Sound & Video Contractor - March 2022

MARCH 2022 // VOLUME 40 // ISSUE 3

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SOUND&VIDEO

CONTRACTOR

R E V I E W S | T E C H N O LO GY | A P P L I C AT I O N S

NEW NORMAL MODERN AUDIO AND AVOIP

PRODUCTS-AT-WORK CEILING SPEAKERS DIGITAL SIGNAGE WIRELESS PRESENTATION

MARCH 2022 // VOLUME 40 // ISSUE 3

contents

32

22

FEATURES 32 | New Normal

Supplement

31 | Wireless Presentations New options for collaboration and hybrid work

By Chief Editor Cynthia Wisehart

Case Studies

The SVC Interview

By Bennett Liles Modern Audio and AVoIP combine for new live venue The Eastern

4 | O n the Circuit

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6 | Museum: Modern Museum Control 8 | Restaurant: Sports Signal 10 | Esports: Game Days 12 | Restaurant: Outdoor Platform Tech Showcases

14 | Ceiling Speakers & Ceiling Mics

By Bennett Liles

22 | Digital Signage

By Cynthia Wisehart

Sound & Video Contractor, Volume 40, Issue 3, (ISSN 0741-1715) is published monthly by Future US, Inc., 130 West 42nd Street, 7th Floor, New York, NY 10036.

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SV C ON L I N E.C OM | MA R C H 20 22 | S VC 3

on the circuit

Volume 40 Issue 3

March 2022

WWW.SVCONLINE.COM

I

By Cynthia Wisehart

Find me online cynthia.wisehart@ futurenet.com www.svconline.com/ proav-today

started my career as a theme park designer when Douglas Trumbull was already famous in my world, having set the standard for all we would pursue with the Back to the Future ride at Universal.

Inventor of the 70mm 60fps Showscan film system starting in the 1970s, he shared the large format film-based landscape with Iwerks and IMAX—a true pioneer in both theme park technology and content. Still, as often happens for theme park pioneers, systems would advance from film to digital in his lifetime to things he could have imagined but not executed with the tech of his time. He went on to follow up Showscan with the Magi digital 3D system in 2014, and remained a technical presence until his death, advocating for HFR for six decades and vigorously still in the past year as the rest of us began to catch up.

Though his shadow and innovation loomed over my work in theme parks, and that’s how I picture him, Trumbull simultaneously had a big tumultuous, sometimes thankless, career in Hollywood. Director of the sci-fi classic Silent Running, one of the principal creators of the 2001: A Space Odyssey and Blade Runner effects, among many others, Trumbull had to fight studio politics in the tiny world of cuttingedge effects his whole career. Trails were blazed, hearts were broken, and often he retreated to his longtime compound in the Berkshires–where I once had the privilege to visit–to regroup and create. He was nominated for Oscars, honored by SMPTE, and the American Society of Cinematographers gave him a lifetime achievement award. He was hassled and acknowledged in equal measure—not so unusual for a pioneer. He was a cornerstone of opportunity for my generation of theme park designers. In my experience he was both generous and prickly with his expertise, iconoclastic, committed, and ambivalent, much like many whose minds and egos hover around technology and art.

It’s a common experience in theme parks to visit the seminal attractions and marvel at how old school they seem, forgetting that when they were built they were impossible. Trumbull’s Devils Mine Ride was that for me. I rode it in France at the wonderful Futuroscope—which is kind of a living theme park archive. At the time, I was working on shows that were directly descended from that messy, nausea-generating, latently programmed, lurchfest that blazed the trail. My generation’s work would be the next to age and be surpassed by people who, in their turn, couldn’t have done it without us.

FOLLOW US @SVC_Online https://www.facebook.com/svconline CONTENT VP/Content Creation Anthony Savona Content Director Cynthia Wisehart, cynthia.wisehart@futurenet.com Contributors Bennett Liles Group Art Director Nicole Cobban Art Editor Rob Crossland Production Managers Nicole Schilling, Heather Tatrow ADVERTISING SALES VP/Market Expert, AV/Consumer Electronics & Pro Audio Adam Goldstein, adam.goldstein@futurenet.com, 212-378-0465 Sales Janis Crowley, janis.crowley@futurenet.com, 845-414-6791 Debbie Rosenthal, debbie.rosenthal@futurenet.com, 212-378-0465 Zahra Majma, zahra.majma@futurenet.com, 845-678-3752 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.mysvcmag. com and click on About Us, email futureplc@ computerfulfillment.com, call 888-266-5828, or write P.O. Box 1051, Lowell, MA 01853.

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the buzz CASE STUDY / MUSEUM

MODERN MUSEUM CONTROL Over two hundred and fifty years ago, the first national public museum in the world opened its doors. Since that time the British Museum has cared for more than eight million works of art, historical artifacts, and archaeological finds.

The museum team has a long term technical vision of a standardized and modular control architecture with responsive control access for all the exhibition teams both in house and visiting. To move towards this goal, they selected systems integrator and production company Autograph Sound to update the control system for exhibition audio and video content.

Autograph’s long experience with QSC led them to propose Q-SYS as the audio, video, and control solution.

“Our engineer handled all the custom programming for the Museum and now the two spaces—the Sainsbury Exhibitions Gallery and the Joseph Hotung Great Court Gallery—have their audio, visual and control by Q-SYS,” explains Euan Mackenzie, Business Development Lead of Autograph Sound. “It runs audio while managfrom the wire ing projectors, media players, video For more case studies, visit playback, and PCs via dedicated porsvconline.com/the-wire. table user interfaces. And best of all,

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the Museum’s AV team have been left with a design they can reconfigure to suit their needs, in a language that is easy to understand.”

The nerve center of the Sainsbury Gallery is a Q-SYS Core 110f processor handling all I/O, routing, and DSP across audio, video, and control applications. To accommodate a greater array of audio formats, Autograph took advantage of the Software-based Dante compatibility of the Q-SYS Core 110f, adding a PoE audio converter and interface to convert sixteen analog inputs to the Dante Audio-over-IP networking standard. This massive expansion enables the in-house AV team to better manage the vast diversity of incoming exhibition designs. The Joseph Hotung Gallery was fitted with a Q-SYS Core 8 Flex processor, the compact sibling of the Q-SYS Core 110f, as well as the eight-inch display Q-SYS TSC Series Gen 2 touch screen controller, which allows for simple and straightforward graphical control of all operations in this space.

But control access is not limited to the Q-SYS touchscreen controller. For museum personnel who interact with the public and run exhibits, access must be easy and immediate. “The Visitor Services department is very

much the end user of the system,” says Clark Henry-Brown, A/V Team Lead at the British Museum. “The open-ended structure of Q-SYS let us design a separate iPad user interface for them, which allows them to troubleshoot any problems before escalating to the audio-visual team. If an event or filming is occurring in an exhibition space, they can even mute specific media points, again saving a call to us. Every little bit helps.” Access by multiple, crossdepartmental and visiting teams was also a must, as Henry-Brown elaborates. “During the fit-up phase of new exhibitions, Q-SYS is used as a playback system for audio and does all our speaker processing. Because we house our show equipment in server rooms, there’s a necessity to be able to mix remotely in the exhibition space, which Q-SYS allows. Also, to have full control of exhibition hardware and be able to mix on the fly as we review everything with the exhibition design team is great.

Our previous system did not allow this.”

“Everything sounds much better, due to being able to prepare a design months before the exhibition fit-up and then mix within the space—and the fact that Q-SYS optimizes all the loudspeakers,” Henry-Brown concludes.

the buzz CASE STUDY / RESTAURANT

SPORTS SIGNAL The Bear Trap is Tuscaloosa’s only rooftop restaurant and bar, deep in the heart of Alabama sports country, overlooking Bryant-Denny Stadium (home of the University of Alabama’s famed/feared Crimson Tide). Patrons enjoy a kinetic atmosphere created by the strategic placement of large video displays and projection screens throughout the two-level building, all thanks to a scalable AV over IP system from Key Digital, installed by locally-based expert integrators EMB Pro AV. The Bear Trap co-owner Daniel McCullum wanted to be ready for the winter rush—when the Super Bowl, NCAA’s March Madness, NBA and NHL All Star Games, and this year’s Winter Olympics, make for a dizzying few months of nonstop from the wire games, matches and events.

For more case studies, visit However, as The Bear Trap mansvconline.com/the-wire.

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agement was about to embark on the project to refresh their AV systems, they worried it would prove to be a daunting task to update the unruly wiring and dated cabling infrastructure, consolidate expensive monthly subscription sources for a more economical solution, and modernize the atmosphere, all while staying true to their college sports-bar roots and budgetary needs.

EMB Pro AV’s system design included Key Digital’s KD-IP822 AV over IP encoders and decoders, which seamlessly integrate with the installed third-party Creston control system, providing smooth signal paths and allowing the video system to be used for digital-signage applications. Key Digital’s AV over IP product family offers near-limitless scalability, and leave room for future expansions as often as the restaurant would like.

The result provided benefits for patrons’ experience and the owners’ bottom line.

In addition to the clear picture and audio fans enjoy, “Every month we’re also saving money on the cable bill, because we were able to get rid of about 12 boxes that were previously mounted right at the televisions,” McCullum explains. “That’s a great savings right off the bat. And now with this digital signage we can advertise specials and sell more than we ever have of certain premium liquors just by putting the names up on the displays and letting everyone know to ask for it by name. We’re looking into eliminating our printed specials inserts because the displays do such a better job of reaching everyone in the crowd. We’re really happy with the system and look forward to expanding our AV even further in the future.”

the buzz CASE STUDY / ESPORTS

GAME DAYS The Carolina Gaming Arena at the University of North Carolina at Chapel Hill (UNC-Chapel Hill) is a place for students to come together, find others within the on-campus gaming community, and celebrate student gaming, be it social, academic, or research oriented.

UNC-Chapel Hill has put targeted programming and support models in place to support healthy gaming practices and curtail the negative effects of gaming. The facility is also home to Carolina’s competitive esports teams for Rocket League, Valorant, Counter-Strike: Global Offensive (CS: GO), Dota 2, League of Legends, Rainbow Six Siege and Overwatch.

“We wanted a space that would attract the most diehard competitive player, as well as someone who has no interest or perhaps is a bit timid about entering the world of gaming. We needed a facility that would really wow people and attract them down to the arena to engage with the gaming community here at UNC,” explains Lee Hyde, ResNET director for Information Technology Services at UNC-Chapel Hill.

One primary design goal was to make the arena accessible and friendly not just for players but also for the viewing community. Hyde and his team, therefore, from the wire needed a simple and intuitive control For more case studies, visit system. He envisioned an interface svconline.com/the-wire. that would allow students to grab video

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from any gaming system or PC in the room, bring it to a specific display, and consume the experience of someone else playing.

“We weren’t sure about the execution options or what the experience would look like, but we were pretty much sold on Black Box as soon as we spoke to their team,” says Hyde. “The company’s MCX AV-over-IP system was essentially the perfect solution that we had brainstormed on our own—without realizing it actually existed.” The Black Box MCX products are built on SDVoE technology delivering up to 4K 60Hz 4:4:4 video uncompressed over 10GbE.; the system handles video walls and video extension (point-to-point and point-to-multipoint) on a traditional IT at the low latency required for gaming.

According to Hyde, the most attractive aspect of the Black Box MCX system is that it can be deployed and extended easily and without reliance on a matrix switcher in an equipment closet.

He had limited space available for housing AV devices and didn’t want to add additional cooling for that equipment. In addition to eliminating the need to run HDMI lines, he created a distributed architecture and minimized the amount of equipment that could fail during operations.

“If you have power where you need it to be, you just run an Ethernet cable, connect MCX devices on either end of the network, and you’re

good to go,” says Hyde. “The only requirement of using MCX is that it runs on a 10 Gbps network, and we are a CAT6A campus, so it’s just seamless over the same network infrastructure we already have in place.”

The MCX system controls audio and video signals for nine Samsung 55-inch monitors, three video columns made of up two Samsung 46-inch monitors mounted in portrait mode, and 13 Samsung 4K monitors of various sizes for content distribution across viewing areas.

MCX allows users to handle video and audio separately, so the Black Box system made it easy for Hyde and his team to amplify audio in different zones of the arena without a lot of extra components. Along with audio and video, MCX decoders and encoders handle serial and USB distribution.

Today, when a student walks into the arena, they can use a Black Box touch panel and graphical user interface to select any computer or game console listed on the screen and choose the screen on which they’d like to watch game play. Hyde and his team can customize the appearance of the touch panel and change its configuration over time. With MCX decoders installed in the nearby Carolina House Creative Labs, students can produce content from the arena for streaming on the Carolina Gaming YouTube and Twitch channels.

the buzz CASE STUDY / RESTAURANT

OUTDOOR PLATFORM There’s even more reason to get a seat at the bar of Round Rock Tavern just outside of Austin, Texas. The older, well-established business underwent incredible expansion in the last year, adding an outdoor patio bar on the main floor as well as the roof top.

In addition to libations aplenty, the owners wanted more screens, more audio, and overall, more entertainment. They enlisted Mood:Texas, a well-known AV integration firm that serves multiple areas in the state, with taking the establishment’s simple sound system and a handful of TVs to the next level. The tavern’s order: Put together a distributed AV system comprised of 13 sources (eight cable boxes, two digital signage players, and three HDMI inputs) that feed to the 28 displays throughout the building. In addition, they wanted simple mobile control of all the displays in the main bar as well as the outdoor videowalls for the new patio and rooftop bars. from the wire “It makes perfect sense today to put For more case studies, visit videowalls in these new, big outdoor svconline.com/the-wire.

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spaces where guests are choosing to spend more of their time, but they want to be able to watch multiple feeds at once or see more important championship games over the whole screen,” said Andrew Adams, sales director for Mood: Texas.

The first hurdle was selecting an affordable display that could be deployed outdoors. Because they’re exposed to the elements, outdoor displays would be ideal, but they are notorious for thick bezels, which don’t create an aesthetically pleasing video wall. LED video walls, on the other hand, are cost prohibitive for most bars, costing hundreds of thousands of dollars for an industry that works on relatively thin profit margins. Even commercial-grade video wall displays, though not rated for outdoors, can run into the 50K range.

While that might be doable for some small businesses, putting them outside often voids their warranty, creating an expensive and possibly short-term investment. Mood:Texas was able to shave significant cost off the typical video installation using affordable, consumer-grade displays featuring thin bezels to create a cohesive video

wall. While not weatherproof, the displays are so affordable, they can be easily swapped out.

Because they knew there would be a multitude of displays in the original part of the bar, on the rooftop, and on the patio that would need to access to a variety of sources, the integrator relied on Just Add Power’s AV-over-IP audio and video distribution system. Just Add Power utilizes the facility’s common network infrastructure; HDMI transmitters and receivers are network appliances, so they conform to all networking protocols and standards for wiring and reliability.

Therefore, AV signals are efficiently and reliably transmitted anywhere that data on the network can travel. It is uniquely scalable, no matter how many sources or displays are installed or over a multitude of floors, or how many times they have to be swapped out.

The system realizes just 16 ms of latency from source to screen and supports 4K Ultra HD resolutions and HDMI 2.0 devices with HDCP 2.2. The platform enables seamless switching between any resolution HDMI source as well as

the buzz uncompressed lossless multichannel audio formats, including Dolby Atmos. Just Add Power works with any display—professional or consumer grade—that have HDMI inputs.

The distribution system comes with built-in video wall effects, eliminating the need to purchase an expensive video wall processor or ultranarrow bezel displays. All of Just Add Power’s current HDMI-over-IP devices have a built-in video wall processor that allows integrators to build anywhere from a 2x2 video wall up to a 16x16—or nearly any configuration within that scope. (i.e., 2x4, 1x8, 5x5, 6x2, 6x14, 12x16).

The system can also simultaneously support distribution to a virtually unlimited number of single screens. In this case, a 3x3 video wall was installed in the rooftop space. The patio was finished with a 2x2 configuration.

“Even if we might have to replace a display here or there, the Just Add Power receivers live on,” said Adams. “They out-survive the display all the time. In fact, we use them in outdoor settings all over town. They’re so small, they disappear behind the TV and are protected.”

To distribute TV audio to each area, the integrator installed Just Add Power’s ST1 Sound Transceiver. An audio-only component that functions as either an input or output, the ST1 allows integrators to easily add a stereo audio source to any Just Add Power system, or to extract stereo audio from an existing transmitter. In the tavern, it allowed the integrator to pull the audio from any source and send it anywhere.

In addition, Just Add Power VBS-HDIP707WP2 HDMI wall plate were installed in each area, providing the DJ with a local input that can be distributed as well.

Bar staff control the system with a fleet of iPads running RTI’s Control App. Just Add Power provides free drivers for many popular control systems, including RTI, and an easily accessible API. RTI’s XP-6s control processor—the integrator’s go-to control processing solution—is the brain for activating the capabilities available on the iPad app. With a simple and illustrative GUI, they can send any source to any screen, changing the video wall layouts with a tap.

“Pictures are worth a thousand words, literally,” said Adams. “There are six pages of different control interfaces clearly laid out. One is all audio, with a bunch of sliders and source selectors. One has a map of the whole facility with TV icons, and they can click the display and then

tap the source—the cable box, audio, or digital signage player—they want. Even with the video walls, they don’t have to go through a bunch of complex steps to get the configuration they want or push a button on a video wall processor installed in the back.”

Just Add Power modular and IP-based AV distribution system, paired with RTI, complements the integrator’s leasing options that the bar is taking advantage of as part of Mood: Texas’ AV as a service offering.

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TECH SHOWCASE

CEILING SPEAKERS AtlasIED FAP43TUC-W

By Bennett Liles

The most precise and unobtrusive way to distribute sound in a large interior space, especially those with suspended ceiling tiles has always been ceiling speakers. Hidden away in their perches, these little troupers cover their individual areas and work as the perfect team. With higher spaces, their pendant versions can handle the task and once installed these just keep on working. When wired for area feeds they can be controlled to accommodate live microphones or blast full force for playback sources. These workaday wonders have evolved beyond simple coverage to deliver full-bodied sound.

The AtlasIED FAP43TUC-W 4.5in. coaxial speaker uses the patent pending Safety First Mounting System (SFMS) with t-handles that are integrated into the front of the speaker baffle. This enables it to be rapidly installed into surfaces as thin as sheet metal and all the way up to 3/4in. thickness. A front mounted power tap, including 8-ohm bypass, and a removable 4-pole euro-style connector make installation even easier. Dispersion is 110 degrees.

For background music applications and pure clarity in paging, the Biamp Systems Desono CM60DTD two-way 6.5in. ceiling speaker can deliver with 75 Hz to 22 kHz (-10dB) frequency response and 150-degree coverage. Its

Biamp Desono CM60DTD

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5-position switchable transformer can also switch to 16-ohm low impedance. Fitting it in is easy since the unit can be blind-mounted from below the ceiling and the paintable magnetic grille sticks right on. The coated paper woofer is paired with a 1in. tweeter for low distortion and high SPL. Late January saw the debut of the Biamp Desono DX, a new line of ceiling and surface mount loudspeakers that will replace Biamp’s Desono D Series loudspeakers.

Desono DX loudspeakers integrate the most distinctive features from the D Series — including the same intelligibility, uniform coverage, and the shallowest back cans in the industry — with an edgeless magnetic grille design, uniform voicing across all models, and time-saving installation features. An

Bogen OCS1

additional line of Desono loudspeaker accessories offers even more options to address any installation challenges.

There’s a good solution for sound in both hard surfaced and suspended ceilings with the Bogen OCS1 ceiling speaker. Its 6-1/2in. MDT metal alloy woofer cone adds durability and pairing that with a Biamp Desono DX 3/4in. polycarbonate tweeter provides

TECH SHOWCASE Crestron SAROS IC6TW-T-EACH

ElectroVoice EVID PC8.2

EAW CIS400

45Hz to 19kHz (-10dB) frequency response.

Each unit spreads sound over a 140-degree angle and it can be used in 70V or 16-ohm applications. The back can is heavy gauge steel and requires 11in. clearance above the faceplate when mounted.

The Crestron Saros IC6T-W-T-EACH is a 2-way speaker system with an integral metal back can that meets UL 2043 requirements for installation in a plenum space.

The 6.5 in. polypropylene woofer with damped cloth surround teams with a hornloaded titanium dome tweeter. Two-step toggle clamps speed installation and a tile bridge is included for installation in a droptile ceiling. Capable of handling 125W program power at 8 ohms, this model has a dispersion of 100 degrees and frequency response of 50Hz to 20kHz. Another versatile ceiling speaker model is the EAW CIS400. It includes an integral 70/100V line transformer rated to a maximum of 30 watts. This feeds a recessed rotary switch on the front bezel, and allows selection of 30, 15, 7.5 and 3.7 watt taps.

For use with low-impedance amplifiers or a 150 Hz high-pass filter, there is a second recessed transformer. A detachable plastic cover fits over the transducers inside the bezel. The 6.5in. carbon fiber woofer works with a 110-degree x 110-degree constant

Extron SF28PT

JBL B-81C

directivity horn with a Ferrofluid cooled, 1in. Neodymium dome tweeter.

For somewhat more heavy duty output in a ceiling environment, the Electro-Voice EVID-PC8.2 handles up to 100W and outputs up to 114dB maximum SPL. Its 8in. high-excursion woofer and 1.3in. HF compression driver provide full-bodied 40Hz20kHz sound while the reinforced steel back can, four-point clamp mechanism, and integrated mounting legs make a solid platform.

The tap selector includes 8-ohm/70V/100V operational settings. The white finished unit has a 100-degree coverage angle.

The new Extron SF28 PT pendant speaker takes on projects with higher ceilings with an 8in. long throw woofer and 1.1in. silk dome tweeter. Available in black and white, the SF28 PT is capable of 8-ohm direct or 70/100V operation. Coverage area is an 80-degree cone and the continuous power handling capability is 180W. Each speaker delivers 58Hz to 22kHz frequency response and the exterior is paintable. It can be ordered in black or white and each comes with a 30ft. PendantConnect PCC-2 speaker cable.

Equally effective for in-wall and in-ceiling installations, the JBL B Series speakers are easy to install. The JBL B-8IC 8in. ceiling unit is equipped with an 8in. poly cone woofer and a 0.5in. polymer tweeter for 45kHz20kHz frequency response. Great for tight spaces, these speakers require only a 3.9in. mounting depth and a cut-out template is included. The moisture resistant design also makes them a good choice for bathrooms.

A good fit for a wide variety of places, the KLH Audio Faraday Series F-6600-C has a

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TECH SHOWCASE

KLH AUDIO F-6600-C

Klipsch PRO-16RC

Kramer Yarden 8-T

6.5in. injection molded graphite woofer with butyl rubber surround. This is teamed with a 1in. soft dome tweeter and neodymium motor system. The micro-perf zero bezel magnetic grille speeds installation. Designed to operate with 8-ohm amplifiers from 25W to 150W, the F-6600-C has four dog-leg installation points and takes in the audio signal on spring loaded binding posts.

The Klipsch PRO-16RC was designed with quick installation and high power handling in mind. Its 6.5in. injection molded graphite (IMG) woofer and 1in. pivot aluminum dome ABS Tractrix hornloaded tweeter provide up to 50W program power (200W peak) and frequency range of 63Hz-23kHz (± 3dB). The 8-ohm compatible system covers an angle of 100 degrees and uses bezel-free square and round paintable magnetic grilles along with the SecureFit installation system.

Known for its ability in high frequency dispersion, the Kramer Electronics Yarden 8-T is custom configurable using the stereo/ mono and speech/music selectors. There are transformer taps for 70/100V and a bypass for 8-ohm operation. The 8in. Kevlar cone woofer and four pivoting 0.75in. titanium dome tweeters output 80Hz-20kHz (±3dB) frequency response at 40W RMS and 110W continuous program power. The Yarden 8-T is UL 1480/2043 listed and plenum compliant.

Designed to acoustically match the response of the company’s ES Series of recessed speak-

Niles Audio CM7SI

ers, the Lowell Manufacturing ESP-62TB pendant model can deal with a wide range of architectural challenges. The 6.5in. coaxial driver is mounted in an ABS plastic enclosure with a magnetically mounted top to hide the wiring. The unit’s fine mesh 20-gauge CRS press-fit grille with UV-rated black powder coating lends a professional look while easing installation. Multiple power taps are available for 25V, 70V, and 100V systems along with a 4-ohm bypass switch.

The Martin Audio C8.1T is intended for use in environments with high ceilings and difficult acoustics. An 8in. carbon fiber loaded, polypropylene cone and horn-loaded dome tweeter mounted side by side provide 125W power handling to cover the distance and 90-degree dispersion to facilitate the best acoustic control.

The system is capable of high and low impedance operation with a transformer included.

The steel back can is tough and the unit is Polyswitch and thermal fuse protected.

A 7in. glass fiber woofer cone with a curvilinear profile, glass fiber dual voice coil, and dual 1in. fluid-cooled UltraSilk tweeters are the central elements of the Niles Audio CM7SI

Lowell Manufacturing ESP62TB

Martin Audio C8.1T

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TECH SHOWCASE QSC AC-C6T

Polk Audio V6S

OSD Audio ICE1080HD

stereo input ceiling-mount loudspeaker. The unit’s bridge-mounted stereo imaging (SI) tweeter array directs the high-frequency sounds from both the left and right channels at opposing angles to preserve stereo separation. Deeper bass results from the integrated baffle/frame assembly that increases the cone area. The 8-ohm system produces a frequency response of 55Hz to 21kHz (±3dB).

Featuring a dog leg (L-shaped) mounting system that is part of the frame, the OSD Audio ICE1080HD three-way high definition ceiling speaker requires no special instal-

lation mounting brackets. Its 10in. paper woofer, 2.5in. pivoting paper cone mid-range, and pivoting 1in. Ferrofluid cooled silk dome tweeter combine to handle up to 150W power with extended bass from a butyl rubber surround. The frequency range is 30Hz to 20kHz working in an 8-ohm system.

The Polk Audio V6S Vanishing V Series ceiling speaker is switchable between stereo and surround sound modes. The 6in. mid/ woofer component is a Dynamic Balance composite polymer cone with butyl rubber surround and this operates behind twin .75in.

silk dome tweeters on a swivel mount. The unit provides a total frequency response of 33Hz to 27kHz and operates at 8 ohms. The input signal connects on a pair of gold plated push connectors.

Durability and voice clarity are the central aims of the QSC AC-C6T 2-way speaker.

Equipped with a 4-pole Euroblock connector for speedy wiring, the system has a low-saturation 70V/100V transformer with 8-ohm bypass.

It handles a maximum SPL of 104dB while

TECH SHOWCASE Revolution Acoustics Ubuqui-T360

RBH Sound VM-815

delivering 65Hz to 20kHz response and a -3dB coverage angle of 100 degrees. There is a wide range of power taps and the steel back can and powder coated steel grille make it a tough unit.

For extended low frequency from above, the RBH Sound VM-815 combines its 8in. aluminum cone woofer and 1in. aluminum dome tweeter to span a broad area with fullbodied sound. Its swiveling neodymium tweeters can be angled up to 30 degrees off axis and protection devices built into the crossover circuitry prevent damage at high SPL. This model comes with round grilles but square ones are available. The 8-ohm system produces 45Hz-20kHz (±3dB) response.

Once installed with its three-hook system, the RCF PL 6X coaxial ceiling speaker pairs a 1in. dome tweeter with a 6in. woofer to output 70Hz to 20kHz (-10dB) response over a 100-degree coverage angle. There are four power settings on 70V/100V connections and power handling is 12W continuous, RCF 48W peak. The IP44 system is enclosed PL 6X in a plastic frame with a steel grille and it is available in white or black.

It is recommended that a 24W amp be used at the speaker input.

The Revolution Acoustics Ubiqui-T360 uses a unique approach to ceiling tile speaker installation for sound masking systems with its ability to attach to an existing ceiling tile and accommodate one SSP6 Multiducer. In such installations, a single Ubiqui-T360 with an SSP6 Multiducer can replace up to 9 traditional sound masking emitters. This is primarily for 8-ohm operation but it is also 70.7V and 100V compatible, producing a frequency response of 100-150Hz(– 20KHz). Power handling is 24W unenclosed and 15W enclosed.

The special mounting mechanism Push Lock

by Swarm technology isn’t the only remarkable aspect of the Snap One SIG-78-IC Signature 7 Series in-ceiling speaker. Available in 6in. and 8in. honeycomb fiberglass Nomex woofer sizes, the speaker allows flat response over a wide area with its titanium tweeter, a trait especially important in difficult installation environments. Push Lock secures the speaker with the simple press of a button for the fastest and most secure install on the market. Installation is further aided by the magnetic grille.

The way to go for maximum area coverage and clarity in high ambient sound areas is the Soundsphere SS-110 Page paging speaker.

This 10in. product is known for its 360-degree horizontal dispersion for superior off-axis response and extremely high intelligibility.

For superior sensitivity it uses a Neodymiumferrite hybrid magnet system and it can be flush mounted or for very high ceiling architecture, it can be hung. It comes fully assemSnap One SIG-78-IC

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Soundsphere SS-110 PAGE

bled and ready to mount and connect.

A perfect example of the advances in ease of installation and quality coverage, the SoundTube CM500i 5.25in. ceiling speaker employs a blind-mount, fixed wing mounting mechanism with constant tension design to fit ceilings with thickness from 0.25in. to 1.91in. The six-position selectable tap switch works for 25V, 70.7V, and 100V systems and it includes a low impedance bypass. It also features a tool-free magnetic grille and bezel assembly with integrated safety cable. A tile bridge, conduit plate, Euroblock connector and paint mask are included.

With a powder coated metal grille that can be painted to match any décor, the Speco Technologies SPCBC5 5.25in. compression-molded dual cone speaker is sold in pairs with an integrated c-clamp mounting system. Part of the company’s Custom Builder Series along with their SPCBC6 and SPCBC8, the SPCBC5 handles 50W maximum power with 70Hz-18kHz response. The 8-ohm device is equipped with a rubber surround on the woofer cone.

The Stealth Acoustics LRX-83 is a threeway full-range loudspeaker system designed to blend invisibly into the installation surface.

The paintable active diaphragm face is bonded to the frame of the speaker panel. Installed in a wall or ceiling, the LRX-83 can be finished in latex paint, light wallpaper, fabrics and selected texture coats. It contains a high-power 8in. cone woofer, a 1.18in. direct coupled neomagnet mid-range driver and a direct coupled 0.98in. neo-magnet high-frequency driver.

Soundtube CM500i

Speco Industries SPCBC5

TECH SHOWCASE

Stealth Acoustics LRX83

With the recommended back box installed, frequency response can go below 40Hz. Capable of hiding away while competing with the highest noise environments around, the tough Tannoy CVS 8 BK is a small, 240W matte black speaker. Mounted in a vented, injection molded, paintable front baffle, the 8in. mid bass driver and coaxial 0.75in. high frequency section combine for high ambient noise penetration. A steel cover and strain relief clamping mechanism is included for use with fire rated cabling. Security toggle clamps make for quick and easy installation. Two tile support rails and one C-ring are also supplied.

Big bass moves overhead with the TOA Electronics FB-3862CU high-performance flush-

Tannoy CVS 8 BK

mount ceiling subwoofer. This one includes a 60W 70/100V transformer along with a low impedance bypass. The FB-3862CU is perfect for rooms that are difficult to fill with bass response without using obtrusive floor or shelf subs. The 8in. driver is an oiled paper cone with foam surround and handles up to 100W RMS power with 45-200 Hz (-10dB) response.

The Yamaha VXC8/VXC8W 8in. acoustic suspension speaker is one of three products in the plenum listed VXC Series with easy power taps and 8-ohm bypass. During the installation work a carrying handle makes the whole assembly easy and safe to handle.

The hexagonal design featured on the grille improves sound clarity with unrestricted

TOA Electronics FB-3862CU

woofer movement. A paintable grille covers the entire baffle assembly for a perfect color match with the room. The unit’s 55Hz20kHz response is spread over a 100-degree coverage angle.

Yamaha VXC8 VXC8W

TECH SHOWCASE

Ceiling Mics The ceiling mic category is a dynamic one with technical competition, ongoing innovation, and new ecosystem partnerships.

the HC 400 Series, and the TLS Pro Series. The other module is designed for use with the Extron IP Link Pro Control Processor Series.

In January, the Audio Technica ATND1061 Danteenabled Beamforming Ceiling Array Microphone was announced. Designed in a familiar form factor (roughly the size of a wireless access point), the ATND1061 is easy to install, set up and operate.

It may be used singly or in multiples for larger meeting spaces. The ATND1061 has six individual output channels, which collectively Audio Technica ATND1061 can be configured with up to 32 user-defined microphone pickup zones. Across all the output channels, the microphone’s 90-degree orthogonal beams are capable of focusing on a particular point in space, preventing the pickup of unwanted noise. The ATND1061’s proprietary voice activity detection (VAD) technology enables the microphone to discern between a voice and unwanted noises such as paper shuffling. The ATND1061 features powerful onboard DSP, including automix, acoustic echo cancellation (AEC), noise reduction, automatic gain control (AGC), and four-band EQ. Exclusion zones can be set, as can “Coverage Zones” and “Priority Zones.” An IR remote is also included to allow users to quickly mute the microphone. The ATND1061 can be flush- or surface-mounted in a drop ceiling or hard ceiling, or mounted in open architecture spaces via a standard VESA mount; it’s UL 2043 compliant for plenum spaces. Two network ports can be configured to fit any installation requirement. The ATND1061 is powered by network PoE. Notably, through a strategic partnership with QSC, the ATND1061 is compatible with the Q-SYS audio, video, and control platform.

The Sony MAS-A100 ceilingmount beamforming mic launched almost exactly a year ago for handsfree speech reinforcement without requiring hand-held or body-worn microSony MAS-100 phones and subsequent batteries or device management. Sony touts a combination of beamforming technology and an original feature called Intelligent Feedback Reducer, which can extract speech sound while suppressing unwanted feedback with Sony DSP. After capturing voice, the microphone’s Automatic Gain Control function automatically adjusts the output volume to be consistent regardless of the presenter’s location. It has a dual-channel output that enables simultaneous speech reinforcement and recording of not only the speaker’s voice, but also the students, and participants’ voices.

The microphone also has auto-noise reduction capabilities to minimize background sound from air conditioners and projectors.

The ClearOne BMA 360 Beamforming Microphone Array Ceiling Tile received several upgrades in 2021 including a VESA mount and more recently control modules for Crestron, Extron, and AMX. The Crestron module simplifies integration of the BMA 360 with ClearOne’s UNITE 200, or any other PTZ camera that complies with the industry-standard VISCA control protocol. For Extron systems, one of two new modules is designed for use with the Extron IP Link Pro Control Processor Series, the Media Link Plus Controller Series,

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In November, Sennheiser and AVer announced a partnership to combine the Sennheiser TeamConnect Ceiling 2 microphone with AVer Pro AV auto tracking/ PTZ series cameras, and AVer PTZ Link software. By using PTZ Link and Sennheiser’s TeamConnect Ceiling 2 ceiling array microphone, any AVer Pro AV camera can automatically switch focus among different speakers.

TeamConnect Ceiling 2 is a ceiling microphone with patented automatic dynamic beamforming technology with both a priority zone for consistent audio pick-up and exclusion zones for Sennheiser AVer eliminating noise sources within a room. PTZ Link features IP-based control for easy integration to both cameras and microphones, with no programming required. The software is free and can be downloaded from the AVer website.

In December, Shure and Logitech announced that users can now bring Shure audio to Logitech’s room solutions with Microflex Ecosystem devices. Shure Microflex Advance microphones are supported and tested for use with Logitech video collaboration devices, including Logitech RoomMate with Tap IP, in combination with the IntelliMix P300 Conferencing Processor and Microflex MXN5-C Networked Loudspeaker. Using fully networked pro AV hardware, the MXA910 Ceiling Array and MXA310 Table Array are certified for Microsoft Teams Rooms and Zoom Rooms, while the MXA710 Linear Array is approved for Microsoft Teams Rooms. To make system design and

TECH SHOWCASE

installation as easy as possible, Shure and Logitech have collaborated on a selection of helpful documentation, including a useful quick start guide.

Access these documents and more details by visiting the Shure Microflex Ecosystem Shure and Logitech technology partnership page.

At press time, Yamaha and 1 Beyond announced the ADECIA Ceiling Solution, integrating the Yamaha ADECIA microphone with 1 Beyond’s Automate VX voice-activated camera switching solution for a highly accurate speaker-tracking experience. The integration uses a web-based room design software, which requires zero programming, and is now available for corporate, university, and government meeting spaces. The 1 Beyond camera system shows the active speaker whenever they talk. As different participants speak, the system cuts cleanly from camera to camera, without any observable camera movement or switching. It also features an optional Conversation Mode that shows the two most recent speakers in a side-by-

side view. The Automate VX solution supports up to 12 cameras placed strategically around the room and multiple ADECIA ceiling units, allowing for automatic camera switching in a wide variety of room types, including large and complex spaces. ADECIA utilizes four beams to automatically track voices around the room regardless of table arrangement in multi-purpose spaces. The microphone innovation is designed to overcome the common challenges integrators face with implementation, configuration, and room acoustics by providing all components required for a successful installation and automatic technologies that reduce setup time, costs, and complexities. The system automatically detects components, configures devices, and optimizes audio performance for the room environment — adjusting for reverberation characteristics, echo behavior, speaker/mic position, etc.

ADECIA Ceiling Solution

TECH SHOWCASE

DIGITAL SIGNAGE

By Cynthia Wisehart

AOPEN Digital Signage Players

The role of digital signage systems continues to evolve. As a digital communication platform, it is increasingly driven by content, data, and interactivity, whether it’s part of a digital-first stadium like So-Fi or virtual reception.

The AOPEN DE6340 is part of a lineup of Digital Engine media players for commercial and enterprise solutions. The company says these Digital Engine media players are designed to deliver innovative three-, four- or six-screen solutions for QSR (quick-service restaurant) menu boards, video walls, digital advertisements and traffic/information displays. The DE6340 second-generation 4-port digital signage player is the successor to the DE6140. The newer player

AOPEN eTile

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works with four-panel video walls and UHD menu boards. It’s AOPEN’s first AMD Ryzen embedded processor-based digital signage player with four 4K 60 Hz outputs and HDR support. This continues AOPEN’s use of AMD products to power their digital signage solutions with 4K, rich content and other new technologies. AOPEN’s DE6200, featuring AMD RX-421 embedded SoC, steps up to solve the general lack of triple digital output solutions; it can deliver 4K promotional videos alongside static information like menus and service information. The DEV7610-X6 features an AMD E8860 GPU with six Mini DisplayPorts for multi-screen video wall solutions aimed at premium and corporate locations or critical operations such as control rooms. It features an aluminum front panel.

The latest addition to the AOPEN eTILE lineup, the Android-based AOPEN eTILEX 10 takes advantage of PoE and supports Wi-Fi, offering consistent, LAN-based con-

nectivity. With VESA mounting points, a Kensington Lock, and a port cover to tuck away cables for a clean look, the device can be fastened securely and strategically placed for multiple applications including kiosk. It is certified for Meeting4Display allowing users to use the complete set of administration and management tools available within the supporting Telelogos software. With Meeting4Display, users can book a workspace directly from the 10” e-Tile touch display, from their messaging system or their smartphone, as well as having a complete control of the hardware and any other software elements installed on the device (silent software updates, remote management, hardware and software monitoring).

The Black Box iCompel interactive digital signage platform with system-on-chip technology empowers users to build eye-catching signage, stream content from websites and visualize timetables, events and wayfinding or emergency messages. Users can

TECH SHOWCASE

Black Box iCompel

easily play, upload, and share images, presentations, videos and audio media files on any HDMI screen. The platform supports 4K UHD/HD and simplifies creation and playout of HTML5-based content. To facilitate updates and system management, iCOMPEL allows for remote device management and configuration and provides onscreen diagnostics and error alerts.

Chief provides white-glove direct view LED installation services for its Chief TiLED Video Wall Mounting System. The company says it recognizes risk mitigation is always top of mind when it comes to dvLED installations. From selecting displays and mounting systems to design configurations and securing skilled labor, and Legrand AV installation team provides the

Chief TiLED

Chief Tablet Stand

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level of service needed. The TiLED Solution Services offers three levels of direct view LED support:Assisted Services puts the

Legrand AV tech support team just a click away, with online access to spec and configuration tools like MountFinder and the TiLED LED Video Wall Configurator; Expanded Services offers personalized design consultation with Legrand AV sales, product management, and engineering professionals; Amplified Services includes start-to-finish

TECH SHOWCASE

consultation including customized design, engineered solutions, and labor assistance.

To support the return to public spaces safely, Chief brought the Tablet Floor Stand to market last fall, providing an aesthetic and easy-to-install mounting solution for an array of virtual reception, access control, and wayfinding applications. The stands can be integrated with tablets, temperaturescreening devices, badge, pass, or information printers and other access control devices. Thoughtful cabling and physical security options make for easy and flexible installation.

When a digital signage application calls for distributed TVs—for example in a stadium—Contemporary Research has an AV Over IP ecosystem option. A longtime provider of TV distribution over RF, the company started bringing its expertise to IPTV products; the result is three products—the budget-friendly 1080p QIP-DVX IPTV Decoder/Controller and QIP Encoder, and the IP-DXL Control Center. The encoder accepts MPEG2/H.264 IPTV streams and can handle two separate sources; the decoder/ controller accept MPEG2 or H.264 single program or multiple Epson at digital sigprogram transport streams and PowerLite nage; the long-throw PowerLite are compatible with unicast or L735U L730U and L735U and short-throw multi-cast. The Control Center is projector PowerLite L630SU and L635SU the company’s newest product for have advanced installation features, display control over Ethernet, sending control commands as UDP broadcast data including lens shift, and software tools in a packets to all compatible devices on the net- minimalist, discreet design that integrates work. It can communicate with individual into virtually any environment, such as cordisplays, groups, zones, or all displays using porate experience centers, retail visual mereither: onboard DX Lite web page, propri- chandising and entertainment venues. The etary Display Express Software, or third- 7000 lumens long throw projectors display an image up to a maximum of 500 inches party control systems.

Last year, Epson debuted eight new laser at WUXGA (1920x1200) resolution at 16:10 projectors. Among them were four pitched and ultra-wide 16:6 aspect ratios.The short

Contemporary Research QIP-DVX

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LG GSCD

throw projectors can display a WUXGA image up to 200 inches. The new PowerLite L-series include 5GHz wireless and HDBaseT connectivity. Available software tools add in the ability to edge blend, control and monitor the projectors remotely, and manage content. The new projectors will be available in May 2021.

Last year, LG Business Solutions debuted ambitious new signage lines for indoor and outdoor. The company introduced three new lines of high-brightness outdoor LED Signage displays: the GSCA Versatile Series, GSCC Essential Series, and GSCD Ultra Light Series. With pixel pitches ranging from 3.9mm to 16mm, the six new models are built for outdoor viewing with webOS control, remote diagnostics, and failover protection. The GSCA Versatile Series allows users to combine 1:1 (500mm square) and 2:1 (500mm x 1000mm rectangle) cabinet options to create custom displays. The cabinets are open-frame construction, with modularized data and power, comfortable carrying handles and hand-actuated locks, so installing and dismantling this 5,000-nit LED signage display requires no additional tools, making it equally suited for fixed and

TECH SHOWCASE

Neoti UHD LED

Matrox QuadHead2Go

rental applications. The two GSCA Versatile models each feature an IP65 front/ rear rating and are available in 3.9mm and 4.6mm pixel pitches. The GSCC Essential Series comes in three pitch sizes: 6.66mm and 8mm at 5000 nits, and 16mm at 8000 nitts. The cabinets of the GSCC series can be assembled to configure virtually any screen size including 16:9, 8:9, and 4:3. All three models come IP65 front-rated and IP54 rear-rated. Rounding out these new outdoor models is the lightweight, 10mm pixel pitch,

LG LAEC

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IP65 front- and rear-rated GSCD Ultra Light Series, giving installers and end users additional options when weight is a concern. All three series have an optional 90-degree corner design feature that makes it possible to display content around corners.

In February, the LG 136-inch All-in-One DVLED display (model LAEC) debuted combining a 1080p screen, on-board webOS controller, and built-in speakers. It ships in a professional aluminum flight case on wheels and arrives partially constructed, with two

pre-built cabinets that connect together and can be wall-mounted with included hardware or installed on an optional mobile cart that enables multi-room use. The 72 notebook-sized LED modules snap into the cabinets with a magnetic tool creating a single, seamless 136” screen. The display operates at up to 500 nits and features a 4.6mm bezel, a 1.56mm pixel pitch, and total resolution of 1920x1080. It also supports LG’s One:Quick USB dongle that plugs into any PC or laptop to provide a secure, reliable connection for presentations and media viewing.

Matrox’s QuadHead2Go Q155 multimonitor controllers feature HDMI input support on both appliance and PCI Express card form factors, the units are purpose-built to drive four Full HD displays from a single 4K HDMI source, offering a simple, yet elegant approach to digital signage-based video wall designs. Use multiple QuadHead2Go Q155 multi-monitor controllers to deploy artistic and emerging video walls of any type and size. Last year, Matrox also announced Matrox D-Series, a new family of next-generation, multi-display graphics cards. These single-slot graphics cards drive up to four 4Kp60 displays and can be easily combined to output up to 16 x 4K monitors for high-density video walls. The cards work with the full Matrox video wall ecosystem; when used with QuadHead2Go

TECH SHOWCASE

multi-monitor controllers users can power up to 64 1920x1080p60 displays from one system.

The Neoti UHD direct-view indoor LED video wall options feature a modular design that can be configured into standard custom video wall shapes. The range of 600 nit options includes pixel pitches from .93mm to 4.6mm. All are 5000:1 contrast ratio with refresh rates +/- 2800 Hz in a range of power requirements between 40 and 60 W average and 120-185 maximum. All are 16-bit color.

The Optoma ProScene ZU720T is 4K and HDR10 compatible and features a 1,000,000:1 contrast ratio. Built-in image blending and warping and four-corner correction, as well as 360-degree and portrait installation modes, provide versatility for installation. A fixed, telecentric lens design with full motorized lens-shift and 1.8x manual zoom and focus delivers the flexibility of interchangeable lens solutions at an afford-

Optoma ProScene ZU720T

able price-point. In addition, the ProScene ZU720T features an integrated Android OS and built-in media player. Engineered with DuraCore technology, the ZU720T features a sealed IPX5-certified optical engine for dust-free operation and 24/7 operation capa-

bilities, with maintenance-free projection for up to 30,000 hours in Eco mode.

The Optoma FHDQ130 1080p QUAD LED display is a comprehensive large display solution with 130 inches (2.88 x 1.62 m) of visuals and 4K compatibility. Setup for the

TECH SHOWCASE

Peerless-AV KOF555-1/2/3

Planar MGP Series

Optoma FHDQ130

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QUAD LED display has a simplified threestep installation process, thanks to an all-inone design that includes an image processor, centralized power cage, receiver cards and more. The all-in-one QUAD LED display also comes pre-calibrated out of the box, removing the need for additional software management or separate devices. Uniquely, the QUAD LED display is cable-free. The LED diodes are set in clusters of four with a 1.55mm pixel pitch, which allows for a smoother screen surface, 170-degree horizontal and vertical wide viewing angle. The QUAD LED display also features integrated HQUltra 4K image processing technology for image switching and scaling and is compatible with Optoma’s Control Q application for content management and display from mobile devices.

In September, Peerless-AV announced the launch of an upgraded iteration of its PeerlessAV Outdoor Digital Menu Boards. Designed to support leading 55” outdoor commercial display brands, Peerless-AV’s latest Outdoor Digital Menu Boards (KOF555-1/2/3) offer maximum flexibility at a value-conscious price. The sleek, new Outdoor Digital Menu Board models can support up to three displays to enhance outdoor drive-thru efficiency. These all weather-rated, outdoor units are UL 48 certified and offer a low operating cost, modular design, and a simplified two-man installation process. Compatible 55” outdoor digital signage display models include: Peerless-AV Xtreme High Bright Outdoor Displays (XHB553); Samsung OHF Series Displays (OH55F); and LG XE4F-M Series High Brightness Outdoor Displays (55XE4F-M). Users can customize with options including: Speaker/Microphone Kit (KOF-OPT-SPK); Media Storage Fan (KOF-OPT-FAN); Internal Media Player Shelf (KOF-OPT-SHELF); and UL Rated Electrical Box (KOF-OPT-ELECTRICAL).

Planar MGP Series are indoor fine pitch LED video wall displays that offer frontservice, high resolution visual experiences, at a value similar to tiled LCD video walls.

Available in 1.2, 1.5 and 1.8 millimeter pixel pitches, the series’ LED cabinets feature a 16:9 aspect ratio, enabling each pixel pitch to achieve popular Full HD and 4K resolu-

TECH SHOWCASE

tions. Planar MGP Series is an upgrade option for budget-conscious organizations such as higher education that desire to upgrade legacy projection or LCD video wall technologies. With a mounted profile of less than four inches, the solution is ADA compliant.

Premier Mounts’ Convergent LED Mount Series brings an easy bracket system to LED mounts. Adjustability points across the mount tackle instances of extreme wall unevenness to ensure that no seams show throughout the video wall structure. Connector plates are easy to fasten both vertically and horizontally to build video walls of unlimited scalability. Mounts support an array of panel options; most recently a mount was released for Barco XT. Samsung has a breadth of digital signage

Premier Mounts Convergent LED Mount Series

Dedicated Product Experts:

Professionals Talking to Professionals Full Compass isn’t a call center. We’re a family-owned business that’s been around since 1977 and prides itself on getting to know you. Our team of trained and certified

Samsung QBR

product experts has an average tenure of nearly 20 years in the professional audio, video, and lighting industries.

Your certified Sales Professional is ready to create customized solutions that match your specifications, budget, and timeline for any size project.

Experience the difference .

Call 800-356 -5844 Free Shipping | Free 2-Year Service | Low Price Guarantee | Flexible Financing | Certified Experts

fullcompass.com M AR CH 2 02 2 | SVC 29

TECH SHOWCASE

Sharp/NEC LED-E012i

options for retail including the QBR Series the E Series lineup, the 1.25mm LED-E012i Small Signage Displays. The 13” and 24” module offers a thin and lightweight design standard and touch screen displays allow which allows for greater installation flexretailers to embed small, high-resolution ibility and also meets ADA requirements. digital signage into compact portrait or The 108” diagonal screen features full HD vertical locations throughout the store to (1920x1080) resolution with a refresh rate increase customer engagement and easy purchase. These displays join an ecosystem that includes QLED 8K Displays for in-store high-impact content; MagicINFO, which enables real-time content management from any device at any time; In-Window and Semi-Outdoor LED; Interactive UHD Displays that increase engagement and wayfiniding; LCD/LED Video Walls for check-out to drive loyalty program participation while reducing perceived wait times; Pro TV + 4K UHD Screens to provide personalized, data-driven conVisix Media tent; and Outdoor LED + XPR-B Player Displays providing clear visibility in a variety of condi tions.

Debuting in June 2021, Sharp/ NEC’s LED-E012i module is a costeffective, long-term signage solution for indoor installations in corporate, education, and house of worship environments. Part of

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of > = 3840 Hz and is designed for viewing from 3 feet to an optimal 7 feet. Brightness ranges from 600 cd/m2 to 1,000 cd/m2 with a pixel pitch from as low as 1.2 mm ideal for indoor use. The 108” E Series LED Kit comes with LED modules, power bar, LED controller, mounting structure, overframe kit, as well as spare parts. Front service modules allow for installation in difficult to access areas and pixel cards are hot-swappable and can be replaced without turning the display off. The modules can be built in virtually any configuration.

Visix Media Player features two, three or four-output playback. This model standards the multi-output player lineup on Nvidia Pascal GPUs. It features a 512 CUDA core Pascal GPU, 256 GB SSD storage, built-in wireless and a Windows 1 IoT Enterprise OS. The new player allows clients the flexibility to show two, three or four video streams for scalable digital signage and video wall applications. The NVIDIA Quadro P620 combines a 512 CUDA core Pascal GPU with large on-board memory. The unit is a small form factor device measuring just 7.05 inches wide x 7.2 inches deep x 1.38 inches high, and weighing only 3.1 pounds. It has 8GB of memory, 256 GB SSD storage, builtin wireless and a Windows 10 IoT Enterprise OS.

NEW NORMAL Modern Audio and AV Over IP at The Eastern With Bennett Liles

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he newest event venue in Atlanta is an exciting place called The Eastern. The space needed topnotch video, sound, and lighting so they turned to Music Matters Productions for the whole project.

Director of Marketing Lindsay Schwartz and Director of Special Projects Nauman Lalani have the whole story.

T

SVC: Nauman and Lindsay, good of you to be here with us from Music Matters Productions in Atlanta. I believe you’re in the Norcross area, right?

Lindsay: We are. We’re actually in Peachtree Corners now.

This is a fantastic venue we’re going to be talking about. Very unusual design. But before we start into that, tell us about your company.

Lindsay: We are Music Matters Productions. We’re local to the Atlanta area. We’re a turnkey, full service production house--so all things audio, video, lighting, LED, staging, mobile stages, anything you can think of to help make events happen. Beyond that we’re involved in a lot of different installs in different venues across the Atlanta area as well as the southeast. And we recently launched an XR studio in our warehouse and we’ve started diving into the world of XR. We’ve invested in some disguise servers for really high-quality content creation purposes. So we do a little bit of everything when it comes to entertainment and events.

This new venue, The Eastern, opened its doors only a couple of months ago so you literally got in on the ground floor with the AV plan, sound, video, and lighting. What sort of place is The Eastern and how did Music Matters come into this project?

Nauman: Yes, the Eastern is owned and operated by Zero Mile. They’re a local, really southeast, venue/production house and promoters.

We do almost all of their productions and love those guys and they work with us really well.

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They own Variety Playhouse, Georgia Theater, and Terminal West, so they’ve been in the venue game for a long time. The concept of The Eastern started almost four years ago.

They basically started drawing up plans for this building in probably 2018; that’s when

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we first started looking at drawings and acoustic treatments and stuff like that. Then we hit a pandemic with some delays.

The entire building is a from-the-ground-up live event venue to host bigger shows. It partners with AEG to get more tours in; they split the booking and stuff like that. It’s a 2,200 capacity venue right in the middle of Reynoldstown. It’s a purpose-built venue and holds just some of the best acoustics in Atlanta, but also they have a really nice bar scene. There are five different bars in there.

The guest experience was thought through on every level for pretty much every type of audience. So that’s basically how we got into it.

We’ve been working with the Zero Mile team now and Scott, Sargent, Trent for 10 years now.

Lindsay: Since the beginning.

Nauman: Since the beginning in the Athens days basically. So super excited to work with them again.

It’s an incredible looking place. The acoustics would be interesting because it’s a sort of trapezoid-shaped house which you don’t see everywhere. What was the most significant sound challenge?

Nauman: Yes, that was honestly quite interesting. When I first saw the designs I was like ‘this is being built from the ground up--we couldn’t make it a square?’ But honestly, it’s cool. I love challenges and honestly we have a really great audio team in-house. So basically to fit the location--the land that they got--it made sense to go with that trapezoidal

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shape to allow for more people to enter and exit. It’s part of a complex and the way it joins with the other bars and restaurants in the complex kicks out one side of it--that’s where that trapezoid shape comes into it. So it was quite interesting to see that in the drawings and really get 100 percent audio coverage in that venue. Once we got the drawings, we built it out, rendered it, and started looking at different acoustical options that we had; whether we needed a center cluster, whether we needed more outfills, or a set of delays.

coverage pattern. The K2 system with the Kara 2 downfills turned out to be the most accurate and the most easily deployable system we could propose for this venue. A couple of things with that, we had to tow the motors in about five degrees on the inside to cover the bottom, but then we’re steering the pins on the actual K2 boxes at 35 and 55 degrees, I believe, in the top to cover that trapezoid kickout in the room.

That was definitely a deciding factor between doing it delay hang and really having to pick and choose which way to go.

You’ve got a really wide variety of performers in there. Why did you go with the L-Acoustics K2? I know that’s a very steerable system to start with.

Nauman: Yes. This time we went with L-Acoustics for a couple of reasons. First, the kind of coverage that we’re doing, the wide variety of people and artists that are coming in. We’re going to have country music sometimes. We’re going to have hip hop and EDMstyle shows. So we really had to think ‘what’s the loudest we’re going to make this place and really get that high quality audio coverage?’ So we worked our way backwards looking at what an EDM show would need and hitting about 130 dB SPL. And then we worked our way into the drawing and how we were going to get the

And get a massive amount of headroom in that system for some of those acts Nauman: Absolutely. It’s really nice when we first turned the system on and heard a single K2 in the room, we were like this is great. Then you turn on four amps and you get half the system and you’re like, ‘wow this is already beautiful’. And then you go to the whole system and you’re like ‘wow, we have a lot of fun in here’. When we were calibrating the system we were blasting probably to the point where we were going to have some ear damage, but we have to push the amps. We wanted to see how far we could go. Without a doubt, if anyone says it’s not loud enough in there, well they should come talk to me because we have a lot of disagreements on that

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point. We were calibrating this venue for a couple of hours, and boy, did we get it. We got it really up there. We were pushing the system to about 80 percent, too. We didn’t even try to limit the amps at any point. I should mention that audio in that building has its own service tie-in as well and so they’re isolated from everyone else. So if something happens to power or there are any grounding issues, there is an isolated ground just subbing for audio.

And you have a smaller L-Acoustics A Series I believe up in the rooftop area.

Yes. It’s an A-15 narrow with a wide under it, basically. The venue has a small B stage on the rooftop, about 12x16. It’s like a rooftop bar and it’s open air on two sides. So the idea there was to complement what’s downstairs.

We wanted to give them the same kind of listening experience, but also we’re sending a feed to the rooftop as well when they open it up for overflow. So we can then push the same content from downstairs to upstairs and make sure that we’re not having to change EQs for the system or anything like that. So when you travel from the basement level to the rooftop you get the same experience across the board.

Did L-Acoustics have their people there to assist on the design or the installation?

Nauman: We definitely had a ton of support from the L-Acoustics team. Honestly, shout out to those guys. They helped us quite a bit.

They helped build the entire SoundVision file.

We 3D mapped the entire venue and looked at different options with them, different boxes, different styles of coverage. They were a huge factor in where we ended up today. So BJ (Shaver) at L-Acoustics was definitely a huge support for us.

Where is the control point and what kind of mixer do they use?

Nauman: We suggested going with something that’s pretty rider-friendly and so there are two Avid S6L-24Cs in there, both with Waves servers in them. They’ve got one for front of house and one for monitors so they don’t have to worry about sharing. They’ve got 64 channels that are going to an ISO split.

There’s no gain sharing needed across the board for front of house or for the main PA versus the monitor setup. Everything is pretty

much plug-and-play. There are a bunch of boxes on the wall for sending up to 12 different auxes for the monitors. We’ve got NL4 tieins on the wall for the stage monitors. We went with L-Acoustics X15s for those and those things sound great out there--just beautiful.

And then there are also three isolated L21-30 power drops on stage just for stage power.

How do they handle the stage monitoring since you have so many different kinds of performers?

Nauman: Yes. There’s a W1 that goes from the monitor console to the wall to the patch plate and that patch plate basically runs to a couple different LA4XIs, which drive their stage monitors. So they’re able to have up to 12 independent mixes along with two additional drum subs for left and right, and then one cue wedge if they want a cue wedge. All powered by a couple of LA4Xs and 12Xs that are in the amp room.

That should make just about any kind of act happy with the stage monitoring. I don’t see how you could go any further than that.

Nauman: Yes, exactly. The idea was some of these EDM artists are going to need Texas headphones, so we wanted to make sure that we can drive all of that. But then some of these larger country acts are asking for 10-15 wedges, but they really only need 12 mixes, so it’s like ‘what’s that number that made sense to handle in between?’ So we kind of settled on 12 channels of mixes but then also being able to do a cue wedge 13 and then two drum subs.

The video system in there looks pretty detailed as well. What did you do for video?

Nauman: There’s an AV over IP system in there, in the whole building. And so we worked with Zero Mile and the Echo team to deploy this system. From the beginning, Echo ran Cat 6 to a lot of the green rooms and signage and access points. We went with Kramer’s AV over IP system. There’s a master brain controller that’s sitting in one of the MDFs, and then we have a bunch of decoders that are on the back of every monitor or projector or anywhere there’s an output; it allows us to send video signals anywhere in the building from the rooftop all the way down to the basement level without having to worry about running baluns or anything like that. And so the system is scalable, which was a big priority because they want to be able to add more monitors and additional signage and be able to throw and go more screens later on.

So because it’s all networked, we can just add one more drop and we’ve got a monitor. That’s why we went with an AV over IP system; we don’t have to worry about switchers and matrices, and stuff like that. If you want to add a couple of decoders, you just buy the decoders, get them programmed, and boom, here we go.

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How many greenrooms do they have? You have to feed video to all of those, too.

Nauman: Yes. There are two production offices and then there are three green rooms and a crew lounge, basically. All of those are getting a 4K signal from a stage camera; it’s a Panasonic UE150 PTZ. It looks beautiful in low light conditions. It’s got a one-inch sensor on it. That signal hits one of the Kramer encoders and then the green rooms or the production office or the rooftop are getting that same video feed across all events. It’s honestly a fantastic camera and a fantastic system.

How did you decide on Kramer Electronics?

Nauman: Over the pandemic and really before that, I was looking for a system with a design architecture that is easy but also scalable. A lot of times we get hit with these requests of ‘right now we’ve got a budget for this, but in the future we’re going to want to do this’. The Kramer system is easily deployable and someone else can come after me and service it as well. I’m looking for sustainability and options that are easily adaptable. I actually deployed a Kramer AV over IP system in our own building first to test it out and see how it works and really get behind the prod-

uct. Then for this project I had a massive support from the Kramer engineering team and my sales rep, David Trager. They’re a huge company but they make you feel like it’s a very personal thing. They were with me on the design process for this and we built out a custom app that lets the team at The Eastern control and choose the routing. So say, if you’re in the green room and you want to see this feed or that feed you just push a button and it changes the source automatically. So I picked that Kramer system over everything else because of the support and how easy and scalable it is.

For corporate events, you can even put the corporate logos on those screens.

Nauman: Yes, exactly. Not only that, if I have a logo or a video I want to play on the rooftop but the audio is going to come from downstairs, it’s easy enough because we’ve got encoders set up in all those locations. They could play a video on stage and they could play it on the rooftop and all the green rooms.

They’ve got some even bigger plans for the place. I think they’re going to add digital signage and menus.

Nauman: Yes. They’ve got five bars. Something that was mentioned at the very beginning was the need to scale up later on. That was one of the reasons why we went with the Kramer system. Later on when they do decide to pull the trigger, it’s just a matter of adding more decoders and a couple more encoders to handle the menu boards, the digital signage monitors, and really anything else they can throw out at us. And the entire audio system is built over a CAT 6A 10 gig networking and video is built over a CAT 6 1 gig backbone.

So they are well above curve for these types of venues.

Now that you’ve got this one under your belt and they’ve had some great shows in there already, what’s coming up next for Music Matters Productions?

Lindsay: We’re coming off of a record year.

It’s crazy--2020 was so dead for our whole industry and then 2021 we came back with a bang. So we just are looking forward to

another great year with continued growth. We opened two new locations in 2021 so we now have a warehouse out in Salt Lake City as well as one in Nashville. We’ll continue to grow in those locations as well. Then we’ve got sister

companies up in Chicago and San Francisco.

So we’ll keep on keeping on. Keeping the events coming and keeping the venues happy and continuing to grow in our XR capabilities.

We’re excited to see what 2022 brings to us.

www.halltechav.com

HT-TRK1 •

4K Compatibility Built on Valens VS210 Processor

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Versatile, All-in-One System

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Control and Security

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DSP Mixing Function

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Built-In Audio System

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Power, Video and Control over Cat6a up to 330 feet

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Simple Operation with Web GUI Interface

WIRELESS PRESENTATION TOOLS FOR COLLABORATION AND HYBRID WORK

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* INCLUDING ATLONA • KRAMER • SONY

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WIRELESS PRESENTATION

WIRELESS PRESENTATION TOOLS The AVer AW200 4K Wireless Presentation System is designed for sharing content in conference rooms or as a standalone wireless presentation system in an existing network with no software required. It includes a main receiver and two transmitter pods that enable wireless or wired streaming of media at up to 4K resolution with WPA2PSK Wi-Fi security. It offers onebutton support for various HDMI and Mini DisplaPort devices and is compatible with AirPlay and Google Cast, supports four input sources in split screen mode.

Last June, Barco expanded the Barco ClickShare portfolio with new ClickShare Present products. The first product, the C-5 is designed for huddle spaces and smaller meeting rooms, bringing 4k content sharing into compact environments. The C-10 is intended for any meeting space, bringing interactive collaboration to a range of environments. The solution includes touch-back support, blackboarding, moderation, and annotation.

The BenQ InstaShow S (WDC20), is a wireless presentation system that lets users share ideas immediately from nearly any device. Allowing up to four users to share simultaneously, InstaShow S can boost classroom engagement and enhance collaboration. Its touch back feature

Atlona AT-WAVE 101 The Atlona AT-WAVE 101 Wireless Presentation Platform combines native wireless connectivity for all popular casting protocols with BYOD applications.

Designed for easy content sharing from iOS, Android, Mac, Chromebook, and Windows devices, the WAVE-101 lets up to four presenters display their content on screen simultaneously in dynamically adapting layouts.

“The built-in wireless BYOD capabilities of our AT-UHD-SW-510W and ATOME-MS52W switchers have been very popular with our customers, but we have also seen growing demand for a standalone wireless device for use on its own or as part of a larger AV system,” said David Shamir, Vice President of Product Management, Atlona.

The WAVE-101 directly supports all popular, device-native, wireless casting protocols including AirPlay, Google Cast, and Miracast. This supports ad hoc presentations with no prior setup required, while content encryption and randomlygenerated PIN codes – displayed on the WAVE-101 welcome screen – ensure secure wireless sharing. The WAVE-101 features a patent-pending, Dynamic Layout Mode that automatically adapts the on-screen layout for up to four participants when a new content source is added, a presenter disconnects from the system, or a connected mobile device is rotated between portrait and landscape orientation.

Designed for use in classrooms, meeting spaces, and other collaboration environments, the WAVE-101 is equally adept on its own or as part of an integrated AV solution. The compact device can be installed discreetly near a display for easy, ad hoc content sharing or used in conjunction with a switcher to enhance a new or existing AV system with wireless, multi-participant BYOD connectivity.

While ideal for a wide range of presentation and collaboration purposes, the WAVE-101 offers value-added features designed specifically to enhance learning experiences in educational environments. Instructor Mode, accessible through the WAVE-101’s web interface, enables easy management and moderation of multiple active and queued student presenters. Additionally, sessions can be streamed live over YouTube for remote learning, while integrated playback of locally stored images, media files (up to 4K at 60 fps), and YouTube source content enables easy incorporation of supplemental lesson materials.

The WAVE-101 features a configurable firewall and supports industry-standard network security features and protocols including WPA2-PSK and AES128 encryption. The device’s integrated Wi-Fi access point can also be firewalled from the customer facility’s LAN if desired for security purposes. Multiple WAVE-101 devices can be remotely configured, monitored, and managed over the network through the free Atlona Management System (AMS) software, part of the company’s Velocity System AV control and management platform. Additional integration convenience features include programmable IP display control and support for URL-based digital signage platforms as input sources.

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WIRELESS PRESENTATION Kramer EDU-HYBRID

helps presenters focus on the audience by allowing them to control a laptop via a touchscreen.

It also incorporates strong security features to ensure content is safeguarded.

The Biamp Modena Hub is a wireless presentation hub that supports the new ways in which people are increasingly accustomed to working.

Ideal for BYOD and BYOC spaces, Modena Hub allows participants to connect to meeting room AV equipment and USB accessories wirelessly, as well as enabling any participant to wirelessly

Kramer has two new hybrid education solutions—Kramer EDU-Hybrid-ZR and Kramer EDU-Hybrid-1—designed to help teachers get back to the classroom with real-time solutions.

EDU-Hybrid-ZR creates an intuitive learning environment with one display utilized for video conference participants, and a second separate screen for sharable lesson content.

This supports up to 4K resolution and can be combined with any of Kramer’s powered speakers for clear audio and an immersive learning environment.

Using a dedicated Kramer KT-107Z touch panel, teachers simply launch Zoom Rooms to begin the session.

EDU-Hybrid-1 is a software agnostic wireless presentation and collaboration solution that enables teachers to easily connect and present lessons from any wireless device to in-class and remote students simultaneously. Lecturers launch their preferred Windows-based video conferencing platform and automatically connect to professional grade microphones and speakers to enhance the two-way communication. This integrates with their preferred in-room teaching displays including projectors and interactive whiteboards and provides access to cloud storage for saved documents.

Both solutions facilitate unique integration with Kramer Control to allow all classroom devices to be controlled from one user interface, streamlining the presentation process.

VIA GO

receive its AV streams during a video conferencing session. Modena Hub supports most UC software and hardware devices, while enabling the user to wirelessly share content with other meeting participants. Modena Hub also connects to AV peripherals via USB and HDMI and can support multiple USB devices via a standard USB hub or by connecting a Devio SCR-20 or SCR-25.

The Black Box Coalesce Professional Wireless Presentation System is an all-in-one scalable videoconferencing and wireless presentation system that lets remote teams collaborate like they’re in one room. It extends upon the functionality of the popular Coalesce Meeting Place Edition (MPE). Coalesce Professional features include splash screen customization and central deployment/management. Coalesce is donglefree and security-minded, existing outside the

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VIA GO² gives iOS, Android, Chromebook, PC, and Mac users instant wireless connectivity with 4K advanced presentation capabilities. The product features content streaming, video playback, and includes iOS, Windows, and Android mirroring.

VIA GO² is compact (7x7cm) and flexible to install with both built-in Wi-Fi and LAN connectivity and includes 1024-bit encryption for secure use on the internal network.

Easy wireless sharing is enabled from any device by using either the VIA app, a web browser such as Chrome or FireFox, or by using standard Miracast or Airplay protocols, directly from the built-in wireless capabilities of the VIA device.

VIA GO² supports up to 4K30 resolution using the VIA app Multimedia feature. Two participants can simultaneously present content on main display, and distance participants can share content using Chrome and Firefox web browsers.

The product is also natively compatible with VIA Site Management (VSM) Software and VIA Pad for enhanced management.

The VIA GO2 features a 4K HDMI output and secure content sharing, and its compact size enables flexible installation, like mounting behind displays. Its powerful features make it well suited for a range of applications, including presentation environments, small- to mid-sized meeting rooms, classrooms, and huddle spaces.

WIRELESS PRESENTATION corporate network with a multi-layer protocol with high bit length encryption and a PIN option.

In August, Crestron announced an update to its Crestron AirMedia Presentation Systems. The three products joining the AirMedia portfolio are the AM-3100 Receiver, AM-3200 Receiver, and the AM-TX3100 Connect adapter. The AM-3100 Receiver is an entry-level option that supports wireless presentation on the secure AirMedia network.

It’s intended for smaller applications such as huddle spaces, education, and stand-up spaces.

The AM-3200 Receiver, an updated version of the legacy AirMedia device, brings additional features, including an audio output for interfacing with room audio, DUAL LAN network, HDMI input to support wired and wireless presentation on a single room system, and RS232 and IR ports for built-in display control. The AM-TX3-100 Connect adapter enables wireless sharing without cables or connection to an enterprise network. It eases the sharing process for guest presenters, who can easily connect and present without the need to download software or connect to the network.

The Epson Let’s share ELPWP10 and ELPWP20 enable wireless connection to any flat panel or projector display via the wireless transmitters, Epson’s iProjection app or Miracast, from any source laptop/mobile device. Security is ensured via AES-128 encryption. The ELPWP10 connects any source device directly to a select range of Epson laser display solutions, with users simply plugging the wireless transmitter into their laptop. Other mobile devices can also be connected using the iProjection app. Both the ELPWP10 and the ELPWP20 allow content to be displayed from four different devices simultaneously, making content sharing a seamless experience.

The Extron ShareLink 250 Series Wireless Collaboration Gateway enables anyone to present content from a laptop, smartphone, or tablet on a shared display. ShareLink technology provides simultaneous presentation of different types of content from up to four per-

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sonal devices. The gateway is available in two models: the ShareLink 250 W wireless model includes an integrated dual-band wireless access point - WAP to create a stand-alone wireless collaboration and presentation system or to add wireless capabilities to a more traditional wired solution. The ShareLink 200 N network-version does not include a WAP, and works in concert with a facility’s existing wireless network.

The Intel Unite system allows users to create a scalable conferencing solution with a standard PC—so long as that PC is an Intel I5 or better for the advanced video encoding features it provides. It was conceived with features that make it well suited to a contactless world. The platform’s remote capabilities, either through Protected Guest Access or a UC such as Webex, connect users across physical distances. The Intel Unite software is also open platform, which allows participants to use their own device to share content utilizing several standard UC apps.

Lifesize Share supports real-time screen sharing for meetings, digital signage, and whiteboards from mobile devices in real-time, allowing users to play a video and control presentations from personal mobile devices.

MaxHub P22MB Smart Lectern podium incorporates wireless connectivity, eliminating many of the cables typically encountered in meeting/presentation environments. From the podium, presenters can control their entire presentation system, including the integrated lectern microphones. This is accomplished via the podium’s innovative 21.5-inch interactive touchscreen. With this display, presenters have full control of, for example, their Microsoft PowerPoint presentation. And right from the screen, they can annotate important points without having to use a mouse. The P22MB podium also features pre-installed white boarding and collaboration software, along with wireless sharing that enables a laptop to be easily included in the presentation.

Mersive Solstice 5.4 released in January for better performance and reliability across a range of enterprise and education environments.

Solstice 5.4 adds automatic disconnect based on proximity, with audio support for Android screen monitoring. Expanded AV device support

WIRELESS PRESENTATION

with LLDP for PoE+ power negotiation as well as upcoming meeting notifications.

The Panasonic PressIT Wireless Presentation System is a plugand-play wireless presentation system for sharing content between different PCs. Attendees simply connect the transmitter button to their PC’s USB and HDMI ports and press the button to share their content on the room’s

display. No network setup, software or driver installation is required.

PressIT allows up to four presenters at a time to display visual and audio content. There are two versions: basic with the set-top-box, or cable-less with the SDM receiver. The SDM receiver was designed to fit perfectly inside the Intel SDM expansion slot of the displays.. For displays and projectors without an SDM slot for the receiver, a set-top-box version can be connected to the device.

ScreenBeam Conference is a softwaredelivered solution now available with every ScreenBeam 1100 Plus wireless display receiver. Host devices are automatically connected wirelessly to room cameras, microphones, and soundbars. Users can override the meeting room system to use their personal choice of video conferencing tool, as well as launch and drive the UC meeting from their personal device.

WIRELESS PRESENTATION Recently acquired by Audinate, the Silex lineup includes the Silex Z-1 Wireless presentation appliance. With no accessory, or application installation it supports AirPlay for iOS/macOS, Google Cast for Android/ChromeOS, Runtime Application for Windows Pairing mode, Distribution mode, and Screen sharing mode for Windows.

In January, the TEKVOX ShareView Wireless Pro System (79060-WPSPro) for wireless BYOD videoconferencing debuted. The new device follows the introduction last year of the ShareView Wireless Presentation System for sharing content wirelessly. Designed to provide BYOD videoconferencing, the new plug-and-play system requires no software downloads. Up to four people can present simultaneously. It features USB pass-through so that connected laptops can utilize USB cameras, microphones, or speaker bars connected to the base unit. The ShareView Wireless Pro comes with two small HMDI or USB-C hard-

ware transmitters which sit on the tabletop and connect the system to a laptop. The new system supports 4K resolutions as well as connection via AirPlay for Apple devices and the free WirelessMedia2 app for Android devices.

WolfVision Cynap Pure Pro supports AirPlay, Miracast, and Chromecast screen mirroring, so no apps, buttons, dongles, or extra software are needed when sharing content from any smartphone, laptop, or tablet.

Yealink RoomCast works with Yealink Wireless Presentation Pod, Miracast, AirPlay, and Google Cast, realizing 4K ultra HD multisharing experience and supporting collaboration features including whiteboard, annotation, and intuitive remote control as well. It supports 4K/60fps performance, compact design, and options for PoE or DC power supply.

Sony PRO BRAVIA DISPLAYS In a wireless presentation world, the Sony Pro BRAVIA displays have mirroring capabilities, Chromecast built-in, and Apple AirPlay2, offering wireless connection from a user’s device and allowing participants to simply control, stream and share content.

With screen sizes of up to 85 inches and slim, impactful 4K displays, even the people at the back can see the detail—perfect for socially distanced meeting rooms. The FWA-CE100 USB camera can be mounted easily on BRAVIA displays, capturing finely detailed Full HD video and highly directional sound in meeting rooms and huddle spaces. With optional WQ-BM1 Meeting Room software, the FWA-CE100 offers a cost-effective all-in-one video conferencing solution for business, and wireless presentations are also available at their best to attendees on the far end of a video conference.

With Sony features for business, users can streamline meetings with the WQBM1 scalable all-in-one information-sharing and display-management solution that’s ideal for smaller and medium-sized businesses. A professional accent can be added to meetings by displaying a corporate logo, welcome message, or web page, together with the name of the room, booking schedule, and other information, and users can wirelessly share screenshots, pointer movements, and hand-drawn annotations between displays and their own devices using the Meeting client app.

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OPEN MIC

EDID SUPPORT IN IPMX

By Andrew Starks

W

hen it comes to cables in consumer electronics, there is a high premium placed on making sure technology “just works.” We’re familiar with this concept from USB but consider your lowly power cable. At first glance, the type of connector used by the manufacturer might seem arbitrary. However, the IEC 60320 standards for power cords lays out very specific maximum current and temperature specifications that are different for each connector shape. In this way, if you lose a power cable for your alarm clock or high-performance network server, you can replace it with another one from the hardware store and know that it won’t start a fire and that your alarm clock or server will “just work.”

In the realm of video, achieving this ideal came gradually. In the olden days of computer video, you could literally damage the components in your monitor by supplying a video signal with a horizontal frequency that was too low. What’s more, calculating the allowable timing for your CRT monitor and entering those values into your operating system was anything but a “just works” experience. Today, plug a monitor into your laptop and you will expect to see video on the screen and hear audio through your speakers without fiddling with configuration. Your laptop and your monitor will negotiate the most optimal settings and even allow you to override its selection with an alternate mode supported by your display, should you choose. Thanks in part to EDID, and its replacement DisplayID, this works perfectly… almost always.

In the professional AV world, where complicated setups are the norm, EDID’s limitations can become a big challenge. For example, throw in a distribution amplifier or multicast with AV over IP to drive multiple monitors, and you’ll begin to understand the pain and frustration of your average professional AV installer. This is because EDID is designed for simple one-to-one connections, and everything beyond this is done with hacks that are not based on standards or best practices. As a result, there is a small cottage industry of donkey-knuckles (aka dongles and dohickeys) designed to fake out source devices, replacing the EDID information that the source device would normally receive from the monitor with whatever the installer wants. Believe it or not, these kinds of workarounds represent the state of the art in AV over IP installations as of 2022.

For IPMX, AIMS saw an opportunity to improve this situa-

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tion dramatically by thoroughly supporting content negotiation between sources and displays, especially in multicast scenarios.

With that goal in mind, AIMS reached out to its partner organization Advanced Media Workflow Association (AMWA) with a set of requirements. As a result, AMWA is developing a new specification called NMOS IS-11 Flow Compatibility Management.

Along with other important AMWA specifications, IS-11 defines how NMOS Senders negotiate with one or more Receiver devices connected to displays that use EDID, and eventually DisplayID. To roughly illustrate how it works, consider the simplest scenario: one encoder that can send IPMX video and audio (Sender) and one decoder that can receive IPMX video and audio and display it on a monitor (Receiver). The Receiver detects when a monitor is attached to its output using HDMI’s signaling facilities and reads the EDID information. The Receiver then maps the EDID’s timing, video, and audio profile data to a receiver capabilities endpoint (a URL) on an NMOS resource. These Receivers now contain a list of all the video or audio modes supported by the attached monitor. When the user connects a Sender to one of these Receivers, the NMOS controller gets this information from the Receiver and gives it to the Sender. If the Sender can support one or more of the modes it receives, it’s configured and ready to make a connection. If a controller attempts to change the flow to something that is not supported, the Sender shuts down the flow and returns an error. So far, this mirrors how HDMI works.

Now imagine there are multiple monitors. In the case of video, the NMOS controller retrieves the receiver capabilities of each connected Receiver. Typically, the controller would combine them into a constrained set that all monitors support. However, it could alternately use custom logic to determine how mismatched capabilities are handled or further constrain the choices, as desired by the user. With this constrained set, the Sender can pick a mode that every monitor can support or fail if it can’t.

Hidden in these examples are the gory details and exceptions that the IS-11 group must address, thanks to the rocky world of real-world EDID implementations and the ever-increasing variety of displays. Guided by the feedback received from integrators, customers, and manufacturers, the group is confident that they can deliver a robust and deterministic way of managing one of Pro AV’s thorniest issues.

Andrew Starks is Director of Product Management, Macnica and AIMS Board Member\Marketing Working Group Chair

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