.” AMXhome is sold as a complete dealer solution consisting of system designs, equipment lists, third-party gear, and marketing and sales materials for the four most popular residential applications. These include distributed audio, home theater, essential home control and whole home control.

January-March 2011

25

SS


info@anutone.com www.anutone.com

SOFT

Core Surface

Softfibre Textures Fabrics Vinyls

SNAZZ

SERGE

SALON

Core Surface

Core Surface

Core Surface

Gypsum Plasters Textures

Metal Mirror Polycoat

MUMBAI +9122 2643 9732

AHMEDABAD +9197 2581 0707

DELHI +9111 2437 8061

CHENNAI +9144 4305 4935

PUNE +9198 6726 5385

BHOPAL +9199 8709 4313

KOLKATA +9198 8062 3510

BENGALURU +9180 2520 3114

Woodfibre Woodgrains


EKCEL

SYNTH

The future of walls & ceilings Softfibre matt-white ceilings that diffuse low-power uplighting and walls with giant panels in microperf vinyl. Gypsum grid ceilings with bevel steppe edges and continuous walls with microperfs that look invisible. Wood ceilings in veneers or melamine with starry patterns and curved walls with multi-width slats. Excelsior ceilings with superfine fibres and walls that match 2.4m heights. Metal ceilings with invisible microperfs and walls with large-format panels. Stretch ceilings with translucent membranes for concealed lighting and Polyfibre walls with custom prints. Lab-certified systems conforming to current international standards. All from one source!

Core Surface

Magnesia Naturals Fabrics Plasters

Core Surface

Polyfibre Naturals Fabrics Prints

ANUTONE WALLS & CEILINGS a division of Anutone Acoustics Limited


Barco Lights up First Ever Ghent Light Festival Barco announced that its CLM and FLM rental projectors have been used to support visual artists during the Ghent Light Festival. From 27 - 29 January, a total of 20 international artists and light designers took visitors on a fascinating tour as they brought the historic city center to life with light and projection. No less than 21 projectors have been installed by long-standing Barco partners XL Video and Spectaculaires. For the first-ever Ghent Light Festival, a large number of national and international light artists and AV companies have joined forces to create a brilliant spectacle. XL Video and Spectaculaires opted for Barco’s event projectors to support four different artists and artist collectives, who want to spotlight some of the city’s magic. In total, 8 CLM and 13 FLM projectors will support creations from renowned artists like Pablo Valbuena. ”In recent years, Ghent has invested heavily in scenic lighting for the entire city center,” comments Serge Platel from the Ghent Light Festival. “And with this first-ever Light Festival we want to celebrate this award-winning lighting plan and give visitors the opportunity to catch a glimpse of Ghent’s unique charm. During the three-day event, the artists will present the most surprising light experiences at several locations throughout the city.” French company Spectaculaires chose Barco’s FLM projectors for its successful show On dirait que… The show turns the façade of the Post Plaza building at the Korenmarkt into a new universe, where light, projections and sound tell the tale of a young boy who becomes a giant in his dream… Windows and doors morph into toy figurines, and the entire building becomes a fairy tale. XL Video have supplied Barco CLM and FLM events projectors for the installations 51°2’50" E3°43’42, Bbass and Mr Beam. “We are honored to be part of the first Ghent Light Festival,” comments Steven Dierickx, manager from XL Video. “We chose to use Barco projectors because we know their reliability and image quality from years of experience. They are exactly what we need for such a high-profile event.”

SS

28

January-March 2011

N 51°2’50" E3°43’42" is a breathtaking outdoor light projection by Spanish architect and artist Pablo Valbuena. Originally created for the Almost Cinema exhibition during the Ghent Film Festival in October 2010, the projection is part of his famous ‘Urban Installation’ series. Bbass – a minimalist and enchanting installation

inside Ghent University’s Aula – combines projected light with graphic animation, architecture and sound. The guiding principle of the Mr Beam project is the relationship between music, image and location – realized through a custom-made façade projection on an ancient building near the Music Conservatory.

An Dong Arts Centre Powered by d&b Sound An Dong Arts Centre, the expansive multipurpose facility in the South Korean capital of Seoul, had yet another glowing extension recently when it added a new auditorium with state-of-the-art audio system. The sound reinforcement install has been done by d&b audiotechnik. The An Dong Arts Centre is already host to a highly popular annual folk festival, while its 1,300-seat main hall and 400-capacity studio theatre both regularly feature an extremely varied programme of events and artists. Both spaces boast d&b systems supplied and installed by d&b audiotechnik Korea, following listening trials that began in 2008 prior to the venue’s construction. JSeries loudspeakers form the cornerstone of the main hall’s system, while Q-Series enclosures have been used in the smaller theatre, with both systems having been initially conceived by. According to d&b audiotechnik Korea, the installation has also prompted a new sales channel for the brand in the shape of Sang Ho Kim. ‘He has almost become my leading d&b salesman for the province,’ quipped Hak Kwon Kim. ‘He can’t stop telling people about it.’ ‘Although there was some good competition – An Dong City Council invited most major manufacturers – the d&b systems won because of a comprehensive response to tender,’ explained the Centre’s head of sound Sang Ho Kim. ‘Good price and a complete system design were matched by the sound.’ Stefan Goertz of d&b’s application support department was also involved

in the installation, having been invited to participate by Hak Kwon Kim, head of d&b audiotechnik Korea. ‘Essentially the main room is a concert hall with a proscenium stage,’ Goertz explained. ‘The large wooden reflector above the stage is suspended from electric hoists and can be moved. The walls are panelled in wood but Kim took great care in choosing system placement (to within a millimetre to achieve uniform coverage) to avoid reflections from the balcony front or the walls. The hall has an orchestra pit, but there is also a stage thrust above and here Kim specified d&b Ci80s built into the downstage edge for front fills. Ci80s are also used for under-balcony delays, although they are generally only required for a slight lift to the high end for increased intelligibility; in fact elements of the main J system are visible from every seat beneath the balcony, so no audience members are shaded from the main PA.’ Goertz added that ‘users familiar with d&b systems might find Ci80s an unusual choice for these applications, but especially regarding the front fills, the added headroom in the low end is welcome when needed, which is often for performances such as the recent folk festival where some traditional instruments produce some extremely soft but deep resonances.’


Christie, RSI get FAA Certification Simulation projection display and visualization solutions leader Christie announced that the new Christie Matrix SIM simulation projection system in combination with RSI’s Raster xT Image Generator has been qualified under the Federal Aviation Administration (FAA) CFR Part 60 Qualification Performance Standards for complete unrestricted training. The projection system is driving RSI Visual System’s recently completed visual display upgrade for Sabre Updates’ B747-200 Full Flight Simulator, located at the Kalitta Air Training Center in Ypsilanti, Michigan. The Matrix SIM is based on Christie’s award-winning Matrix StIM LED-based simulation projection system and is specifically optimized to meet the needs of civil simulation applications. The advantages of LED illumination and DLP technology in the Matrix SIM include unprecedented image quality, stability and reliability at the point of purchase and over the extensive lifetime of the display. A wide color gamut, excellent color saturation and greater flexibility to manage color space to best fit application requirements offers image generators enhanced capabilities for producing images that are closer to reality than traditional lamp-based projectors. As well, the high-bandwidth capabilities of LED and DLP ideally complement each other and allow for higher levels of both static and dynamic image fidelity. “It was a complete team effort. The pairing of the Raster xT IG and the Christie Matrix SIM projectors, and subsequent approval by the FAA, was the culmination of extensive research, development and evaluation by RSI, our projector partners, the FAA, and especially our customers,” noted Michael Freeman, RSI’s director of business development. “We plan to continue working with our customers, Christie, and regulatory authorities to bring this new, cost-effective solution to the commercial visual simulation training environment.”

environments. As the largest independent visual system supplier, RSI’s products are designed for upgrading existing legacy visual systems as well as complete solutions for newly manufactured simulators.

“Once we assisted in installing and calibrating the Christie Matrix SIM, an FAA inspector ran a series of tests to confirm our qualification,” said Zoran Veselic, vice president, Christie Visual Environments. “We are pleased that the Matrix SIM delivered the demanding level of quality, reliability and performance to meet stringent FAA standards, and we credit our strong partnership with RSI as an important ingredient in our success.” Christie Matrix SIM Meets Needs in Market “With the Christie Matrix SIM, the civil aviation sector now has a viable display solution that meets FAA standards and boasts low sustainment costs, low operating costs, real-time auto-calibration and a low latency,” added Veselic, “providing many uninterrupted hours of operation and more available training hours.” With no moving parts, no lamp to change, and low power requirements, the Christie Matrix SIM offers the highest level of reliability and long life, with a solid-state LED illumination source rated up to 50,000 hours MTBF. The Christie Matrix SIM is an intelligent display utilizing Christie ArrayLOC, technology that self-adjusts color and brightness levels in real-time and offers rock-solid system stability. Combined with long life expectancy, this significantly reduces maintenance efforts and ownership costs for years of virtually maintenance-free operation resulting in more uptime and more training. Headquartered near the Dallas/Fort Worth International Airport, RSI Visual Systems provides complete turnkey visual systems solutions for both commercial and military flight-training

Sennheiser’s Outstanding Technical Achievement Audio specialist Sennheiser announced that the company captured an Outstanding Technical Achievement Award by the TEC (Technical Excellence & Creativity) Foundation for its evolution wireless 500 G3 Series. Sennheiser USA Chief Executive Officer John Falcone was on hand to accept the Award during a special reception held at the 2011 NAMM show in Anaheim. “We are extremely proud to be recognised by the TEC Foundation with the Outstanding Technical Achievement award,” said John Falcone. Sennheiser’s innovation and commitment to quality extends throughout each of our distributed brands, and across the world – it also directly reflects the overall integrity and drive of our own employees. We are grateful to the TEC Foundation for receiving this prestigious honour.” Since the TEC Foundation was established in 1990, Sennheiser has been presented with a total of six Oustanding Technical Achievement awards. In addition, the MD 421 dynamic microphone was inducted into the TECnology Hall of Fame this year. Sennheiser’s ew 500 G3 Series received the nod from the TEC Foundation as best in class for wireless technology. The ew 500 G3 Series wireless systems, with their Wireless Systems Manager (WSM) software, were immediately recognised in the live sound and installation markets for their oustanding audio quality, features, reliability and ease of use. They are used by international touring acts as well as in theatres, event venues and houses of worship around the world. January-March 2011

29

SS


‘Waves’ of TECnology Hall of Fame Waves Audio announced that its Q10 Paragraphic Equalizer was selected as an inductee into the TECnology Hall of Fame. The award was presented recenlty, at the Winter NAMM convention in Anaheim, California. The announcement comes on the heels of Waves, a leading provider of digital signal processing solutions, being informed that it will be presented with a prestigious Technical GRAMMY Award during the GRAMMY Week celebration in February 2011. The TEC Foundation for Excellence in Audio established the TECnology Hall of Fame in 2004 to honor and recognize audio products and innovations that have made a significant contribution to the advancement of audio technology. Inductees to the TECnology Hall of Fame are chosen by a panel of more than 50 recognized audio experts, including authors, educators, engineers, facility owners and other professionals. Products or innovations must be at least 10 years old to be considered for induction. Waves began in the early ’90s with the introduction of the first audio plugin, the Q10 Paragraphic Equalizer. The Q10 broke new ground in three major areas. First, it was the debut of the audio signal processor plugin, a tool that is ubiquitous today. Second, its graphic user interface gave users unprecedented control and eliminated the requirement for a DSP engineering background since it automated the filter coefficient calculations. Finally, the revolutionary Q10 offered sound quality equal to or better than many of its hardware counterparts. The Q10 set the stage for what would eventually become the Waves line of over 100 audio plugins, used in every aspect of audio: Recording, Mixing, Mastering, Post Production, Live Sound and Broadcast. Many leading end users took the opportunity to remark on the Q10: Jack Joseph Puig (John Mayer, The Rolling Stones) stated, “The Q10 changed how I create my mixes.” Ken

SS

30

January-March 2011

“Pooch” Van Druten (Linkin Park, Slash) noted, “Almost 20 years later, the Q10 is STILL relevant, STILL one of the best, STILL a plug I use every day. When was the last time you could say that about any other plugin?” John Cooper (Bruce Springsteen, Ringo Starr) added, “I use the Q10 as a default EQ for my master outputs to touchup on the fly. I actually have it built into my default templates for DShow and in my MultiRack setups.” Waves has been acknowledged by the TEC Awards several times previously: for its Platinum bundle in 2003, the IR1 Parametric Convolution Reverb in 2004, the L3 Multimaximizer in 2005, the SSL 4000 Collection in 2006 and the API Collection in 2008. Waves Audio wins GRAMMY Honour Waves Audio has won the prestigious Technical GRAMMY Award. The award will be presented during the GRAMMY Week celebration in February. A special invitation-only ceremony will be held during GRAMMY Week, and a formal acknowledgment will be made during the 53rd Annual GRAMMY Awards telecast, which will be held at STAPLES Center in Los Angeles on 13 February. With this presentation of the Technical GRAMMY, Waves joins a prestigious list of previous recipients which includes such well-known names as Apple Computer, Inc., Sony/Philips, Shure Incorporated and Yamaha Corporation. This Special Merit GRAMMY is awarded by vote of the Producers & Engineers Wing Advisory Council and Producers & Engineers Wing Chapter Committees and ratification by The Recording Academy’s National Trustees to companies that have made outstanding contributions of technical significance to the recording field. “This is a tremendous honor,” said Gilad Keren, founder and CEO of Waves Audio. “Knowing that we’ve played a part in the creation of so much great music over the years motivates us to keep making new tools for the audio community, doing our small part to enable their creativity.”

Robe Wins ‘Lighting Company of the Year’ Award

Robe lighting has won the coveted 2010 Produccion Audio and Production Professional Award for the “Lighting Company of the Year” (Empresa de iluminación del año). Produccion Audio and Production Professional are Spain’s leading technical and production industry journals, with monthly printed and online editions plus a highly proactive web portal with additional up-to-the-minute news and features. The annual Awards, produced in association with IFEMA - The Fair Trade Institute of Madrid - is now in its 8th year, recognises the best creative, technological and human achievements and developments across all sectors of the professional production and installation world. The Award was announced during a lively evening of celebrations staged at the Auditorio Sur, a large theatre at the IFEMA Convention & Congress Centre in Madrid recently. This attracted leading industry movers and shakers from Spain and other parts of southern Europe including representatives from TV channels, cinema, production companies, advertising agencies, music and concert promoters, post studios, sales, events, technical production and rental companies. Robe faced stiff competition from two rival European lighting manufacturers who were also chosen as finalists, but won the Award for its advanced and wide range of LED products and its innovative application of new technologies in the latest ROBIN series of moving lights, including use of the plasma lamp.


The three nominated products in each Produccion Audio Award category were chosen after six weeks of intensive online public voting from readers and other interested parties via the website. From these, the winners were then chosen by a panel of 13 industry experts. The lighting experts for this year included César Linares, Technical Director of Teatro de la Abadía in Madrid, which is renowned for its high quality programme and dynamic blend of alternative theatre and classical works with modern interpretations. Also on the panel was Juan José Beloqui, one of Spain’s best known concert and touring lighting designers, and also well known for his brilliant large scale extravaganzas. Gabriel Albornoz, Director of Produccion Audio Espaòa and Joao Martins, International Editor of Produccion Audio also had extensive input, as writing and discussing lighting is a major element of the their day by day work on the magazines. Robe lighting is distributed in Spain by Barcelona and Madrid based Lexon, and the Award was collected on behalf of them on the night by Gabriel Albornoz, Editor of Produccion Audio magazine. Robe’s Key Account Manager for Europe, Ingo Dombrowski, comments “it’s a huge honour for us to win this prestigious Award and to have our products, ideas, work and philosophies recognised by the industry.”

Brähler ICS Wins iF Design Award German Conference systems specialist Brähler has won the prestigious iF Gold Design Award. The award will be presented to Brähler for its new Cmic delegate unit, which forms part of its Digimic conferencing

system. The award ceremony will take place in March 2011. Instituted in 1953 and widely referred to as ‘the design Oscar,’ the iF gold award is conferred annually by the iF International Forum Design organisation. The event attracts thousands of entries from across the world. The event for 2011 already has about 3000 submissions from over 40 countries. Brähler’s win comes in a

specialist category for audio and video, while all winning products will be presented to international visitors at the iF exhibition in Hanover, Germany. ‘We feel very honoured to receive such an important award for one of our products in a skilled and competitive international environment,’ said Norbert Hengstermann, director of conference technology for Brähler ICS.

M3 Shares EMMY Honours with Waves Audio M3 (Music Mix Mobile), a New Jersey/California based remote facilities company combining the talents of award-winning production professionals and stateof-the-art audio solutions, has recently presented manufacturer partner Waves Audio with two EMMY certificates for their longtime support, and to acknowledge their contributions in helping M3 garner two EMMY’s for their work on the 52nd Annual GRAMMY Awards and 25th Anniversary Rock and Roll Hall of Fame Concert. The announcement comes on the heels of Waves, a leading provider of digital signal processing solutions, being informed that it will be presented with a prestigious Technical GRAMMY Award during the GRAMMY Week celebration in February 2011. “Since the very beginning, Waves has been a long-time supporter of our company,” stated Joel Singer, M3 Chief Engineer. “We wanted to ‘give something back’ and acknowledge their support of M3, so when we were presented with our two EMMY Awards by the Academy of Television Arts & Sciences, we asked to have duplicate certificates made and then presented them to Waves. It’s our way of showing that Waves is truly part of our team. We’re a music company, and the bottom line is that everything has to sound great. The things that we depend on the most are Waves EQs, Compressors and Dynamics. We use a lot of the Solid State Logic bundle [SSL 4000

Collection], the V-Series, the API bundle [The API Collection], a ton of their dynamics processors and lately the C6 Multiband Compressor. There is not a show where we don’t use Waves and they are an essential part of the foundation of our recording/ mixing systems.” Early on, M3 recognized the capabilities of Waves signal processing. “I’ve been using Waves since 1997 when they came out with their first bundles for Pro Tools,” stated Singer. “Years later, when we began M3, we turned to the Mercury bundle, as my partners and I realized that this is what we needed as a company. With Mercury, we had the capability to remix in the trucks for broadcast, remix in the studio for DVD and all throughout the process, realized the flexibility you now had with because of the non-latency issues. In broadcast, the audio cannot be out of frame sync and with Waves, we now had the processing solution.” M3 uses a wide range of Waves processing like the CLA-76 Compressor Limiter on bass, guitars and vocals, the Renaissance Vox on vocals, the Renaissance Axx on acoustic guitars and the new W43. “I’m using the W43 to do singleended noise reduction to remove live content on lavalieres and its working great,” stated Singer. “Additionally, I’ve just started to experiment with the PIE Compressor, and the H-Delay has become somewhat of a standard for us.”

January-March 2011

31

SS


Christie’s New DHD800 Digital Projector seen by other products on the market,” Anzures added. “With the Christie DHD800, Christie continues to push the envelope in high brightness, high resolution, userfriendly products, and brings to market one of the brightest 1-chip, two-lamp systems with full HD.” Christie announced the addition of the Christie DHD800 digital projector to its wide-ranging product line-up. Aimed at the professional market, the Christie DHD800 provides 8,000 ANSI lumens and full HD 1920 x 1080 true native resolution for unparalleled brightness and color precision in a 1-chip DLP projector. One of the brightest twolamp projectors on the market, the Christie DHD800 with BrilliantColor(tm) offers 10-bit image processing, interchangeable color wheel, and foursided edge-blended color matching. The successor to the Christie DHD700 digital projector, the Christie DHD800 is of tremendous value to extended use and 24/7 applications including rental staging, houses of worship, and medium-to-large meeting, training, and conference rooms needing a costeffective DLP solution. “Christie has continued to enhance color and brightness using 1-chip DLP technology,” said Christie Business Products product manager Frank Anzures. “The Christie DHD800 is brighter, offers richer color performance, and delivers more features and advantages than its competitors. Christie now has bolder and brighter 1-chip DLP technology products and the next generation of superior color performance targeting professional applications.” The interchangeable color wheel allows users to switch between high brightness optimization for large venues and rich color reproduction for video content. “The Christie DHD800’s unique ability to change color wheels provides customization not typically

SS

32

January-March 2011

End-to-end Digital Signage Solutions from Christie Christie unveiled a range of comprehensive digital signage solutions at the recent National Retail Federation (NRF) Expo 2011; solutions that deliver the coveted ‘wow’ factor that retailers are searching for as well as the behindthe-scenes monitoring and control necessary to keep display systems running. Characterized by excellent visual quality, ease of setup and use, and low maintenance, the solutions are backed by support and service options, which only a world-class manufacturer like Christie, with more than 80 years of best in class visual products and services experience, can provide. “Retailers know their messaging and want partners who can translate their visions into impactful displays that support in-store marketing strategies, increase dwell time and engage shoppers,” said Sean James, vice president, Managed Services, Christie.

“We create exciting, in-store experiences that make customers stop, shop and play. And by offering specialty installations from design through deployment and into post-deployment monitoring and maintenance, Christie offers retailers the end-to-end solutions they need to stand apart in a competitive world.” Ultimate Freedom for Store Designers and Brand Managers Christie’s digital display solutions deliver extremely bright and high resolution images, ideally suited for window front and in-store installations. The modular nature of the displays gives store designers complete freedom to create captivating digital displays in any shape or size. Plus, with their narrow profile, displays can be part of any store retrofit, and can be easily assembled, dismantled and reconstructed in new locations and configurations to meet the changing needs of each (shopping) season. With the unrivalled wide color gamut, Christie’s digital displays deliver exceptional Pantone color matching, providing Brand Managers with the added assurance that the integrity of their brand is consistently protected and maintained. Ongoing Monitoring, Support and Services Christie’s Digital Signage Solutions also include post-installation remote management, monitoring and control of all digital displays. A virtual “big brother,” Christie’s 24/7 managed services ensure that clients’ display systems continued to play and display consistently and reliably.


Large-diaphragm Studio Microphone from Sennheiser Global audio solutions leader Sennheiser introduced the new MK 4, a large-diaphragm true condenser microphone. This cardioid microphone, which is manufactured in Germany, is Sennheiser’s first largediaphragm side-address microphone and focuses on giving the best possible sound quality rather than technical extravagance. It provides a powerful yet warm sound that is both direct and tight with fine treble resolution. The MK 4 with its nickel-coloured finish was developed for professional users in project studios, but is equally well suited for other recording environments and is tough enough for use on stage. It is also a microphone that is affordable for home recordists and musicians. “Our engineers have put in tireless efforts in the development of MK 4 to produce the best possible sound,” explains Vipin Pungalia, Business Group HeadProfessional segment in India, “we have focused on the key elements of a

good studio microphone to ensure that we can offer an integration of best technology to Indian professionals.” The finest sound structures are well resolved, and sound coming from the sides is picked up without colouration and so does not change the overall sound quality. The microphone has a very harmonious presence; it has vivid mics and is also very detailed in the bass range. At the same time, typical cardioids cancellation is relatively frequency-independent. Sturdy large-diaphragm model The MK 4 has a large 1-inch diaphragm precisely spattered with 24-carat gold. The sturdy metal housing and the elastically mounted capsule make the microphone tough enough for even the most energetic recording situations. The excellent suppression of handling noise offered by the internal capsule mount can be even further

improved by the use of an elastic suspension, which is available as an accessory. The open front of the suspension mount enables the MK 4 to be positioned close to the sound source. The microphone has a maximum sound pressure level of 140 dB, and its selfnoise of 10 db(A) is extremely low. Pungalia further explains “the MK 4 is ideally suited for vocals, acoustic guitars and grand pianos as well as for strings and wind instruments. The product has also gone through numerous field trials and it has proven to be an excellent microphone with guitar amplifiers, drums and percussion. To sum up: it is an unpretentious microphone with outstanding sound.” The MK 4 comes complete with a microphone clip and a protective pouch. Optional accessories include an elastic suspension, a foam windshield and a pop shield.


New QX Series Loudspeakers from EAW

EAW has introduced its QX Series loudspeakers, optimized for installed system applications that require precise directivity in a powerful low-profile form. Engineered and manufactured at EAW’s Whitinsville, Massachusetts, USA facility, the QX Series provides sizeefficient yet very high output point source clusters. The series is particularly geared toward medium-to-large-sized spaces including sports arenas but is also designed for a wide range of other venues requiring high power and consistent coverage in a compact housing, including houses of worship, outdoor stadiums, performing arts venues, theaters and clubs. The passive, wired-for-biamplification QX Series draws on the knowledge and engineering resources gained through the development of EAW’s lauded AX Series, maintaining its reputation of “big horns in compact packages.” The natural sound of the QX Series is unmistakable, and its ability to create custom, seamless arrays is unmatched. All full-range models have squared, symmetrical, dual-trapezoidal enclosures to provide extensive array flexibility. A centrally located co-axial MF/HF horn and two pairs (four) of phase-aligned neodymium 12-inch low frequency transducers team together to ensure that the entire frontal area contributes to horizontal and vertical pattern control capability. The result is an extremely natural sounding loudspeaker with excellent pattern control and low distortion. Jeff Rocha, EAW Senior Director of Engineering, stated, “our new QX Series models offer high-end acoustical consultants and large design

SS

34

January-March 2011

system contractors the ultimate in output and efficiency in a compact package. The aim is always to provide great-sounding solutions for a wide variety of applications, responding to direct input from leading contractors and system integrators in the field, and the QX Series delivers on that promise.” The five new models include the QX596 (dispersion pattern: 90 degrees x 60 degrees), QX594 (90 degrees x 45 degrees), QX566 (60 degrees x 60 degrees), QX564 (60 degrees x 45 degrees) and QX544 (45 degrees x 45 degrees). All units measure 27.96" x 27.96" x 23.95" and weigh 130 lbs. A variety of installation applications and accessories provide added flexibility for the installer. As always, optimized processor settings for the UX8800 Digital Signal Processor will be available for download at www.eaw.com.

EAW Brings KF and KFNT Series Loudspeakers EAW brought latest two additions to the KF Series, along with three comprehensively integrated NT variants. Designed for an extremely wide range of applications, the new KF Series offerings deliver a scalable solution for corporate A/V events, small-to-medium-sized live sound reinforcement, performing arts venues, houses of worship, retail spaces, ballrooms, theaters, theme parks and more. Engineered by the same Whitinsville, Massachusetts, USA-based design team responsible for EAW’s criticallyacclaimed KF Series, the new KF and

KFNT make up a series of ultracompact, three-way loudspeakers that deliver premium performance in designs that offer a lightweight solution. The complete range includes two externally powered models (90degree x 45-degree and 60-degree x 45-degree) and three comprehensively integrated models (NT versions of the two previously described, and a 10inch / 8-inch coaxial model). At the heart of the new KF Series product line is a core cabinet philosophy that allows users to utilize universal hardware accessories to tailor their KF product to meet the specific needs of their application. The new KF Series models include the KF364 and KF394, packing even more capability and application flexibility into the ultra-compact series of premium 3-way loudspeakers. The integration of premium neodymium components, a co-axial mid/high frequency component and worldrenowned crossover design into an adaptable enclosure, offers unprecedented utility. When used in conjunction with EAW’s UX8800 Processor and its proprietary EAW Focusing, the KF Series provides the pinnacle of performance in any venue. The new comprehensively-integrated KFNT models include the KF200NT, KF364NT and KF394NT. Like the nonNT versions, these units feature outstanding capability and versatility in a compact housing. Aside from class-leading neodymium components and co-axial mid/high frequency components, they feature EAW Focusing processing, softwareaccessible DSP and the proprietary UNet network. A variety of available accessories offer the ability to tailor each of the new KF and KFNT products to any application. All new KF and KFNT models natively offer both portable features and M10 installation points. For contractors and system integrators who require added flexibility, available universal accessories include trim plates that hide handles, adjustable U-brackets, quick release flytrack segments that integrate into any enclosure and adjustable legs for use as a stage monitor.


Stewart Audio’s New IntraSound Audio Stewart Audio, manufacturer of American made power amplifiers and audio equipment for a wide range of sound reinforcement applications, introduced the new IntraSound Audio System. Leveraging the benefits of CAT-5 cable for the transmission of both signal and power, a Class D Micro amplifier with selectable gain, the ability to daisy chain multiple hubs and nodes for system expansion, and ENERGY STAR compliance for efficient operation, the new IntraSound Audio System facilitates flexible system design and easy installation. The IntraSound Audio System can be managed by corporate IT departments and school AV staff in addition to professional installers. With its rich feature set and the ability to function as a conventional 70-volt distributed system, the new IntraSound Audio System is ideally suited for classrooms, boardrooms, lobbies, corporate offices, and as an alternative to conventional 70-volt distributed systems.

The IntraSound Audio System consists of two components: the IS-HUB4 IntraSound 4-Port Hub (the primary system component), and the ISAmpNode-10 amplifier node. The ISHUB4 incorporates four RJ45 ports for audio and power, RCA or 3.5 mm stereo inputs, and an included 60W, UL-rated external power supply (an optional 90W external power supply is available for larger systems). In addition to stereo audio, each of the four available ports supplies up to 20 watts of power via CAT-5 cable to the connected IS-AmpNode-10 amplifier node(s). The IS-HUB4 is Plenum rated and is designed to provide convenience and installation flexibility above the ceiling or in other environmental air spaces.

With its compact form factor, highly efficient class D design, and adjustable power output, the IS-Amp-Node-10 amplifier node easily converts any speaker into a powered speaker. The nodes can be daisy chained to other nodes to expand the system and each node can output Right, Left, or Mono audio. The IS-AmpNode-10 enables one to assemble an audio system that is perfectly suited to the size and typical usage of the space. Of particular note, the IntraSound Audio System can easily mimic a conventional 70-volt distributed system, but without the frequency loss inherent in such systems. As many as 20+ nodes can be interconnected, providing exceptional flexibility in terms of system design.


RME’s Babyface Starts Shipping The long and eagerly awaited RME Babyface, a new ultra-mobile USB 22channel audio interface, is now available. Equipped with the latest 192 kHz AD- and DA-converters and two reference class microphone preamps the bus-powered Babyface delivers two high end analog recording channels and four analog playback channels, plus ADAT and MIDI I/O in an attractively shaped enclosure. The Babyface combines excellent analog circuit design with AD/DA converter chips of the latest generation. RME’s efficient SteadyClock jitter suppression technology ensures an AD- and DAconversion of the highest reference quality. Both digitally controlled preamps provide individually switchable 48V phantom power. The extremely low THD+N values let these preamps surpass those of other devices that cost several times the price of the Babyface. All level settings are 100% recallable by software and can be comfortably adjusted directly at the unit. The feature set includes a digital I/O with up to 192 kHz support, alternatively usable as ADAT port or optical SPDIF I/O. In combination with an ADAT converter, like the RME ADI-8 DS/QS, the Babyface provides an incredible amount of 10 analog input and 12 analog output channels. The headphone output, driven from an extra DA converter, provides full 192 kHz sound experience, and is available not only directly at the unit but also on the breakout cable. The additional instrument input directly at the side of the unit - allows the recording of any instrument, like a guitar or bass guitar, without any other external hardware, by switching one analog input to Hi-Z mode. With one main control knob and two single buttons the elegant Babyface acts as direct desktop control for all typical studio tasks: volume control, reference volume store and recall,

SS

36

January-March 2011

volume dim, input selection/switching and input gain control. Full mobility: The ultra-portable Babyface works completely with all features on USB bus power - a power supply is optional available. This turns the Babyface into the perfect partner for mobile recording of live performances, composing sessions in a park or coffee shop, or just wherever you go. Even if just seen as a good looking HIFI music player or home studio companion - it will work perfectly on every desktop and laptop computer.

Martin’s Multi-cellular Loudspeaker Array Martin Audio has launched its new multi-cellular loudspeaker array (MLA) system. The system employs unique optimisation software together with a cellular array design to deliver coverage and consistency that the manufacturer believes far supersedes traditional touring line arrays. According to Martin, MLA delivers the engineer’s exact mix to every seat up to over 150m away. MLA’s methodology uses intelligent numerical optimisation of the array’s output based on an acoustic model. The multi-cellular format has six individual cells in each enclosure, each with its own DSP and powering capability. Martin Audio’s Display 2.0 system design software automatically calculates FIR DSP filters for each cell and a redundant-ring audio network (U-NET) downloads the settings into each array enclosure. Martin’s VU-NET software then provides real time control and monitoring of the system.

MLA is capable of providing a maximum output of 140dB SPL peak, per cabinet at 1m. The system provides a 90-degree x 7.5-degrees dispersion angle, together with global voltage and power factor corrected power supply. The system also includes an MLX powered, flyable subwoofer, an MLD downfill cabinet and Merlin fourin/10-out system controller together with a network hub.

Sonnet’s New SDHC Memory Card Sonnet Technologies introduced its SDHC Adapter for SxS Camera Slot, designed expressly for use in Sony XDCAM camcorders, which use SxS memory cards for recording. This Sonnet adapter enables the use of Class 10 and faster SDHC memory cards in place of SxS memory cards, supporting the performance required for HD recording modes while allowing users to save hundreds of dollars on the purchase of memory cards in equivalent capacities. Sonnet’s SDHC Adapter for SxS Camera Slot offers Sony XDCAM camcorder users an affordable and useful alternative to using SxS memory cards for recording. Available at the price of a single SxS card, the Sonnet adapter and several highquality SDHC memory cards empower users to shoot longer without having to offload footage, reformat, and reuse the same SxS card. Sonnet’s SDHC Adapter for SxS Camera Slot is the same size as an SxS memory card and, unlike standard memory card adapters, allows the SDHC card to fit flush inside its shell. This critical feature makes the Sonnet adapter interchangeable with SxS cards, and it ensures that the camcorder’s memory card slot door closes completely with the adapter inserted. Because SxS cards share the same form factor and interface as ExpressCard®/34 adapters, the Sonnet adapter can be inserted directly into a notebook computer’s ExpressCard slot to read the SDHC card. For users whose computers lack an ExpressCard slot, the SDHC card can be read in any SDHC card reader.


Waves’s C6 Multiband Compressor Waves Audio has brought to market the new C6 Multiband Compressor. For years, the Waves C4 has been a favorite of studio engineers the world over, and in live sound, it has become a must-have for front-of-house and monitor engineers. The C6 builds upon its predecessor’s functionality, and takes it to the next level. To create the C6, Waves took all the functions of the C4, and then added two additional floating bands plus a sidechain feature, for one-stop vocal and instrument shaping. The C6 lets users zero in on problem frequencies with surgical precision. With four crossover bands plus two additional floating bands and a flexible sidechain feature, the C6 is an essential solution for vocal and instrument shaping, offering de-essing, de-popping, feedback management and more, giving users all the multiband compression and dynamic equalization they need to control, tame and shape their sound. The C6 is hugely versatile and will find use among studio, live sound and post production engineers. For mixing and mastering in the studio, the C6 gives users the power to shape any sound, with creative compression, dynamic EQ, flexible sidechaining and more. For live sound, the C6 provides total control over dynamics and EQ, from feedback management to in-depth vocal shaping. For auto-ducking of music and ambience under speech in a post production setting, the C6 sidechain lets users carve out just the vocal frequency range, instead of attenuating the entire signal. The new plug-in’s features include: •

Internal/external sidechain per band

Individual band Listen mode

Four crossover bands plus two floating bands

Dynamic EQ, compression and expansion

Double precision bit resolution processing

ARC Auto Release Control

Up to 24-bit, 192kHz resolution

Mono and Stereo components

Supports TDM, RTAS, Audio Suite, VST, AU

PC- and Mac-compatible

Acclaimed FOH Engineer and Waves Live Division Product Specialist Ken “Pooch” Van Druten stated, “the ability to have six bands of fully sweepable dynamic EQ on the mix bus makes the C6 an all-important tool for live sound engineers. By itself, it does the work of two or three different plugs that I used to use.” Waves C6 Multiband Compressor is available separately as well as as part of the Waves Mercury bundle. Mercury V7 owners covered by Waves Update Plan receive the C6 at no additional charge.

Texas Digital’s New LED Solution Texas Digital Systems Inc. (TDS), a leading provider of visual communication solutions, has added Outdoor LED displays to its line of signage solutions. Outdoor LED displays are very effective in attracting attention, delivering memorable messages and influencing viewer action. The addition of this product line allows TDS customers to expand their messaging from strictly indoor signage to outside the facility. The Outdoor LED display can be used for standalone messaging or incorporated into larger static signs. Applications for outdoor LED displays include advertising and promotions at businesses as well as education campuses, stadiums, parking garages, entertainment venues, worship facilities, convention centers and more. The energy-efficient LED display with enhanced brightness and contrast is offered in both full-color and monochrome options to fit multiple applications and budgets. Messaging can be changed “on-the-fly” and updated to the sign in real time with

Texas Digital’s VitalCAST software solution. For installations where local zoning regulations limit the use and frequency of video and message changes, Texas Digital also offers a simple, point-and-click software. The modular Outdoor LED display system allows for maximum size flexibility that can be customized to almost any specification. Displays can be as large as 45-foot high by 80-foot wide, and in 13.3, 16, 20 and 26.7mm pixel spacing sizes to suit various viewing distances. Durability, low maintenance costs and servicing considerations were paramount in the design and selection of the display components, notes Romney Stewart, Vice President of Customer Services. Texas Digital has over 15 years experience in developing outdoor visual communication solutions, with more than 24,000 AccuVIEW drive-up order confirmation displays and OmniVIEW Outdoor LCD displays installed across the world. “Texas Digital is well known for supporting products with quick and effective resolutions, and our Outdoor LED display is serviced in the same professional manner. Our dedicated project management teams ensure that each installation is managed from concept to completion,” Stewart said. Texas Digital’s Outdoor LED modules are front serviceable, meaning they are easier to access and the modular nature of the product allows the overall sign to remain functional even during onsite service and maintenance. Each approximately 1-foot by 1-foot LED module is independent and interchangeable, making maintenance a plug-and-play operation. “We are excited to expand our digital signage offerings into another area of our outdoor signage expertise that is growing quickly and highly visible. Our customers have repeatedly expressed a need for this kind of signage and we look forward to now providing them with a complete turnkey solution that combines their outdoor and indoor signage together under one system that is supplied and supported by one provider,” said Dennis Davidson, president and COO of Texas Digital.

January-March 2011

37

SS


• INSTALLS •

Adversity to Advantage India

Sporting the Commonwealth Spirit The 19th edition of Commonwealth Games held in the Indian National Capital in October last were probably the most spoken subject for much part of the year and even after, and for all the wrong reasons! However, by the time the Games commenced much of the negatives were negated and replaced by an all-round admiration, particularly as far as the audio, and AV systems integration installs are concerned. It was indeed sporting of a commonwealth spirit with all the stakeholders of the install processes coming together to ensure that the Games were a success- as was the testimony. SS presents a perspective of the strengths that dis‘play’ed it. – Bhavanashi Ramakrishna Arguably, India hadn’t seen a bigger apolitical issue in the recent past than the Commonwealth Games that almost held the entire national polity for ransom at the cost of most other national interests. With controversies dogging practically every aspect of the sporting extravaganza that was to be, many things were evidently at stakeonly to come out with flying colours by the time the big moment unveiled itself. Apart from the glitters of opening ceremony, the conductance of the proceedings, and the grand closing ceremony, one of the most important aspects that came out flying colours

SS

38

January-March 2011

from the Delhi CWG was the audio reinforcement across the 13 venues that hosted a total of 21 sports and 272 events in what turned out to be the largest ever sporting event hosted on Indian soil. Held between 3 and 14 October, the event had as many as 6081 athletes participating from 71 Commonwealth nations. While any event of this scale is bound to have concerns and issues which often erupt into controversies and CWG can’t be an exception – it had its own heavy dose of nasty media and propaganda – all that fizzled out with the grand Opening Ceremony itself. The event staged at the Jawaharlan

Nehru Stadium – even as it showcased an India with all its riches of tradition and modernity – also unveiled the strengths that have been built into the games in terms of audio and visual systems. Sharing the incredible honours for this show of strength were Bosch Communications along with their Electro-Voice systems and Harman India. While the venues’ acoustic consultancy had been done by Delhi-based acoustician Indra Nath Basu, some of the facilities have been treated by Bengaluru-based Anutone Walls & Ceilings incorporating the elements of finesse to the whole event experience.



• INSTALLS •

The grand Opening Ceremony: The ‘show of strength’ gets unfolded in the most enthralling fashion

It wasn’t an easy winning for both the audio majors as they had to clear a fierce competition before they were to get to the ‘controversial’ stage of bad infrastructure and delayed completions. That both of them had a long, proven track record of successfully supplying and installing systems for major international events scored for them. Harman had already done the Melbourne Commonwealth Games as well as the Beijing Olympics – claimed to be by far

SS

40

January-March 2011

the largest and most sophisticated – as well as the Shanghai World Expo 2010. Bosch on the other hand, had to its credit the two Soccer World Championships from Germany in 2006, and South Africa in 2010, besides a few others. After a careful and stringent evaluation, the American audio major had been awarded the contract for a total of eleven venues while Bosch was awarded for two venues.

Harman International’s Indian partner Hi-Tech Audio Systems supplied and installed audio systems for the spellbinding Opening and Closing ceremonies. The imagery typifying the heart and soul of India awed the capacity crowd of over 60,000 at the JN Stadium, besides holding captive millions of television audiences across the globe. Performing the magic central from audio part was the HiDefinition audio systems via a 100 JBL Vertec speaker system, ensuring that everyone from the front row to the back seat on the top tier of the stadium experienced the impact of the musical. The system was powered by Crown IT HD amplifiers, while mixing was done by a Soundcraft Vi6 digital console. Each single speaker of the install was remotely controlled by Harman’s HiQNet System Architect. “The brief was to make a world class install on par with the Beijing Olympics and any such other venue,” informs Dave Makinney, Director-Sales and Operations for Harman AsiaPacific. “It was indeed a challenging task in that every venue presented different set of requirements,” Dave


• INSTALLS • explains, “the task at our end was to work closely with our India partners and other associates, leveraging our past experience of big games.”

A Test of Strength Much more than that they were Harman International’s India partners, it was their 20-plus year industry existence and expertise that stood HiTech Audio Systems on a strong footing to take on the challenge and deliver- amidst an ocean of oddities.

conducted extensive visits to the supposed venues in New Delhi to have a full, prior understanding about the ensuing tasks. That made us fairly comfortable and confident too.” Once they were into the hot seat, Rajan and his teams realized the heat it generated- some due to the nature’s vagaries of heavy rains, and some due to the man-made subjects of structural disorders. However, putting their expertise lot and ably supported by Harman International experts.

The Big Thing: JN Stadium The biggest of all the thirteen venues, the Jawaharlal Nehru Stadium had both Bosch and Harman/Hi-Tech contributing their might into making it the big thing. Having been host to 1982 Asian Games, and one of the largest sporting complexes in the region with over 100 acres of expanse, it was a natural choice to play big with the 2010 CWG too. Besides the Opening and Closing ceremonies, it played host to athletic events and weightlifting.

“Our journey began with the Opening Ceremony of the CWG in Australia itself. It was known by the time that India would host the 2010 CWG,” informs Rajan Gupta, director of the New Delhi-based Hi-Tech. “Harman – who got the contract for the games – deputed its teams to China, Hong Kong, Australia and other places to examine the kind of structural facilities and the systems that suit those venues,” he said and added, “we got the details from Harman about what they did in Australia and were doing in China; they not only shared the information with us but also

Electrifying Voices: Electro-Voice audio installs at JN Stadium. The single largest pro audio install on record in India.

January-March 2011

41

SS


• INSTALLS • The stadium has two outer basket like supporting columned structures carrying not only the compression rings but also the complete ramp system for access and evacuation. A gigantic aerostat has been installed for acting as a mega screen for spectacular high resolution projections, synchronized with events taking place down under.

The height of challenge: SPM Swimming pool, due to its high ceiling, presented a different spec challenge.

The weightlifting arena has one competition platform and 12 warm-up platforms with a seating capacity of over 2500 people. The audio reinforcement from Harman comprised a total of 18 VT 4887s with six VT 4882 subs, eight VRX 915, six EON 10G2, and as many as 32 8340 A cinema surround speakers, besides as many as 60 Control 25T and 70 Contron 24CT ceiling speakers. Four BSS BLU 80 series processors have gone into the system with Crown power amplifiers that included five each of CTS 2000, DSI 4000, and Itech 4000, besides 10 Itech 6000 units.

The control system at the SPM swimming pool

The system also comprised AKG microphones varying from six D 3700M, four GN 50ES, and CK33, besides four WMS 4000 PT and four WMS 4000 HT. Soundcraft complimented the system configuration with two 48-channel Vi4 digital mixers.

Hi-Tech Strengths Played Up SoundSoltuons spoke to Rajan Gupta of Hi-Tech Audio Systems, the main installer of audio systems for the CWG on how it all went, the thrills and chills of the event and gains and losses per se. Excerpts:

SS

On the journey towards the CWG…

On challenges presented…

About the venues…

Our journey began during the Opening Ceremony of the Melbourne CWG in Australia itself. It was known by the time that India would host the 2010 CWG. Harman –who got the contract for the games deputed teams to China, Hong Kong, Australia and other places to examine the kind of structural facilities and the systems that suit the venues. We got the details from Harman about what they did in Australia and were doing in China; they not only shared the information with us but also conducted extensive visits to the supposed venues in New Delhi to have a full, prior understanding about the ensuing tasks. That made us fairly comfortable and confident too.

In a sense there were many, and in the other nothing. That we never did such a big project before was a concern while our confidence level about our capability was the big plus. Timeline pressures were indeed a challenge towards the end but high competence levels ensured that we delivered the goods admirably.

Every venue was a challenge in itself. For instance, the SPM stadium initially had all powered boxes. However, during the discussions, the whole design changed to non-powered setup. While the ambience was highly reverberant, the ceiling was also very high. We never did a rigging to that height. That was a big challenge.

In a different sense, challenges are integral part of such a project due to its sheer size and diversity. Every international brand that got a stake tried to play it big- that was one. However, the burden of expectation was the biggest. We had to prove we were worth our reputation.

At the IG stadium, we had more than 100 boxes flying- it involved pulling up huge cabling, lifting the hardware – hoisting speakers at a height of over 70 meters – and networking all of them with comprehensive software too. Admittedly, it was one of the most difficult tasks.

42

January-March 2011


• INSTALLS • “It was no easy task, and had its own challenges,” admits Rajan. We were not only racing against time due to the structural delays but also some of the locational challenges.” (Read Box: Hi-Tech Strengths Played Up) The Electro-Voice part came designed from their Minnesota team while the supply and install came from Bosch India. The system comprised as many as 132 customised XLC127 DVX line-array cabinets, 120 Sx300PI speakers for under balcony and lower stand areas, 300 Evid 6.2 for concourses and 60 ZX560PI surface-mounted systems for the entrance area, all custom manufactured to exceed IP55 standards for providing resistance to climatic vagaries common for the Indian capital. The entire speaker system is driven by a combination of 125 P3000RL and TG7 Tour Grade amplifiers to deliver an average SPL of 107dB and goes toa peak of 115dB. The system is remotecontrolled and supervised from a single laptop in the main control room-all via an EV’s Iris-Net software platform. The design incorporated seven NetMax N8000 networked signal processors equipped with AI-1 NetMax analogue input AO-1 8-channel analogue output and CM-1 NetMax CobraNet network module cards.

In the weightlifting stadium, the auditorium was supposed to be a legacy purpose venue which meant that we needed to design it for future requirements. They wanted it both for sports and 5.1 setting. So, we had to install a digital mixer to store all the presets. In the wresting venue, all the seats had to be covered by the audio design. That no single product was repeated meant that every venue had to have different product that brought different specs, posing a typical challenge. Working in tandem with so many vendors and contractors of other domains was indeed another tough task.

Troubleshooting the audio challenge: The shoting range, awesome in size and impact

The system also had two Midas Pro6 48channel digital mixing consoles configured as 48/24+3 systems for fibre optic connectivity with another Midas Pro6 mixing system customised as a 64 mic/line input configuration in combination a Midas modular I/O Box inserted with a DL441 8-channel analogue input. The install also had the benefit of a full EV microphone collection comprising 12 N/D767a vocal mics, four Cobalt C04 vocal/instrument mics, 12 RE90H hanging-style condenser mics and 18 PC Desktop-12/ Desktop-18 gooseneck mics.

The EV install at this stadium is said to be the single largest Pro Audio install on record in the country.

On advantages…

no controversy as far as our installs were concerned. We had all our plans and system solutions blueprints well-laid out, and all our products were available much in advance for any inspection and evaluation by the scrutinizing authorities.

That most venues were newly constructed, we did not have any structural issues of load bearing etc. More, we were there from the design stage itself was a big plus. There were indeed certain challenges at the IG Stadium the main venue since it was an old structure. However, it was augmented with new additions as per the load requirement. On controversies… Controversies have surfaced only in the last leg of the whole process- which we had nothing to do with. Everything was going on very smooth till the last minute of the run-up phase. Just that we all were running short of time, owing to the structural delays, it caught media fire and erupted into a big issue. Else, there was

Dr S P Mukherjee Aquatics Complex Popularly referred to as SPM Swimming Pool complex, this was indeed a ‘complex’ install for all the stakeholders. The renovated facility now has the largest cohestrand supported, breathable, elliptical aluminium roof spanning 150m x 130m, making it the first-of-its-kind in the world. The design

On execution… Initial execution was by Hi-Tech teams. Since we had some prior experience and expertise of installing Vertec systems, we knew how to rig the systems up at a height. We had a team of 120 trained professionals to handle the task. Manik was our Technical Director and Gurpreet was one single force coordinating all the venues and their requirements minute by minute. He did a fabulous job. Harman International team was, of course, with us at every stage helping us with the nuances of the installs. January-March 2011

43

SS


• INSTALLS • incorporated passive structural principles that allow natural ventilation, and insulation. With a view to achieving high level of thermal and audio blend as well as energy efficiency, an eight meter eaves projection system has been installed with a radial sheer wall shading the glass facade. With a seating capacity of 5,178 on both sides of the pool, the aquatic venue has a massive air conditioning system. More, it is the largest covered aquatic venue in India with Olympic size swimming and diving pools together

with a six lane warm up pool. A total of 36 JBL IP56-treated VLA 901 WRX line array speakers were suspended in clusters of six together with eight SRX 712 speakers installed in two arranged clusters in cardioid mode. The lower frequencies are enhanced with the addition of eight PD 128 WRC subwoofers. Crown amplifiers, Soundcraft mixers, BSS signal processors and AKG microphones were also installed. Ability to withstand hot and humid conditions of the geography was of paramount consideration, affirms Rajan.

Dr Karni Singh Shooting Range

One of the JBL Line-Arrays hung from ceiling at the IG stadium

Spread over 72 acres, the shooting range consisted of 80 points and four ranges at 10m, 25m, 50m and 100m intervals. Speech was the primary sound requirement for which JBL AM4215 speakers were used in a distributed fashion, pointing towards the audience area from front. The 100m range has a three-tier seating area that was addressed by JBL AM 4215 speakers. A total of 38 Crown CTS 2000 amplifiers with network modules got roped in with four BSS BLU 80 processors. AKG

wired and wireless microphones were augmented with four Soundcraft FX 16ii 16-channel mixers.

Siri Fort Sports Complex Taking its name from its being in the vicinity of Siri Fort built by Sultan Allahuddin Khilji in 1303 AD, the 21year-old sports complex has two stadia- badminton and squash. The badminton stadium, with a capacity of over 4500 people has five match and three warm-up courts while the squash stadium, with a capacity of over 3000 has 10 singles courts that are convertible to five doubles courts. The system here comprised JBL Control 25AV surface-mounted speakers together with16 X JBL CBT 100 LA column speakers that are powered by Crown CDI 1000 amplifiers and managed by BSS BLU 160. Announcements have been done by AKG WMS 450 HT body pack transmitters.

Indira Gandhi Sports Complex Spreading over 102 acres of land, this venue is India’s largest and the world’s second largest indoor sporting facility

The Importance Grandeur: The all-important Indira Gandhi sports complex. Complex specs simplified to good effect.

SS

44

January-March 2011


• INSTALLS • boasting a very intricate audio-visual and lighting system. It has two arenasone for wresting, and the other for gymnastics. Wrestling arena With a seating capacity of 6,932, this arena presented unique acoustic challenges. The requirement was for a high output, directional sound exclusively for the audience areas only. This required a good homework and drawing board design too. It was weaved in by a combination of Crown I-Tech 4000 and CTS2000 USP amplifiers, and 48 JBL VRX932LA line array speakers distributed in 12 clusters of four providing intelligible sound throughout the venue’s seating areas. While no subs were used, a Soundcraft Vi4 digital console and BSS BLU signal processors were brought in for mixing and digital signal management respectively. Further, the system had AKG D3700/D5, GN 155+CK31, WMS 4500 HT and WMS 4500 PT microphones doing the needful. Gymnastics Arena A central ring, surrounded by over 14,000 seats on upwardly sloping terraces made the gymnastic arena a good ground of work for both the acoustician and the system designer-installer. With JBL VerTec being the prime choice for system, it was augmented with 64 JBL VerTec VT4888 cabinets together with 48 VT4880 subwoofers. All the speakers were suspended 20m above the ground from the catwalk above the centre of the arena, pointing

towards the audience. The design facilitated a good response in the audience areas in terms of speech intelligibility, coverage and frequency response. AKG wired and wireless microphones were on a massive job with a Soundcraft Vi6 digital console backing up with mixing. Weightlifting Arena With over 2,500 seats, the weightlifting arena is a sizeable venue both for sports and the systems integration. It has as many as 12 warm-up platforms and one competition platform. Given the size and the coverage area, the horizontal and vertical throws of the JBL VerTec speakers were calculated with a Vertec line array calculator to ensure even

coverage. Powered by Crown amplifiers, 18 VT4887A cabinets were installed in three clusters of six cabinets each. With a view to achieve true stereo effect, six VT4882 cabinets were installed in a L-R configuration. AKG D 3700M, GN 50 ES + CK 33, WMS 4000 PT and WMS 4000 HT microphones had to be there to do the announcements, and they are supported by a 48 channel Vi4 Soundcraft console and BSS processors.

Delhi University Stadium The Delhi University Stadium is unique in that it sports features like autosprinkling technology, underground

The ‘wrestling speakers’: Line-arrays suspended from the ceiling in the wrestling arena. Difficult situations rendered simple.

Sporting Music?: Thyagaraja Stadkum made good with impressive sound; (Right) The ceiling-mounted speaker system from JBL

January-March 2011

45

SS


• INSTALLS • drainage system, ozone system for airfreshening, an eco-friendly airconditioning system, and a lush natural grass. With a capacity of over 10,000 spectators, the venue’s lush green turf made it a natural choice for Rugby Sevens too. While all this presented only the happier side of the venue, it did have its own challenges in terms of acoustics and audio system integration. Towards addressing these issues, the designer recommended a full range three-way JBL PD5322/95 speaker system to the lower and upper tiers, and the Control series speakers – as many as 300 JBL Control 24 CT Micros, followed by 95 Control 29 AV, and 30 Control 30 – along the outdoor paths on the poles for announcements. The two control rooms of the venue – one in the main arena and the other in the multipurpose hall, being 300 meters apart – are sought to be connected by a fibre optic cabling. The entire connectivity is monitored by a CobraNet control. A varied assortment of AKG microphones including table top goosenecks, call stations, shotguns, CK 98’s, D5 noise sensing, C

98’s, WMS 4500HT and WMS 4500PT models have been incorporated with BSS signal processors, Crown amplifiers and Soundcraft consoles.

Yamuna Sports Complex The venue houses an archery stadium and a table tennis stadium. The archery facility is unique in that it has a tensile fabric roofing presenting a stunning visual. It has a seating capacity of 1500 though. The stadium is equipped with JBL Control 24CT ceiling and Control 25AV cabinets, that are powered by Crown CDI 1000 amplifiers and managed by BSS BLU 160 processors. Nine AKG WMS 450 HT body pack transmitters were used for wireless announcements.

Thyagaraj Sport Complex The Thyagaraj Sports Complex again features a futuristic construction with latest green building methodologies going into its design. Besides using fly ash bricks for construction, the facility features massive landscaping with emphasis on natural species and reduction in soil toxicity. More, effective water management system

such as rainwater harvesting, and sewage systems characterise the facility. The audio reinforcement here is addressed by six JBL loudspeaker clusters of two each cabinets to create a distributed system providing a vertical dispersion of 100-degrees covering the entire seating area. A Soundcraft Si2 digital and an LX 7ii analogue console were supplied together with AKG microphones.

Talkatora Indoor Stadium Yet another green building in the CWG, the Talkatora stadium boasts many eco-friendly features. More, it is characterised by an acoustic dome ceiling and sport lighting that glow through the scoreboards and video screens. The stadium has two specific zones- field of play, and front of the house and back of the house.’ A capacity of 3,035 spectators at the venue required six JBL PD 5322/95 speakers deployed with 90-degree vertical dispersion towards the seating area thereby ensuring no spillage onto the boxing ring. Two PD 5200 speakers were used as monitors for the boxing ring and judging panel area

Talkatora Green setting: A novel concept of dome ceiling design, green building and innovative install

SS

46

January-March 2011


• INSTALLS • Chhatrasal Stadium A major ‘playground’ for ElectroVoice, the Chhatrasal Stadium is also a venue of massive renovation, one of the biggest in the entire CWG. Redesigned and renovated at whopping cost of over Rs. 65 crore, the stadium features a state-of-the-art PA system comprising as many as 34 EV Sx250, 300PI and SxA250 series cabinets in addition to 20 Evid 4.2t ceiling speakers. The notable feature of this install is that they all are furnished with a white finish so that they blended with the unique architecture. The cabinets have been evenly spread throughout the venue but mainly pointed down for wider dispersion. The entire system is powered by 13 EV CPS 4.10 and CPS 4.5 4-channel amplifiers, while RCM810 Remote Control Modules allow the amps to be integrated into a remote control network.

together with PL44, PL84 and PL84S vocal microphones, RE2-L21 and RE2N2 wireless microphones, RE90H hanging microphones and REV-D dual receivers completed the signal chain.

he says, adding, “while it was an admittedly arduous task, our teams, comprising Hi-Tech Rajan and Co, ensured that we came out with flying colours.”

The loudspeaker network is controlled by an EV NetMax N8000 digital matrix controller as well as CM-1 CobraNet networking cards. For even sound distribution, Dynacord CMS 1600 and PowerMate PM1600 mixing consoles were incorporated. A combination of EV PC Desktop-18 and PC Plus-18 gooseneck podium microphones,

Overall, it’s been an uphill task scaled up successfully, albeit with hiccups of controversies and concerns. “Good for us that we had been there right from the design stage,” recalls Dave McKinney. “So we knew how the structures were shaping up, what material went into their building, and what products we needed to get there,”

In sharp contrast to the pre-Games runup bashing, the rave reviews that media presented about the whole big way the CWG went about bore testimony what exactly was the event- achieved with coming together of designers, consultants, suppliers, contractors, and of course, the officialdom.

Exteriors Sounding Green: Audio systems are integrated on the exteriors too at the Talkatora stadium

Sporting a Commonwealth Spirit, no?

Wrestling audio challenges: Wrestling Arena presented typical acoustical challenges owning to directional sound output requirement. Addressed with aplomb.

January-March 2011

47

SS


• SPECIAL FEATURE •

E&E: A Tradition of 60 Years

Excellence Ensemble Singapore-based Electronics & Engineering Pte. Ltd. – popularly known to the world as E&E – recently celebrated its 60th anniversary in Singapore amid a high degree of pomp and professional enthusiasm. One of the earliest and leading technology entrepreneurs from Asia, E&E is also known for its professional expertise and most respected tenets of business. SS presents some of the very unique and untold facets of E&E’s genesis and evolution through the decades in its Special Feature this time. Anyone who is familiar with Singapore, and its old, pre-war roadways and constructions can easily make out what is what. Despite the mind-boggling development the tiny Asian island-country showing up to the world on several fronts like ICT (information & communication technology), realty and recreation, certain entities are pretty much the same in the city-State, giving an identity, nay, making an ensemble of what they all stand for. Electronics & Engineering Pte Ltd – known to the world simply as E&E – is one famous entity among them. Nestled in a few, seemingly oldfashioned houses on the Outram Road and giving a typically old world charm

SS

48

January-March 2011

is the place of a phenomenon called E&E, 60 and still counting. A leading provider of audio, audio-visual and systems integration solutions in the Asia Pacific, E&E has had its beginning as humble as any great business empire in the world today. Having come into existence through its legendary founder Goh Kiok Chuan 60 years ago, E&E persevered through years and had its share in shaping up the island country’s contours in technology expertise. It may be intriguing to many that Goh – who became a phenomenon in later years – began began his professional journey as a photographer. He set up photo studio in the southern Malaysian town of Benut in the State

of Johore in the early 1940s. Having developed a passion for cinema in those days, he dreamt of making it big in the big-screen entertainment. Assiduous as he was, he used to rent a 16mm movie, set up a projector, spread a bed-sheet screen at a vacant lot near the shop and put up benches. Thus was born the earliest version of open-air cinema in the pre-war undivided country. The aftermath period of World War-II saw Goh grow as cinema professional with stints at Shaw Brothers, Rank O’ Connors and Hong Kong United. It was during this time the all important entrepreneurism took seeding as Goh decided to set up his own company in the radio and cinema business and


• SPECIAL FEATURE • thus was born the earlier version of Electronics & Engineering. E&E began its business importing portable radios, spares and WISI antennas from Germany. However, owing to its not shaping up well, Goh had to shelve the business and return to his stronghold, the cinema. He set up his own company by hiving off his land properties. Entre Junior Goh Roughly a decade down the line, as the business grew, it had the entry of a fresh, enterprising blood in the form of Ronald Goh, senior Goh’s son, and the current chief. It was something like taking birth in the business for Ronald as he was taught the principles, ethics and philosophy of the business, besides the expertise by his father. Ronald – even as he began learning his scholastics – used to take the practical exposure, assisting his father in the workshop every evening, tinkering with the gadgets, power tools, and miscellany. The thrills and chills of the trade were thus came in packages of practicals and theory for him from the very early age. E&E gradually specialised in refurbishing cinema projector systems and became one of the main suppliers in the country. Importantly, while the company grew from strength to strength with every happening advancement in sound and projection, the Gohs went on expanding their expertise in non-cinema sound systems and public address systems as well as live sound installs. It was this phase that saw E&E mature as a leading brand for audio and cinema installs of scale. The first of the results from this success is incorporation of Pro-Audio division. The coming of legendary Altec Lansing loudspeakers; multi cellular horns and the famous A7’s began to make life more entertaining across the spectrum of cinemas, ballrooms, discos and cultural venues. Singapore National Theatre with Altec Lansing sound system in 1963 and Singapore’s first discotheque – an Italian restaurant in the Tanglin Road district – in 1965 became landmark installs, only to be followed by many spreading beyond the borders- into

Excitement and Exuberance Excitement and exuberance ranted the air recently when the executives from E&E’s worldwide network gathered at the Shangi La hotel in Singapore to celebrate the company’s 60 th anniversary. Joining the joyous occasion were the company’s guests from across the continents. The event was characterized, among other things, by a video on the company’s evolution through the decades, interlacing with landmark projects like Singapore National Stadium, and felicitation of professionals who contributed to the cause of the company. The video programme was unique in that it had an appearance from industry pioneer Dr Jacek Figwer of BB&N, who worked with Senior Goh on the project. “We are one big family and an event of this nature is like a family celebration where we look back on our achievements and thank everyone who has helped us and been a part of our journey,” said a delighted Ronald Goh on the occasion. “We are touched at the support from everyone here tonight.” Deputy managing directors Gary Goh and Joe Fong sounded as excited by the challenge of taking the company forward into its next 60 years. ‘The E&E foundations are solidly set,’ explained Gary Goh. ‘We’ve got our new offices in India and Vietnam up and running, and with our skilled and enthusiastic staff members together with credentials with our clients built up over many years, we are excited by our future prospects.’ Besides the top executives of its business partners and associates, E&E also honoured its employees who had been contributing to the cause of the company for long time now. Malaysia and Indonesia, and growing vertically too getting into places of worship and marine business venues. The company’s growth during this period was marked by the landmark project was in 1972 when it was awarded the S$900,000-project to install outdoor and indoor sound system in Singapore’s National Stadium. It did present a big challenge to the young Ronald as he had to work with one of the world’s most reputed design professionals of the time- Dr. Jacek Figwer, from the Boston-based Bolt, Beranek and Newman (BB&N). Dr. Figwer had actually recommended the services of Hannon Engineering’s Andrew Ferregy of Hannon Engineering from Los Angeles to assist them with drawings and rack terminations. E&E’s own Eng Kong Engineering Works – which had come up in 1969 – had built the main and side speaker cluster housings together with the speaker brackets. The element of pride in this is that the install has withstood the extreme Singaporean weather of heat, rain and humidity for the last 38 years, whilst every speaker

and solder joint remained intact until the stadium was recently decommissioned and demolished. The significance of the install is proven by the fact that the control consoles, mixers, switches, turntables, control and power amplifier racks from the control room have been preserved intact, to be relocated to a museum. After the Altec had passed into oblivion, E&E had braced up JBL with its Crown amps, Soundcraft consoles, Rane, DBX and BSS systems on one hand, and Shure microphones on the other. As their expertise in AV and systems integration expanded, so did their personnel spread both in and outside the country. Today, the company headquarters is staffed by as many as 80 spread over a built space of over 1400 sqm. It has a direct presence in Indonesia, Malaysia, and India while it dealer network is almost global. E&E’s wholly-owned subsidiary Eng Kong Engineering Works in Jurong has emerged to be one of the most sophisticated manufacturing units in the region. Contd on page 54... January-March 2011

49

SS


• INSTALLS •

Unique A/V Comes Alive with Rahman

SA Reverbs with ‘Jai Ho’ Gearhouse South Africa supplied technical production, including sound, lighting, video equipment and a stage/roof system for the Durban show - the first music show to be staged in the new Moses Mabhida stadium - plus crew for the South African leg of legendary Indian singer/musician A R Rahman’s Jai Ho world tour.

Gearhouse SA’s project manager was Bill Lawford, who started work two months in advance, collaborating closely with the tour’s US-based production manager, Nick Jeen. Three venues - Sun City Superbowl, the Grand West Casino in Cape Town and the Moses Mabhida stadium in Durban - were visited over a 12-day period.

The tour brought its full monitor rig and control consoles for sound, lighting and video to SA - the production sound elements came from Sirius Show Equipment Germany for this section. At the first two venues, they hooked into the house racks-andstacks for audio, with Gearhouse supplementing a quantity of KUDO and dV-DOSC cabinets, and in Durban, Gearhouse supplied a full L-Acoustics V-DOSC/Kudo/ dV-DOSC sound system. Challenges included it being the first full production music show to be staged in the Moses Mabhida Stadium, and the turnaround between this and the Cape Town show, which was extremely tight!

SS

50

January-March 2011


• INSTALLS • Lighting For A R Rahman’s LD Josh Kauffman, Gearhouse supplied full lighting production for the whole tour. The rig was based around 4 trusses - 60 ft front and mid trusses and 2 x 32 ft side trusses all constructed from AType, plus a 60 ft upstage truss made from TFL Heavy Duty trussing. Spread out across all of these were 80 Martin Professional MAC 2K Wash, 2 Robe 700 Spot and 60 x MAC 2K Profile moving lights, together with 6 x Panther 2 k Xenons and 3 x 1200W HMI truss trouper follow spots. There were a further 8 x 2K Xenon follow spots stationed at FOH. On the floor were 12 MAC 2K Washes, and the space was primarily kept clear to accommodate the large cast of performers who brought the show alive with colour, movement and the extravaganza atmosphere that you’d except from an A R Rahman production. Kauffman controlled the lights with his grandMA2 full size console.

Video The show’s primary set feature is a large LED screen upstage which is an integral part of the show’s visuality and in constant use. For the two indoor shows (Sun City and Cape Town), Gearhouse supplied

84 panels of Lighthouse R16 screen, which measured 12.2 metres wide x 5.35 high, plus two 8m x 4.5 m side projection screens which were each fed by Christie 18K machines. In Durban, the video wall increased to an impressive 135 panels of Lighthouse R16, now measuring 15.3 metres wide by 6.9 metres high, and the two side screens were changed for two 8 x 6 metre R16 LED surfaces. The screens were fed a mix of IMAG and pre-recorded footage, the latter of which was stored on the tour’s Hippotizer media servers. Cameras and a PPU were supplied via Gearhouse AV - 2 Sony broadcast quality cameras, one Sony ‘hot-head’ rigged in the roof and 4 ‘cigar’ low res surveillance style cameras.

Set/Scenic Also part of the touring production were two large sets of scenic steps, which were moved frenetically throughout the show into different positions around the stage, placed at various angles, complete with trap doors and other illusion style surprises, they proved an elegant and dynamic movable set. Gearhouse’s set company SDS custom built a 56’ wide system to accommodate a moveable Austrian drape gauze. This was designed to fit and operate within the existing Gearhouse A–Type trussing and is

January-March 2011

51

SS


• INSTALLS •

capable of operating a 12 metre high drape at a speed of 36 metres per minute. This system will now be available from SDS’s rental stock.

necessitated as much pre-preparation as possible.

SDS also supplied all the Marley floor for the stage.

Sound

SS

For the stadium show in Durban, Gearhouse Audio supplied 14 LAcoustics V-DOSC cabinets per side as main hangs, 10 V-DOSC per side as delays, 18 x dV-DOSCs for frontfill, and 6 L-Acoustics Kudo per side for outhangs, complete with 32 x SB 28 subs on 4 different sends.

(FOH) and Icky (monitors).

Four (Jako de wit, Cyril Sewela, France Kashan, Nkwane Matlala) engineers and technicians from Gearhouse Audio worked alongside A R Rahman’s touring engineers Ross Humphrey

Durban

52

January-March 2011

Gearhouse also supplied equipment for the DVD audio recording, consisting of a 96 channel DigiDesign Profile console and 2 x Yamaha M7 CL consoles, plus 10 AKG microphones to capture the audience.

The Durban show was also recorded for a DVD, so this, coupled with the very pressurised get in timescale,

Gearhouse supplied a StageCo stage and roofing system which was trucked from their Johannesburg warehouse and built in advance of the gig. A duplicate set of rigging was installed ready for the touring production to be hooked on to and flown when it arrived, and the PA stacks and the LED wall were also all built and ready. So when the trucks rolled in at 1 a.m. on showday from Cape Town, it was a hard but straightforward task to get everything rigged, focused, checked and ready in time for doors to open. Added for Durban were 12 Panther 5K searchlights on the field and 24 x 8-lite Moles which were utilised to provide audience lighting for the DVD shoot. Bill Lawford comments, “It was great to work with Nick and his team. It was a large production and required a lot of international co-ordination and attention to detail, but all went very smoothly thanks to the advance planning and the great communications between everyone involved”.


• INSTALLS •

ISHQ-e-DILLI

First Indian Video Son et Lumière India’s first permanent full moving image son et lumière - ISHQ-e-DILLI The Love of Delhi, installed at Purana Quila, a breathtaking 16th century fort founded by Mughal Emperor Humayun in 1533 - was officially opened recently by India’s VicePresident, Shri M Hamid Ansari. Ross Ashton’s UK-based The Projection Studio were technical, design and installation consultants for the projection hardware and control elements, and for the creation of the project’s show material. Ashton collaborated closely with ISHQ-eDILLI’s creative director and initiator Himanshu Sabharwal of Delhi-based Two’s A Film Company.

et lumière application, which are controlled by a Watchout system. The three projectors are housed in special hides and create an image 50 metres wide by 20 metres tall on the building. A major technical challenge was dealing with the multiple depths of field involved in using the Fort as a projection surface, and making the content fit appropriately.

“I specified the Christies because I know from experience that they are bright and rugged enough to deal with the tough environment, operating conditions and the schedule of nightly shows,” says Ashton. As far as he is aware, these are the first Christie 20Ks supplied to the Indian market. The Watchout system was also chosen for its reliability and familiarity to the

Sabharwal wanted this son et lumière and new visitor attraction to be groundbreaking and completely different to anything seen before in India. He also wanted to utilise the latest technology in creating a unique visual spectacle. Ashton specified the first Christie 20K video projectors used in India for a son

January-March 2011

53

SS


• INSTALLS • technicians who are maintaining the installation day-to-day. The 40-minute show was commissioned by the India Tourism Development Corporation, a division of the Government of India. It unfolds an intricate web of stories from the time of the Pandavas to post independence India bringing to life a narrative relating the history of Deli. Ashton has produced temporary projection artworks in India before. It’s one of his favourite countries and he appreciates the colour, richness and diversity of life and work there. He comments that it was “Fantastic” to work in India again, particularly on an ambitious, high profile project like ISHQ-e-DILLI in one of the most important cities in the world. “It’s always good to be involved with creating something new and special, particularly when it involves a historically significant building”. The site is also perceived to be that of the mythological city of Indraprastha, cited in the great epic Mahabharata, and it has been occupied since 800 BC. The Humayun Gate at the south of the Fort makes a stunning backdrop as the story unfolds recounting the history, culture and heritage of the 10 cities of Delhi with its phoenix like character. The show is already proving to be a major success with the public - and it’s hoped it will become a ‘must-see’ experience for anyone visiting Delhi.

...contd from page 49 E&E: A Tradition of 60 Years

Excellence Ensemble As the company grew in reputation, world renowned projects kept on adding to its profile, like the Kallang Theatre; Victoria Theatre and Concert Hall; the National University Cultural Centre, and the Esplanade Theatres on the Bay-the last being the one that took E&E to the next level. It was a project that brought together a truly global expertise, from across the world. The next level, though came a little later in the form of Formula One

SS

54

January-March 2011

circuit on the same sea level next door where E&E was awarded the installation work of sound system for the press conference room, the media center and the winner’s podium. The ‘highest level’ was yet to come though, in mid 2000s. The Marina Bay Sands resort – the most famous architectural entity in the island today – came to E&E quite obviously. It was tasked to deliver four big contracts

including the MATV /AV systems, BGM of the entire resort and the main sound and communications systems of the two Sands Theatres. The legacy that the late Goh bequeathed to Ronald, and is being transferred to the latter’s son Gary is, in a way a continuance of a great tradition of persevering expertise and an excellence ensemble. www.enepl.com.sg




Electrosonic’s Guinness Wall of Records Hollywood Boulevard has always been a magnet for tourists who converge on the avenue to view its iconic sights, and now they have a new attraction to engage their attention. The Guinness World Records Museum’s interactive Planar video wall, provided and installed by Electrosonic, uses gesture-based technology to capture the movements of passers-by and to animate unique custom characters in 3D space. Los Angeles-based Electroland, which creates objects, interactive experiences and large-scale public art projects, tapped Electrosonic for the project at one of Hollywood’s highest profile locations. Planar’s Clarity high-resolution, LEDilluminated, rear-projection video wall delivers optimized color performance, exact image control, long life and minimal maintenance. Electrosonic configured a 3x4 video wall with the ultra-slim Planar displays separated by very narrow mullions. The video wall is located on the highly-trafficked sidewalk, tucked under the museum’s vintage movie-theater marquee. The content features characters from the Guinness Museum, such as the world’s tallest man, appearing and disappearing. As visitors gesture to the screen or walk along it, the characters interact with them and perform various tricks such as balancing and spinning

multiple basketballs, falling to the floor, and whirling over a dozen hula hoops. At a certain point all the characters come together and start dancing to Michael Jackson’s “Thriller.” Electrosonic installed the video wall, ensuring that the displays were tightly and cleanly aligned. The company also provided a rack for the Planar equipment and a simple AMX control system with push-button panel: Program scheduling automates Start of Day and End of Day routines. Ambient temperature at the video wall is monitored and incorporated into the control programming, shutting down the system if necessary for thermal protection and bringing it back online when temperatures are safe. Additional Electroland equipment is also housed in the rack. Steve Calver was Electrosonic’s project manager and Linda Danet the consultant.

Shure Acquires DIS

excited to be associated with a strong brand like Shure and we look very much forward to exploiting the mutual technological opportunities.” “This acquisition is beneficial to both organizations,” said Sandy LaMantia, Shure President and CEO. “Informationsteknik and Shure are both industry leaders. By coming together, we will significantly strengthen both companies’ global reach and market position. We welcome all of the members of Informationsteknik and we look forward to their continued success.” Halken will report to Christine Schyvinck, Executive Vice-President of Global Marketing and Sales for Shure, and Informationsteknik will be operated as one of Shure’s Business Units. Informationsteknik Scandinavia A/S is one of the world’s leading suppliers of conference and audio-visual systems and equipment. The Copenhagenheadquartered company, with offices in Europe, Asia, the Middle East, and Mexico, comprises three business areas: •

The Danish Interpretation Systems (DIS) Division is one of the world’sleading brands of advanced conference electronics. DIS has almost 60 years of experience providing conference solutions to the global meeting industry on permanent or temporary basis. DIS offers complete solutions for, conference discussion, voting, wireless language distribution, simultaneous interpretation, and on-line streaming of meetings.

The Project & Rental/Staging Division provides creative solutions in sound and visual productions for events such as corporate meetings, conferences, trade shows and world summits.

Project Sales, is responsible for highly specialized audio-visual system integration and installation for corporate, educational and government customers.

Informationsteknik Scandinavia A/S of Copenhagen Denmark announced that it has been acquired by Shure Incorporated, world’s leading providers of microphones and audio electronics. CEO of Informationsteknik Group Finn Halken said, “from the very first contact from Shure expressing their desire to acquire the whole of Informationsteknik along with our DIS business activities we saw tremendous opportunities becoming a member of the Shure organization.” “There are several reasons this acquisition makes sense for us, especially the fact that both companies place a high value on our employees, and we both have a very customer-focused approach to doing business,” Finn Halken added. DIS General Manager, Mr. Thomas Frederiksen, “at DIS we are very

January-March 2011

57

SS


Medialon Stimulates Snoezelen Centre Solund, a home for people with severe physical and mental disabilities in Denmark, has recently opened The Golden Horn, its new snoezelen centre. Solund has dedicated its time and energy to develop a snoezelen centre containing the right elements to create a modern and innovative place that users can benefit from. The idea behind a snoezelen centre is to create settings which intensify the users’ senses by stimulating, entertaining, calming or activating them. ProShop Europe, a famous Danishbased AV technology integration specialist, has been the main technical partner for this project. They supplied and installed the screens, control panels, lighting and audio systems. They also selected and programmed the Medialon control system installed in The Golden Horn. Nine different snoezelen rooms have been built and designed in the centre. They all feature state-of-the-art AV technology that allows the rooms to turn into life amazing environments, in order to bring the best experience to the patients. In each room, there is a Medialon Showmaster ST installed, which controls all the technical installations within the room. Along with the ten Medialon Showmaster ST embedded controllers units, twenty-five MIP media players have been installed at The Golden Horn. The sensory experience starts while walking down The Golden Horn’s main corridor, where six 42" plasma screens, an 18sqm LED screen, two PoolSystems, sound and lighting effects have been installed in order to create unique and inviting universes for the patients. Some of the universes they can experience are a rainforest, a desert with lizards and an ocean theme with fishes and crabs. The PoolSystems have been installed in the main corridor in order to invite people to interact with them either by walking, sitting or lying on them. The PoolSystems can be used for

SS

58

January-March 2011

entertainment purposes or to motivate the user to move around, either by playing on a meadow of flowers or walking on the bottom of the ocean chasing fish. The theme of the PoolSystem is synchronized with the overall theme of the main corridor and changes with it. In addition, each of the plasma screens is integrated in its own light box, which forms a colorful frame. They are connected and synchronized with the videos, music and lighting effects triggered depending on the theme chosen by the centre’s staff. “Our technical and creative teams have worked together to develop custom video projections which create very realistic experiences,” says Tom Gertsen, Technical Fellow at ProShop Europe “For instance, in one of the snoezelen room, six video projectors enable the creation of one large picture, which is projected onto two walls and a cone-shaped construction. Each video is supported by realistic sound effects, which truly enhances the experience,” adds Tom Gertsen. Along with the main Medialon control system, ProControl, a touch panel user interface design software has been especially developed by ProShop Europe for The Golden Horn. The control panels allow the centre’s staff to easily turn on/off all the AV devices, change colour themes, video projections, etc., in any of the snoezelen rooms thanks to intuitive and user-friendly interfaces.

AMX Goes Green Automation giant AMX is going green. World leader in providing LEED-friendly, RoHS-compliant products aimed at simplifying the way people interact with technology while simultaneously providing an intelligent platform for energy conservation, AMX has announced that it’s making all its solutions eco-friendly. While recycling practices have been put in place at AMX since the early nineties, the initiative is being

upped to reflect the company philosophy in a fuller scale. The recycling initiative includes paper, cardboard, plastic, aluminum, electronics and sheet metal. AMX India, Country Manager, Mayank Gupta says, “AMX products are shipped in packaging that is recyclable and/or reusable. For example, AMX uses Eco-foam – a packing material made from cornstarch that dissolves in water – as the void fill for master cartons.” From a product perspective, AMX control systems have been used for more than two decades by people around the world to reduce energy usage by automating heating and air conditioning, lights, sprinklers and shades, display power control, and so on. In May 2007, AMX became the first control system manufacturer to join the U.S. Green Building Council (USGBC), a non-profit community of leaders working to make green buildings accessible to everyone within a generation. As a company, AMX has been focused on developing smaller, more power-efficient and environmentally-friendly products for many years. This effort includes working closely with leading semiconductor manufacturers like Texas Instruments and Free scale to ensure we implement the most advanced chip technologies available in our future products. A great example of this is our currentgeneration ‘Modero Touch Panels’, which are not only RoHS compliant, but also 20 percent more power efficient than previous generations, but we didn’t stop there. To further extend the energy savings of our touch panel line, we incorporated motion and light sensors. After a designated period of non-use, integrators can program a touch panel to go to sleep; its motion detector ensures that it “wakes up” upon approach. Further, light sensors automatically adjust the brightness of the display based on the lighting in the room, without wasting lot of electrical energy.


projectiondesign Shines up Crestron UK Office High-brightness F32 series DLP projectors from Norwegian projection major projectiondesign installed at the heart of a brand new training facility at the Cobham, UK offices of control and automation manufacturer, Crestron. The training facility opened in December 2010. “Education is a huge part of our market. Our own business is no different and we’ve invested in the best communications technology throughout our new training and education offices. These are used throughout the year to train and educate our staff, partners, consultants, architects, technology suppliers and customers. We have about 1.000 people coming through our doors for training purposes alone annually. For the display of information, we’re using nothing less than the 8,000 lumens high-brightness models of the F32 series,” explains Jamie Blakemore, UK Sales Manager at Crestron UK. “The projectors are certainly being put through their paces and able to handle any kind of input from computer sources to video. Theyproduce breath-taking images and perform exceptionally well in the high-ambient light levels of our new training offices.” Hailed as the most configurable installation projector available in the market, the flagship projectiondesign F32 projectors also come with enhanced optics and colour processing. The single-chip DLP projector uses patented DuArch dual illumination architecture with ‘hot swappable’ lamp modules and the unique RealColor colour management suite.

Matthew Horwood, Regional Manager, UK and Ireland at projectiondesign adds: “This is a fantastic demonstration of the way in which our display technology can be used in a corporate and educational audio-visual environment. Our product has answered the specific needs of Crestron and their partner base.” What’s also worth noting is that the entire projector range from projectiondesign is certified with the Crestron Integration Partner programme.

Vaddio ClearVIEW Powers Parkway Church Challenge yourself to live your life to the fullest. This is the message of Parkway Christian Church in Surprise, Ariz. When Parkway Pastor, Trent Renner, decided he needed a better way to broadcast this message he looked to Audio Analysts in Colorado Springs, Colo. Vaddio’s high definition ClearVIEW HD-18 pan/tilt/zoom cameras now simulcast all messages from the new 50,000 square foot auditorium to additional buildings across campus. “We were averaging 1600 to 1800 in attendance on a weekend in a 10,000 square foot building,” explains Parkway AV Coordinator, Tyler Ingram. “Now that we are at 50,000 square feet total we added newer technology to go along with the building upgrade. It made no sense to upgrade technology and put in 4:3 SD, so we went high def to create a better video experience.”

above the stage captures the video and sends it back to the production room for control and monitoring. The Vaddio Precision Camera Controller works in conjunction with the FOR-A HVS-300HS portable video switcher for joystick and CCU control. Vaddio PreVIEW Rack Mount Monitors are also being used to monitor Preview and Program outputs. “Vaddio’s price point and ease of functionality were a good fit for Parkway’s needs,” explained Smits. “They are also easy to install and intuitive to operate.” Because the campus will eventually house 12-15 more buildings, Ingram has been busy recording, broadcasting and podcasting weekend services across campus. “One of the biggest benefits of using Vaddio’s HD cameras is the clarity,” explains Ingram. “We are using huge projections screens so high definition was really the only way to go.” Vaddio is the leading manufacturer and OEM distributor of specialty PTZ cameras and high-end camera control systems used in the broadcasting, audiovisual and videoconferencing industry. Headquartered in Minneapolis, MN, Vaddio also has operations throughout the Americas, as well as sales and support partners throughout the world. Audio Analysts is a full service integration company specializing in audio, video and lighting systems design. Founded in 1968 as a sound reinforcement/touring company, Audio Analysts is headquartered in Colorado Springs, Colo. and has offices in Los Angeles for the touring division.

Four Vaddio ClearVIEW HD-18 cameras are being used throughout the Main Sanctuary in order to provide a telepresence feed to the other auditoriums, as well as Image Magnification (IMAG) for multiple projection screens, explained Audio Analysts Project Engineer, Preston Smits. One main center camera shot from Front of House (FOH), two sideangle cameras - one on each sidewall and an effects shot from the ceiling

January-March 2011

59

SS


• SPECIAL FEATURE •

Essentials of

Videoconferencing - The User-Level

As businesses world over are increasingly challenged by the pressures of time and costs of travels, they devise systems and solutions to network their operational nodes into an interactive mode. While videoconferencing has emerged to be one of the most viable platforms towards this objective, there is still a wealth of information that needs to be disseminated. OS seeks to bring the same to the benefit of its readers. Here we present the first part of a series of features on ‘Essentials of Videoconferencing.’ Read on: General Introduction: Many companies have been and are, at this time and for the anticipated future, deeply engaged in the deployment of high-level sophisticated integrated systems to be used simultaneously for presentation and videoconference communications within large, medium, small-group and individual spaces, and for typical and atypical applications. While these systems are being designed around the common fundamental elements that are standard and traditional, they have also begun to make use of new and more powerful technologies in every effort to “advance & enhance” the effective efficiency of the end-user community for whom the systems are deployed. As a discussion of REMOTE CONTROL - This document will not re-state all of the discussion points and design integration fundamentals of traditional Remote Control Design. These fundamentals are known and are well-taught by other professionals. This document will concentrate on certain specific issues and elements of Control Systems Design* & Control Systems Programming* (* these are two very different aspects of developing a Control System) for video communications / videoconferencing, and the role these will directly play in the matters of: •

SS

60

ease-of-use in any presentation-to and operation-

January-March 2011

by any end-user (including those who are not at all familiar with the systems or procedures), and •

managed input and system configuration selections & choices, and

overall redundancy or reliable-system(s)-recovery in the face of certain system, network or component failures.

Ultimately, this document, along with a thorough understanding of the principles that are part of any solid and properly configured integrated solution, may serve as a guide for anyone responsible for mapping-out, specifying, integrating, configuring, designing and programming the functional Control Systems for visual presentation and videoconference space(s) and systems. Please Note: Though portions of the Control System functions we are about to discuss will be familiar to those experienced in this aspect of systems integration and design, and even though portions of our discussion will have “generally accepted and deployed” functionality commonly seen in many integrated control systems applications (inside your own company and in other companies), some of the integration and programming processes and functions detailed within this document have no generally known precedent (at-least none that are known to this writer) in any application or implementation that is-now or has-been in-use at other

companies or within other specialty systems. There may be examples out there, but none that we at CDG Inc have encountered. This means that there will be some degree of exploration into configurations and programming flows that are totally unique to the finished systems and for which there are no known “templates” to work from. The nature of this, along with the complexity of some of the operational elements we will outline for the Control Systems, may require you to invest added time and money to develop, modify and fully test prior-to any actual deployment within a working enterprise system or space.

Element #1: Functionality for the End-User This is perhaps the most important element, at least in terms of the perception of the utility and usability of any VTC systems. For the purpose of this discussion we will make every effort to affirm the fundamental essentials of Simplicity, Reliability, Background Intelligence and “Recovery”-from-Failure (a.k.a.“Redundancy” – [see-also other CDG Inc. INFOCOMM.ORG submitted document that is dedicated to detailed discussion of the general topic of (and proper planning- for) “Redundancy”]). Simplicity: First and foremost we begin by stating that the best control is no control. By this we mean that an ideal approach to the control of these spaces and systems is one that


• SPECIAL FEATURE • Vaddio Sample Configuration Diagrams

requires little or no conscious thought or actions on the part of the end-user(s). The goal is not to build & present a user interface on bigger display screens with more buttons but, rather, to deploy as few “button commands” as possible that would require the end-user to initiate an action by reading and selecting from

many button-actions in order to achieve a predictable and consistent required temporal result. To achieve this minimalist approach for the Systems Control we must consider the use of alternative supporting elements to the traditional “control card frame and LCD touch-panel button interface”.

It is possible that some spaces and systems that you will be deploying could make good use of items like the Vaddio Inc. TrackVIEW, ControlVIEW, AutoVIEW IR, StepVIEW, TouchVIEW and MicVIEW system(s) (or similar products of other brands). These systems attempt to minimize the

January-March 2011

61

SS


• SPECIAL FEATURE • required user “thought & selection” of control functions by taking advantage of the natural actions and behaviors of people who occupy the space with the intent of making use of the communications elements (they intend to deliver a local MS-PowerPoint-based presentation or conduct a VTCbased meeting, etc.). The Vaddio StepVIEW, for instance, is a system of mats (exposed or hidden under the room carpeting) that will trigger camera presets when stepped-on, and the AutoVIEW IR is a series of IR Motion Sensors to accomplish the same thing, based not on pressure (stepping on the Mat) but on movement through the field of pickup for the IR-based Motion Sensor. Finally - As the name implies, the MicVIEW triggers presets based on sound-pressure from a microphone or set of microphones. A typical blended configuration application of these might look like what we see below on the next few pages (simplified and not to scale). [PLEASE NOTE: Throughout this document, and while discussing the possibilities of using various other supporting methods as a means to augment our traditional LCD Touchpanel approaches (in an effort to reduce the required conscious input on the part of the human enduser(s) of the systems), we will also make some notes and provide details related to a few of the considerations involved in general interface design, room design, signal distribution and establishing proper camera presets. Even though these topics are not necessarily a central part of this document they play an integral role in Control System functionality and effectiveness as it relates to videoconferencing.] We will first consider some of the Vaddio Inc. sample configuration flows for their components (similar types of systems will have similar configurations), and then we will use some very simple CDG Inc. illustrations to further our discussion.

SS

62

January-March 2011

Though this is a greatly simplified (and not at all a “build-to”) example, this illustration will assist us in furthering and deepening this portion of our discussion. In the above example we have a small-to-medium-sized meeting or class lecture room that has a single display screen, two (2) P-T-Z (PanTilt-Zoom) Cameras, six (6) desks and a podium. Within the space we also see two (2) Mats, four (4) IR [InfraRed] Motion Sensors and six (6) desktop Microphones. Each of these can be set to trigger a Camera Preset, with each preset to include the functions of Pan, Tilt, Zoom, Focus, Brightness, Contrast, Backlight and any other control function for the camera and camera image. Ideally, this layout would have been generated from careful observations of the normal dayto-day activities of the people using the space. Detailed notation of typical traffic patterns and the relationship of these to what is referred to “Ad-Hoc Opportunistic Interactive Communications” (a new and growing science of the dynamics of random and planned human interaction) will go far towards placing the “control” for the camera positioning and video image management into the background. Using the approach of adding some fully automatic functionality into the Control System would mean: No longer would a presenter or participant be required to actively push-a-button or select a “trigger”. No longer is there a need to have a specialized camera operator in the space, changing the camera positions and adjusting the image qualities in a real-time manner. Simply stepping on a Mat, walking through the field of “view” of the IR Motion Sensor or speaking into a microphone will automatically reset the camera view(s) to the optimized settings and correct position (to specific preset positions & image-quality

settings). For instance, stepping on the Mats would issue commands for the following:

System & Room Design Note: There is overlap between the horizontal fields for the two (2) different Zoom levels for these presets. This must be planned carefully so as not to lose sight of the person / “human target” during the presets. Likewise, the Zoom settings establish a horizontal field of view that is wider than necessary to contain a single person. This is done in order to allow some shifting and wandering by a person without constant adjustment to the camera source. Remember: ANY changes, including even the slightest Control System PTZ movement or image adjustment of a camera source, will be interpreted by the VTC encoder (the box that performs digitizing and compression of the video signal) as “important”, and this will cause the encoder to “talk” or “send-packets more frequently”, an unfortunate action in the face of IP network connectivity (IP networks count on “bursts” of data, not constant full bandwidth data from a terminal or endpoint / encoder). Also Note: In this example (above) the presets do not “switch” sources from one camera to another, but merely manipulate a single device. (CONT’D) (The article is a reprint of online feature under permission from InfoComm International. It is authored by S. R. Sharer – Communication Design Group Inc.)


• INSTALLS •

Art and Technology in Full View Visualization pioneer Barco made its strengths fully visible in one of the most spectacular shows recently when its industry-leading three-chip DLP projection expertise has glowed through the expanded and renovated Museum of the Moving Image at Astoria in New York. Seventeen Barco projectors have been used in highprofile spaces including a 50-foot-long seamless projection wall in the lobby, the new video screening amphitheater, a new 68-seat screening room, and in the inaugural exhibition ‘Real Virtuality.’ The exhibition’s six experiments in art and technology, including a commissioned work by the Flemish collective Workspace Unlimited titled ‘Realtime Unreal,’ utilize ten RLM-W6 projectors in a variety of installations, two of which are stereoscopic. These installations employ video game engines, motion- and positiontracking, and sophisticated image processing to create simulated worlds that extend, augment, or disrupt the physical environment of the Museum space.

movement around the gallery modifies the projection in real time, leaving the projectors to display a trompe-l’œil so believable that the screen disappears. We are proud to be part of a mutually inspiring dialogue, and this project is a perfect example of how the culture and technology industries influence each other to innovate.” One of the exhibits, ‘Into the Forest’ by the OpenEnded Group, simulates a children’s game of hide-and-seek in a digital forest, featuring a computergenerated world in the style of a hand-drawn illustration. Pablo Valbuena’s ‘Augmented Sculpture’ uses digitally animated projections to augment, extend and transform architectural details of the Museum’s gallery. The ‘Night Journey’ extends the work of pioneering video artist Bill Viola into an archetypal journey toward enlightenment through the mechanics of the gaming experience. ‘RMB City’ by Cao Fei simulates the

“Barco gave us the chance to show audiences the full potential of our virtual worlds on a life-size scale with the best projectors in the industry,” said Thomas Soetens of Workspace Unlimited. “In ‘Realtime Unreal,’ a world is depicted in 3D and seems to float in space, while the visitor’s

Museum of the Moving Image is the only institution in the United States that explores the art and innovation of screen culture in all its forms. Moving Image offers the public a distinctive, highly interactive core exhibition; contemporary and retrospective programs of films from around the world; onstage talks with industry leaders and creative professionals; a unique collection of more than 130,000 artifacts; inspiring educational programs; stimulating changing exhibitions; and groundbreaking online projects.

Beijings of yesterday, today and tomorrow within the multi-user virtual world ‘Second Life.’ In ‘Cathedral,’ artist Marco Brambilla presents a Toronto shopping mall in dizzying, kaleidoscopic 9K projection to evoke America’s obsession with conspicuous consumerism. ”We are very grateful for Barco’s generous support of our expansion and exhibitions. The company’s innovative solutions have enabled us to achieve more than we’ve ever imagined. Barco’s participation ensures that the Museum’s moving images, whether encountered in our screening environments, new public spaces, or exhibition gallery, will be presented at the highest quality,” commented Rochelle Slovin, Director of Museum of the Moving Image. “We look forward to building a long-term relationship with Barco, in which our museum can serve as an ongoing showcase for their evolving technologies.” In addition to these, Barco projectors play an integral role in high-profile new spaces in the redesigned Museum. Upon entering the Museum, visitors will encounter the first of many moving images in the form of a stunning 50-foot-long seamless panorama of projected video using five Barco RLM-W6 projectors. The inaugural presentation, City Glow, a mural-scale work by artist Chiho Aoshima in collaboration with animator Bruce Ferguson, uses a pictorial style derived from Japanese scroll paintings and anime, to tell a cyclical narrative featuring a cityscape that becomes overgrown at night by ghosts and fairies. In the new Video Screening Amphitheater, located at the first landing of the new grand staircase and equipped with the Barco RLM-W8 projector, a wide range of video art, animation, experimental film, and television work will be Contd on page 65... January-March 2011

63

SS


• INSTALLS •

Cité de l’Energie Glows in New AV The Cité de l’Energie, a science and technology-themed centre located in Shawinigan, Quebec, Canada, has been recently entirely renovated. The site is located at Quebec’s second highest observation tower where visitors can enjoy numerous interactive exhibitions, thrilling and fascinating multimedia presentations. Cité de l’Energie hosts a number of dazzling scientific demonstrations as well. XYZ Cultural Technology, a Canadianbased integrator and AV designer company, installed state-of-the-art technology in the Cité de l’Energie, including a Medialon Show and Media Control system. The Medialon system is used as the main AV controller of the Science Center. It controls all the audio, video and lighting devices installed in each of the exhibition rooms. When visitors arrive at the Cité de l’Energie, they set off on a fantastic journey under the spell of an ageless shaman with ‘The Spirit of the Earth.’ This multimedia presentation allows visitors to travel back in time, billions of years ago, from the first spark to the huge fire explosions that rocked the Cosmos. Specific lighting, sound, video and special effects – including rain, wind, fire, scents and fog effects – are entirely controlled and synchronized by Medialon Manager software. During the presentation, visitors can experience the forces unleashed by Nature and witness the miracle of life in its many forms. Inside the room, a moving stage – with a PLC controlled by Medialon - has been set up with over one hundred seats sealed on it. While rotating on the stage, in sync with the video presentation, the audience can more deeply feel and live the presentation. A Medialon control panel, installed in the control booth on the rotating stage, allows the operator to launch the entire show and to check in real time that all the equipment is working fine in order to ensure the visitors’ safety. The visit follows with ‘The Ages of Energy,’ a dynamic permanent

SS

64

January-March 2011

exhibition where visitors can learn more about the different types of sources of energy throughout the centuries, the discoveries of oil and electricity, and points out the question of what would be the tomorrow’s energy sources as well. ‘Stories from our Lives,’ an historic exhibition which presents the collective memories and the day-today lives of the people of Shawinigan, closes the visit of the ‘Cité de l’Energie. “One of the challenge with this project was to install the most reliable control system which allowed to control simultaneously a 20-minute show launched upon request, and carry out autonomous daily tasks in two independent exhibitions halls,” declares Eric Cyr, Project Manager at XYZ Cultural Technology. “This is the reason why we have chosen Medialon as the main controller of the Centre’s exhibition rooms,” adds Eric Cyr. One Medialon Manager V5 Lite license controls the Science Center’s entire system of AV devices that comprises: •

3x 7K Panasonic PTD7700UK video projectors

1x 4K Sharp XG-PH50X video projectors

1x 3.5K NEC NP1000 video projectors

2x 3.5K Panasonic PT-FW300U video projectors

3x Dataton Watchout players

1x Pioneer professional DVD player

1x Fostex 24 channels digital recorder

A 8.1 audio system including 12x speakers for the rotating stage with 20x ButtKicker under audience seats

A full lighting system including LED and motorized projectors

A custom made rain and mist effects system

6x 18’’ to 72’’ diameter blowers for heavy wind effects

A real fire effects system

4x different scents effects system which is coordinated with an HVAC system

5x interactive games PCs

1x MP3 player controlling a third audio language

To offer more flexibility to the Center’s staff, XYZ Cultural Technology has developed three control modes on Medialon Manager: ‘Show’ mode: is for the regular daily use of the Cité de l’Energie exhibitions and shows ‘Event’ mode: allows the staff to create and use the AV devices of its choice by easily creating and controlling their own lighting, video and/or audio effects for press conferences, training sessions or any other type of representations. ‘Maintenance’ mode: allows XYZ Cultural Technology to remotely access and check the status of each of the devices installed in the Science Center via Internet. This mode ensures the Science Center to get an extremely reliable system and a technical assistance available anytime. “We developed a user-friendly interface so the Cité de l’Energie AV control system could be used by any member of the staff, even nontechnicians,” says Eric Cyr. “However, we have secured the access to the core of the Medialon programming interface so no one can change the main settings,” concludes Eric Cyr. The “Cité de l’Energie” welcomes thousands of visitors every year that makes it one of the most visited Science Center of Quebec.

New AV Control at Rattanakosin The Crown Property Bureau of Thailand has recently opened the Rattanakosin Exhibition Hall, an interactive self learning center and venue where invaluable pieces of information and artifacts on the history, arts, and culture of the Kingdom of Siam (also called Rattanakosin) era are compiled and maintained in the most extensive range ever found in Thailand.


• INSTALLS • Based in Bangkok, this new form of education and knowledge, has been designed and managed by Rightman Co. Ltd, a company specialized in exhibition designing and set-up. Advance Technology Contracting Co. Ltd (ATC), a famous Thai-based AV system integrator, was in charge of supplying the AV equipment and turning into life Rightman Co. Ltd’s creations. A Medialon control system has been integrated by ATC. “Medialon Manager software is the best AV interactive control system solution,” declares Noppharit Neansa-ard, AV and Lighting specialist for ATC. “It allows to remotely synchronize and control any of the AV devices spread into the seven exhibition rooms of the Rattanakosin center, along with other equipment such as an hydraulics lift, automatic doors, etc.,” adds Noppharit Neansa-ard. The Rattanakosin’s exhibition rooms are located on three storeys. One Medialon Manager V5 Pro software, as well as two Medialon Showmaster ST units and seven Medialon MIP players have been installed in the centre. Thanks to Medialon’s free Manager Panel software, ATC designed a user-

friendly touch control panel which allows the Rattanakosin’s staff to remotely and automatically turn on/ off the AV devices in each of the exhibition rooms or launch any of the multimedia spectacles they want to, and even check shows’ status for instance. The touch control panel system is made through a Medialon Rugboard Wi-Fi Touch Screen. Inside the Rattanakosin Exhibition Hall, visitors can discover the “Grandeur Rattanakosin Room” which brings them back 200 years ago, to the Kindgom of Siam era via a fourdimensional multimedia show which mixes audio, lighting, video as well as scent and sensory effects, all controlled by Medialon. Inside the “Remarkable Entertainment Room”, visitors can enjoy a panoramic view of the olden days of Siam with Thai traditional entertainment spectacles. The visit goes on with the “Renowned Ceremonies Room”, which is a place where three-dimensional spectacles and grandeur of royal ceremonies and royal waterway processions may be appreciated by the visitors nowhere else but in the Rattanakosin center. In addition, with the “Sight-seeing Highlights” exhibition, people can live a brand new audiovisual experience

by being part of a video allowing them to travel across the great old city of Rattanakosin. “This exhibition hall has been designed with the objectives to create Thai public awareness of greatness of our nation”, declares Upatham Nisitsukchareon, Director of Rattanakosin Exhibition Hall, in charge of designing work, renovation and Rattankosin Exhibition Hall management. “State-of-the-art multimedia technologies, as well as interactive animations were also a main focus to be present in each of the seven exhibition rooms. In brief, not only knowledge but also entertaining pleasure had to be obtained in the Rattanakosin Exhibition Hall,” adds Upatham Nisitsukchareon. With the Exhibition Hall, “foreign guests who come to Thailand are able to learn about the beauty of Thai culture. Our people, especially the youth, can be proud of the Thai way and being Thai.”, concludes Sermkhun Kunavongse, in charge of Nitas Rattanakosin Special Events. The Rattanakosin Exhibition Hall plans to open two more exhibition rooms in 2011.

...contd from page 63

Art and Technology in Full View presented. The first screening is a commissioned animated film from artist Martha Colburn, ‘Dolls vs. Dictators’—a work inspired by dolls in the Museum’s unparalleled collection of licensed merchandise. The Celeste and Armand Bartos Screening Room, equipped with Barco RLM-W8 projectors, will be used for educational programs during the day and as an intimate space for public screenings by night and on weekends. ”Barco’s projectors provide astonishing color rendition, resolution and clarity. The artists were amazed at how the projectors enlivened their work in a realistic, even tactile way,” commented Carl Goodman, Senior Deputy Director. “We used the RLM-W6’s wherever possible, since their ultrahigh resolution is essential for

presenting fine-grained, abstract imagery.” The RLM-W6 is a cost-effective, green, three-chip DLP projector with WUXGA (1920x1200) resolution and superior color saturation and image stability, priced in the range of most single-chip DLP projectors. With an extremely low noise level of 32dB, 33% lower power consumption than comparable systems, and a 6,000 lumens light output, it is highly suitable for presentations in auditoriums, public venues and boardrooms. The RLM-W8 was recently introduced, featuring 8,000 lumens, increased contrast, geometry correction and edge blending capabilities.

of their ability to project onto any kind of surface, as a single unit, or combined in a fleet for one composite image free of disturbances,” commented Bill Morris, VP Video & Lighting for Barco. “We are honored that Museum of the Moving Image chose Barco to provide the technology platform for their new screening spaces and their inaugural exhibition, and we share their enthusiasm in presenting a truly spectacular show. The Museum is our largest RLM series installation to date, and demonstrates the visual magnitude and special effects that can be achieved when configuring these solutions in a variety of ways.”

”The RLM solutions are ideal for Museum of the Moving Image because

January-March 2011

65

SS


• INSTALLS •

White Oak Worship Center:

Message Clear When the time came to design its new worship facility, White Oak Worship Center in Virginia – formerly known as Full Gospel Fellowship Church of Danville – knew that a well implemented audiovisual system could do wonders toward making its services more relevant. A carefully drawn up plan and a close coordination with the architectural process and a seasoned AV integrator, their new sanctuary has now home to an impressive audiovisual system that incorporates multiple large screen displays, a sophisticated camera implementation and post production suite to edit services for broadcast. More, a new, customized sound system of Greensboro from North Carolinabased WorxAudio Technologies that has everyone singing the praises. Burlington NC-based Boone Audio Inc., a design/build firm specializing in AV integration for the house of worship, education, and corporate markets, was contracted to design and implement White Oak Worship Center’s new system. Paul Boone, President/CEO of Boone Audio, discussed the nature of the installation and the challenges it presented. “White Oak Worship Center’s sanctuary is 105 feet long by 96 feet wide with a slightly arched ceiling and seating capacity for approximately 600 people” Boone explained. “The stage/pulpit area faces into the length of the space and features a uniquely designed area for the choir that is located over the orchestra pit. In addition to the main floor that slopes upward toward the back of the room, there is a balcony at the rear that houses the FOH (front of house) mix position.” “White Oak Worship Center’s services are very contemporary in nature,” he

continued. “Music plays a prominent role and church management made it very clear that, in addition to displays for visually reinforcing the message and aiding the congregation with lyrics, they wanted a top notch sound system that delivered first-rate speech intelligibility while also being capable of handling high SPL music reproduction. Their worship services are very upbeat. The church uses a good sized praise band to augment the worship leader and six backing vocalists, and they also have a full choir of roughly 40 voices.” To meet these requirements, Jeremy Sarine of the Boone Audio team— with assistance from Hugh Sarvis, WorxAudio’s CEO and Director of Engineering — penned a sound reinforcement system that provides for a center cluster consisting of six WorxAudio TrueLine V8i-P two-way, high efficiency, compact line array loudspeakers flown at a height of 24 feet over the front of the pulpit/stage area. Suspended by WorxAudio’s innovative TrueAim Grid that utilizes a single, industry-standard schedule 40 pipe, the cluster presents a clean, streamlined appearance that blends seamlessly into the environment. A seventh TrueLine V8i-P is mounted to the rear of the TrueAim Grid. Unlike the six enclosures facing into the sanctuary, this loudspeaker serves as a monitor for the choir and is visually hidden from the congregation. For stage monitoring, four WorxAudio 8M two-way, high efficiency, passive loudspeakers — augmented by Aviom personal mixers — round out the onstage monitor setup. Low frequency support is provided by two WorxAudio TrueLine TL218SS-P subwoofers plus a single TL118SS-PMD2 subwoofer. All three enclosures are

housed in specially designed, recessed cubicles under the front edge of the stage. With the two TL218SS-P subwoofers positioned at the left and right edges of the stage and the TL118SS-PMD2 enclosure in the center, these subwoofers provide plenty of low end punch and providing a smooth bass response throughout the room while effectively remaining out of sight. “The fact that we were brought into the sanctuary’s design process at an early stage paid huge dividends on this project,” states Jeremy. “We began consulting on this job as far back as January of 2009 when we gained access to the building’s architectural blueprints and CAD drawings. By being involved early on, we were able to arrange for the subwoofer cubicles and numerous other aspects of this project that, ultimately, made it a world-class installation. Hugh Sarvis was a tremendous help — not only in the design of the sound system, but in its final tuning as well. The more sets of eyes we have looking at a project like this; the more successful we are as a contractor.” With the new AV system in place and operational, Jeremy reports that everyone — from Pastor Roger Ewing and the church’s executive staff to the congregation — is thrilled with its performance. “The church wanted the sound to be clear, comfortable, and distinct and that’s exactly what we delivered,” said Jeremy. “We continue to receive compliments for the design and performance of the entire audiovisual system. Several pastors from various area churches have visited White Oak Worship Center to experience the system and this has led to new projects for our firm. In my mind, that’s the best compliment of all.”

Headquartered in Greensboro, NC, WorxAudio Technologies has been at the forefront of loudspeaker development for the pro touring and contractor markets for the past thirty years. With a comprehensive lineup of more than twenty loudspeaker models that feature integrated rigging hardware for streamlined installation and pack out, WorxAudio products can be found in prestigious facilities worldwide. www.worxaudio.com

SS

66

January-March 2011


The Formula of

Being ‘Simple’

Mr. Mayank Gupta Country Manager, AMX India

Indian audio-visual and systems integration industry is growing, like never before. Despite a few hiccups of the economic slowdown two years ago, Indian industry has successfully warded that off, riding on its own economic upsurge. Playing a critical role in the whole big process, among others, is AMX India, the Indian concern of the Texas, USA-based automation giant whose expertise has transformed many an enterprise business. OS talks to Mayank Gupta (MG), Country Manager of AMX India, who has been leading the charge since its inception in Bengaluru over two years ago. OS – It’s been roughly two years or more, AMX has set up the Indiaspecific operations…how has been the journey since then? MG – The direct operations started in 2008 and must say we have been very late in entering the India market. We missed the economic boom of this decade. However, it has been very eventful and challenging three years as the economy dipped globally. We have seeded our business through ‘organic growth’ attributed to sales, marketing and innovation. We attribute our successful initial run to the AMX India team. We drew people from the industry who knew our business; we knew who the customers were and what was considered as value for the customer. Talking of customers, we have chosen those market verticals where investments were coming in, like hospitality, banking and residential. We are looking to get into education and healthcare too. In order to reach out to these verticals we are continually focusing our energies to expand our channel base in top ten towns of India. It is an exciting and happening industry to be in. OS – If only not out of place now, what inspired AMX to have a direct presence in India? MG – The decade just gone by has

seen exponential boom in consumption index of India. During this time a large section of society started spending on needs beyond basic. Technology products became the new status symbol. AMX products were available in the India market earlier too, being imported by system integrators. But it was more opportunistic. In order to grow the brand presence and seeding the market we had to have a team in India which focused on sales, marketing, technical support and imparting knowledge through training. Our products require in depth knowledge on part of system integrators to install, commission and to do programming. The prime objective of direct presence in India is to develop the necessary technical skill sets among the system integrators. This was all the more imperative as IT system integrators were getting into AV too. OS – What strengths did AMX see in the market for this initiative? MG – Investment in newer technologies in key sectors like hospitality, healthcare, residential, banking and education coupled with convergence of IT and AV were strong indicators for us to come in. OS – Indian market is generically considered still in nascent stage,

and your presence is already 18 months+. How did you visualize your positioning in this market- a) then, and b) now? MG – Our brand positioning is really ‘simple’ – Solutions that Intelligently Manage People’s Lives & Environment. Our strategy is and has always been to integrate different applications, different third party products, different people in different vertical markets. We bring disparate technology platform on to one interface. Yes, this industry is still in its infancy in India. We are still skimming the top layer of the market – the luxury segment. We should be looking at lower level in about two years. OS – AMX is known for its technology expertise. What strengths has it brought to Indian market? MG – AMX has traditionally been a ‘control systems’ company. However, over last the four years we have globally acquired companies who have supplemented and expanded our solutions for the traditional ‘control systems’. Four major acquisitions that come to my mind have been Autopatch, Endeleo, Matrix and ProCon. These have helped us to integrate disparate technologies in audio, video, environment and

January-March 2011

67

SS


communication platforms. We are the only player in the market who has the ability to provide complete set of solutions in device control, asset control and content control. AMX also has an internal program called “AMX Device Discovery.” We partner with over 80 OEMs in audio, video, environment and communications and to seamlessly integrate their devices with our systems. We believe and follow global standards as against proprietary.

programming of the AMX solution. Creating a well trained and knowledgeable technical work force is the critical area for our success. It ensures not only a quality implementation but also quality after sales support. As a manufacturer we have internal expertise to train the tech work force and our objective is to ensure that each system integrator is a mini AMX location. We do regular training sessions every month and will continue to do so.

training with ACE certification and we also do hands on training every month which focuses on training on pre-sales design, install, commissioning, and programming. A technically confident system integrator is not only able to generate new business but also get repeat business. The cost of retaining an existing customer comes down drastically if we have trained manpower.

OS – How many market streams and segments in India does AMX address?

OS – Shake-out in US economy last year had been a big attribute for most enterprises’ sluggish growth here in India. How much is this intrigue relevant for AMX India?

MG – The pro AV industry is still in its infancy and hence not attracting a large talent pool. However, with IT system integrators entering the industry, the demand is increasing and is creating a pull. Eventually the vacuum so created by the pull will slowly result in larger pool of trained manpower. The situation is same as was with IT networking industry 15 years ago.

MG – We are covering a wide spectrum of market verticals – hospitality, residential, multi dwelling units, corporate, government and defence and now getting into healthcare and education too. OS – What stream and / or segment had been most fruitful journey? and why? MG – All segments are strong for us with equal focus. The growth is dependent upon investments coming in those segments. We have chosen to focus our energies on these few segments only instead of spreading ourselves too thin. OS – On the tangent, what stream and / or segment had been most challenging, and why? MG – Immediate aftermath of our arrival, i.e. 2009, was a difficult period. Lot of projects across the market were put on hold. However, we did not lose out on any, and the same are being realized now. The challenge is more in managing the external forces at work in any project. OS – What are AMX India’s current focus areas? What specific reasoning for this? MG – Our strategy is to take path of organic growth in the next three years. As we are a premium brand in the industry, our focus is to ensure quality execution in all projects. This requires extensive and intensive training of technical personnel of system integrators in designing, installing, commissioning and software

SS

68

January-March 2011

MG – The effect of slowdown was indeed global and India could not remain aloof and it too got affected adversely, but we were quicker to overcome the effects. We have been growing quarter on quarter for last six quarters. OS – Most solution providers in the A/V business have a practice of organizing road-shows or workshops for familiarizing the market. How about AMX on this front? MG – Marketing activities are key to brand building. We have multipronged activities – trade shows, vertical specific exhibitions and seminars for consultants and architects. Apart from the above we have plan to add more experience centres in all the metro towns where in the prospective customer can feel firsthand the technology in use. Lastly, our major push is to develop skilled technical manpower which is capable of doing pre-sales design support for projects on hand. OS – There a generic notion that Indian market is severely dearth of qualified A/V professionals. What is AMX’s take on this? MG – You are absolutely right, lack of skilled manpower is affecting the growth of the AV industry. We are putting lot of resources in training and retaining technical manpower at SI’s end. We provide various means of training – online level 1 and level 2

OS – What are the reasons for this situation?

OS – Some of the Asian markets had been posting huge growth rates for the past few years. Where does AMX see India in this league? MG – India is very different as compared to other fast developing countries in similar league. In India the growth is very lopsided and not intrinsic. Our per capita income is still very low as compared to these countries. As we are operating in luxury market, the market size is much smaller as compared to other similar countries. However, we are looking to double our business every three years. We are looking to grow faster than the overall market by strategically focusing on high growth verticals only and to capture greater market share. OS – What is AMX India’s roadmap for the immediate future, and five years from now? MG – Our immediate focus is on steps to strengthen our pre-sales, sales and marketing organisation on one hand, and on developing technical talent pool to sustain the sales done on the other. We are a very flexible organization and we can turn quickly to avoid potholes. In five years, we should be multilocational with offices in all metros.





• INSTALLS •

E&E Powers

Kannada Sangha Audio The Kannada Sangha, Pune, dedicated its energies to serve the city and its people by providing education that was rooted in tradition yet embracing the growing needs of a modern world. There was no looking back and the Sangha focused on imparting quality education. As the educational needs of the city grew, the Kannada Sangha, Pune expanded its infrastructure to set up its other institutions. From a humble beginning in 1952, the institution under Kannada Sangha Pune have come a long way reiterating a commitment to excellence in education made possible by a team of dedicated faculty and staff and enthusiastic student. Today, it has under its umbrella many entities like Dr Kalmadi Shamarao (English medium) High School with Pre Primary; Kaveri College of Science and Commerce; Kaveri Vishwabharati Language Centre; and Kaveri Srujan Creativity Centre (for primary school students). To meet its growing requirements for multiple purposes, it decided to build

SS

72

January-March 2011

a well-equipped auditorium which is intended to be a multipurpose facility. The Auditorium has been designed by renowned Mumbai-based architect Rahul Jhaveri of Jhaveri & Jhaveri. When Kannada Sangha wanted an integrated audio visual system for the auditorium, after the usual scouting of solution providers, the task came to E&E Systems (India) Pvt. Ltd. The School authorities wanted a costeffective solution for the auditorium to be used as a Cinema Theatre to screen educational videos for the students as well as a venue for Live performances. The audio visual system installed in the auditorium has been purpose designed for Cinema and Live Shows. As the auditorium is located on the 6th floor of the School building , achieving optimal sound coverage across the audience without any leakage onto other areas was a daunting challenge. Audio Visual Equipment installed in the auditorium include Mackie HD 1531 Self Powered Speakers, Mackie THUMP 18S Subwoofer and Custom

made Surround Speakers which were integrated and connected through a Matrix Processor QSC DSP 322UA which consists of 8 Input and 8 output from which all the outputs Left, Center, Right ,Left Surround, Right Surround, and Subwoofer are integrated through the Cinema Processor and from the Mixers outputs. The Matrix Processor has a User interface Switch NAC 100 through which user has the option of selecting the two different play Modes from Cinema 5.1 Mode to Speech / Live Presentations mode. For stage monitoring we have provided THUMP 15 A. For Live Performances and speech program modes all the microphones provided in the Auditorium will connect to the Mackie CFX20 MK2 (Audio Mixer). From the mixer the Left and Right outputs will go through the QSC DSP322UA to the speakers. This will allow us to achieve the best optimized sound setup (equalization and other corrections) for both Cinema and Live Performances. Also high end


• INSTALLS • Sennheiser microphones have been supplied to be used for the live performances.

The new Kannada Sangha Auditorium sound system is characterized by •

Mackie / HD1531 - Active 3-Way Speaker

As part of the visual system a TAXAN PH1001X projector of 4200 lumens has been installed. All the cabling for the Audio Visual System has been done using high quality KRYSTALS CABLES.

Mackie - THUMP 18S –Active Subwoofer

Mackie - THUMP 15A –Active Stage Monitor

Tascam / VL-A5 - Active Monitors

QSC/ GX5 Amplifier

QSC / DSP 322UA – Digital Processor

The performance of the Audio Visual system has been recognized and praised by the Kannada Sangha authorities, delighted with the highly controlled , even coverage across all audience areas. K S Hegde the VicePresident of the Kannada Sangha was obviously very much pleased with the way the project shaped up and commended the workmanship and professionalism shown by the E&E team of Gopinadhan (Poncho), Roshan Malim, Purushotam.

QSC NAC 100

Mackie - CFX 20.MKII - Mixer

Denon - DN - A7100 –Cinema Processor

Tascam / DV-D01U - Professional DVD Player

Tascam / CD 200 - Professional CD/MP3 Player

Klark Teknik - Square One Graphic Equaliser

Sennheiser /Evolution 800 - e845 – Corded Vocal Microphone

Sennheiser / Evolution 600 - e835 – Wired Instrumental Microphone

Sennheiser / EW152-G3 – Wireless Microphone

Sennheiser / EW 115 G3 – Wireless Microphone

Sennheiser / EW912BK –Boundary Microphone

Sennheiser / E 614 – Overhead Microphone

January-March 2011

73

SS


• INSTALLS •

Soundcrafted at Waterside When Northern Light won the tender to provide advanced technical infrastructure for the Waterside Theatre in Aylesbury, UK, the company set out to design a fully integrated system that was both versatile and reconfigurable. To weave in such a system, the integrator felt it couldn’t get a better solution than the one that included a Soundcraft Si3 digital mixing console. Working to a specification devised by Carr & Angier Theatre Consultants, the integration company designed a production infrastructure that would enable the client, Aylesbury Vale District Council, to decommission its old Civic Hall in favor of this superb new multi-cultural arts centre, and kick start the new development in the town centre.

SS

Thus he selected a Soundcraft Si3 64input desk, which can either be operated from the control room, set above the first floor balcony, or from a mixer lift position in the stalls. ”We were able to offer the theatre a better mixing solution than originally planned, for the same price—and they were delighted,” Cooper states. “We recommended the Si3 largely because, although digital, it is basically a direct replacement for an analogue desk, and all the existing cable infrastructure was there.” Supplied by Sound Technology Ltd, Soundcraft’s distributor in the UK and ROI, the Soundcraft Si3’s intuitive operation and high input and bus count made it a perfect choice for theatres such as this.

With three audience tiers (including fixed-seating balcony and upper balcony levels) and optional ground floor seating wagons—enabling the 1,200-seat auditorium to convert into a larger 1800-capacity standing space—evenly-dispersed sound to every seat was of paramount importance.

Above each fader is a rotary encoder, the function of which changes according to the mode selected. This “bank” of encoders, known as the Virtual Channel Strip can be set to control every function of a channel, so that mic gain, EQ, dynamics, auxes, panning are all controlled as if a normal analogue channel strip was laid sideways in front of the engineer.

While Northern Light project manager Simon Cooper was convinced the theatre should go digital in order to save space on outboard equipment, he did not want the upgrade curve to be too steep.

”While retaining that analogue feel, this solution offers a lot more processing power, all built into the desk,” continues Cooper. “This means that they are saving space on outboard

74

January-March 2011

equipment and getting a lot more than they were expecting within the desk.” In addition, portable racks have been provided for use in meeting rooms, with a Soundcraft EPM6 provided for mic and line mixing. Northern Light’s project manager realized that with Ambassador Theatre Group (ATG), the UK’s largest theatre group, running the new venue, the visual reinforcement would also need to be world class, since the Aylesbury Waterside will become a circuit venue for the nation’s top touring productions. In every case, he evolved a solution to match the challenges—which included networking through two lighting bridges and a forestage, plus ancillary areas such as a second, 225-capacity studio/function space, a foyer and a number of dressing rooms requiring show calls. All this is within an extraordinarily high, seven-storey building — measuring 25.27m from stage level to fly tower—with orchestra pit and motorized floor. Working alongside the construction team of main contractors, Willmott Dixon, electrical contractors Darke & Taylor and architects the Arts Team at RHWL, Northern Light helped ensure that this landmark building—with its curved timber frame structural design combined with a concrete core—was adequately equipped to handle any event of scale.


• INSTALLS •

Robsham Rejuvenated The Robsham Theater Arts Center (RTAC) is a focal point of Boston College in Massachusetts, USA. Built in 1981, the facility houses the 591-seat Robsham Theater, along with an exhibit space, a studio theater and other facilities. As the Robsham Theater’s presentations grew in scope over the years to encompass musicals, dance programs, drama and theater productions, it became clear that a redesign of the original audio system was needed. The Robsham Theater system is one of the first to use JBL VERTEC VT4886 subcompact line array elements, with 12 VT4886 loudspeakers forming a single, center array supplemented by two JBL VPSB7118DP 18-inch powered subwoofers suspended directly behind the array, with six additional AC15 speakers along the lip of the stage. The system is driven with Crown Audio I-Tech HD amplifiers and BSS Audio Soundweb processing. System management is handled via the Harman HiQnet System Architect communication protocol and software for remote control and monitoring. SIA Acoustics of New York served as the system design consultant, with Boston Light and Sound performing the installation. “The project started because the original sound system had become outdated,” said Adam Shulman of SIA. “However, after looking at the venue and its current and future needs, we realized there were some additional requirements— the project needed to encompass not only the PA but the media infrastructure as well. The RTAC is also a teaching facility, so it is critical that the students are able to access and use the equipment in a way that’s reflective of how things are done in the real world. As a result, the theater’s patchbays, racks and cabling were also substantially overhauled.”

”The system needed to provide even coverage, support the spoken word very well and provide moderate to high SPL for more dynamic productions,” stated George Cooke of the Robsham Theater Arts Center. “I suggested going with a line array system because it would perform well in the space, and give students the opportunity to work with an industrystandard loudspeaker configuration.” Shulman continued, “we looked at the JBL VT4886 and found a number of compelling features that made it very suitable for this project. The product performs as well off-axis as well as it does on-axis—often, loudspeakers will be fine on-axis but compromise off-axis performance. And vertical dispersion is where the rubber meets the road. If a single element performs badly in this regard, the issue is severely compounded when you stack the elements in a line array. Throw, consistency, coverage—all of these commonly used metrics are the result of directivity. Many speakers fall apart off-axis, horizontally or vertically [especially important in vertical arrays]. The VT4886 combines good off-axis response, compact size and proportionally high output, and these were the primary factors in selecting it here.”

The VT4886 loudspeakers were placed in an unusual configuration—the main loudspeaker system encompasses 12 VT4886 loudspeakers in a single line array above the stage. “As it turned out, the excellent horizontal coverage of the VT4886 loudspeakers enabled us to place them in a single 12-box array exterior to the catwalk area,” Cooke noted. “Although most installations would place arrays on both sides of the stage, we ran an acoustical analysis and determined that a mono cluster would work wonderfully in the Robsham Theater. This is unusual, but we didn’t need a stereo image, and we get real 120-degree coverage out of the VT4886 loudspeakers.” Shulman pointed out, “both intuition and the predictive data indicated that a single array of greater length would outperform two shorter arrays. Given a finite budget, the need for a consistent experience [which benefits the entire audience] outweighs the argument for something like stereo imaging [which only a small slice of the audience typically enjoys]. We were confident this was the right choice and the results have proven it to be the case.” ”The subsequent real-time measurements exactly matched Shulman’s predictions,” Cooke said. “There are no ‘choice seats’ anymore because now it sounds great wherever you sit.” January-March 2011

75

SS


• INSTALLS • PREVIEWS

InfoComm Asia’s Roadshows in India India is now blipping strongly on the growth radar of several international AV brand leaders. A group of 15 AV manufacturers are participating in a roadshow circuit of New Delhi, Mumbai and Bangalore, to explore collaboration opportunities with AV trade and end-user professionals in the country. As India embarks on infrastructural development – covering retail malls, railway and metro networks, hospitality and MICE facilities, as well as venues for entertainment events, etc – demand for pro AV systems is expected to grow. InfoComm India 2011 Roadshow will enable these manufacturers to connect with the AV industry in India and present their new product developments and applications. The one-day event in each location will feature: AMX’ award-winning products spanning control and automation, switching, distributed audio and video, and technology management. Barix’s innovative, low-cost solutions for audio over IP applications (transmission and monitoring of audio signals), communications (intercom) and automation tasks (decentralised control, monitoring and maintenance operations). beyerdynamic’s microphones, headphones, wireless systems and conference systems. Christie Digital’s advanced projectors and complete system display which can be purpose-built to meet unique projection requirements. Creator (China) Tech’s LED display systems, conference systems, control systems, signal management products and image processors.

SS

76

January-March 2011

Da-Lite Screen’s proprietary screen technologies specified for the most demanding installations from military training simulators to boardrooms and classrooms to home theaters. Delta Electronics’ power management solutions, components, visual displays, industrial automation, networking products, and renewable energy solutions. Elite Screens’ variety of front, rear and acoustically transparent projection screen materials for virtually any projection environment. Epson’s 3LCD projectors known for their superior quality, functionality, compactness and energy efficiency. Extron Electronic’s computer-video interfaces, matrix switchers, distribution amplifiers, audio products, video scalers, scan converters, signal processing devices, ethernet control interfaces, configurable touchpanel control systems, high resolution cables, etc. Harman International’s premium audio and infotainment solutions for the automotive, consumer and professional markets. Jupiter Systems’ display wall processors for command and control applications, known for their quality and 24/7 reliability. Kramer Electronics’ Pro Scale digital scalers / switchers, scan converters / presentation matrix switchers, and its world famous TOOLS. Plus Business Machines, representing brands like Revolabs, Lifesize, Creston, Plus, Mitsubishi, Mimio, Extron, projectiondesign and Clearone. projectiondesign’s high performance DLP projectors for professional simulation and visualization, medical

imaging, post production and domestic home cinema, business presentations and e-cinema. rp Visual Solutions’ visual display products for demanding applications, including Entertainment, Gaming, Boardrooms, 24/7 Operations, Training Facilities, Network Operation Centers. In addition to physical exhibits, there will also be a Manufacturers’ Presentations program to provide attendees with a deeper understanding of specific AV technologies. InfoComm India is part of a family of pro AV events organized by InfoComm Asia Pte Ltd, an affiliate of InfoComm International®, the international trade association of the professional audiovisual and information communications industries based in America. Admission to the event is free, but restricted to members of the trade (i.e. systems integrators, distributors, etc) and professional end users from diverse industries. The one-day event will be held in New Delhi on 14 February, followed by Mumbai on 16 February, and Bengaluru on 18 February. The event is highly useful for AV Trade Professionals comprising: • System Integrators / Custom Installers • Distributors & Resellers • Design Consultants • Rental & Staging Companies and Technology managers comprising: • Building Industry (Architects, Developers, Facility Managers, Interior Designers) • Business / Corporate / IT • Broadcast & Telecom • Education • Entertainment & Performing Arts • Government & Military • Healthcare • Legal • Museums • Meetings & Events • Retail • Sales, Marketing & Advertising • Theme Parks, Sports Arenas • Training & Presentation Professionals • Transportation



REVIEWS

2010 Hong Kong The 2010 edition of InfoComm Asia, the annual tradeshow for Asian audiovisual and systems integration industry was held from 17-19 November 2010 at the Hong Kong Convention and Exhibition Centre in Hong Kong. A total of 6,732 AV professionals and end-users attended the three-day event that brought together some of the best brains in the AVSI industry from across the continent. Although this represented a slight dip of four per cent from its last presentation in 2008, exhibitors however noted the higher quality of visitors that attended the show. In their initial feedback, the exhibitors reported that the visitors they met at their booths displayed a keen interest in AV technologies, and were very focused in their search for information and suppliers. AV trade professionals, i.e. channel distributors, systems integrators and consultants, make up 54 per cent of visitors. The other 46 per cent are vertical market end-users from a broad cross section of industry sectors such as building, retail, entertainment, event management, banking and education. Among these vertical market end-users were a 103-member delegation from China comprising trade association members heavily involved in a variety of large-scale building projects across China. 43 per cent of visitors came from Hong Kong and 30 per cent from China; the rest came from 55 countries and regions, mostly from Taiwan, Korea, Japan, Southeast Asia and India. Said Theresa Hahn, Director of Marketing for Verrex Corporation: “The show has been very good and exciting for us. We met people from different industries, and we’re quite satisfied with the show traffic. The systems integrators and end users we met were mostly from Hong Kong, China and India. They were eager to learn about our products and solutions. We received much interest in representation.” Verrex is new to Asia having just established an office

SS

78

January-March 2011

in Hong Kong nine months earlier, and participated in InfoComm Asia “to introduce our brand in Asia”. beyerdynamic, a frequent exhibitor in the infoComm series of events in Asia, was equally satisfied with their participation. “Visitor quality is good,” said Area Sales Manager for Asia/Pacific/ India, Michael Kinzel. “We met a mix of existing and new customers, including systems integrators and consultants

from China, the Philippines and India. They were very focused and showed great interest in our conferencing system and conference solutions. They seemed to be highly qualified people as they were able to understand our product technology and features very quickly.” The InfoComm Asia 2010 Summit also generated much interest, with attendance running close to 850 for


the Summit seminars and industry conferences. A new addition this year, the 2-day SynAudCon Workshop on Professional Sound System Design, was attended by 42 acoustics professionals. John McMahon, Executive Director of Digital Products, Meyer Sound, remarked: “We had a seminar on day 1 and it was well-attended. I was surprised to see so many Chinese people who were so eager to learn.”

Some 340 AV manufacturers from 25 countries and regions participated in InfoComm Asia 2010. The next InfoCommAsia event will be held in China, 13-15 April 2011. Before this, InfoCommAsia will lead a select group of manufacturers on a roadshow circuit to three cities – New Delhi, Mumbai and Bangalore – in India from 14-18 February, 2011.

EVENT CALENDAR 2011 February 24-26 BES Expo New Delhi, India www.besindia.com April 11-14 NAB Show Las Vegas www.nabshow.com April 13-15 InfoComm China Beijing, China www.infocomm-china.com April 26-28 Palme ME Dubai, UAE www.palme-middleeast.com June 2-4 Palm Expo Mumbai www.palmexpo.in

Christie

Harman

June 2-4 Info Communica Mumbai, India www.infocommunica.com June 15-17 InfoComm Orlando www.infocommshow.org June 21-24 Broadcast Asia, Singapore www.broadcast-asia.com

AMX

July 13-15 Palme Asia Singapore www.palme-asia.com

Barco

July 29-31 Pro Sound Light Expo Chennai, India www.cinematoday.in September 9-13 IBC Amsterdam, Holland www.ibc.org

Crestron

September 11-14 PLASA London, UK www.plasashow.com

dnp

October 20-22 Broadcast India Mumbai, India www.broadcastindiashow.com

NSA Kramer

Projection Design

November National Symposium on Acoustics India www.acousticsindia.org

November Infocomm Asia Hong Kong www.infocomm-asia.com

January-March 2011

79

SS


REVIEWS

Broadcast India 2010, 20th edition of India’s premium platform for broadcasting industry, was held from 21-23 October at the Bombay Exhibition Centre(BEC). The three-day event included a two-day convention on 21 and 22 October. Having moved two years ago to the BEC that spans almost one lakh square feet and can accommodate around 1000 exhibiting companies and 75,000 visitors, the event this year was bigger than the preceding one. With a new optimism spreading all across the eco system of the industry, following the fading away of recession blues, the event attracted exhibitors and visitors that clearly outnumbered previous year’s participants. Around 500 companies from over 30 countries showcased their latest products, launches, technologies and services for the film and television industry at the show. Some of the top exhibitors at the tradeshow included leading manufacturers like Harman, Sennheiser, EV, E&E, Audiotechnica, Pro Musicals, Panasonic, Harris, Benchmark, VIZRT, Grass Valley, AVID, Playbox, da vinci, Seachange, Datavideo, Hitachi, Digital Vision, ARRI, Panther, P+S Technik, Cooke Optics, Canon, Dalet, RCS, Daxco, DVS, Digital Rapids, Monarch & WASP3D. An exhaustive range of products came on demo. The exhibits included those on 2D/3D animation, broadcast production, cable radio, cameras, recorders, DAB, satellite, DBS, servers, DST, special visual effects, DTT, streaming, desktop video, mobile TV, IPTV, MPEG , Multimedia, broadband, HD, webcasting, interactive media, digital movie, television, widescreen, lighting etc. The technical sessions comprised panel discussions and workshops on IPTV, mobile solutions, digital cinema, High Definition, newsroom automation,

SS

80

January-March 2011

Sandy Medians Bobby, Ram and Raghav

content management distribution and delivery, content consumption and business of gaming apart from a host of topics that are regular every year. The 2010 edition attracted over 25,000 trade visitors and had around 450 exhibitors from as many as 31

countries. The focus was on digital technologies and IPTV. Latest innovations from the chosen lines were all on display. The mega platform struck the right balance between information exchange and serious commerce.


Canara Lighting

Harman

Dolby

Sennheiser Hansa Pictures

Pace Communications Sonodyne

Philips Lighting

R&S Electronics

Sony

Modi Digital

Tektronix

January-March 2011

81

SS


Sounding the Paradigm Shift

Mr. Lakshmi Narayan Managing Director, Harman International (India) Pvt. Ltd.

That Indian audio industry is going places is no new development today, given the indices the market had been displaying for some years now. What made it more interesting is an international major operating for decades in the country indirectly wanting to have a direct presence, and on a huge scale with a well-equipped establishment. Harman International took this bold step recently, and set up a direct, India-exclusive operational base in Bengaluru. The development had its impact in that many big multinationals followed suit, making the market a multinational competition space. SoundSolutions (SS) talks to Lakshmi Narayan (LN), Managing Director of Harman International (India) Pvt. Ltd., to know what exactly Harman’s vision, mission and initiatives! Excerpts: SS – Harman Pro had been operating in India for several years through its dealers/ distributors. What special reason(s) or factor(s) influenced it now to have direct presence, after so many years of indirect existence? LN – India has always been a key market for Harman International due to its vast size and promising potential. Due to continued development over the years, particularly after the Liberalised economic regime, there have been many paradigm shifts happening across all the industries. If we want to measure or estimate this advancement specifically in the pro audio and related industries, the figures look awesome, considering what they were earlier. Television industry is estimated to have a compounded annual growth rate (CAGR) of 14.5 per cent for the four year period from 2009 to 2013. Similarly, Indian film industry is expected to have CAGR of 9.1 per cent for the same period, followed by

SS

82

January-March 2011

music industry with a rate of 8 per cent CAGR. While the country is already witnessing a phenomenal growth in private FM radio industry, it is expected to shot up to as much as 560 channels by 2013. There had been an unprecedented growth in the number of live events, organised retail formats so on and so forth.

Similar is the growth factor in the installed sound markets too, like new infrastructure projects like new age airports and metro train systems, hospitality industry projects like hotels, and entertainment/recreation destinations, auditoriums, convention centres, places of worship, academia and sporting complexes.


Running underneath this exponential growth are three critical factors that have actually been driving the whole transformation- a big surge in purchasing power as well as a paradigm shift in the mindset of Indian consumer in general; a highlevel of awareness owing to their access to global information; and a great technological advancement bringing new products and solutions from time to time. The compound result of all this is the emergence of a robust and dynamically upscaling market throwing up an oceanic expanse of business opportunities. Harman International – which is always focused on customer needs and expectations – decided it’s time it had a direct footing on this key market geography. SS – What extra benefit(s) or value adds does this move bring to Harman Pro as an enterprise, and its customers as better offerings? LN – Harman India has carefully crafted a vision and has charted out a mission too with some key initiatives to realise them. Holistically put, the vision is to make Harman a synonym sort for all the sound requirements of Indian consumer. The mission is to create a brand awareness for Harman India as a whole, as against that of the hitherto existing individual brands with Harman tag. The initiatives to realise this include: •

A fully geared up establishment with completely new team and well-defined infrastructure- we now have a team of 22 experienced Pro Audio professionals who form the cream of industry talent

A state-of-the-art service centre aimed at backing up any product and service requirement from the nine brands under the Harman umbrella

These initiatives bring us closer to both the B2B and B2C segments and help us evaluate the efficacy of the products and services we offer. More, they also help us customise the development of new products towards meeting the growing demands in tune with the technological advancements happening globally. Either way, the customer stands an equal beneficiary. SS – Harman International is into many segments of audio markets globally- how about Harman India? what market segments does it intend to address? LN – We intend to address all the market segments where our products go- installed, recording and broadcast, PA, live sound, cinema, home and retail. To elaborate further, we cater to the requirements of consultants, contractors, recordists and musicians, system designers, on the professional side, and studios, broadcast networks, live events and rental companies, cinemas, screening rooms and mastering facilities, home theatres, and retail dealers. SS – How does it intend to approach these market segments? any particular strategy? LN – As I said just now, Harman India’s professional division is now fully geared up with a well-defined establishment to meet any requirement. We have put in place a 360-degree approach. If you observe, none of the competing

brands has a team of application engineers, or complete sales, service and marketing support network like ours. For instance, in an installed sound market, we have an application engineer always on guard readied to address any issue arising out of an install, even if it involves issues of associated formats like a video component or a fully integrated cinema. The application engineer is always backed up by a service engineer to meet any postinstall eventuality. The marketing teams are, of course, tasked with highlighting these strengths accruing to the customer, and boosting the brand identity of Harman India as a ‘complete solution provider.’ SS – Indian market has become a hot business space with many a global players seeking direct presence- how would Harman India take on such competition? LN – I just elaborated on one of the most important area that helps Harman stand apart and ahead of the competition. Marketing infrastructure with well-established channel strengths, strong R&D and back-end service support all will contribute to the already existing brand identity of the business. More, loyalty programmes, increased interaction with dealer networks will ensure that the brand stays clear of competition. SS – What reasons does Harman India see for this kind of upsurge in Indian market? LN – The three reasons I cited in the beginning. A paradigm shift in the socioeconomic milieu owing to increased purchasing power, exposure to global information as well as matured markets, and technology advancement is the main factor. That most global automotive majors like Mercedes and BMW are planning to have their premium ranges in the country – following on the enthusiasm experienced by other majors like Hyundai and Toyota – is one, India’s increased activism in international domain as witnessed in the sporting events has been the other factor boosting up a new dynamism. January-March 2011

83

SS


SS – Indian consumer is often taken for grey market and counterfeit products. How serious Harman India does take this? LN – We are very serious. It’s a real potential problem not only for Harman but also for all other genuine manufacturers, which is why we encourage the industry players to work closely with one another to counter the common problem of parallel imports, grey market or counterfeit products. Here, I think media has a vital role to play in spreading information and educating consumers for buying through authorised channels. From the manufacturer’s perspective, we have initiatives like checking all the sources of infiltrations, releasing ads and issuing warnings for such business practices. More, in the near future, we plan to barcode our products sold in India and also a common service warranty policy to safeguard Harman products from grey market or parallel imports.

SS – What is Harman India roadmap for the next three and five years? LN – India market is growing in all the segments. There is also a lot of regional growth, and more growth is expected from now. The markets are also getting defined as B, C, or D. As the country is increasingly

transitioning into an era of digital economy, all the audio related markets are expected to benefit from it with higher levels of growth. Since Harman has been an active player in both Indian market as well as the technology traits, it will continue to play a pivotal role in the ensuing synergy of the both.

ADVERTISERS’ INDEX Company

Page#

Product

Email

URL

Anutone

26

Interiors

info@anutone.com

www.anutone.com

Bose

88

Sound

prosales@boseindia.com

www.boseindia.com

Broadcast India

77

Tradeshow

saicomtradefairs@vsnlcom

www.broadcastindiashow.com

Christie Digital

13

Signage

sales.singapore@christiedigital.com

www.christiedigital.com

E&E

6

Sound

enepl@enepl.com.sg

www.enepl.com.sg

Hi Tech Audio

87

Sound

rajan@hitechaudiosystems.com

www.hitechaudiosystems.com

Info Communica

21

Tradeshow

jdsouza@infocommunica.com

www.infocommunica.com

MRH Digital

11

Sound

sales@mrhdigital.com

www.mrhdigital.com

Palm Expo

71

Tradeshow

mdias@palmexpo.com

www.palmexpo.com

Pro Visual Audio

9,15,19 39,56

AudioVisual sales@provisualaudio.in

www.provisualaudio.in

Sennheiser

2

Microphone info@sennheiserindia.com

www.sennheiserindia.com

Sonodyne

33,35

Speaker

response@sonodyne.com

www.sonodyne.com

Sun Infonet

3,70

Audio

info@sungroup.net

www.sungroup.net

Yamaha

5,17

Audio

info@yamahamusicindia.com

www.yamahamusicindia.com

The next issue of SS is a Spring Special promoted at Palm Expo - Mumbai and Pro Sound & Light Expo - Chennai The advertisement timeline is 15 April 2011. Email bobby@sandy.in

SS

84

January-March 2011






Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.