System Contract News - April 2025

Power and Vision

Jennifer Guhl

Multidyne

James

A

By Carolyn Heinze

d&b

SYSTEMS CHECK

A Farewell to Skype

As Microsoft begins to celebrate its 50th anniversary, one of its brands won’t be around for its congratulatory slice of cake. On Feb. 28, Microsoft published an article from Jeff Teper, its president of collaborative apps and platforms, declaring that Skype is officially on its digital deathbed.

“In order to streamline our free consumer communications offerings so we can more easily adapt to customer needs,” he wrote, “we will be retiring Skype in May 2025 to focus on Microsoft Teams (free), our modern communications and collaboration hub.”

When Skype was launched in 2003, the VoIP calling service exploded out of the gate. It had 11 million registered users by 2004 and more than quadrupled to 54 million users the next year. That was enough to entice eBay to purchase Skype for roughly $2.6 billion. Within the next three years, there were hundreds of millions of users worldwide.

In 2009, though, the economy dipped, and eBay eventually sold Skype to an investor group for about $2.75 billion. Two years later, Microsoft acquired Skype for $8.5 billion.

In its heyday, Skype was so popular it became a verb—at one point or another, we all said, “I’ll Skype you.” What killed this promising technology? Not surprisingly, it was other promising technologies.

Smartphones were certainly a factor—the iPhone had FaceTime, while another app staple, Facebook (now Meta), purchased WhatsApp. But Microsoft itself didn’t do Skype any favors, introducing Teams in 2016. And, when the pandemic disrupted, well, everything, Zoom became, well, Zoom.

What killed this promising technology? Not surprisingly, it was other promising technologies.

I suppose the writing was on the wall when Microsoft introduced Windows 11 in 2021; if you wanted Skype, it required a separate download. Meanwhile, based on numbers reported in October 2023, Teams grew to 320 million monthly active users in less than a decade. That kind of success does not go unnoticed, and it certainly doesn’t need internal competition.

Teper went on to pitch Teams as a much better and feature-rich option, adding that in the past two years the “number of minutes spent in meetings by consumer users of Teams” has quadrupled. Then, he outlined how Skype users could move to Microsoft Teams for free or export their Skype contacts and other data.

Here’s the part that surprised me: According to Microsoft, Skype still had 36 million daily users as recently as 2023. That was down from 40 million in 2020, so it was clearly on a downward trajectory, but it’s still a big number and explains the company’s efforts to resettle those video callers.

Only 22 years after arguably bringing video calls to the masses (no, the AT&T VideoPhone doesn’t count), Skype is about to become a relic. In short order, it will be classified as legacy technology, dusted off during the occasional Pro AV networking event.

I can see it now. Drink tickets have been traded for beer or wine, maybe the leftover toothpicks from a couple of hors d’oeuvers sit on paper napkins on the high tabletop around which a handful of industry veterans have gathered. The conversation has moved from current technology compatibility headaches to a wistful recollection of technologies of the past.

As the talk progresses past 3/4-inch tape or some other analog treasure, perhaps the youngest of the group, the gray hair not quite so obvious, will chime in. “What about Skype?” they’ll suggest. There will be an audible “oh yeah” from the table. Then, someone will sing the “boo bee boo” ringtone, and everyone will laugh and laugh.

Not to repeat myself, but Skype was acquired just 14 years ago for $8.5 billion and still has millions of users. In a few weeks, it will be relegated to the Pro AV equivalent of a Trivial Pursuit question. Maybe the lesson here is to not entangle yourself with any one product or service too tightly. Technological progress is merciless—you never know what seemingly ubiquitous solution will be next to join Skype on memory lane.

CONTENT

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

Senior Content Manager Wayne Cavadi

Contributors Jack Cornish, David J. Danto, Jennifer Guhl, Carolyn Heinze Art Editors

Rob Crossland, Sam Richwood

Production Managers

Nicole Schilling, Heather Tatrow

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Powersoft Acquires Majority of K-Array Shares

In February, Powersoft Group announced a binding investment agreement to acquire 51% of the share capital of K-Array from H.P. Sound Equipment. The agreement also allows for Powersoft to purchase the remaining 49% of K-Array's share capital.

By combining its know-how in amplification systems, signal processing, and transducers with K-Array's expertise in compact, high-performance loudspeaker engineering and design, Powersoft will be able to accelerate its expansion in these markets and strengthen its position. The combination will also open up new joint business opportunities and allow for the expansion of business offerings into new market segments within the Powersoft portfolio. Plus, the combined presence of the two companies through their distribution networks will drive greater penetration in

high-growth markets such as Asia and Latin America, further consolidating the Group's global positioning.

According to Powersoft, the acquisition also represents the logical development of a longestablished "supplier-customer" partnership between two companies that share common values: technological innovation, excellence, creativity, design, customer focus, and product quality. The goal is to leverage their complementary strengths, boosting competitiveness and fostering growth, while preserving their distinct identities and operational autonomy within a shared growth plan. Currently, Powersoft is set to continue its mission as a global technology provider, while K-Array will maintain its unique positioning in the high-end audio speaker industry.

The acquisition is fully aligned with Powersoft’s strategic development plan, which aims to strengthen its presence in the pro audio sector through both organic growth and acquisitions. Part of the company’s growth strategy is to shift from a product company to a solution provider, with a primary focus on the transportation and automotive sectors, where technological innovation, efficiency, and the reliability

Samsung, Cielo to Bring AI to Digital Signage

Samsung has partnered with Cielo, a leader in AI-powered franchise solutions, to transform retail advertising and franchise operations. This collaboration combines Samsung’s VXT display technology and Cielo’s AI-driven platform, introducing tools for digital marketing and operational efficiency.

As part of this strategic alliance, Cielo is introducing SmartSigns, a Digital Signage as a Service (DaaS) solution that leverages Samsung’s VXT technology. By integrating CieloVision’s KYAI (Know Your Audience Intelligence) for real-time

analytics and AI-driven advertising, businesses gain powerful insights into consumer engagement.

At the heart of this partnership is Cielo SmartSigns Pro, which includes an AI camera, VXT Pro license, AI task, marketing credit, and CieloEssentials remote support. This plug-andplay solution simplifies deployment, management, and support for digital signage ecosystems, requiring no upfront expenses. The CieloVision platform, featuring KYAI, will use computer vision and AI to analyze consumer sentiment, dwell time, and behavior patterns, enabling hyper-targeted advertising campaigns with measurable ROI.

“We’re thrilled to bring our SmartSigns vision to life with Samsung,” said Imre Szenttornyay, CEO of Cielo. “By combining Samsung’s leadingedge VXT platform with Cielo’s proprietary AI and analytics, we’re delivering a fully integrated solution that helps businesses meet modern consumer demands. Our mission is to make AI-driven insights accessible to every franchise operator, fueling growth and innovation across retail sectors.”

of audio systems play a key role. To that end, Powersoft recently signed an agreement with Ferrari, marking the audio company’s entry into the supercar industry.

“This transaction arises from a successful partnership between two companies that have been collaborating for many years now, with a strong territorial proximity and sharing a creative and innovative spirit,” said Luca Lastrucci, CEO of Powersoft. “The synergy between Powersoft and K-Array is set to generate significant results in technological innovation, allowing us to strengthen our presence in the segments where we already operate while also expanding into new areas.”

“We have been collaborating with Powersoft since the beginning, and beyond being neighbors and sharing an identity deeply rooted locally yet globally oriented, we are united by a strong passion for technology and sound,” added Alessandro Tatini, chairman and CEO of K-Array. “Their innovations have always been an essential part of our work, making it obvious to realize that joining forces could add significant value to the growth that, in recent years, has been in double digits, bringing us immense satisfaction.”

XTEN-AV Adds New Partners

XTEN-AV has announced a partnership with Panasonic Visual Systems that integrates Panasonic's premium range of projectors, professional displays, and other AV technologies into XTEN-AV platform, delivering a seamless design and proposal experience to AV integrators and professionals worldwide.

Meanwhile, Yamaha's new ProVisionaire Plan software is also being added the platform. By providing direct access to Panasonic's professional products, the platform simplifies the selection and integration process, ensuring accuracy and efficiency. This strategic partnership delivers a streamlined workflow and enhances the overall AV design experience.

Yamaha's browser-based ProVisionaire Plan allows users to enter basic information, such as the dimensions of a room, then automatically chooses and arranges equipment to deliver an optimal audio solution. The results are presented visually, including a 3D view which allows investors to clearly imagine the system. XTEN-AV plans to integrate the room design information created by ProVisionaire Plan to automate and offer diverse proposals.

Company officials celebrate Powersoft's acquisition of K-Array.

A new strategic alliance between Samsung and Cielo adds AI solutions to retail advertising and franchise operations.

DN-300 Series

The Ultimate AVoIP Platform

The Future of AV Distribution is Here

The DisplayNet DN-300 Series delivers an unprecedented level of AVoIP performance, versatility and reliability— at a price point that defines the industry benchmark for value. Based on the latest SDVoE technology, the DN-300 Series provides 4K/60 (4:4:4) video distribution with limitless scalability, zero-frame latency and zero image artifacts.

These units offer unique features that provide system designers with exceptional versatility:

 Switchable Transmitter /  Receiver operation

 Bi-directional Transceiver mode (DN-300T)

 Dual (copper /  fiber) 10G network interfaces

 Long Range: 100 meters (copper), 30 km (optical)

 Auxiliary H.264/5 video output streams

 Powerful network security features

 PoE+ support

 Silent, fanless operation

 Ultra-compact, rackmountable case

 Versatile KVM Routing

 DN-300H: USB HID device instant switching

 DN-300T: full-bandwidth USB 2.0 routing

DisplayNet also provides software-defined MultiViewer and Advanced Video Wall engines that power a wide range of applications without the expense and complexity of ancillary products. A highly intuitive web-based UI and API greatly simplifies setup and installation, as well as integration into third-party control systems.

Contact us today to see how DisplayNet can move your next AV system into the future.

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sales@dvigear.com

(888) 463-9927

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With no headsets required, HMN's

Simon Malls Welcome Holographic Ad Network

Hologram Media Network (HMN) has launched the world’s first always-on holographic advertising network, built in collaboration with Proto Hologram. Featuring next-generation Proto Luma devices, the network has already been deployed across 30 premier Simon malls across the nation and merges the digital and physical worlds in dynamic, interactive ways.

The network offers limited advertising inventory, featuring 3D creative advertising programmed alongside exclusive IP content collaborations. Each month's holographic show is curated with captivating storytelling from major studios, creators, artists, and influencers, as well as live interactive hologram events with celebrities. For example, the charter content showcase featured an exclusive experience for Sonic the Hedgehog 3 , immersing customers in a lifelike 3D encounter with the beloved character and his team.

today’s crowded media landscape.

“Today’s consumers live in a world where engaging with 3D experiences is becoming second nature,” said James Andrew Felts, CEO of HMN. "HMN elevates this trend by bringing experiential media to real world spaces at scale, bridging the digital and physical spaces in ways that match changing customer expectations. Our vision is not just to present holograms but to create a dynamic ecosystem where customers can interact with digital content in the real world."

Early data highlights the effectiveness of HMN’s installations, with viewers engaging with holograms for an average of 24 seconds—more than 500% higher than video dwell times on leading social media platforms like TikTok. This extended watch time underscores the ability of HMN’s holograms to command attention in

experiences, save them to personalized accounts, and reengage with interactive features. For example, viewers of the Sonic The Hedgehog 3 showcase could scan a QR code to unlock an AR scene with characters for photos and further engagement.

HMN represents a leap forward in the digital out-of-home (DOOH) space.

Unlike conventional 3D illusions or anamorphic screens, HMN offers holographic experiences that are 3D—and with no headsets or special equipment needed, the technology can create communal experiences.

HMN plans to expand the network to 150 Proto units by the end of 2025.

“Together with HMN, we’re not just delivering ads," said David Nussbaum, founder of Proto, "we’re creating personal, unforgettable moments at scale. This is a new era for interactive media, where the lines between the digital and physical worlds disappear."

Augmented reality (AR) is core to HMN's offering, seamlessly integrated into holographic promotions and content shows. Viewers can unlock exclusive AR

L-Acoustics, Treble Technologies Announce Partnership

In February, L-Acoustics announced its participation in Treble Technologies’ Series A funding round, alongside a strategic partnership between the two companies. The collaboration unites two industry leaders in a shared mission to transform how audio professionals design and optimize sound experiences. By combining L-Acoustics’ sound system expertise with Treble’s acoustic modeling technology, the brands are creating a more powerful and efficient workflow for their partners, from venue acoustics to system design. The partnership represents a significant advancement in giving sound designers the tools needed to create exceptional audio experiences

The Proto Luma, Proto’s latest innovation, powers the HMN network. Designed for retail, the Luma is more compact and cost-effective than Proto’s flagship Epic, while still delivering vivid 3D holograms. Its integration with Proto’s proprietary AI Persona tools and RetailSage fleet management system ensures seamless operation at scale.

HMN and Proto will execute monthly live events featuring celebrities, influencers and brand ambassadors. In December, for example, comedian Howie Mandel interacted with shoppers in real-time via hologram, turning a routine outing into an extraordinary experience.

"Hologram Media Network represents the next frontier of engagement for Simon," said Dennis Tietjen, SVP of business development at Simon. "We’re excited to collaborate on bringing this revolutionary technology to our properties, transforming the way brands connect with shoppers and delivering an unparalleled experience for our guests."

with greater confidence and precision.

“We are proud to partner with one of the world’s leading audio technology companies," said Finnur Pind, co-founder and CEO at Treble Technologies. "The rising trend of virtual prototyping using simulations and synthetic data is transforming our industry, and by joining forces with L-Acoustics, we can accelerate this transformation to create better sounding spaces worldwide."

Particularly in the low-frequency domain, Treble’s wave-based simulation technology addresses complex acoustic phenomena including diffraction, phase effects, and wave interference. Its hybrid solver

achieves detailed calculations up to 100 times faster than conventional solutions, enabling partners to analyze and optimize sound behavior more comprehensively and efficiently.

“Treble’s approach to room acoustics simulation perfectly complements our commitment to delivering exceptional sound experiences,” noted Guillaume Le Nost, executive director of R&D, research, and Innovation at L-Acoustics. “By integrating our expertise, we’ll enhance our clients’ ability to optimize system performance while accounting for room acoustics—ultimately creating more impactful audio experiences for audiences worldwide.”

holograms can create communal experiences.

Proto investor Paris Hilton is seen on one of the new holographic displays that have been deployed in Simon malls.

Apantac Multiviewers Power AMS Pictures

By Wayne Cavadi

In 1982, Andy Streitfeld took a $30,000 loan from his grandmother and founded AMS Productions in the spare bedroom of his Bedford, TX, home. More than four decades and a name change later, AMS Pictures continues to offer video production and studio rentals in the Dallas area, while also producing original documentaries and unscripted TV programs. Since 2010, Apantac has been a force behind all that the company does.

The full-service production company has attracted clients like Texas Instruments, Ross Perot, and ABC Radio over the years, and its original programming has been featured on Reelz, Showtime, History, Velocity, Bio, HGTV, Food Network, and The Cooking Channel. In 2010, AMS Pictures reached a turning point as it began its switch to HD. Having the right gear is imperative—and the first big change was converting to KVM systems, a trend that continues to grow in production houses in 2025.

Bret Harrell, COO of AMS Pictures, called KVM “essential to the operation” of his team’s HD productions. “All of the PCs and Macs in our TOC and control rooms are on one large KVM system,” explained Harrell. “We have about 15 terminals and 16 computers on our KVM. This allows us to be very efficient and use any PC from any position in any [of the three] control room.”

Next came the multiviewers, which established a relationship with Apantac that continues today. “We saw the advent of multiviewers become popular in the 2000s, with many facilities upgrading to multiviewers during renovations,” Harrell recalled. “When we fully upgraded AMS to HD in 2010, using multiviewers was really the only economical and practical option.

“I remember our research back in 2010 to select a multiviewer system for our facility,” Harrell continued. “We knew that once we selected one, we would be committed for many years to come. I didn’t realize that it would still be going strong 15 years later in 2025, but here we are. We selected Apantac because it had the best picture quality when scaling the source video. It also had an open API to integrate with custom software.”

Today, the heart of AMS Pictures TOC and three control rooms on the live production side use nine frames of the Apantac TAHOMA multiviewers in various configurations, together providing about 100 multiviewer inputs feeding 25 multiviewer monitors.

“Going through our service and spare parts sales records, I found that over the past 15 years, [AMS Pictures] has incurred only $830 in maintenance costs," said Thomas Tang, founder and president of Apantac. "This case exemplifies how our technologies have enabled significantly extended equipment life, demonstrating the value of investing in reliable, future-proof solutions.”

Harrell pointed to the Apantac customer support as a primary reason this collaboration continues a decade-and-a-half later. He recounted a time that Tang himself worked with him and his engineers to revise software.

“I will say that this level of support makes it an easy decision to continue to purchase and use their products,” Harrell added. “I have found that most vendors want to close out customer support cases as quickly as possible with the least amount of work. Not the case with Apantac. They seem to understand that if they listen to their customers, they can actually improve their products and make them better for everyone.”

LD Systems Expands Texas Presence

Houston-based LD Systems, which was acquired by Clair Global in January, has expanded its presence in Texas by acquiring the sound, lighting, video, rigging, and backline equipment inventory of Onstage Systems, a longtime production services company in the Dallas-Fort Worth area.

“Onstage Systems has been a proud part of the DFW live event community for decades,” said Hyacinth Belcher, co-owner of Onstage Systems.

“My father started this company in the 1970s, and my brother Chris and I have had the honor of running it for many years. As we close this chapter, we are grateful that LD Systems is stepping in to fill the void Onstage is leaving behind.”

To support its growing presence in the region, LD Systems has opened a new facility in Dallas, led by Tyler Johnston, a seasoned live event industry leader and former Onstage Systems employee.

“I’m excited to join LD in expanding their network across Texas with our new Dallas branch,” Johnston said. “Connecting this regional group to Clair Global’s international network really opens our potential.”

LD Systems is also working closely with Clair Global’s existing Dallas office, reinforcing collaboration and resource-sharing. Plus, LD Systems has integrated the rigging equipment inventory from Phoenix Rigging, a longtime production support provider based in Baton Rouge, LA. This rigging inventory is now based in LD Systems’ Houston location, allowing for expanded rigging services throughout the region. Phoenix Rigging will continue to provide rigging personnel, maintaining its commitment to the industry.

With these developments, Clair Global now has five locations across Texas, further solidifying its investment in the local market. Clients can expect the same service they have relied on from Onstage Systems in the past, now provided by the expertise, resources, and reach of LD Systems and Clair Global.

Apantac TAHOMA multiviewers have been a staple at Texas-based AMS Pictures for 15 years.

Shure Celebrates 100 Years of Pro Audio Innovation

Shure is celebrating its 100th anniversary, marking a century of pioneering innovation, quality, and an unyielding commitment to audio excellence. Its products are now sold in more than 120 countries and have been used by such luminaries as Dr. Martin Luther King, Jr., Elvis Presley, Nelson Mandela, The Beatles, and others. S.N. Shure started the company in downtown Chicago in 1925 selling radio parts kits. In 1932, Shure became one of only a few U.S. microphone manufacturers with the introduction of its Model 33N. Since then, the company has grown into a global technology leader, offering a diverse portfolio of game-changing wired and wireless microphones, conferencing and meeting solutions, and personal and professional listening products. Over its 100-year history, more than 50,000 different electronics products have been developed by Shure. Here is a short timeline of highlights:

• First Phonograph Cartridge (1937): Shure’s development of the first phonograph cartridge established the company as a leader in highfidelity audio.

• Unidyne Microphone (1939): The Unidyne Model 55 was the first single-element unidirectional mic, providing better sound isolation and reducing feedback, making it a popular choice for broadcast and live performance.

• First Handheld Wireless Microphone System (1953): Shure introduced the Vagabond 88, enhancing the way performers and presenters operated on stage.

• SM58 Microphone (1966): The Shure SM58 became an industry standard for live vocal performance microphones, known for its durability and reliable sound quality.

• First Integrated Wireless System (1990s): The introduction of the Shure UHF (Ultra-High Frequency) wireless systems brought more reliable and higher quality wireless audio transmission.

• Axient Digital Wireless System (2016): This system introduced innovative features such as interference detection and avoidance, quadversity, and advanced connectivity options, setting a new benchmark for wireless microphone performance.

• MXA910 Ceiling Array Microphone (2016): Conference rooms were enhanced with this precise audio capture option that inspired a whole new line of ceiling array microphones.

LG Acquires Majority Stake in Bear Robotics

In an effort to advance its robotics capabilities, LG Electronics has secured a majority stake in Bear Robotics, a Silicon Valley-based startup specializing in AI-driven autonomous service robots. This acquisition aligns with LG’s strategy to strengthen its presence in the robotics sector, a key growth area for the company.

LG previously secured a 21% stake in the company last year. In January, LG’s board of directors exercised a call option to acquire an additional 30% stake in Bear Robotics. Upon completion of the call option exercise, LG will hold a controlling 51% stake in Bear Robotics, effectively incorporating it as a subsidiary.

As part of this strategic move, LG’s commercial robot business, primarily centered around LG CLOi Robots, will be integrated with Bear Robotics. The key management team of Bear Robotics, including CEO

John Ha, will remain in place to ensure stable business continuity and will continue to focus on creating synergies in LG’s commercial robot business.

LG aims to expand its presence in the commercial robot market through Bear Robotics while concurrently leveraging its AI and manufacturing expertise to reinforce its home and industrial robot businesses. Founded in 2017, Bear Robotics has gained recognition for its AI-powered indoor delivery robots, and is noted for its expertise in distributed multi-robot control, remote fleet management system, and AI-powered robot platform.

“This additional investment underscores our dedication to positioning robots as a pivotal growth engine for the company, reflecting our belief in their inevitable role in the future,” said Sam-soo Lee, chief

• IntelliMix Room (2020): The audio processing software revolutionized the AV industry by optimizing audio conferencing with advanced DSP algorithms.

• ShureCloud (2024): The cloud-based centralized management platform is designed to streamline control and monitoring of Shure products.

Over the past 100 years, Shure has introduced products that have become staples in the audio industry. The Shure SM58 microphone, known for its durability and reliability, has remained the top choice for vocal performances worldwide. The SM7B vocal microphone has equally earned a distinguished reputation, renowned in broadcast, recording, and podcasting industries.

Long before wireless technology became popular in the 1990s, Shure introduced the first wireless microphone in 1953, the Vagabond 88. The company introduced digital wireless in 2011, and today, Shure digital wireless microphones are used across the world, from sporting events and global concert tours to top business conferences. Shure’s commitment to enhancing audio has led to significant advances in wireless technology, demonstrated by the evolution of its reliable wireless microphone systems such as Axient Digital.

Today, the company supports five global engineering centers dedicated to product development and software excellence: Niles, IL; Copenhagen, Denmark; Suzhou, China; Edinburgh, Scotland; and Hyderabad, India. Shure’s deep experience in acoustics design and software innovation comes together in products like its AONIC line of Bluetooth headphones, professional content creation gear like the MV88+ video kit, and MV7+ podcast mic. Plus, its growing enterprise communication portfolio, the Microflex Ecosystem, brings high-end audio quality to boardrooms, government, and educational institutions.

strategy officer, LG Electronics. “We will persist in driving innovation across all sectors of robotics, encompassing commercial, industrial, and home applications.” LG is strengthening its presence in the robotics sector.

From Elvis to the Super Bowl, Shure microphones have been part of the audio landscape for a century.

Apparently, most workers prefer their own tech, thank you very much. However, that's not a good thing, as it opens up companies to cybersecurity and compliance issues.

New research from global technology solutions provider Diversified reveals that companies are underinvesting in workforce technologies such as videoconferencing tools, collaboration platforms, and advanced production and broadcast solutions—and that puts productivity and employee well-being at risk.

The Diversified Technology Maturity Survey of more than 1,600 U.S. employees found 89% of workers use their own devices or apps for work due to better ease of use compared to company-provided options. Nearly as many (88%) say their company’s tech limits creativity and problem solving, which is also a massive liability for businesses.

With globally dispersed teams relying on collaboration tools, technologies, and broadcast events, 77% of survey respondents said they work for companies offering hybrid work options. The vast majority (92%) split their work weeks between the office and remote locations—something most prefer.

A strong majority said workplace flexibility is critical, with 86% considering it when job hunting, and 49% willing to sacrifice pay for hybrid work. Even more leaders (69%) would do the same.

The survey also uncovered a desire to reinvent

Diversified Survey: Companies Underinvesting in Workforce Technologies

workspaces to boost creativity, security, productivity, and retention. Notably, 73% of CEOs seek ways to repurpose office space, while 83% of leaders are interested in adding public-use areas.

“People naturally seek in-person connection, but requiring work from an isolated cube or room offers no more collaboration than working from home," Eric Hutto, CEO, Diversified. "Mandating office returns erodes trust and loyalty. Organizations should instead create engaging spaces and a gradual and flexible increase of purposeful in-office time.”

Since the arrival of generative AI, most workplace technology conversations have focused on productivity. But workplace technology is also deeply connected to the human experience.

“The culture of work is changing, and workplace technology is a big driver of this change,” said Jason Kornweiss, SVP of advisory services, Diversified. “Now, workplace structures must be fit-for-purpose, and workplace technology needs to power experience, satisfaction, and productivity, regardless of where people work.”

According to 60% of respondents, technology integration issues adversely affect their work-life balance, while 76% feel that they must be online at all times and 24% of those working late said it’s because

AVI-SPL Launches ‘Confidence and Curiosity’ Brand Campaign

Atheir tech causes delays.

Those results have important implications for productivity as well as employee satisfaction and retention. An estimated 27% of U.S. employees quit in 2023, according to the Society for Human Resource Management (SHRM), and lack of work-life balance was among the top three reasons why.

Modern AV solutions and collaboration technologies amplify voices and enable flexible work, expanding opportunities for a broader talent pool. Notably, the Department of Labor reports that the number of disabled adults participating in the labor market has doubled over the last five years due to hybrid work. Nearly all survey respondents (92%) said they feel stronger connections with their children when working from home, better supporting their emotional and educational needs.

“The necessity for remote and hybrid work over the last five years rewrote the employee-employer contract,” Hutto noted.

“Now people have different expectations, technology continues to evolve, and it’s time to embrace fit-for-purpose structures and new tech-enabled experiences that bring people together—whomever and wherever they are—and keep them coming back.”

celebrates these breakthroughs and the role we play in turning curiosity into actionable, measurable results."

VI-SPL has launched a new brand campaign, "Confidence and Curiosity," to embody the company's commitment to helping organizations ignite confidence in their UCC technology strategies while inspiring curiosity to explore new possibilities. The company is rolling out the campaign with fresh messaging and a refreshed visual identity across multiple channels in 2025, including its website. Its new brand design features a vibrant color palette with dynamic graphics that symbolize movement, adaptability, and progress.

"When confidence and curiosity meet, true transformation happens," said John Zettel, CEO of AVI-SPL. "When our customers trust their technology to perform seamlessly, they gain the freedom to ask, 'What’s next?' This campaign

Rooted in AVI-SPL’s mission to elevate experiences and create new value, "Confidence and Curiosity" emphasizes the symbiotic relationship between these two principles. Confidence in a reliable technology foundation inspires organizations to explore bold ideas, while curiosity about emerging possibilities drives innovation and growth. Together, they form a cycle of continuous improvement that positions businesses for long-term success.

"Our 'Confidence and Curiosity' campaign reflects the heart of what we do," added Dale Bottcher, chief revenue officer of AVI-SPL. "Every question answered, every challenge overcome, and every step forward deepens customer confidence— not only in their technology selection but in their ability to make bold decisions and achieve extraordinary results. It’s a tribute to our customers’ bold vision and the trust they place in us to bring it to life."

The majority of survey respondents said workplace flexibility is critical.

AVI-SPL's new brand campaign features vibrant colors and dynamic graphics.

Jason Kornweiss

Eric Hutto

Extron Helps Transform School Library Space

The recently renovated Sister Mary Kieran Memorial Library at Santa Catalina School, a Catholic boarding and day school for girls grades 9-12 in Monterey, CA, was designed to be more than simply a repository for books. Instead, it's a dynamic, tech-enabled learning hub, blending modern AV technology with flexible spaces for study, collaboration, and videoconferencing. At the heart of this transformation is an Extron Quantum Ultra processor, which powers a new LED video wall, redefining the way students and faculty connect and collaborate.

The AV system in the videoconferencing room was slated for a 3x3 video wall that accepted content from a variety of rack-mounted and connected HDMI and USB source devices. Control needed to be intuitive. Videoconferencing was part of the original design goals, allowing participants to see one another and share content simultaneously.

Integration firm EKC Enterprises was selected to design and install a video wall system that would meet the school's requirements. From concept to commissioning, the project was completed in seven months. It's built around a Primeview FusionMAX FHD PRO 138-inch LED display driven by an Extron Quantum Ultra 305 video wall processor. AV and control signals are sent over shielded CATx cable using DTP transmitters and receivers. The AV system components and various sources are rack-mounted within the adjoining conference room's equipment closet.

“When the school decided to switch from a 3x3

video wall to an LED direct view display for the new library, the modularity of the Extron Quantum Ultra processor allowed the design to be easily updated,” said Chris Burford, CTS, AV designer/estimator at EKC Enterprises. “With a simple reconfiguration, the processor delivers the required windowed content with signal integrity and at top speed.”

Extron’s Vector 4K scaling technology ensures content is displayed at the highest quality and seamlessly scales visuals across the video wall. The Quantum Ultra processor’s reliable performance and flexible windowing capabilities allow the library to support everything from high-end videoconferencing to student club meetings, creating a multi-functional, adaptable space for a range of activities.

Along with flexible windowing capabilities, the Quantum Ultra delivers a seamless image scaled across the entire canvas, such as during a student club meeting. Extron’s Vector 4K scaling technology controls image upscaling and downscaling. EKC's integration team programmed multiple presets into the system, making it easy for users to select the optimal window

layout for their application.

The Quantum Ultra processor’s five-slot frame is configured with HDMI input and DTP twisted pair output cards. It accepts AV signals directly from HDMI sources, and an Extron USB switcher converts computer USB signals to HDMI. EDID and output resolution are set to match the FusionMAX video wall and its native 1080p resolution.

For AV system control, an Extron 7-inch TouchLink Pro touchpanel, mounted on the wall next to the display, is paired with an IP Link Pro control processor in the room's equipment rack. The touch interface is customized and equally suitable for novice and experienced users.

AtlasIED Updates Audio Clarity at Philadelphia Courthouse

The Justice Juanita Kidd Stout Center for Criminal Justice is a 30-year-old, 17-story courthouse located in Philadelphia that serves as the main criminal courthouse for the First Judicial District of Pennsylvania. With the original AV systems becoming problematic, it recently completed a major audio upgrade to address outdated and problematic AV systems in its 65 courtrooms with help from Houser Audio and AtlasIED.

“Crystal-clear audio is critical in courtrooms,” said Andre Houser, president of Houser Audio. “Poor or muffled audio can bias an audience. Everyone needs to hear what’s being said so that there’s no misinterpretation and everything is recorded properly. If they don't clearly hear all of the information, the results could be catastrophic.”

Houser Audio’s team installed 12 AtlasIED FC104T ceiling speakers in each of the 51 standard courtrooms throughout the building, while 15 loudspeakers were installed in each of the three

larger ceremonial courtrooms. Given the proliferation of microphones in each courtroom, the audio systems were configured as a matrixed mix-minus solution to minimize feedback.

Given the mission-critical nature of the courthouse, the original schedule was for seven weeks of installation, completing two courtrooms a day—a challenging timeline, but one which Houser Audio successfully met. Despite some initial

infrastructure hurdles, Houser’s phased rollout enabled the team to make necessary adjustments, providing considerable flexibility for long-running court cases.

Another feature of the upgrade included HDMI table grommets, which enabled attorneys to display evidence from their laptops. To accomplish this, Houser’s team installed fiber optic HDMI cables through the floor, effectively protecting the cables and eliminating tripping hazards.

During the installation process, Houser’s team received praise from court personnel who noted the improved audio clarity and functionality. The rollout plan was also advantageous for Houser’s team, because it allowed them to make necessary adjustments and apply them to future rooms.

“We’ve been AtlasIED dealers for over 10 years,” said Houser. “Going with AtlasIED speakers for this job just made so much sense. The performance was great, and they also had all 600 loudspeakers in stock, which is unheard of. I love working with them.”

The video wall within the Sister Mary Kieran Memorial Library at Santa Catalina School enables students to experience collaboration on a professional scale.

The Justice Juanita Kidd Stout Center for Criminal Justice completed a major audio upgrade, complete with ceiling speakers (inset) in its 65 courtrooms.

Pro AV Growth Lifts as Uncertainty Poses Challenge

By Peter Hansen

February saw a welcome rebound in the Pro AV Sales Index (AVI-S), with a 2.9-point increase from 51.1 to 54.0. While this is clearly a positive development, the negative aspect is that 54.0 is slow growth by Pro AV’s high standards.

For example, the index only had one month lower than 54.0 in the 42 months of pre-pandemic data. Still, a solid acceleration is more than welcome. This is made more positive given the headwinds coming in the form of tariffs and the related uncertainty.

Commenters told us in no uncertain terms that

these measures, and the lack of clarity about the business landscape in the coming months, are major challenges and barriers to growth.

Providers don’t know what prices to promise, and end users don’t know how to budget for upcoming project costs. Unfortunately, the uncertainty seems unlikely to abate, as the cycle of announcing and then postponing tariffs on Mexico and Canada is set to continue into April.

The primary impact of tariffs is on prices: The channel pays a significant tax as the equipment crosses the relevant border, then must recoup at least some of that cost from the end user. Unfortunately, there are also secondary growth effects from tariffs. In the United States, the growth impact of the tariffs can be seen in equity markets, where the S&P 500 is now down from Election Day—a very unusual result for a Republican president.

This impact can be seen more acutely in the first two days of the first week of March, when it became clear that the Trump administration would indeed be

imposing the previously postponed Canada and Mexico tariffs (which were, ultimately, mostly postponed again). These days saw the S&P fall by 3%, highlighting the market’s overall dissatisfaction with the ongoing trade turmoil.

The AV Employment Index (AVI-E) stayed unchanged at 55.3 in February. Last month, the AVI-E of 55.3 was a bright spot in clear contrast to the low AVI-S. There is still some of that sentiment since typically the AVI-E is closer to 50 than the AVI-S (employment changes more slowly than sales), but overall, the two indexes are now roughly aligned. They are both telling a story of slow but still meaningful growth.

In the wider economy, the U.S. labor market saw the addition of 151,000 jobs, a decent level that did not stop the unemployment rate from ticking up a tenth of a percent to 4.1%. Employment is a well-known lagging indicator, so any fallout from tariffs and uncertainty would not be expected to factor in fully for a few months at least.

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 information about joining the AVIXA Insights Community, visit www.avixa.org/AVIP.

Peter Hansen is an economist at AVIXA.

PEOPLE NEWSMAKERS

Rep Report

STARIN announced a new partnership with ABSEN. This strategic collaboration expands Starin’s product portfolio and delivers advanced LED solutions to the North American market. Together, Starin and Absen are poised to meet the increasing demand for LED technology, providing customers with innovative solutions, support, and a commitment to excellence.

B-TECH AV MOUNTS announced a new distribution agreement with Florida-based DATA TECH, which will distribute B-Tech products throughout Central and South America. Operating from Miami, Data Tech was established in 1996 and specialized in the distribution of original supplies from leading printing brands for the Latin American and Caribbean markets. Over the past 29 years, Data Tech has also built a large network of clients throughout Central and South America, and has become a master dealer for Latin America for tech solutions brands such as Samsung, Ecoflow, and Nitrotel.

UTELOGY announced its partnership with ASCENTAE, a technology distributor in the U.K. Ascentae specializes in delivering innovative workplace solutions that enhance collaboration and productivity. Integrating Utelogy’s advanced technology management software into its portfolio, Ascentae will continue to work with workplace brands to build ecosystems that enable organizations to improve operational efficiency and data-driven decision-making.

TECNEC DISTRIBUTING and VIGILLINK announced a new partnership designed to expand TecNec’s offerings with VigilLink’s AV-over-IP solutions. This collaboration aims to deliver AV products to system integrators, dealers, and rental houses across the Pro AV, broadcast, and pro audio industries. TecNec will distribute VigilLink’s full line of products.

BRYAN BRADLEY has joined L-ACOUSTICS as CEO Americas. He now oversees all the manufacturer’s North, Central, and South American operations, and shares his time between the global hub in Westlake Village, CA, and a new Americas operations and creative hub in Nashville, TN. Bradley recently spent six years serving as the president of Group One Limited, the New York-based U.S. distributor for DiGiCo, Calrec, Solid State Logic, Sound Devices, and several other pro audio and lighting manufacturers. Prior to that he held multiple executive management positions at Harman.

West Coast-based live event production and systems integration services provider 3G PRODUCTIONS has bolstered its sales staff with two recent hires: SEBASATIAN YEPES as director of accounts and JUAN SEGOVIA as account manager. Yepes is responsible for growing 3G’s business on the East Coast and in the touring market, especially within the Latin music industry, where 3G already has a solid presence and is looking to expand. Segovia is leveraging his relationships and deepening 3G’s footprint on the East Coast, assisting Yepes to support their shared client base. Segovia is also tasked with handling 3G’s growing used equipment sales business.

A.C. PROMEDIA, distributor of products and solutions for the commercial and Pro AV installation markets, appointed KURT METZLER as business development manager. In his new role, Metzler focuses on expanding the company’s presence by cultivating strong relationships with key accounts, providing comprehensive training to clients and sales representatives, and uncovering new growth opportunities. Additionally, he works closely with the supply chain department to streamline order processing and support marketing initiatives by representing the company at tradeshows, promotional events, and product demonstrations.

BOSE PROFESSIONAL has appointed RICK RENNER as regional sales manager for the Central U.S. region and TIM VALLEY as regional sales manager for the Western U.S. region. Renner joins Bose Professional with more than 20 years of experience in the professional audio industry. He has held leadership roles at Sennheiser and Shure, where he most recently served as U.S. senior director of professional audio. Valley also brings more than 20 years of experience in sales and management in the professional audio industry. He has held key positions at Shure and BrightSign, where he most recently served as director of commercial sales.

Long Island, NY-based GROUP ONE LIMITED announced several key changes to its management team. AUSTIN FRESHWATER has been appointed to

serve as the new CEO for Group One, in addition to carrying on his current role as managing director for DiGiCo. As CEO of Group One, Freshwater oversees all sales, marketing, and support teams for each of the distributor’s pro audio and lighting brands across the United States. In tandem with Freshwater’s appointment, SOLID STATE LOGIC, a key brand in the Group One portfolio, has appointed RICK NAQVI to the position of SVP, sales, where he is responsible for the sales of all SSL hardware products in the United States and Mexico, including recording, broadcast, live, and audio creation products (ACP). Naqvi most recently served as VP of sales for PreSonus Audio Electronics.

SHOTOKU BROADCAST SYSTEMS has named CLIVE MUMBY as robotics product manager and VISHAL KAGDADA to Mumby’s former role of sales manager. Following seven years as Shotoku’s sales manager, Mumby’s 30-plus year career in both commercial and operational television environments positions him to drive Shotoku’s ongoing product development. Kagdada, who joined Shotoku as technical sales manager in 2021, plays a role in supporting and growing Shotoku’s global customer base, drawn from some of the highest profile national and international broadcasters and governments.

RAYMOND YEUNG is taking over the role of standards vice president for SMPTE. Yeung is the head of content standards at Amazon MGM Studios Technology, where he is focused on advancements in the media supply chain. With extensive experience in digital visual effects and film mastering, he joined the HDR imaging development effort at Dolby Laboratories in 2012. Yeung is a SMPTE Life Fellow and a member of the Academy of Motion Picture Arts and Sciences.

SOUNDTUBE has added SARAH CHAUVIN as a sales engineer. With nearly two decades of experience in the music and audio industry, Chauvin brings a wealth of knowledge and expertise to her new role, and has earned

Sebastian Yepes

Juan Segovia

Kurt Metzler

Bryan Bradley

Clive Mumby

Vishal Kagdada

Raymond Yeung

Sarah Chauvin

Rick Renner

Tim Valley

Austin Freshwater

Rick Naqvi

AVI Systems Announces Five Senior Leadership Promotions

AVI Systems has promoted five leaders from within the company as part of the company’s strategic evolution to support rapid growth and further position itself as a trusted, strategic advisor to its customers. To manage continued growth, AVI Systems evolved its operational leadership structure, ensuring the company has the right leaders in place to drive innovation, implement best practices across the company’s locations, and scale to meet growing customer demand.

JOHN BAGNELL has been promoted to EVP. In this role, he oversees all AVI regional business

numerous industry certifications. Her experience in developing technical sales materials and teams, particularly during her tenure at Biamp, has honed her skills in design engineering and technical training. Her responsibilities at SoundTube include creating product training/webinars, customer/technical training, and assisting as an additional technical resource to reps and customers.

WHARFEDALE PRO welcomed

MARKO JANANOVIĆ to its International Application and Solutions team. Based in China, Jovanović supports local customers while contributing to the team’s global strength. Jovanović has extensive experience as a live sound engineer, specializing in FOH and stage monitor mixing for events and festivals in Eastern Europe before continuing his career in China since 2015. He also brings R&D experience, having developed professional audio and consumer devices like live PA systems and studio monitors.

ZIXI has appointed JOSH WIGGINS as chief commercial officer and KRIS ALEXANDER as VP of product and industry marketing. Wiggins brings more than 25 years of experience across the media and entertainment ecosystem, and now leads Zixi’s go-to-market strategy, business development, sales operations, and partnerships, ensuring that customers and partners can maximize efficiency and revenue opportunities with Zixi’s technology.

units in the United States, fostering continuity and collaboration, driving regional growth, and aligning to AVI’s value proposition.

SHANNON O’REILLY and ROLAND SCHLEGEL will both serve as new SVPs reporting to Bagnell. In their new roles, the long-time AVI regional leaders expand their oversight and support in existing regions, mentoring regional and area VPs, driving strategic growth plans, and ensuring best practices.

MICHAEL SAFRANSKI has been named SVP of operations. He leads AVI’s Integration, Delivery,

Alexander joins Zixi with decades of experience leading strategy, product, and marketing to lead messaging, packaging, thought leadership, and education to simplify and accelerate the journey of customers to take advantage of IP-based live video

DATAPATH has reinforced its senior management team with the appointment of MARK SLINGER as VP product management. Slinger brings 26 years of experience in product management and a strong background in technology and SaaS leadership. He has held senior roles at organizations such as Alderley and Iothic. At Datapath, he collaborates with internal teams, external partners, and customers to drive innovative solutions that support the company’s business objectives. Slinger's role includes working closely with Datapath’s customers to develop technologies that bring data-driven benefits to working practices..

PROTO welcomed TODD BOUMAN as CEO. The electronics industry veteran was most recently president, CEO, and chair of Sharp/NEC Display Solutions,

and Managed Services teams to ensure alignment across all service lines and adoption of standards and best practices. This represents an expansion of Safranski’s current role as VP of managed services.

KEITH YANDELL has been promoted to SVP of innovation. In this role, Yandell continues to oversee the Practice Team, emerging technologies and offerings, and AVI’s own Innovation Vault, which is showcased at each AVI LIVE event held nationally. In addition, he is establishing a new vision for AVI’s customer experience centers.

Americas. There, he crafted a transformative strategy that established the company in the global electronics and software display industry, resulting in sizable increases in revenue and doubling of profits. Bouman is tasked with driving exponential growth for hologram-sector creator Proto, drawing from his vast experiences working at global tech companies in the consumer and commercial hardware and services industry to drive exponential growth for Proto.

Marko Jovanović

Mark Slinger

Todd Bouman

Josh Wiggins

Kris Alexander

Success in the ‘Space Between’

MultiDyne Pivots to Pro AV with Fiber Transport Solutions

By Mark J. Pescatore

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

Frank Jachetta: I have been a part of MultiDyne since the day my father, Vincent Jachetta, founded the company in 1976. I was in junior high at the time, and I would help my father assemble products in the basement of our family home. I joined MultiDyne in a formal role after college. It was still a family business at the time—as in my father, brother, myself, and one other employee who remains with the company today.

As with any CEO, my responsibilities focus on the overall management, performance, and strategic direction of the company. Having spent nearly 50 years with the company, I have been actively involved in every part of the company at some point. Naturally, that means that some functions are closer to my heart than others. Product design and engineering is at the top of that list.

SCN: So, MultiDyne is in the Pro AV business now … ?

FJ: There was a tendency for some of the biggest broadcast brands to look down at the AV industry. Today, some of these same brands are relying on AV to drive sales. AV has become a very mature and active market with strong opportunities.

MultiDyne has been in the broadcast business since its inception. We evolved over time to become a leading brand and innovator for fiber optic transport. Our fiber products have always fit comfortably in the “space between”—specifically, the production trucks and in-house technicians that use our throwdown products and remote powering devices for sports and venue production. We have long-term customers that use these same products as interconnects on large corporate and university campuses. The reality is that our technologies have always served AV applications.

SCN: Would it be fair to say your new focus supports the idea that Pro AV and broadcast technologies are converging?

FJ: Most definitely. As more video and audio systems transition to IP networks, AV is increasingly conjoined with broadcast workflows. They are no longer truly disparate markets. Looking beyond campus interconnects, we see an increasing number of enterprise corporate customers coming to MultiDyne that are producing content at the same caliber of our broadcast customers. We are working with executives

that want to see their internally produced content to look as high-quality and engaging as the broadcast content they watch at home. They want more than what a conference room camera can offer, and that’s where MultiDyne comes in.

But it’s not just the super high-end, as that is not always necessary in AV. Our VB Series is an ideal example of a product that is versatile to serve the needs of the AV community. These are configurable fiber transport solutions to serve any combination of video, audio, data, and Ethernet signals. They are suitable for permanent installed AV systems and as temporary throwdowns to reduce reliance on copper connections.

SCN: Even if you don’t necessarily need a longer cable run, how can Pro AV installations benefit from your VB PTZ fiber extenders?

FJ: The VB Series, or Versatile Brix products, are just that, extremely versatile. The product can be customized to a fine detail and supports power over SMPTE hybrid fiber along with POE++ for the latest generation PTZ cameras. The system supports multiple 12G/3G signals as well as HDMI, so end users can support peripheral requirements such as talent monitors, prompters, or utility transport of other signals on set that need to get to and from the control room.

Also, the VB series is used in a huge range of applications outside of PTZs. This includes the ability to send 10 12G-SDIs from the machine room and output 10 HDMI 2.0s at the receive side or the other way around if needed. A popular application for the VB is the ability to send nine 1 GbE and or 10 GbE copper LAN connections over one fiber, with all networks being optically isolated from each other. This makes network management a snap and can also meet network division security requirements on the same fiber.

SCN: How important is 12G-SDI transport to the Pro AV industry?

FJ: 12G-SDI has become increasingly important, as it has become more affordable and easier to deploy. The fact that it can support 4K60 with 16 channels of audio and various types of metadata make it a comprehensive standard that is easy to manage. It can be somewhat distance limited over copper due to its high 12 Gbps bit rate and that is where fiber comes in. We can easily transmit 12G over 10 km (roughly 6.2 miles) of fiber and we have systems that can achieve 40 km of distance for metro applications. For

Frank Jachetta

Position: President

Company: MultiDyne

Overtime: In my spare time, I play golf and guitar, but I also have been known to dabble in building guitar effects and have recently been playing around with a microprocessor development platform.

intercampus and interfacility links, we can send 18 12G-SDIs over one single-mode fiber.

SCN: Are you seeing significant interest in 8K for live production?

FJ: Yes, interest in 8K image capture has been growing and is going to increase in prominence as storage and other production tools such as switchers, graphics systems, and encoders start to support 8K. As in the past, camera and display manufacturers are leading the way and everything in the middle needs to evolve.

The good news is if your camera uses Quad-Link 12G to achieve 8K60, MultiDyne has you covered. The next generation SilverBack fiber camera adapter is set to support eight 12G-SDIs over the SMPTE hybrid fiber connection. The SilverBack is widely deployed in the enterprise space today for HD and 4K productions, and its universal design means the end user can pick the perfect camera system for the job.

SCN: What new Pro AV initiatives are we likely to see from MultiDyne?

FJ: We introduced our first IP Gateway products for moving SDI signals onto ST 2110 IP networks at NAB last year. We also showed these at InfoComm and there are use cases for the AV market, especially for moving compressed JPEG-X signals onto these networks. ST 2110 has very strict parameters when it comes to what technologies and processes adhere to the standard, which is often too restrictive and expensive for the AV industry. Soon, we will introduce our first IPMX gateways, and our customers can expect to see more IP-based products that use fiber optic interconnects to assist in managing a hybrid 12G-SDI and IPMX/ST 2110 IP facility.

SCN: How can systems contractors better position themselves to profit from products and/or services you have to offer?

FJ: Our most successful systems integrator partners are just that, partners. They invest the time to understand our offerings—and once they understand the power of our solutions, they can easily address complicated and demanding requirements. This approach is then reutilized for the next project and so on.

EXECUTIVE Q&A PEOPLE

Better Image Blending

Scalable Display Technologies Celebrates 20th Anniversary with New Software Tools

By Mark J. Pescatore

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

James Pietsch: I got involved with Scalable right out of college. A friend of mine was interning there at the time, and things moved quickly. I graduated on a Tuesday, met with the CEO that Thursday, and started the following week. I’ve been with Scalable for over 14 years, and my responsibilities revolve around everything customer-facing. My focus is on maintaining strong relationships and overseeing the entire customer journey.

SCN: What technology put Scalable on the map?

JP: Our initial patents for camera-based calibration, developed at MIT in the early 90s, really put Scalable on the map. When Scalable was first founded, this technology didn’t exist, and multi-projector, multi-display setups for large-format displays were extremely complicated—almost a black art at the time. These kinds of systems were limited to niche industries, like VR caves or flight simulators, and were incredibly complex to implement. That core patent and capability gained significant attention in our early days and set the foundation for our success. Since then, we’ve expanded our products and projects in ways that have kept us on the map, moving beyond the original technology while continuing to innovate.

SCN: Many of today’s projectors have built-in edge blending tools, so what’s the selling point for Scalable’s solutions?

JP: Manual warp and blend tools have been around for a long time. Still, the real value of Scalable lies in simplifying the setup process, extending system longevity, and improving accuracy by leveraging camera-based calibration. Most importantly, Scalable ensures that the display continues to look its best long after installation. When you rely on the projector’s built-in tools for manual alignment, it requires taking the display down, spending significant time and having a trained professional who understands those tools. Scalable eliminates those challenges by automating the process with a camera, making it faster, easier, and more reliable.

SCN: Is edge blending a sort of set-it-and-forget-it technology or do clients need to manage their displays?

JP: Blended displays are dynamic systems that require ongoing maintenance. By their nature, multi-channel setups must address issues like projectors drifting out of alignment over time. It’s inevitable that projectors will slowly come out of alignment, which creates a maintenance problem and can incur additional costs after the project is already commissioned.

That’s where tools like Scalable come in. We make realignment fast and simple—about 30 seconds per projector with just the click of a mouse. There are no ladders and no disassembling of the display. This allows clients to maintain their displays daily with minimal cost and complexity, ensuring optimal performance over the long term. That’s the true advantage of auto-alignment technology.

SCN: What are the biggest vertical markets for Scalable?

JP: Our biggest vertical market is modeling, simulation, and training. This spans a wide range of industries, including automotive, Formula One, maritime simulation, defense and military, fast jets, and more. It’s the core market we serve. The secondlargest market is museums and attractions, where we help create immersive experiences. The third key vertical would be AR/VR, focusing on the next generation of caves and virtual production sets. While these are a different category of displays, they still benefit significantly from auto-alignment and pixel-perfect precision.

SCN: How important has edge blending become in today’s immersive simulation environments?

JP: Edge blending has become absolutely essential in today’s immersive simulation environments. As immersive experiences grow in demand, tiling multiple projectors is key to achieving that level of immersion. A single 16:9 projector is inherently limited in creating a truly immersive experience. With Scalable, there’s no limit to the number of projectors you can use or the shapes you can create.

SCN: How does Scalable Atlas help with projection mapping projects?

JP: Scalable Atlas is our first 3D projection mapping software, designed to handle any shape or object, whether it’s a statue, the façade of a building, or other complex geometries. What makes Atlas unique is its ability to automatically calculate projector positions in 3D space with incredible accuracy. It then creates warps for each projector based on those calculated locations.

James Pietsch

Position: Director of Global Accounts Company: Scalable Display Technologies

Our core products are optimized for specific screen types, while Atlas is versatile and not restricted by geometry, making it ideal for a wide range of projection mapping projects.

SCN: How are ScalableDesktop and Scalable Display Manager different?

JP: ScalableDesktop is designed for single-PC solutions. It allows you to warp your Windows desktop, enabling you to run any Windows application seamlessly across multiple projectors, whether it’s Windows Media Player, PowerPoint, CAD applications, or even virtual walkthroughs of a building. As long as it’s Windows, it works.

Scalable Display Manager is more complex and supports advanced system architectures. It’s typically used in host-client environments with multiple rendering PCs or integrated with thirdparty media servers like 7thSense and Pixera. Scalable Display Manager offers greater flexibility, more ways to apply mesh files, and the capability to address a wider variety of system types compared to ScalableDesktop.

SCN: How has Scalable been celebrating its 20th anniversary?

JP: We’ve had an absolutely incredible year, so it feels like the market has been celebrating our 20th anniversary even more than we have—which is a great way to celebrate! Internally, we’ve had a few company events and parties, including a big end-of-year holiday celebration in December. We also released version 11 across the products as we continue to focus on reinvesting into the business and improving our client experience.

SCN: What new initiatives are we likely to see from your company?

JP: This year, Scalable is focused on enhancing our core products while introducing new software tools to streamline the workflows of our partners. One exciting initiative is the addition of a design capability that allows partners to validate system designs before installation. The design capability will integrate directly with our calibration software, enabling customers to arrive on-site with a pre-populated, ready-to-use calibration setup tailored to their system. We’re also introducing new control software called Commander, which will give customers the ability to manage hardware and software—from projectors and PCs to calibration tools—through a single, user-friendly interface.

By Jennifer Guhl

WPower and Vision

JCA Media Provides AV Transformation for First Christian Church of Somerset

hen the First Christian Church of Somerset in Somerset, KY, first connected with JCA Media, recognized for its AV integration throughout Kentucky and houses of worship in particular, they did not foresee a significant AV upgrade in their future. They were primarily looking to repair their choir microphones and floor pockets.

However, the project quickly evolved into a comprehensive AV transformation. JCA Media quickly recognized the need for more thorough improvements that would enhance the experience for both service attendees and technology operators, all of whom are volunteers within the church.

“What started with choir mics and floor boxes turned into a request to replace projectors, house and theatrical lights, and completely redo the AV network,” said Alex Peake, project manager for JCA Media.

Lights Out

Before the upgrades, the church relied on outdated technology, including a dimming system that was more than 25 years old. Its audio and projection setup was also quite antiquated, particularly the projector system, which provided barely adequate visibility during services. Although the PA system was operational, its infrastructure required significant improvements.

“We needed the upgrade because we had more lights not working than were working,” admitted Keith Kissinger, property chair, elder, and treasurer

for the First Christian Church. “We usually dim the lights for prayers, and it got to the point where it looked dimmed all the time.”

Starting with lighting, JCA Media aimed to integrate an energy-efficient solution that would be easy for the in-house team of volunteers to operate.

For lighting, 71 LED house lights were installed from The Light Source, along with 16 Chauvet Ovation E-260WW LED fixtures that offered bright output and smooth dimming. The ChamSys Quick Q10 compact lighting console was selected for its icon-based interface, simplifying operation for volunteers. Doug Fleener Design optical splitters and preset stations, plus a LynTec RPC remote control breaker panel, all contributed to the seamless control of the system.

According to Peake, the church was “not really technically driven in terms of lighting. It just needs to be super volunteer-friendly.” That mindset remained during the integration, prompting the JCA team to concentrate on reliable, user-friendly solutions that wouldn’t overwhelm their volunteers.

Let’s Hear It

While the PA system was not replaced, the amplification and control systems needed improvement. To provide a more professional audio experience during services, the amplifiers were upgraded to LEA Professional amplifiers, which feature cloud-based monitoring. Four Earthworks Choir microphones, plus Shure PSM 900 in-ear monitors and QLXD wireless units were also added.

Custom ACE Backstage floor boxes were designed to fit the church’s unique concrete slab configuration.

“Their floor boxes had small conduits, so one of the

things we couldn’t do was load a lot of stage I/O into those floor boxes due to the limited size of the conduit,” Peake explained.

Due to the small conduit sizes, JCA Media had to pursue custom solutions to accommodate the necessary stage I/O. DSP tuning inside the LEA amplifiers were used to optimize audio performance, while an Allen & Heath GX4816 stage box cleaned up the FOH I/O and allowed for improved stage connectivity, with two DX ports giving the capability for two DX168 boxes to be placed on stage.

To address the outdated projector system, JCA replaced the two front projectors with Epson 13,000-lumen laser projectors, which deliver bright, crisp imagery for any location in the room. Additionally, two rear projectors were substituted with an 86-inch LG commercial display to cover the visuals on the rear stage.

An RTI control system provides centralized management, while enhanced power sequencing was implemented using Furman power conditioners. This safeguards equipment from power surges and ensures proper startup and shutdown procedures. In houses of worship, where technology may often operate for extended periods, this prolongs the lifespan of the equipment. “We always sequence things where the console comes on, the stage rack comes on, then amps come on, and vice versa on the way off,” added Peake.

A LynTec RPC system also offered DMX-controlled relay switching to provide efficient power usage and prevent premature wear and tear. “We love LynTec because it has multiple control protocols, and one of them is DMX,” said Peake. “With a preset station on the wall, I can hit ‘off,’ it sends the command via DMX to

Custom ACE Backstage floor boxes were designed to fit the church’s unique concrete slab configuration.

First Christian Church has made a significant upgrade in AV, with new projectors, lights, audio gear, and power management solutions.

lower the fixtures, and powers them down completely—saving energy and extending their lifespan. We’ve seen numerous installations where LED fixtures run constantly—and within four or five years, they stop responding to DMX or fail entirely. Often, it’s not the LED itself that fails but the control side.”

The new audio infrastructure also supports the church’s streaming needs by rerouting audio from the console for a broadcast mix into their existing streaming system.

Making a Difference

JCA Media completed the installation over three weeks, ensuring minimal disruption to church services, and the new systems were operational in time for Feb. 16 services. The installation process was relatively seamless, but one minor issue needed addressing. With the sanctuary ceilings reaching 36 feet, an atrium lift had to be used to install and adjust all the new lighting fixtures safely. “We were trying to eliminate moving pews, so we utilized an atrium lift and worked our way around the pews,” said Peake.

They also cleaned and organized the booth’s existing streaming and video technology.

F“Everything was shoved under their knees,” Peake added. “So, we cleaned and fixed that up as well.”

When all the church leadership first entered the sanctuary after the integration was complete, they couldn’t help but comment on the change. “Wow, what a difference,” said Kissinger. “It was beyond what words could describe.”

Now, JCA Media is training the church’s volunteer tech staff to fully operate the new AV network. “The sound system is so over the top compared to what we were working with, and as I stated before, we have only begun to use what we have to work with,” said Kissinger. “The sound booth

crew are so looking forward to being able to overwhelm the congregation with the magic it is capable of.”

JCA Media often starts collaborating with clients on a small project. Once the client realizes the various upgrades and enhancements needed, they want them to stay and tackle them all at once, which is precisely what happened at First Christian Church. What began as a simple microphone replacement evolved into a complete transformation, with improvements that will enable the church to offer an enhanced worship experience for years.

Upgraded Space, Upgraded Video

Blackmagic Design Backbone Powers Lake Mary Church Live Production

lorida’s Lake Mary Church and its new auditorium have adopted a Blackmagic Design live production workflow, featuring an ATEM Constellation 8K live production switcher paired with an ATEM 1 M/E Advanced Panel as the backbone of its master control. Blackmagic URSA Broadcast G2 cameras and Pocket Cinema Camera 6K digital film cameras are also positioned throughout the sanctuary, helping Lake Mary Church to produce television-worthy sermons for approximately 2,200 church members eachweek.

Located in Orlando, Lake Mary Church recently upgraded from a rented space with a 300-seat capacity to a 1,200-seat auditorium. Outfitted by

Proton Global Media Group, the new space includes a 67x8.5-foot curved screen in the lobby, five different screens for I-MAG and digital signage during services, and LED flooring on the sanctuary stage.

“The ATEM Constellation 8K is basically the middleman for everything,” said Ricky Perinchief, VP and general manager, Proton Global. “We made it the master control so that the crew can see every camera feed, every television or display, and all the digital signage around the entire building. Having 40 12G-SDI inputs was key for us since we have cameras placed all over thesanctuary.”

Lake Mary Church also utilizes five URSA Broadcast G2s, two of which are in the front of house on custom steel camera poles, with two others on PTZ heads and the last on a custom rail. This setup allows for complete remote capabilities.

“Customizing the URSA Broadcast G2 camera for a PTZ environment allowed us to take advantage of its camera control and full tally capabilities along with lens control,” explained Perinchief. “The camera on the custom rail uses a pulley system for cable management, which connects the camera feeds to the switcher. An embedded 120V plug to power the rig removes the limitations of having to rely on batteries or a separate wireless transmittersystem.”

The Pocket Cinema Camera 6K is on awireless rig using a gimbal stabilizer with a double handle

accessory kit and V-mount battery to power the setup. “This is one of our favorite cameras and we send it all over the auditorium, on stage, in the lobby. Wherever it goes, we get the same consistent crisp, reliable image,” Perinchief said. “We also have a Blackmagic Micro Studio Camera 4K G2 installed for a static angle above the stage.”

Video throughout the entire 22,675-square-foot campus is routed through the ATEMs and monitored in master control. The video wiring is 12G-SDI and fiber to handle the church’s desired resolution of 2160p/60, with Blackmagic Camera Fiber Converters, ATEM Talkback Converter 4Ks, and Mini Converters Optical Fiber 12G converting video standards on the rackside.

“Lake Mary’s Pastor Shaddy understands the value of a quality broadcast, and he didn’t want to risk leaving anything out of the equation when it came to putting on the highest quality experience for his congregation,” said Perin chief. “As a result, the church has an impressive, curved screen and LED flooring, similar to what you would see on a major television show such as The Voice, and the Blackmagic Design products are at the heart of it.”

Perinchief said Proton Global relies heavily on Blackmagic Design for its church buildouts. “It’s proven technology that is perfect for volunteers of every experience level,” he noted.

From left: Alex Peake and Keith Kissinger

New Epson projectors were installed to replace First Christian Church’s outdated projection system.

Whitesburg Ready for All Service Styles

When Whitesburg Baptist Church in Huntsville, AL, was looking to upgrade its out-of-date sound system, it turned to Seth Daniel, founder and CEO of the Daniel Group, located in nearby Florence, AL. In turn, Daniel sought out Meyer Sound to assist in the design and engineering of a loudspeaker system to help enhance the worship experience for the congregation.

Typically, the church holds two services each Sunday; one is more traditional, with a 135-member choir and a 30-piece orchestra, while the other is more contemporary with a six or seven-piece band and six praise singers. “With the old configuration there was a lot of low-frequency build up over the stage area that was causing some issues, especially for the choir,” Daniel noted.

The church was in the second phase of a multistage update to various buildings within its campus. “While the new sound system was not actually part of the plan, it was something that we were able to do to enhance the plan, for us to clearly spread the Word within our facility,” explained Justin Crisp, media director for Whitesburg Baptist Church. “The old system was 15 years old. It was time to take that system and retire it and go into something new.”

From overhead, the 2,000-seat worship center looks like an octagon elongated on two opposite sides, with the platform on one elongated side and the control area under the balcony directly across the room from the stage. Seating extends around the remaining sides of the room, with the balcony situated above the main seating area.

The new system includes LEOPARD compact linear line array loudspeakers, configured 10 per side as a left-right main system. Fill systems consist of ULTRA-X22XP compact narrow coverage loudspeakers for the balcony, UPQ-D2 full-sized narrow coverage loudspeakers for side coverage, and one UPQ-D1 full-sized loudspeaker serving as a center, down fill. ULTRA-X20XP loudspeakers are deployed as front-fill loudspeakers across the lip of the stage. Handling the

critical low-frequency content are six 2100-LFC low-frequency control elements, hung three next to each LEOPARD array in a cardioid configuration. Two MJF-208 high-power stage monitors rest on the platform, and two Galileo GALAXY 816 network platforms drive the system.

Meyer Sound’s MAPP 3D system design and prediction tool was used to model the configuration and behavior of the system. “Once we hung the Meyer Sound system our musicians said that it’s almost like a new room,” Crisp said.

A new Meyer Sound system is improving the audio for traditional and contemporary services.

BUSINESS WORSHIP AUDIO

By Carolyn Heinze

FUnheavenly Acoustics

Industry Experts Share Secrets for Better House of Worship Audio

or AV professionals who love a challenge, the house of worship market delivers.

Architecturally, churches can range from elaborate cathedrals to converted retail spaces. Stylistically, they may strive to deliver professional concert-level musical performances or prefer more traditional, reserved worship. All of this means that when it comes to designing and integrating a solid audio system, there is no cookie cutter approach.

While there is plenty of architectural variety, all houses of worship have one thing in common: Their congregants need to hear the message.

Prior to joining Meyer Sound, business development specialist Daniel Rivera spent 10 years as a church technical director. In the house of worship environment, he said speech intelligibility is the highest priority.

“The music is not the main event; the message is the diamond,” Rivera explained. “If you’re hearing your pastor—and hearing every word—you’re more than 80% there. Coverage is so important so that everyone hears the same thing at the same level. It’s the unicorn we chase.”

Part of that chase requires AV designers and

integrators to get to know the church they’re serving. CTI's Robert Scott, branch director, and Scott Lopez, technical service director, believe that integrators can assume that houses of worship want to achieve clarity. Beyond that, it’s necessary for them to gain an in-depth understanding of that church’s worship style. How many musicians are on stage? How much does the pastor move around when he’s delivering the message? Is there a choir?

It’s also necessary for integrators to be familiar with different denominations—if they’re not, they need to ask questions and educate themselves if they’re going to make relevant recommendations.

The Universal Challenge

Whether it’s a cathedral, small historic church, or modern structure, acoustics are a primary issue. Josh Maichele, applications project director, house of worship, at L-Acoustics calls it the “universal challenge.” While companies have endeavored to keep energy off surfaces where it’s not wanted, there are a few reasons why the acoustics in many houses of worship are less than ideal—and there is only so much the technology can do to mitigate the problems found in a poor acoustic environment.

For example, in cathedrals featuring vaulted ceilings and marble surfaces, the architecture takes

priority over acoustic considerations. “We just put speakers in Notre Dame [de Paris] and obviously, in an iconic and historical venue like that, there is no compromise for the aesthetics when it comes to the acoustics,” Maichele said.

Modern worship centers rely on donations and fundraising campaigns for their audio system deployments, and the expense of hiring a quality acoustician—and implementing the treatments they specify—can seem cost prohibitive. Instead, these facilities choose to invest in gear. “Acoustics is not a tangible thing that they can use," he offered, "so it’s hard for church leadership to understand where they should put their money.”

Zach Brady, business development manager at d&b audiotechnik, noted that even smaller churches can be “acoustically hostile” environments, with ornate features or glass, brick, and polished concrete surfaces. While it’s tempting to “tame” these spaces, it can become difficult to create engagement if you make the space too "dry" or quiet. When people can’t hear their fellow congregants singing along with them, they become self-conscious and tone down their participation. “This means we must strike a balance of a lively enough room to create engagement, but a controlled enough room to give us great direct sound without being drowned out by the reverberant field,” he explained.

Prestonwood Baptist Church used its DiGiCo Quantum7 digital mixing console at FOH during its recent production of The Gift of Christmas

WORSHIP AUDIO BUSINESS

Choosing the Right Loudspeakers

Highly reverberant worship spaces where aesthetics are prioritized often don’t require high SPL output. Achieving speech intelligibility is the fundamental goal in these environments; secondarily, they must support a choir and a piano.

In these scenarios, Maichele said column arrays work well because they don’t compromise the décor. “And they provide a bit more precise and direct sound to the listener,” he added.

Line source speakers are popular for their ability to direct the sound where it needs to be. While historically designated for large deployments, Maichele said nowadays there are line arrays that exist for almost any venue size. “All of them, in principle, are doing a similar thing, which is focusing the energy where we want it and keeping it away from where we don’t,” he explained. This applies to large worship centers, as well as shopping centers that have been converted into churches. He added that point source speakers complement line arrays, providing outfill, under-balcony, and front fill audio where wider coverage is required.

Many loudspeaker manufacturers offer sound mapping software that lets AV designers and integrators model their speaker configurations prior to installation. The benefits of these tools are obvious, but Maichele warned that they’re only as good as the data they ingest.

“Our ability to verify and validate what we’re doing is crucially important,” he explained. “The accuracy of the room being brought in means a lot. If the room

model is inaccurate, ultimately the end result is going to be erratic or not ideal.”

It’s also necessary for integrators to confirm that the drawings they’re working with are up to date, which merits an on-site visit. If an integrator hasn’t been to the church prior to modeling the worship space, they may be surprised to discover elements that weren’t included in the original drawing set during installation. It’s not uncommon for churches to install LED displays or ceiling clouds, for example, long after the initial construction phase and without updating their documentation. When this happens, the integrator is forced to recalibrate their loudspeaker design, which may result in the need for more speakers, fewer units, or even a completely different system.

“There is something to be said for integrators to be on site with their customer,” Maichele said. “There’s the obvious relational aspect of them showing up and showing investment in what’s happening, but then there’s the ability to validate everything that we think we know.”

Affordable Immersive?

At front-of-house (FOH), church audio engineers are seeking simplicity. “Nowadays, all the boards sound great and they have all these fun tools inside of them," said Lance Eddleman, application engineer for DiGiCo at Group One, a New York-based AV technology distributor that represents the U.K.-based audio console manufacturer. "But it’s really the integration

side—being able to limit the amount of things you have to touch and bring it down to one simplified ecosystem.”

Another challenge houses of worship face is standardizing systems throughout their facilities (and, for multi-site churches, across all their locations).

“Whether it be the main sanctuary, or their aux rooms, or their Sunday school classrooms, having one central ecosystem that they’re working in [is important],” Eddleman said.

While facilities across all markets strive to achieve standardization, it’s especially relevant in churches, which rely heavily on volunteer engineers with varying skill levels. “It makes it easy for their volunteers to learn one workflow and then work all the way through their environment,” he added.

And then there's the added potential wrinkle of immersive audio. When people think of immersive audio, they tend to envision loudspeakers around and above the audience. Maichele believes that this perception is rooted in the sound systems that homeowners install, where the audio surrounds the listener.

However, for the majority of house of worship environments, Maichele argued that immersive audio should focus on connecting the worshippers with the message that’s coming from the stage. Traditionally, church attendees have been accustomed to the disconnect between watching the pastor on stage and hearing his voice coming from somewhere else. A good immersive loudspeaker design can remove this barrier.

“It doesn’t require speakers all around us and above us,” he explained. “What it requires is the connection between the stage—and between the pastor and the worship pastors, and what’s happening in the room— and the congregation. To me, that’s immersion.”

Most importantly, accomplishing this doesn’t have to be more expensive than a more conventional loudspeaker setup. “And the return [on investment] for the congregation is huge,” Maichele added.

Integrators need to understand the worship style of churches prior to making AV recommendations.

For some structures, such as the recently reopened Notre Dame de Paris, architecture takes priority over acoustics.

From left: Josh Maichele, Lance Eddleman, Robert Scott, Scott Lopez, Zach Brady, and Daniel Rivera

BUSINESS WORSHIP AUDIO

Worship Without Walls

d&b audiotechnik Soundscape Enables Immersive Experience in Structured Tent

When New Life Church opened the doors on its new location, its congregation was immersed with a d&b audiotechnik Soundscape audio system with En-Scene and En-Space modules. Housed in a structured tent, the system installed by E2i Design resulted in a dramatic transformation of the structure's acoustics, improving the depth and localization of the worship band in the mix as well as increasing engagement from the congregation through the innovative voice lift technique.

Adjacent to a military airstrip, the church's location required the construction of a non-acoustically optimal tent structure with its inherent lack of reflective surfaces. E2i Design found d&b audiotechnik Soundscape with En-Space an ideal audio solution. "Tent fabrics don't offer the same reflectivity as permanent construction," explained Evan Hamilton, chief technical officer at E2i Design. "Soundscape with En-Space enabled us to create natural-sounding reverb times with resonances better than many traditional church environments."

The decision to include the Soundscape En-Scene module proved to be instrumental to the venue’s transformation. "New Life Church has a large worship band with six singers," Hamilton said. "En-Scene allows us to place those musicians in the mix, corresponding to where they are on stage, and provide a great sense of localization to everyone across the congregation. En-Scene is incredible—you gain depth and spaciousness in your mix where you never previously had it."

In the process of deploying Soundscape, E2i Design realized that lackluster tent acoustics affects the sound experience of those on stage and negatively impacts the experience of the congregants. "I am particularly proud that we leveraged Soundscape to provide an even more immersive environment through a voice-lift system," noted Hamilton. "With mics hung over the congregation and piping them through En-Space, everyone in the audience experiences a greater sense of presence, especially while singing along … they feel like they’re in the same acoustic space as the band, making them feel more connected."

E2i Design was able to provide a cost-effective solution to New Life Church by repurposing the existing d&b audiotechnik xS-Series system that was previously deployed at the church’s old location. The

complete system installed included five xS-Series 24S-D loudspeakers for the mains, two 10S-D point source as extensions, six 21S subwoofers, eight 8S loudspeakers as surrounds, and six 44S loudspeakers for front fills.

The system is powered by a combination of 30D and 5D amplifiers. A DS10 Audio network bridge handles signal routing, and processing is provided via the DS100 Signal Engine running Soundscape with En-Scene and En-Space software. Half of the 8S speakers and two 24S-D were sourced from New Life Church's earlier d&b audiotechnik installation.

"When constructing New Life Church's new location, their dream was to create an immersive worship experience, even though it was in a tent," recalled Hamilton. "We were immediately off to a great start with their previously purchased xS-Series system. We integrated it with the DS100 and some additional d&b loudspeakers, and now New Life Church has a full-scale, Soundscape PA."

Because of the church's proximity to the military airstrip, the required planning and approval process was extensive. However, with the church finally open, Hamilton said the congregation has "so much pride and passion for their new home because of its uniqueness and how amazing it sounds."

Hamilton would recommend d&b audiotechnik Soundscape for other church installations. "Yes, absolutely, but there's another huge benefit to Soundscape for churches, beyond the apparent immersive aspect," he added. "Soundscape with En-Scene empowers a volunteer who knows absolutely nothing about audio, let alone immersive audio, to easily create a phenomenal mix with space and depth. Plus, because elements don't compete against each other, your overall volume is down across the board. We've had so much success with clients by showing them this one thing alone, I find it one of Soundscape's most compelling features.”

A d&b audiotechnik Soundscape audio system enables the New Life Church congregation to enjoy a dynamic, engaging worship experience.

Soundscape with the En-Space software module is helping create natural-sounding reverb in New Life Church’s tent worship space.

WORSHIP AUDIO BUSINESS

Audio vs. Architecture

maintaining clean sight lines.”

In fact, DeJong said aesthetics have been the initial catalyst for all of Vantage Pro Audio's L-ISA installations. “The A Series allows us to deliver powerful sound while maintaining a minimal vertical footprint—typically within just 5 feet of the ceiling. This is a game-changer for churches, as they can achieve exceptional audio quality without compromising their visual aesthetics," he noted. The impact of L-ISA technology extends beyond better sound—it can transform how worship teams engage with their ministry.

L-Acoustics Overcomes Low Ceilings and More to Deliver Improved Audio Performance for Westside Family Church

Since its founding in 1976, Westside Family Church in Lenexa, KS, has embraced change to best serve its community. The church’s growth story began in earnest during the late 90s, when expanding attendance prompted several relocations as well as the development of a multisite ministry model that includes satellite campuses and an online presence. Throughout this journey, Westside has consistently invested in technology to enhance its worship experience.

Its latest advancement—the adoption of L-Acoustics L-ISA immersive sound technology paired with A10i loudspeakers—exemplifies this commitment.

“The design presented several unique challenges,” recalled Marc Breda, project lead at Vantage Pro AV, the church’s integration and technology partner. “First, the main worship space has an unusually low ceiling for a room of its size. We also had to work around a centrally located catwalk that further limited our usable trim height. Additionally, the church uses a large 34x14-foot projection screen for their services, so maintaining clear sight lines for important visual content throughout the seating area was crucial.”

Using L-Acoustics Soundvision 3D audio modeling software, the ideal solution quickly proved to be an L-ISA design utilizing A10i as the primary loudspeaker. A mixture of both Wide and Focus models comprise the main Scene array, buttressed by KS21 subwoofers, with everything powered by a pair of LA7.16i amplified controllers. Breda said the compact

form factor of the A10i, combined with its power and precision coverage, gives every seat in the venue excellent sound.

Visual Considerations

“The new system nicely fits the room’s geometry,” Breda explained. “It’s a moderate fan shape with stadium seating in the back, which lends itself well to an L-ISA design. There’s a little bit of extension seating out to the wings of the main floor, and we had to bring the main speakers a little lower in order to shoot up underneath the catwalk, but ultimately, everything fit perfectly.”

That would have been enough for almost any church, but Westside Family Church also wanted to enhance the audio experience—and that meant immersive. “It’s been fun to watch their tech staff really lean into the L-ISA immersive technology, which they first used on September 29,” said Duke DeJong, team lead, Vantage Pro Audio. “It’s taking their worship experience to another level.”

According to DeJong, there are both creative and practical reasons why churches are embracing immersive sound. “While many are excited about the enhanced mixing capabilities and more immersive worship experience, there’s also a practical driver behind this trend,” he said. "Traditional line arrays can protrude 10 feet or more from the ceiling, creating visual obstacles. Our L-ISA installations have consistently emerged as the ideal solution when churches need powerful, even coverage while

For Obed Castillo, Westside Family Church’s longtime AVL engineer, the difference was profound enough to bring him back to the mixing console.

“With our previous system, I had stepped away from hands-on mixing because the lack of clarity made it difficult to distinguish frequencies,” Castillo said. “But L-ISA completely changed that. The clarity is exceptional— even subtle EQ adjustments are immediately noticeable. Plus, the system's localization capabilities give me new creative options. The results have been so inspiring that I’ve gone from mixing just three services a year to being at the console any time a volunteer is not available."

Expanding Creative Possibilities

The intuitive nature of L-ISA technology has proven particularly valuable for Westside’s volunteer audio team. “The system is remarkably user-friendly, especially with the comprehensive training provided by L-Acoustics staff,” Castillo said.

One unexpected success story: According to Castillo, when one of the church’s video operators attended the training sessions and created a practice mix at home, the results were impressive. “Their mix had a unique visual perspective, making creative use of the spatial capabilities. Despite coming from a video background, they produced excellent sound," he explained. "This really demonstrates how intuitive L-ISA is, making immersive audio mixing accessible to our entire production team.”

On the creative side, L-ISA offers the church new capabilities that are changing the way it presents its messaging. “It has us thinking in a different way about sound and presentation,” said Derek Davis, worship and creative arts director. “For instance, we can pan any instrument or person to any part of the stage, and everyone listening will perceive the sound to be at that place onstage, no matter where they’re actually sitting. We can pan hard left or right, and everyone will hear it clearly.”

Davis said the church is taking a methodical approach, exploring L-ISA's capabilities on weekdays and fine-tuning them for Sunday services. “The system offers so many creative possibilities that we’re discovering new ways to enhance our worship experience every week,” he added.

The L-Acoustics L-ISA immersive sound technology is helping Westside Family Church deliver immersive audio despite some challenging architecture.

TGL: Technology at the Tee

By Mark J. Pescatore

Housed on the campus of Palm Beach State College in Palm Beach Gardens, FL, SoFi Center is the home of TGL, a team golf competition that features PGA Tour players and recently finished its inaugural three-month season. The 1,500-seat venue, built specifically for the league, combines professional golf with high-end simulation technology, a rotating putting area with seven different hole placements, Pro AV and broadcast gear aplenty, and—in direct contrast to PGA Tour events— air conditioning.

The league is backed by TMRW Sports, a company founded by pro golfers Tiger Woods and Rory McIlroy along with former NBC Sports executive Mike McCarley. Each match takes about two hours. That makes it an attractive programming block for ESPN, which has a multi-year deal to air all matches. The network has its own dedicated broadcast booth on the suite level of the venue, with the field of play serving as the backdrop.

Professional Golf Mixes with Simulation and Showmanship at New SoFi Center

Samsung LEDs are positioned on both sides of the gameplay projection screen.

Tracking cameras located in strategic positions in the SoFi Center help calculate the swing metrics of the shots for accurate ball placement on the simulated course.

Check the Rules

A quick primer: TGL presented by SoFi has six teams representing six cities. Each team has a roster of four golfers, though only three play during a match. There are 15 holes, with the first nine played as triples (alternate shot) and the last six played as singles.

TGL’s field of play is almost as large as a football field. On one side of the stadium, the ScreenZone, there are tee boxes (with real grass) where golfers hit a real ball into a 64x53-foot projection screen. (TGL currently has a catalog of 30 custom holes, and 15 are chosen for each match.) Using several dedicated tracking cameras and other data-collecting technologies, the simulator determines where the ball lands on the virtual course.

From there, golfers move to another box (fairway, rough, or sand) and continue to hit into the screen until the ball lands in the virtual area for short-game play, about 50 yards and in. Then, golfers move to the other side of the stadium, the GreenZone, where they putt, pitch, or wedge their ball in the real world. Win the hole and get a point; the team with the most points at the end wins the match.

A Different Atmosphere

Unlike traditional golf tournaments, you won’t find “Quiet Please” signs at TGL. Crowds are encouraged to cheer their favorite players, a DJ plays music throughout the match, and lighting and sound effects create an atmosphere that’s a far cry from Augusta.

For Andrew Macaulay, chief technology officer for TMRW Sports, that atmosphere helps define the TGL experience. He said the biggest challenge was creating a super-sized environment for the ScreenZone, which he called a “window to the outside world.” After all, this isn’t just a match, it’s a production.

team branding, and more. Smaller VMR Series 2.6mm displays above the audience provide additional coverage of gameplay.

Meanwhile, a collection of L-Acoustics loudspeakers fill the SoFi Center with sounds of the game, including shot clock warning noises,

commentators, and music. The speakers were installed by Tampa, FL-based ESI Production Services. According to Matt Coombs, director of ESI AV Solutions, a division of ESI Production Services, there are 34 A15i Focus concert loudspeakers and 14 KS21 compact subwoofers overhead, plus 44 5XT ultra-

To that end, Samsung displays play a big role in the live TGL presentation. Visitors are welcomed to the SoFi Center’s main entrance by a nearly 600-square-foot XRB Series outdoor LED video wall, which features 5,000 nit brightness and 3.99mm pixel pitch. ISC Series indoor LED ribbon boards, measuring almost 900 linear feet and offering 3.9mm pixel pitch with 2,000 nit brightness, surround the field of play, providing match information and sponsorship opportunities. Bookending the gameplay projection screen are two massive VMR Series 3.9mm indoor displays, which display scoring, statistics,

Andrew Macaulay

Built around a retired Game Creek Video truck, TGL’s data center helps turn the golf simulator into reality for players.

TECHNOLOGY

compact loudspeakers for under mezzanine fills, all powered by LA7.16i amplifiers. A DiGiCo Quantum 225 digital mixing console handles in-house audio operations, with Luminex GigiaCore AV Ethernet switches for audio transport and communications.

Camera Angles and Data Analysis

While TMRW produces the matches with an in-house production team, it contracts Game Creek Video to supply five full-sized trucks to produce the live coverage and ESPN provides the talent. Jeff Neubarth, vice president of content, said there are 72 cameras in the SoFi Center, most of which are robotic. However, there are several Sony 4K broadcast cameras equipped with Canon UHD-Digisuper lenses and some ENGstyle units, plus a Spidercam cable camera system for overhead coverage, a “rover cam” that provides moving camera images for viewers, and even a small drone for flying shots. As Neubarth explained, each moving camera has a two-person team that includes a driver and camera operator.

The screen image itself is produced by nine Panasonic projectors, and the simulation system has eight virtual cameras that can be incorporated into the broadcast and shown on the screen. Data that measures ball speed, angle, spin, and other shot metrics is collected in real time via special tracking cameras.

To handle all that tracking data, TMRW needed its own on-site data center. As Macaulay explained, the company purchased an old Game Creek expando truck that was at its end of life, drove it into the facility, parked it several yards inside the SoFi Center behind the ScreenZone, and converted it into a data center.

Samsung displays provide coverage of the match for fans in the facility.

Moving cameras such as the “rover cam” add excitement for broadcast viewers.

Live coverage of every TGL match is produced for ESPN.

By David J. Danto

TAdapt or Fade Away

Are You Keeping Up with the Changing Landscape?

he world of AV integration isn’t what it used to be. A casual conversation I had with industry folks over the past few days only reinforced what’s been clear for some time: The landscape is shifting, and not everyone is keeping up.

The number of AV integrators is shrinking, either merging into larger companies or disappearing altogether. And while the reasons vary, a big one is simple: resistance to change. The industry has long been comfortable with the status quo, but comfort zones don’t last forever.

Years ago, many of us warned that a pivot was necessary. But much like Aesop’s The Ant and the Grasshopper, too many were focused on making easy money while ignoring the need to evolve. Now winter has come, and those who didn’t prepare are struggling.

Rose-Colored Glasses

If you’ve been following industry reports from AVIXA, you might think everything is fine. Their projections predict nearly $100 billion in growth over the next five years, with messaging that makes it sound like there’s nothing but blue skies ahead. And for some integrators, that’s absolutely true.

Here’s the problem: That kind of messaging doesn’t help integrators who need to make hard decisions. AVIXA has spent years telling everyone how great business is, how much revenue is coming, and how AV is the future. While the numbers back their forecasts, the part of the message I believe they needed to hit harder was highlighting the risks of complacency and encouraging companies to evolve.

While so many industry experts have viewed our industry through rose-colored glasses, they’ve missed a critical point: The industry is changing, and not everyone will survive that change. Growth isn’t evenly distributed; it’s going to companies that understand IT, software, and automation, not just the old-school integrators still focused on projectbased hardware sales.

Part of the problem is also that the AV industry prides itself on its technical expertise, but its approach to professional certification remains largely insular. Rather than promoting its standards and credentials to external stakeholders—such as architects, general contractors, and building owners—the industry focuses on certifying its own members.

This inward-looking approach limits the perceived value of AV credentials outside the industry, making it harder for AV professionals to gain the recognition they deserve in larger

construction and technology projects. If those outside the AV world understood how certification establishes expertise, it could elevate the industry’s standing and ensure AV specialists are involved earlier in key decision-making processes.

Outward Advocacy

Other industries have taken a different approach, ensuring their credentials and expertise are wellknown beyond their immediate membership. The Consumer Technology Association (CTA), for instance, actively lobbies Congress on behalf of its members, influencing regulations and promoting the value of its industry to a much wider audience. Similarly, the National Fire Protection Association (NFPA) ensures that fire safety standards are understood and mandated across industries, making their certifications a requirement in many projects.

Growth isn’t evenly distributed; it’s going to companies that understand IT, software, and automation.

By advocating beyond their own ranks, these organizations have elevated their industries, making certification not just an internal benchmark but an external necessity. Wouldn’t it have been nice if someone had been lobbying for us as wireless microphone frequencies started to disappear?

The AV industry could benefit from a similar outward-facing advocacy group, one that doesn’t just focus on certifying those already in AV but also educates and influences the broader ecosystem in which AV operates. A dedicated effort to integrate AV expertise into construction, technology, and facility planning standards could transform the way the industry is perceived. Rather than being an afterthought in major projects, AV could be recognized as a core discipline with clear, widely accepted professional standards.

For this to happen, a major shift in approach is needed, one that actively champions AV’s role outside its own walls and ensuring that architects, project managers, and business leaders understand what AV professionals bring to the table. Until then, AV

credentials will remain largely an internal affair— respected within the industry but overlooked by those who ultimately control budgets and project scopes.

Trusted Advisor Role

One of the biggest changes in AV today is that integrators need to recognize when they’re not needed. Plenty of room systems now “just work” right out of the box, and rather than resisting this reality with FUD (fear, uncertainty, and doubt) messaging, integrators should have embraced it. The opportunity was there to become true, trusted advisors, the ones who tell customers when a simpler, more cost-effective solution makes sense. The best firms now do exactly that.

Back when I worked for an integrator, I argued that when a customer called asking for two flat-panel displays, we shouldn’t just take the order. We should dig deeper, ask why they need them. Is it for digital signage, videoconferencing, some other networked application?

Too often, the industry just sold whatever was asked for, no questions asked. That kind of transactional thinking doesn’t work in a world where AV, IT, and digital experiences are blending into one. Consider the top integrators today—it’s a far shorter list, and the most successful ones are deeply engaged in IT, video, system management, and more. They’re not just box-pushers, they’re solution providers.

Back to the Future

And if you think things are stabilizing, think again. AI-driven systems are now capable of performing room checks and fixing issues without human intervention. That’s not some distant future—it’s happening now. If you’re an integrator and you’re not familiar with the startup doing that, well, that’s a problem.

I’ll give you a hint—check out NetSpeek. It won a ton of awards at ISE earlier this year. Full disclosure: I was an early advisor to the startup. Having said that, give it a look and make your own decisions. Whether you love them or hate them, this is your warning that AI management is coming. What is your firm doing to prepare for that change?

The future of AV integration isn’t about clinging to old ways, it’s about adapting. Learning IT, networking, programming, and automation is no longer optional. The best integrators aren’t just surviving change, they’re using it to their advantage. The question is, will you?

David J. Danto is the principal analyst with TalkingPointz and director of emerging technology for the IMCCA.

TECHNOLOGY NEW PRODUCTS

Magewell Director One

Building on the success of its Director Mini, Magewell has added a second model in its all-in-one production system portfolio. Director One offers a larger, brighter 7-inch AMOLED touchscreen, direct HDMI output, and an integrated 4G cellular modem. It also supports wired Ethernet and Wi-Fi connectivity—and can combine connections with network bonding technology from partner Speedify. Director One It is a comprehensive production and streaming solution that combines multi-input switching, graphics, streaming, recording, and monitoring in one compact device. It features extensive AV and IP I/O, sophisticated production tools, and several control choices including the integrated touchscreen, the Director Utility mobile app, a browser-based web interface, and optional third-party controllers. All of Director Mini’s production toolset is available in Director One, including rich graphics, telestration, instant replay, built-in scoreboard functionality, HTML graphics overlays, chromakey, PTZ camera control, and more.

Riedel StageLink

The new StageLink family of smart edge devices for seamless network streaming boxes are set to deliver flexibility and performance for IP-based audio and intercom workflows. Designed for broadcast, live production, and studio environments, the compact, rugged nework I/O boxes streamline decentralized signal distribution over generic IP networks, eliminating the complexities of traditional cabling and configuration. The StageLink product line enables media professionals to seamlessly capture and distribute signals across their networks, ensuring a smooth, reliable, and cost-effective transition to IP-based workflows. By leveraging standard network cables instead of specialized infrastructure, StageLink devices create a decentralized, scalable system that integrates microphones, intercom, GPIO devices, and other audio-enabled equipment. The StageLink lineup consists of six purpose-built devices, each tailored to specific workflow needs.

Panasonic Connect PT-VMZ7ST

The new PT-VMZ7ST Series short-throw LCD laser projectors includes the PT-VMZ7ST and PT-VMZ6ST models. Designed to support sports simulation, higher education, corporate, and museum environments, the series is a response to increasing audience expectations for dynamic, realistic visual experiences. Both projectors deliver sharp, bright visuals in a compact form factor to fit the needs of a given space and adapt to challenging lighting conditions. Designed to minimize screen shadowing while projecting a 100-inch image from just 5.6 feet, the series offers easy installation. A grid adjustment tool and angle monitor visualize tilt for venues with high ceilings. Other features include up to 7,000 lumens and WUXGA resolution, as well as a highefficiency laser light source and ECO Filter that operate maintenance-free for up to 20,000 hours.

Just Add Power MC-USB

Compatible with Just Add Power’s renowned MaxColor Series, the new MC-USB USB2.0-over-IP device provides local and remote access to all computers on the system with built-in KVM, touchscreen, and webcam interface. It features one USB-C 2.0 port on the back, as well as two USB-C 2.0 and two USB-A 2.0 on the front, all connected over an RJ-45 1 GbE LAN port. The unit is designed to bring efficiency and security to applications where MaxColor’s 4K60 quality is required. The company’s MaxColor 4K60 technology facilitates the distribution of 4K video content from any source to any screen. All MaxColor products can distribute 4K60/4:4:4/36-bit-color video over a 1 Gb managed network using CatX (Cat 5e minimum) cable.

Extron NetPA 204 POE

corresponding amount of output power. With its integrated DSP, the NetPA 204 POE includes essential audio signal processing that offers the ability to meet the requirements of complex, decentralized systems. Dante Domain Manager and AES67 support ensures wide compatibility with enterprise configurations and other network audio devices. The

AVPro Edge AC-EXO-X-PLUS-KIT

The new AC-EXO-X-PLUS-KIT simplifies connectivity by providing full 8K Ultra HD 48 Gbps uncompressed HDMI 2.1 near-zero latency signal extension up to almost 1,000 feet (300 meters) over a single run of OM4 multimode fiber. Engineered to support AV integrators, it also introduces advanced connectivity features unique to fiber transport, such as USB 2.0 KVM, audio extraction via HDMI ARC/ eARC, and the versatile functionality of a 1 Gbps Ethernet extension. The design and functionality of the AC-EXO-X-PLUS-KIT create limitless application opportunities across countless market segments, such as education, government, esports, and more. USB 2.0 KVM and 1 Gbps Ethernet connectivity simplify BYOD setups, allowing presenters to connect peripherals and establish network connections while eliminating potential technical distractions.

The NetPA 204 POE is a Dante-enabled, PoEpowered, four-channel audio power amplifier that delivers up to 20 watts per channel. It is designed to be mounted above ceiling tiles, out of sight and near the speakers. Receiving audio and power over a single cable, the NetPA 204 POE automatically recognizes connected PoE, PoE+, or PoE++ to deliver the

Telycam Explore

A broadcast-class PTZ camera for live production, the Explore 4K60 camera features a 1-inch, 9 MP Sony sensor and delivers enhanced auto-focus performance, innovative integration features, and flexible connectivity. The large sensor size enhances light sensitivity, resulting in low-light performance with reduced noise levels. With an expanded dynamic range as well as a variable ND filter, the Explore camera ensures clear images with enhanced contrast and clarity. Explore’s advanced Phase Detection Autofocus (PDAF) provides fast and precise auto-focus, making it ideal for broadcast and live production scenarios. Designed to seamlessly integrate into diverse workflows, Explore’s versatile IP and AV outputs include NDI High Bandwidth, NDI HX3, 12G-SDI with genlock, HDMI, and SFP+ connectivity. AI-powered auto-tracking and 20x optical zoom are complemented by FreeD protocol support for integration with AR and VR production solutions.

NetPA 204 POE

Praevar Podium Platform

Built on more than 20 years of engineering experience, this innovative outdoor display kiosk is designed to deliver enhanced performance under the most demanding conditions while keeping total ownership costs to a minimum. Engineered to meet the rigorous requirements of transit hubs and outdoor spaces, it seamlessly integrates into public spaces, offering versatile configurations such as double-sided digital displays, hybrid models (one side static, one side digital), LED displays, and static poster designs (using E Ink’s Kaleido3 technology) with integrated digital elements. The Podium Platform offers either a 2,500 nits or 4,000 nits LCD option for high-bright outdoor conditions, ensuring clear, sunlight-readable visuals in any environment. Plus, its energy-efficient and low-maintenance design incorporates advanced features like dynamic local dimming, enabling it to use up to 35% less power than traditional high-brightness displays.

Planar DirectLight Slim Series

NEW PRODUCTS

An expansion of the Planar DirectLight family, the Planar DirectLight Slim Series features an ultra-thin, narrow width form factor. The new fine pixel pitch MicroLED video wall display accommodates curved and space-constrained applications that benefit from its unique form factor. With an installation depth of less than 2 inches and front serviceability, the new Planar DirectLight Slim Series is ideal for tightly curved video walls as well as flat video walls in tight spaces. Models are available in 0.9, 1.2, 1.5, and 1.8mm pixel pitches, with a maximum brightness of 1,600 nits and a unique 4:9 aspect ratio to support deployment versatility and vibrant viewing experiences. The DirectLight Slim Series also introduces pixellevel monitoring, offering more detailed insight into display health and performance by allowing users to identify when service or repair is needed.

CONNECTORS & ADAPTORS FIBER CABLES

Bullet Train Professional Series USB

Engineered for high-speed data transfer and reliable power delivery across USB 1.0, 2.0, and 3.x standards, the new lineup includes cable lengths up to almost 50 feet (1-15 meters). The optimized performance, durability, and backward-compatibility make Bullet Train Professional Series USB cables ideal for collaboration suites, boardrooms, classrooms, and mission-critical applications. To achieve high performance and durability standards, Bullet Train Professional Series USB cables feature 99.99% oxygen-free copper conductors, ensuring high-conductivity, lowattenuation, and superb corrosion resistance, resulting in long-lasting, precise data transfer. Bullet Train employs precision-machined connectors to ensure secure engagement and withstand a high number of insertion and removal cycles, extending cable life and preserving long-term performance. Bullet Train Professional Series USB cables have been exhaustively tested, including interoperability verification on more than 80 devices.

MODULAR FLOOR BOXES

FLYPACKS & ROAD CASES

How Smart Is Your Office?

How Data Is Shaping the Modern Workspace

By Jack Cornish

There’s no need to bang on about it; the workspace has changed. The office of today isn’t just a place to work—it’s a hub for collaboration, creativity, and culture. It needs to inspire, foster innovation, and cultivate talent. So, how are businesses designing these spaces? Is there a “one-size-fits-all” approach, or can we make better decisions based on data?

Maybe it’s time to turn your office into a smart office.

At the heart of this transformation is the integration of sensors. These technologies are helping businesses optimize their office environments in once unimaginable ways. Despite the immense potential, many organizations remain hesitant to fully embrace the data-driven future of workspaces.

I’ve witnessed firsthand how sensor and AV technology can revolutionize workspace design, user experience, and operations. While many clients are excited to explore these possibilities, others are still unsure. The real challenge isn’t the “cool factor” of the tech, but how to turn that data into actionable, impactful insights for the space.

The ‘Smart’ Advantage

Sensors are everywhere—and they’re likely already in your workspace. Think occupancy sensors for lighting or thermostats for HVAC. But here’s the catch: These sensors are often pretty basic, handling just one task (i.e., controlling lights or adjusting temperature). For sensors to be truly valuable, they need to collect and share data across multiple systems, providing insights that inform long-term decisions.

Take occupancy sensors, for example. Yes, they can tell you how many people are in a room right now, but that’s only useful in the moment. What’s more valuable is tracking occupancy over time— across months. This data helps businesses understand patterns and make smarter decisions about space utilization.

Fortunately, smart workspace platforms are emerging that allow us to aggregate data from a variety of sensors into a unified dashboard. These platforms enable businesses to make data-driven decisions about everything from space planning to energy management.

Sensors today can track everything from

occupancy to air quality, temperature, and even noise levels. By feeding this real-time data into management systems, companies can optimize resource use, improve employee comfort, and create more sustainable workspaces. For example:

• Occupancy sensors help identify which spaces are used most frequently, allowing for better room booking systems and energy-efficient lighting and HVAC adjustments.

• Temperature and air quality sensors ensure optimal working conditions, reducing sick days and boosting productivity. In fact, we were shocked at the results when we installed a CO2 sensor.

• Noise sensors highlight areas where employees can focus or collaborate without distractions.

• Light sensors adjust room brightness to prevent eye strain, creating more comfortable working environments.

Sensor data impacts workspace design both on a macro and micro level. On a larger scale, occupancy data can inform decisions about office layouts. On a smaller scale, sensor data helps fine-tune individual elements of a workspace. We’ve worked with clients to use data to optimize everything from the number of workstations to meeting room behavior. This approach doesn’t just enhance efficiency, it creates environments where employees can thrive.

The Human Factor

While data is essential for optimizing workspaces, its true value lies in how it enhances the human experience. Smart sensors enable workplaces to adjust automatically to individual preferences.

Imagine walking into a conference room where the lighting adjusts to the ideal level, the temperature matches your preference, and the sound masking system in the adjacent office actively adjusts because it’s a quiet day in the office and the meeting is confidential. These personalized adjustments not only boost comfort and productivity but also improve employee satisfaction and well-being. When employees feel like their workspace adapts to their needs, it fosters a stronger connection to their work and greater engagement.

Despite the clear benefits, many businesses are still hesitant to fully embrace sensor technology. A key concern is cost—many view these systems as a “nice-to-have” rather than a core investment that drives efficiency and productivity. Others are uncertain about the return on investment, especially

when data could be fragmented across different platforms, making it hard to extract meaningful insights. Ultimately, you still need a smart workplace champion, someone who wants to understand the data and (most importantly) provide action to findings.

Another challenge is that many manufacturers focus on individual data sets, such as lighting or occupancy. For this data to be truly valuable, it needs to be integrated into a broader, unified system. Without a centralized dashboard to bring all this information together, businesses may struggle to make data-driven decisions that optimize their workspaces.

As technologies like AI and machine learning evolve, the potential for smarter, data-driven workspaces continues to grow. Picture a workspace where AI can predict optimal meeting times based on past usage patterns, or where environmental settings automatically adjust based on employee preferences.

At Tateside, we’re working on bringing these integrations to life, using data from multiple sources to create truly intelligent workspaces. What excites me the most is for other data sources, such as wearable tech, to be thrown into the mix (monitoring an employee’s heart rate, for example) and using that data along with more traditional sensors in the fabric of the building. This way, we will start to understand the connection between the physical and human side of the workspace.

Humans are complex, though. My wife and I still argue over the thermostat at home—one of us is always too hot, and the other is always too cold (that’s me). So, while focusing on personal preferences is key, executing it in a way that satisfies everyone will be a challenge, to say the least.

Jack Cornish is the technical director at Tateside.

Smart workspace platforms can aggregate data from a variety of sensors into a unified dashboard to help businesses to make data-driven decisions.