Systems Contractor News - October 2024

A NIGHT ON THE TOWN

A NIGHT ON THE TOWN

People

20 Executive Q&A

Bose Professional CEO John Maier reflects on the first year of the company’s independence.

By Mark J. Pescatore

23 Executive Q&A

John Minnick, VP of engineering, explains how Bogen continues to grow its legacy with IP-based audio solutions.

By Mark J. Pescatore

Business

28 Ceiling Microphones: The Upside Advanced audio technology is helping to make hybrid meetings more inclusive.

By Carolyn Heinze

Technology

30 Fix Common Wireless Microphone Headaches

There are some quick fixes available for interference and frequency coordination issues.

By Don Boomer

From

By Wayne Cavadi

By Shawn Wells

36 Welcome WMAS

Sennheiser’s Joe Ciaudelli explains how a new wireless mic technology will impact the Pro AV industry.

By Mark J. Pescatore

38 Premium Podcasting

Shure’s MV7+ podcast microphone empowers content creators with a simplified workflow.

By Wayne Cavadi

Viewpoint

42 Improving Experiences Across College Campuses

An AI-enhanced digital signage system can provide a competitive edge for colleges and universities.

By Tomer Mann

SYSTEMS CHECK

IThere is no one to blame but me. I broke my routine. Plane lands, PA system goes “ding,” I stand up, grab my carry-on, and fill it with all the earthly possessions I took out during the flight. Pretty simple, right?

Well, this time I did things a little differently. I had finished up Season 7 of Bosch on my earlier flight (highly recommended series, by the way) and my battery level was low. The connection time between my flights was a bit tight, so I didn’t have time to juice up my tablet in the terminal. So, I pulled out a cable and used the port at the seat in my aircraft to charge my tablet during the flight. That’s something I almost never do. After the flight, I was very focused on remembering to tuck away that USB cable. It’s an easy thing to forget. (Yes, irony. I get it.) As fate would have it, there was no one in the middle seat of my row, so I put my tablet there while I worked on properly stowing my Jabra headset and USB cable. Gray tablet, gray seat—and when I got home, I was seeing red.

I got a pleasant “sucks to be you” email acknowledging my lost item was still lost.

It would have been nice if the person in the window seat had alerted me, but perhaps they didn’t see it, either—or perhaps they wanted my outdated tablet for themselves. Maybe another passenger or a member of the cleaning crew took advantage of easy plunder. It could have even been thrown away by mistake and is now trying to live its best life in a landfill surrounded by half-full barf bags and Biscoff wrappers.

Attempting to talk to a human being about my lost item was an exercise in futility, but I was directed to an online portal for reporting a lost item. I was assured the airline would search its inventory of lost items. Two days later, I got a pleasant “sucks to be you” email acknowledging my lost item was still lost, and while they would keep looking, the clock was ticking. Let’s just say my recovery expectations are set nice and low.

If there is a silver lining to this frustrating blunder, at least it happened at the end of my trip. And if there’s another silver lining, I found a new and improved version of my tablet on sale the next day—at a lower price than what I paid more than two years ago. Considering I don’t use a top-shelf tablet and its lifespan is maybe five years (based on software support), I got off easy.

It’s not always that way with Pro AV equipment. Many of the tools of our trade are small—but far more expensive than my old tablet and far more important for day-today operations. Whether motivations are opportunistic, nefarious, or even accidental, it’s not hard for someone to walk away with something as sophisticated as a PTZ camera or as innocuous as your favorite flashlight.

Visually verify those conference room systems regularly. Use those Kensington slots. Embrace those sign-out sheets. Remember who’s wearing the wireless mics before they leave. Your equipment inventory is your livelihood, so make sure keeping track of it is a priority.

CONTENT

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

Senior Content Manager Wayne Cavadi

Contributors Don Boomer, Will Eggleston, Peter Hansen, Carolyn Heinze, Tomer Mann, Shawn Wells Art Editors Rob Crossland

Production Managers Nicole Schilling, Heather Tatrow

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A new strategic partnership between Extron and HETMA is designed to improve AV solutions on college and university campuses.

NSCA Launches XBO Experience Event in Atlanta

To address the industry’s ongoing workforce development challenges, NSCA has announced the inaugural Excellence in Business Operations (XBO) Experience, which runs Nov. 12-13 in Atlanta on the Georgia Tech campus. Dubbed an “un-conference,” the twoday event, a collaboration between NSCA and Ignite, provides a pathway for future integration firm leaders who face opportunities but need the right training and skills to succeed.

Sessions will cover a variety of topics to help attendees prepare for leadership positions, including

communication styles, workplace trust and conflicts, organizational development, delegating, and more. In addition to training that puts them on the leadership track, attendees will also participate in interactive learning that lets them role-play and experience industry challenges with real-world relevancy.

Each session is derived from NSCA’s Next Generation Academy, a set of integration company leadership education topics developed by seasoned industry leaders aimed to provide an advantage to up-andcoming leadership prospects. Sponsors for the event include Exertis Almo, Extron, Q-SYS, and Shure.

New Tateside Showroom Demos Corporate AV Solutions

Tateside has opened an updated showroom space at its London-based headquarters. It features a mix of technologies from leading brands that have been set up in multiple configurations to cater to the expanding requirements of modern corporate environments. It’s designed to provide clients with a real-world environment in which to explore and experience the solutions offered by the integrator.

The demo space includes three main zones. The first is an Android-based meeting room including dual Samsung commercial screens, Neat Bar 2, and a Neat Center. The second features a Windows-based Microsoft Teams Room setup with a 105-inch, 21:9 iiyama interactive screen along with Yealink and Huddly products, while the third area is a Zoom

room running on a Neat Board.

“We’ve specifically designed this demo space to be vendor-agnostic, shining a light on a variety of configurations and products,” said Jack Cornish, technical director at Tateside. “It’s a sandbox where we can experiment, advise our clients based on real-life experience, and demonstrate the tangible benefits of our solutions.”

Audio solutions from K-array, 1Sound, and Bose Professional are also featured alongside premium meeting room audio solutions from Shure and Sennheiser. Lightware Taurus USB-C solutions provide seamless BYOD capabilities and source switching, while the network is run on Netgear AV line switches, with audio powered by Dante-enabled Powersoft amplifiers.

Extron and HETMA Forge Strategic Partnership

Last month, Extron and the Higher Education Technology Managers Alliance (HETMA), a nonprofit organization representing higher education AV professionals, announced a strategic partnership aimed at advancing AV technology and solutions for higher education institutions across the United States. This partnership brings together Extron’s advanced AV technology and HETMA’s deep understanding of the unique needs and challenges faced by higher education institutions. By collaborating on innovative solutions, Extron and HETMA aim to improve the quality, accessibility, and effectiveness of AV systems in classrooms, lecture halls, and other educational spaces. The two organizations will collaborate on training and certification programs, as well as thought leadership and industry advocacy. Plus, HETMA members will have a direct line of communication with Extron’s product development team for providing feedback and insights to help shape future AV solutions.

“We are excited to partner with HETMA and support their mission to enhance the audiovisual landscape in higher education,” said Casey Hall, chief marketing officer of Extron “Our commitment to innovation and excellence in AV technology aligns with HETMA’s goals. We are eager to advance academic achievement with our unrivaled range of products tailored to meet the unique needs of educators, helping them create dynamic and engaging learning environments.”

“Collaborating with Extron, a premier leader in the AV industry and a Platinum sponsor of HETMA, offers a valuable opportunity to shape the future of AV systems to meet and exceed the demands of our ever-changing educational environments,” added Erin Maher-Moran, chair of HETMA.

Tateside’s new demo space showcases technologies for modern corporate environments.

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 a new 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

 Dual (copper /  fiber) network interfaces

 Auxiliary H.264/5 video output streams

 Powerful network security features

 Silent, fanless operation

 PoE+ support

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

 Versatile KVM Routing

 DN-300: full-bandwidth USB 2.0 routing

 DN-300H: USB HID device instant switching

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.

ZERO COMPROMISE – INFINITE POSSIBILITIES

sales@dvigear.com

(888) 463-9927

www.displaynet.com

AVI Systems Opens Velocity Logistics Center in Dallas

By Wayne Cavadi

In June, AVI Systems opened its new Velocity Logistics Center in Dallas. Designed as an employee and customer experience center, the 40,000-square-foot location also serves as a national distribution facility for the company’s Velocity solutions.

According to Zach Valigura, VP of integration and delivery, the building includes a Modern Workplace Experience Center, where visitors can experience the entire Velocity portfolio. Everything from Velocity Classic and Signature meeting rooms (for huddle spaces to large conference rooms) to Velocity Workspace Solutions (for seamless and flexible user experiences), as well as Velocity Signage and wayfinding solutions, are on display.

“Using tried and true techniques from manufacturing, logistics, and IT industries, the Velocity Logistics Center was designed from the ground up for lean manufacturing and logistics of AV systems equipment,” Valigura explained. “It has easy and quick access to any hub and location in the United States. It’s a modular space that allows for retooling the production line easily for minimal downtime. In addition to that, it has a small lab and studio to record a solution while it’s being Velocity Certified. This is accomplished by fully rehearsing the entire install on a faux wall, to capture the exact specifications of what each SKU should look like in the field.”

AVI System’s Velocity portfolio consists of four key solutions to enhance experiences in meeting spaces, space reservation and workspaces, and wayfinding and signage. “All of AVI’s core Velocity solutions focus on the real challenges our customers face in the modern workplace,” noted Keith Yandell, VP of innovation. “For customers that require their own repeatable solutions, they can elect to Velocity Certify their customer-specific solutions for a similar experience.”

A center dedicated to the Velocity portfolio came to fruition because AVI Systems listened to its customers. Integrators wanted to move faster with less complexity. The Velocity Logistics Center— which includes assembly, testing, logistics, and planning—streamlines the ordering and speed of the deployment process from start to finish. “Fixed price delivery for each Velocity SKU speeds up quoting considerably,” Yandell said, “while a preplanned delivery experience allows for some

installs to be complete by seven days after PO.” AVI Systems has been delivering Velocity solutions for several years, resulting in enterprisegrade reliability and consistency—solutions that work every time, free of unnecessary complexity, as Yandell put it. Velocity is especially valuable for customers who have the general use cases and just need an AV system quickly and efficiently, without extensive design efforts.

However, with testing and certification in one centralized location, customers have a new benefit. “Customers can now take advantage of AVI’s lessons-learned in kitting and logistics by Velocity Certifying their own standards,” Valigura explained. “This provides value by locking in their price to deliver nationwide, including Alaska and Hawaii, for up to 12 months, allowing companies to plan budgets and spaces extremely quickly and accurately. Additionally, by pairing this with a solid ITIL upgrade cycle planning process, it allows companies to have a very structured approach to how they deploy new versions of their Velocity solutions.”

It should be no surprise that the Velocity Logistics Center has been well received by AVI Systems customers. “It’s been amazing to see the uniqueness of this model reshape how organizations plan and deploy their repeatable systems,” Yandell observed. “Opening the Velocity Logistics Center to deliver unique customer standards, combined with our existing Velocity portfolio, has been very successful. We are seeing customers mix and match their standards with ours. An AVI customer may have a unique standard for training spaces but nothing in place for traditional meeting rooms. The two portfolios work in tandem, helping our customers move faster at enterprise scale, consistency, and reliability.”

From left, Zach Valigura and Keith Yandell

The new Velocity Logistics Center serves as a showroom and distribution facility for AVI Systems.

2024: Resi Integrators Are Going Commercial

By Mark J. Pescatore

For the second consecutive year, a significant chunk of the CEDIA Expo show floor in the Denver Convention Center was allocated to the Commercial Integrator Expo (CIX). It’s further evidence that the line between residential and commercial projects has been crossed—or crossed out entirely, in some cases—by both integrators and manufacturers.

According to Jason McGraw, Emerald’s group VP and CEDIA Expo—CIX show director, last month's CIX show floor expanded by more than 50% for 2024, with a diverse collection of new and returning exhibitors. “This year, we are seeing an influx of exhibitors, from lighting and shade manufacturers to digital signage and LED display manufacturers,” he said. “Many attendees recognize the unique value of the combined CIX–CEDIA Expo show floor exhibits, where they can connect with hundreds of manufacturers and product solutions not typically seen at other U.S. commercial AV events.”

McGraw has noted an increase in residential integrators expanding into light commercial work. “This trend is driven by the growing demand for integrated technology solutions bridging the gap between residential and commercial environments,” he said. “Last year, nearly 50% of CEDIA Expo attendees indicated that they engaged in some form of commercial work, and this percentage continues to grow. This trend is also reflected in CEDIA Expo itself, where more residential product manufacturers are introducing products geared toward commercial applications.”

Shannon Humphrey, president of SoundTube, has also seen residential integrators moving into commercial work—often at the request of their residential customers. “We frequently hear that growth into commercial markets is driven from current customers asking for help with their businesses,” he explained. “The skills and products used in

residential settings often translate well to small commercial environments, making it a natural progression.”

David Phelps, head of the Display Division, Samsung Electronics America, has certainly seen the overlap. “As residential integrators look for ways to diversify their business, they often turn to commercial work to help grow their top and bottom lines,” he said. “They often have residential clients that have business needs for commercial solutions and position themselves as a full solution provider.”

But the reverse is also true: McGraw said there is increased interest among commercial integrators into residential projects, which he attributed to the expansion of work-from-home and hybrid office environments. “The pandemic accelerated this trend, pushing commercial integrators to adapt their expertise to meet the growing demand for residential solutions that support remote work,” he explained. “Partnering with organizations like IMCCA to bring content to CEDIA Expo and CIX has been instrumental in addressing these unified communications needs across market segments.”

At this point, there’s no denying the growing overlap between commercial and residential integration. “This is particularly evident in hospitality, bars, restaurants, medical offices, and houses of worship, where residential technology integrators are becoming more involved,” McGraw offered. “The integration of smart lighting, motorized screens, and window shades is increasingly being handled by systems integrators versus electricians.”

When it comes to product lines, Phelps said there are differences between the company’s residential and

commercial displays solutions. “Samsung provides a broad range of residential and commercial displays, each designed for specific applications,” he explained. “If customers want the most premium at-home viewing experience, then they turn to Samsung’s residential line of TVs such as Micro LED, Neo QLED 8K and 4K, OLED, and lifestyle products such as The Frame and The Terrace outdoor TV. If customers desire digital signage or largescale video walls, they turn to Samsung’s SMART Signage lineup.”

At CEDIA, Samsung highlighted its premium residential TV lineup, including the glare-free OLED S95D Series. It is also demonstrated The Frame, which displays art masterpieces or photos of the viewer’s choice while immersing them in powerful audio.

While SoundTube has several products that cross over between the residential and commercial markets, Humphrey said residential audio solutions generally focus on aesthetics and integration with home automation systems, while offering high-quality sound tailored for personal enjoyment. “In contrast, SoundTube’s commercial audio products are designed for durability, scalability, and coverage in larger spaces, often prioritizing functionality over form,” he added. “We have several products that cross over into both markets, including SolidDrive invisible sound and our extensive line of PoE Dante-enabled products.”

To that end, under the theme “Dante Comes Home,” SoundTube showcased its complete residential ecosystem of Dante-enabled products at CEDIA. “SoundTube’s Dante ecosystem offers the same flexibility and scalability for home installations as it does for commercial applications,” he added. “It features centralized control through a single interface, seamless integration with home automation systems like Control4, Crestron, and QSC, and compatibility with over 4,000 Dante-enabled products from more than 600 manufacturers.”

SoundTube’s SolidDrive product line is useful for both commercial and residential installations.

Samsung offers commercial and residential displays designed for specific applications.

From top, Jason McGraw, Shannon Humphrey, and David Phelps

New TASCAM Mics Deployed in Pennsylvania Courts

The First Judicial District is the judicial body governing the county of Philadelphia. It consists of the Court of Common Pleas of Philadelphia County and the Philadelphia Municipal Court. In an effort to improve speech intelligibility in its various spaces, the court recently elected to deploy new microphones.

Houser Audio of Aston, PA, founded by audio engineer Andre Houser, was contracted to design and deploy a new microphone setup throughout the courthouse. After careful consideration, he selected several hundred TASCAM TM-95GN microphones.

“With this being a courthouse, speech intelligibility was a crucial consideration on this project,” Houser explained. “The need to have all dialog be clear and easy to understand is imperative in an environment where important legal decisions are made. We selected the TASCAM microphones, which are primarily used for sound reinforcement throughout the various courtrooms.”

Six mics were installed in each of the 65

courtrooms, with single mics positioned for the judge, witness, prosecutor, and defendant, as well as two for the jury booth. Mics were also deployed in the jury assembly room. Houser said the TASCAM mics are being used with phantom power supplied by an Alfatron matrix mixer.

“The TM-95GN’s windscreen effectively minimizes pops, and the gooseneck adjusts easily for ideal microphone placement,” he said. “Overall sound quality is excellent. The on/off switch on the microphone’s base allows for cleaner recordings and reduces feedback by enabling one to disable any unused mics. Equally notable, judges like the ability to switch the mic off for sidebar conversations. Additionally, the base is heavy and solidly weighted, which effectively keeps the microphone optimally positioned.”

The installation was completed in April, and the equipment was placed into service immediately thereafter. Since that time, Houser reported the microphones are working well and everyone in the courthouse is pleased with their performance.

“The court system has experimented with various microphone brands over the years, but they now [with this installation] are exclusively using TASCAM,” he added. “We have received numerous compliments from judges and court staff, and reliability has been excellent. For a project where the finest details can make all the difference in terms of a legal decision, the TASCAM TM-95GN mics are performing exceptionally well.”

Andre Houser shows off a TASCAM TM-95GN microphone.

New PANTHER Speakers Help Iconic Outdoor Venue Roar

When The Muny, one of the nation’s most iconic outdoor venues, kicked off its 106th season, patrons were treated to an enhanced and immersive audio experience featuring brand new Meyer Sound PANTHER large-format linear line array loudspeakers that were provided by Masque Sound, a theatrical sound reinforcement, installation, and design company. The system was specified by resident co-sound designers John Shivers and David Patridge.

“Over the course of 10 years as resident co-sound designers at The Muny, John and I had made all of the possible improvements with the audio package we could think of,” recalled Patridge. “Thankfully, Masque Sound has been an amazing partner and has allowed us to improve loudspeakers, consoles, radios, and infrastructure year after year. Various stages of new construction on the venue campus have allowed us to go to a 100% AoIP network using a fiber backbone. We were also able to include better rigging for flying the line arrays—and this led to being able to enlarge the main arrays for an even wider coverage area.”

Until last season, the designers were using Meyer Sound LYON loudspeakers together with LEOPARD compact linear line array loudspeakers for the venue. “We wanted to eliminate relying on two different cabinets, so I approached Scott Kalata at Masque Sound to discuss replacing the LEOPARD part of the system by increasing the count of LYON,” Patridge explained. “At the same time, Meyer Sound had been getting rave reviews for PANTHER, and it made sense to consider a wholesale change rather than asking Masque to acquire a larger inventory of the LYON, which was nearing end of life.”

Upon discussing the idea of updating the rig, Patridge asked Masque Sound’s Scott Kalata to arrange an in-shop demo at its facility in East Rutherford, NJ, because he wanted to compare the LYON and PANTHER. “Masque Sound was able to coordinate this for us and there was an incredible difference,” Patridge said. “The improved detail and wider soundstage of PANTHER was immediately evident. The other game changer was the far-field projection. With a 300-plus-foot throw to the rear seating area, that projection made a difference that even non-audio professionals can hear. We have had many compliments on how much better the sound is with the new rig.”

With the PANTHER loudspeakers, the venue can provide spectators in the free seats at the very back, as well as the people all along the side coverage area, with the same sound quality that is heard in the premium box seats closer to the stage. Shivers and Patridge have also been able to leverage the venue’s AoIP infrastructure to send outputs from the DiGiCo Quantum SD7 console to the Meyer Sound Galileo GALAXY 816 network platforms and onto the arrays via AVB (audio, video, bridging) networking.

US Navy Agrees to Haivision Solutions

In early September, Haivision Systems announced that its subsidiary, Haivision MCS, was awarded a significant five-year production agreement by the Naval Sea Systems Command (NAVSEA), with an estimated total value of $61.2 million. The strategic agreement positions Haivision at the forefront of delivering combat visualization and video distribution systems for the U.S. Navy’s Surface Combatant Fleet.

Under the agreement, Haivision MCS will provide a comprehensive suite of Haivision video processing solutions for mission-critical displays along with video transcoding, storage, and distribution components. The systems will be integral to Combat Information Centers (CICs) across various surface combatant vessels, enhancing situational awareness and mission planning capabilities.

The award highlights the strength and reliability of Haivision’s core technologies and demonstrates the valuable synergies achieved through the acquisition of CineMassive in 2021. The integration of CineMassive’s Command 360 collaborative visualization platform into Haivision’s offerings has significantly enhanced the company’s capability to deliver innovative solutions for complex defense applications.

“We are honored to continue our partnership with the U.S. Navy and to be entrusted with this crucial responsibility,” said Robert Kaufman, co-founder of CineMassive and now VP of strategic programs at Haivision MCS.

Korbyt Acquires NFS Technology

Korbyt has acquired NFS Technology. The acquisition was made in partnership with Clearhaven Partners, a U.S.-based software-focused private equity firm, following its initial 2023 investment in Korbyt.

The addition of NFS Technology’s advanced room booking and space management solutions complements the Korbyt Anywhere platform, delivering greater value to its customers across the globe. With the acquisition of NFS Technology, Korbyt expands its global footprint, increasing its presence in the United Kingdom and the United States, and adding offices in India and Australia.

Korbyt’s digital signage and workplace communications software solutions serve more than 350 enterprise clients globally, including financial services, higher education, manufacturing, supply chain, and contact center industries. Its Korbyt Anywhere platform empowers organizations to engage their audiences through a single integrated platform across multiple channels, including digital signage, desktop, web, email, and mobile devices.

“Workplace communication has evolved dramatically over the past several years, placing an enormous burden on enterprises and other large organizations to embrace modern communications tools that reach their audiences at any location, on any device, while also maximizing shared spaces for in-person collaboration,” said Ankur Ahlowalia, CEO of Korbyt. “Enhancing the Korbyt Anywhere platform with the NFS Rendezvous product suite will bring unparalleled value to the market under one integrated platform and help our shared customer base create engaging workplace experiences where employees, customers, and guests can thrive and effectively collaborate.”

PHILLIP HAMER

New PANTHER loudspeakers from Meyer Sound have improved the audio experience for audience members across The Muny.

1 SOUND Helps Bring Custom Audio Experience to Hi-Fi Lounge

Long-time hospitality veterans Tori Gerding, Evan Dannells, and Matt Gerding opened Lola’s Hi/Lo Lounge in Madison, WI, last November. The music-themed concept features a high-fidelity sound system designed with a wide mix of input from across the country, and a 1 SOUND system was pivotal in providing a custom audio experience for its guests.

“We really wanted this space to sound better than any other hi-fi bar in the country, so we brought a lot of experts to help us build a custom design,” said Matt Gerding. “The first thing we did was build in acoustic treatment to deaden the space.”

The 3,200-square-foot cocktail lounge and restaurant sports 2 inches of K-13 sound absorption spray on the ceilings, as well as lots of soft surfaces like theatrical curtains covering all windows, upholstered booth seating, and carpet. The space also features speakers and amps sourced throughout the country including from Aural HiFi in Denver, which turned its attention to horn loaded speakers and tube amps.

“Given Matt’s vision for the space, we really wanted the showcase system installed into the back bar to be

something truly unique, visually captivating, sonically astounding,” explained Jeremy Irwin, founder and owner of Aural HiFi. “For speakers, we chose Crites, who have been the premier upgrade source for heritage Klipsch speakers for more years than I can count. For amplification, we chose the Fezz Titania Evo, which is just an amazingly musical Polish tube amp that has jaw dropping looks and is just incredibly reliable, perfect for the rigors of a lounge. The Music Hall Classic Turntable completes the system.”

To fill out the rest of the room, Matt Gerding worked with his local consultant Andrew Szlapka, who introduced him to Lou Mannarino, audio designer and CEO of 1 SOUND. “Andrew was so very passionate about 1 SOUND—and after doing a deep dive, we decided that it was so perfect for all of our passive speakers and subwoofers,” Matt Gerding recalled. “We were looking for something unique that could offer premium and modern speaker technology.”

Szlapka integrated 1 SOUND’s Cannon Coaxial loudspeakers (C5i and C6i models) for the distributed audio design. The new Cannon Series features high-fidelity quality audio with extended low end and

higher SPL. Four WSUB45s were distributed for bass and mounted to the lounge’s ceiling utilizing its 1 SOUND’s C-Clamp accessory.

“I am excited to see 1 SOUND incorporated with other fantastic loudspeakers in a hi-fi experience,” Mannarino said. “It is not usually the case for a commercial loudspeaker to be included in the high-fidelity space, but when it comes to our Cannon Series, all it takes is a listen to understand their studio monitor-quality sound and premium build quality with the finest materials.”

Yamaha ADECIA Platform Helps Improve UCF Meeting Room Audio

For the University of Central Florida (UCF) and the Toni Jennings Exceptional Education Institute (TJEEI), poor sound quality and audibility challenges made it clear that their meeting room needed a transformation to accommodate effective online, in-person, and hybrid conferences.

The TJEEI is committed to preparing and retaining exceptional student education teachers and professional educators who serve children and adults with special needs. Initially setup as a huddle pod, TJEEI’s small meeting area was ideal for quick discussions, brainstorming sessions, and in-person meetings. However, even in this controlled environment, uneven sound distribution from the display speakers and manual movement of the microphone were simply inadequate for a positive experience for both in-room and remote participants.

“We regularly hold hybrid meetings with students, their families, and educators who are off-campus or traveling, and our current setup couldn’t offer a productive experience for our attendees,” explained Christine Parsons, program manager at TJEEI. “Presenters would have to pass the microphone back and forth, the back of the room

would struggle to hear while the front was overwhelmed by loud audio, and remote participants found the audio extremely challenging.”

As part of the meeting room transformation, UCF approached Yamaha for a solution that could seamlessly integrate with its current AV installation.

The ADECIA platform, an advanced all-in-one audio solution for high-quality audio capture and playback, provided an ideal solution for UCF and was optimized based on the room’s acoustics and layout. Yamaha provided 14 wireless directional tabletop microphones, two Yamaha RM-WCH8 ADECIA

microphone charger bases, two VXL1B-16P line array speakers, two RM-WAP-8 wireless access points, an SWR2311P-10G intelligent L2 network switch with PoE, and an ADECIA RM-CR audio processor.

Excited to attempt her first self-installation project while facing a tight deadline, Parsons was able to get the system up and running in one day—with minimal remote support from Yamaha. Smiley’s Audio Visual of Bartow, FL, also stepped in to help, at no cost, to provide minor tweaks, reinforcing the hardware and dressing the cabling. A longtime Yamaha channel partner, Smiley’s has collaborated with UCF for many years.

The result was a dramatically improved meeting experience, especially for remote participants who now experienced consistently clear, high-quality audio. “When something is so intuitive and user-friendly, it becomes a pleasure to use,” Parsons noted. “The microphones are placed around the room, and even when people get up and move around while speaking, they can be heard clearly by the online attendees. The team at Yamaha took the time to understand our challenges and find the right-fit solution for us to support our families, students, and educators.”

1 SOUND’s Cannon Coaxial loudspeakers are part of the custom audio system at Lola’s Hi/Lo Lounge.

A new Yamaha audio solution has improved sound quality in the meeting room for UCF’s Toni Jennings Exceptional Education Institute.

AREA15 Entertainment Venue Gets Audio Upgrade with HOLOPLOT

Not to be confused with Area 51, AREA15 is an immersive entertainment district located near the Las Vegas Strip. Already equipped with a HOLOPLOT X1 matrix array system in its Illuminarium attraction, the facility’s multipurpose venue, The Portal, was recently upgraded with its own HOLOPLOT X1 sound system.

The Portal is AREA15’s landmark venue and can be used for private dining, all-night DJ sets, and everything in between. The flexibility of the X1 system, which consists of two arrays of two MD96 audio modules—topped with two MD80-S positioned left and right at a height of 25 feet at one end of the

room—ensures the space can fulfil the creative ambition of the AREA15 team.

Acting as a sandbox for any experience imaginable, The Portal is a vast grey concrete cuboid, allowing a 360-degree projection map across the walls and floor. While the visual elements could be stunning, but the original sound system was never able to keep up, owing to acoustics akin to a giant fish tank and highly reflective, smooth walls, according to JD Bouck, director of production.

“The Portal was one of the biggest concerns we had,” he explained. “It is a 7,000-square-foot, completely blank canvas. Thanks to our Panasonic

projectors, we can make visual landscapes and have great storytelling for the eyes, but the audio picture was never able to complement these.”

While looking for a new sound system, Bouck and his team began to run into issues. “The Portal is not built like any other real venue that I’ve ever been to,” he noted. “There is nothing to soften it, no balcony or mezzanine, just hard surfaces. It was the reflective surfaces that we were really trying to tackle with the HOLOPLOT system.”

Bouck said the X1’s 3D audio beamforming technology provided the focus to cut reflection off the walls and “make sure the people at the back of the room were getting the same audio picture as the people at the front of the room. All without having to run a ton of delays or having a bunch of loudspeakers in front of the projection surfaces.”

The HOLOPLOT team supported Bouck throughout the whole process, from system planning to providing room calculations until final commissioning and tuning. The new system has received excellent feedback from visitors and staff members.

“Loud isn’t always good. Good is good,” said Mark Stutzman, CTO. “We now have great audio quality without it having to scream in your face. The guests can come and go, but the staff—our technicians, security, and bartenders—are here all night, and we have a duty of care to them, to ensure they’re comfortable. We didn’t want the ear fatigue you usually get from really loud festivals. So now we have a system that is really super versatile, allowing us to adapt the audio for any event without the need to reconfigure the hardware, but always provides that top audio experience to match the visuals in the space.”

Convergint Acquires Esscoe

Convergint, a global systems integrator, has acquired Esscoe, a provider of security, life safety, and mass notification systems in the Chicago and Midwest regions. The move enables Convergint to build on Esscoe’s reputation and accelerate growth across the Midwest.

“Esscoe’s deep technological expertise and innovative approach align perfectly with our strategic growth plans,” said Ann Fandozzi, CEO of Convergint. “Their commitment to market-leading service has earned them a loyal, extensive customer base across this critical region. Their mission resonates strongly with Convergint’s own values and beliefs and dedication to being our customers’ best service provider.”

The acquisition adds more than 80 local colleagues to Convergint, leveraging Esscoe’s established customer base to greatly expand market reach and technology expertise. Founded in 2005 and headquartered in Lake Zurich, IL, Esscoe will bolster Convergint’s key service capabilities across verticals including financial, utilities, government, healthcare, and data centers.

“By joining Convergint, the Esscoe team is elevating our capacity to support customer growth locally, nationally, and globally,” said Scott Bartmess, principal, Esscoe. “This partnership allows us to join our expertise with Convergint’s extensive resources, creating a powerful combination that will be highly beneficial for the success of both our valued customers and colleagues.”

The Portal, AREA15’s multipurpose venue, has been upgraded with a HOLOPLOT X1 sound system.

By Peter Hansen

August’s reading in the Pro AV Business Index came in lower than hoped, declining to 53.5 from 58.7 in July (5.2 points). Generally, lower scores involve more respondents reporting contraction. Not so this month: The percent reporting contraction was 17.4% in July and 17.8% in August.

Instead, the difference was driven by a 9.4% increase in the percent reporting “no change” from month-to-month (57.3% vs 47.9%). This result is the second lowest score this year, fractionally ahead of the February score of 53.4. February’s disappointing result proved to be an aberration, with the index above 60 in the next two months. That’s too positive to expect in September and October, but we are optimistic that the index will be back in the upper 50s soon.

A change in the interest rate environment has

'No Change' Increase Drives Lower Index

been in the pipeline for many months. Now, it’s finally here. U.S. Federal Reserve communications and market expectations long pointed to September as the time for the first rate cut. If there was any doubt, the past month’s news has removed it. The most recent numbers confirmed declining inflation that is in close range of the Fed’s 2% target.

More critically, the Bureau of Labor Statistics released the annual update to its monthly job numbers, with a downward revision of 818,000 over 12 months (April 2023 to March 2024). Instead of an average of 242,000 jobs per month—a level strong enough to suggest an overheated economy—the average is 174,000. That’s perfectly fine, but when you consider that the numbers are trending downward and that the robustness of the jobs numbers was a primary justification for delaying rate cuts, you can see why the new numbers demand Fed action.

The AV Employment Index (AVI-E) also fell in August, but more modestly than the AVI-S, dropping

3.3 points from 57.5 to 54.2. Employment reliably moves slower than sales, since these decisions are so deliberate and large. This year in particular has seen little total movement on employment (i.e., index scores closer to 50) after the post-pandemic hiring boom. Companies are not laying off workers—in fact, hiring workers remains difficult. But by and large, companies are maintaining steady payrolls.

If the forthcoming rate cuts steady the ship and launch healthy growth, we should see increasing revenue gains and employment gains probably starting early next year. If the shift to low interest rates turns out to be too late, we could enter a rough patch soon. Only time will tell.

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

ASCENTAE, a U.K. distributor specializing in workplace technology solutions, has a new distribution agreement with PTZOPTICS. This strategic partnership broadens Ascentae’s range of workplace solutions designed to improve outcomes across meeting and learning environments, and opens additional partner relationships across the U.K. and Ireland. The partnership will provide Ascentae’s customer base with access to the complete range of PTZOptics’ solutions, tailored to meet the evolving needs of corporate and education customers.

DRAPER recently added three new independent Pro AV manufacturer representatives. IMAGE MARKETING WEST now represents Draper Pro AV products in northern California, northern Nevada, Idaho, Oregon, Washington, and Alaska. VISION2 MARKETING WEST covers southern California, southern Nevada, and Hawaii. And UC TECHNOLOGY PARTNERS represents Draper in the northeastern United States including New York (outside the Metro New York City area), Massachusetts, Maine, New Hampshire, Connecticut, Vermont, and Rhode Island.

KEY DIGITAL has appointed EXCELLENCE MARKETING as its manufacturer’s rep for the region encompassing western Wisconsin, Minnesota, and North and South Dakota. Excellence Marketing was founded by Ken Simons in 1988 in Minnesota. Key Digital joins a roster of brands represented by Excellence Marketing that includes Shure, Absen, Allen & Heath, Ashly, Draper, K&M, Listen Technologies, Lowell, and more.

ADVANCED SYSTEMS GROUP recently welcomed KATE SIMS as VP of strategic accounts and JOE MARCHITTO as CTO of strategic accounts. In her new role, Sims oversees relationships between ASG technology partners and clients while spearheading the company’s growth across Southern California. Marchitto works in partnership with Sims to build upon the established foundation of enterprise clientele in the Los Angeles area. Marchitto was tabbed to contribute his vast technical knowledge to the design and sales of systems to new and existing customers.

AVPRO GLOBAL HOLDINGS has appointed KEVIN (JINGHUI) WANG as VP of the MXnet Systems Group. This newly formed specialty design and development

business unit is dedicated to expanding the AVPro Edge brand’s MXnet AV-over-IP product portfolio in market segments encompassing business and corporate, education, government, hospitality and retail, house of worship, medical, and high-end residential systems. Wang oversees MXnet development initiatives, including the integration of AI-driven network optimization and cybersecurity into the already popular MXnet AV-over-IP ecosystem.

BOSE PROFESSIONAL has appointed ADAM CASTILLO as VP of global marketing. Castillo brings more than 20 years of experience, having held senior marketing positions at companies including Logitech, Avid, and Blue Microphones, where he has led global marketing strategy and execution, brand strategy and development, and product marketing among other functions. At Bose Professional, he is helping to position the company for growth in its new era as a standalone organization.

DPA MICROPHONES appointed industry veterans ADINALDO “ADI” NEVES as director of business development, wireless, and MARCOS NIEVES as area sales manager, D.C. Metro. GEOFF BAYNARD also joins the team as business development manager, wireless. Neves spearheads DPA Microphones/Wisycom wireless business development. Prior to joining DPA, Neves was with Shure, Sennheiser, JBL Pro/ Harman, and Avid/Digidesign. Nieves comes to DPA via the Wisycom partnership with a wireless systems career that spans more than two decades. Baynard also joins DPA as part of the alliance with Wisycom, where he served for five years as product marketing manager and previously as product specialist.

GRASS VALLEY appointed ALEX KEIGHLEY as the new SVP of sales for North America. In this role, Keighley plays a key part in driving growth and strengthening relationships with customers across the region. With a wealth of experience spanning both the media and technology, his focus will be on building a marketleading organization. In recent years, Keighley held leadership roles at Avid and Telestream, most recently serving as CRO of Backlight. Previously, he led Grass Valley’s U.S. West sales team for five years.

IVCI has named DAWN CAGLIANO its president. With nearly two decades of dedicated service to IVCi, Cagliano brings a depth of experience that will guide the company toward new horizons in the ever-evolving landscape of technology and innovation. Her career at IVCi started within its managed services division. With customer experience at the forefront of all strategies at IVCi, she was then tasked to replicate these standards throughout the organization where she held several strategic operational roles, including COO.

LIGHTWARE welcomed MIKE ELLSWORTH as the new director of live event and entertainment technology at Lightware Americas. Ellsworth steps into the role after a successful tenure as director of sales operations for the Americas. Prior to that, Ellsworth served as a senior sales engineer, where he played a pivotal role in driving sales strategies and supporting key client engagements. In his new role, Ellsworth works directly with live event customers, focusing on large-scale productions with more than 2,500 attendees. Additionally, he will collaborate closely with clients involved in major LED installations in stadiums and arenas.

PPDS recently appointed highly experienced Pro AV experts ROBERT LUTHER and BRANDON WILKINSON to its leadership team in North America, adding more than 50 years of combined expertise. Joining PPDS in a new, dedicated role, Luther has been named as director of dvLED sales and support. For the last five years, his career has been devoted almost exclusively to dvLED, recently holding the position of product manager for LED at Ross Video, and previously as business development manager dvLED at PPDS’ distribution partner, Exertis. Wilkinson has been named as the company’s new field application engineer. He brings a wealth of knowledge to PPDS, having started his AV career back in 1993 with Ford AV.

RIEDEL COMMUNICATIONS has appointed PINO BARILE to the newly created position of regional sales director, west. In this role, Barile oversees the Western regional sales team, focusing on expanding the

Kate Sims

Joe Marchitto

Kevin (Jinghui) Wang

Dawn Cagliano

Mike Ellsworth

Robert Luther

Brandon Wilkinson

Adam Castillo

Adinaldo “Adi” Neves

Marcos Nieves

Alex Keighley

Pino Barile

company’s market presence across the United States and driving further success. Barile collaborates with Eastern regional sales director Dave Caulwell and works closely with key account sales managers, channel management, and business development teams. Barile brings more than 25 years of experience in the broadcast industry, having previously held significant roles at Vizrt and Matrox Video.

USSI GLOBAL has promoted ANTHONY MORELLI to president following a successful four-year run as COO. Morelli oversees daily operations across USSI Global’s three business units (broadcast and networking solutions, digital signage solutions, and electronic business and consumer solutions) with all departmental leaders across operations, finance, revenue, administration, and other company functions reporting to him. Morelli joined USSI Global in 2020 following a 25-year rise up the ladder, leading to key VP and C-Level service and sales positions at Harris Corporation, Artel Video Systems, and Avid Technology.

L-Acoustics Restructures and Expands EMEA Sales Team

L-Acoustics announced a strategic restructuring and significant expansion of its Europe, Middle East, and Africa (EMEA) sales team. This move, led by recently appointed director of sales EMEA, Tim Völker, introduced a new head of sales management position and key hires designed to meet the increasing sophistication and scale of projects in the region.

The cornerstone of this restructuring is the promotion of four long-standing team members to head of sales positions, forming a leadership team crucial for meeting customer needs and service demand: CHRIS MEAD (Middle East, India, Africa, and Eurasia), PAUL MCMULLAN (Northern Europe), TIM MCCALL

(South-Western Europe), and STEFFEN LUUK (Central and Eastern Europe). With a total of 28 years of experience at L-Acoustics, as well as a proven track record in the professional audio industry, this sales management team is positioned to lead the company in the future. The promotions ensure strong leadership across the company’s diverse markets. Mead, McMullan, and McCall will collaborate closely with Völker to drive the company’s growth strategy in the EMEA region.

Complementing the new leadership structure, L-Acoustics welcomes three new sales managers: CYRIL MATAR (Middle East), THOMAS WILLIAMS, and TOM MACKLIN (U.K. and Ireland). According to L-Acoustics, the strategic combination of internal promotions, new talent acquisition, and the continued dedication of long-standing team members creates a dynamic and comprehensive sales force poised to capitalize on emerging opportunities while maintaining customer support.

Anthony Morelli

Startup Mode, Legacy Business

CEO Maier Reflects on First Year of Bose Professional’s Independence

By Mark J. Pescatore

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

John Maier: I have been in the role of CEO for a little over a year, since May 2023, but I was on the team at Transom Capital Group, the private equity firm that took the company private, when the opportunity first came up in 2022. As far as my CEO responsibilities are concerned, they’re twofold. It’s the normal things you would think a CEO would do, but it’s also starting up a new independent business from scratch.

SCN: What was the reason for the split?

JM: I certainly can’t speak for Bose, but it’s rare that a top 100 brand sells off part of its business. And that’s exactly what got me excited.

When Bose Professional was taken independent in 2023, the intellectual property and the core teams of product development, sales, and marketing came with, but we didn’t get functions like operations, finance, IT, global logistics, legal, people and culture, and so on. That means we’re building a business up from scratch while we’re running the business, sort of the “building the plane while we’re flying it” idea. It’s really an incredible opportunity when you think about it—we get a 50-year legacy of innovation and global relationships, but we get to act like a startup when we think about the systems and structure we want to work in for the future.

SCN: How has this separation benefitted Bose Professional?

JM: The number one thing is that we are now in charge of our own destiny. We exist to be a professional audio company that serves the professional audio market. Having that kind of focus and responsiveness represents a huge freedom. We are in the position of being able to act like a startup, but we’re already at scale. We get to decide what systems we are going to use, what software applications, what processes, and how we are going to be organized, knowing what we know about the industry right now. That’s an incredible opportunity for an established business, and we’re already seeing the results across the company.

SCN: Earlier this year, you announced a “hybrid” sales model in the United States. How well has it been working?

JM: In some regions, we found a hybrid system with our own direct teams and third-party partners working together has worked well. We recently announced that we’re combining the best of our internal North American teams with a group of select partners to get much better coverage and offer much better service and support to the channel.

SCN: Bose Professional is opening new Experience Centers across the world. How many have you opened in 2024, what is the goal for 2025, and what value do these bring to your customers?

JM: We’ve opened 10 new offices and Experience Centers so far in 2024 in cities including Singapore, Shanghai, Bejing, Tokyo, Amsterdam, and London, with new buildouts in Paris, Dubai, and a new Bose Professional Global Headquarters in Hopkinton, MA, still planned. These new offices and Experience Centers make it easier for our customers—consultants, integrators, and system operators—to see and hear our solutions, be able to make better decisions, and ultimately move faster with their own clients. It also helps to have these meeting points around the world where you can connect at a real level as opposed to the remote world that we’ve all been living in.

SCN: In your experience, what do customers tend to get wrong or just not understand about sound systems?

JM: We’ve all been there; a great performance or a lovely dinner ruined by bad sound. It’s usually not about the volume, it’s about the clarity. Voice intelligibility is mission-critical in sound systems, and directivity and placement are crucial when it comes to achieving it. You want to make sure the loudspeaker’s direct sound arrives at the audience’s ears before any early reflections—that’s key. Bose Professional loudspeakers, with their high degree of directivity, make a huge difference in clarity and intelligibility, ensuring that the message being presented resonates better with the audience.

SCN: One new product you showed at InfoComm was a low-profile version of your EdgeMax inceiling speaker. What makes your offerings unique in this product category?

JM: The EdgeMax series offers an incredible, dynamic lineup of

John Maier

Position:

CEO

Company: Bose Professional

Overtime: I’m a musician, so playing drums is a big passion of mine. I also love traveling with my family.

powerful, directional loudspeakers. They sound like a surface-mount loudspeaker, but are placed in-ceiling and project sound asymmetrically out into the room to deliver amazing performance and directionality. They are loud, clear, directional, and, best of all, hidden in the ceiling. Our customers had asked us for a new solution with the same level of performance built into a shallower enclosure designed for tighter ceiling spaces, so we’re rolling out the EdgeMax LP, which is 60% thinner than EdgeMax EM series. We went from a 10-inch case depth to a 4-inch depth. We’ll keep both EM and LP models in the lineup to allow designers the perfect blend of performance and flexibility.

SCN: What is ControlSpace and how does it help integrators and end users?

JM: ControlSpace is the glue that strengthens our solutions. It has a lot of components—from loudspeakers to amplifiers and controllers to design and operations software—that all work together. ControlSpace is designed to make your Bose Professional system work smarter and more efficiently and deliver outstanding audio performance with ease of operation and management. It delivers incredible stability and performance in installations like restaurants, retail spaces, hospitality venues, auditoriums, houses of worship, and conferencing rooms. And ControlSpace is a proven solution for business end users with thousands of installations around the world. You’ll be hearing a lot more about it in the months ahead.

SCN: What’s next for Bose Professional?

JM: As we continue to build out our process and systems, I’ll be working to make Bose Professional more of an “outside-in” organization. And by that, I mean focusing on what’s happening in the market and what our customers’ needs are and being responsive as a business. With our new, focused approach, we’re going to move faster and be more prolific when it comes to innovative solutions and new products. We’ve just shown what we can do in a year at InfoComm. Bigger projects take more time and we’re looking forward to sharing those with you in the future. These are exciting times for the business for sure.

Built on Reliability

Bogen Continues to Grow Legacy with IP-Based Audio Solutions

By Mark J. Pescatore

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

John Minnick: I joined Bogen 11 years ago as VP of engineering. We assembled a new engineering team with the vision of evolving Bogen’s intercom, paging, and public address solutions to be software-centric and deployed on industry standard IP networks. Moving to this new architecture allows the team to develop new features and enhancements quickly, and offers our integrators a highly scalable and easy to deploy solution.

SCN: Bogen has been around since 1932—what’s the secret to your company’s success?

JM: Bogen has always been perceived as a very reliable brand by integrators, so we strive to protect that image. The company has been working hard over the past eight years to establish itself as a technology leader in the core markets that it has long served.

SCN: What new or upgraded features are available through IP-based paging systems?

JM: This is a broad question—we’ve added literally hundreds of new functions and capabilities through the Nyquist software solution with continuous improvements and features in every annual software release. A few prime examples include the scalability of the solution. The ability to scale provides huge opportunities for our integrators and assurance to end users that what they have today will not be obsolete tomorrow. Secondly is the

ability to do third-party integrations through the software API. This has allowed Bogen to expand into valuable technology partner opportunities that expand the Bogen Nyquist capabilities to include things like weapons detection, earthquake early warning, enhanced AI threat detection, and more.

SCN: So, in educational environments, what’s more popular these days, analog or IP-based paging systems?

JM: For Bogen, the growth in the IP-based paging Nyquist solution opportunities has significantly outpaced the growth of legacy systems.

SCN: Apart from the content, of course, how do school paging systems differ from systems used in other markets?

JM: The largest application difference between the two is the sheer amount of intercom calls required in schools versus the other markets. Background music solutions can and are used in both education and commercial applications.

SCN: How well has your new Combo LED Display Wall Baffle Speaker been received, and what markets are most interested?

JM: Since it just recently launched, it’s still a little too early to tell, but the initial requests have been primarily in schools and in districts in the NYC and West Coast regions. Many other institutions have had a lot of success using the Bogen Nyquist video appliance, the NQ-GA10PV.

SCN: Bogen offers a variety of horn loudspeakers. Why select a horn—what advantages do they offer

John Minnick

Position: VP of Engineering

Company: Bogen Communications

Overtime: I’m a huge vintage Corvette aficionado. I’ve also been a lifelong audiophile. When I’m not working in my garage, I enjoy tracking and sharing knowledge on the value that comes with quality audio reproduction.

over other speakers?

JM: Horns work great in difficult acoustic and outdoor environments for paging and public address. They can project long distances and over wide angles.

SCN: You introduced a sound masking solution last year. How important is sound masking in today’s corporate environment?

JM: Sound masking continues to be very important for a lot of corporations and institutions to reduce distractions and provide conversational privacy. Bogen’s solution is a software-licensable option that can be added to any Nyquist C4000 or E7000 application. We don’t offer sound masking as a standalone feature. Bogen’s intent was to offer a well-integrated feature enhancement to the Nyquist paging, public address, and intercom solution. It is a very rich sound masking solution intended to provide quality results for the end users.

SCN: What makes audio design for houses of worship so challenging?

JM: Primarily the acoustic environment integrators have to work with, especially in older houses of worship, which have an architectural design that was created before the existence of public address systems.

SCN: What new initiatives are we likely to see from your company in the near future?

JM: You’ll have to keep your eyes peeled! In all seriousness, Bogen does not telegraph this information too early. We do have some exciting new technology partners being added to our ecosystem in the next few months. And stay tuned for new product news early next year.

SCN: Where do you see the Pro AV industry heading?

JM: It is really a very exciting time for the AV industry overall. The accelerated pace of the fundamental technologies that enable AV creation, distribution, and consumption has never been at the level it is today. This will fuel growth in Pro AV at rates well beyond GDP for the next decade for sure.

San Jacinto Unified School District in Riverside County, CA, recently invested in a Bogen Nyquist intercom system.

A Night on the Town

Pro AV Takes Center Stage in Today’s Sports Bars and Live Music Venues

By Wayne Cavadi

The sports bar evolution has come a long way in the past two decades. It has gone from having the most TVs to larger, higher-definition displays and immersive, zoned sound. What were once luxuries have become necessities for any sports bar—or live music venue, for that matter—to survive.

While buffalo wings and burgers are enticing, anyone who prefers sports bars for their game-day watching pleasure knows it’s all about the ability to see and hear your team in action. That's why technology—from devices and software to control systems—is more important than ever.

Pitchers and Pictures

Today’s sports bar is nothing without programming. If you have a football Sunday where the audio isn’t zoned properly or the displays aren’t top shelf, those fanatics are finding a new sports bar the following week. That’s why it is imperative to get it right the first time. Paul Harris, CEO/CTO at Aurora Multimedia, offered up a checklist of best practices for audio and video distribution setup in a venue that specializes in showing sports and live music.

• Location, Location, Location: Consider seating locations, as people will be facing a variety of directions, not to mention obstacles like columns that can be in the way. The number of displays, placement of displays, and sizes of the displays will be based on location to make the customers experience a pleasant one. Selecting the right size is based on viewing distances, considering the closest to furthest away—too big and it will be difficult for closer patrons to view, while too small makes creates an issue from viewers

located further away.

• Even Audio: Projecting audio across the room will only make it more difficult to hear at a distance and uncomfortable if someone is positioned closer to the speaker—plus, having a conversation will become frustrating.

• Seamless Switching: When switching between live and broadcast, it’s important to use seamless switching for a clean change in content. Zero latency is also critical, so the customer does not see the time difference between when the performer speaks and what is seen. Having a good DSP processor for mixing and feedback suppression is key, as no one wants an unpleasant squeal from the speakers.

Digging a little deeper, in a world where IP-based solutions are taking over, what works best: RF, AVoIP, a hybrid approach, or something else? Scott Hetzler from Contemporary Research posed that RF or hybrid may be the best-case scenario in most instances. An RF system takes advantages of tuners built into most TVs, eliminating the need for external hardware IP decoder boxes. Instead, a simple IR or RS-232 controller operates over the same coax cable.

“The cost of an RF system with full TV control is approximately 40% less than an AVoIP system,” Hetzler explained. “CR offers a package system called Venue Vizion available in RF/hybrid or IP. These

packages are pre-wired and ready to drop into a rack, and come with modulators or encoders for eight channels, and controllers or decoders for up to 20 TVs. These packages make installation easier and lower cost, but can easily be expanded for more channels or TVs and offer complete TV control from any web-enabled device such as pad, phone, or PC.”

Amped for the Action

While even audio is important, so is the clarity and quality of the sound itself. Which loudspeakers are best in a sports bar environment?

Patrick Nunnally, AtlasIED’s regional sales manager, Southeast, said there’s no one-size-fits-all for any application, including sports bars. Sometimes it depends on specific zones or the venue’s size, while other times it’s a matter of background versus foreground music.

“In sports bars, this varies. The venue itself and its architecture, combined with the customer’s needs and wants, will really dictate and hopefully drive you to the correct speaker choice,” Nunnally said. “We’re seeing more and more of them have an open architecture, which leads to more pendant or surface-mount type speakers aimed down. This is good because it increases your capabilities to deliver a more robust sound. My favorite for sports bars is a surface-mount speaker mounted up into the ceiling, aiming down, proportionally spaced out, and zoned out accordingly.”

As Nunnally recollected, based on his 30 years of experience in sports bars as both a patron and integrator, some people initially want to have audio from every TV all over the place. In reality, this can make the environment chaotic and unpleasant. “It’s best to establish a hierarchy based on the time of day and the events taking place,” he said. “If you have all the games playing at once and they’re all competing for audio, it creates a bad experience for everyone and can drive customers away.

“When there are no sports events, you could have background music playing throughout the facility. But when important games, like college or NFL football, are happening simultaneously, you need to prioritize which game will be the main focus. You can then allocate a separate zone for specific groups of supporters.”

Many sports bars serve as venues requiring live sound as well, whether it be trivia night or a band on the patio. It’s important to engineer the system to handle the demands of live audio, as it is the most challenging aspect. “The key is choosing speakers that fit the ceiling heights and customer preferences

The Friends In Low Places Bar & Honky-Tonk offers a generous helping of live music, along with screens for watching sports.

From Left: Scott Normand, Paul Harris, Patrick Nunnally, Scott Hetzler, Brian Rowley, and Joe Anderson

BUSINESS ENTERTAINMENT VENUES

and then designing the system around them,” Nunnally said. “Once you find the ideal speakers, everything else, including amplification and digital signal processing, can be selected to match.”

Livin’ on a Prayer Garth Brooks and Trisha Yearwood held the grand opening of their 55,000-square-foot Friends In Low Places Bar & Honky-Tonk in March. It offers plenty of screens for watching sports, as well as a full bar and plenty of bar eats, but its main focus—as you might suspect considering the owners—is live music.

The venue is using an L-Acoustics A Series concert sound system, designed by Clair Global Integration. On each side of the stage are one A15i Focus over two A15i Wide enclosures, and another hang of one A15i Focus over two A15i Wide to provide even coverage up to the second-level balcony. A DiGiCo Qauntum225 console provides front-of-house and monitor mixes for four bands a day.

Meanwhile, The Oasis, a rooftop bar, has its own A Series loudspeakers and KS21i subwoofers powered by an LA4X amplified controller. “One of our mantras at Clair is it has to sound great, not just loud,” explained Joe Anderson, systems designer. “Our goal is to elevate the production-value level of the entire sound experience here, making it closer to what you’d expect from a concert rather than a club. The A Series speakers deliver great sound, with a lot more punch than you’d expect from their size, right out of the box.”

Another Nashville live-music venue is JBJ’s Nashville, owned by music legend Jon Bon Jovi. It requires much of the similar technology required in a sports bar. There are a multitude of displays and, of course, the sound is of vital importance in a restaurant/bar dubbed the “state-of-the-art fusion of rock ‘n’ roll and country.” Last summer, Aurora Multimedia was called upon to integrate multiple networks at the venue.

Aurora Multimedia went with its 1G AVoIP VPX Series at JBJ’s Nashville thanks to its seamless switching and enhanced image quality with zeroframe latency. Per Harris, the VPX Series offers Bluetooth Auracast and software-based Dante/ AES67. Paired with IPBaseT Manager—Aurora’s

enterprise class management software—users can route video previews, make macros, create alerts, and more on any PC, tablet, or phone.

“When you have a facility that must be on the top of its game, there is no time for downtime,” Harris said. “The VPX Series are all transceivers … they can be set as an encoder or decoder as required. In addition, the units have self-healing features and live diagnostics. These diagnostics can remotely tell the support person if the issue is the equipment, customer usage, or connected equipment related, and at what day and time it occurred.”

Sign of the Times

Digital signage? In a sports bar? Believe it or not, Brian Rowley, chief marketing officer at BrightSign, is seeing a much-needed use for digital signage and display solutions. Sports bars are frequented by those fans that can’t make it to the stadium, so massive video walls can substitute for that experience.

“Video walls powered by digital signage players stream games in 4K resolution, making guests feel as if they are at the game,” explained Rowley.

“Meanwhile, to elevate the fan experience, digital signage displays positioned adjacent to video walls promote game-time specials, the latest menu offerings, breaking news, and even pictures of patrons who want to share their fandom with others. When a game is happening, sports bars need to keep fans engaged and in the moment, while bringing in the social and communal elements sports fans crave.”

The right digital media players and signage technology give sports bars more flexibility, enabling them to switch things up during breakfast or lunch times by providing what Rowley calls a blank canvas to create their vibe and promote specials, menu items, or advertisements. “The BrightSign XT5 Digital Player is popular for sports bar settings for its strong dual-screen performance, superior live-streaming capabilities, and hassle-free content control—all using a single player,” Rowley said. “It offers the right blend of motion graphics power and video performance to make guests feel as if they are present at the game in person. With 8K video and 3D motion graphics capabilities, the XT5 creates dynamic visuals

that immerse guests into the experience.”

Game-Day Control

Welcome to Bar-Bill Tavern, which has multiple locations across upstate New York in Clarence, East Aurora, and Rochester. The system at Bar-Bill Tavern was antiquated, using multiple remotes to control the audio and video like the “old days” of sports bars. Systems integration firm Park Place Installations looked to simplify the control at all the Bar-Bill locations and to do that, it turned to Snap One’s Control4.

Sports-bar friendly, Control4’s Simple Device Discovery Protocol (SDDP) technology enables hassle-free setup and seamless integration with over 20,000 devices. This makes day-to-day operations far more efficient by controlling everything from one centralized platform.

Scott Normand, commercial market senior director for Snap One, said the MultiDisplay Manager feature is ideal in a restaurant or sports bar. It allows easy control of hundreds of displays across multiple rooms, keeping patrons engaged by ensuring they can watch the games or programs they want.

“Control4 is an ideal solution for restaurants and sports bars looking for simplified AV control combined with intuitive features,” Normand added. “It’s beautifully designed interface allows end users to manage complex AV systems effortlessly with minimal training, ensuring smooth operation.”

No matter what solution you go with in the sports’ bar space, much like a Rob Gronkowski playbook, the simpler the better. “From our experience in the restaurant and sports bar industries, we’ve learned that both integrators and end users prioritize simplicity,” Normand explained. “Integrators want a system that’s easy to install and program, and end users want a system that’s intuitive and easy to operate. In a fast-paced environment such as a sports bar, a simple-tooperate system allows for employees to quickly change displays to the most relevant game, monitor light settings, or play a victory song over the audio system when a key win is secured.”

L-Acoustics speakers are used throughout the Friends In Low Places Bar & Honky-Tonk.

Bar-Bill Tavern has simplified AV control with Snap One's Control4.

BUSINESS CEILING MICROPHONES

Ceiling Microphones: The Upside

Advanced Audio Technology Is Helping to Make Hybrid Meetings More Inclusive

By Carolyn Heinze

While in plain view to AV professionals, ceiling microphones go largely unnoticed by those who benefit from them most. But interactive collaboration and education— coupled with hybrid work and learning models—are making them a must-have technology for organizations and institutions that strive to deliver a natural, no-fuss experience.

Today’s meeting “headquarters” may be a conference room on a corporate campus, but most gatherings now incorporate a hybrid element. This means that remote participants must be able to hear their on-site colleagues clearly, no matter where they are in the space. David Missall, insights manager for consultants at Sennheiser, noted that ceiling microphones provide this capability, while making for a less cluttered conference room.

“We are in an era where bad audio is no longer acceptable,” Missall said. “Creating an inclusive meeting experience where everyone can be heard equally, no matter where they’re joining from, is key.”

Ceiling mics also make for a less disruptive meeting experience, noted Mark Donovan, CTS-D, CTS-I, applications engineering manager for professional markets at Audio-Technica. “[There is the] benefit of limiting the participants’ interaction with the technology, which significantly reduces user error as well as removing unnecessary distraction that could disrupt the natural flow of meetings,” he said.

The ability for remote participants to hear their on-site colleagues wherever they happen to be in the conference room is important, argued Vanessa Jensen, market development manager at Shure. Some collaboration participants move around a lot, which necessitates a system that can capture those who are—and are not—sitting at the conference table.

“People want to get up, engage, present, use a whiteboard,” Jensen explained. “The flexibility that ceiling microphones offer is heads and tails above what we could achieve with a standard microphone.”

Improved Features

One notable advancement in ceiling microphone systems is their integration with camera tracking technology. For example, Audio-Technica’s ATND1061 beamforming ceiling array microphone is compatible with many PTZ cameras. “This allows cameras to be directed to the active talker in order to improve the meeting experience for the users,” Donovan said. “These features have become very reliable as the ability to accurately pinpoint voice

locations has improved dramatically.”

At Sennheiser, Missall points to beamforming technology as one key advancement in the ceiling microphone category. Capable of adjusting automatically to a room’s acoustics, this tech generates focused pickup patterns that isolate speech from background noise. “This has enhanced audio quality and simplified the user and integration experience,” he said.

There are also continued efforts to block sound from outside the desired coverage area so meeting participants aren’t distracted by noise, such as closing doors or shuffling papers. Jensen points to features that Shure offers, such as advanced noise filtering,

speech gating threshold, and virtual acoustic boundary, all of which aim to improve the performance of its MXA products. Plus, automatic nonlinear processing and automatic noise reduction—which change dynamically with the environment—improve audio performance in the conference room itself.

“It gives us the ability to have really high-quality audio in that particular coverage area, and we’re ignoring things that are outside of that coverage area,” she said. “We’re blocking it so people on the far end aren’t hearing it, and they can really focus on the conversation.”

Deployments and Alternatives

In applications requiring only three or four mics, Donovan recognizes that wired analog microphone systems may be less costly. However, for larger-scale installations—or those requiring wireless capability—he maintained that ceiling mics may be less expensive and easier to integrate. “Most ceiling arrays require only a network connection, which can vastly simplify infrastructure and labor when compared to analog wired solutions,” he said.

Ceiling microphones can cost more than tabletop mics, Missall acknowledged, but he encouraged integrators to consider the long-term benefits. Once again, because they are positioned where people can’t reach them, they’re not exposed to repetitive handling, which cuts down on wear and tear as well as maintenance.

According to Donovan, the primary concern when deploying ceiling microphones should be placement. “While array microphones can pick up extremely well at longer distances within their coverage radius, mounting a ceiling array too high will begin to limit the coverage area, possibly requiring more microphones,” he explained.

He also encouraged integrators to take camera tracking into account, since location accuracy capabilities decrease as meeting participants move further away from ceiling microphones. For example, while it may be easy to capture a headshot of an individual meeting participant at 10 feet, a wide-angle shot may be required at 16 feet.

As enterprise-level organizations continue to adopt AI to improve their business performance, high-quality audio will continue to be a top priority. “As we move towards AI-driven tools in the workplace—solutions like Copilot, for example— ceiling microphones are really great in terms of being able to capture the clear, intelligible audio that is going to enable more accurate transcription, captioning, and so on,” Jensen said.

From Left: Mark Donovan, Vanessa Jensen, and David Missall

Ceiling microphones from Sennheiser and other manufacturers make it easier for everyone to be heard while reducing clutter.

The Audio-Technica ATND1061 ceiling microphone is compatible with many PTZ cameras.

Fix Common Wireless Microphone Headaches

Here Are Some Quick Fixes for Interference and Frequency Coordination

By Don Boomer

Wireless microphones are prone to interference, noise, dropouts, and many other RF problems. These problems can be disastrous for both live productions and installed systems. Malfunctions lasting even a fraction of a second can throw off presentations and performances, driving technical crews, event coordinators, and audiences crazy (not to mention performers and speakers).

Everyone who has worked with wireless audio systems can recall a time when a wireless mic suffered static or intermittent dropouts during a live event. But there are ways to limit or eliminate potential issues. Below are the three most common problems, along with a few basic techniques to solve them.

Multi-Path Interference

Multi-path interference occurs when an RF signal arrives at the receiver’s antenna via a straight-line direct path, and also along longer reflected paths. These multiple incidents of the same signal therefore arrive at the antenna at slightly different times.

This phenomenon might be familiar as the visual “ghosts” from back in the analog TV days, or as “picket fencing” when listening to FM on a car radio while driving around a city’s downtown. Radio waves always travel as straight lines, but they can encounter surfaces that reflect or absorb them. Reflected signals arrive at the antenna delayed in phase from the direct signal.

The sum of these reflected signals at the antenna may be of enough phase lag, magnitude, and polarization to partially or even substantially cancel the direct signal, creating dropouts and dead spots for wireless microphones. It’s a common problem for wireless microphone systems indoors, where there are a multitude of opportunities for RF to reflect off surfaces.

Multi-path is particularly problematic for microphones since the transmitters are frequently in motion and changing angles. It is best practice to diagnose a performance space for multi-path before showtime by simulating the motion of the talent— literally walking around the entire performance area with a mic while monitoring the RF signal level and audio at the receiver.

Usually, reducing multi-path interference is straightforward. The diversity receiver was designed to prevent dropouts caused by multi-path, and virtually all

professional mic systems use this scheme today. Diversity reception uses two antennas (traditionally spaced wide apart) that see two different perspectives of the RF signal instead of one. Diversity receivers employ a switching function to discriminate between the relative strength of the two signals. The statistical chance that a multi-path null will simultaneously develop at both antennas is very low, and the receiver automatically chooses the strongest signal.

If using the whip antennas included with receivers and multi-path interference is encountered, the first thing to do is to relocate the receivers—or better yet, install a good remote antenna system. Employing a polarization diversity antenna such as RF Venue’s Diversity Fin or Diversity Architectural (housing two physically collocated antenna elements with one receiving vertically polarized signals and the other receiving horizontally polarized signals) will eliminate cross-polarization dropouts and provide the receiver with an improved signal on both receiver antenna inputs (both branches of the diversity switching function). This allows receivers to maintain quality reception without all the switching and signal dropouts.

electronic devices emitting stray (unintended) RF. Those can be computers, video walls, LED lighting, power supplies, motors—just about any powered digital or switching device. RF noise is present even in the most remote desert, caused by cosmic radiation and natural radiation generated by the earth. Worse yet, noise is often intermittent, present during show time but gone the next day.

Noise Floor and Interference

It’s important to understand that all environments are a soup of radio waves. The biggest “offenders” are broadcast television signals, found in large and small population centers everywhere across the country. They are licensed by the FCC to use 6 MHz-wide slices of the UHF spectrum, so a wireless audio user needs to dodge these signals first. Cellular phone and wireless broadband services are also primary users of RF spectrum that can impact wireless audio devices.

Most of the other unwanted energy is caused by

An RF system like a wireless microphone needs a sufficient signal-to-noise ratio (aka carrier-to-noise ratio) to maintain performance. Isolating wireless mic signals from the noise environment helps. In general, the closer the wireless receivers (or remote antennas) are to the wireless mics the better, because it results in a stronger signal at the receiver without increasing the noise floor.

We would hope that the ambient RF noise floor at a venue is about -80 dBm or lower, but with planning and best practices, we can usually work noise floors of -70 dBm and higher successfully. RF spectrum analyzers and wireless microphone management software that include spectrum analysis capabilities are the best tools

Explorer Pro is a high-performance instrument for wireless audio system design, deployment, and monitoring.

Multi-path interference is problematic for wireless microphones because they are frequently moving and changing angles.

for examining the RF environment of a venue.

Vertical whip antennas are omnidirectional in the horizontal plane, so they typically pick up noise from all 360 degrees around them. “Paddle” or “shark fin” antennas typically have a horizontal pattern about 120 degrees wide, so they attenuate signals not in their pickup direction, but even they might not sufficiently isolate the desired signals in a high-noise area.

Specialized antennas and signal management techniques can be the difference between success and failure. Selecting a less sensitive, local field antenna like the RF Venue Spotlight may help isolate received signals from the noise, allowing a wireless system to work even the most crowded RF environments. Plus, adding a pair of appropriate bandpass filters can typically reduce the noise floor by 4-6 dB. Using top-quality, 100% shielded coax cables can reduce the ingress of stray RF into a system as well.

Frequency Coordination

Frequency coordination is essential in managing wireless systems. The goal is to avoid not only thirdparty transmitters but also the harmful effects of intermodulation distortion (IMD).

IMD is the result of two or more signals passing through a nonlinear circuit, such as a diode or an overdriven RF amplifier, and manifests as ghost signals from wireless mic bodypack or handheld transmitters. These appear at predictable sum-anddifference frequencies in the RF spectrum. If these ghosts are too close to one of the frequencies used by a microphone, audible distortion can result.

When two wireless mics are brought into close proximity, IMD can occur based on the frequencies in use. By carefully selecting frequencies, IMD can be forced to occur only at frequencies that we don’t care about, avoiding interference events altogether.

This is most commonly achieved through determining an “intermod-free” set of frequencies, which can be calculated using various software tools like Audio-Technica’s Wireless Manager, Professional Wireless Systems’ IAS, RF Venue’s Wireless System Builder, Sennheiser’s Wireless System Manager, or Shure’s Wireless Workbench. Some receivers have this built-in capability as well. Getting an elegant solution from these tools requires providing them

with the best possible data, so scan a frequency range at least 50 MHz above and below any frequencies that a system may be tuned to.

The importance of frequency coordination in today’s scene cannot be understated, as the wireless landscape continues to evolve with more and more devices

competing for less available spectrum. Choosing the right antennas for the application and maintaining transmitter/receiver line of sight in combination with frequency coordination can prevent dropouts.

Don Boomer is a senior applications engineer for RF Venue.

As seen on the spectrum analyzer, IMD can occur when two wireless mics are brought into close proximity.

By Will Eggleston

FPick Your Spot

Subwoofer Placement Is Crucial for Best Audio Results

rom restaurants to museums and more, rooms may have varied audio requirements depending on the customers’ use. And contemporary creative content increasingly has theme music or sound effects as part of the mix. So, unless your content is limited to the spoken word or banjo music, subwoofers play an important role in the complete audio picture in an installation.

A subwoofer that has a fairly typical operating bandwidth from 25-100Hz covers wavelengths as long as 45 feet down to 11 feet. In absolute terms, we can say these long wavelengths can bend around objects unimpeded, making placement flexible, though this doesn’t mean its performance is linear wherever you sit or stand in different size rooms.

What’s the Ideal?

Low frequencies have a bit of a mind of their own. Rooms that are small, say 10x20 feet with a low ceiling, will react quite differently than a room with four times the square footprint and a high ceiling.

The flexibility in placement really has to do with a lot of different factors depending on application. If a subwoofer is part of a controlled sound field where stereo imaging is required, the sub may very well be located close to the stereo speakers. However, a subwoofer that is part of a distributed sound field may only need to be placed in a convenient and safe location and gain staged to fill the space with low frequencies that the other speakers cannot reproduce.

Without being too glib, the ideal placement for a subwoofer is the place that works for as wide a listening audience as possible. Subwoofer placement covers a lot of differing criteria, and it certainly depends on the installation situation as well as the client appeal. I once saw a sub next to a glassware wash tub at a bar in NYC. I’m not sure how that became the “ideal” placement, but there it was.

Seriously, it’s hard to define the ideal placement for a sub. For those types of rooms that one would consider higher quality, usually the best place to not place a sub is along the mid-line of the front wall. Usually, a third of the way left or right from the center will work well.

Sometimes, subs get placed into a corner reading somewhere that is where the most in-room gain will be achieved. However, this corner location will also drive all the room modes—the collection of resonances that exist in a space—equally, which can be a nasty tradeoff.

Lows Higher Up

There are some special installation considerations unique to subwoofers. Sound travels faster in solids compared to air. Isolation from plywood flooring on joists may improve the sound quality in commercial or residential applications.

That said, a subwoofer on a concrete substrate may need less isolation simply because the mass of the concrete is so stiff. No matter, airborne low frequencies may be hard to contain in rooms where walls are made of single layer sheet rock on studs. Your neighbor may complain no matter what you do if you turn it up too much. Subwoofers can even be ceiling mounted. There are dozens of Dolby ATMOS commercial theaters and dubbing stages that have ceiling-mounted subs at the rear of the space. For less theatrical commercial installations, a ceilingmounted sub can be a real space saver, assuming of course that getting the wiring in place doesn’t present too many obstacles. Some manufacturers, including Genelec, are offering singlecable solutions that carry power, audio, and control to IP-based devices, including subwoofers.

The ceiling may have some appeal, but care should be taken in consideration of maintenance or service. And yes, you had better have safety straps and proper mounting hardware to hold it in place, as well as noting what structural things might vibrate.

Check Your Spec

Finding subwoofers that go down to 14Hz may be appealing on paper—and may be important for impressive high SPL theatrical applications—but for most music applications, a subwoofer that cuts off at 30-35Hz will usually work quite well. Remember that in a closed box, for each halving of the frequency, the driver displacement goes up four times and the amp power requirement is doubled as well. Vented boxes often will be more efficient in reaching the lowest cutoff.

Calibration is absolutely a prerequisite in every situation. Gaining an objective frequency response as well as level matching goes a long way in making the installation successful. There are some great third-party measurement systems. Room EQ Wizard (REW) as well as SMAART from Rational Acoustics have plenty of depth of programming that, in the right hands, can save the installer a lot of time and increase the likelihood of the best results. Some loudspeaker manufacturers (including Genelec) also have automated calibration services that couple with specific products that will adjust relative levels, equalization, and time of flight to the listening position.

Never under spec a subwoofer. It’s a common mistake. Low frequencies are the most difficult to reproduce without distortion as the volume goes up, assuming the main speakers were also specified correctly. The use of one sub may fit a budget, but often using two will give you better coverage (if spaced correctly) and a bit more headroom. It’s also important to place subs where no listeners will be too close to them—booming bass can be very irritating.

One last thought: Some installations require help from the manufacturer of certain items in the signal path. Pick a company that is well recognized for providing accurate product support when building small or large systems.

Will Eggleston is the marketing director of Genelec, Inc.

Multiple Genelec 7360 subwoofers were installed at the Zukan Museum Ginza in Tokyo.

A Genelec 3440A Smart IP PoE subwoofer mounted in the ceiling.

Robotic solutions such as the PK Sound T8 compact robotic line source system can be adapted to the contours of any environment and easily adjusted after installation.

Multi-Axis Audio Optimization

Robotic Line Source Systems Offer Acoustic and Operational Advantages

By Shawn Wells

Today’s professional audio market abounds with excellent loudspeaker options, from distributed point-source systems to largeformat line source solutions. Controlled by a skilled operator or engineer in an optimal acoustic environment, any number of solutions can deliver pristine, practically unimpeachable results.

While professional loudspeaker technology has arguably been perfected, the spaces in which said technology is deployed have not—at least from an acoustic context—which has resulted in the invention of the robotic line source system. Patented in 2015, robotic line source systems empower users with precise vertical and horizontal sound field manipulation, also known as multi-axis coverage control, both remotely and in real time via integrated robotic actuators.

With these systems, users can mechanically adapt acoustic coverage to the contours of any environment

and essentially remove the room from the equation. This helps avoid reflective surfaces, reduce SPLs outside the target area, and, ultimately, negate the notable compromises to acoustic performance inherent in digital beam steering and other DSPbased measures.

Conventional Comparison

Robotic line source systems combine the principles of traditional line array theory with a modern, mechanical approach to system optimization. Remote and real-time robotic control of the multi-axis directivity of each module in an array enables the configuration of tapered, variable curvature systems precisely tailored to the dimensions and features of any space.

Designers and users of conventional line source systems are beholden to a limited number of pinholes to set the angles between modules in an array, typically in one-degree or two-degree increments. Once flown, these angles can’t be adjusted without landing the array and reconfiguring the pins. This makes integrators heavily reliant on advanced

OSA Delivers High-Impact Audio to WWE HQ

World Wrestling Entertainment (WWE) brings private events home to its new Stamford, CT-based corporate headquarters, where it seeks to deliver the energy and excitement of a sold-out stadium bout into its stunning, sunlit atrium.

The atrium is a long, tall, and narrow rectangular space with the building’s massive glass façade on the west side and three stories of open balconies on the east, each with a high-resolution LED video screen as its fascia and a fourth lining the top of the space. The central LED wall on the south end spans four stories from the base of the main floor and commands attention from any vantage point.

To design and install a PK Sound T10 robotic line array system for the unique space, the WWE tagged in the team at OSA International, which has offices in Las Vegas, Nashville, and Chicago. The system’s acoustic coverage is precisely tailored to the atrium’s architecture to maximize clarity and consistency.

“We program events like company town halls and parties in our lobby space, which presents some major acoustic challenges,” said Joseph Solari, VP of studio operations at WWE. “The PK Sound solution devised by OSA is configured to keep acoustic energy off reflective

surfaces and focus it only where people are gathered, and the results are truly phenomenal. Our first town hall with the new system was like night and day compared to our previous events, with clean, intelligible, and impactful sound reproduction across the board.”

The main array of eight PK Sound T10 robotic line source modules is installed above the center of the south video wall via a custom rigging solution by Atlanta Rigging Systems, with a column of three T218 intelligent subwoofers flown behind it for ample low-frequency reproduction. From there, variable horizontal coverage is configured on each module in the array and easily reconfigured remotely via PK .dynamics control software.

For events with smaller crowds, coverage can be symmetrically focused only on the ground floor. When the WWE hosts busier events with spectators on the upper floors, sound can be directed asymmetrically to include the crowds on the balconies while minimizing spillage onto the reflective LED screens. Content for the AV system is fed through a range of sources, including The Studios at WWE, the building’s new production facility that’s equipped with five studios and highlighted by a virtual production stage.

Robotic systems allow users to adjust and fine-tune dispersion settings in real time, even after the system is flown. In the vertical plane, they offer an unmatched 0.1-degree of resolution between modules, eclipsing the conventional one-degree or previously best 0.5-degree increments. In larger deployments like arenas and stadiums, this degree of precision can improve sound coverage for hundreds if not thousands of patrons. Plus, a single robotic array can cover a significantly larger swath of the venue without a pullback motor when compared to a conventional counterpart.

A PK Sound T10 robotic line array drives the audio in the acoustically challenging lobby of WWE corporate headquarters.

LINE ARRAYS TECHNOLOGY

Avoiding Reflections

The fixed and typically symmetric horizontal directivity of conventional line arrays often results in a significant portion of the sound field colliding with side walls and other boundaries or obstacles, reflecting back onto the audience or congregation. This increases reverberation, excites the room, and ultimately compromises sound quality and intelligibility. Subsequently, integrators can spend as much or more time and resources on acoustic room treatments as they do on the audio system itself.

In the horizontal plane, robotically controlled waveguides offer variable coverage options—in some cases spanning 60-120 degrees in symmetric and asymmetric configurations—allowing designers to adapt the sound field to the venue’s architecture and drastically reduce impact on reflective surfaces. For example, in a rectangular room with main left and right arrays closely flanked by side walls, robotic arrays can be asymmetrically tapered with the outer waveguide angles uniformly minimized to avoid impact on the walls, while inward dispersion is feathered from narrow angles on the uppermost elements that gradually increase in width with each descending module.

This degree of control is even more significant in spaces with complex geometry and architecture, such as modern-day houses of worship. It can also significantly benefit larger-scale deployments, where the seams between arrays can be minimized down to mere inches to ensure uniform arrival times and enhanced intelligibility.

Reducing Pollution

For installations in or near noise-sensitive environments, the goal is to precisely focus the sound field over the intended coverage area and minimize off-axis SPL levels. Extensive testing and measurement verify that variable multi-axis coverage offers notable SPL reductions in off-axis spaces, along with increased output and overall consistency across the listening area.

axis coverage control enable designers and users to precisely tailor a system in three dimensions. It also allows them to make decisions that positively impact the sound quality in virtually any indoor or outdoor application without the need for drastic DSP. Instead, the users can increase coherency and output by

Variable multi-axis coverage control is an applicable solution for virtually any installed sound reinforcement application. In addition to mechanically tailoring coverage to any space with an unparalleled degree of precision, remote and realtime manipulation enables fast and efficient system reconfiguration in multi-use venues. What’s more, operators can easily recall dedicated system EQ settings for each configuration.

One of the fundamental principles of audio design is the less manipulation of the source signal, the better. Acoustic engineering is a complex and painstaking process. For a better experience with fewer compromises, it is important to ensure the basic attributes of the physical design are correct before digitally addressing a problem.

Robotic line source systems with variable multi-

mechanically directing sound only where it’s intended, avoiding unwanted reflections and spillage. This ultimately provides a more rewarding live sound experience for client and stakeholders.

Shawn Wells is the market manager, Pro AV and live sound, for ACT Entertainment.

Welcome WMAS

How New Wireless Mic Technology Is Poised to Impact Pro AV

By Mark J. Pescatore

Anew wireless microphone technology is on the way: Wireless Multichannel Audio Systems (WMAS). Approved by the Federal Communications Commission earlier this year, it’s designed to allow more mics to operate in the available spectrum while providing greater interference protection. But how does it work and how will it impact the Pro AV industry? To get a technical perspective, SCN reached out to Joe Ciaudelli, director of spectrum and innovation for Sennheiser.

SCN: Technically speaking, what is WMAS?

Joe Ciaudelli: WMAS is a technology for large wireless microphone configurations. It’s a synthesis of broadband techniques (OFDM, TDMA, and TDD) that uses custom components to meet the stringent requirements of professional wireless audio transmission.

Today’s wireless audio technology relies on narrowband radio frequency (RF) solutions, with each audio channel utilizing one transmitter that sends its signal to a mating receiver unit. In this link-based approach, each audio channel operates on a unique narrowband carrier frequency, so 50 different narrowband frequencies need to be coordinated for a 50-channel mic setup. Alternatively, broadband wireless technology is a system-based, networked approach, meaning many mobile devices are linked with a 1 RU base station.

Now, all audio channels are transmitted using a single broadband RF channel with a bandwidth of 6 or 8 MHz, which is the bandwidth of a TV channel. The audio engineer simply uses the WMAS scan feature and selects a carrier frequency for the broadband RF channel (a vacant TV channel) to be configured, and the system will coordinate itself,

with the quality and range that the engineer chooses for the individual audio devices.

SCN: Why is WMAS important or needed?

JC: In 2010, the FCC designated certain RF bands solely for use by broadband mobile providers. As a result, the live event industry has been facing increasing challenges with the limited availability of RF spectrum. The quantity and complexity of large and mega-events is steadily increasing, as is the associated demand for radio spectrum.

Securing enough spectrum for these big events is increasingly causing problems for engineers and event organizers, especially with outdoor events. WMAS technology will reshape wireless audio transmission in multichannel applications for big live events, houses of worship, theaters, broadcast studios, sporting events, and wherever many audio channels are required.

Sennheiser’s implementation of WMAS is a bi-directional wireless broadband technology, which combines microphones, in-ears, and remote control in just one broadband RF channel. WMAS solves many common struggles for sound engineers, including RF fading and dropouts, while maximizing the increasingly scarce frequency resources available across the United States.

These forthcoming solutions will enable a single bodypack to support a wireless mic and in-ear monitor for artists simultaneously. WMAS will free up space backstage at events, taking away the need for large racks of receivers and transmitters—in a 1 RU space, the base station would feasibly handle 32 inputs and 32 outputs. Live audio engineers and frequency coordinators will benefit from additional control, less clutter, easier frequency coordination, and negligible RF fading, among many other advantages.

Additionally, Sennheiser’s WMAS will operate with the transmit power of a single conventional wireless microphone (approximately 50 mW),

regardless of the number of audio channels. Within the capacity limit of the system, there will no longer be any scaling of the total transmit power by the number of devices used.

Further, this transmission power will be distributed over the entire RF broadband channel, so the spectral power density is lowered exponentially. This low spectral power density means that an RF channel can be reused more easily because the required separation distance between systems using the same RF channel is reduced considerably. For example, this would be an asset in multi-studio broadcast production facilities, school campuses, theme parks, or on the different stages of a spacious festival site.

SCN: How long has WMAS been in development and when was it approved?

JC: Sennheiser started the development of WMAS more than 10 years ago. In August 2018, Sennheiser filed a Petition for Rulemaking with the FCC requesting a modification in the bandwidth limit specified for wireless microphones. At that time, Sennheiser demonstrated a prototype system to the FCC’s Office of Engineering and Technology (OET). During the past five-and-a-half years, the FCC monitored further developments of WMAS technology and concluded that it justified the requested rule change. In February, the FCC approved a change in its regulation that now permits the operation of WMAS in the United States.

SCN: How is this better than current wireless mic/ audio systems?

JC: There are many advantages compared to conventional wireless microphone systems. WMAS offers higher spectral efficiency—the ability to transmit more audio channels within a limited block of radio frequency (RF) spectrum. It’s more robust against dropouts. It has greater interference protection than other wireless services that share the same spectrum. You can use the same RF channel to operate in-ear monitors (IEM) and your other non-IEM channels (handhelds and body packs), which can cause issues with conventional narrowband systems. Plus, it saves a lot of rack space. Initially, the goal of Sennheiser’s WMAS developers was to solve the problem of RF fading, the natural enemy of any wireless audio transmission. A

omnidirectional fashion. Part of the signal will reach the receiver antenna via a direct path. A portion of the transmission is likely to reflect off obstacles, such as a wall, floor, or ceiling. The reflected signal will arrive at your receiving antenna with a time delay that can significantly reduce the direct signal due to phase cancellation,

Joe Ciaudelli

Left: A single 200-kHz interferer can be harmful to a dense multichannel narrowband deployment. At least one audio channel is lost; a device operating on a backup frequency is required. If more interference occurs, more channels are lost. Right: The same interferer hits a WMAS deployment. Thanks to the system's frequency diversity and advanced signal processing, the WMAS is robust against this co-channel interferer. If more interference occurs, distributed spectrum sensing and remote control of all devices support the operator in taking informed action.

As research progressed, other advantages of broadband transmission were explored and developed, such as improved spectral efficiency, the easier reuse of an RF channel allowing denser deployments, and the ability for the operator to fine-tune critical parameters such audio fidelity, latency, and operating range of each audio channel.

At the same time, the wireless spectrum, particularly in the United States, has become an extremely limited resource for wireless microphone operators. WMAS technology also enables us to maximize the available spectrum by increasing both channel density and performance when compared to narrowband systems.

SCN: How does WMAS handle interference?

JC: Sennheiser’s WMAS technology implementation will offer constant scan functionality even during operation. All WMAS devices, be they mobile devices or stationary antennas, continuously monitor and measure the used RF spectrum (distributed spectrum sensing). This data is used to report detected interference to the operator and help them react dynamically to the situation. Field tests have shown that WMAS can tolerate an interfering narrowband signal (in some cases multiple interferers). This will give the operator crew at a live event enough time to track the source of interference and have it switched off.

If interference in the allocated TV channel is significant—maybe several interferers are active in this particular RF channel—and it may not be possible to maintain operation, the RF channel can be changed within seconds. Mobile devices do not need to be manually retuned. They will initiate a brief search, and then detect the relocated carrier from the base station. This will cause a short audio interruption of a few seconds, which is nothing if you consider how much time it would take to reprogram several narrowband receivers and associated transmitters.

SCN: Does WMAS have security features?

JC: The WMAS technology developed by Sennheiser is connection-oriented. This means that a mobile device, such as a microphone transmitter or in-ear receiver, establishes a connection to the central rack mount unit, which we’ll call pairing. When a mobile device is paired to the central unit, an encryption key is exchanged. Then it can be coordinated using a permanent remote control channel within the same bidirectional RF channel that is used for audio transmission.

This implies that using a second receiver for listening in on the same RF signal (which is often done today as a sort of safety net) will not be possible anymore. However, it is worth noting that this option will also disappear for legacy narrowband wireless audio systems, as a regulatory requirement to encrypt personal data such as audio will be mandatory in the EU starting in 2025.

SCN: Does WMAS mean that other wireless systems will be phased out?

JC: No. WMAS is targeted for large multichannel operations. Sennheiser will still offer traditional narrowband systems to serve other applications.

SCN: Can you use current wireless mics with WMAS?

JC: Both types of transmission can coexist, but they should be operated on different RF channels if co-located. In other words, the same guidelines for frequency band planning apply as today.

Premium Podcasting

Shure MV7+ Empowers Content Creators with Simplified Workflow

By Wayne Cavadi

Prior to becoming the senior content manager at SCN, I spent a decade covering sports.

While most of that is in the rearview mirror, my fantasy football podcast is still going strong. When Shure released a new microphone that “empowers content creators with next-level recording and streaming,” I had to check it out.

Spoiler alert: I was not disappointed.

Full of Features

The MV7+ podcast microphone comes packed tightly with everything needed to get right into your podcast or livestream. There is a Quick Start Guide, which is just that—short and to the point. I used the USB-C connector to plug right into my MacBook (the mic is compatible with both Mac and Windows, as well as several Apple and Android mobile devices), but there is a XLR output connector should you want to use an audio interface or mixer. There’s also a 3.5mm headphone jack for convenient monitoring and a 5/8-inch threaded mount for use with most stands or boom arms.

The mic itself is loaded with fantastic features, none of which requires you to be a podcasting expert to use, so it’s a good option for that company executive who needs a solid mic for addressing a hybrid workforce via videoconferencing. The LED live meter may be my favorite. You can easily customize the color of the pulsating meter, although I stuck with the preprogrammed red for muting and green for live.

A simple touch of the finger gets you back and forth from muted to live during your show.

Shure’s Voice Isolation Technology separates vocals from background noise, while a real-time denoiser eliminates ambient noise. A new DSP engine, which is already onboarded in its design, takes no experience to use. It includes an auto level mode that automatically adjusts mic gain based on distance and speech volume, plus an adjustable reverb (plate, hall, and studio) with your choice of intensity level. There’s even Shure’s new Digital Popper Stopper, which reduces harsh plosive sounds without an add-on pop filter.

To compare the quality between my original mic and the MV7+ is almost unfair.

been minimal production editing and even less audio editing (translation: none).

The MV7+ integrates with Shure’s free MOTIV Mix Desktop app, providing users the ability to configure all aspects of the MV7+. The software also offers multitrack recording and routing to support users with a greater control of their livestreaming and recordings.

As a no-frills fantasy football podcaster, my audio mixing skills are essentially nonexistent. However, after getting a “tour” of the mic at 2024 NAB Show with Garrison Krotz, manager, global media relations for Shure, I realized the app was very easy to navigate.

Now Hear This

As a journalist, I don’t use words of great magnitude—like epic, for example—lightly. However, the MV7+ sound is of epic proportions. Before I took it for a spin on the podcast, I hooked it up to my work computer and had a Google Meet call with SCN’s own Mark J. Pescatore. He immediately noticed the difference. As a longtime listener of my podcast, he was excited to hear the next episode. While on the same test call, I rolled my chair back about two feet and he still heard me clearly—and still heard me when I rolled back about five feet.

Now don’t get me wrong: For best results, you want this mic somewhere between 6-12 inches from your mouth. However, the pickup distance is not an expectation of typical podcasting mics, so I was

It’s also worth noting that my previous mic was inexpensive—I bought it four years ago when the show started, not expecting our little YouTube show to go anywhere. To compare the quality between my original mic and the MV7+ is almost unfair. I went from “sounding better than a computer mic” to broadcastquality audio and felt like a true podcasting pro.

We had some fun with it—I let me daughter do the intro so I could sit back and see how different voices interact with the mic and MOTIV Mix app. I did not notify either of my cohosts that I had gotten a new mic, but they were both immediately able to tell there was a difference. Mark listened in and added to our YouTube comments that my audio was head-andshoulders superior to previous episodes … and my cohosts, who were still on their older mics.

Just how good is the MV7+ podcast microphone? Since the maiden voyage in June, it has been my 3 and Out microphone. It is an absolute steal for the production quality it provides. Pricing starts at $279 on the Shure website; if you’re new to podcasting, you’ll probably want the $299 desk stand kit to get started. Additionally, if you want to save desk space like me, Shure offers bundles with a boom arm, as well as bundles with headphones.

Whether you’re a podcaster or hosting town hall meetings for your company and clients, the professional feel paired with ease of use that the Shure MV7+ provides is worth the investment. Plus, if you’re a podcaster who is also frequently on Zoom, Google Meet, or any other meeting platform, now you have a mic that makes you sound better there as well.

The Shure MV7+ features an LED live meter.

I took the Shure MV7+ podcast microphone for a spin on my podcast.

TECHNOLOGY NEW PRODUCTS

Planar WallDirector Cloud

An expansion of the WallDirector family, the Planar WallDirector Cloud is a display fleet management SaaS application. As a cloud-native platform, it allows users to remotely manage the overall health and performance of their Planar LED and LCD displays and hardware from a centralized location through standard web protocols. Designed for scalability and security, it requires no additional hardware or software. Aggregating multiple data sources into a secure and intuitive dashboard view, Planar WallDirector Cloud gives users quick access to the information they need to make informed decisions about their displays. This includes monitoring system health and incidents, as well as evaluating and troubleshooting alerts. With Planar WallDirector Cloud’s selection of view options, users can organize their monitoring and routine diagnostics performance, such as filtering by location, priority, or device type.

RGB Spectrum Zio W4008 Series

The Zio W4008 Series of 1 RU video wall processors is the newest addition to RGB Spectrum’s Zio AV-over-IP product family. Four models are available, each with different I/O configurations to meet diverse operational needs. The compact processor is designed to drive up to 8x4K60 or 2x8K60 displays, making it an ideal solution for missioncritical environments. Features include support for a mix of local baseband, IP video, and web-based inputs. A drag-and-drop Zio GUI provides easy configuration of the video wall, eliminating the need for advanced programming skills. It also features live thumbnail previews of baseband and Zio IP sources, along with user-defined presets for layouts and routing. The Zio W4008 Series can be used as a standalone unit or as part of a larger Zio AV-over-IP system, and offers seamless integration with RGB Spectrum’s XtendPoint KVM-over-IP system.

Key Digital KD-WP8-3

Key Digital’s thirdgeneration KD-WP8-3 eight-button, one-gang wall plate keypad is PoE powered and supports Telnet IP control alongside TCP and UDP. The keypad can control any IP-networked Key Digital device.

Control extends to third-party systems and devices through the Compass Control Pro protocol, userfriendly Open API support, or directly from the KD-WP8-3’s integrated IR output and RS-232 port. Additional devices with IR, RS-232 and voltage relay control functionality may also be controlled through integration with one or more of Key Digital’s family of master controllers. Plus, the KD-WP8-3 is compatible with Q-SYS via the jointly developed Q-SYS KD-WP8-3 plug-in. The KD-WP8-3 is programmed by a simple web GUI walkthrough of network settings, button configuration, and event selection, with project import and export, which makes it easy to set up multiple control points or duplicate an entire system.

Extron DMP 44 xi

The DMP 44 xi digital matrix processor is a compact, 4x4 audio mixer featuring digital signal processing with audio signal routing and control. It features four line level inputs and outputs, all offering balanced or unbalanced operation. It offers essential audio DSP tools for mixing, routing, and room optimization, such as gain, EQ, and compression. The DMP 44 xi is ideal for presentation applications that require line level audio matrix mixing with DSP in a small form factor. The DSP built into the DMP 44 xi provides wide dynamic range and utilizes 24-bit audio converters with 48 kHz sampling to maintain audio signal transparency. DSP Configurator allows for intuitive setup of the DMP 44 xi. Several tools are available: level controls, high and low-pass filters, parametric EQ filters, bass and treble shelving filters, compressor, limiter, and ducker.

HP Poly Studio Base Kit G9 Plus

Designed for Microsoft Teams Rooms, the Poly Studio Base Kit G9 Plus is a room solution co-engineered by desktop compute and collaboration teams. The solution includes the new HP Mini IP PC G9 and Poly TC10 controller, which connects directly to the PC with a simple PoE connection, to combine Poly’s collaboration experience with HP’s compute performance. Multiple controllers can be added in larger spaces for greater versatility. Simply pair the base kit with compatible Poly cameras and other peripherals to match the needs of the meeting space. Select Poly devices, such as the Poly Studio V52 videobar, can be attached to the HP Mini IP PC to enable Poly’s AI-driven audio and video features like Poly DirectorAI Perimeter, NoiseBlockAI, and Sound Reflection Reduction to eliminate distractions and frame participants.

JBL Professional Pro SoundBar PSB-2

The latest entry in Atlona’s AT-OME-CS31 Series of AV presentation and collaboration systems, the new AT-OME-CS31-SA-C is a 3x1 AV switcher featuring one USB-C input plus two HDMI inputs to support diverse connectivity scenarios in modern learning and meeting spaces. Sources connected to the switcher’s inputs can be selected and routed to the HDMI output connected to a projector or display. Like other models in the series, the OME-CS31-SA-C consolidates AV switching, USB routing, audio mixing, amplification, and control into a low-profile enclosure sized for placement behind a display, in a lectern, or under a table. The OME-CS31-SA-C’s USB-C input both streamlines connectivity and reduces cable clutter through support of video, audio, data, and device powering up to 60 watts over a single connection. Special features like audio ducking are included for educational environments.

JBL Professional has expanded its PSB soundbar lineup with the Pro SoundBar PSB-2, which adds HDMI and Bluetooth digital source inputs. PSB-2 is engineered to deliver focused audio while minimizing sound transfer to neighboring rooms, making it an ideal solution for hotel rooms, cruise ship staterooms, meeting spaces, classrooms, and additional applications. Specifically tuned for human speech, PSB-2 integrates a front-facing speaker that delivers significantly enhanced fidelity over internal television speakers. The improved clarity at low volume levels ensures that users can hear clearly without the need to increase volume unnecessarily, thereby reducing the likelihood of disturbing occupants in adjacent rooms. Additionally, a twoposition volume limiting switch provides further control over volume levels. Automatic Bluetooth pairing management and the ability to update the Bluetooth name of each PSB-2 can be helpful when

Theory Professional Landscape Loudspeakers

Theory’s new high-performance ic6-Bollard 6.5-inch full-range and iws12Bollard 12-inch subwoofer are the company’s first landscape loudspeakers. Building on Theory’s ic6 Acoustic Core platform, the new ic6-Bollard is the ic6 in-ceiling

Atlona AT-OME-CS31-SA-C

NEW PRODUCTS TECHNOLOGY

loudspeaker installed into a dark chocolate (and paintable) stainless steel Bollard housing. Once integrated, the ic6-Bollard becomes a full-range landscape loudspeaker providing 360-degree of uniform coverage. With the introduction of the iws12-Bollard, the performance of the iws12SPKR—with its 12-inch, 1,400 Watt, 4-inch voice coil long throw woofer—can be enjoyed outdoors. Hundreds of ic6-Bollard loudspeakers can be used for large, distributed installs. The ic6 includes a switch-selectable 70V/100v transformer that can be driven by Theory’s DLC-250.4d 4-channel loudspeaker controller. The DLC-250.4d can drive up to 16 Theory 16-ohm loudspeakers in Lo-Z mode, or up to 64 in Hi-Z mode, all from a 1/2 RU chassis.

Daktronics Data Studio Football

Data Studio Football is a cloud-based, real-time data interface for the collegiate football

marketplace. The solution integrates with Daktronics Show Control and sources data directly from Genius Sports, the official stats provider of the NCAA via NCAA LiveStats. The new offering is part of the Daktronics control solution ecosystem in Venus Control Suite. It ensures seamless access to the information and data that game-day producers want and need so they can deliver an engaging and memorable game - day experience. Available data ranges from offense to defense, player stats for rushing, receiving and passing, situational data such as red zone efficiency, and more. Football is the first sport equipped with this Daktronics Data Studio offering, but the application is currently being developed for other sports.

Sony NXCAM HXR-NX800 / XDCAM PXW-Z200

Both the HXR-NX800 and PXW-Z00 4K handheld camcorders feature AI recognition capabilities, 20x optical zoom lens with auto focus, ND filter, and assignable lens ring and buttons for customization. The new models combine portability, functionality, interoperability, and network connectivity. A BIONZ XR image processing engine and specialized AI-processing unit delivers highly accurate,

subjects. In addition, the 1.0-inch-type Exmor RS CMOS stacked sensor provides high-sensitivity and low-noise capability. The PXW-Z200 adds SDI connectivity and MXF recording (through a future firmware upgrade). The compact cameras feature a foldable viewfinder, removable microphone holder, and foldable 3.5-inch LCD monitor. Versatile file transfer options include HEVC (H.265) and AVC (H.264) codecs, automatic upload to the cloud or an FTP server, and the ability for proxy chunk for high-quality and secure file transfer.

Improving Experiences Across College Campuses

AI-Enhanced Digital Signage CMS Provides Competitive Edge

By Tomer Mann

As competition for student enrollment intensifies, colleges and universities are investing in new technologies to enhance the campus experience. Developing and maintaining digital ecosystems that support campus-wide navigation, communication, and engagement is essential for creating a positive, informed community—and maintaining a competitive advantage.

AV integrators are uniquely positioned to support the growing demand for futureproof, intelligent campus-wide communications, and now is the perfect time to jump in. The education sector is poised for rapid growth in digital signage software, with an anticipated annual growth rate of 21.6% over the next decade.

New AI-enhanced content management software (CMS) innovations can deliver the precise, future-proof digital experiences required to differentiate a campus. AI-driven CMS solutions offer new levels of personalization for digital signage ecosystems. Trained with institution-specific data, the software integrates with hardware across campuses to support wayfinding, communication, and content management.

Streamlining Workloads

Let’s address the elephant in the room: The workload associated with digital signage ecosystems can cause hesitancy for higher education leaders. It’s understandable. With many institutions managing campuses that sprawl hundreds or even thousands of acres or multiple campuses, managing digital signage and communication systems requires significant time investment.

Ownership and access are also a core challenge. While common areas like student unions and visitor centers benefit from a wide-net content strategy, many departments have their own content agendas. Limiting CMS control to one individual or team is simply insufficient to tap the potential of signage hardware across campus. Still, all signage must be unified to ensure that critical information—such as emergency alerts—reaches the full campus.

AI-driven CMS solutions enable digital signage management with minimal manual intervention. When integrated with an institution’s knowledge

base, AI can retrieve information quickly and support template automation, messaging, content design, and scheduling—offering an accelerated approach to content collaboration and consistency. Put simply, you don’t have to be a CMS expert to update the signage playlist.

It also makes updates easier for users across departments, shortening the time and training investment required to create and share compelling content. Hierarchical controls and location-based scheduling enable department leaders to share location or subject-specific content on “their” screens, while still allowing campus-wide messages and resources to be centrally managed and distributed.

The operational support of AI-enhanced CMS extends beyond content distribution. By automating routine tasks, AI integrations can save substantial costs, allowing institutions to allocate funds to other critical areas.

For example, space management is a crucial task for maximizing campus resources. Monitoring space usage, occupancy, and sanitation needs can be complex and time-consuming. With the right integrations, higher education professionals can leverage an AI-enhanced CMS to automate and simplify space reservations for students and faculty via campus screens. From the same backend, administrators can effortlessly monitor space usage, occupancy, and sanitation needs, enhancing operational efficiency and ensuring optimal use of campus resources.

Safety Applications

The advantages of AI-enhanced content management extend beyond the backend, too. Digital signage is essential for sharing information with students and prospects and establishing brand familiarity and consistency across campus. AI-powered CMS solutions improve day-to-day engagements that keep students and visitors involved and informed.

A modern CMS with conversational AI can simplify communications by streamlining content editing tasks. Users can interact with an intuitive chatbot trained with the institution’s knowledge base, making it simple to consistently and accurately disseminate important messages across all digital touchpoints.

AI-accelerated content deployment is especially

vital for emergency communications. A supplement to mobile alerts and verbal announcements, administrators can use the AI-supported interface to quickly distribute alerts and safety protocols across campus signage. This can help provide immediate instructions, minimize threat response times, and unify action to improve overall campus security.

For maximum impact, institutions should ensure that their CMS integrates with emergency alert software like RAVE, Everbridge, and others. These applications are often familiar to the campus community and serve as a core component of campus safety strategy.

Better Visits

While student and faculty engagement are crucial to higher education success, the visitor experience is also important. Navigating a large and constantly evolving campus can be daunting for newcomers and alumni alike. AI-enhanced wayfinding solutions can help remediate visitor pain points while reducing operational strain and minimizing the need for live staff.

When trained on institutional knowledge, conversational AI can instantly connect students with vital information and resources—an alternative to overwhelming internet searches. When choosing the best solution, administrators should identify a chatbot that provides multilingual support and meets ADA requirements to support diverse student bodies.

Moreover, wayfinding solutions equipped with conversational AI can extend beyond physical navigation to include virtual campus tours and orientation materials accessible through mobile devices. This approach not only caters to the preferences of digital-native students, but also provides flexibility for individuals who may be unable to visit the campus in person due to geographical or logistical constraints.

Systems integrators can help transform the higher education digital experience with AI-enhanced CMS solutions. Encouraging decision-makers to embrace these innovations creates a safer and more connected campus. And as campuses expand, these solutions can scale, ensuring that the technology infrastructure remains robust and effective without requiring major overhauls. Moreover, investing in AI integrations now can prepare institutions for future technological advancements, keeping them ahead of the curve.

Tomer Mann is the chief revenue officer at 22Miles.