Systems Contractor News - January 2023

Welcome to the January Issue of

By Mark J. Pescatore

By Mark J. Pescatore

By Carolyn

How Fast Is Pro AV’s Carousel of Progress?

By Mark J. Pescatore

At a trade show last year, I was talking with industry veteran John Kaloukian at the Panasonic booth when he referenced the company's current unifying workflow. “I thought that was P2,” I deadpanned.

We had a good laugh at that, but the younger PR rep standing next to us didn’t get the joke. “You weren’t in the industry back then,” I said, “but trust me, that was hilarious.”

For those of you who also didn’t get the joke (or just want to make me feel old and/or unfunny), P2 was introduced by Panasonic in 2004. While other manufacturers were still promoting tape-based cameras and Sony was touting its XDCAM optical disc solution, Panasonic introduced a proprietary storage format for its camcorders based on something crazy called solid-state memory. Yes, solid-state is ubiquitous these days, but almost 20 years ago, it was a revolutionary concept.

That’s the thing about technology—it never really stops moving, does it? It reminds me of Walt Disney’s Carousel of Progress, one of my favorite attractions at Walt Disney World. Tucked away in the corner of Tomorrowland in the Magic Kingdom, this 20-minute show lets you visit with an animatronic American family at various times during the 20th century and, in Act 4, the near future.

Of course, the Carousel of Progress is focused on showcasing improvements in kitchen appliances and other consumer technology, not Pro AV products. Still, the concept can be applied to our industry, too. In 10 years, will we be looking back fondly on the days when we used Zoom for videoconferencing? Before you scoff at such an outrageous notion, remember Skype? It was the videoconferencing platform, until it wasn’t. And does anyone else have a cache of USB Mini-B or Apple 30-pin cables?

We’re all on a carousel of progress in the Pro AV industry. The WhizBang 1000 becomes the WhizBang 2000, then gets replaced by the Thingamajig Pro, which solves all our problems until the Humdinger Elite XL sets the new standard (and invents a new connectivity port). Unlike Disney’s methodically paced show, however, someone turned up the speed of the Pro AV carousel, so you better hold on tight.

From displays to AVoIP to audio capture and delivery, we’ve reached the technological pinnacle…or have we? It’s fun to occasionally look back—history really can teach us important lessons—but I’m excited to see what 2023 holds for the Pro AV industry.

CONTENT

VP/Content Creation Anthony Savona

Content Director Mark J. Pescatore, Ph.D. mark.pescatore@futurenet.com

Content Manager Wayne Cavadi

Contributors Joseph D. Cornwall, Jennifer Guhl, Carolyn Heinze, Kevin Klier, Dave Van Hoy

Group Art Director Nicole Cobban

Art Editor Rob Crossland

Production Managers

Nicole Schilling, Heather Tatrow

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Disney’s Carousel of Progress celebrates the technological improvements in the American home during the 20th century.

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PPDS Part of New ‘TPV Cares’ Foundation

TPV Cares is a new foundation that harnesses the talents of its teams and its technologies to bring life-changing help and support to people and communities in more than 200 countries. Launched in October, it is a collective initiative between TPV’s business divisions (TP Vision, MMD Monitors and Displays, AOC, and PPDS).

Part of an ongoing and accelerated giving-back mission, TPV Cares is the new dedicated home for all TPV’s social and environmental impact initiatives, uniting all business divisions to deliver enhanced benefits and opportunities. Available in all countries in which TPV is present (including EMEA, APAC, Asia, and North America), the platform will provide a variety of volunteer, financial, and in-kind support for deserving community projects that have a lasting and positive effect on society.

TPV Cares will expand to cover an even greater

remit of initiatives, with TPV aligning the platform with the United Nation’s Sustainable Development Goals, which include addressing the global challenges around poverty, inequality, climate change, environmental degradation, peace, and justice. TPV has also recently achieved the prestigious gold rating from EcoVadis, the world’s largest and most trusted provider of business sustainability ratings.

“Having led the sustainability drive at PPDS for some years now, I have seen the positive impact we can make as a company firsthand, and there are many opportunities ahead with TPV Cares,” said Martijn van der Woude, global head of business development and marketing for PPDS. “Our support can take many different forms, from providing state-of-the-art technologies to facilitate education and social integration within communities.”

Weigner Named Rise Woman of the Year

In late November, Daniella Weigner, co-founder and managing director of Cinegy, received the 2022 Woman of the Year award from Rise, the advocacy group for gender diversity in the media technology sector. Sponsored by Zixi, the Woman of the Year is selected by the global Rise Advisory Boards and presented to a woman who has made a significant contribution within her field. The Award is open to any woman from across the sector, at any level, anywhere in the world.

Under her guidance, British-born Weigner and members of the Cinegy management team traveled to Ukraine to bring staff and their families back to Munich. Together with Sonya Chakarova and Phillip Covell, she brought together more than 400 broadcast and media companies and individuals to provide resources, solutions, and hardware to

Ukrainian TV channels and media outlets to ensure they could stay on air amid ongoing conflict. Their initiative continues to support refugees in finding media roles across Europe.

“I am in the company of so many inspiring women in an amazing industry and so am very grateful to be recognized by Rise,” Weigner said. “As a company, Cinegy has always put family at its heart, and so ensuring the safety of our research and development and sales support teams located in the area was a top priority for us when the hostilities started. I hope that this award helps shine a continuing light on the plight of our friends and colleagues fighting and surviving in the Ukraine, for those waiting to return to their homeland—and it is on their behalf that I am extremely humbled and proud to accept this award.”

Samsung Renovates Executive Briefing Centers

Samsung has recently renovated four Executive Briefing Centers (EBCs) at permanent locations in Dallas, Irvine, CA, Ridgefield Park, NJ, and Washington, DC. Each EBC serves as a showroom for Samsung’s newest business and luxury residence products and solutions, and offers exclusive training and demo opportunities for customers.

The Dallas location, which had an official ribbon cutting ceremony in mid-October, is housed in the Dallas Market Center, a wholesale B2B trade facility that is host to more than 50 trade events annually.

Samsung partnered with the Dallas Market Center three years ago to help showcase next-generation visual display technology for retailers and interior designers. Featuring dozens of products and solutions, the 11,000-square-foot showroom has proven to be a transformational space with room for largescale trainings, meetings, and private events, allowing for greater engagement and collaboration.

“We welcome the addition of Samsung’s EBC inside our vibrant marketplace that is not only convenient for meetings and private events, but also to reach retailers, interior designers, architects, and builders intent on sourcing top technology options,” said Cole Daugherty, senior vice pres ident, Dallas Market Center. “This is a partnership that will pay dividends for thought leadership and commerce.”

“The Dallas EBC is equipped to showcase Samsung’s latest display products and solutions, and is designed to enhance customer and partner engagement,” added Harry Patz, Jr., senior vice president and general manager, Display Division, Samsung Electronics America. “This showroom demonstrates our commitment to channel partners in our top-performing sales state for the custom install and reseller market.”

Samsung has opened an Executive Briefing Center in the Dallas Market Center.

Daniella Weigner

Snap One Helps New Navy SEAL Museum Deliver Immersive Exhibits

The new Lt. Michael P. Murphy Navy SEAL Museum in West Sayville, NY, is unlike any other military museum in America. Named for a SEAL Medal of Honor recipient killed in action in Afghanistan during Operation Red Wings (which was dramatized in the motion picture Lone Survivor), the 8,000-square-foot museum welcomes visitors to experience the history of Naval Special Warfare through immersive digital experiences including projection mapping, touchscreen exhibits, and even 3D holograms of equipment.

The museum opened on June 28, 2022, the anniversary of Operation Red Wings. According to former Navy SEAL Christopher Wyllie, owner of New York-based custom electronics integration firm SEAL Solutions, the high-tech museum experience relies on a wide range of networking, AV, security, and power protection products from Snap One.

“The new Lt. Michael P. Murphy Navy SEAL Museum has reimagined the idea of museums by incorporating interactive exhibits where guests can dive deeper into topics, as well as exhibits that create an engaging atmosphere by surrounding visitors with videos and sounds that deliver a visceral, memorable experience,” Wyllie said. “Delivering this experience required thoughtful planning, lots of research, and the help of Snap One to recommend and provide optimal solutions for each need, from networking equipment to security cameras.”

The guest experience kicks off with an engrossing exhibit on D-Day, the invasion of Normandy during World War II. Using projection mapping technology, BenQ projectors, and Dragonfly projection screens, the exhibit displays a variety of still images and video clips in small formats with black spaces between them,

eventually growing to project a full-wall video. The steady growth of visual and audio content draws viewers in until the full video crescendos, exciting guests of all ages.

In an exhibit on the 9/11 attacks, three verticallymounted digital displays form an ultra-tall video wall where the entire height of the towers can be presented to show videos interspersed with facts and info about the attacks and the aftermath. Another projection exhibit presents a nearly 360-degree experience, with a projection screen that extends from the floor to the ceiling and then wraps over visitors’ heads and around the area—so they can see a forest in front of them, while a helicopter hovers overhead and drops a rope to their side.

These exhibits, and many others in the museum, require sophisticated audio and video routing that is achieved with a media-over-IP solution from Binary. This simplified and reduced the cost of the media infrastructure, since the long cable runs could be achieved with affordable Cat6 cable instead of more expensive HDMI. The use of MoIP for AV distribution required an unimpeachable network, which Wyllie noted is one of the most important systems in the entire building.

Using enterprise-grade Access Networks wireless access points and PoE switches ensures that all exhibits have constant connection to the network, in addition to providing distinct WLANs for employee and guest mobile devices.

“Most of the systems inside the museum are controlled through IP functions, including audio, video, automation, and remote monitoring, so the network from Access Networks is one of the most critical pieces of infrastructure,” Wyllie explained.

Because of the relatively small footprint of the

museum and its outdoor grounds, exhibits that might traditionally require entire rooms, like showing a helicopter or tank, are achieved using small hologram devices from DSee.Lab that project 3D images of the gear, which can either be designed to rotate or allow the guests to move around the hologram. The holograms are also connected to the network.

Another area pays respect to the 317 Navy SEALs killed in action since World War II. “The Cost of Freedom” area includes a wall with images, as well as a bench so visitors can sit and reflect. Behind the bench is a table display with a “virtual book” that’s projected in front of the exhibit, allowing guests to use gesture controls to flip through the book to read about each soldier’s story.

“In addition to projection mapping and video displays, professional-quality audio helps complete the immersive ambiance of many exhibits, with 70-volt Episode pendant speakers located throughout the museum,” Wyllie added. “There are even all-weather speakers in the outdoor garden area, where visitors can walk amongst military equipment. It’s all powered from equipment racks using Episode amplifiers.”

Wyllie also installed a variety of microphone systems, including wireless Sense microphones and ClearOne USB speakerphones, which are used for internal staff purposes and to allow amplified presentations and speeches for private events or future guided exhibits. A 30-camera Luma and Clare surveillance system provides real-time views of the entire interior and exterior.

All electronic equipment is also protected from power surges and outages through WattBox power conditioners and surge protectors equipped with the OvrC platform, which provides Wyllie with remote access to monitor and adjust equipment. “There is a lot of expensive electronic equipment used in the museum, and it all has to be protected to ensure reliable operations and protect against business interruptions or catastrophic damage from power surges,” Wyllie said. “Plus, the OvrC system gives me visibility into the gear’s operation no matter where I am, so minor troubleshooting can be done instantly without me having to physically go to the museum. It’s a time and money saver that is basically essential for a project of this size.”

Wyllie said that having insight to the operations is crucial because the museum is largely staffed by volunteers, and there isn’t generally an on-site AV or IT professional to manage daily issues. He also noted that working almost exclusively with Snap One products helped ensure that all disparate systems and components were compatible and could be easily integrated.

The new Lt. Michael P. Murphy Navy SEAL Museum includes a variety of multimedia experiences.

The museum’s electronic equipment is protected through WattBox power conditioners and surge protectors.

Projection Mapping Alters Cincinnati Architecture

The streets of Cincinnati were awash with color last October as an estimated 1.5-million people enjoyed the BLINK light and art festival, which featured four large-scale projection mappings powered by Green Hippo Hippotizer media servers and Barco UDX 4K projectors. During the four-day event, video installations turned the city’s landmark buildings into a “techno cityscape of the future,” bringing existing artworks and architecture to life with 3D projections.

At Memorial Hall, the building’s four striking pillars and grand architectural shapes featured sweeping, kaleidoscopic artworks by Italian multimedia studio, Antalless Visual Design. The installation used a Hippotizer Boreal V4+ server running four 1920x1200 signals to Barco projectors.

In the city’s Downtown Zone, artists Sam Okerstum-Lang and Masary Studios created Massively Distributed, inviting the public to create visual landscapes using a specially built app. The results were arranged together by the artist and activated via

a Hippotizer Boreal V4+, which sent four HD signals to an inline stack of four Barco projectors mounted in portrait formation.

At Cincinnati’s Hanke Building, students from the Miami University Department of Emerging Technology in Business and Design offered Isolation / Unity / Community, in reference to the pandemic and their ability to finally unleash their designs into the real world. They fired up two Hippotizer Montane V4+ servers, which pumped data to two Barco projectors. On the building’s façade, a mix of video mapped colors traced its architectural splendor while dreamy splashes of graphical content washed it with color. And at the Blond Apartments, the Little Africa 1800 art piece by British artist Vince Fraser saw magical steamboat graphics sail across the building, which were based on the real ships that transported slaves and freed people of color to Cincinnati across the Ohio River in the 19th century. Driving the animated graphics was a Hippotizer Boreal V4+, feeding data via HDMI to a Barco projector.

Tim Riley, Green Hippo’s U.S. sales manager, worked closely with live event production solutions provider PRG, which has served as BLINK’s technical partner since 2017, to specify the Hippotizer media servers needed to blend multiple projection images at all four projection installations. Together with PRG, and working alongside Tyler Roach of Chicago-based Eclipse Creativity, Riley helped to source, setup, and program the kit. “As an owner-operator of a fleet of Hippotizers, Tyler is a long-standing provider to PRG and a real asset in regard to delivering the Hippotizers as a solution to this event,” said Riley.

During the BLINK festival, four sites in Cincinnati featured projection mapping powered by Hippotizer media servers.

Congress Square Is Beating Heart of ISE

Visitors to ISE 2023, which runs Jan. 31-Feb. 3 in Barcelona, should be sure to visit the thriving Congress Square area. Located in the central aisle between Halls 4 and 6 and Halls 5 and 7 of the Fira Barcelona Gran Via Conference Centre, Congress Square is packed with innovations, networking opportunities, and industry organizations, bringing together a range of diverse partners in one place. It is home to the Catalonian and Barcelona City Council Pavilions, Discovery Zone, International Media Showcase, Influencer and Impact Lounges, and networking space. New for 2023, the Impact Lounge will offer visitors the chance to meet with organizations making a difference in the industry. This includes Women in Live Music (WILM), ISE sustainability partner Sustainability in AV (SAVe), and The Circle Society. The lounge will provide a space for visitors to connect with these organizations, which are looking to change things for the better, and learn more about the work they’re doing.

“We’re returning to ISE 2023 with a dedicated space in the Impact Lounge, where we can make new connections and raise awareness of women in the industry,” said Malle Kaas from WILM. “Along with ISE, we’re offering women a space where they can meet likeminded peers to share their experiences and network, bringing together newcomers and those experienced in the industry. We also encourage male guests to learn more about the industry from a woman’s perspective.”

“We’re thrilled to bring Sustainability in AV to the Impact Lounge at ISE 2023 for the first time,” explained Christina De Bono, founder and president of SAVe. “SAVe is the first U.S.-based organization to bring

stakeholders in the audiovisual field to take concerted action to achieve the 2030 Sustainable Development Goals [SDGs]. From climate change and environmental degradation to poverty and inequality, the challenges we face are profound, diverse, and getting worse. We must work together on a global level, as businesses, as educational institutions, and as nations to achieve these critical goals before it’s too late.”

“ISE 2023 will be a first for The Circle Society,” said Lisa Collins, managing director at The Circle Society. “We know that the skillsets and team dynamics within our industry are changing, and not only will we be on hand to discuss some of these issues, but we will also have our crew on site to capture some of those trailblazers building a successful company and individuals climbing the career ladder using our peer-to-peer learning and exchange programs. This global landmark digital and in-person community, platform, and network is for anyone working in the media technology and services, AV, TV/film production, post production and distribution,

pro audio, and VFX. “

After a successful debut in 2022, the Influencer Lounge returns for 2023 and once again welcomes content creators, social media trendsetters, and commentators who are an active part of the technology community. Expect a schedule of podcasts and events in this space designed for collaboration and conversation.

Elsewhere in Congress Square, visitors will be able to experience the latest innovations from first-time exhibitors in the Discovery Zone. Look out for virtual studio software developer Axximetry; AVoIP, HDBaseT, and HDMI distribution device manufacturer Netvio; electronic accessories manufacturer Vanco; and Flylights, which offers transparent LED displays, among many others.

Congress Square will also be the location of pavilions organized by Barcelona City Council and the government of Catalonia, hosting local and regional exhibitors. The Catalonia Pavilion will host 30 local businesses active in the AV industry, as well as highlighting business growth opportunities and running the Open Innovation Challenge. The ISE Open Innovation Challenge is hosted by Enterprise Europe Network and ACCIÓ (Catalonia Trade & Investment). Returning to ISE for its second iteration, ACCIÓ, a government agency, is working with corporations looking for new technologies and solutions partners to help solve specific business issues.

“The Open Innovation Challenge was a great success last year, so we’re delighted to be back for ISE 2023,” said Carles Gómara, business strategy at ACCIÓ. “The hybrid matchmaking service connects technology providers with businesses looking to purchase solutions—we currently have eight Catalan corporations lined up for your pitches. This B2B event offers the opportunity to create alliances with new local and international partners, and participation is free of charge, so sign up and get involved.”

Networking opportunities also abound in the six networking areas themed around the show floor Technology Zones. Plus, the International Media Showcase is where visitors can read the latest issues from the world’s AV media while taking a wellearned breather.

The Congress Square area at ISE 2023 will feature networking opportunities and more.

At the International Media Showcase, visitors can read the latest issues from the world’s AV media.

NHL Crowd Goes Wild with Meyer Sound

The NHL’s Minnesota Wild recently installed a new reinforcement system built around 96 Meyer Sound PANTHER large-format linear line array loudspeakers in its home arena, Xcel Energy Center in Saint Paul. Supplied by Sound Associates of Yonkers, NY, the world’s largest PANTHER installation to date debuted on Nov. 1 when the Wild defeated the Montreal Canadiens 4–1.

The new Meyer Sound system replaced an aging point-source system that was installed when the 18,000-seat arena first opened in 2000. “Top team management had heard systems at newer arenas and noticed the difference,” explained Jim Pfitzinger, the IATSE Local 13 engineer who has mixed Wild games since the arena opened and served as a key consultant on the upgrade. “Our old system was still intelligible and serviceable, but it lacked real impact.”

In Spring 2022, management asked Pfitzinger to fast-track a new system that would be equal to or better than any other NHL arena. Pfitzinger quickly consulted with Domonic Sack of Sound Associates on possible options at a time when industry supplies were tight.

Meyer Sound was able to fit the Wild project into its production schedule. In only 11 days, the entire system was wired, hung, and tuned—just in time for the first game of the season.

“We wanted line arrays with a small footprint to stay clear of touring rock shows, plus low power consumption and reduced weight,” Pfitzinger explained. “Powered speakers were high on the list, as we had literally tons of amplifiers and copper cables in the ceiling and we couldn’t take them out until the new system was up and running. Also, everything had to go up and down on the motors. On all counts, PANTHER fit the bill—and Meyer Sound could deliver.”

As installed, the system includees eight hangs of 12 each PANTHER loudspeakers, all with the 80-degree L horn. Potent bass power is projected uniformly throughout the space from dual hangs of nine each 1100-LFC low-frequency control elements in cardioid configurations. The entire system is networked for control, monitoring, and audio signal using the Milan AVB protocol, with redundant analog backup.

Using the MAPP 3D system design and prediction tool, the design particulars were worked out by Sack in consultation with Meyer Sound. Two other key

members of the project team were Metropolitan Interactive, responsible for rigging design, and Geiger Engineering, responsible for assuring the

structural integrity of all rigging points. Members of IATSE Local 13 were charged with the final rigging and flying of the system.

Xcel Energy Center now features 96 Meyer Sound PANTHER linear line array loudspeakers.

L-Acoustics Helps Nazareth Lutheran Church Conquer Acoustical Challenges

Established in 1871, mainly by the Danish farmers flocking to Cedar Falls, IA, for the territory’s fertile soil, Nazareth Lutheran Church has undergone various changes over the past 150 years. Like many other houses of worship, one of those updates was a choice to host both traditional choir/organ and contemporary worship services on Sundays to better cater to parishioners’ preferences in worship style.

Nazareth Lutheran sought to stay current in another way—by updating its PA system to one that would not only deliver exceptional sound for both musical genres, but also position the church for its next generation of worshipers. Last summer, the church installed an L-Acoustics immersive sound

system featuring the new L-ISA Processor II, which was critical in bringing the next generation of sonic technology to the mid-sized church.

“The church hosts a traditional service on Sunday mornings using a choir, orchestra, organ, and bells, then 45 minutes later there’s a band up on stage,” said Duke DeJong, integration lead at AV systems integrator Vantage Pro, which executed a full renovation of the church’s sound system, which also includes an Allen & Heath dLive C3500 console. “The new processor came along at just the right moment for them and for what we think will be many more mid-sized churches, too.”

In many ways, the new L-ISA setup addresses the acoustical challenges of the church’s traditional architecture, but does so with the future very much in mind. A combined total of 23 L-Acoustics A10i Focus and 11 A10i Wide loudspeakers comprise the five Scene arrays flown across the front of the stage, two Extension arrays, and two out-fill arrays, buttressed by six KS21i compact subwoofers flown in a center hang. Five compact 5XT enclosures are installed across the back edge of the balcony to cover its last several rows, and seven LA4X amplified controllers power the entire system.

An L-Acoustics LS10 10-port Milan-AVB switch acts as the network interface for the system, while a MADI card in the dLive mix engine connects the console to the PA. L-ISA Controller software runs on a separate computer at the FOH position to manage the system’s

object-based immersive mixing, while the console is used for level and dynamics control, making it simple to understand and master, even for the church’s largely volunteer tech team.

“The first order of business was to design a sound system that would address the church’s dynamic range of worship types,” said Marc Breda, project lead for Vantage Pro. “The pastor wanted that, but he also wanted the system to be ready to take the ministry into the future.” That’s not surprising, given that Cedar Falls is also home to the University of North Iowa, where more than 10,000 students are enrolled. “They wanted a system that would also engage a younger generation who have become accustomed to sophisticated sound.

L-ISA accomplishes that,” he added.

For Nathaniel Parrish, the church’s music director, the sonic transformation that the new sound system brings to Nazareth Lutheran is profound. “Our L-Acoustics speaker system has been such a huge improvement in clarity and fullness,” he said. “We recently had an event with 25 singers and musicians on stage, and it sounded great. We never could have pulled that off with our old sound system.”

That sentiment is echoed by those out in the seats, including the one that typically sits at the FOH mix position. “In my 20 years of experience as an audio engineer, the biggest hurdle I’ve had to overcome was the switch from analog to digital,” said audio contractor Dan Olsen. “Making that move was one of the biggest game-changers in the way I mix and how I mix in churches and for different events. The next big change is in front of me each weekend, and that is L-ISA from L-Acoustics.

“The way that I can place my orchestra and choir in a different space than the lead vocal and lead instruments helps create a space in our environment that is such an incredible boost to the overall sound of my mix. The ability to move objects on the fly, or to build presets depending on what group is coming in and how often, has been very easy. It’s fun to create something I’ve never been able to create with any other system.”

While Nazareth Lutheran Church is forwardthinking, it’s also realistic when it comes to finances. The 1,200-seat church is relatively mid-sized and budget-conscious. With the new L-ISA Processor II’s scalable licensing options, Nazareth Lutheran could pick an output tier that perfectly matched its production needs, significantly keeping costs down. Combined with the specification of L-Acoustics A Series enclosures—particularly the smaller A10i—it made choosing this system an easy decision for the church.

“The new L-ISA Processor II puts the concept of immersive sanctuary sound in much closer reach for churches like this,” Breda offered. “They’re running a 64-channel audio system there, so it’s not a massive production. But their Sunday programming is very dynamic, and they wanted to engage their audience well for all types of programming, as well as prepare the church’s sound for the future.”

With the scalable L-ISA II Processor, Nazareth Lutheran Church has significantly improved its sound system.

L-Acoustics gives parishioners an immersive sonic experience on Sundays.

Video Walls Installed Above Bowling Lanes Drive Hotel Entertainment

Located in downtown Iowa City, IA, the Hotel Chauncey is a 51-room boutique hotel that provides a family-friendly entertainment area that includes movie theaters, an arcade, restaurant, full-service bar, and two six-lane bowling alleys. When designing the hotel, ar chitects planned large video wall displays just above the bowling lanes.

The video walls needed to be flexible to show content in a variety of ways, with multiple sources displayed in any desired arrangement or a single

image filling the entire display. In addition, the installation needed to be economical yet provide rock-solid, seamless performance. Most of the content is pulled from the CATV receivers mixed with images and video clips from the computer. Tri-City Electric installed a twisted pair cable infrastructure and integrated eight Christie DWU850-GS DLP projectors driven by an Extron Quantum Ultra 610 video wall processor.

“The Extron Quantum Ultra simplified system design and integration,” said Roy Franklin, project manager, audiovisual, at Tri-City Electric. “Its windowing capabilities for the separate video walls easily met every need at Hotel Chauncey’s SpareMe entertainment area.”

In regular operation since September 2021, both video walls have proven to be a big hit with hotel guests, local university students, and the community at large. On the first floor, bar patrons as well as bowlers can watch televised sports and other programs interspersed with advertisements for upcoming hotel events. Bowlers on the second floor can watch the same or different content.

Hotel Chauncey’s two SpareMe bowling alleys are high-usage environments, especially during major sporting events. Sources include four CATV receivers, two Blu-ray players, and a computer that

functions as a media server. All are HDMI sources, supporting specifications up to HDMI 2.1.

To create seamless video walls, four of the projectors are ceiling-mounted within each six-lane bowling alley. The projector’s HDBaseT input accepts AV signals directly from the Quantum Ultra 610, eliminating the need for individual receivers and reducing system complexity. The processor’s 10-slot card frame is configured with two Quantum IN4HDMI four-channel HDMI input cards and two Quantum OUT4DTP four-channel DTP output cards. The remaining slots are reserved for system expansion.

Quantum Ultra was chosen because of its extensive feature set and maximum uptime.

Along with flexible windowing capabilities, the processor’s output overlap function met the key requirement for a seamless image scaled across the entire canvas in either or both bowling alleys, independently. A few other sought-after features include a 400 Gbps HyperLane video bus, Extron’s Vector 4K scaling engine, selectable window borders, and frame-locked outputs. Plus, an embedded operating system that resides on a write-protected, SSD and redundant, hot-swappable power supplies ensured reliable operation.

Hotel Chauncey guests can view major sporting events from either the sports bar or bowling alley on video walls controlled by the Extron Quantum Ultra.

Carousel Stimulates Digital Signage Growth for CCSU

Central Connecticut State University (CCSU) has upgraded its legacy digital signage network to Carousel Cloud to offer more compelling, contextual messaging, while reducing the time and complexity required to manage campus communications.

Based in New Britain, CT, the campus accommodates 8,000-9,000 full-time equivalent students, with 60 undergraduate programs plus post-graduate and doctorate programs. The digital signage network reaches the large mix of students, faculty, and staff with timely, relevant messaging.

When COVID-19 ceased most on-campus operations in March 2020, university officials realized how digital signage could play an instrumental role in its response, and how migrating off its legacy system to the cloud could help quickly scale the network. Chad Valk, media technology manager at CCSU, led a team that evaluated nine cloud-based digital signage software solutions. “Carousel Cloud was the one solution that checked every box,” said Valk.

Moving to a cloud-based solution helped Valk and his team quickly scale the network, spinning out nearly 100 cloud-connected displays within three days. The network now reaches 155 screens across multiple buildings, including the student center, campus library, food services, and various classroom buildings. Each department finds different value in using the system.

“The campus library creates exciting content and manages that within the Carousel CMS, while the Student Union Center publishes content designed to engage students with culturally on-point messaging and imagery,” Valk explained. “Sodexo, CCSU’s food service vendor, uses Carousel to publish campus menus across three different buildings, while the Rec Center recently expanded from two entrance screens to also include five screens in all of their workout facilities.”

In all cases, Valk said that Carousel Cloud has been easy to learn, easy to use, and highly accessible for all content contributors. “That includes our marketing department at CCSU, which uses Carousel the most for campus-wide communications,” he added. “The biggest change is that we no longer have to use a website editing tool to manage and change content, which was a burdensome and inefficient process. Carousel changed all that.”

The migration to Carousel Cloud has taken significant weight off the IT department’s shoulders for overall network management, as well as better safety and security controls. Valk noted that this is increasingly important considering today’s staffing and budget challenges.

“Our Carousel users can now schedule events, pull

in RSS feeds, and designate access to specify user permissions with tremendous ease,” he said. “All displays on the network are CAP compliant with the integration of Alertus and Carousel, and alerts are updated in real time. All CCSU screens turn over to Alertus in emergency situations, no matter who has local ownership of the screens, which takes more of the burden off the signage administrator. At the end of the day, we knew that faculty would use this system the most, and we also needed to make sure they had a smooth user experience that balanced with the features and functions CCSU required, which is the case with Carousel Cloud.

“This is a cloud-based system that can be utilized anywhere,” Valk continued. “There is no plug-in system or restrictions on which browsers can be used. All you need to do with your single sign-on is approve what we call ‘BlueNet access’ into the system.

Whatever the user’s device, it requires one simple approval step to gain immediate access to the system. It’s also very mobile-friendly, which was critical for our broader team of content contributors.”

CCSU’s network content is a mix of detailed campus information and infotainment-oriented bulletins, but Valk aims to optimize the content genres with clear objectives and calls to action, while further focusing on deadline-oriented, mission-critical messages and reminders. “I really want to focus on more targeted, measurable content that is paying off our primary purposes: telling contextually relevant stories in a timely manner that’s easy to update,” he explained.

Creating content controls is critical to this—and with Carousel Cloud, individual departments can customize their messages and share them to selected zones across specific channels. These controls were

recently extended to support a new use case at a satellite location at Middlesex Community College, which serves as an enrollment, advisory, and financial aid outreach office for prospective community college students. The screens communicate how easy it is to transfer to CCSU, and CCSU spun up a new instance of Carousel so that the two schools could partner remotely.

CCSU leans on BrightSign players for content delivery and BSN.cloud to simplify player deployment and management. The CCSU networking team responsible for management can easily look at DNS information and perform functions such as cycling and rebooting players when needed. Managing players has also become turnkey: The signage administrator simply adds or deletes a player to the master spreadsheet, then watches it populate and connect all pertinent dots. They can then simply jump over to the networking tab to see what’s online, what’s offline, retrieve data, and perform power cycling as required.

In the future, CCSU is looking at replacing two legacy exterior signage solutions with dvLEDs that tie into Carousel Cloud. “The communications constituents would then all have one portal to work through, further ramping up ease of management,” said Valk. “We also intend to address ‘dead spots’ at the entryway of many buildings and explore adding the 3,000 or so on-campus computers into signage networks using Carousel Express Players. That way when screens go to sleep, those deadline-oriented, mission-critical university messages are presented. We want all touchpoints to go to one solution, with Carousel managing internal and external screens.”

CCSU has streamlined campus-wide communications with Carousel Cloud.

November Deceleration Surprises

For months, economic concerns have centered on recession, with Q4 2022 as the likely start time. Whether that has happened—and it does not yet seem true—is far too big a conversation for AVIXA’s Pro AV Business Index. But the economy has softened, and AV reflects that.

In November, the AV Sales Index (AVI-S) registered 57.0, down from 65.1 in October. This level

month. Compared to numbers in the pre-pandemic years, the October mark would have been abnormally high, though not unheard of, and the November mark would have been abnormally low, though again not unheard of.

“Going forward, the trends are difficult to project. Such large changes tend to reflect noise, and you see reversion in the following month,” said Peter Hansen, economist, AVIXA. “But it’s possible that though the observed deceleration may reflect a bit of randomness, it also reflects a trend that will continue through next month and create an even lower AVI-S. Either way, the December index will be something to watch closely.”

Much more positive than the AVI-S were the inflation numbers that came in this November. Both the U.S. and EU numbers showed an easing of inflation. In the EU, November was the first time in 17 months that inflation had decelerated.

In the United States, the CPI showed the fourth consecutive month of deceleration, drawing the year-to-year change down from 9.1% in June to 7.7% in

interest rates to slow spending), seeing improvement is excellent news. However, we note that, like the lower November AVI-S, it is only one month of good data. More information will be needed to give confidence that the end of significant inflation is in sight.

The Pro AV Business Index has mentioned it several times before: Employment is a lagging indicator that moves more slowly than sales, reflecting the time needed to create a new job, search, and hire. Knowing that, we’d expect the AV Employment Index (AVI-E) not to move as much as the AVI-S. Indeed, that’s exactly what we saw.

While the AVI-S dropped 8.1 points, the AVI-E declined a modest 1.4 points, from 61.2 in October to 59.8 in November. Again, contrasting to the AVI-S, the AVI-E’s level in November is closely in line with what was normal in a pre-pandemic month. In wider employment news, U.S. employment numbers remained strong. The economy added 268,000 jobs, and employment remained steady at 3.7%, which indicates a strong and growing labor market.

The Pro AV Business Index report is derived from a monthly survey of the AVIXA Insights Community, a research community of industry members that tracks business trends in commercial AV. For more informa-

BLAZE AUDIO has added three team members to support operations through North, Central, and South America. As the customer experience / marketing manager, Americas, ERIC HUBER is tasked with managing the company’s efforts to ensure a high level of customer satisfaction. He is also creating a multichannel Go-to-Market to attract businesses and align all strategic product roadmaps and marketing initiatives. JON TAYLOR, who has been involved in professional audio for more than 30 years, is the new technical sales manager, Americas. He will locate and sign-up new dealers, provide presales configuration support, and provide product training to dealers and sales representatives. A bilingual customer service manager with more than eight years of experience, STEPHANIE ABREU’S background in the commercial and pro audio marketplace will enable her to represent the voice of the customer, manage procedural development for all support requirements, and resolve customer issues and update processes as required.

MICHAEL PALMER has joined DAS AUDIO OF AMERICA as vice president of sales, pro audio. He will be integral to the efforts of expanding the company’s sales channel through its representative and partner network. Plus,

Palmer will have a direct impact on the company’s initiatives to grow its presence and increase brand recognition.

An industry veteran with more than 30 years of broadcast and professional audio experience, BRIAN WALKER has joined DNAV as national sales manager. Based in Seattle, he will be responsible for all North American business, and will work to build the manufacturer’s representative side of the business.

RAFAEL COVARRUBIAS has been added to the LATAM team at EASTERN ACOUSTIC WORKS as regional sales manager. He is responsible for developing new partners and managing existing EAW partners in the region south of the U.S. border. Has spent more than 20 years building relationships with distributors, retailers, and Mexico’s major music shops.

ERIK TARKIAINEN has been named president of RADIO DESIGN LABS. Tarkiainen’s history as an executive in the audio industry includes his most recent position as CEO and general manager of House of Marley in the FKA family of audio brands. Prior to that, he served as vice president of global marketing for Harman’s Professional Solutions Division. Tarkiainen has also held management roles with Line 6, iZotope, and Bose.

New PPDS VP Preps for Expansion

PPDS, the exclusive global provider of Philips digital signage, interactive displays, dvLED, and professional TV products and solutions, has appointed industry veteran Nick Begleries as commercial vice president for North America. He will be responsible for all aspects of the business in the region, and will oversee the company’s move into a new U.S head office in Charlotte, NC. Begleries offered some exclusive insights to SCN regarding his new position.

: What made you want to join the company?

Nick Begleries : PPDS has incredible potential and is an exciting company, but more than anything at this stage in my career, it’s about the people and the mission. PPDS will lead the market in areas we should all be thinking about, from sustainability to cloud-

based service and software platforms. It’s not solely going to be about how many of this or that model we can forecast.

: How has your background prepared you for this role?

NB: For more than 25 years now, my days have been spent working closely with channel partners of all types—including VAR, distribution, system integrators, NSP/ DMR, and retailers, among others—on how they can install, support, serve critical functions, and make memorable experiences for their end customers. This has seen me gain extensive knowledge and experience covering displays of all types. If it’s a display, I’ve worked with it and with some of the industry’s biggest brands to grow these product categories, something I’m looking forward to doing here at PPDS, too.

Rep Report

AVL MEDIA GROUP, the North American distributor of Midas, Tannoy, Lab Gruppen, Klark Teknik, Turbosound, Zero-Ohm Systems, and Spotlight, has added 4950 MARKETING and AUDIOPROS to its North American sales rep network. The move is the latest in an ongoing series of strategic appointments designed to expand the firm’s capacity and partner with experienced talent to meet the highest quality standards of service. 4950 Marketing will be responsible for sales territories in the Pacific Northwest and AudioPros will service New England and Upstate New York.

HALTER TECHNICAL has appointed GERRAUDIO DISTRIBUTION as the exclusive distributor for its products in Canada. GerrAudio will provide a dedicated market focus for Halter Technical’s audio monitoring products, as well as spearhead the launch of the company’s new Microsone discreet audio monitoring system in Canada. GerrAudio Distribution has serviced the Canadian professional audio market for more than 40 years. The company represents top-tier audio and communications equipment, and provides sales support and after-sales service to its diverse customer base.

RICHARD DEAN ASSOCIATES is now representing LEA PROFESSIONAL and its entire suite of products as its new commercial AV sales partner for New England and Upstate New York. With more than 40 years of experience in commercial AV, RDA is a premier manufacturers’ rep firm focusing on sales through training, marketing, customer service, and end-user relations.

: What does PPDS have that will sway customers toward Philips professional displays?

NB: Local and global reach is a game changer. With the GPA and our international key account management team, there are no limits to our business, whether we’re supporting projects in one location or for hundreds or even thousands scattered around the globe. We also have solutions designed and built specifically for dedicated market verticals. PPDS is not just a provider of displays, but a provider of total solutions—we supply the whole package.

: Are you extending the current U.S. team?

NB: Yes, we have plans to expand in 2023. Providing the best levels of customer service is crucial to the company’s strategy, and it’s something we will not be cutting corners on. Globally, the company has been expanding its team and restructuring existing teams to add strength and support to specific regions. Even during the pandemic, PPDS was adding to its teams rather than reducing, which tells you a lot.

Eric Huber

Jon Taylor

Stephanie Abreu

Erik Tarkiainen

Rafael Covarrubias

Michael Palmer

Brian Walker

Nick Begleries

Datapath Doubles Down on Service

With new offices, a new demonstration suite, and more than 200% growth in U.S. support staff, Datapath has shown strong resilience to the industry pressures of recent years. In 2018, the company decided to bypass the trusted model of distribution sales to launch “Project Direct,” which allowed it to identify opportunities and sell to customers directly across North and South America.

Mark Bohs, director of sales (Americas), oversaw the change in approach, which now sees Datapath North America as the company’s most prolific division by unit sales. “We have more than doubled our staff and have gone from one technical support person to five, with more expected in the near future,” he noted. “We have a dedicated training team as well as two pre-sales engineers and a full-time system builder.”

The growing team, which now covers the contiguous United States, coincides with an expanding portfolio of hardware and software-based video processing solutions. Datapath has also been recognized for its Aetria solution, which provides control of multi-source, multi-endpoint video from a single interface.

With the ability to help design full systems from scratch, as well as the control, management, and monitoring of complex systems, Aetria can be a challenge to fully explain, even in virtual training sessions. Datapath North America’s new Pennsylvania offices now have one of the most comprehensive video management demonstration suites in the country. Built in conjunction with Planar, the facility boasts 12 dvLED video walls, which allow operators to test Aetria’s capabilities. Planar has also installed its own Datapath demo facility in its offices in Providence, RI, along with demo suites in South Florida and Washington, DC.

As well as its portfolio of hardware and software, Datapath’s growth in the United States has also benefitted from the increased offering of commissioning and additional services. Bohs and his team were the first to initiate a full commissioning service to Datapath customers, allowing SIs and end users to utilize Datapath engineers before and after installation. This “by-your-side” service has been well received across the company’s target markets, so much so that commissioning has now been successfully utilized

across Datapath’s global divisions.

“The commissioning service has been a big hit in both North and South America,” explained Bohs. “Most of our large projects require a degree of bespoke personalization with differing requirements for processing power, outputs, and the necessary capture

and graphics cards. Selling services is now a big part of our offering, and now that we have the personnel, we are able to get more projects progressed and it continues to grow. We are always mindful of integrators’ needs, and we don’t want to encroach where their value-added sales are, but our service is there if required.”

Mark Bohs

45-Year Success Story

Global President Giffard Celebrates Solotech Team during Anniversary

By Mark J. Pescatore

: How long have you been with this company, and what are your responsibilities?

Philip Giffard: I joined Solotech back in 2016. As president of sales and integration, I oversee all global activities of our worldwide team. We have market presence in the United States, Canada, U.K., and Asia. I also manage our e-commerce activities.

: How is Solotech celebrating its 45th anniversary?

PG: We’re very proud to have achieved this incredible milestone. From that initial Montreal Olympics Games audio mandate to our recently created divisions, worldwide acquisitions, and expanded role in XR productions, we’ve parlayed our enthusiasm about this remarkable industry into a true success story. We’ve learned a lot since 1977 and have grown significantly in AV and technology. And that all comes down to our amazing employees who took the ride with us. It is their talent and vision that inspired and drove our achievements. For our 45th anniversary, we have marked the occasion with revamping our logo on all marketing platforms and merchandise, with a special nod to the holiday period.

: What are some of the company milestones that make you most proud?

PG: Our industry is in a constant state of evolution. Fortunately, this has meant that Solotech has been on an upward trajectory peppered with many milestones along the way. Among them are: first appearance on SCN’s Top 50 list (2017), attaining $100 million in revenues (2018), first overseas acquisition (SSE), new branding (2019), numerous U.S. acquisitions (2019-2021), and more recently, e-commerce diversification.

To be able to grow as rapidly as we have, to integrate different companies and build a unique culture, and to be as strong as we are today, you need fantastic employees. That is what I am most proud of. If I had to highlight just one event, it’s how our team was able to face adversity (the pandemic), get even closer as a team, and find solutions to get out of it stronger.

: What are the advantages of having so many different companies under the Solotech umbrella?

PG: Our different companies build us up now and set us up for the future. By having multiple locations with assorted fields of interest, it allows us to expand our global footprint, while also bringing us closer to a variety of clients with distinctive needs and expectations. Maintaining a common message and having multiple channels can become challenging, but we are dedicated to making it seamless for our clients. Our goal is to expand while staying true to our values: passion, innovation, excellence, respect, and collaboration.

: How did the pandemic change your corporate strategy?

PG: Day One of the pandemic saw most of our traditional business venues swept out along the wave, including sports arenas, cultural attractions, and airports. Our first instinct was to reach out to existing customers and help them navigate this unprecedented occurrence. We adapted their equipment for outdoor use and enabled their technology with increased streaming capabilities. Then, we looked for new opportunities.

We’d built strong partnerships over the years, but there is no denying that the CBCI acquisition allowed us to shift into second gear. With that acquisition came expertise and relationships with leading manufacturers to become a major player in that market. With our traditional business now back on track, the gained knowledge base of collaboration technologies makes us a more robust company.

: What are the short and long-term goals for your company?

PG: Our first consideration is stabilizing and growing the business in the face of ongoing labor and equipment shortages, as well as pursue our organic growth and diversification initiatives. In our 45th year, every decision made is to ensure we keep it going

Philip Giffard

Position: Global President, Sales and Systems Integration Division Company: Solotech Overtime: I have three young kids who fill up most of my free time, but in the most fun way possible. As a family, we like spending time outdoors year-round, meaning skiing in the winter and tennis in the summer.

for at least 45 more years. Work ahead includes efficiently deploying our systems and processes to specific areas. To that end, we launched our Global Market Leader Program to identify resource persons in various markets and solidify our expertise. Moving ahead, developing e-commerce solutions will be a major focus. There is room to grow in some business markets and geographical locations where we can add enhanced value. Most important is to grow in a sustainable manner.

: With so many businesses adopting a hybrid work strategy, what trends are you seeing in corporate AV projects?

PG: We have yet to find the magic recipe for hybrid work. Most companies are still looking for the right model, which will enable them to be productive while building the right work and personal life balance for their employees. Because we see so many different models, we feel like we can be a great advisor to our customers.

We don’t come in with a preconceived solution. We have access to a lot of data and trends which enables us to make insightful recommendations. We do a thorough needs assessments and, with our clients, build the right approach. Our state-of-theart managed services, with a 24/7 NOC center, enables us to adapt our solutions to client needs.

: Where do you see the Pro AV industry heading?

PG: The pandemic aftershocks have currently slowed acquisition activity levels. Time will tell when and how it picks up again. Resilience and adaptability are key, as our industry has much room for maneuverability for consolidation. It is still growing at a very interesting CAGR and expanding into new markets. The dividing line between AV and IT is now so blurred—practically nonexistent, really—that the playing field is so much greater than in the past. We are a technology driven company, and given that, the accelerated rate of augmented reality and artificial intelligence innovations will have a continuous impact. As one of the leaders in industry, supported by three complementary divisions, we feel we are well positioned for the future.

With our traditional business now back on track, the gained knowledge base of collaboration technologies makes us a more robust company.

Creating Connections

PCM Helps Coordinate Project Labor for Pro AV

By Mark J. Pescatore

: When did you and your partner establish PCM?

Daniel Abrams: PCM was in development for just over a year before our official public launch on July 5, 2022.

: What is PCM and what services do you provide?

DA: PCM is a business group for service providers in the AV and low-voltage industries. Our collective of Crew Network Providers (CNPs) forms the PCM Network. The PCM Network enables the industry at large, including serving integrators and manufacturers, to expand their reach and grow their businesses.

PCM CNPs benefit from nationwide distribution and sales activities generating project opportunities, industry representation, and shared best practices and experiences. As PCM grows, we have plans to introduce additional programs and benefits to our CNPs.

service providers and those consuming services as a trusted partner, creating connections and a responsible path to outsourced service delivery.

: How has your background prepared you for your role?

DA: I’ve been fortunate to experience the AV industry from several perspectives over the last two-and-a-half decades. As an integrator and end user, I had a vast amount of direct experience working with and managing third-party providers. My partner and co-founder, CEO Chris Whitley, was the original founder of USAV (now known as EDGE), so his specific background in the development of a business group is also a tremendous benefit.

: Does PCM connect integrators with individuals as well as organizations?

DA: No, but also yes. All of our CNPs that make up the PCM network are businesses. Some are quite small, while others are larger. Some of our CNPs provide individuals as outsourced resources, which creates a pathway to connect to an individual, but only through a business partner, not a direct connection to an individual.

: Is PCM also a buying group?

DA: PCM is developing a program for our CNPs to leverage group purchasing power for commodity products and items that are beneficial to their businesses. This would include things like cable and infrastructure products, physical installation tools and hardware, and business services including office equipment. PCM CNPs are not resellers of AV technology.

Position: Co-Founder / COO

Company: Project Crew Multiplier

Overtime: I’m a big-time automotive enthusiast, so much so that I actually own a car dealership in San Diego specializing in classic cars and late model used vehicles.

As individuals, both Chris and I have long-term relationships with many members of the Exertis Almo executive team, making the partnership a natural fit.

: Why should systems contractors consider PCM for project labor?

DA: PCM is the first and only business focused on the development and support of third-party service providers. We recognize our role as a trusted partner of both sides of the outsourcing equation. Our industry experience and knowledge of the work our CNPs are delivering is second to none.

Outsourced resources provide an excellent way for systems contractors to expand their reach and grow their businesses without the need to take on considerable additional overhead. Outsourcing allows businesses to scale their workforce and their skill sets as needed. As an added benefit it is also a great way to have more predictable margin on your service sales.

: What are the short and long-term goals for your company?

DA: We’re definitely still in growth mode, and our largest short-term goals include increasing the footprint and coverage of the PCM Network and continuing to promote the responsible utilization of the outsourcing in Pro AV. As we continue to grow, we look forward to bringing new and innovative programs to our CNPs and partners, as well as expanding to serve other market segments of the low-voltage industry.

: Where do you see the Pro AV industry heading?

: So, you’ve positioned PCM to be a Pro AV middleman?

DA: That’s a fair statement, though PCM was built with a focus on the service providers business first. When talking about PCM, we typically refer to commonly known business models like Uber. Uber is a network of drivers and riders. It provides benefits to each while being the trusted partner in between. PCM is similar in that we serve both

: What details can you provide about your partnership with Exertis Almo?

DA: Our partnership with Exertis Almo is a fantastic way for integrators to easily access the PCM Network. They have a nationwide presence and provide our CNPs with opportunities at projects across the country. As organizations, PCM and Exertis Almo share many of the same core values.

DA: That’s a loaded question! My personal feeling is that we’ll continue to see overall growth for the industry. Generally speaking, the demand for AV is getting bigger, not smaller. As end users acclimate to new ways to work, learn, and create, the role of the integrator will continue to change. Change is guaranteed. There will definitely be the continued development of more service-based offerings in every segment of the market. Any business that continues to operate based on “how we’ve always done it” won’t be around to tell that story much longer.

Outsourced resources provide an excellent way for systems contractors to expand their reach and grow their businesses without the need to take on considerable additional overhead.

Daniel Abrams

ofEach year, SCN is proud to celebrate the achievements of a select group of Pro AV leaders. In 2023, we honor a diverse group of business and technological pioneers from across the industry. Congratulations to this year’s amazing inductees into our Hall of Fame.

Blackman helped launch the first ISE show in Geneva in 2004. The show moved around a bit—to Amsterdam in 2005 and then Brussels in 2006—before settling into the RAI Amsterdam convention center for the next 14 years.

By 2017, Blackman realized the show was outgrowing its Amsterdam venue, and ISE began searching for a new home. Extensive research led the company to Barcelona, which is striving to become a leading technology destination for

Michael Blackman, managing director of Integrated Systems Europe (ISE), became a staple of the international Pro AV industry quite by accident.

In 2002, a headhunter who was working on behalf of InfoComm, CEDIA, and NSCA was looking to recruit someone to launch an AV show in Europe. “I remember thinking, ‘This looks cool. I could enjoy this,’” Blackman recalled. “And the rest is history.”

Early in his career, Blackman had different plans. “I wanted to be an accountant,” he explained, “and I got bored to tears.” He shifted gears with a move to marketing for the Financial Times , and eventually opened his own consultancy business.

Blackman worked with several high-profile clients, including BMW, which fed his passion for fast cars, and Harley-Davidson, which fed his passion for motorcycles. He also launched several IT events in Europe, many focused on specific manufacturer platforms, including Personal Computer World Show, Macworld Expo, Unix Expo, and Windows World. He was in Germany to launch IDG World Expo when he was recruited for ISE—and after his first InfoComm, he was hooked.

“I love technology, always have,” Blackman said. “You don’t have to force me to read this stuff. Talk about falling into something you love.”

Then came COVID-19. ISE did take place in Amsterdam in early 2020, despite losing about 70 exhibitors and instituting a “no handshake” rule, but the 2021 show was cancelled. The 2022 show wound up delayed until May, but ISE’s Barcelona debut was considered a big success. “That was the right decision,” Blackman said. “We had a good show.”

At 64, Blackman is a father of five and grandfather of three who still likes fast cars and motorcycles. He even rode his Harley-Davidson with a group of other AV professionals who ride from Germany to Barcelona to attend a regional event in 2021. He also offered some wisdom for young professionals entering the Pro AV space. “The key is finding the right company to work with,” he advised. “Keep learning. Don’t stand still. The most important thing is to enjoy what you’re doing. I’m excited every morning I get up.”

Blackman also knows that ISE’s success was not a solo effort. “I get all the credit of ISE, but I don’t like people to forget about my team,” he said. “Everyone contributes to what we’ve done and built.”

ISE is poised for even more success in its new home. Blackman said ISE 2023 will likely be near the show’s pre-pandemic 2019 levels. “We have the potential to be the largest exposition in Barcelona,” he added. “The growth of our industry, both commercial and residential, leads us toward huge growth. It’s not about size—it’s about serving the market, bringing together buyers and sellers of Pro AV. I think that’s what makes this so exciting.”

Michael Blackman

HALL OF FAME BUSINESS

Charlie Butten

By Wayne Cavadi

“It all begins with the signal. If you don’t have the signal, you got nothing.”

So said Charlie Butten, now 83 years young, as he reflected on his long career from his Pacifica, CA, home. It’s a career that allows him to refer to rock-n-roll royalty like Eric Clapton and Carlos Santana by first name. After more than 50 years, it’s a career that allows him to continue molding young Clear-Com employees for the future. And it’s a career that changed live events, and

Butten and Bob Cohen are the names most associated with the creation of Clear-Com, and it was the RS-100 analog beltpack that boosted Butten into celebrity and mythical status among concertgoers and content creators alike (a 1971 article in certainly helped). But the wheels were in motion long before the two met up in San Francisco in the late 1960s.

“It all started slightly before that,” explained Butten. “I was working in Boston, and Terry Hanley had a system, and he had the concept of a belt pack. But the thing is, his belt pack basically had just the outside controls with a cable that went to an amplifier in the back room. It wasn’t terribly convenient, but the concept of a belt

It was on the West Coast that the first distributed amplifier intercom system, the RS-100, was born. Butten said much of the work was done in a bathroom sink that

Fred D’Alessandro

By Jennifer Guhl

Fred D’Alessandro may have not realized it at the time, but one of his high school courses would eventually change his life, inspiring him to form Diversified, one of the largest AV integration companies in the world. The course he took allowed him to explore the expansive worlds of AV, television, and film technology.

“I found the course and the technology fascinating, especially when they discussed the future of AV technology and the user experience of the future,” D’Alessandro recalled.

This introduction to the AV industry led him to focus his college education on broadcast and AV technology, eventually leading to his first job as a production technician, then maintenance engineer, at a local television station. He had been offered the opportunity to work at a large broadcast network at the same time, but felt working at the smaller television station afforded him a greater opportunity to learn, grow, and work within the various departments at the station.

During his time as a maintenance engineer, he fell in love with the process of designing and building out new technology systems. Eventually, the television station he was with was sold, and he took it as an opportunity to start his own business, building technology systems for various media companies,

had been provided by Cohen’s father and had been installed at the early offices of Clear-Com. Butten used an employee’s frying pan as the soldering pot, along with makeshift tongs held together by tape. Despite the modest assembly process, the finished product worked—and the rock industry loved it.

“We made up a few systems and some of the local bands started using it,” Butten said. “And what they were really thrilled about is they could throw this thing down on the stage floor, plug it all in, and they didn’t have to worry about anything.”

Word spread fast, and Clear-Com’s presence in the industry quickly became a hot commodity. Butten humbly admitted that wasn’t all his doing. “Well, Bob [Cohen] is a very good businessman and I’m not,” he said, laughing. “He started introducing it to a lot of people and it definitely picked up speed.”

Decades later, Clear-Com’s devices and solutions—from partylines to headsets—still power the live event industry, but can also be found in TV production and beyond. Was that Butten’s plan all along? “Actually, I was just focused on the task at hand, which was communicating to the stage from the mix console,” Butten said. “That was our big thing. And then later, it expanded out.”

Is there more room for expansion? “That’s a good question, because there’s a lot of branches that we could explore a bit more,” Butten explained. “For example, there’s a branch that would involve operating rooms where you can talk to the doctor while he’s doing his thing. There’s a branch on oil platforms and things like that, which involves good outdoor application.”

While Butten mentioned that he hopes his legacy is “the whole concept of being able to communicate in noisy conditions and putting together a simple system to do it,” that legacy continues to grow. Butten still works for Clear-Com and is currently collaborating with the youngest person on his team.

“What you realize is when you get to be 83, which I did, you begin to think about how do I pass all of this on?” Butten added. “Because the clock is ticking against you. So that’s a big part of it—passing it on to the next generation.”

financial institutions, sports teams, and government agencies. This led to the Diversified we know today.

Highly regarded within the industry, Diversified has become the gold standard for large-scale deployments, and is responsible for some of the most complex AV systems in the world, including installs at the Chase Center, Empire State Building, and eBay’s Main Street. “When I started Diversified, AV technology use was limited and somewhat of a luxury purchase for many companies,” said D’Alessandro. “Now, however, AV and media technology are critical to the health and success of every company.”

D’Alessandro always knew the importance of offering advanced technology solutions—and in 2020, launched Diversified’s digital signage division, which few competitors can match in terms of variety of solutions and scale. Diversified has afforded many talented and hardworking individuals the opportunity to work on “once in a lifetime” projects, and for that, D’Alessandro is most proud.

“The pace at which AV technology continues to evolve,” he said. “It is never boring, and the pace of change forces you to constantly educate and re-educate yourself to remain relevant in the industry.”

With his recent transition from CEO to executive chairman, D’Alessandro continues to play a critical advisory role within Diversified, using his expansive industry experience to strengthen client relationships and mentor associates within the company. Remembering how his passion for AV was sparked at a young age, he believes the industry has so much to offer those just starting out within their careers.

“Master the job you are given while educating yourself for the job you would like to pursue next,” D’Alessandro advised. “Build your confidence, but stay humble and be kind to everyone around you as you advance your career.”

BUSINESS HALL OF FAME

Harro Heinz

By Jennifer Guhl

Originally from Germany, Harro Heinz arrived in the United States in 1957 with his wife, Erika, bringing along a bachelor’s degree in electrical engineering and five years of experience at Germany’s Grundig Radio. Avery Fisher of Fisher Radio financed the couple’s trip from Germany to New York, and Heinz began working as a junior engineer with a starting salary of $125 per week.

Heinz continued to advance through the company, being promoted to chief engineer while taking night classes to earn a master’s degree in electrical engineering from Columbia University and an associate’s degree in business from New York University. He left Fisher Radio for the opportunity to become the vice president of operations at Bogen Communications, and eventually went on to become president of Rauland Borg in Chicago.

“My wife and I are proud graduates of the American Dream,” Heinz said.

In 1979, Heinz was ready to start his own business, and Renkus-Heinz was officially born. Built on Heinz’s expertise in electronics, today the company is synonymous with premium sound and innovation. When making plans for his potential new company, audio felt like the natural choice—it was a specialty Heinz was comfortable with that also allowed him to broaden his experience beyond engineering.

“My technical background suggests that I know more about electronics than acoustics,” said Heinz. “Not surprisingly, I kept trying to somehow integrate

electronics into loudspeakers. I knew the combination could lead to better sound quality, aimed propagation, and higher reliability.”

Audio purists at the time begged to differ, believing using as little electronics as possible was the way to go. Eventually, time proved them wrong, and Heinz shined through as a true innovator. “Today, all high-performance loudspeakers rely heavily on integrated electronics,” he observed, “and our early-on inclusion of electronics enabled RH to evolve into an industry leader in steerable sound.”

The early years of the company were spent trying to settle on its differentiator. During a meeting, Charles Boner, the son of the famous acoustics expert C.P. Boner, told Heinz the professional sound industry needed not only good sound but good coverage as well. That advice led to Renkus-Heinz’s future: highly directional loudspeakers that place sound exactly where it’s needed, with the addition of high SPL and concert sound quality.

“Over the years, we successfully met this challenge, and that’s the exciting part,” Heinz said. “We’ve been developing and innovating high-quality loudspeaker technology to lead the audio industry for decades now.”

Heinz recently retired in 2022, at the age of 92, but continues to serve as chairman of the board of directors. His children, Ralph and Monika, now lead the family business as chief technology officer and president, respectively. “Ralph remains the ideal man as CTO, and Monika is perfectly suited to her role as president, as she knows how to keep an organization running,” said Heinz.

The AV industry, like other industries, is currently trying to adapt to changes impacting products, manufacturing, and procurement. Heinz believes the companies that will be successful moving forward—whether manufacturers or integrators—are those that put a high level of intelligence behind their products and solutions.

“The future of AV is with the nimble,” said Heinz. “Be ready to adapt and experiment. It will be harder than following the status quo, but opportunities are always there.”

Rangers ballpark in Arlington. At the time, it was the largest computer-controlled sound system, and the project put them on the map within the pro audio space.

Jordan

By Jennifer Guhl

Growing up, Chris Jordan didn’t really view audio as a career but more of a way of life. His father ran his own business installing home stereo systems across Fort Worth, TX, and Jordan would travel and work alongside him. After struggling to find his place in high school, and realizing he was not college material, Jordan continued to work with his father until a near-death experience helped him realize his true calling.

A skydiving accident left Chris Jordan questioning his purpose and existence. He found solace at his local church. While attending services, he realized the importance of audio within houses of worship—and found a way to serve God and support churches at the same time.

Jordan immediately purchased textbooks on sound engineering and acoustics and took to studying. With the support of his wife, Sue, a former valedictorian who helped keep him on track with his studies, he began to pound the pavement and meet with local architects working on new houses of worship. He found that many didn’t have a plan for the acoustics—leaving that up to the client to deal with—and he was able to gain their trust to become their audio service provider.

From there, one reference led to another and before he knew it, Electro Acoustics was born. Founded in 1984, the company started out with audio but eventually expanded its services to offer video and professional lighting as well. Jordan said their big break came when they were selected to install the sound system for the Texas

That project led to the company’s involvement with other high-profile venues throughout the region, including Bass Performance Hall and, more recently, Dickies Arena. “We developed a reputation for doing world-class, difficult projects. We had a knack for that,” said Jordan. “I never get tired of seeing that look of excitement on a client’s face.”

Time and time again, the family had to put everything they owned on the line for the growth of the business, and Jordan said his wife was always a major source of encouragement. “She would always come in and bail me out when I tried to bankrupt the company,” Jordan joked. “She believed in me from the very beginning, and it has really been a great partnership.”

At its heart, Electro Acoustics is, and will always be, a family business. Jordan never pushed for his two sons, Luke and Sam, to be involved with the business, but the business couldn’t help but be a part of their upbringing. “They grew up with an attitude of grit, working hard, character matters, and do what you say,” said Jordan. “That was a big deal for our family. We were always talking about those things.”

Luke, having experienced the Texas Rangers install at the age of six, was completely blown away by that experience and the transformative power of technology. “It’s the only thing he has ever wanted to do,” Jordan recalled. Sam left home to earn his law degree and serve in the Air Force, eventually returning home to complete his MBA and team up with Luke to lead the family business into the future.

This past year, Luke and Sam finished purchasing the business from their parents, a process that was started five years ago, and each have excelled in leading different areas of the company. Jordan feels he couldn’t have found a better team to take Electro Acoustics into the future and truly couldn’t be prouder. “There is the phrase, you want to raise your children like they would run your business for you,” he noted. “In our case, it turned out to be true.”

Chris

BUSINESS HALL OF FAME

Bob Marcus

By Mark J. Pescatore

It was while working on his bachelor’s degree in industrial engineering at Columbia University that Bob Marcus realized he was more interested in management than engineering. That’s why his master’s degree is from the MIT Sloan School of Management, and probably why his career didn't begin behind a test bench.

About a dozen years after he graduated, Marcus was consulting for a company that produced computer animation for TV and motion pictures. Turns out the company had a problem—they couldn’t easily make videos from their computer systems, because computers didn’t output video in those days. The company tasked Marcus with finding a third-party solution.

Eventually, he found a company that had plans to build the necessary equipment. Marcus took a look and knew it wasn’t going to do the job. By then, his consulting gig was over and he needed something new to do.

“I decided I would produce the system I couldn’t buy,” he recalled. “That got me into the AV world.”

In 1987, he launched RGB Spectrum. The company’s first product was the VideoLink, a broadcast-quality (NTSC at the time) video scan converter. His initial customer wasn’t producing movies—he needed to record computer-generated imagery from a tactical operations center. From there, RGB Spectrum branched out and became one of the first companies to offer multiviewers. Then, the company expanded into video walls and, more recently, AV-over-IP and KVM-over-IP solutions.

Rony Sebok

By Wayne Cavadi

A simple Google search shows you how important Rony Sebok is in the history of technology. As someone who worked as a software engineer on the original Apple Macintosh computer—along with some fellow named Steve Jobs— her success story could have ended there.

But Sebok went on to be a cofounder of 1 Beyond, where she brought AI cameras to the Pro AV market and invented Automate VX, the multi-camera, voice-tracking solution used in large and high-value spaces by leading corporations and universities. The company was acquired by Crestron in 2022.

It all started at Harvard University, where Sebok earned a degree in computer science with a focus in graphics and AI. After Apple, she continued her education with a degree from Harvard Business School. While her first degree brought her to Apple, lessons from the business school took her to the next phase of her career.

“I went into management consulting, which was the most amazing business training you can get,” explained Sebok. “It teaches you how to look at markets strategically and define unique characteristics.”

From there, she met Terry Cullen doing one of her favorite things: sailing. As the story goes, Cullen went on a sailing trip, recorded some video, and was looking for something simple to edit it.

Even with its expanding product catalog, RGB Spectrum remains specialized in serving mission-critical operations which explains the company’s current motto: Better Decisions, Faster. Marcus is more than happy to deliver a video wall solution for your corporate lobby, but his company’s technology is typically found in the control room of whatever vertical market—military, security, public safety, etc.— needs visual information to provide situational awareness as part of its decisionmaking process.

“We produce the AV systems that put the right information in front of the right people in the best way possible,” he explained. “Pretty pictures are fine, and they serve a purpose in our world. But I’ve always been interested in good AV support as an integral part of operations management, whether process control, security, or tactical response. Done right, an AV system enables better decisionmaking. And if you simplify workflows, you can make decision-making faster.”

Marcus said customers come to RGB Spectrum for full-featured, high-quality products. “If you want 24/7 reliability, low latency, and advanced features, then you want the kind of equipment we offer,” he added. “I think we have a very special place in the market. We offer value at the top end of the market.”

After 35 years as CEO of RGB Spectrum, Marcus still enjoys the Pro AV market. “Whether your interest is in entertainment or in decision support, there are very interesting things going on,” he said. “It’s an exciting and ever-changing space.”

Currently, Marcus is interested in what is called “digital transformation.” The company is bringing AV-over-IP solutions to market that can deliver complex visual information from any source to any destination, from a video wall in a control room to a monitor in an office across a campus or a cell phone anywhere in the world. “We can deliver visual information anywhere, on any display. That’s powerful,” he said.

Of course, digital transformation is still a work in progress, but at 79, Marcus plans to continue to be part of the process. "I think we're leading—but that doesn’t mean we’re at the finish line," he noted. "I don’t expect to get bored anytime soon.”

“It was a long time ago,” Sebok recalled. “There was no such thing as Final Cut and no laptops with FireWire ports.” Instead, Cullen integrated hardware and software from various vendors to develop the first native digital editing system.”

From that video editing solution, 1 Beyond was born, but it wasn’t exactly an instant money-making success story. “1 Beyond was started 25 years ago,” Sebok explained. “Everybody thinks that if you’re a software person, you start Facebook or Google, and within five years, you’re a billionaire, right? More often, you start a company and you’ve got to learn to pivot quickly, to go where the market opportunity is; you hope that, eventually, you find something that everybody wants. And thankfully, that’s what happened to us.”

Sebok developed Automate VX at a time when no one else was a player in the game, so 1 Beyond was in the right place at the right time. When COVID-19 hit, demand for 1 Beyond products grew in universities as well as the corporate world. “1 Beyond tripled our business in a year,” Sebok noted. “We decided the best thing would be to join forces with a leader in the industry. We picked Crestron, and thankfully, Creston picked us, and that’s how we got here.”

What’s next for Sebok? “It’s exciting times and we haven’t finished yet,” she said. “I think it’s fair to say that we’re going to continue to combine the different AI, the speaker, and the visual to do even better—and really think about tighter integration with Zoom and Teams.”

Taking the time to find one’s niche and never stop learning are the keys to success, according to Sebok. “It’s interesting how a career evolves and kind of comes full circle,” she noted. “It feels really good to be providing technology that helps people communicate in this new hybrid world, while saving companies money and expanding the classroom beyond the university walls. It took about 25 years, but all along the way, let me just tell you, we were having fun the whole time.”

Ralf Zuleeg

By Wayne Cavadi

You’ve probably enjoyed Ralf Zuleeg’s contributions to the Pro AV world, though you may not know it. He is the mastermind behind d&b Soundscape, the object-based mixing system from d&b audiotechnik that revolutionized live audio.

Zuleeg began building professional speaker systems as a teenager for a mobile disco and then churches and schools around Stuttgart, Germany. In 1983, after college, his first professional job was on the lighting side.

“A couple of years later I decided I have no clue about lighting, and my heart was still beating for sound and making sound much better,” Zuleeg recollected. “Since then, I really thought about how we can make sound reinforcement more sensational for the audience.”

In the early days, it was a complex process, and often not reproducible. You pulled off a sound system, it worked great, and the next show was something entirely new. That is, until Zuleeg was introduced to wavefield synthesis.

Working at the Zapata Club at the time, Zuleeg realized it was the perfect venue to play around with the idea of object-based mixing. “This was the birth of the idea of Soundscape,” Zuleeg said.

It was around Christmas 2012 when Zuleeg, still at Zapata, realized that Soundscape was something special. Working with the German band Kraftwerk, Zuleeg had them test out the system. “They brought their gear, and they were just so blown away,” he said. The test led to touring with the band.

Soundscape was on the road. Momentum was slow, but eventually it shook up the sound industry forever. “If you wanted to convince somebody, you had to make them listen,” Zuleeg said of Soundscape’s early start. “You can use a million words and they won’t get it. Give them one minute of an example—they know exactly what it’s all about.”

Where does d&b and Soundscape go from here? What started as the ideal solution for classical music and theater can be applied to many use cases, but Zuleeg thinks there are many more. “We have still plenty of segments, but it is also about spatial intelligibility,” Zuleeg said.

Today, Zuleeg still gets out to shows and events to hear his game-changing solution in action. “There’s a reason why I started this job, and it was not sitting behind the desk.” Zuleeg explained. “I started this job to make people happy. The biggest success for me is when I put up a show—either I mix it myself or somebody else—standing there, if I have tears in my eyes, then I fulfilled my job.”

He does take time for himself, with a 12-year-old that keeps him busy, an old house and car that need tending to, and a fondness for sailing. Professionally, however, Zuleeg is nowhere near finished.

“I think the limitations of the technology are not drawn yet,” he said. “What happens if you’re thinking about immersive and hybrid things? Can you do something on air traffic to increase security? I don’t know yet, but we should not underestimate the possibilities.”

Nature, Reimagined

Projection Mapping Adds Graphics to Annual Garden Glow Event

By Carolyn Heinze

In 1893, James and Sallie Dooley, a wealthy couple from Richmond, VA, celebrated the completion of Maymont, a Gilded Age estate situated on 100 acres of land above the James River. Back then, the couple decided that when they died, the mansion, outbuildings, and grounds would be donated to the city of Richmond. Today, the Maymont Foundation oversees management, development, and promotion of the site, which includes a museum and park that are open to the public year-round.

Last fall, Maymont hosted its fifth annual Garden Glow event, which ran for 18 evenings between October and November. Showcasing the natural beauty and historic architecture of the site, visitors were encouraged to wander the property and enjoy art installations and light shows that dotted the darkened landscape, creating the sense that the park was illuminated from within.

Among those commissioned for this event was Jeff Dobrow, a technology-based artist who specializes in immersive and interactive installations, live mixing and performance art, and projection mapping. Formerly a creative director in the advertising business, Dobrow began working with motion graphics in the 1980s. After a couple of decades, he began to tire of the corporate world, and started questioning where he would take his career next. It was at a Burning Man event that he got his answer.

“I walked over a hill at a Burning Man event, saw projection illuminating a stage, felt the music,

energy, and the experience as a whole, and was immediately drawn to that,” Dobrow recalled. Within a year, he was designing visuals, mapping stages, and VJ-ing events.

“Mapping is a similar yet unique opportunity to form a relationship with the energy and past of the structure,” he explained. “In particular, historic structures and their past lives lend a lot to think about, transform, and reimagine.”

New Look for Historic Tower

For Garden Glow, Dobrow created a series of lush, texture-rich animations that he projected onto the site’s historic water tower, as well as its Japanese garden and rock grotto. Maymont is known for its beauty and tranquility, as well as local wildlife, so he focused on the animals and plants in the area.

“They were seeking something that was engaging and reflected their open, accessible nature,” Dobrow said. “Using unexpected proportion, contrasting textures, and flowing motion, both pieces share perspectives of Maymont’s inhabitants in new, impactful ways.”

Dobrow juxtaposed the different textures of Maymont’s flora and fauna onto its architecture. He coated the water tower, for example, in squirrel fur. He reimagined owls, otters, and eagles, transmuting

their own textures to the point where they became entirely new creatures.

“I wanted to focus on things that people that go there may not think about or may not notice,” he said. “Even if they do see it, [they may think] ‘well, that was a squirrel.’ But have you ever really looked closely—at a deep, micro level—at the fur of a squirrel? And what if the water tower was made of the fur of a squirrel? That’s an unexpected thing to think about.”

Due to Maymont’s landscape and the textures themselves, the projection technology Dobrow used for Garden Glow needed to deliver rich color while remaining as unobtrusive as possible. “Footprint was important—we needed to be able to install something that wouldn’t have a huge impact on things,” he said. “I needed a compact, weatherproof solution, and a way to install it so it could work without a computer, and without cables hanging down that [people] would see out of the corner of their eye.”

Dobrow selected the Epson PowerLite 2250U, a 3LCD business-class projector that delivers 5,000 lumens. “This projector, in a weatherproof box containing a media player, was all that was needed at each location,” he added.

Textures and Terrains

According to Dobrow, one of the more challenging aspects of this project was mapping the rock grotto. For this, he applied the old-school technique of measuring the projection surface and building a 3D model upon which to project rather than just scanning the rocks with an app. “I use industry-standard 3D/2D animation software to create my pieces, always

An Epson projector was used by artist Jeff Dobrow to display animations on the historic water tower at Maymont during Garden Glow.

Jeff Dobrow

starting by creating a dimensionally accurate 3D model of the structure so I can have complete control over it,” he explained.

With buildings, this task is more straightforward, as their shapes and dimensions are generally much easier to measure. In the great outdoors, the landscape is always changing; even a light rainfall can transform the projection surface.

While Dobrow created many of the textures himself, AI generated others. He noted that advancements in Adobe Photoshop, as well as platforms like Stable Diffusion, are disrupting projection mapping. “Within six months you’re going to be able to sit at a computer, say some words, and it’ll generate an animation that can literally be put on a building, and possibly compete with me,” he mused.

That said, Dobrow would rather embrace the technology than fear it. “Once everybody’s done with the initial excitement,” he argued, “it’s still going to come down to content—it always has, and it always will.” The same goes for projection mapping itself: “Within three or four years, mapping is going to be everywhere; people will not be excited by the fact that they’re seeing a building totally covered in animation. But everything will be fine because most of it will be marketing, and people will always know the difference between art and that.”

Dobrow recounts that for every project, his process involves a lot of discovery. During site visits he takes photos and measurements that will inform 3D modeling and texturing. He also uses this occasion to identify any issues he needs to address, such as ambient light and obstructions.

However, the discovery Dobrow conducts to inform his creations is arguably the most extensive. For Maymont, he wanted to learn about the park’s history, which led back to the Dooley family. He also researched the different plants and animals on the grounds, and interviewed Maymont’s arborist and caretakers.

“I also wanted to know about the relationship of the park with the community, and I wanted to know

PROJECTION MAPPING BUSINESS

it from an energy standpoint,” he noted. “Are people there fun? Your work here—what’s it like? What’s life like in this place? Energy, emotion, how people feel there for real—all that is important to me.”

For Dobrow, the opportunity to map the landscape at Maymont was a new experience. “It’s

unlike any other building mapping or show that I’ve done, where there is this free-flowing open sandbox environment that people can [enjoy] at their leisure,” he said. “It is touching to be in nature and yet be surrounded with this type of glowing art. It tickles some senses.”

The rock grotto was a particularly challenging part of the projection mapping for Garden Glow.

By Joseph D. Cornwall

Productivity Starts at the Desktop

Professional Workstations Can Support Remote, Hybrid Workers

significantly boost the bottom line.

The pandemic accelerated technology workplace changes at near light speed, and one of those transformations presents an important challenge. AV integrators and technology professionals may be surprised to learn their expertise is applicable to the desktop workstation.

In the past, most AV professionals have been reluctant to give any real thought or design input to desktop productivity systems. Certainly, those impressive command-and-control consoles seen in corporate security centers and first responder facilities have been an important part of commercial AV integration, but not the typical working desktop. As hybrid and fully remote work become a permanent fixture in the workplace, there’s a significant reason the workstation needs a modern-day upgrade: It will

Most workstations that are more than a couple of years old were not intended to support the shear multitude of windows and applications a contemporary knowledge worker has open at any given time. Even more importantly, it probably wasn’t optimized for videoconferencing.

The typical worker loses about 15 minutes of productive worktime each day to eyestrain. That may not seem like a lot until we consider the number of workdays on the calendar. This 15-minute daily loss can add up to 65 hours over the course of a year. That is a week and a half per person in lost productivity! To really see the magnitude of this lost value, calculate that time as a factor of each employee’s salary. The results are startling.

Like any other AV project, desktop projects start with needs analysis. Integrators should review the technology currently in use and weigh it against the

real productivity challenges arising due to inadequate image real estate, awkward display positioning, barely legible content elements, or a washed out, uninvolving image. The goal of analyzing technology choices is to increase productivity by making desktop systems more enjoyable, easier to use, and a better fit for the job tasks. Let’s dig into some considerations.

The Viewer-to-Display Relationship

Getting the physical geometry of a desktop productivity system right is at the core of optimizing its impact on efficiency. Get the screen size and positioning right and the rest will follow. Here are a few best practices that will have a notable impact on desktop system performance and user satisfaction.

The top of the display image should be level with the viewer’s eyes. Human ergonomic studies suggest we use 48 inches from the floor as an average height for a seated viewer’s eyes. This is just a starting

Designing a desktop workstation requires a needs analysis and a thorough technology review.

point. Fine tune the system to the physical stature of the system user and, where possible, do actual measurements. The comfort and productivity of a person who is 6 feet tall will differ from one who is 5 feet, 2 inches tall using the same system—and will be evident after a full day at the workstation.

Consider the point of view of the camera. In most desktop AV solutions, a web camera should be mounted to the top bezel of the main display, which places the lens’ point of view just above the user’s eyes, facilitating natural eye contact. Eye contact is extremely important during communication and conversation, even during videoconferencing. A head-on frontal view fosters a feeling of engagement during a video call. If the camera is lower than the user’s face, the result will be an unflattering, often distracting view that detracts from the quality of video communication. For best results, mount the camera so that the point of view is just above the bevel of the primary monitor.

Ensure you have the appropriate display size, shape, and configuration. For maximum productivity and output, don’t skimp on the screen. Many people work from multiple monitors to have access to more visual real estate. Most often, the main monitor is an indiscriminately chosen desktop LCD flat panel that was left over from a 10-year-old tower computer, and the second monitor is the built-in laptop screen. This isn’t a good practice.

Monitor Size Calculations

There is a way to determine, with mathematical precision, the best size for a video display in any application. It’s called DISCAS and it is an ANSI/ AVIXA standard for determining Display Image Size for Content in 2D Audiovisual Systems. All we need to do is adapt it to the desktop productivity system.

For this example, I used AVIXA’s DISCAS online calculators to determine screen size for a typical hybrid work productivity solution. Let’s assume the needs analysis revealed the average distance from the viewer to the screen in this desktop solution ranges from about 28-38 inches. A 32-inch diagonal monitor has an image height just under 16 inches.

The AVIXA DISCAS calculator shows the farthest recommended viewing distance for 4K UHD content with that image size is just over 25 inches from the screen to the viewer’s eyes. Using that same screen size, but with 1440p resolution (also known as QHD), we see that the farthest recommended viewing distance is about 38 inches. Finally, when

we input a viewing distance of 28 inches with a 1.78:1 image aspect ratio and a 16-inch screen height, the calculator indicates the best resolution is about 2,000 vertical pixels. This is just below 2160p, which is UHD 4K. We now know that a high-performance desktop productivity solution optimized for a BDM/ADM hybrid application is best served by a QHD or UHD monitor.

Color Space Choices

We generally don’t think too much about color reproduction until it’s obviously wrong. Bad color rendition takes our focus away from what is happening on screen and makes the viewing experience unenjoyable. The electronics industry has defined how various screens, monitors, and projectors deliver color through the use of defined color spaces.

A color space is an organization of color models and mapping that supports accurate, reproducible color on a screen. sRGB stands for Standard Red Green Blue, and is a set of specific colors created by Hewlett-Packard and Microsoft in 1996. It is the most used color space today. Most consumer applications, devices, printers, and web browsers will default to the sRGB color space.

There’s also Rec. 709, which is the standard camera encoding color space used for HDTV. It has a color space identical to sRGB, but uses a slightly different transfer function to make it a better fit for video applications. Functionally, Rec. 709 and sRGB will deliver near identical results.

Beyond color reproduction, there is a choice in the way a computer monitor produces an image. There are three major types of desktop LCD monitors: twisted nematic, vertical alignment, and in-plane switching (IPS). Each has its own strengths and weaknesses and, depending on the work to be done, a place and time in AV design. For desktop productivity, an IPS monitor that can reproduce the sRGB color space is the best and most versatile choice.

Using what we’ve learned from the needs analysis and applying the DISCAS standard tells us that a good resolution for most contemporary systems is QHD (1440p). This is an excellent resolution for 27-32-inch diagonal monitors and the sweet spot for most productivity solutions. Text and picture elements will be clearly visible, there will be enough visual real estate for some multiple window work, and fullscreen images will pop with detail.

A top-of-the-line choice for an individual productivity system is a 32-inch diagonal UHD IPS monitor with USB Type-C, DisplayPort, or HDMI

inputs. It will display every bit of information. For most knowledge workers, this is the right choice for today and will carry the workload far into the future. There are very few reasons to consider moving beyond 4K resolution in a 16:9 format anytime soon.

Ergonomic Considerations

Now let’s examine the multi-monitor setup. Although installing two screens of identical size is a good way to improve multitasking and increase efficiency, it comes at a cost. Right in the middle of the field of view is the bezel of each monitor. The user is always looking off-axis because a split image is very distracting and distorted.

An ultrawide monitor offers a high-quality image spanning the full real estate of the workspace without any bezels or mullions in the middle. Images or videos can be placed in the center of the display, where our visual acuity is at a maximum, while leaving the sides of the display free for supporting tabs and content. For the ultimate in productivity technology, a 39-49-inch 1440p 5K display is a fabulous choice. This is the equivalent of two QHD 27-inch side-by-side monitors. It can provide all the detail we can see, plus the display real estate is easily the most flexible available.

The best monitor in the world, coupled with a high-performance video camera and quality microphone, will make the work experience richer and more rewarding only when it’s comfortable to use. Ergonomic considerations don’t stop with viewing position, an adjustable chair, and good posture. Just as important is the monitor mounting solution.

The Human Factors and Ergonomic Society identifies adjustable tilt, rotation, and display centering as critical features to optimize user safety and comfort. A dynamic mount that can compensate for the weight of different displays and deliver easy, dynamic positioning with minimum physical effort lets the content and work take center stage.

When it comes to productivity loss, now is the time to consider the role technology is playing. As the numbers clearly show, an aging desktop isn’t good enough to keep up with the modern productivity desktop demands. AV integrators and tech professionals are well-equipped to advise organizations on upgrades.

Joseph Cornwall, CTS-D/I, is the technology evangelist for Legrand N.A., where he is responsible for predicting the future and making it happen.

As the numbers clearly show, an aging desktop isn’t good enough to keep up with the modern productivity desktop demands. AV integrators and tech professionals are well-equipped to advise organizations on upgrades.

TECHNOLOGY CLOUD POWER

The Importance of Interoperability

Part One

You Need Ecosystems and Products That Work Together for Cloud-Based Workflows

By Dave Van Hoy

As with any early phase of technology, manufacturer interoperability is always a big challenge. Companies innovate, engineering products before there are standards that facilitate creating ecosystems of those products. This has been true all the way back to the early days of film and eventually arriving at the very first film sprocket standard, which begat the organization today known as SMPTE.

That occurred long before there was such a thing as television. Today, we find ourselves facing the same challenge in a similar early development phase—building ecosystems of cloud products that “talk” to one another.

This is particularly challenging because, as we have discussed in previous columns, media requires very deterministic communication, meaning exact timing. And when we run applications in public cloud, where everything is about virtualizing hardware and sharing resources, deterministic communication is not a consideration.

Proprietary Protocols

We correct for this by using specialized protocols that carry deterministic timestamps from one part of the process to the other. Therein lies our “failure to communicate.” If one product is speaking in one protocol and another doesn’t know that protocol, there is no way for them to communicate.

An example of this would be with some of the early cloud production infrastructure products. They used their own internal protocols to control the deterministic

need for communication, using external standard protocols for ingest and playout.

An open-source standard protocol like Secure Reliable Transport (SRT) can bring in your signals from a remote source. Once they come into an environment such as Grass Valley’s Agile Media Processing Platform (AMPP), though, they are converted to proprietary protocols that were created to allow interprocess communication in a deterministic fashion. On output, those signals must be converted back to a transport standard. Protocol conversion is always tricky and can be error prone.

We like to standardize protocols within a given ecosystem. Today, the most prevalent interface between different vendor products for use in public cloud is Vizrt’s Network Device Interface (NDI). Initially, NDI was not designed to be an Internet protocol. However, because it was designed to work on point-to-point private networks, it is optimized for use within a hyperscaler’s virtualized environment.

This is how we have built out standard systems. We work closely with our vendor partners and ask them to either help us or implement NDI communications. We look to create homogeneous systems with multiple vendors’ products in the same way we use SDI or ST-2110 for on-premise installs today.

This will be one of the biggest considerations for integrators as they design systems for their clients: What protocols do I use to transport my signals to the cloud? What protocols do I use within my processing system? In the cloud? Is it a simple distribution process or a complex switched production process?

On the output side, what protocols do I use to transport to my destinations? Am I going to a traditional

terrestrial transmitter, CDN, or a specific destination like a private venue? Each of these requires a different protocol to get the optimal result.

Multiple Vendor Complications

The secondary challenge is creating control systems that work across multiple vendors. Again, this challenge looks just like on premise. As a system integrator, part of your responsibility is to recommend products to your client that you know will work with each other.

If you need a control system, for example, you need to make sure that control system speaks whatever common protocol you’ve chosen for that purpose. And you must ensure that protocol is supported in public cloud in these non-deterministic, non-multicast environments.

I know all of this can sound quite daunting—but in truth, it’s no different than what you have been doing with your vendors, for your clients, all along. You look for ecosystems and products that work together to create the best experience for your client. Sometimes the standards are better developed than others. Who has not experienced an HDMI signal that should have worked from one device to another but didn’t, and you find yourself troubleshooting until you finally get a handshake?

The best thing you can do is work with products that are already proven to work together. Work with vendors to ensure they have tested their products with other partner vendors that you’re using in your ecosystem. If they have not, allow yourself the time and cost to facilitate that testing in your own environment. If you can do that, you are guaranteed a positive outcome for your customer now and in the future.

You’re in Control Anywhere

With IP-Based Solutions and Integrated Multiviewers, KVM Technology Moves Beyond the Control

By Jennifer Guhl

Whether 200 feet or 500 miles away, KVM switches enable users to operate a computer regardless of location, allowing the user to control and interact with it as if it were sitting beside them. By embracing AV-overIP-based KVM systems, also known as KVM-over-IP, manufacturers can combine KVM switches with KVM extensions to manage thousands of designs for longer distances, providing clients with quick and easy access like never before.

“Even though KVM stands for keyboard, video, mouse, it can control any USB device—thumb drive, headsets, printers, card readers, among others—and legacy serial control devices as well,” said John Hickey, senior director, KVM Business, Black Box Corporation. Along with typical Human Interface Devices (HID) such as keyboard and mouse, auxiliary signals such as analog or digital audio, RS-232/422, and legacy PS/2 devices can also be transmitted.

Embrace the Internet

Often, KVM-based systems digitize the signal and transmit it via copper Cat 6 cable or singlemode or multimode fiber options. “Copper connections normally allow transmission between an extender [endpoint] and switch up to 140 meters,” said Dan Holland, marketing manager for IHSE USA. “When connections are made with fiber, then transmission lengths can reach up to 400 meters [1,300 feet] with multimode and up to 10 km [32,800 feet] with singlemode fiber.” Standard desktop KVM switches, using standard cabling, have distance limitations roughly between 33-100 feet.

KVM matrix switches let you operate several

computers via various consoles. “The system consists of three components,” explained Jon W. Litt, managing director of G&D North America. “A central module connecting user consoles and computers, computer modules transmitting signals from computers to the matrix and, lastly, console modules for connecting the consoles on which the operators work.”

The pandemic increased network demands to support a new reliance on remote work. KVM-over-IP systems allow users to connect with servers via LAN/ WAN or the internet.

“Today, IP-based KVM systems enable remote workers to connect to key systems from home and operators working in a broadcast or network operations center to control equipment inside OB vans across the country remotely,” said Hickey. “While these and similar remote workflows addressed travel restrictions and distancing requirements as the pandemic peaked, they continue to reduce costs and travel time for media organizations and production teams.”

Short for extended display identification data, EDID is the industry standard for the information retrieved from a monitor that tells the PC what the monitor is capable of in terms of video and audio. KVM switches need to transport EDID information directly to the source to avoid transmitting conflicting signals and leaving the end user with a dark screen. “If the EDID is wrong, the PC may send a video or audio signal that is not accepted by the local display, and the image or audio will be compromised,” explained Paul Harris, CEO and CTO for Aurora Multimedia.

Latency Issues and Virtualization

Overloading KVM-over-IP networks can lead to one of

Room

the most significant limitations of KVM: latency. Sadly, breaching the law of physics to mitigate it isn’t possible. “If the internet has 100 milliseconds of latency between the user and a piece of gear, it takes 100 milliseconds for a mouse movement to hit the screen and another 100 to come back to the user,” said Hickey. “That’s 200 milliseconds of round-trip latency.”

For some, that level of latency may not be a significant disrupter, but for those engaging in real-time applications, anything more than 30 milliseconds will feel like a significant obstacle. Selecting the right product for your use case is essential to help mitigate latency issues.

As KVM technology continues to evolve, manufacturers are adapting to address the needs of various use cases, including broadcast, facility locations, and work-from-home networks. “Latency and 4K will continue to be leading issues for manufacturers to solve for their customer base, as systems migrate away from traditional analog or coaxial-type systems,” said Holland.

Manufacturers are addressing the growing needs of KVM technology through high frame rate (HFR) extenders for gaming, high dynamic range (HDR) for quality image processing, and lower latency for 4K production studios. “All this needs to be implemented cost-effectively while allowing connection to computers and workstations over IP networks,” added Holland. “To the user, real and virtual IP-connected devices appear like any other device on their workstation. Next-gen KVM-over-IP will provide this type of support, making it much easier to remote into any computer as if it is at the user’s desk.”

Virtualization is another trending tropic, with KVM systems needing to enable access to virtual

From left: John Hickey, Dan Holland, Jon W. Litt, Paul Harris

machines on top of physical devices. “Microsoft’s RDP and Teradici’s PC-Over-IP (PCoIP) protocols make this possible,” Hickey explained. “Support for this capability in a KVM system is key because more and more systems are becoming virtualized, and virtual machine sharing is becoming increasingly common. It’s another way to future-proof a KVM system investment.”

Another recent advancement involves interactivity amongst HD and 4K devices. Current KVM technology allows multiple users to access the same source without impacting each other’s work. That means one user can edit video on a 4K machine while another can work off an HD machine, and neither will experience any interruptions or delays. This allows individuals to work collaboratively without needing to invest in additional equipment.

Moving to Multiview

Present-day KVM systems are often constrained to a one-source-to-one-monitor model, but multiviewers allow users to take multiple sources using the same monitor. Moving forward, multiviewers will need to expand, allowing KVM users to login to virtual and physical sources in a customizable layout across multiple monitors to support their workflows.

“With access to many more sources on the screen, users can monitor multiple systems or windows in the background while focusing on a single task,” said Hickey. “They spend less time accessing different systems and enjoy greater awareness and responsiveness. That’s a big part of what’s next for KVM.”

Users rely on KVM technology to expand their desktops, increasing available workspace and allowing them to utilize multiple applications simultaneously without crowding the screen. “AV professionals are now asking to connect multiple monitors to a single workstation to improve daily work productivity,” Holland explained, “and with the introduction of IHSE’s 4K/8K KVM extenders, users have the option of either mirroring the desktop onto the alternate monitor or extending the screen so that the desktop stretches across both displays.”

System designers are finding KVM switches to be an ideal solution for streamlining data access while maintaining security and data quality. It’s optimal for organizations to obtain, process, distribute, and gather information effectively—and moving toward a more open-source infrastructure is critical for operational superiority.

“System designers moving toward UHD video are depending on standards bodies to reduce the confusion surrounding the latest 4K and 8K technology,” Holland added. “With the adoption of 4K and the potential of 8K in the broadcast and post-production industries, emerging features such as HDR and high bit rate resolutions are pushing the boundaries for KVM infrastructure and distribution equipment.”

KVM Product Showcase

Black Box

KVM TECHNOLOGY

ADDER ADDERVIEW Secure

With a range of NIAP Protection Profile 4.0 certified KVM switches and accessories, the ADDERView Secure meets the latest required common criteria for security standards, making it ideal for mission-critical environments. Users can manage classified and non-classified network sources in real time, and pixel-perfect data visualization at resolutions up to UHD 4K with a 60Hz refresh rate helps combat latency. ADDERView Secure optimizes workspaces for individuals within command-and-control environments.

Black Box Emerald GE

PCoIP Ultra Gateway

The Black Box Emerald

GE enables multiple users to connect simultaneously through PCoIP technology to control virtual machines no different than a physical one. With extremely low bandwidth requirements, Emerald GE works well with the Emerald KVM-over-IP platform and supports VM sharing, while providing remote access through local and wide area networks (LANs and WANs). The technology is an efficient solution for remote production scenarios.

Apantac OG-KVM-IP-Tx

These dashboard control-enabled KVM extenders, with either copper or fiber output, are based on Gigabit Ethernet technology (IGMP and Jumbo frame). They support point-to-point (unicast) and point-to-multipoint (multicast) for audio and video distribution. When bundled with a GigE switch, the extenders perform similarly to an expandable KVM switch. A small form factor, designed for the openGear platform, makes it easier to use than having separate hardware boxes.

G&D

PersonalWorkplace-Controller

The new PersonalWorkplace-Controller combines a multiview tool and KVM to provide flexibility and usability when managing multiple sources on one or more monitors simultaneously. Users can customize the design of their workstations at any time. With nine video inputs and five video outputs, the PersonalWorkplace-Controller enables users to access multiple computer signals, virtual sources, or KVM workstation modules using one keyboard and mouse.

Aurora Multimedia VPX-TC1

Utilizing Aurora’s new Mimix codec technology, the VPX-TC1 Pro Series offers one of the industry’s most advanced 1G IP streaming solutions. Mimix technology compression perfectly reproduces video and graphic images at resolutions up to 4K60 4:4:4 over a 1G network. The solution can operate as a KVM for cameras and memory sticks. With its flexibility and low cost, corporate, education, and residential are just a few of the markets that can benefit from implementing this solution.

IHSE USA

Draco

MultiView 4K60

This 4:2 KVM switch and multiviewer allows typical visualization scenarios in control rooms and air traffic control rooms. Screens can be configured in different modes, including full screen, quad screen, picture-in-picture, preview, 2+2, and free mode. Instant switching between layouts is possible through set presets. SNMP options for status monitoring and redundant power supply make it ideal for 24/7 operation.

Simplified Podcasting

Focusrite Vocaster Two Studio Makes It Easy to Incorporate Off-Site Interviews

By Mark J. Pescatore

Podcasting remains an excellent forum for sharing information. Things can get complicated, though, when you want to include input from folks who aren’t in the building. With its new Vocaster Two Studio, Focusrite has developed a solution to help bring onsite talent and off-site participants together without excessive wiring or complicated software.

The Vocaster Two Studio bundle includes the Vocaster Two audio interface with a USB cable for connecting your laptop, which powers the unit. Also included is the Vocaster Mic (Vocaster DM14v) with a 10-foot XLR cable and Vocaster Studio Headphones (HP60V). About the only thing missing is a microphone stand. Sold separately, the Vocaster Two retails for about $300. The bundle adds about $200 to the price.

Let’s start with the headphones. The HP60V are wired, over-the-ear headphones, with a 3.5mm plug and 1/4-inch adapter for use with the Vocaster Two.

They are pretty comfortable cans, tight around the ears to provide good sound isolation, and offer 20Hz-20kHz frequency response. They lack the fidelity of other studio headphones, but they are more than capable of monitoring your typical podcast audio—and they are certainly a better studio alternative than earbuds.

I know Focusrite and its associated brands are all about audio, but I was still surprised at how well the Vocaster DM14v Mic performed. I was expecting a sort of throw-in mic, not this level of quality. It has a sturdy metal body with removable windscreen that does a truly excellent job against pops. There’s also a removable metal yoke, but the connecting hardware has many parts and will make a mess if you remove it (trust me on this). The Vocaster DM14v offers a frequency response of 50Hz-16kHz and has a cardioid pickup pattern.

Keep It Simple

The bundle’s main attraction, of course, is the Vocaster Two, which works with PCs, Macs, and

USB-C iPads. A web address printed on the inside front cover of the box will lead you to the Vocaster Hub software you need to use the system. A quick install, restart, and update and I was ready to go on my Windows-based laptop.

The back panel of the Vocaster Two houses the connection ports. Two XLR mic inputs are on one end, with two 1/4-inch balanced speaker outputs, 3.5mm phone connection, Bluetooth connectivity button, and 48V button (phantom power for condenser microphones) near the center. The other end has the USB-C port, power button, and 3.5mm camera out, which sends the unit’s output to your video camera.

A rubberized ring on the bottom keeps the unit in place on your desk—but the Vocaster Two is only about 9 inches wide and weighs less than a pound, so attaching or removing any cable will move it out of place. You might want to invest in some Velcro strips for more permanent placement. A Kensington MiniSaver slot on the rear of the unit offers some level of security as well.

The Vocaster Two Studio (shown here with an extra mic and headphones) includes Hindenburg LITE DAW software.

Centered on the top panel of the Vocaster Two is a multifunction knob, which works with six backlit buttons to adjust the mics. When you select the host or guest button, it will light up in white. From there, turn the master knob clockwise until you find the level that suits you. Green, yellow, and red LEDs on either side of the knob serve as level meters. (Note, Focusrite also offers the Vocaster One, which supports only one microphone.)

If you hold down the host or guest button, the Vocaster Two triggers the auto gain feature, which is a nice way to automatically set your level. Talk in your normal voice for a few seconds until the inner “halo” of LEDs around the main knob turn yellow and you’re ready to go. The other buttons allow you to mute (indicated by red buttons and blinking red LEDs) or add audio enhancement (the icon turns green) for either or both mics.

Smaller knobs on either side of the main knob, with illuminated identification of the host and guest, provide individual adjustment of the 1/4-inch headphone outputs on the front of the unit. (The host knob also adjusts the speaker output, though you can mute the speakers in the Vocaster Hub software.) Small icons illuminate in the upper corner of the top panel to indicate 48V, Bluetooth, and USB connectivity.

As far as user interfaces go, it’s hard to get much easier than this. About the only things you need worry about are remembering to turn on the power button and selecting the correct source button (host or guest) when you adjust the mic levels. There’s a solid build quality to the Vocaster Two as well, so you can click buttons and turn knobs without wondering if it’s going to break.

The Vocaster Hub software also provides access to a few valuable features. At the top of

the simple user interface are separate visual representations of the host and guest mic levels. From here, you can access buttons for mute, auto gain, and enhance.

The enhance button gives you access to four different flavors of audio processing: clean, warm, bright, and radio. Yes, each setting will add a bit of room noise to your mix, but they really do improve the sound of your voice (and you’ll quickly find your favorite). There are buttons on the Vocaster Two hardware to turn it on or off, but the only way to select the enhancement you want is through the software.

Even More Inputs

The Bluetooth connectivity of the Vocaster Two is a game changer. Press the Bluetooth button on the rear panel and it’s easy to pair your cell phone. Now, you can add a phone-in guest to your podcast, though you will need to use the small mixer below the host and guest mics on the Vocaster Hub software interface to set the level.

But wait, you can also bring in guests from your favorite videoconferencing software on your phone. So, if you have a Zoom conference in progress, now you can have multiple guests add their two cents to the conversation—no additional wiring or hardware required. I recorded conversations both ways and was very pleased with the results. The Vocaster Two delivers 24-bit, 48kHz audio, and the conversations from my cell phone and Google Meet were reproduced very well.

Two “virtual” inputs on the Vocaster Two, also accessed via the Vocaster Hub software, allow you record audio from your laptop, which means you can have your music beds, stingers, and sound effects at the ready. You can also record audio from web browsers or videoconferencing software in case you don’t have the option of connecting your phone. Like the Bluetooth input, you can only set levels through the software. Plus, you will likely have to reset your program’s output settings as well.

Your purchase of the Vocaster Two includes some trial software options and Hindenburg LITE, a DAW program that can record and edit your podcast, as well as export the completed file. The Vocaster Two works with other recording software as well (there were no hiccups with my older version of Mixcraft, for example), but it’s nice that Focusrite provides a complete solution.

There’s not much else you need on the Vocaster Two. A USB mic input or two would be a welcome addition, and maybe the option of cycling through the enhancement choices on the hardware would be a nice upgrade. Providing access to the Bluetooth and virtual inputs from the physical interface could also be a consideration, though with only so much real estate on the unit, more controls would confuse things in a hurry.

Otherwise, the Vocaster Two is a very simple way to produce podcasts that combines in-person and off-site talent. Bluetooth makes connectivity a breeze, and the hardware and software user interfaces are very easy to use. This is a great option for schools and corporate AV, as well as other podcast applications that want to deliver professional results without overcomplicated controls.

The Vocaster Hub software provides access to some valuable features and is also very easy to use.

The Vocaster Two Studio bundle includes the audio interface, mic, XLR and USB cables, and headphones.

TECHNOLOGY NEW PRODUCTS

Atlona AT-OME-MH21-CP

The latest entry in Atlona’s Omega Series of AV integration solutions for modern presentation, collaboration, and videoconferencing applications, the AT-OME-MH21-CP features HDMI and USB-C inputs, advanced integration capabilities, USB-C device charging (up to 60W), and a built-in USB 3.0 hub for videoconferencing peripherals or touch displays. Ideal for small meeting spaces, the USB-C connection combines with the switcher’s two USB-A and USB-B interfaces to support up to two host PCs plus two peripheral devices such as microphones, speakerphones, cameras, soundbars, or interactive displays. The OME-MH21-CP also offers integration and user convenience features including automatic display control, audio de-embedding, and automatic input selection, which intelligently switches between inputs when sources are added or removed for touch-free operation. Plus, the OME-MH21-CP can be configured and monitored remotely over a LAN or WAN through the Atlona Management System.

Sony C-80

New from the Pro Audio Division of Sony Electronics, the C-80 unidirectional condenser microphone is ideal for vlogging, webcasting, podcasting, as well as instrument recording. Equipped with the microphone capsule derived from the C-100 and a two-part, metallic anti-vibrational body structure used in the C-800G, the C-80 inherits the essence of these two industry standard models. Dual diaphragm configuration suppresses sonic changes with distance (proximity effect) and allows more stability in the vocal recording process. Noise elimination construction prevents microphone body acoustic vibration, resulting in low noise and clear sound. The C-80’s tight and rich mid-range capture provides a vocal sound with a clear core and presence, allowing vocals to stand out even when mixed with other instrumental sounds. Natural and clear vocal recording is achieved by suppressing boomy low frequencies and noise when close to the microphone.

ClearOne UNITE 60

The UNITE 60 is a wide-angle 4K USB camera featuring AI-powered smart face and voice tracking, along with electronic PTZ capabilities. With a 120-degree field of view, and a plug-and-play USB 3.0 connection for video, control, and power, the new

conference rooms. It leverages a wide dynamic range and super-high SNR with advanced 2D and 3D noise reduction to deliver excellent visuals across varied lighting conditions. In addition to the AI autotracking feature, the camera can also be controlled via IR remote or UVC protocol. The camera can be paired with a wide variety of microphones and speakers, and can be mounted to any monitor using its standard damping rotary shaft support.

support the latest 4K resolutions and HDR. Independent Dolby Audio and DTS Audio downmixing on the matrix’s HDMI and audio outputs allow for a mixture of formats for use with displays and AV receivers with different audio capabilities. The unit is controlled and configured using an intuitive web interface module, and third-party drivers are available for all major control system manufacturers.

JBL Professional PRX900

With three powered two-way loudspeakers and two powered subwoofers, the PRX900 Series was built to leverage JBL’s most advanced acoustic innovations. All-new proprietary driver systems—powered by ultra-efficient Class D amplifiers—deliver clarity and definition even at maximum volume, with improved dispersion and beam width and smooth lowfrequency extension. The PRX900 Series DSP package, accessible via onboard LCDs and the JBL Pro Connect app, includes 12-band parametric EQ for system tuning and nuanced tonal control, as well as integrated dbx Drive Rack technology featuring live and fixed automatic feedback suppression, soft system limiter with Soundcraft Overeasy option, and speaker delay settings and presets. Rigid composite loudspeaker cabinets feature computer-modelled ribbing for optimal acoustic performance and durability, while subwoofers are housed in 18mm birch cabinets with optimized bracing for smooth, accurate low-frequency response.

MAXHUB V6 Classic and V6 ViewPro Series

Available in multiple sizes, the V6 Classic and V6 ViewPro Series interactive flat panels displays are solid solutions for meetings, collaboration, and presentations. The V6 Classic features a 4K UHD display with 20 touch points with 2mm touch point recognition. Wireless screen sharing is made easy via either MAXHUB’s Share app or via a wireless dongle. As a smart whiteboard, it supports OCR and includes multiple built-in templates. Its integrated camera with 48 million pixels offers optimal viewing, while its eight beamforming microphone arrays offer a voice pickup range of 26 feet to deliver clear conversations. Also included are dual 10-watt loudspeakers and one 20-watt LF transducer. Both displays use a 10th generation Intel CPU. The V6 ViewPro adds a dual-camera setup, including an 8 MP camera with 3x optical zoom, and a vocal pickup range of 39 feet.

Pliant Technologies CCU-08

Blustream PLA88CS

The PLA88CS 4K HDMI 2.0 8x8 matrix combines the global standard of advanced HDBaseT to transmit HDMI, ARC, LAN, and bi-directional IR and RS-232 signals up to 328 feet in 4K/UHD and 492 feet in 1080p over a single CAT cable. It can accommodate displays with various resolutions and elevates the audio experience across multiple formats. Advanced features include the ability to route its eight dual HDBaseT/HDMI outputs independently, with each output featuring Color Space Conversion (CSC) to

The latest addition to the CrewCom professional wireless system, the CCU-08 gives users the ability to use up to eight 4-Wire ports while retaining all the same features of the current companion CCU-22 and CCU-44 products. CrewCom is based on a versatile decentralized, highly scalable network platform. The CCU-08 contains no radio and is frequency agnostic, so it can control and monitor any device across CrewNet regardless of the radio frequency bands being utilized. With the combination of CrewCom radio transceivers, the new CCU-08 supports up to 82 radio packs, 18 in normal mode and 64 in the recently released high density mode, across all RF bands. Up to four CCU control units can be used in one system for larger user counts. The CCU-08 is ideal for larger production/events, rental houses, large theatre productions, and house-of-worship applications.

Solid State Logic ORIGIN

SSL has expanded its ORIGIN range with a 16-channel model. Following the success of its larger 32-channel sibling, ORIGIN 16 has the same features, intelligent hybrid workflows, and SSL sound quality in a smaller footprint. It is a comprehensive analog console that’s ideal for a hybrid, DAW-based workflow where console automation is not required. Its simple signal flow and layout make it easy to understand and use, while powerful features such as channel direct outputs, fully balanced electronic architecture, and precision bar graph meters make it an ideal companion for demanding professional production applications. It features 16 mono in-line channels, 16 track busses, eight stereo subgroups, and a total of 56 inputs at mixdown. An innovative modular center section allows ORIGIN 16 to adapt to different applications. Plus, ORIGIN 16’s ultra-low power consumption and power-saving features equal lower operational costs.

RUSHWORKS PTX Model 3 PRO

The latest of the company’s robotic pan/tilt heads, the PTX Model 3 PRO provides quiet operation with enough payload capacity to support most cameras and lenses. It features natural start/stop motion ramps for both presets and joystick manipulation, and is controlled using VISCA-over-IP for compatibility with dozens of current hardware and software controllers. At 43 pounds, the unit has the mass required to easily manage large payloads, with the torque generated by two large stepper motors to do the heavy lifting. The PTX Model 3 PRO easily accommodates Blackmagic Design’s entire camera line, as well as other large form factor cameras like the Canon C models, Lumix Box Cinema, Red, Arri, and Sony FX line.

Uniguest Caveman 3.3

The latest version of Uniguest’s Tripleplay digital signage, enterprise video, and IPTV software includes several significant new features and integrations. Power BI data visualization software integration allows organizations to report powerful business intelligence via dashboards, reports, and tiles directly in Tripleplay. A new API for third-party monitoring systems can fetch real-time information on the status of Tripleplay signage hardware, opening the ability to utilize third-party systems for endpoint monitoring. New webcasting enhancements enable viewers to access live webcasts from mobile devices via the Tripleplay Mobile Media App (MMA). Additional features include UI and platform architecture enhancements to Reserva, Uniguest’s enterprise-class room booking system that is available via Tripleplay. Digital signage users can also take advantage of the new BrightSign browser plugin.

Presence Equity: The Struggle Is Real

Better Hybrid Experiences Deliver Better Productivity

By Kevin Klier

Although working from home was gradually making its way into the workplace, the pandemic kicked the doors wide open for adaptation of remote and hybrid work models in virtually every type of business. Now that the genie is out of the bottle, there seems little chance the working world will ever go back to the traditional 9-to-5, everyone-in-the-office routine.

A recent study by Hiring Lab found that job listings with a remote component had nearly tripled since 2020. With a quarter of all professional jobs expected to be remote by the end of 2023—and more than half of all employees indicating they want to be able to work from home—many employers are recognizing that they must make remote work options a part of their company culture to remain competitive. Without it, they fear they will be unable to continue attracting and retaining top talent, which ultimately will impact productivity and the organization’s ongoing success.

Equal Contribution Opportunities

Remote and hybrid work models, however, present another set of potential problems for employers. How do you ensure that remote workers still feel like they are part of the team? How do you keep these employees engaged, while ensuring that their performance remains high? And now that the capacity to work remotely is accepted as a workplace norm, how do you ensure remote workers are properly equipped so that they can participate fully in video calls?

For many companies, the answer to all of these questions is presence equity. Not a new concept— remote workers and their organizations have been trying to find better ways of collaborating for a decade or more—presence equity simply means that remote and in-office team members have the same access to information and can speak and be heard easily by all participants. Presence equity ensures that every team member can equally contribute to the discussion at hand.

When a lack of presence equity exists, remote workers can easily feel like their contributions are not valued as much as those who are physically at the workplace. This can lead to feelings of disengagement—and disengaged employees are more likely to be less productive and begin looking for job opportunities in which they believe their work will be perceived as more valuable.

The experience of a bad videoconference can also lead to remote workers being regarded by their peers (or, worse, their supervisors) as less than the true professionals they are. If it is difficult to see or hear what a speaker is sharing and saying, other participants will be concentrating on trying to decipher what is being said rather than understanding it. Remote workers need to be well lit, facing the camera, and engaged throughout the duration of the conversation.

Bottom line, better hybrid experiences lead to better work. Anyone who has dealt with the experience of a video call participant who can’t be heard or seen because of poor audio quality or lighting knows how detrimental it can be to productivity. While such calls might have been acceptable in the early days of the pandemic, today’s hybrid setting demand a professional approach.

Wide Open Options

With that in mind, employers should focus first on offering in-office workers a wide range of spaces in which to work. As remote work at its best has demonstrated, employees work best when they have control of where they work. That means offering the option of huddle rooms equipped with videoconferencing technology to pods offering sufficient privacy to participate in a call or join a videoconference.

For both in-office and remote workers, employers should provide access to AV solutions that are easy to use and ensure that everyone sounds clear and is well lit on camera. Monitors and video solutions should be positioned so that both in-person and remote workers can view all content being shared. Microphones and speakers must be able to capture and transmit a clear audio stream.

Beyond that, it is important for AV and other collaborative solutions to support both BYOD (bring your own device) and BYOM (bring your own

meeting) features. Doing so allows employees to easily connect to meetings on their organization’s standardized platform (as well as others, as needed), while simultaneously minimizing contact with shared devices.

Remote Considerations

Finally, it is essential for employers to make certain remote workers are as comfortable and enjoy the same productivity features as their in-office peers. This means providing professional home office solutions, such as an ergonomic chair, work tools, and videoconference kits equipped with headsets, mics, and ring lights.

With remote working opportunities likely to continue to grow in 2023 and beyond, employers will need to prioritize technology upgrades on a continual basis to ensure their workers are equipped with the tools that enable them to do their best work. This likely will necessitate increased budgeting for both the technology and the furniture solutions that support them. It also means offering more training opportunities so that technology use can be maximized, as well as making a higher investment in security solutions, since remote work will vastly increase the potential for cyberattacks.

The future is also likely to see employers generating stricter policies with respect to remote or hybrid workers. This will need to be done in part to make sure all workers are being treated fairly and equally when it comes to how remote work is being handled. Stricter policies will also protect both the organization and its employees from unnecessary risk related to tax and residency issues, while tying both to the employer’s overall business goals.

As with most things in life, change is the one constant in the workplace. With remote and hybrid work seemingly a permanent part of the workspaces, employers will need to ensure that worker performance, engagement, and well-being are all a part of their considerations when creating better work experiences.

Kevin Klier is the senior executive vice president and general manager of dancker, an interior solutions company that fully integrates architectural, furniture, and technology solutions as a one-source provider and logistics manager for corporate, education, government, and healthcare facilities.

When a lack of presence equity exists, remote workers can easily feel like their contributions are not valued as much as those who are physically at the workplace.