Sound & Video Contractor - November 2025

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NOVEMBER 2025 VOLUME 43 - ISSUE 11

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Stadium Simulation Software and sound

TECHNOLOGY AT WORK Conferencing

Contents

November 2025 Volume 43 Issue 11

37 39

34

Features

34

Cover Story Stadium Simulation

Software and premium audio design

37

Open Mic

WSDG’s Dick Noy and Sergio Molho on Stadium Audio

39

Technology at Work: Conferencing and Collaboration

20

Departments 04 O n the Circuit

By Chief Editor Cynthia Wisehart

06 The Buzz Pro AV Today Most Read Case Studies: Stadiums and Arenas

26

20 Tech Showcase: Conference Mics

By Bennett Liles

26 T ech Showcase: Signal Distribution

By Cynthia Wisehart About the cover: L-Acoustic Soundvision modeling for the Miami HEAT Kaseya Center

Sound & Video Contractor, Volume 43, Issue 11, (ISSN 0741-1715) is published monthly by Future US, Inc., 130 West 42nd Street, 7th Floor, New York, NY 10036.

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ON THE CIRCUIT For more visit www.svconline.com/circuit

I CYNTHIA WISEHART Editor SVC

Find me online Email cynthia.wisehart@ futurenet.com Website https://www.svconline. com/circuit Instagram https://www.instagram. com/svconline/ X (formerly Twitter) @SVC_Online https://x.com/ SVC_Online LinkedIn https://www.linkedin. com/groups/2757484/

n case you missed it, during the summer our industry had a big moment in the flow of Executive Orders. Given the dense output of those orders, it’s understandable that the news didn’t make all caps at Huffington Post or the ticker at Fox News. However, it did make it into a press release on the Treasury Department’s website, which is a fascinating read in general. In short, the order retroactively prohibited the 2020 purchase and required divestiture within 120 days. It’s an extremely rare utilization of CFIUS powers, but within its charter.

To quote the release: “Today, President Trump published an order prohibiting the acquisition by Suirui International Co., Limited, a Hong Kong company that is majority owned by Suirui Group Co., Ltd) a company organized under the laws of the People’s Republic of China, of Jupiter Systems, Inc., a Delaware corporation). The Committee on Foreign Investment in the United States reviewed and investigated this transaction pursuant to Section 721 of the Defense Production Act of 1950, as amended. CFIUS identified a national security risk arising from Suirui’s ownership of Jupiter relating to the potential compromise of Jupiter’s products used in military and critical infrastructure environments. To address this risk, the President’s order directs Suirui to divest all interests and rights in Jupiter and requires that Jupiter hold no interest or rights in any assets or operations of its Chinese subsidiaries acquired or created after the completion of the transaction.”

I’m sure many of you know all about CFIUS and may have had direct experience with it. For those who may not have, it’s been around since 1975 with the relevant Section 721 created in 1988 to address increasing concerns over foreign acquisitions of US businesses; it gave the President direct authority to review and block the transactions on national security grounds. The “amendment” that the press release refers to was an expansion of CFIUS powers

by Congress during the first Trump administration. Among other things it allows CFIUS to review non-controlling acquisitions such as the Jupiter acquisition.

There is also link to the full text of the Executive Order which was also a very interesting read for me because it was so specifically about a company I know pretty well in an industry I know pretty well. Given the churn of media coverage, I find it very helpful to read primary sources such as Congressional bills and Executive Orders.

And like most things done by bureaucrats, the devil is in the details.

According to reporting by my colleagues at SCN, the CFIUS investigation also confirmed that Suirui never had any access to Jupiter technology or IP and there was zero security exposure or mingling of technology or personnel. It was strictly a financial investment, more specifically to jump start the Pana 21:9 monitors. However, because of the 2018 amendment, even non-controlling financial-only relationships may be subject to oversight and divestiture, and CFIUS can assess that there is unacceptable future risk, as they did in this case. Ironically Jupiter’s processors are US-made.

Unsurprisingly, a 120 divestiture is a challenge. However, there is much about this specific situation that makes it less disruptive than it might otherwise be, because the companies were never intermingled in any way, and because of Jupiter’s longstanding government relationships which purportedly speed a normally glacial process. I urge you to read my colleague Wayne Cavardi’s excellent piece.

While this Executive Order is specific to Jupiter, it will surely affect the calculation of our industry’s financial and technical relationships with Chinese companies and other international entities.

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Volume 43 Issue 11

November 2025

WWW.SVCONLINE.COM FOLLOW US @SVC_Online https://www.facebook.com/svconline CONTENT Content Director Cynthia Wisehart, cynthia.wisehart@futurenet.com

Associate Content Director Derek Wiley, derek.wiley@futurenet.com Contributors Bennett Liles

Art Editor Rob Crossland, Sam Richwood Production Managers Nicole Schilling, Heather Tatrow

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PRO AV TODAY From the Newsletter Subscribe to Pro AV Today: https://bit.ly/44ZEu4d

Marshall is launching its first Bluetooth party speaker

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Marshall

Marshall has stepped its foot into the Bluetooth party speaker market with the Bromley 750.

Known for its iconic line of amplifiers, the British manufacturer has expanded into the Bluetooth speaker and soundbar market over the last few years with a series of models. The Bromley 750 builds on the success of those models, but on a much larger scale.

Measuring 25.7 x 16.3 x 14 inches, the Bromley 750 features two 10-inch 150W woofers, two 5.25-inch 50W mid-range drivers, two 1-inch 7W tweeters, and two .8-inch 14W tweeters, all outfitted with Class D amplifiers. Marshall claims true stereophonic sound, allowing the speaker to hit all areas of a room. A hidden array of LED lights sit behind the grille that can be toggled to one of three presets, two of which react to the music being played. https://tinyurl.com/2p9z7kmr

Pro AV Today Most Read Stories

Writer

DEREK WILEY

2

Popular multitool manufacturer Leatherman has taken to releasing upgraded, sometimes limited-edition versions of their products over the last few years. The company is continuing this trend with the launch of the Leatherman Wave Alpha, a new iteration of its capable all-rounder Wave multitool.

According to Leatherman, the improvements made to the Wave Alpha are the result of consumer feedback, and nearly all of them involve the tool’s knife blade. The blade is now of MagnaCut manufacture for enhanced durability, and features a reverse tanto design. Most obvious upon first glance is the addition of a thumb stud, previously only available on the company’s premium ARC multitool. Of course, as a Leatherman multitool, the Wave Alpha packs in over a dozen tools, including large and small bit drivers. The new multitool is available now in Obsidian, Cascadia (dark green), and Canyonland (orange) colorways. https://tinyurl.com/37mn494m

Le at he rm an

Associate Content Director

Leatherman updates its popular Wave multitool

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Blackmagic Design has everything you need for 2110 IP video systems!

Now you can build affordable live production and broadcast systems with SMPTE-2110 video! Blackmagic Design has a wide range of 2110 IP products, including converters, video monitors, audio monitors and even cameras! You get the perfect solution for integrating SDI and IP based systems. Plus all models conform to the SMPTE ST-2110 standard, including PTP clocks and even NMOS support for routing.

Uses Simple 10G Ethernet for Low Cost

Build Professional SMPTE-2110 Broadcast Systems

Incredibly Easy to Install

The Blackmagic 2110 IP Converters have been designed to integrate SDI

One of the biggest problems with SMPTE-2110 is needing an IT tech on standby to

equipment into 2110 IP broadcast systems. The rack mount models can be

keep video systems running. Blackmagic 2110 IP converters solve this problem

installed in equipment racks right next to the equipment you’re converting.

because they can connect point to point, so you don’t need to use a complex

Simply add a Blackmagic 2110 IP Converter to live production switchers, disk

Ethernet switch if you don’t want to. That means you get the advantage of SMPTE-

recorders, streaming processors, cameras, TVs and more.

2110 IP video with simple Ethernet cables, remote power and bidirectional video.

Conforms to the SMPTE-2110 IP Video Standard Blackmagic 2110 IP products conform to the SMPTE ST-2110 standard for IP video, which specifies the transport, synchronization and description of 10 bit video, audio and ancillary data over managed IP networks for broadcast. Blackmagic 2110 IP products support SMPTE-2110-20 video, SMPTE-2110-21 traffic shaping/ timing, SMPTE-2110-30 audio and SMPTE-2110-40 for ancillary data.

www.blackmagicdesign.com

Blackmagic 2110 IP Converters are available in models with RJ-45 connectors for simple Cat6 copper cables or SFP sockets for optical fiber modules and cables.

Using simple Cat6 copper cables means you can build SMPTE-2110 systems at a dramatically lower cost. Plus copper cables can remote power devices such as converters and cameras. There are also models for optical fiber Ethernet.

Blackmagic 2110 IP Converters From $325

Learn More!

PRO AV TODAY From the Newsletter Subscribe to Pro AV Today: https://bit.ly/44ZEu4d Dolby introduces Dolby Vision 2

3

Dolby

Dolby Laboratories has announced Dolby Vision 2, which the company describes as its next evolution of picture quality innovation.

Hisense is the first TV brand to announce it will be bringing Dolby Vision 2 to its lineup of TVs, with entertainment company CANAL+ also offering full support for the new technology.

Building upon Dolby Vision HDR, the company says that Dolby Vision 2 was designed specifically “to meet the evolving opportunities of television experiences today.”

“We’ve reached an inflection point where TV technology has dramatically changed while artists continue to demand even more innovative tools,” said John Couling, Senior Vice President, Entertainment at Dolby Laboratories. “Dolby Vision 2 redefines how we think of Dolby Vision to unleash the full capabilities of modern TVs while giving artists unprecedented opportunities to push their creative boundaries further than ever before.” https://tinyurl.com/mu5ekjen

Looking Glass’ new hologram displays can present videos and animations

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Looking Glass Factory

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Looking Glass has a history of creating glasses-free 3D hologram displays, most recently launching a 27-inch model that the company positioned as a digital signage solution for storefronts seeking an eye-catching display. Now the company has unveiled its new Hololuminescent Display, which takes its technology even further. Available in 16-inch, 27-inch, and 86-inch sizes, the Hololuminescent Display can house video and animated content, making it appear to contain much more depth than its actual <1″ thickness.

Looking Glass is aiming at commercial markets with its new technology, positioning them for digital signage or displays for malls and other public spaces. They don’t require any specially-shot content, just normal 2D video that can be inserted into the company’s template, compatible with most popular video editing software. The 27-inch and 86-inch models can display content in 4K, while the 16inch model is limited to 1080p. https://tinyurl.com/4t5nbcku

PRO AV TODAY From the Newsletter Subscribe to Pro AV Today: https://bit.ly/44ZEu4d Meyer Sound introduces GEN-1 technology for networked loudspeakers

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We’re in an era where vinyl is making a comeback, bringing with it fresh new ideas for a 70+ year old way to listen to music. The turntable space has seen experimentation, from transparent record players to minimalist players designed to hang on the wall.

There hasn’t been much new ground broken on the actual vinyl record format itself, though, which is what makes Tinyl Vinyl stand out.

Designed for the age of the collectable, Tinyl Vinyl records measure just 4″ across, yet can be played on any manual record player. They run at 33 rpm, and hold roughly four minutes of music per side.

Given the format’s diminutive size, this is marketed as more of a feature than a drawback in the age where the majority of music listeners opt to stream single songs via Spotify and other apps. https://www.svconline.com/proav-today/ tinyl-vinyl-is-a-new-novel-4-recordformat

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Tiny Vinyl

Tiny Vinyl is a new novel 4″ record format

Meyer Sound

Meyer Sound introduces the Galileo Extended Networking platform, or GEN1—a new technology that brings networked connectivity and onboard signal processing directly to the loudspeaker. AES67-compatible and optimized for Milan integration, GEN-1 represents a highly scalable, adaptable foundation for future system architectures.

GEN-1 builds on Meyer Sound’s pioneering legacy in self-powered loudspeakers—bringing that same spirit of integration to the digital signal chain.

Traditional sound system designs rely on centralized DSP units to manage processing before distributing signals to loudspeakers. GEN-1 shifts that model by embedding processing at the loudspeaker, reducing cabling and rack requirements while minimizing points of failure. The result is a more streamlined and robust infrastructure—especially valuable in complex or large-scale deployments. https://tinyurl.com/28zhdzwy

THE BUZZ For more visit svconline.com/the-wire.

Unique Constellation

A

vicii Arena is one of Europe’s most iconic venues—an architectural marvel and the largest spherical building on the continent. Towering 85 meters high and spanning 110 meters in diameter, the steel, concrete, and glass globe encloses more than 600,000 cubic meters of space, with seating for up to 14,000 for sports.

As part of a comprehensive renovation, the arena now features a landmark Meyer Sound Constellation acoustic system.

The system was designed by Meyer Sound’s John Pellowe, project director for Constellation, and Ana Lorente, senior acoustic engineer, in collaboration with Anders Jørgensen and the installation team at Danish AV integrator and consultancy firm Stouenborg, based on the original concept from acoustician Adam Foxwell and Sebastian Holm from Efterklang.

“This is not a typical Constellation system,” Jørgensen says. “We call it an audience enhancement system. It’s designed to create the feeling of being embraced by the crowd—so spectators can actually hear each other, even across such a vast space.” For sporting events, Constellation’s realtime processing ensures that crowd noise, chants, and music are evenly redistributed throughout the arena to elevate the emotional connection.

The retrofits, based on an array of 12 Meyer Sound ULTRA-X40 and 72

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ULTRA X42 compact point source loudspeakers and 72 shotgun microphones, are all precisely angled and suspended from a custom-built acoustic ceiling.

“The ceiling is shaped like a Pringle potato chip—bent in two directions,” says Jørgensen. “That introduced challenges for how we could mount, aim, and space the speakers and microphones.” The new acoustic ceiling, designed by Efterklang, dramatically improves the reverberation time of the venue and is a key in allowing the Constellation system to work as designed. Everything is driven by Meyer Sound Galileo GALAXY network platforms and the NADIA integrated digital audio platform.

The entire system is segmented into 12 distinct zones, enabling precise spatial control. “We’re redistributing the excitement,” says Pellowe. “If the north end of the arena starts a chant or cheer, the system can carry that energy across the entire venue. It’s about creating a more unified and visceral experience.”

Spacemap Go functionality is built into the system, allowing access to immersive effects without adding complexity.

“We wanted to create a space that delivers more than just sound—it brings people together,” says Mats Viker, CEO of Stockholm Globe Arena Fastigheter AB, the venue’s owner. “Whether fans are cheering a goal or on the edge of their seats in overtime, Constellation makes every moment feel shared.”

THE BUZZ For more visit svconline.com/the-wire.

Big Sound

O

pened in 2003, Angel Of The Winds Arena houses three venues that host sporting events, trade shows, music concerts, school functions, and a variety of other programs.

From its opening, the audio system in Angel Of The Winds Arena has been built around JBL Professional loudspeakers, but after 20 years the original system was aging and dirty and no longer met the needs of the venue’s event schedule. “We just didn’t have enough,” states Curtis Giboney, Technical Services & Special Projects Manager at Angel of the Winds Arena. “It wasn’t enough coverage and the hockey team had to push the levels so much to fill the dead zones that it was ear-piercingly loud all the time.” It was time for an upgrade, and solving these issues was the top goal for the new system.

Morgan Sound, headquartered only 13 miles south in Lynnwood, was selected to do the job. Morgan Sound has relied on JBL for 54 years, so upgrading to JBL’s latest VTX Series loudspeakers was an easy decision.

At the heart of the coverage issue was the design of the roof, which is higher along the venue’s spine than towards its sides, with the scoreboard hanging just near the lower roof level. “The arena doesn’t come down evenly,

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so not only is there a sight-line issue, but you just can’t get energy from the scoreboard to the entire top of the arena,” reveals Morgan Sound Senior AV Consultant Stephen Weeks.

The resulting design used more arrays than would normally be deployed in an arena context, with the arrays hung in a sharply curved configuration.

Weeks ended up with the system modeled in JBL’s Venue Synthesis software, which brought multiple benefits. “We were able to take the model and manipulate it as we needed, but we also used an export from Venue Synthesis to do virtual 3D walkthroughs with the client so they could see what the coverage was going to be. More importantly, leadership at the arena wanted to see what the sight line issues would be, especially with the LED scoreboard and all that happens there.”

Even with predictions from Venue Synthesis, it is impossible to know for certain how well a system meets expectations until it is actually installed and put into use, so the success of using VTX A6 as the main loudspeaker hung in the balance until that time. Then success was clear. “It sounds great!” Weeks enthuses. “The venue’s clients have nothing but good things to say. The hockey team in residence, the Everett Silvertips, is ecstatic.”

THE BUZZ For more visit svconline.com/the-wire.

Intentional Audio

D

ubai’s Coca-Cola Arena, one of the Middle East’s most highprofile multi-purpose entertainment venues, has just completed a major sound system upgrade using the latest loudspeaker system technologies from d&b audiotechnik. Including the full-bandwidth directivity of the GSL, KSL, XSL and SL-SUB products from the SL-Series, plus the latest Compact Cardioid Line Array (CCL), the finished system delivers clean and consistent sound across the entire 17,000-capacity venue.

“At Coca-Cola Arena, we aim for five-star quality in every detail of the audience and artist experience. Choosing d&b audiotechnik was about more than technology – it was about partnering with a brand that our team and our technical experts truly trust,” said Mark Jan Kar, General Manager of the Coca-Cola Arena in Dubai and SVP of Entertainment, Content, and Programming for Legends Global (MENA).

The d&b team was led by Brad Maiden, General Manager of the Middle East office in Dubai and included Steve Jones, Head of Education & Application Support (EMEA). They worked closely with the Arena’s sound crew and representatives from Coca-Cola Arena and Legends Global to refine the system design, then brought in one of the world’s most respected live sound engineers, Marc Carolan (Muse), to fine-tune the installation.

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Carolan commented, ”I’m very familiar with GSL and KSL systems in arenas, but being part of a permanent installation and having the time to really listen and refine things – without my production manager shouting at me – has been great. Steve and the whole team have done a fantastic job. The system is world-class.”

Of the new CCL, Jones says, “Despite its compact size, it still delivers cardioid control down to the lowest frequencies, which is remarkable. It slots in perfectly with the larger SL-Series cabinets, meaning we can provide effective cardioid solutions for any space, maintaining intelligibility and clarity from front to back.”

The new solution, aimed at giving the venue’s audiences the best possible sound experience while being rider-friendly, is designed with multiple levels of coverage that can be activated or deactivated as needed by the multipurpose venue, enabling flexible control for any type of event. The main system was finessed using d&b’s ArrayProcessing software. On the control side, a complete Milan network is implemented.

“Consistent coverage is critical. I’ve been a long-time d&b user, and I know I can rely on their systems to deliver coverage as promised. Tonality is equally important. What I love about GSL in particular is that it isn’t just a technical tool – it feels like a musical instrument. It has a very natural, musical quality that allows the art to really shine,” said Carolan.

THE BUZZ For more visit svconline.com/the-wire.

Images on Ice

I

mmersive technology specialists, Quince Imaging, recently partnered with professional hockey outfit the Anaheim Ducks to install a permanent, projection-mapping solution at the team’s Honda Center home arena in Anaheim, California. The installation aimed to enhance the Ducks’ fan experience through engaging, interactive visuals, especially during half-time breaks. At the center of this project is Stage Precision’s SP software, which plays an integral part in Quince Imaging’s production workflow, allowing for precise tracking, calibration, and realtime data integration.

Coinciding with major infrastructure upgrades at the Honda Center in anticipation of the 2028 Olympic Games, the Ducks aimed to elevate the match-day experience through a combination of projection, lighting design, and data-driven visuals. The arena was outfitted with a powerful laser projection mapping system, comprising twelve Christie Griffyn 4k50RGB projectors, Mystique Pro Venue Edition software, and an automated rigging system.

Quince Imaging introduced a custom-built interactive game called ‘Frog Dash’, intended to run during intermission breaks. It relies on player motion capture and ID tag tracking to create a real-time gaming experience.

With the Ducks looking to integrate more sponsorship-driven content and

immersive digital storytelling throughout the season, a scalable and responsive technology platform was essential.

“This was about more than putting images on the ice,” said Eric Gazzillo, vice president of innovation at Quince Imaging. “It was about designing a system that could evolve with the needs of the Ducks’ production team, not just a one-off show, but a foundation for creative growth. We’ve worked on various types of tracking and motion systems over the years. Integrating SP by Stage Precision was a turning point. It’s faster, more intuitive, and allows us to automate complex workflows. This is the system we’ve been waiting for and the tool that brings everything together.”

Although Quince Imaging had executed similar activations in the past, the integration of SP from Stage Precision marked a new chapter. The team had been exploring various options for years, seeking a solution that could unify their diverse requirements and technologies under one platform. That search led to conversations with Tony McIntyre at Stage Precision, whose insights into the software’s capabilities sparked immediate interest.

For the Honda Center activation, SP facilitates communication between multiple hardware and software platforms, including an array of OptiTrack motion capture cameras, Pixera media servers for content playback, and the game engine that powered ‘Frog Dash’.

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THE BUZZ

Anna Lee Media

For more visit svconline.com/the-wire.

Concert Comms

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oldplay’s Music of the Spheres gigantic world tour, which is led by Production Manager Chris Kansy, relied on Clair Global for comms and IT. Clair Global designed a comms system comprising 2 x Riedel Communications Artist64 digital intercom network frames, 50 x Bolero wireless belt packs, and 6 x panels.

The band’s busy Showcaller, Julia Whittle, communicates via Clair’s main show channel, which has a one-way transmit to some 200 Motorola radios, while multiple radio interfaces are deployed to offer seamless coverage for distant positions, such as pyrotechnic gags, which, on a production of this size, can be fired from up to 400m away from the stage.

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Clair Global RF Technician Turner Pollari says: “Each of the Motorola base stations offers two-way communication from our Artist system, Bolero, and radios. With simple fiber runs, it offers us the ability to easily change how we deploy the system. Additionally, with the support of Luminex switches, we can be flexible and quick with changes.

“We take an uplink from the IT printer rack at the stage that provides internet to each Luminex in the comms system, making it easier in a crowded stadium to access apps and other means of communication.”

At every show, a third Reidel Artist64 system lives in ‘video world’, managed by the band’s Video

THE BUZZ For more visit svconline.com/the-wire.

Systems Engineer Chris Farrants. “This enables an easy solution to integrate the engineering, camera, and LED teams, which all live on a Clair Global Bolero system,” Pollari explains. “A further 8 x 4 wire lines are shared with Audio/RF Tech James Smallwood, who runs yet another Artist system that provides panels for the audio and backline departments. The AES67 trunkline also ensures the crew can use the Bolero antennas.”

A key requirement for the team’s huge shows in India was to accommodate a 100-person live stream crew; a Disney+ Hotstar‘s team livestreamed from Ahmedabad for a 3-hour broadcast. Clair Global interfaced 8 x 4 wire lines to keep this team in the loop on how the live concert production was unfolding, ensuring every department could work seamlessly. The Disney+ team had 30 x Bolero on their own network, bringing the total to 80 x Bolero in 1.9 for the Indian shows alone.

“Everything in this huge production is quickly conveyed, from tech to medical emergencies; every step allows for real-time updates.”

“Having so many people with so many communication options means Coldplay’s shows run in a very polished manner,” continues Pollari.

“Everything in this huge production is quickly conveyed, from tech to medical emergencies; every step allows for real-time updates.”

The back-of-house IT infrastructure is overseen by Clair’s Data Services Specialist Dalton Tyler, who deploys each IT rack strategically as well as the access points (APs) and SSIDs curated to each crew member’s workflow.

Clair Global also creates encrypted networks for each tour department and production office, critically protecting both staff and artist data.

Tyler explains: “In Ahmedabad, we had 2 x Gbps data lines coming into the stadium from the local Internet service providers. Due to the number of people relying on us for data, we used two separate providers for each line, ensuring there was a backup plan. We have several different networks for various departments; management and dressing rooms are set up in advance, and I install up to 24 x Cisco Meraki APs to provide Wi-Fi to all other areas of the venue once on site.

“Other key networks are for the production office compounds, often servicing up to 20 offices, backstage, the stage, where we run APs throughout the underworld, and through our comms system to both FOH locations.”

Music of the Spheres, which has been crowned the highest-attended music tour of all time by the Guinness World Records, wrapped at London’s Wembley Stadium on September 8th.

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TECH SHOWCASE Conference Mics

Conference Mics and Systems

Jabra Panacast 40 VBS

P

roviding possibly the best return on investment in any AV installation, conferencing systems save travel time, cut absenteeism among key team members, and allow clearer and creative communication. System designers have met the challenge to automate many functions and make it simple to fire up the system and establish these vital communication links. For these tools, ease of use is a major selling point.

Writer

BENNETT LILES

Contributing Editor

AnkerWork S600 Speakerphone

A smaller group conference can appear as though it is being broadcast by a TV camera crew with the Jabra PanaCast 40 VBS. The system is capable of showing a 180-degree wide shot even in a small booth space. It tracks the person speaking and automatically adjusts video and sound. The hardware is packaged for easy installation and zero cable clutter. The device is designed for Microsoft Teams and operates through the Microsoft Device Ecosystem Platform (MDEP).

A very low-profile tabletop device, the MXL AC-370-U is a USB mic with a 360-degree pickup pattern clear for voices up to 25ft. away. USB-C cables are included to allow daisy-chaining multiple units for larger conference tables. It is housed in a durable metal case so that if it is knocked off the table, it can be put right back and keep going. The locking DC power supply cable prevents accidental disconnection.

The AnkerWork S600 Speakerphone has AI-enabled voice recognition and a high-speed NPU chip to single out conference participants and filter out background noise. With its four high-fidelity microphones, it captures voices up to 26ft. away at a 48kHz sample rate, and its built-in 5W speaker delivers 360-degree bassenhanced sound. There is also a 70-degree adjustable Magewell phone mount and Qi2USB Fusion certified 15W wireless charging.

MXL AC370-U

Another versatile conferencing unit is the Magewell USB Fusion, which facilitates file and screen sharing, camera viewing, and picture-in-picture display of AV resources. There are two 1080p/60 HDMI inputs and one USB input for a webcam. All this control is done through icon hardware buttons on the top of the housing, as LED indicators show source selection. USB Fusion is compatible with many current conferencing systems.

The Clockaudio C3 Slimline Gooseneck mic line is intended to allow close and directional mic placement without table clutter, and there are a variety of stem lengths. These are available in either Satin Black or white finish to blend with room décor, but Nextel Suede Coating finishes can be custom ordered.

The cardioid condenser mics have flexible stems and mini XLR termination.

Clockaudio C3 Gooseneck

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Conference Mics TECH SHOWCASE AudioTechnica ES964

Hall Technologies HT-ODYSSEY

Simple and flexible conference table mic The Shure MXA310 table array microphone is mounting is possible with the Audio-Technica designed to be unobtrusive and produce clearly ES964 compact boundary microphone array intelligible voice reproduction using its Steerable and its low-profile design. Varying polar patterns Coverage technology. Working seamlessly with are configurable through a mix among its single Dante Domain Manager, it is automatically omnidirectional capsule and two bidirectional discovered on the Dante network. The LED light ring capsules. Three separate remote buttons on that encircles the housing has configurable colors the mic touch controls can be used by various and intensity. The mic can be muted/unmuted participants to mute audio or trigger a logic locally or through Zoom Rooms or Microsoft Teams point. The ON/OFF/MUTE condition is LED indicated. systems. Available in white, black, or aluminum, the An all-in-one conferencing solution that fits right on the table is mic can be tabletop or flush-mounted. the Hall Technologies HT-ODYSSEY, featuring audio, video, and straightforward connection functionality. At ten and a half inches across, the housing is very compact for its range of connections.

Included are USB and HDMI inputs, LAN terminal, and outputs for HDMI and HDBT. BYOD enables content sharing via Miracast, AirPlay, and HT-Voyager. Sound is enhanced through automatic echo cancellation and noise reduction.

Ease of operation comes to the forefront on AVer VB370A the AVer VB370A Android-powered dual lens 4K PTZ Video Bar featuring Smart Composition, Auto For clear voice pickup and minimal Framing, and intelligent voice tracking. The system’s background noise, the AKG CGN521 18X total zoom PTZ camera and its 120-degree field STS professional tabletop microphone is of view fixed camera assure all participants are shown. The a leading contender. The 19.5in. stem allows AKG microphone has 14 beamforming elements and a pickup range of the mic to sit at a distance while its cardioid CGN521STS up to 32ft. pickup pattern emphasizes its participant’s voice. The base is fitted with a button that can be programmed for push-to-talk, push-to-mute, push on/off, and low cut on/off. The frequency range is 70Hz Aveo Systems to 18kHz. Mira Connect The Audix M63 logic-enabled condenser boundary 10 microphone maintains a low profile on the table with one pushbutton. This can be configured for toggle on/off, momentary talk, and mute while the top-mounted LED indicates the status of each. When connected with 48V phantom power, the mic is capable of reducing table thumps and vibration with its internal shock-mount suspension system. Behind the grille, there are two 3-pin terminal blocks with configuration DIP switches.

One of the largest conference system touch panels is the 10in. diagonal Aveo Systems Mira Connect 10, which is designed to operate the Mira Connect control system and can be mounted on a table stand, in/on-wall, and fitted with side LED bars.

Audix M63 The bar is light red when the system is muted and green while in a call. The panel can be used to operate Zoom Rooms, Poly, and Cisco videoconferencing equipment.

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TECH SHOWCASE Conference Mics

Boundary microphones are favorites in the conferencing realm, and the Sennheiser SL Boundary 114-S DW-3 B is one of the most proven. A member of the SpeechLine Digital Wireless product family, it needs no cables. The internal battery is rechargeable inductively or by USB, and battery life is LED-indicated. There is a programmable button that can be configured as PTT, PTM, Toggle on/off, or Permanent on. This status is displayed on a two-color LED ring.

The BenQ treVolo U dialog speaker is a small desktop unit that contains a separate HF tweeter, mid-range woofer, and a passive bass radiator. Speech is picked up by an electret condenser mic mounted with a parabolic design receptor.

These are integrated to the front of the device, which is angled up at 12 degrees and equipped with acoustic echo cancellation.

Top buttons can control power, volume, input, Bluetooth range, output level, and charging.

Another very handy tabletop instrument is the Biamp Systems MPX 250 BYOM screen-sharing hub. Once a device is connected to any of its USB-C cables and a button is pushed, the presenter controls room AV systems for participating shared screens. The device can operate with Microsoft Teams, Zoom, and Google Meet, in addition to other conferencing setups.

Desktop speakerphones have seen substantial performance improvements and sophistication. The Boom Collaboration GIRO Pro is a perfect example. Capable of connecting directly on USB with a computer or via Bluetooth 5.0, it has a 10ft. pickup range and provides echo cancellation along with noise suppression. The 5in. diameter housing is powered with a Lithium-Ion battery.

BenQ

treVolo U

ClearOne BMA CT

Bosch CCS 1000 D

At the far other end of the conferencing scale for town halls and courtrooms, the Bosch Security Systems CCS 1000 D digital discussion system combines high-level functionality with ready mobility. The control unit can work with a variety of stand and flush-mounted gooseneck mics. Each system can have up to 245 devices, and there is native support for HD camera control.

One conferencing approach is to get mics completely off the table, and the ClearOne BMA CT is designed exclusively for that idea. Blending in with a drop ceiling, the beamforming microphone array offers acoustic echo cancellation, noise cancellation, and beam selection built in rather than relying on a separate mixer for these functions. Via P-Link, three of the units can be daisy-chained for larger rooms.

Biamp EasyConnect MPX 250

Boom GIRO Pro

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Conference Mics TECH SHOWCASE Crestron UCB70-A-T

Conferencing is all about ease of use by highranking non-techies and the new Atlona AT-VTP700VL Velocity 7in. touch panel simplifies some communication tasks. Setup is facilitated through Velocity hardware or software server gateways, and installation is streamlined with PoE+, providing network and power on a single cable. The VESA-75hole pattern makes it hardware mounting friendly over a range of solutions.

DPA 4098

Among the conference bar solutions is the Crestron UCB70-A-T Flex tabletop conferencing system. Consisting of the Video Bar 70, a PoE injector, 10in. tabletop touch screen, and cabling, this system handles medium to large facilities with Microsoft Teams Rooms. The Video Bar 70 is a quad 4K camera, 24-mic device that features auto tracking/framing and is equipped with dual 10W speakers.

The DPA 4098 line of gooseneck microphones has so many variants that there has to be one in a perfect stem length for any conference facility. Fitted with MicroDot or XLR-3M connectors, these ideally run on 48VDC phantom power and deliver 20Hz-20kHz frequency response with a supercardioid pickup pattern. The XLR-3M version offers stem lengths from 8in. to 48in., and the mics are available in black or white.

As many as 16 local conference participants can be clearly heard above any background room noise on the Epos Expand 80 premium, scalable Bluetooth speakerphone and its six adaptive beamforming mics. For larger groups, a pair of expansion mics can be added. The BTD 800 USB dongle Bluetooth connects any device, while the main unit extends only 1.81 inches above the table level. Full-bodied voice sound exits the speakers with a 50Hz-20kHz frequency response.

Combining a speakerphone with a customizable touchscreen, such as those used in large room-sized systems, the Lifesize Phone HD has the screen on the edge of the tabletop unit. It is used for distance conferences and local in-room presentations by providing control of all AV devices and using space-saving context-driven screen displays.

90Hz-22kHz sound accompanies 360-degree voice pickup, which is extendable with the optional Lifesize Digital MicPod for larger rooms.

Epos Expand 80

Lifesize Phone HD

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TECH SHOWCASE Conference Mics

The Lumens MS-10S 4K video soundbar enables voice pickup, sound control, and Ethernet over USB with video auto framing on the 4K camera. Its four directional mics use auto tracking to pick up the speaking participant. There are three presets for IR control and 128 for USB commands as the 8.29MP CMOS imaging sensor shows the 4K video. The RJ-45 port connects the internet to the presenter’s device.

The MAXHUB UC BM45 is a speakerphone that can be used in a wide range of room sizes using its 8-beam mic array for 360-degree voice pickup, echo suppression, and 100-10kHz mic frequency range.

Up to three units can be combined on RJ-45 ports for larger spaces. Full duplex audio keeps conversation sounding natural, and automatic gain control allows fast, handsoff volume regulation between those with varying presentation styles.

For small and medium-sized meeting spaces that need the big room features, the Muxlab MuxMeet Videobar brings in an 8MP camera with a 120-degree wide field of view, a four-mic beamforming array, and full-bodied sound. Voices are clear from over 18ft. away using Acoustic Echo Cancellation. The device can be either wall or table-stand-mounted, and it works with many conferencing platforms, including Microsoft Teams, Zoom, BlueJeans, and GoToMeeting.

In as little as an hour, the Nureva HDL410 mic system can be wall-mounted to serve an extra-large conference room. It has pickup zones to zero in on the speaking member and provide automated camera switching signals. For this, it integrates with cameras from AVer, Lumens, PTZOptics, and Laia, along with

Lumens MS-10S

Maxhub UC BM45

Muxlab MuxMeet Videobar

control systems from Extron, Crestron, and QSC. Additionally, it can be controlled from the Aveo Systems MiraConnect 10.

Large conferences frequently use the Taiden HCS-5390 series digital IR wireless conference units. Through the 160x80 OLED display panel, channel numbers and language information are clearly displayed. Only the chairman unit has a priority button, but all have an on/off button in addition to voting and simultaneous interpretation features. When used with the HCS-5300BAT rechargeable battery, the device can function continuously for up to 14.4 hours.

Taiden HCS 5390

Nureva HDL410

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Conference Mics TECH SHOWCASE

TOA TS-910

Another system for large meetings and big-room conferencing is the Televic D-Cerno digital discussion system built around the D-Cerno AE central unit. Featuring recording capability and integrated audio routing, it also has a USB interface for Teams and Zoom integration. Additional functionality includes AES67 encryption and further setup through an advanced audio configurator. It is connected to the D-Cerno SL tabletop discussion unit and various flush-mount stations.

The TOA TS-910 central unit can be connected to a combination of up to 192 wired and wireless discussion units for a hybrid design suited to the facility. This would be a lot to handle, but the TS-910 also features a feedback suppressor (FBS) function along with external control, voting result confirmation, and equipment installation confirmation through a connected computer. It is tabletop or rack-mounted and provides two-channel audio for base language and translation.

Televic D-Cerno SL

Vaddio EasyIP TableMIC D

A simple tabletop mic solution for small to medium-sized Dante networked rooms is the Vaddio EasyIP TableMIC D with its capacitive touch mute control. The acoustic fabric wrap isolates the case from table noise, and the top surface presents an LED stepped VU meter. For larger rooms, up to four units can be used together. Working with digital signal processing and automatic gain control, its three unidirectional mics provide 360-degree coverage.

The Yamaha YVC-1000 consists of separate mic and speaker components so that they can be placed for best acoustical performance. As many as five mic housings and two speaker units can be configured for a system.

An adaptive echo canceller and Human Voice Activity Detection (HVAD) filter noise out of the call. Acoustics are analyzed by an Autotuning function that adjusts audio parameters to produce the most natural sound.

Yamaha YVC1000

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TECH SHOWCASE Signal Distribution

Signal Distribution

Extron DTP3 IN2004

I

n September, the AJA Video Systems IP25-R debuted. It’s a Mini-Converter for connecting 4K SMPTE ST 2110 networks with 12G-SDI/HDMI infrastructures. IP25-R lets broadcast, production, and AV professionals de-encapsulate SMPTE ST 2110 video, audio, and ancillary data with frame-accurate synchronization for output to baseband 12G-SDI, and HDMI 2.0 devices. Featuring dual 10/25GbE network ports, two HDMI 2.0 outputs, and four 12G-SDI BNC outputs, IP25-R enables the delivery of low-latency video up to 4K DCI (4096x2160p60) with advanced HDR metadata handling, including SDI VPID and HDMI Infoframe signaling. Dual SFP28 cages provide ST 2022-7 protection switching for redundant IP networks in critical applications. A browser-based UI with in-band control over a media network or out-of-band control via an RJ45 1GbE port supports setup of IP parameters, PTP synchronization, and external controls. Any one of IP25-R’s four ST 2110 RX inputs can be assigned to specific SDI or HDMI outputs. A front-facing USB-C port supports initial network setup, and configuration via free AJA eMini-Setup software. The aluminum enclosure has active front-to-back cooling for high-density rackmount installation. Three IP25-R units can be installed in just 1RU (rack unit), and with AJA’s new DRM2-Plus chassis, up to 6 IP25-Rs can be installed with the option for redundant power support.

Writer

CYNTHIA WISEHART

Chief editor Former theme park designer

G&D Vision VS

the two ecosystems, enabling near-zero-latency video quality with the ability to stream content to remote locations, while reducing the amount of hardware required and minimizing cabling and component count.

In July, the Extron DTP3 IN2004 Series began shipping. These compact four-input switching scalers come in three models: DTP3 IN2004 DI/DO with AJA IP25-R HDMI and DTP3 inputs and outputs; DTP3 IN2004 DO with HDMI inputs and HDMI and DTP3 outputs; and IN2004 with all HDMI inputs and outputs. They feature Extron Vector 4K scaling technology; selectable scaled output rates range from 640×480 to 4K/60 at 4:4:4 color sampling. DTP extension is built in. They are HDCP 2.3-compliant and support logo image keying and display, auto-switching between inputs, and selectable seamless switching transitions.

Audio DSP functions such as mixing, ducking, and filtering are easily accessible. Other capabilities include built-in CEC commands and stereo audio embedding and de-embedding.

HDR, ultra-widescreen, high frame rate, and 3D video signals are Developed by Guntermann & Drunck (G&D) in collaboration all supported in scaler bypass mode. with sister company VuWall, the G&D VisionVS is a dualThe Snap One Binary 960 Series includes three products: encoding appliance that combines video wall visualization and the B-960-MOIP-4K-TX-A transmitter that enables audio KVM control into a single, compact solution. VisionVS captures downmixing, the B-960-MOIP-4K-TR transceiver that can KVM sources and transmits them as a G&D bluedecTM stream simultaneously send and receive, and the B-960-MOIP-4K-RX to G&D KVM matrix systems, while simultaneously outputting a receiver with video tiling capability. Together, these products proprietary VuWall stream to VuWall’s PAK processors for video let Partners take advantage of the increased bandwidth of wall visualization, KVM operator stations, or remote access. This modern 10G networks to provide 4K60 HDR video and fast single-appliance solution is designed to bridge the gap between switching to ensure smooth operations for demanding use cases.

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Signal Distribution TECH SHOWCASE

The Adder ADDERLink INFINITY 4001 (ALIF4001) IP KVM extender forms part of the ALIF matrix solution. It enables the relocation of critical computing hardware into a secure and temperature-controlled environment away from the user workstation, while maintaining a high-resolution desktop experience. The ALIF4001 can deliver two 5K video resolutions and ultra-wide video resolutions (5120×1440@60Hz or 5120×2880@30Hz) or higher refresh rates of up to 240Hz (HD@240Hz) over a single IP connection. Using a spatially lossless encoding system, with 1:1 pixel mapping, the ALIF4001 provides color-accurate video with no artifacts. The digital video received is the same as the digital video leaving the remote computer.

The ALIF4001 supports color depth of 10 bits per color (or 30 bits per pixel) and supports both SDR10 and HDR10.

The ALIF4001 supports 1 and 10GbE over fiber via the SFP slots, along with Multirate (1/2.5/5/10) GbE. This enables premium video performance over standard CAT6 cable up to 100m. Each ALIF4000 series unit can be configured as a simple extender or self-managed distributed KVM switch.

Each receiver can see up to 16 sources and rapidly switch among them.

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TECH SHOWCASE Signal Distribution

The Atlona Omega Series AT-OME-SW21-TX two-input switcher brings USB-C and HDMI connectivity plus HDBaseT transmission into a compact, cost-effective option for BYOD interfacing, single-cable connectivity, and integrated AV and USB extension. The product is a 2×1 switcher and HDBaseT transmitter with USB-C and HDMI inputs, and mirrored HDMI and HDBaseT outputs. With the ability to send 4K video, plus embedded audio, control, and USB 2.0 over distances up to 100 meters (330 feet), it’s a compact USB-C and HDMI source connection point. The OME-SW21-TX can be used with Omega Series receivers, switchers with HDBaseT inputs (such as the AT-OME-MS42-HDBT and AT-OME-CS31-SA-HDBT), or as a standalone AV system unit. The OME-SW21-TX includes an internal USB 3.2 Gen 1 hub up to 5 Gbps that includes host switching with USB type B and USB-C host interfaces, plus two USB type A interfaces for peripheral devices such as a speakerphone, microphone, or keyboard and mouse. The hub also supports USB 2.0 up to 480 Mbps for local devices, and up to 120 Mbps over HDBaseT. The USB-C and HDMI inputs, and HDMI output, support 4K HDR and 4K/60 4:4:4 at HDMI data rates up to 18 Gbps. Additionally, 4K downscaling to 1080p is available for the HDMI output when connected to an HD display or projector.

EvertzAV MMA25G

IHSE Draco XStreme

Matrox Video Avio 2

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Snap One

The 960 Series also creates new Binary 960 efficiencies and end-user benefits Series by providing a less-centralized system that integrates MultiView and video wall applications (up to 4×4) without the need for any additional hardware.

In August, the IHSE Draco XStreme series debuted. The company says this new product line is based on a next-generation hardware platform and represents a fundamental shift in design, combining performance with flexibility and long-term sustainability. The new extender series supports video resolutions ranging from Full HD up to 8K and is engineered for integration with both proprietary and future IP-based transmission technologies. At the heart of this platform is the JPEG XS codec co-developed with Fraunhofer. Claiming the first of its kind in KVM, the Draco XStreme series enables visually lossless video without frame drops, up to 16-bits of color, HDR support, less than 1 millisecond per frame of video transmission latency, and frame rates of up to 480 fps, all on JPEG XS. It’s designed to allow users to transmit 4K60 signals over a standard 1 GB network without visible loss. This product introduces IHSE’s first DualHead 4K60 extender, capable of transmitting two 4K60 video signals over a single cable. The company is also releasing a Single-Head 4K60 Extender that operates over a 1 GB link.

The new family of EvertzAV MMA25G IPMXReady Gateways deliver JPEG XS and RAW processing and an interoperable option between Pro AV and broadcast environments under a unified control system. With live transcoding capabilities, the gateways receive RAW 4K60/4:4:4 streams, transcode to JPEG XS, and route signals to existing MMA10G or other JPEG XS-capable IPMX-Ready devices. The MMA25G line integrates with MAGNUM-OS, Evertz’s orchestration, monitoring, and control solution, providing unified management across MMA25G, MMA10G, and third-party devices.

The Matrox Video Avio 2 was designed as the world’s first open standards-based IPMX/ ST 2110 IP KVM extender. The newest addition

TECH SHOWCASE Signal Distribution

The DVIGear DisplayNet DN-300T SDVoE transceiver utilizes SDVoE ASIC technology to offer simultaneous TX/RX operation. Like all DisplayNet products, it provides 4K/60 (4:4:4) video distribution with limitless scalability, zero-frame latency, and zero image artifacts. Fully compatible with all DN-300 Series models, it has an ultra-compact, low-profile form. Features include PoE+ support and dual (copper/fiber) network interfaces that enable signal extension distances of up to 100 meters (328 ft.) with CAT-6A twisted pair and up to 30 KM (18.6 miles) with single-mode fiber. The unit includes auxiliary H.264/5 video output streams that provide support for viewing source thumbnails and for remote viewing/recording with resolutions up to 1080/30p. Its compact, fanless design means that 4x units can occupy a single 1U of rack space. DisplayNet includes softwaredefined MultiViewer and Advanced Video Wall engines that power a wide range of applications without the expense and complexity of ancillary products. DisplayNet Server manages the entire DisplayNet system, and includes the DisplayNet API Engine, which supports the use of DisplayNet Manager. The DisplayNet platform is highly customizable, with adaptive software and firmware development.

Black Box Emerald AV WALL

ATEN VE1843

to Matrox Video’s IP KVM product line, the Avio 2 HDMI IP KVM extender supports up to 4K60 4:4:4 resolution, delivering real-time remote performance.

Its open standard design claims increased quality, interoperability, and flexibility. Matrox sees new workflow possibilities in delivering audio, video, and USB control over IP in an industry-standard format. Avio 2 integrates with existing infrastructure and scales efficiently for installations of any size. Enabling secure,

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realtime KVM-over-IP extension and switching over 1GbE and supporting uncompressed 4K 4:4:4 over 10GbE networks, the Avio 2 IP KVM extender is suitable for the most demanding applications that require high color fidelity. It supports multiple codec options, including JPEG XS. As part of the IPMX standard it’s based on, Avio 2 supports NMOS, an open API for device discovery and connection management.

In addition to analog audio embedding/de-embedding, the ATEN VE1843 takes uncompressed 4K HDMI up to 328ft. on CAT 6a twisted pair along with fullrange IR, bi-directional RS232, Gigabit Ethernet, independent stereo sound, and USB 2.0. This small unit is also fitted with mounting flanges, allowing it to be attached to walls behind cabinets or video displays.

The Black Box Emerald AV WALL software feature of Emerald DESKVUE is designed to

TECH SHOWCASE Signal Distribution

Lightware Taurus UCX4x3-HCM40

unite KVM with AV. Designed to meet user requirements for more effective collaboration, this new solution enables interoperability with Emerald IP KVM systems while also supporting WyreStorm non-KVM environments.

NHD-510-TX Complementing Emerald DESKVUE, Emerald AV WALL makes it easy to display a single source from an Emerald system on a video wall for viewing by a larger group. The solution directly supports a 2 x 2 video wall and, with additional Emerald AV WALL units, can support additional monitors.

The Lightware Taurus UCX-4×3-HCM40 enables multiscreen extended desktop via a single USB-C cable. The UCX-4×3- HCM40’s dual-screen USB-C input supports 100W charging, a 1GbE USB3 network card compatible

The Aurora TPG-8K is the first test 8K test pattern generator with analyzer to focus on AV over IP in addition to HDMI. An optional SDVoE expansion card allows for transmitting and receiving SDVoE 10G AV over IP streams for ease of testing the image quality from end to end.

The generator also measures end-to-end latency, including the network switch latency.

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with diverse operating J+P MaxColor systems, and the ability to MC-TX1share external USB3/USB2 RACK devices. Overcoming limitations posed by Apple’s M1/M2/M3 chips, it effortlessly supports two independent 4K60 displays, showcasing its adaptability to various setups.

The Wyrestorm NHD-510-TX integrates HDMI and USB-C inputs for connectivity with both traditional and modern digital devices. Like Wyrestorm’s flagship NetworkHD 500 Series, the NHD-510-TX supports Dante AV-A for audio over IP, HDMI loop-out for local display connectivity, and audio switching capabilities. As a 1 Gigabit solution, it supports 4K60 4:4:4 video resolution.

It supports HDR10 and Dolby Vision and can ability to connect up to 7 USB devices simultaneously.

In September, the unique Just Add Power Rackmount MaxColor MC-TX1-RACK debuted. It combines three MaxColor 4K60 4:4:4 HDMI encoders into a single rackmount chassis. This innovation is the first of its kind in the MaxColor lineup and further streamlines installation with easy access to all connections via front-facing ports. The encoders support all the same features as their stand-alone versions, including supporting all audio formats and Audio Return Channel (ARC).

Signal Distribution TECH SHOWCASE

The Apantac OG-KVM-IP Tx-UHD 4K@60 KVM over IP is designed to be integrated into an openGear rack installation. It operates on a distributed architecture, eliminating the need for a central KVM server. The Apantac KVM management software operates on any PC within the IP network, and once the system is configured, it remains operational without the software needing to be actively running. When used with the Apantac 4K@60 KVM receivers, operators can extend and/ or switch HDMI video streams with visually lossless image quality and ultra-low latency (2 milli). It supports required control interfaces over IP, including keyboard and mouse functions, USB 2.0, including webcams, RS232, GPIO, and Infrared – all up to 120 meters over CAT5, or unlimited distances when connected to an IP network. The OG-KVM-IP-UHD is designed for both retrofitting existing networks and accommodating new installations, offering interfaces in both fiber and copper.

Real-Time Pixel Perfect Control of Devices, Anywhere in The World Scan me

Bring high performance to your ProAV workflows with the ADDERLink® INFINITY range. Designed to enhance your operational effectiveness and improve collaboration, the ADDERLink INFINITY range provides endless possibility to your existing network.

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SVC515.TS_signal_dis.indd 33

07/10/2025 15:36:50

FEATURE Cover Story

STADIUM SIM

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Cover Story FEATURE

I MULATION Software and sound

t’s hard to imagine now, but before L-Acoustics’ Soundvision became a product in 2004 it started as an Excel file on the computer of company founder and particle physicist Dr. Christian Heil. Since then, the software has helped shape countless installations, and transformed spaces and experiences, including for stadiums and arenas.

“Sports fans expect a much more full-range audio experience now,” says Ross Brett, Global Lead Application Engineer - Sports Facilities at L-Acoustics. Stadium owners also want to be able to keep the stadium in use all year with concerts and events; that requires a flexible audio and acoustical profile to support different audio experiences.

Case in point, the Miami HEAT’s Kaseya Center in Downtown Miami’s Entertainment District also hosts over 80 non-basketball events annually, from A-list concerts to national conferences.

For the 2025 season, the Kaseya Center got a new L-Acoustics K2 sound system installed by Solotech Systems, and Soundvision played an irreplaceable role in fulfilling the wishlist in a timely and accurate way.

“Coverage was a huge problem for their existing design,” Brett recalled, pointing out complexities, including the range of desired use cases, existing fixed set points and production grid, temporary premium seating, and some acoustically unfriendly banners that needed to be overcome. While Kaseya Center is an expansive space, it has an extremely tight payload footprint. Soundvision mapped how to optimize every seat in the stadium and guided the path to overcoming all the variables.

The new sound system comprises eight arrays of 10 K2 each, flown around the central display over the court, with four of the arrays (NE, NW, SE, SW) each backed by a hang of four KS28 subs time-aligned with the main PA system. A total of 20 16-channel LA7.16i amplified controllers housed in equipment racks drive all the K2, while four LA12X power the subs. Ground stacks of four more KS28 subs per side are positioned at each end of the court for additional LFE punch.

Thirty-two delay arrays comprised of various combinations of a total of 75 A15i Focus and Wide enclosures provide coverage to the upper bowl seats. These are also efficiently powered by eight more LA7.16i.

Part of choosing the L-Acoustics speakers was the power-for-size they deliver, but an optimal speaker is only the starting point in

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FEATURE Cover Story

shaping today’s stadium experiences.

Mapping software can optimize speakers, but it is also a design aid for modeling problem-solving. In Brett’s Kaseya example, the stadium banners were made of an “acoustically impossible” material that blocked the higher frequencies and caused gaps from the shadowing. The fix dictated an acoustic curtain of the A15i enclosures that would extend into the upper tier for capacity crowds. The flexible LA7.16i amps support discreet power for each speaker, so when the upper tier speakers are not needed, they are turned off; when they are needed, the amps deliver maximum resolution for the vast space.

“Without this type of acoustical modeling, there’s no way you could do a design to this level of complexity and accuracy,” Brett says. “You can put the scoreboard into position, put the grid in to confirm the arrays will fit, and model shadowing to predict and overcome those areas that needed a bit more.” Designers can also accurately capture and harness the maximum direct reverb while minimizing unwanted reflections.

Soundvision can also help identify trouble spots early in the process. For Kaseya, he says, the challenges from the previous design were easily identified—some of them created by unforeseen changes to the physical space.

With Soundvision’s help, and with input from Soundvision-savvy integrator Solotech, the results were more accurate and the process much faster.

It all plays into keeping up with fan expectations for stadium audio. “Five to six years ago, line arrays were the aspirational trend,” Brett recalls, “now they’re the norm. Intelligibility has been coming along for a long time, but now it’s a much more full range experience, with subwoofers, the bass experience, low frequency effects that add impact for moments like player walks-ons.” (The subs at Kaseya do just that.) He says “it’s now almost a false economy not to build in a great, flexible audio experience, because of the return on investment from fan satisfaction and from tour

The stadium banners were made of an “acoustically impossible” material that blocked the higher frequencies and caused gaps from the shadowing.

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bookings and other events, when touring companies know they can rely on the what the system can do.

“It’s a constantly evolving piece of software,” Brett says of Soundvision. “There’s a team of people at L-Acoustics dedicated to developing it, bringing on new features, so that it’s ready and in a place to deliver on new products. We put a lot of resources towards it and you can do more with it all the time.”

The most recent addition is Soundvision Connect, a cloud collaboration version that expands who can be included in the process. It’s a collaborator-focused version that allows the designer to share files with venue managers, architects or other non-audio professionals and lets them visualize and walkthrough the venue audio design.

There’s also a first of its kind partnership with Vectorworks, allowing the import of Vectorworks files and vice versa, which can help with managing sightlines, décor interaction, and other cross-discipline variables.

Soundvision can also export design reports, and rigging point maps, and it can be exported into LA Network Manager as an integral part of the calibration file onsite. So increasingly this type of software can be instrumental to the entire integration process.

Integrators who are interested in learning more about modeling and acoustics in general, and Soundvision in particular, can take advantage of L-Acoustics training and certification.

OPEN MIC

OPEN MIC

Writers

DICK NOY & SERGIO MOLHO WSDG Partners

Engineering Stadium Acoustics

E

xpectations for stadium audio experiences have increased and partnerships with architects and AV teams deliver high-level audio in major sporting venues.

What are the chief acoustic concerns for a sports stadium project?

The truly transcendent sport stadium experience is one where the sound has been properly balanced between precision and emotional impact. Every seat must receive clear, intelligible speech, especially for safety announcements, but that same space also needs to come alive with the roar of the crowd or the intensity of a live concert. Balancing intelligibility with atmosphere is a fundamental dynamic in stadium design and it is part of what makes these projects challenging, and exciting!

What makes sports stadiums unique in terms of acoustic challenges?

Sports stadiums pose a distinct set of acoustic challenges that distinguish them from virtually all other types of architectural projects. They are vast, open-air or semi-enclosed spaces that must support a wide spectrum of acoustic functions. At the same time, many are located in densely populated areas, which requires designing for internal clarity as well as managing external noise to minimize disruption to surrounding neighborhoods.

At what stage of the project should acoustic consulting come into play for a new stadium project?

It is clearly advisable to consider acoustics at the earliest stages of any stadium design project. Collaborating with architects and AV teams early on allows the acoustic recommendations to influence crucial design elements such as bowl geometry, roof structure, and finish materials - all of which have significant acoustic implications and are much harder to fix in the construction stage. This can critically impact the timeline and budget of these projects in ways that are difficult and

expensive to address later on in the process. It is also worth noting that stadiums serve multiple purposes now more than ever - concerts, esports, conferences, ceremonies, all of these diverse types of events need to be considered early on and be accounted for in the acoustic design.

What are some other challenges that can affect the acoustic properties of a sports stadium?

The sheer physical scale of these venues introduces complexities rarely encountered in smaller spaces, such as extended signal travel times, significant delays, reflections, and diffraction phenomena. These factors are further complicated by environmental variables such as temperature, humidity, and wind speed, which can dramatically influence sound propagation.

Accurate acoustical modeling and prediction become essential.

WSDG utilizes advanced simulation techniques, including delay and reflection analysis, and immersive auralization to model acoustic behavior and help clients experience a venue’s sound before construction begins. Having this information is extremely important for making critical design decisions early on.

Does Technical Interior Design [TID] play a role in stadium design projects?

A stadium is a complex organism. All of its components - from the grandstands to the media center - need to perform together.

While the main arena is the focal point, a stadium is much more than its seating bowl. VIP boxes, broadcast booths, press rooms, lounges, corridors, and even concession zones all play a critical role in shaping the visitor experience, and each of these spaces benefit from thoughtful acoustic and architectural integration.

In critical areas like press zones or post-match interview suites, TID contributes positively to clean recordings and intelligible communication. In hospitality areas and lounges, it contributes to a relaxed atmosphere where background noise doesn’t interfere with conversation. And in media and broadcast facilities, it ensures pristine capture and monitoring conditions.

By merging architectural design with acoustic optimization and AV system planning, TID ensures that these peripheral spaces perform as well as they look in terms of speech intelligibility, noise isolation, and functional design.

Any final thoughts?

Sports are one of the few truly universal things we share - it’s a microcosm of the human experience that brings us all together in a meaningful way. WSDG’s job is to make sure every sound, whether it’s a cheer, a whistle, or a full-blown concert, reaches every fan with clarity, power, and meaning. WSDG’s engineering is right on target if someone leaves the venue thinking, ‘That sounded amazing,’ or better yet, doesn’t even notice the sound at all because it felt like a seamless extension of the experience.

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Conferencing and Collaboration TECHNOLOGY AT WORK

CONFERENCING & COLLABORATION

Including

Atlona / Audio-Technica / Barco S V CON LIN E.COM | NOV EMBE R 20 2 5 | S VC 6 Sennheiser / Shure / Wyrestorm

TECHNOLOGY AT WORK Conferencing and Collaboration

Powering In-Person

T

he JB Duke Hotel and Conference Center in Durham, North Carolina is owned by Duke University and managed by JBD Hospitality, LLC. Set among the towering pines of an old-growth forest managed by the University, the AAA Four Diamond-rated property hosts executives and leisure travelers from around the world. Steps away from the Duke University Fuqua School of Business, it is a preferred destination for the school’s students, faculty, and guests.

The hotel was built in 1989 to serve the dining and accommodation needs of the Fuqua School of Business.

During recent renovations, guest rooms, dining facilities, ballrooms, and meeting spaces were remodeled to create a sleek, modern facility. That included equipping many venues with audiovisual capability. Technology advances made updating the AV systems a priority.

Because the University is the primary tenant of the Hotel’s Glaxo and Executive Classrooms, these were the first rooms to get an AV refresh. The

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goal is to ensure that all meeting and collaboration spaces stay technologically up to date.

The Glaxo Classroom and the Executive Classroom are identical 1,460 square foot executive spaces featuring tiered seating for 65 with acoustics optimized for speaker events. The Fuqua Business School conducts executive MBA classes in these rooms for students who typically stay in the hotel for the weekend or for one to two durations of the courses. The rooms also host business meetings and colloquia. Adjoining each

room is a pre-function area with casual seating, work surfaces, coffee, and snack bars. Several AVequipped breakout rooms are located steps away.

JB Duke’s Director of IT David Johnson, and Network Administrator Bill Turner worked with pro AV integrator Recursav of nearby WinstonSalem, North Carolina, to design and install the AV upgrades in the two classrooms. Identical AV systems are installed in both rooms. Recursav has considerable experience with Extron NAV Pro AV over IP at other institutions and chose it for AV content distribution for the Glaxo and Executive classrooms.

Tech Booths: The Glaxo and Executive Classrooms both have a back-stage tech booth housing AV system central functions. These include an 8x8 DX HD 4K PLUS matrix switcher and core components of the NAV Pro AV over IP network, comprised of NAV E 101 HDMI encoders for video and audio distribution, NAV E 501 HDMI/ Ethernet/USB encoders for KVM keyboard and mouse extension, NAV SD 101 scaling decoders, a 48-port Ethernet switch, and a NAVigator

TECHNOLOGY AT WORK Conferencing and Collaboration

system manager. AV system control is handled by an Extron control processor. Core audio functions also reside in the tech booth, including AES67/ Dante-enabled audio amplifiers, an audio DSP Processor, AXI 22 AT and AXI 44 AT Dante Audio Interface units, and an HAI 100 4K Plus HDMI Audio Embedder.

Displays and Panopto Integration: At the front of each room is a projection screen. The motorized projection screen lowers over whiteboards, with a ceiling-mounted laser projector aimed at the screen. Flanking the projection screen are two 85” flat panel displays. Two PCs at the lectern provide interfaces to Duke University’s Panopto video content management platform to make recordings and to stream to remote participants. Each display and both Panopto PCs are equipped with a NAV SD 101 scaling decoder to provide HDMI content from the NAV Pro AV over IP network. The Panopto PCs are also cross strapped for redundancy through DA2 HD 4K PLUS distribution amplifiers.

AV Content from Business School and Hotel: The data networks of the Fuqua Business School and JB Duke Hotel connect to two PCs in the Glaxo and Executive Classroom tech booths that accept AV content delivered via the data networks and output it as HDMI. The content is then distributed via the NAV Pro AV over IP network to the in-room displays and to Duke’s Panopto video content management platform. A third tech booth PC provides AV content sourced from within the classrooms.

PTZ Cameras: Each room is equipped with front and back PTZ cameras. The front camera, mounted above the lectern, is manually controlled.

The rear camera, pointing toward the lectern, has AI-assisted auto-tracking, handwriting recognition, focus area cropping, and gesture-triggered

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zoom. DTP transmitters and receivers link the rear camera to its controller. Both cameras are endpoints on the AV over IP network, allowing the images they capture to be shown on any of the displays and streamed to Panopto for remote participants.

Digital Media Player and BYOD Screen Mirroring: For those who bring their own portable media, a digital media player is one of the HDMI sources feeding into the NAV Pro AV over IP network. The player accepts video files from USB flash drives and SD memory cards and has a handheld remote. A wireless screen mirroring receiver allows room occupants to cast from their BYOD portable devices into the AV over IP network to display their content on the big screens.

AV-Equipped Lectern: The lectern houses an AV over IP subnet built around its own 16-port network switch. HDMI AV content originates from the lectern’s dual-display laptop and document camera, delivered to the network switch via NAV E 101 encoders. Three video monitors are available to display the lectern AV content. Two of the monitors are mounted on the lectern, and one is on a mobile cart. All three connect to the lectern’s AV over IP switch using NAV SD 101 scaling decoders.

This switch links to the main AV over IP switch in the tech booth via Ethernet, allowing content from the lectern to display on the room’s big screens or stream to Panopto.

Audio: Dante audio networking and audio DSP tailor the sound in the Executive and Glaxo Classrooms to accommodate all meeting formats.

A gooseneck microphone allows presenters to speak from the lectern. Presenters who prefer to walk around use two bodypack wireless microphones linked to a receiver inside the lectern.

Ceiling microphones capture audience voices.

The PCs, media players, and screen mirroring wireless access points also feed audio into the Dante audio network through AXI 44 AT and AXI 22 AT Dante Audio Interface units and HAI 100 4K Plus HDMI Audio Embedder units. High-powered amplifiers drive a variety of ceiling-mounted and wall-mounted speakers. Audio is also streamed to Panopto for those listening remotely.

AV System Control: The AV control system is centered around an IPCP Pro 555Q xi control processor in each room. The control processors regulate operation of all Extron and third-party AV equipment via Ethernet, serial, IR/serial, and relays.

NAV E 501 encoders provide USB KVM extension between the rooms’ multiple PCs and a keyboard, mouse, presentation remote controller, and USB connection dock on the lectern desktop. Each room is equipped with two 12” ultra-wide tabletop TouchLink Pro touchpanels that enable user control from either the back-stage tech booth or the lectern. The touchpanels include an HDMI input that provides full-motion video preview from the NAV Pro AV over IP network.

For working professionals, the weekend Executive MBA program hosted in the JB Duke classrooms is attractive because it’s designed for those who want short-burst intensive residencies with three-day weekend sessions on campus, followed by distance sessions. This format provides knowledge building and interaction in a face-toface setting, coupled with the hybrid format in distance sessions, with minimum impact on the work and family commitments of students.

Without the guest accommodations afforded by the JB Duke hotel and the audiovisual capabilities built into the Glaxo and Executive Classrooms for both on-site and remote learning, the Executive MBA program teaching format would be hard to deliver. These facilities make it possible and are a great asset to Duke University’s Fuqua School of Business.

Beyond the school’s own use of the JB Duke Hotel meeting and guest accommodation facilities, the hotel hosts many business and social gatherings booked by third parties. This includes recurring training and colloquia sessions conducted by defense, pharmaceutical, and other enterprises from North Carolina’s vibrant high-tech business hubs and beyond. The hotel’s income from these gatherings accrues to the University’s bottom line, making the JB Duke Hotel a valuable profit center that helps to support Duke University’s educational mission.

TECHNOLOGY AT WORK Conferencing and Collaboration Sennheiser Extron Design Solution Less than a year after announcing that TeamConnect Bars were certified for Teams, Sennheiser has further expanded its Teams presence with a collaboration with Extron. The company’s popular Design Solutions devices, Certified for Microsoft Teams, now include select control processors from Extron’s IPCP Pro xi Series and the new TeamConnect Ceiling Medium – TCC M – ceiling microphone from Sennheiser. Sennheiser, Extron, and Microsoft worked together on these new secure meeting space solutions. As AI tools like Microsoft 365 Copilot proliferate, clear, reliable, and transcribable audio is more critical than ever, and is key to unlocking the meeting analysis and action aspects of AI. To find the complete certified designs, featured solutions, and detailed information on the individual products they include, see the Extron website. With Extron control for Teams Rooms, a single user interface securely controls every conferencing, audiovisual, and room function.

WyreStorm Technologies SW-640L-TX-W This 4×2 4K multi-format wired/wireless presentation switcher is designed for modern corporate boardrooms, educational institutions, and multi-screen conference environments. Dual USB-C inputs offer 60W power delivery; it supports BYOD setups for device connection and charging. Dual HDMI inputs support automatic or manual switching of four connected sources (two HDMI and two USB-C) with assignable USB3.0 host connection. Dual 4K HDMI outputs can function independently for multi-screen setups or mirror content for collaboration. It’s compatible with Airplay, Miracast, and leading conferencing platforms like Zoom and Microsoft Teams. Additionally, an APO-DG2 USB-C dongle supports 4K30 wireless presentation.

Up to four simultaneous wired or wireless presenters can share their content at the same time in split-screen mode.

Atlona AT-CAP-FC110 This 4K ePTZ Auto-Framing Camera is part of the Captivate Series, developed for video conferencing and hybrid meetings within small- to mediumsized meeting, learning, and gathering spaces. The camera delivers high-quality imaging at resolutions up to 4K@30Hz, with a generous 110-degree-wide horizontal field of view for coverage of compact spaces such as huddle rooms. The camera’s CMOS sensor preserves fine detail and color fidelity, while its dual-element microphone array provides a 16-foot audio pickup range. Along with electronic pan, tilt, and zoom capabilities, it offers auto-framing functionality based on detection of up to six participants.

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TECHNOLOGY AT WORK Conferencing and Collaboration

Audio Technica Engineered Sound Wireless (ESW) This DECT wireless microphone solution was specifically designed for conferencing, videoconferencing, corporate AV integration, and hybrid workspaces. It is available in two configurations: ESWR4180DAN (Dante-enabled) and ESW-R4180LK (Audio-Technica LINK-enabled). The system utilizes DECT technology to resolve common wireless audio challenges, including frequency interference and limited simultaneous microphone usage. Microphones activate instantly upon removal from their charging stations, offering allday battery life for extended conferencing sessions. Installation is streamlined via PoE to power receivers and audio output via a single Cat 5e cable. Detailed system settings can be configured by integrators to meet diverse end-user needs. Centralized control is through Audio-Technica’s Wireless Manager software and the system is protected with AES256 encryption. It supports up to 96 simultaneous channels, automatic frequency coordination, and scalable flexibility.

EW-DX

Iconic sound.

Next-level innovation.

EW-DX delivers class-defining sound, technology and features—built on over 80 years of audio innovation—for even the most demanding education and corporate applications. sennheiser.com/ew-dx-business

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07/10/2025 16:02:15

Conferencing and Collaboration TECHNOLOGY AT WORK

Shure IntelliMix Room Kits These kits are Certified for Microsoft Teams and now shipping. The scalable meeting room systems feature quality AI-supported audio and video performance for small, medium, and large collaboration spaces, rigorously tested through lab and real-world certification requirements. Shure offers four curated, packaged solutions tailored for different room sizes. Each kit includes a Windows-based Teams Rooms Compute with built-in Shure IntelliMix Room DSP, a touch panel, one or two MXA902 ceiling array microphones + loudspeakers, Huddly camera solutions, and all needed accessories for connectivity and power. The audio, video, and computer devices autoconfigure out of the box. IT teams can monitor and manage the IoT-ready systems from anywhere via ShureCloud, Teams Admin Center, and Teams Rooms Pro Management Portal. Shure offers an optional three-year extended warranty on top of a standard limited warranty for coverage of up to five years. Warranty extension is available for purchase via Shure channel partners.

ENHANCE PRODUCTIVITY For Remote Collaboration and Hybrid Meetings

AT-OME-SW21-TX-WP

AT-OME-SW21-TX S V CON LIN E.COM | NOV E MBE R 20 2 5 | S VC 4 7

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07/10/2025 16:02:34

TECHNOLOGY AT WORK Conferencing and Collaboration

Barco Clickshare Recent enhancements to the Microsoft Teams BYOD experience, such as automatic peripheral selection and speaker attribution, have been integrated into ClickShare’s workflows. In ClickShare BYOD rooms, automatic selection of room camera and audio enables in-room participants to use the camera and audio of the meeting room to optimize view and sound. Speaker recognition allows in-room meeting participants to easily track who said what in meetings, for an accurate meeting recap and task assignment overview generated by Copilot. Optimized shared display shows the Team’s meeting window on the in-room display, and voice isolation is improved. The in-room workflow enhancements complement Microsoft´s IT admin developments in the Shared Spaces initiative for planning, budgeting, and usage monitoring. Barco has also debuted an AI-powered feature that uses the laptop cameras present in a meeting room to bridge the distance between remote and in-room participants. Depending on room interactions, this SmartFocus feature applies smart switching between the room camera and the speakers’ laptop, bringing automatic audio optimization. Taking advantage of the laptop cameras in the room gives remote participants a better view of the room dynamics.

SW-640L-TX-W

APO-DG2

REDEFINING SIMPLICITY When end users want connectivity paired with simplicity, the WyreStorm SW-640L-TX-W wireless conferencing and presentation system, paired with the APO-DG2 wireless casting dongle, delivers smarter and smoother collaboration in boardrooms, classrooms, and hybrid workspaces.

Dual USB-C inputs for modern device connectivity Multi Stream Transport (MST) support added to USBC Seamless switching across two displays Native integration with Zoom, Teams, and other conferencing platforms Cloud monitoring and control

Secure, app-free casting from any device Simple plug-and-play design Low-touch user experience: simplicity for end-users Single USB-C connection: powers the dongle and transmits video

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STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (REQUESTER PUBLICATIONS ONLY) Average No. Copies Each Issue During

15. Extent and Nature of Circulation

1.

Publication Title: Sound & Video Contractor

2.

Publication No.: 711-250

3.

Filing Date: 26/9/2025

a. Total number of copies

4.

Issue Frequency: Monthly

b. Legitimate paid and/or requested distribution (by mail and outside the mail)

5.

Number of Issues Published Annually: 12

(1) Outside-county paid/requested mail subscriptions stated on PS Form 3541

6.

Annual Subscription Price: Requester

7.

Complete Mailing Address of Known Office of Publication:

7131

7142

7131

358

369

d. Non-requested distribution (by mail and outside the mail)

Complete Mailing Address of Headquarters or General Business Office

(1) Outside-county non-requested copies stated on PS Form 3541

of Publisher: Future US Inc., 130 West 42nd Street, 7th Fl,

(2) In-county non-requested Copies stated on PS Form 3541

New York, NY 10036-7804

(3) Non-requested copies distributed through the USPS by other classes of mail

Full Names and Complete Mailing Addresses of Publisher, Editor and

(4) Non-requested copies distributed outside the mail

63

0

e. Total non-requested distribution

421

369

Fl, New York, NY 10036-7804; Editor: Cynthia Wisehart, 130 West 42nd

f.

Total distribution

7563

7500

Street, 7th Fl, New York, NY 10036-7804; Managing Editor: Derek Wiley,

g. Copies not distributed

672

669

130 West 42nd Street, 7th Fl, New York, NY 10036-7804

h. Total

8235

8169

Owner: Future US Inc. (Future PLC), 130 West 42nd Street, 7th Fl, New

i.

94.4%

95.1%

Managing Editor: Publisher: Adam Goldstein, 130 West 42nd Street, 7th

York, NY 10036-7804 11.

7142

(3) Sales through dealers and carriers, street vendors, counter sales, and other paid or requested distribution outside USPS c. Total paid and/or requested

Contact Person: Shana Murik, 202-603-2768

10.

8169

(4) Requested copies distributed by other mail classes through the USPS

7th Fl, New York, NY 10036-7804;

9.

8235

(2) In-county paid/requested mail subscriptions stated on PS Form 3541

Future US Inc., 130 West 42nd Street,

8.

No. Copies of Single Issue Published Nearest

Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None

12.

Tax Status: Has Not Changed During Preceding 12 Months

13.

Publication Title: Sound & Video Contractor

14.

Issue Date for Circulation Data: September-25

Percent paid and/or requested

16. Electronic Copy Circulation a. Requested and Paid Electronic Copies b. Total Requested and Paid Print Copies c. Total Requested Copy Distribution d. Percent Paid and/or Requested Circulation (Both Print & Electronic Copies) 17. Publication of Statement of Ownership for a Requestor Publication is required and will be printed in the November 2025 issue of this publication.

18. Signature of VP, AV Technology Group: Adam Goldstein, September 26, 2025. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties).

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FREE! Sign-up today at www.svconline.com To Advertise, contact Zahra Majma at zahra.majma@futurenet.com

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PRODUCT AT WORK

d&b audiotechnik XSLi-GSUB

O

wner Payam Arvin was looking for a “somatic full-body experience” for his guests at San Francisco’s Monroe nightclub, the latest incarnation in a legendary jazz space that hosted artists including Mingus, Coltrane, Miles Davis, and Thelonious Monk in its days as the Jazz Workshop.

Michael Lacina of JK Sound and Don Lynch of Commercial Audio Video Solutions deployed an array of d&b speakers and subs to get the desired effect. One of the most elaborate aspects is a custom subwoofer tower situated in a 13-foot-wide passage between the front bar and the dance floor. “There was absolutely no good place to install

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an omni-sub on the main dance floor,” Lacina explains, “and so the passage became the only logical location. However, the low frequencies from a subwoofer in that location would be very present in both sides of the club, so cardioid bass performance was needed. To keep up with the two V10 main dance floor speakers, we needed two subs to get the output we wanted. They had to be stacked to provide the widest passage for crowd flow. To maximize cardioid efficiency, they would have to be spaced one above the other.” This tower houses two XSLiGSUB subwoofers with strategic air gaps to maximize their cardioid efficiency with minimized spill.