Residential Systems - August 2025

FEATURING

• Upgrade Your Shade Sales Strategy

• Managing Home Theater Expectations

• Tech Showcase on AV Receivers

CREATING SHADE CHAMPIONS

Retain Top Team Members By Turning Them Into Shade Specialists

FEATURES

22 Tech Showcase — AV Receivers

The AV receiver remains at the core of any high-performance entertainment system. This gallery showcases recently introduced models that include cutting-edge features such as HDMI 2.1 support for 8K video pass-through and 4K/120 Hz gaming, as well as compatibility with a host of immersive audio formats.

Review

SoundTube DSM-16 Dante Audio Matrix

SoundTube’s STNet system definitely demonstrates that Dante can successfully transition from commercial to residential, and the DSM-16 brings a lot of simplification and improvements with it.

By John Sciacca

16 Growing From the Inside Out

Why turning a team member into a shade specialist is the best retention tool you haven’t tried.

By Maren Gehling, Director of Sales, Custom Home & Integration Strategic Partnerships, Hunter Douglas

20 You Don’t Sell Shades; You Manage Light!

How to upgrade your shades sales strategy beyond luxury installations.

By Bob Doolin, President, IUS Shades 24 Integration Guide to Home Theater

How today’s AV tech helps integrators create top-notch cinema systems in all kinds of spaces

By Karen Mitchell

I Read the Newsletter Today, Oh Boy

BY ANTHONY SAVONA

With apologies to John Lennon, that headline came to me the other day as I was going through that morning’s various newsletters in my inbox, and, like many of you, I had quite a few. Of course, we all subscribe to a bunch — for today’s multifaceted, ultratargeted information needs, the newsletter is pretty much the perfect delivery tool.

Need a snapshot of the day before brought directly to you in a 5-to-10-minute scan? Done. Want more information on a topic? Click on thru. Less detail on another topic? Well, you can’t unsee it, but you can certainly quickly scroll past. And why settle for a section of a newspaper when you get an entire newsletter devoted to a single topic!

I confess to being torn between my summary newsletters that link out to multiple longer stories and the Substack-style ones that give me a single, full article right there in the email. Both have their benefits, depending less on them and more on how much time I have in a day.

The reason for bastardizing a Beatle song lyric and pondering my newsletter consumption is because, in addition to being a reader, I, again, like many of you, am a newsletter creator. So, in addition to my personal preferences, I need to consider the audience to make sure I’m providing a useful tool and stay out of the spam folder.

There was a time when I didn’t think much about the format of the content — the mission was to put out the news and exclusive articles every day. Then, in 2019, the B2B division of Future, where Resi lives, acquired SmartBrief, which is a company that made its living solely from newsletters. Not only did they have a proprietary backend system that we would shortly be moving to, but they also had a lot of research into best practices that informed the best way to serve their markets — and what features to add to their ecosystem.

It was eye-opening to go from thinking about just what people would receive to how they would experience it. It was also the opening of a rabbit hole I have yet to reach the end of.

The Resi SmartBrief, our 3x weekly newsletter, just got a bit of a facelift, which I am sure you noticed (you do subscribe to it, right?). That was a cosmetic change, but some different story structures will be added soon. I have also learned I can embed full videos in it, as well as ask trivia questions, so look for more of those kinds of things soon. Because, why not?

Of course, having relevant and possibly enjoyable content inside the newsletter doesn’t help those who receive the newsletter but don’t open it, which is possibly my biggest conundrum on this topic. It’s got to be about the subject line, right? I’ve tried direct, I’ve tried cutesy, I’ve even tried NY Post-style puns, but the open rate doesn’t differ much from day to day.

I would love to hear from you about how you create impactful newsletters and what your biggest open-rate successes have been. Oh, and if you’d care to tell me what you’d like to see in future Resi newsletters, I’m all ears.

[Ed. Note: I know I typically like to come full circle in these conclusions, so I should re-reference “A Day in the Life” again, maybe using the last line of the song, “I’d love to turn you on” instead of the “all-ears” thing, but that seems creepy. Can we all just imagine we hear a single, resonant chord played out until it naturally ends after what seems way too long a time?]

CONTRIBUTORS

KATYE MCGREGOR BENNETT

Katye McGregor Bennett is chief strategist and CEO of KMB Communications and an avid podcaster. Podcasts include Connecting Tech + Design and AV Trade Talk.

MATT BERNATH

Matt Bernath is a CE veteran with more than two decades in retail, wholesale, CI, and business coaching. In 2021, Matt and a group of partners acquired VITAL, and Matt now serves as the company’s president/CEO.

ANTHONY GRIMANI

Anthony Grimani is president of Performance Media Industries, an acoustical engineering firm specializing in home theater design and calibration with offices in San Francisco, Los Angeles, and Paris, France.

MAREN GEHLING

Maren Gehling is director of sales, custom home & integration, at Hunter Douglas, where she has driven smart home innovation since 2012. Under her leadership, the Custom Integrator Program has grown to support over 500 pros.

JOHN SCIACCA

John Sciacca is a principal with Custom Theater and Audio, in Myrtle Beach, South Carolina. In his free time, he blogs prolifically about the CE industry. cineluxe.com

MICHAEL LIBMAN

Michael Libman is sales vice president, custom integrators, for DMF Lighting. He believes lighting is about enhancing the elements that people love about their homes.

Relatable Beats Perfect

In a world of paid influencers, filters, and flawless feeds, it’s real-life moments that win hearts and new clients.

BY KATYE MCGREGOR BENNETT, KMB COMMUNICATIONS

Let’s call it like it is: Your clients are not looking for a Hollywood production when they scroll through your Instagram or tap through your Stories. What they do want is something real. Real people. Real stories. Real behind-the-scenes chaos. And yes, even real mistakes.

Polished Is Out. Personality Is In.

Thanks to AI-generated content, deepfakes, bots with better grammar than most of us, and curated feeds that feel more aspirational than attainable, people have become digital bloodhounds for authenticity. The more “flawless” your content looks, the more likely it is to be swiped past. But show a team member in a crawlspace, a project that’s mid-build and a little messy, or a client testimonial that includes a dog barking in the background, and guess what? Engagement spikes.

Why? Because it’s relatable. And relatability builds trust. People don’t buy what you do. They buy how you make them feel while doing it.

In a recent HubSpot report, 82% of consumers said they were more likely to trust a brand if its social media felt “human and unscripted.” Let that sink in. You don’t have to be slick. You have to be you.

The Rise of Behind-the-Scenes Gold

Want to turn one project into 10 pieces of content? Start capturing the process. Not just the finished beauty shots with moody lighting and a wide-angle lens (although, yes, keep doing those, too), but the stuff that happens before the ribbon gets cut.

Snap a photo of the gear staging. Do a walk-through video while electricians are roughing-in a home. Interview your lead tech while they’re knee-deep in configuring a router. Post the warehouse dog taking a nap next to a pack-out kit. These moments show the care and effort that go into each project, and clients love knowing that they’re not just getting a product, but a team that’s in it with them.

Remember, most homeowners have no idea how complex the work you do is. Showing behind-the-scenes work in a fun but always professional manner puts it into perspective. Humor makes it memorable. Of course, keep it clean and always get written permission to capture photos and videos, ensuring your team knows the boundaries and potential legal ramifications.

Meet the Team (No Headshots Required)

We spend so much time showcasing the technology that we forget the people behind it. Sure, giant subs in dedicated theaters are impressive, and well-executed lighting scenes are like magic, but what did it take to make it all happen, and who was involved?

Introduce your techs. Let your programmer talk about why he always brings extra snacks on commissioning days. Feature your warehouse manager’s favorite delivery driver. Let your junior installer share what it’s like pulling cable for the first time in 90-degree heat.

These stories don’t need heavy editing or high-end production. They just need to feel real. When clients get to “meet the team” before they ever shake a hand, trust builds faster, and you’re no longer just a logo — they know you.

Pro tip: People-forward posts can be a great tool for attracting jobseekers to your company. The more relatable the potential experience is, the more likely they are to reach out or respond.

When Tech Flubs (And You Handle It Like a Pro)

Show a home and narrate how the clients wanted a simple, voiceassistant-controlled system with connected speakers throughout the home and outside. Show it being tested by your team and working flawlessly. Then show how, during the final walk-through, you queue it up to ask for Jazz music. Instead? The assistant misheard, blasting Gorillaz music everywhere, including the patio where their parents were (previously) enjoying a quiet afternoon. The client? Instead of freaking out, they cracked up. Why? Because the tech leading the walk-through made a quick joke, calmly explained how to emphasize phrasing when delivering verbal commands, and confidently got things back on track (and then promptly shifted to the app to show them how easy it is to use). That story? Pure gold for social media. It’s human. It’s funny. It shows expertise, grace under pressure, and — most importantly — it builds an emotional connection. The kind that turns first-time clients into raving fans.

The ROI of Being Real

Let’s talk numbers. Personality-driven content doesn’t just make people smile — it makes them buy. Brands that lean into authenticity see:

• Increased engagement (up to 30% higher on “in-progress” vs. polished project posts)

• Improved conversion (especially when team stories are shared in proposals or on “About Us” pages)

• More referrals (because clients feel personally connected to your team and story)

When people see the humor, humanity, and hustle behind what you do, as well as the care, effort, and professionalism your team puts into each project, they’re far more likely to sign the dotted line — and tell their friends to do the same.

So, here’s your permission slip to just GO. Stop chasing perfection. Instead, show the real stuff: the in-progress, in-the-trenches, sometimes sweaty, occasionally glitchy, always passionate moments that make up this wild and wonderful business. Be honest. Be a little scrappy. Be the brand that makes people say, “I trust them. They get it. They are my people.”

Because relatable content doesn’t just resonate — it wins. Need help getting started or need some storyboard time to establish a framework for your company’s content planning journey? I’m here to help. Drop me a line at katye@kmbcomm.com to get the conversation started.

The Perfect Exit

Why most business owners are asking the wrong question about exiting their companies.

BY MATT BERNATH

I was standing in front of a room full of business owners at a recent event when something interesting happened. I asked what I thought was a simple question: “How many of you want to exit your business someday?”

Only about a quarter of the hands went up, which surprised me. So, I tried a different approach.

“Okay, let me ask this differently. What if an exit didn’t necessarily mean selling to some stranger and walking away forever? What if it could mean owning a business that still pays you well but doesn’t require you to show up every day?”

Boom. Most of the room raised their hands and I realized most business owners aren’t opposed to exiting; they’re just thinking about it all wrong. When most people hear “exit,” they immediately picture handing over their keys to some corporate buyer and never looking back. That feels scary — like giving up on something you’ve poured your life into. But here’s what I’ve learned working with custom integrators and home service companies: There are five different ways to create what I call a “perfect exit.” And the crazy part? You prepare for all five in exactly the same way.

The Five Paths I’ve Seen Work

Path 1: The Cash Cow. Don’t sell at all. Build a business that you don’t want to retire from; one that funds your lifestyle and other investments. I know an integrator, a VITAL Member, who runs a small shop — maybe 10 to 15 employees, $2-$3 million in revenue — but they’re pulling out $400-600k annually after paying themselves. His wife runs their real estate portfolio. In 20 years, real estate will make the integration business optional.

Path 2: The Family Legacy. Pass it to your kids. But here’s the test: If you dropped dead tomorrow, could they run it from day one without missing a beat? Most family businesses fail because the founder never properly set up systems for succession.

Path 3: The Employee Handoff. Sell to that trusted tech or salesperson who’s been with you for years. Yes, you’ll probably carry a seller’s note. Yes, it might be for less than market value. But you’re setting someone up for success while still getting paid for what you built.

Path 4: The Strategic Sale. Sell to the CI business down the street who wants to expand, or to one of those consolidators everyone’s talking about. These buyers often want you to stick around and might give you equity in the larger operation, which could be a win-win depending on your situation.

Path 5: The Financial Buyer. Sell to private equity or investment groups; people who see your business as a solid investment. These can come with high multiples, but they’re also the most complex. Remember: Day one money is the only guaranteed money.

The Uncomfortable Truth

Before we get too excited, let’s talk about reality. According to the SBA, 80% of small businesses fail within 20 years. Failure doesn’t mean “sold for less than hoped.” It means closed the doors, walked away, got nothing.

So, when I hear someone complaining that they “only” got 30% of what their business could have been worth, I want to shake them. You know what 80% of business owners get when they exit? Zero.

Custom integrators think their situation is special and that the normal rules don’t apply. They think they can’t possibly extract themselves because “no one else understands the business like I do.” I get it. You started this thing. You know every client, every vendor, every quirk of every project. But that’s exactly the problem.

The businesses that sell well — the ones that create real wealth for their owners — all have one thing in common: they can operate profitably without the founder as the central figure. This isn’t about being lazy or checked out. It’s about building something bigger than yourself.

The Three Things Every Successful Exit Requires

Whether you choose Path 1, 2, 3, 4, or 5, you need three things:

Sales Certainty: You need leads coming in regularly, systems that maximize those opportunities, and a closing process that creates predictable results. Being “referral only” feels great until one bad job nukes your reputation or your builder goes out of business. I can’t tell you how many integrators tell me proudly that they’re “referral only.” That’s awesome — I hope you’re taking cash out regularly and investing it elsewhere, because referral-only businesses are nearly impossible to sell.

Trusted Team: You need systems for hiring good people, plans for future growth, and leadership skills that develop other leaders. Here’s the truth that hurts: The growth of your business is capped by your growth as a leader. When you stop growing, the business stops growing.

Profitable Production: You need consistent, profitable operations that don’t require your constant intervention. If you’re still the bottleneck in every decision, you don’t have a business — you have an expensive job.

The Timeline Nobody Wants to Hear

Everyone asks me: “How long does this take?” The fastest I’ve seen someone go from “everything depends on me” to “this could sell for maximum value” is two years. The reality for most? Three to five years.

I know that sounds like forever. But think about it this way: You’re going to be in business for the next five years anyway. You can spend those five years continuing to be stressed, overworked, and trapped. Or you can spend them building something that gives you real options.

Here’s the irony: To build a business that doesn’t need you, you have to work harder initially. You need to document processes. Train people. Implement systems. Separate your personal expenses from business expenses. Develop the leadership skills to manage through others.

It’s front-loaded pain for back-loaded freedom.

When you do this work, you’re not just preparing for an exit — you’re building a better business to run today. Less stress, more profit, actual vacations, and the confidence that comes from knowing your business could survive without you.

Perfecting Personnel

Do you have the right people in the right seats to succeed?

BY HALEY PATTERSON

Your business is only as strong as the people inside it. When the right people are doing the right things, everything runs smoother, faster, and with more impact. So, how do you know if you’ve got the right team in place to achieve your vision?

Right People

Getting your people right begins with knowing who the right people are for you. That’s why identifying your core values isn’t optional — it’s essential. Your core values define how your team shows up, makes decisions, and treats each other. It’s the foundation of a culture that you build intentionally and not by accident.

As leaders, we need to use these values when we’re hiring, giving feedback, promoting, or making tough calls about letting someone go. Are they aligned? Are they truly living your values?

If someone doesn’t fit, even if they’re talented, they can slowly erode your culture and momentum. On the flip side, when your team is valuealigned, you build a company that reflects what you stand for — and that’s how you gain traction.

Right Seats

Once you’ve got the right people on your team, the next step is making sure they’re in the right seats. This is where the Accountability Chart comes in — and it’s different from your typical org chart. A traditional org chart shows hierarchy and job titles (a.k.a. egos). It’s helpful for seeing who reports to whom, but it doesn’t show who owns what. The Accountability Chart focuses on function over title. It outlines the key seats that drive the business and assigns one person who is fully accountable for each major area.

Every seat has clear responsibilities, and only one person can own each seat — no shared ownership. That way, when something falls through the cracks or a decision needs to be made, it’s clear who is responsible. No ambiguity. No bottlenecks.

It’s a game-changer for creating clarity, streamlining communication, and helping your team execute more confidently.

Do They GWC?

One of the tools I use with leadership teams is the GWC filter: Get it, Want it, and Capacity to do it. It’s a simple way to check if someone is truly in the right seat.

Get it — Do they naturally understand the role? Do they “get” what it takes to succeed in the seat they’re in — how it works, what’s expected, and how their work impacts the bigger picture?

Want it — Do they actually want the job? Not just the title or the paycheck, but the day-to-day work it takes to own the role. This part can’t be taught or talked into; they must want it for themselves.

Capacity — Do they have what it takes to do the job well? That includes time, energy, skills, emotional bandwidth, and even support at home. Sometimes capacity can be built with the right coaching or resources,

unlike “get it” or “want it,” which are harder to fix.

When you’re leading a team, everyone needs to be in a seat that fits. GWC is one of the quickest ways to check if each person is aligned with the role they’re in. It’s not about whether they’re responsible — it’s about whether they’re truly accountable.

As a leader, evaluating your team honestly can be tough, especially when you care about the people you’ve hired. Remember: It’s not personal. It’s about putting the right structure in place to support your vision and set everyone up to succeed.

To get a full picture of whether someone is the Right Person in the Right Seat, I recommend using the People Analyzer. It’s one of the most effective tools for managers and leadership teams. It helps you evaluate two things:

1. Are they the Right Person? Do they consistently live your company’s core values?

2. Are they in the Right Seat? Do they GWC?

The People Analyzer takes the emotion out of these conversations and provides a clear, shared language for giving feedback, making people decisions, and holding your team to a higher standard. It’s not about judgment — it’s about clarity and alignment. When you use it consistently, it becomes a powerful communication tool for building trust and driving performance.

And here’s the truth: When you have the right people in the right seats, you’ll feel it. Communication sharpens. Accountability sticks. And suddenly, your business feels like it’s working, because it is.

Want a copy of The People Analyzer, or are you ready to learn more about running on EOS? Reach out: haley.patterson@eosworldwide.com

The Unseen Engine of Operational Excellence

Leveraging the overlooked power of habits, routines, and processes to drive business results.

BY JASON GRIFFING

In the relentless pursuit of business excellence, it’s easy to get carried away by the desire for bold new projects and sweeping changes. As leaders, we are drawn to the energy of innovation. A certain restlessness and drive to continually reinvent is, of course, a necessary ingredient for a thriving business. But taken too far, this focus on big-picture “visioneering” can cause us to overlook the profound power of continuous, incremental improvements. After all, at the coalface of our businesses, the customer experience is driven less by our ability to push the frontier and more by our simple ability to take the right actions consistently.

More than a century ago, William James, the celebrated “father of American psychology,” published The Laws of Habit, a timeless essay about the indomitable role that habits play in shaping our lives. He argued that our lives are not defined by a few momentous choices, but by the sum of our daily, automatic actions. “All our life, so far as it has definite form, is but a mass of habits,” he wrote. While James focused on the individual, the same principle is the invisible force that architects the success or failure of our businesses.

If a person is a mass of individual habits, then a company is a living ecosystem of shared habits. These habits may go by different names; we call them processes, procedures, workflows, or simply “the way we do things here.” However you refer to them, these are the repeated actions that quietly shape your company’s future. They are the subtle, often unconscious, routines that drive the quality of your work, the efficiency of your operations, and the strength of your brand.

We may intuitively understand this. Yet, many of us still underestimate the profound impact of these daily routines inside our operations, choosing instead to focus our efforts on more exciting, groundbreaking initiatives. James’ insight offers us an important reminder that lasting success is not built through sporadic bursts of innovation alone, but through a disciplined adherence to purposeful habits.

Take a moment to reflect on your company’s habits: the way your team engages with new prospects, shows up on job sites, responds to support requests, or even conducts internal meetings. Do these daily practices push your business closer to your ideals? Or do they slowly erode the foundation of what you’re trying to build? Changing these organizational habits can seem daunting, but James provides us with a practical framework:

First, commit openly and boldly to the habits you wish to instill. Articulate your vision clearly and structure your

environment to support these desired behaviors from day one. Consistent messaging and visible commitment from leadership reinforce the seriousness and permanence of these changes.

Next, maintain rigorous consistency, especially at the start. James warns against the temptation of “just this once” exceptions, which can rapidly erode new habit formation. By holding firm, you signal clearly that these new practices are non-negotiable.

Finally, embrace decisive action. Waiting for ideal conditions delays progress indefinitely. Accept the inherent discomfort of change. Every action you take to reinforce new habits strengthens your team’s commitment and increases its long-term effectiveness.

For professionals in the home technology industry, where meticulous attention to client relationships and service quality defines success, this disciplined approach is particularly crucial. It is through everyday actions — responding promptly to client inquiries, consistently delivering highquality installations, and reliably following through on commitments — that long-term client relationships are forged and strengthened.

In the end, innovation and vision undoubtedly play a key role in our success. However, as leaders committed to lasting results, we must also keep in mind the powerful role our everyday habits play in shaping our businesses. By recognizing and intentionally cultivating these habits, we create stronger, more resilient companies capable of sustained excellence.

Managing Great Expectations

All source material is not created equal and could have clients thinking their sound system is not performing as well as it should be.

BY ANTHONY GRIMANI

Expectations, expectations, expectations. What devilishly tricky little things they can be — and nowhere is that more evident than in a custom home theater! Big home theater projects are a tough sell due to the high price tag, even if the client is inherently interested and enthusiastic. As a result, we tend to over-promise in order to get the client to sign on the dotted line, then under-deliver months or even years later. It’s not like we’re trying to deceive the client — maybe we’re even fooling ourselves a little bit about what we can achieve given the constraints of budget, space, etc. Managing expectations is one of the hardest parts of any project, and it’s where I see so many projects go off the rails. And one of the big stumbling points today can be in the content source material.

Not All Source Material Is Created Equal

Numero uno, for your sanity and mine, brief your clients on the fact of life that not all sound is designed and mixed with equal care and skill. As they are flipping around between providers, your clients will be faced with the entire spectrum of sonic offerings — unfiltered and unprotected. They will not all sound the same, and they will not all sound good. The number of clients who have the knowledge or motivation to seek out well-produced material is vanishingly small, so clients inevitably end up hearing inferior-sounding material and wondering where all their money went. If you brief clients about this on the front end, you may put them off a home theater at all, but if you don’t tell them, they’ll blame you after the fact when their expectations aren’t met.

Surviving Streaming

The next hurdle is the delivery process. Most streaming services do not prioritize high-fidelity sound as part of their business model. In fact, it could be argued that an expensive sound system is not justified at all — perhaps even detrimental, as it reveals the flaws in the content more obviously.

In my experience, the best way to address this issue is to tell the client during the initial discovery and planning phase that you are going to provide them with several different options for procuring and playing content. Some of these options will be focused on convenience, and some will be focused on quality. It’s like the difference between making a quick sandwich when you’re in a hurry and just need to get some food in your system vs. going out for a gourmet meal in an elegant dining environment. Sometimes your clients will want to watch something

just to get the job done; other times they will want the full immersive entertainment experience. They can’t do the latter if they don’t have a nice system. No one eats sandwiches all the time, right?

On the back end, you must deliver a system that includes, at minimum, one streaming platform (e.g., Apple TV 4K, Shield TV, Roku, etc.) and one “premium” platform. To my knowledge, there are only two (outside of a DCI-type setup) that qualify for the latter: 4K Ultra HD Blu-ray and Kaleidescape. If you don’t include one or both of these, then you’re going to have a problem; the client will have no way to get top-tier material into the system — you’re limiting them to sandwiches all the time.

So, what is so problematic about streaming audio? I’ve discussed this before, but as a refresher, in a nutshell, the issue is bitrate. Streaming services give consumers the expectation of quality and consistency by throwing around catchphrases like “Dolby Digital Plus,” “5.1,” and “Dolby Atmos.” The subtle implication is that all 5.1 and Atmos are the same regardless of what streaming service you’re using. The truth is far from that. Dolby Digital Plus, which delivers the vast majority of 5.1 and immersive content from streaming services, is an absolutely fantastic codec. It’s versatile, efficient, and capable of delivering many forms of high-fidelity audio at low bitrates — but it can’t work miracles.

The common bitrates used for streaming are 192 kbps (kilobits per second), 256 kbps, 384 kbps, 448 kbps, 575 kbps, 640 kbps, and 768 kbps. Of these, Dolby Atmos requires at least 384 kbps (there are some limitations at 384 kbps that go away at higher bitrates), while 5.1 tops out at 640 kbps (at least that we’ve seen). Based on our internal, subjective evaluations of

DON’T demonstrate the home theater to the client using Apple TV.

various bitrates, we consider the minimum for “acceptable” quality on a high-end system to be 384 kbps for 5.1 channels and 575 kbps for Atmos.

Unfortunately, not all streaming services measure up. Even more disappointingly, some services handle Atmos with excellent quality but skimp on 5.1. For example, we’ve been looking at a bunch of stuff on Disney+ recently. They use 768 kbps for Atmos, which is outstanding. Unfortunately, they drop all the way back to 256 kbps for 5.1 — and we hear the compression artifacts. Very disappointing. Contrast this to Netflix, which also uses 768 kbps for Atmos but only drops back to 640 kbps for 5.1. The worst part is that this information is not clearly communicated to consumers. At most, they will see little Dolby, 5.1, and/or Atmos badges on the content. The choice of what bitrate to use is left up each service, with some guidelines from Dolby. There is little to no accountability to the streaming public.

I’ve also mentioned before that there are ways for you (and your clients, theoretically) to see the bitrate. I highly recommend that you familiarize yourself with the bitrates used by various services in order to steer your clients toward material that will sound good on their high-end systems. The Apple TV 4K has a feature called the Playback HUD that is available from the Developer Options menu. This menu is normally hidden but can be shown by syncing the Apple TV 4K to an Apple computer running Xcode. (This is currently the only way to do it, which in our opinion is an inexcusable measure that Apple simply must remedy.) The Playback HUD displays the codec, number of channels, and the audio bitrate (along with a lot of other useful things) in yellow text superimposed over the picture while content is playing. Just remember to turn it off when you’re finished, because the Developer Options menu has a nasty habit of hiding itself again (also inexcusable), and the Playback HUD will persist with no way to get rid of it (except to reconnect Xcode, of course)!

Fortunately, the Fire TV platform offers a far more accessible Developer Options app that can be downloaded directly from the store. It’s free (contributions encouraged) and doesn’t require any unnecessary hoopjumping with a computer — you simply turn the overlay on/off in the app and then navigate to another app to whatever material you want to check. The overlay will give you the audio bitrate inside most apps, but that’s about it (at least on the audio side; video is much more detailed). You have to figure out the codec and channel count from other indicators. That’s pretty easy, really. The codec is going to be Dolby (unless the program is 2.0, in which case it is probably AAC), and you should be able to tell whether the channel count is 5.1 or Atmos by looking at the input format on the surround processor (sometimes 2.0 channel mixes are carried inside a 5.1 “container” format, though).

Allocentric vs. Egocentric Rendering

This is a severely under-reported topic in my opinion, and it can quickly escalate into some heavy engineering discussions (which is probably why it’s under-reported), but I’ll try to simplify it. For that reason, engineeringtypes please cut me some slack if you’re already well-versed; I’m covering broad strokes.

Basically, Atmos uses an allocentric rendering system that assigns XYZ coordinates (width, length, height) to audio objects (which include channels/beds) and speaker outputs within a 3D space. That 3D space is defined by the outer perimeter of the speaker system, not the walls of the room. The renderer then maps the audio object coordinates to the speaker coordinates. It does not take into account where any of the speakers are actually positioned in the room, nor where listeners are located relative to the speakers. Egocentric rendering, on the other hand, references the audio objects and the speaker outputs to points in 3D space relative to a

DO demonstrate the home theater to the client using proper source material, such as Kaleidescape or Blu-ray disc.

central listener (or group of listeners) using azimuths and elevations.

I’m not advocating for one type of rendering or the other — in the end, it is all in how you manage the details — but those details are where I want to point out a couple of cases where Atmos may deliver a result that is not necessarily what you or your clients expect. Before I go further, I want to include the disclaimer that these observations are based on the specific performance of our reference equipment in our reference rooms and may not apply to all equipment in all Atmos installations. I’m providing these as examples of the type of thing you should look for in the render — it’s up to you to make sure your systems are behaving in the manner you expect!

One of the things we’ve noticed is that audio objects intended for the traditional Surround positions (i.e., slightly behind the listener) get rendered to both the Front and Surround speakers when the base layer consists of only five speakers (i.e., 5.1.X). I won’t go into why this happens, but the effect is that the speakers are asked to phantom image Surround to a point between the Front and Surround speakers — rather than coming solely from the Surround speakers as in flat 5.1. Apart from potentially shifting the soundfield farther forward than expected, two speakers playing each Surround can create phase-related anomalies that cause effects to land within the soundfield in the wrong place! This is even true for a single listener, unless the speakers are very carefully matched in terms of amplitude, phase, and dispersion characteristics (which rarely happens). As such, we strongly recommend that Atmos installations include a minimum of seven speakers on the base layer, specifically including Side and Back speakers (Dolby calls these Surround and Rear Surround).

Another detail with Atmos is an apparent prioritization of the “Z” coordinate relative to the “X” and “Y” coordinates during the rendering of full-Z objects (meaning they are at the very top of the soundfield). If only one pair of Top speakers is present, the renderer will use them even in extreme cases where the Front Height or Top Front speakers are at the front of the room and the object is supposed to be at the back of the room. This issue can be improved by using one pair of Top Middle speakers, but the potential for spatial disconnects still exists due to the X/Y-axis separation between the base layer and overhead layer speakers. Thus, we recommend a minimum of two pairs of Top speakers — one generally in front of the listeners and one behind — in order to minimize or eliminate the potential for spatial disconnects related to the rendering of positive-Z objects.

It should be noted that our recommendations affirm Dolby’s own. They also recommend 7.1.4 as the minimum Atmos layout for mixing and monitoring. Like I said above regarding Dolby Digital Plus and bitrate, Atmos is an awesome renderer; just don’t expect it to work miracles if you don’t give it enough speakers!

For homework, I suggest that you research the XYZ coordinates that the Atmos renderer uses for the common speaker positions. What you find may surprise you!

Bass Quality

Everybody loves great bass, but great bass is not always as simple as properly designing and calibrating the room and sound system. Due to the wide range of people and facilities these days that mix and monitor material, coupled with the technology package available in most consumer processors to handle speaker crossovers and bass summing, there are ways for bass to get mangled even if it looks like you’ve done

everything right on paper. This is a topic all its own, so let this just serve as a teaser. We will get to the bottom of it in the next column.

Stay tuned!

I want to leave you with the following thought. Before you hand over the keys, so to speak, to your client, demonstrate the system using specifically curated material that exemplifies how each aspect of the system is supposed to sound — dialog quality, fidelity, sound panning and positioning, bass performance, etc. Then, leave the material easily accessible to the client. Instruct the client to revisit that material any time there is a question about the system’s performance. Can they not understand the dialog on a show? Go back to the reference dialog passage. Does it sound OK? Is there no bass on that new music track? Go back to the bass reference and see if the bass is still there.

In this way, you can reassure the client that all is well and also train the client how to tell the difference between good material and bad — without having to “roll the trucks” to the site because the system’s “not working.” Please use 4K Ultra HD Blu-ray or Kaleidescape for this, not streaming. Please. Even if the client literally never watches Blu-ray, give them a player and give them a disc or two of reference material. It’s well worth the extra hundred dollars or so to provide ongoing evidence that you did your job, and the system really is worth what the client paid for it!

Anthony Grimani is co-founder of Grimani Systems loudspeakers (www. grimanisystems.com), and president of PMI Engineering (www.pmiltd.com) and MSR Acoustics (www.msr-inc.com). Chase Walton contributed to this column.

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GROWING FROM THE INSIDE OUT

Why turning a team member into a shade specialist is the best retention tool you haven’t tried.

BY MAREN GEHLING, DIRECTOR OF SALES, CUSTOM HOME & INTEGRATION STRATEGIC PARTNERSHIPS, HUNTER DOUGLAS

I’ve spent the first half of the year crisscrossing the country, dropping into showrooms, grabbing coffee at Azione, and swapping notes at ProSource. The conversations were as different as the cities, but one theme echoed everywhere: 2025 feels hazy. Economic headwinds are making every new hire feel like a leap of faith, so owners are asking a hard question: How do we grow without adding payroll?

The answer some of the most successful dealers have found is already on the org chart. When you tap an existing team member to become a “shade champion,” two good things happen at once. First, you unlock a high-margin category that is still under-served at many firms. Second, you give a talented employee a fresh runway just when repetitive rackbuilds are starting to feel like cookie-cutter tasks.

Several dealers told me their biggest challenge is not a lack of projects; it is keeping their best people excited enough to stay off LinkedIn. Handing someone the keys to an automated-shade program turns a potential slowdown into a professional-development sprint. Time that might have been lost to idle hours is suddenly spent on fabric demos, motorization training, and mock installs in the showroom.

Done right, that internal promotion does more than plug a revenue gap. It re-energizes the whole team. In a year when confidence is in short supply, an engaged staff selling a profitable product may be the most reliable growth plan you can bank on.

Where Design Fluency Meets New Dollars

Earlier this year, we released data from the Hunter Douglas Custom Integrator Program showing that roller and screen shades — the products every tech knows by heart — generate only about 39% of shading revenue. More than half the category’s dollars are still up for grabs, but only if a team knows how to quote, specify, install, and present these other styles to potential customers.

Dealers already act as application engineers, matching amplifiers to rooms, displays to sight lines, and bandwidth to streaming loads. Window treatments present the same puzzle. Sheer shadings tame glare on a 98inch OLED without killing the view (and they carry a premium, generating 17% of shade revenue on just 10% of unit sales). Cellular honeycombs turn a drafty Denver loft into an energy-efficient nest that clients brag about to their friends.

Developing the Path for Your Shade Expert

Think of the journey less like onboarding and more like a well-paced apprenticeship, each phase short enough to maintain momentum and long enough to build real skill.

Month 0: Name the Mission — Pick the right person and give the role a headline such as “Shading & Daylighting Specialist.” A new title signals that this is a discipline, not busywork. During the first couple of weeks, your trainee shadows senior sales calls and walks every window in the showroom, noting which openings still need a demo shade and what product would be the best fit. The goal is simply to see and listen, gaining experience with fabrics, form factors, client questions, and installer pain points.

Months 1–2: Lay the Foundations — Next comes a concentrated burst of learning. Two or three paid hours a week are earmarked for manufacturer core courses covering terminology, shade design styles and applications, battery-versus-hard-wired motors, and control options. Back at the shop, the trainee reviews fabric books and practices measurements on every

This photo by Jacob-Snavely. All photos courtesy of Hunter Douglas.

odd-shaped office window you can find. By the end of the second month, they can explain the difference between sheer, screen, cellular, and Roman as confidently as they already talk about HDMI versions.

Months 3–4: Apply Under Supervision — With the basics locked, the specialist begins quoting live projects alongside a mentor. Every discovery meeting includes at least one deliberate shade upsell. Sometimes it lands, sometimes it misses, but the repetition builds muscle memory. A small, low-risk retrofit — perhaps your own conference room — becomes their sandbox. They measure, order, schedule, and install while the mentor reviews proposals only for accuracy, not authorship. Living with that first automated shade, even if it is above the receptionist’s desk, turns specs on a screen into something tangible and memorable.

Month 5: Fly Solo, but Not Unchecked — By the fifth month, the shade champion is handling walkthroughs alone and generating multi-style proposals that include automation options, tax-credit language, and a simple ROI on energy savings. Your role shifts to spot-checking numbers and cheering from the sidelines. Introduce them to a measure-and-install network that will handle ladder work and let the new specialist focus on design and client care.

Month 6: Close, Review, Advance — At roughly the six-month mark, your specialist should have their first multi-room shade project secured: contracts signed, fabrics selected, shades ordered, and an install date on the calendar. Share the win with the team so everyone sees the

momentum, then hold a structured review. Discuss what worked, where quoting or coordination slowed, and which advanced applications, such as skylights, exterior rollers, or drapery, will be next on the learning list. Record the key numbers — proposals issued, jobs closed, and gross margin — in whatever system you use to monitor sales performance, whether that is a spreadsheet, whiteboard, or project-management app. The goal is visibility and accountability, not reliance on a particular tool.

Sealing the Deal

All the training and new design fluency pay off only when the idea lands with the client, and that moment often happens through a laptop camera. Your freshly minted shade champion becomes the closer, weaving window treatments into a crowded Zoom the way a sommelier pairs a wine: fast, confident, and always tied to the main course. One question about afternoon glare, a 15-second clip of sheer shadings rescuing a cinema screen, and a clear good-better-best price band turns shades from an afterthought into the detail that makes the whole system sing. In a year when growth depends on doing more with the people you already have, their ability to tell that story in five minutes or less may prove to be the highest margin upgrade you add to the business.

If you’re ready to build a more tailored training path for your own shade specialist, feel free to reach out, and let’s design a program to help get your team member started.

Shade Study Guide: 10 Shading Terms to Get You

Started

1. IB/OB (Inside/Outside-Mount “Blind”) — Early spec sheets kept the legacy “B” for blind and simply prefixed it with I or O to note where the shade mounts. An IB install tucks the shade inside the jamb for a flush, minimalist reveal but accepts slim side gaps and demands tight tolerances. An OB install anchors to the wall or trim, letting fabric overlap the frame to virtually eliminate light leaks and hide out-of-square openings, with the trade-off of projecting slightly into the room.

2. Light Gap — The sliver of daylight that sneaks in on each side of an inside-mounted shade. Pro Tip: Specify side channels or an outside mount when true room darkening is required.

3. Openness Factor — For solar/screen fabrics, the percentage of weave that’s actually open (e.g., 1%, 3%, 10%). Lower numbers tame glare and heat; higher numbers keep the view.

4. Top-Down/Bottom-Up — A dual-rail lift lets the shade drop from the top, rise from the bottom, or hover mid-window, flooding ceilings with daylight while shielding sightlines at eye level. Perfect for streetfacing bedrooms and baths where privacy and natural light must coexist.

5. Fascia vs. Cassette vs. Valance — All hide hardware, but fascia is metal, cassette is typically fabric-wrapped, and valance is a soft, decorative fabric box often matched to drapery.

6. Pocket Install — A recessed aluminum “slot” embedded in the ceiling that lets the shade disappear completely when raised. Requires early coordination with the builder but yields millwork-level polish.

7. Reverse Roll — Fabric unrolls off the front of the tube instead of the back. While this can create additional light gap, it’s useful for avoiding obstructions such as crank handles.

8. Stack Height/Stack Back — The mass of fabric that remains visible when a Roman, cellular, or drapery panel is fully opened. Critical on short windows where every inch of daylight counts.

Master these terms and you’ll walk job sites speaking the same design language as architects and decorators — while still delivering the rocksolid automation your clients expect.

—Maren Gehling

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How to upgrade your shades sales strategy beyond luxury installations.

BY BOB DOOLIN, PRESIDENT, IUS SHADES

n the residential systems market, lighting, audio, HVAC, and security are common home automation control points. But one powerful, up-and-coming-yet-often-overlooked element remains underutilized: natural light. Over the recent past, automated shades have been defined as a lux extra, but they could be considered essential for delivering a complete living experience for your clients. And you must master the storytelling about how wonderful managing daylight will be to their lifestyle.

If you are simply offering shades as a line item, you’re missing the point. Don’t think of shades as a network switch or wall dimmer. It is time to go beyond selling shades as an add-on and start owning the daylight story as part of your sales process. We need to help them see themselves in the environment where our controls make their natural daylight experience exceptional. Sell them the emotion, not the “parts.”

Unleashing Natural Light

A modern smart home is more than a bunch of electronics — it is an intermingled network of experiences. When shades are properly integrated, they do far more than block light to sleep in a bedroom. They enhance energy efficiency, protect interiors, and contribute to overall comfort.

Today’s health-oriented and environmentally savvy homeowners are focused on comfort, productivity, and wellness — all of which are affected by light. Helping a client to see a situation where, with a tap of a button, the shades open in the morning to allow the rush of natural light into the space, adjust indoor temperatures, and trim the lights...all at once. This is like the shade guys’ version of an energy drink! And with the addition of smart lighting technology, artificial lighting can co-mingle with natural light to make the space flawless. Paint the picture for them!

Daylight Guru

I would argue that clients don’t ask about shades until we connect them to what they care about or the problems they have, like privacy, solar gain, bleaching of furnishings, and, of course, aesthetics. We can reframe our role from the “Shade Person” to the “Daylight Consultant,” thereby creating more advisor value. It sounds squishy, and we would never refer to ourselves as a Daylight Consultant, but beyond fabric selection, clients will only listen when we discuss improved family lifestyle impact as a result of natural light. Our job is to help them see the improvements and not the line-item cost. Let’s face it: Motorized shades can be expensive; focus clients on the emotion and the feeling.

It is time to go beyond selling shades as an add-on and start owning the daylight story as part of your sales process.

We are the experts, and clients want to rely on us to make recommendations. Having understood their problems and pain points, we know what they hope for, and seeing the space, we can envision what would work great for them. Of course, you need to know the pros and cons of all your shade offerings to help them to a solution.

Shades as a Smart Business Move

A number of integrators ask, “Are shades worth the effort and aggravation?” The answer is a clear, “Yes.” However, it is not a quick and easy product line to gain experience in if you are new to the field. Errors in the shade business are very costly. Of course, if you have limited knowledge and experience, then partner up with an expert. If you have been doing this for a while and are confident in your knowledge, then you know it is a smart business move. Motorized shades give you a larger scope in a project and are higher margin, highly visible once installed, and can lead to follow-up future client-facing services (battery recharge services, fabric replacements, etc.).

Claim the Natural Light

As smart homes evolve, our role is shifting from nerdy installer to experience designer. Natural light is one of the most dynamic, impactful areas in our clients’ homes. The shade solution should be in your offerings. Positioning shades as part of an integrated system does more than boost your profit; it improves your status as a smart home expert and advisor. Great shade jobs will deliver a more comfortable home to your clients, who will really appreciate you and your team.

Don’t just offer shades; offer to help your clients manage the light!

Bob Doolin is the president of IUS Shades (International Upright Services, Inc.), which operates in five offices throughout New England and Ft. Lauderdale, Florida. He is passionate about automated shades and the technology side of the window treatment industry. He often coaches integrators and contractors to bring shades into their business offerings to their high-value residential clients.

AV RECEIVERS TECH SHOWCASE

to this key home entertainment category.

The AV receiver remains at the core of any high-performance entertainment system. This gallery showcases recently introduced models that include cutting-edge features such as HDMI 2.1 support for 8K video passthrough and 4K/120 Hz gaming, as well as compatibility with a host of immersive audio formats. Beyond raw power, they offer refined multi-zone capabilities, intuitive control interfaces, and compatibility with leading home automation systems.

1 Onkyo TX-RZ30

The Onkyo TX-RZ30 is a 9.2-channel, 100-watt-per-channel, SMART AV receiver that delivers immersive sound with soaring highs and deeper bass. The TX-RZ30 joins the RZ lineup of Onkyo’s AVRs featuring Wi-Fi/ Bluetooth, Dirac Live Room Correction, Dolby Atmos 3D Sound, THX Certification, IMAX Enhanced, Klipsch Optimize Mode, and more.

The TX-RZ30 offers Class A/B amplification, HDMI 2.1a, 8K/4K Ultra HD resolution, and 40 Gbps transfer speeds, allowing users to experience full bandwidth functionality for a fast refresh to keep up with the newest gaming consoles. Thanks to custom low-noise power transformers and smoothing capacitors, the TX-RZ30 hits rumbling lows (5 Hz) and stunning highs (100 kHz) for an expansive audio experience, while Dirac Live Room Correction Full Bandwidth refines the best sound for the individual room layout. Optional user upgrades are available for Dirac Live Bass Control, which uses machine learning and AI to quickly determine ideal settings for any room layout.

The Onkyo TX-RZ30 AVR includes advanced music streaming and connectivity and works with smart home assistants like Hey Google and Siri. Additionally, Roon Tested, Google Cast built-in, AirPlay2, Spotify, Amazon Music HD, Tidal, Deezer, Pandora, and Tunein put users’ entire high-resolution music libraries at their fingertips. The whole home entertainment experience can be aligned with this technology and fueled by studio-grade processing, Bluetooth transmitter with aptX HD for sharing audio to Bluetooth headphones, and more.

2 Denon AVR-A10H

The Denon AVR-A10H uses high-grade components — including a new ESS DAC array and an OFC wound transformer — to provide exceptional sound quality. While the A10H’s 13.4 channels of amplification at 150 watts of power are similar to its predecessor, the new components ensure a significant performance upgrade.

In-house manufacturing at the Shirakawa Audio Works in Japan

ensures that each receiver meets the most exacting standards. The experts at the factory maintain tighter tolerances and superior craftsmanship, helping ensure that the AVR-A10H stands out with its robust monolithic construction and premium components. The A10H is also hand-tuned by the Denon Sound Master, Shinichi Yamauchi.

The AVR-A10H features Audyssey XT32 room calibration and is compatible with Dirac Live Room Correction and Bass Control, allowing for precise audio tuning to suit any listening environment and taste. With four independent subwoofer pre-outs, users can achieve optimal bass distribution and integration that feels right for them.

Equipped with seven 8K HDMI inputs, the AVR-A10H ensures compatibility with the latest video formats and gaming consoles. With HEOS Built-in, the AVR-A10H enables seamless multi-room audio and integration with other HEOS-enabled devices that allow users to control and enjoy their favorite music throughout their entire home.

3 JBL Modern Audio

The high-performance MA7100HP and MA9100HP AV receivers are the top models in the JBL Modern Audio (MA) range. While the MA Series also includes three standard models (MA310, MA510, and MA710), it is the

two “HP” high-performance models that are of interest to integrators. These AVRs feature 8K HDMI, Dolby and DTS immersive surround, highresolution DACs, two-way Bluetooth, EZ Set EQ, Dirac Live Ready, Roon Ready, IP control, including Works With Smart Things certification, and much more. Plus, the large front panel graphical display with stealth mode and unique front-panel LED underglow takes the appeal of these beauties to the next level.

The JBL MA AV Receivers are available in a variety of models, including:

• The 60W JBL MA310 5.2-channel 4K AV Receiver

• The 75W JBL MA510 5.2-channel 8K AV Receiver

• The 110W/125W MA710/MA7100HP 7.2-channel 8K (High Performance) AV Receiver

• The 140W JBL MA9100HP, with either 5.1, 7.1, or 9.1 channels, Dolby Audio and DTS or Dolby Atmos and DTS:X support, low noise Class D amplification, and broad compatibility

4 Blackwire Designs and Yamaha AVRs

Blackwire Designs has an agreement with Yamaha to bring the company’s top-tier residential audio product line to Blackwire’s catalog. The Yamaha RX-A8A AV receiver and other residential audio products are available through BlackWire Designs. Blackwire will stock an expansive range of Yamaha’s residential audio products, including receivers, amplifiers, headphones, and CD players. Installers will benefit significantly from the ease of integration offered by Yamaha’s products, and end users will enjoy studio-grade sound and sophisticated video enhancements, bringing a professional audiovisual experience into the comfort of their homes.

5 Pioneer VSX-835

The 7.2-channel Pioneer VSX-835 AV receiver is designed with the latest technology for home theater and gaming enthusiasts with IMAX Enhanced Certification, Dolby Atmos capabilities and Dolby Surround,

DTS Virtual:X, HDMI 2.1, 8K/4K Ultra HD capabilities, and Bluetooth streaming calibrated to the space and speaker setup with Pioneer’s proprietary MCACC Auto Room Tuning software.

The VSX-835 supports up to 8K Ultra HD and 8K resolution and has the latest in HDMI processing, including 4K 120 Hz pass-through. It includes up to seven channels of amplification and delivers powerful HDR images and sound with IMAX digitally remastered content. Pioneer’s IMAX Enhanced Mode is optimized to adhere to strict performance standards around color, brightness, contrast, and audio fidelity. It offers support for HDR video, including HDR10, HLG, Dolby Vision, and BT.2020. Additionally, 4:4:4 color space is also supported.

The VSX-835 offers 4 In and 1 Out (eARC) HDMI I/O, ARC-ready MAIN OUT, and SUB OUT pass 4K/60p and HDR video from player to compatible TV and projector; and all terminals are HDCP 2.2 compliant.

6 Russound AVA-Series Mini Audio Receivers

The Russound AVA2.1 and AVA3.1 Mini-AVRs are designed for custom installation specialists, providing them with compact, plug-andplay amplification for 2.1 and 3.1 audio systems. Both models include a fully integrated, highly efficient Class-D amplifier with digital inputs, 100-240V 50/60 Hz universal power supply for installation nearly anywhere, built-in Bluetooth 5.0, dedicated subwoofer output with gain control, and an IR remote control and external receiver.

The Mini-AVRs are not only compact, but they speed up installations with ARC HDMI, which allows for instant use with any TV through HDMI’s CEC functionality. They are highly flexible receivers that pair with existing soundbars or speaker setups and can be placed in nearly any imaginable space. Boasting a footprint of only 1.6 x 5.7 x 7.9 inches, they’re sized for small spaces and are installed out of view. They can be mounted on or behind the TV, on the wall (wall-mounting bracket included), inside an inwall box, or on a shelf, desktop, credenza, or other furniture.

AUDIO/VIDEO VERSATILITY

How today’s AV tech helps integrators create top-notch cinema systems in all kinds of spaces.

By Karen Mitchell

ome theaters continue to be a core part of the CI business, and improvements in technology help integrators solve the various challenges in each room.

At Maximum Audio Video, a Paradigm dealer, COO Gabe Martinez sees a noticeable uptick in home theater requests, especially post2020. “Homeowners are placing a higher value on dedicated entertainment spaces and, as streaming services push more premium content, the desire to replicate a cinematic experience at home is stronger than ever,” he says. “We’re also seeing a lot of remodels as clients with older 5.1 systems or outdated wiring come to us for full modernizations, often integrating things like immersive audio formats and better control systems.”

Maximum has had a lot of success with Paradigm’s CI Elite and

Founder Series, he notes. “The CI Elite in-wall and in-ceiling speakers strike the perfect balance between performance and aesthetics; they disappear into the room, but still deliver the dynamics and detail you expect in a theater setting. The Founder Series, especially when paired with Anthem ARC room correction, really elevates the system. Clients immediately notice the warmth, clarity, and impact. It’s an easy sell once they hear it.”

Additional success has come with the Persona flagship line, Martinez adds. “We recently completed a theater featuring four Persona 9H towers and a matching Persona center channel. It was a stunning system; not only visually, but sonically, too. The active bass control and beryllium drivers in the 9H delivered an unmatched level of detail and presence.

The KEF Music Lounge Theater.

And by leveraging Anthem ARC, we were able to overcome what was originally a very challenging acoustic environment and still achieve reference-level sound.”

At Atlantic Stereo, a Sony dealer, president/visionary Tom Farinola has, in the last three years, seen his typically older client base of 55- to 70-yearold customers moving away from traditional, destination home theaters toward multi-purpose or great rooms. There, they can watch TV, including sports, in addition to movies in a home theater style. Projectors work for all those situations.

“In the high-end projector category, Sony has two models, the BRAVIA 9 and the BRAVIA 8,” he says. “Both of these projectors offer amazing

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value for the client looking for a theater experience versus just a large 100-inch TV.”

Demand for theater continues to grow with KEF dealers year over year, says Adam Hauser, KEF sales manager, home and custom division. “We see requests with a good mix of new construction and retrofit in existing homes, but I’d say retrofit has seen the strongest growth. I think KEF sees more opportunities in this area as all our custom install products are incredibly easy to retrofit.”

KEF’s Extreme Theater solutions are its most popular product for theaters, he notes. “Ranging in price from $700 per speaker, all the way up to $12,000 per speaker, we have something for everyone. Our dealers can

A Paradigm home theater.

create theaters in rooms of any size, shape, and type, thanks to Uni-Q, KEF’s patented coincidental driver array that puts the tweeter at the acoustic center of the midrange driver. This allows Uni-Q to deliver industryleading, off-axis response, which basically means anywhere you sit in the room, you’re going to hear the movie as the director intended. We call that ‘Sit Anywhere Technology.’”

Facing Challenges

“The biggest challenge is always acoustics,” Martinez says. “Every room has its own quirks, such as ceiling height, materials, or open versus closed floor plans. In one recent example, we installed a theater in a modern home with a vaulted ceiling and large glass windows. Great for looks, but a nightmare acoustically. We addressed it with a combination of Paradigm’s directional in-ceiling speakers, acoustic panels, and strategic subwoofer placement. ARC Genesis on the Anthem processor helped tie it all together. The result was a theater that sounded phenomenal without sacrificing the design aesthetic the homeowner wanted.”

Pairing Paradigm speakers with Anthem Electronics gives his team a system that’s not just high-performance, but also incredibly reliable. “That matters to us and our clients,” he adds. “We pride ourselves on offering solutions that work long after the install, and Paradigm and Anthem help us deliver that promise.”

Typically, when using a front projector, you need to overcome light,

which means implementing shading or drapery systems, adding additional cost to a project, Farinola says. “You also need to conceal the front projector and incorporate a fan system, as projectors can get hot. Recently, we encapsulated a front projector with stretch fabric, allowing it to breathe correctly.

“Among the many challenges, you may need your wife’s permission,” he quips. “Then you will need to convince the interior decorator that speakers should be seen, not hidden. If you are not using a Steinway Lyngdorf sound system, you will need to isolate the room so you do not shake the rest of the house when watching a movie.”

Almost always, the biggest challenge is the existing room, Hauser maintains. “There are ceiling fans, can lights, HVAC vents, wall sconces, entryways, doors, windows, and so on that get in the way of the client’s theater goals. Uni-Q is the answer for challenging rooms with the Sit Anywhere Technology. We can work with the client to make sure they can get the seating where they not only have to have it, but where they want it. Then we can position KEF speakers around all the obstacles in the room to ensure the playback is perfect.

“Theater is all about the experience,” Hauser concludes. “When done right, the technology fully gives way to the experience of the film or music. After six and a half years with KEF, I’m so confident in the solutions that KEF has developed that when installed by our partners, I know their clients are going to get an experience that exceeds their expectations.”

A home theater rack featuring a Steinway Lyngdorf sound system from Atlantic Stereo.

The Full Aura Experience

In its new training center, ProSource shows members the impact that Hunter Douglas’ shade/lighting solution can provide.

When ProSource made the decision to build a brand-new training center from the ground up in Golden, Colorado, they approached the project with an entirely new mindset.

Relocating from Texas to Colorado presented the leadership team with a rare opportunity for a fresh start, one informed by everything they had learned from their previous Dallas Lighting Training center. Armed with data and firsthand experience, they were able to reimagine the purpose and design of their training space from scratch.

“So many training programs in the industry focus on the selling product, and there is value in those trainings, but for our team, we wanted to shift the mindset of dealers from strictly selling to successfully integrating solutions that provide a holistic experience for customers. That is where our dealers really stand out,” says Jim Kozicki, VP business development for ProSource.

With a clean slate and the benefit of hindsight, the ProSource team made a deliberate choice to create a dynamic, multi-functional environment that mirrors the flow of a real home. Instead of scoped, product-focused training rooms, they built out a living room, dining area, and kitchen —

spaces where technology could be seamlessly integrated and experienced as it naturally enhances everyday life. The goal was clear: to shift the mindset from simply selling products to demonstrating how integrated solutions elevate the customer experience.

Unlike tradeshow booths or virtual demos that often struggle to convey real-world impact, the ProSource 1010 Experience Center brings technology to life in an immersive, hands-on setting. By replicating the flow and function of a modern home, the space allows visitors to experience how lighting, automation, and smart shading solutions enhance everyday living.

Lighting remains a core part of the training agenda for ProSource. The new facility includes a Lighting Training Center (LTC), where visitors can walk through a mock home environment that has been purposely designed to illustrate how advanced lighting and shading solutions fit seamlessly into residential spaces. Among the standout elements of the place, Hunter Douglas Aura Illuminated Shades were selected not just for their function, but due to their ability to help reshape the way integrators think about shading.

Why Aura?

While ProSource works with many different shading manufacturers, the Hunter Douglas Aura shades were specified for the LTC by the lighting designer leading the project. The decision came down to two important factors: aesthetics and innovation.

“Aura was the only choice that aligned with the look and functionality they wanted to showcase,” says Kozicki. “The lighting designer was adamant — ‘We really need to put these in here.’”

Hunter Douglas provides a design-first approach, offering a range of textiles that fit seamlessly into luxury spaces. Going one step beyond, Aura integrates smart lighting directly into the shade solution, an approach that aligns with ProSource’s focus on demonstrating wellness benefits in the home, such as circadian lighting.

Although the original plans for the LTC called for assigning different brands to each of the three large windows found within the center, the lead lighting designer was insistent about using Aura throughout. This decision went beyond simply demonstrating a shading solution — it was about illustrating the seamless integration of lighting and shading in a way that integrators could instantly understand and translate into their own projects.

A Demonstration That Shifts Perception

Visitors to the ProSource 1010 Experience Center often arrive thinking of shading as an afterthought — something secondary to lighting, AV, or automation. That perception quickly changes once they witness the Aura Shades in action.

During live demos, the shades black out the room, and then, as the integrated lighting kicks on, the space transforms. Even integrators who had seen Aura at CEDIA Expo in a controlled tradeshow environment walk away with a completely different understanding once they have been exposed to the shades in a real home-like space.

“Aura was designed to challenge the notion that shading is purely

functional,” says Kozicki. “It is equal parts a lighting solution and a design statement. Seeing it in a lifestyle setting like the ProSource 1010 Experience Center brings that duality to life in a way other demonstrations cannot. Dealers who’ve brought Aura into their own showrooms tell us the response from clients is immediate — once they experience it, they get it.”

Closing the Gap Between Interest and Execution

If there’s one reason shading adoption hasn’t reached its full potential in the CI channel, it’s hesitation. Dealers know there’s money to be made, but the risks — mismeasurement, installation challenges, and unfamiliarity with design-oriented selling — have created a barrier to entry. ProSource refers to this as “new category paralysis,” a familiar cycle where integrators leave trainings feeling energized, only to stall once back in their showrooms.

Hunter Douglas is helping integrators break through that barrier with its HDIS (Hunter Douglas Installation Services) program, which offers professional measuring and installation support at a competitive rate. For dealers, this removes a major point of friction and builds confidence that they can deliver premium shading solutions without fear of costly mistakes or missteps.

A Model for the Future

The partnership between Hunter Douglas and ProSource reflects a shared vision, showing integrators what’s possible when shading is treated as a central element of the smart home experience. Rather than focusing on features in isolation, the ProSource 1010 Experience Center brings everything together into a real-world context, demonstrating how design, lighting, and automation can work together in harmony within an installation.

For both ProSource and Hunter Douglas, this is just the beginning. As the response from ProSource members and Hunter Douglas partners continues to grow, it’s clear there is an opportunity to scale this model even further. Based on the feedback received so far, one thing is certain: When integrators experience the power of shading in the right setting, it ceases to feel like a tough sell and more like an obvious upgrade.

DSM-16 Dante Audio Matrix SoundTube

A

few years ago, I went to a manufacturer’s booth at CEDIA Expo, and they mentioned that their new in-ceiling speakers ran on PoE++. Having never heard of the ++ standard, I thought he was making a joke, and responded, “Why not PoE plus, plus, plus?” (If you’ve seen the Sasha Baron Cohen “Ali G” interview with “my man, Mr. Boutros, Boutros, Boutros Ghali,” that was kind of my take on it.) Sadly, my joke fell flat. I had a similar experience at another booth where a manufacturer said, “So, you’re familiar with Dante…” It was technically a question, but he asked it in a rhetorical way, like, “So, you know we’re at CEDIA...?”

Except, I wasn’t familiar with Dante at all. My CI firm does almost zero commercial work outside the occasional TV hang in the office of an existing residential customer, so I’d had no occasion to run across Dante, which is an acronym for Digital Audio Network Through Ethernet.

This proclaimed “gold standard of networked audio” technology was launched by Sydney, Australia-based Audinate back in 2006 to send uncompressed digital audio signals over standard Ethernet networks using regular Category-rated wiring. And due to its ability to support up to 512 channels that can be transmitted over relatively long distances or to multiple locations, having virtually zero delay, using existing IT infrastructure, and using lossless digital signal transmission, it has become a popular solution in the commercial and professional audio world.

Of course, we’ve started seeing some Audio over IP crossover into the resi world recently. One of the first big demonstrations was at CEDIA Expo 2023, where StormAudio demonstrated an 11.6.6-channel fully digital, AES67 Audioover-IP theater system. This allowed the Storm

Evo 32-channel processor to be wired with just four cables: power, two Cat6, and HDMI. (While AES67 is a technical standard, it allows streaming interoperability between the various IP-based audio networking products currently available, such as Dante.)

Cut to CEDIA Expo 2024, and Dante was a topic of conversation at many booths. The benefits go beyond greatly simplifying and decluttering the rack, as the network topology also eliminates common issues like groundloop hums and allows CI-friendly features such as remote setup, calibration, and monitoring.

The Dante ecosystem is also huge, offering wide compatibility between more than 5000 Danteenabled products from over 600 manufacturers.

At SoundTube’s booth, they were pitching Dante to the resi market in a big way, using the theme, “Dante Comes Home.” It was there that Ken Hecht, SoundTube’s vice president and head of engineering and R&D, walked me through the company’s complete residential ecosystem of Dante-enabled products, which includes the STNet Switch II, a variety of Dante PoE-powered speakers, Dante enabled power amplifiers, and the new DSM-16 Dante System Manager, which the company is calling “the linchpin to its STNet

Dante ecosystem.”

Will the DSM-16 be enough to help Dante break into the residential market? SoundTube sent me a full system to find out.

First Impressions

At first glance, the components don’t really seem too different from systems you’re likely already installing. The STNet Switch II is your typical, high-quality, managed PoE+ switch, offering 16 ports with full PoE+ on all ports (700 total watts), as well as two SFP expansion ports. Honestly, at a retail price under $1300, this switch is worth considering even if you never use it for Dante audio. The IPD-CI62 speakers are solidly constructed with a fully sealed metal backbox enclosure and a unique “SpeedWing” mounting arm system. Except, as you look a little closer, you notice there aren’t any binding posts for connecting speaker wiring; rather, there is an Ethernet connection. Finally, the DSM-16, which initially looks like your typical audio matrix, offers six pairs of RCA analog inputs, four sets of Phoenix connectors for balanced audio connections, and two each coaxial and Toslink optical audio inputs. It also has four configurable GPIO (General-Purpose Input-Output) ports for

By John Sciacca

855-663-5600

SOUNDTUBE.COM

KUDOS

Game-changing way of distributing audio; simplified setup and installation

CONCERNS

DSM Web-control interface is basic

PRODUCT SPECS

Dante System Manager with 16x16 audio matrix supporting up to 16 mono or 8 stereo zones serves as the heart of the Dante network audio system

Delivers up to 24-bit/96 kHz uncompressed audio

Dante setup and configuration via Dante Controller software

Control and setup via built-in web browser or third-party control drivers for Control4, Crestron, and QSC, and API that can be used with any control system

Compatible with 600-plus manufacturers and 5000 Dante devices

Inputs: 12 RCA line-level, 8 balanced analog audio, 2 coaxial digital, 2 coaxial audio, 4 GPIO logic inputs, 12v trigger, RJ45 Ethernet, RJ45 Dante/ PoE+; Outputs: 4 RCA line-level, 2 balanced analog audio, 2 12v triggers, 24v power

Dimensions: 17.25 x 1.75 x 9.25 inches (WxHxD); Weight: 7.15 pounds

logic I/O and remote volume control, as well as 12-volt triggers. But closer inspection reveals it has two separate Ethernet connections — one Dante/PoE+ and another for network — and only two sets of analog audio outputs rather than the typical eight.

Hecht was kind enough to fly up and spend the day with me to get the system configured and up and running, and as we were discussing different applications for the system, it was easy to see how this could certainly alter the way we deploy audio systems.

First, think of how many different spools of wire you likely keep in stock and load into a van for a prewire: probably multiple spools of 2-

and 4-conductor wire from 12 to 18 gauge. Now, imagine your inventory and prewire if you only needed to pull Cat6.

No more needing to calculate impedance and signal loss over a wire run. No more lugging those heavy spools into job sites. No more running out of that one wire you don’t use very often. Just keeping a full inventory of Cat6 wire that not only handles all your networking — and likely surveillance — needs, but also all the audio chores as well. That alone is kind of a game-changer for the Dante infrastructure in the CI world.

Beyond that, you’ll eliminate the interconnect cabling between matrix and amplifiers, which will simplify connections and declutter the rack. You’ll also eliminate any heat issues from having an “amp farm” in the rack. The Dante network topology eliminates issues like ground-loop hums and allows features like remote setup, calibration, and monitoring (currently requiring a VPN or other remote-access option). And reconfiguring is often done entirely in software, not requiring any rewiring.

SoundTube offers a large variety of Danteenabled PoE-powered speakers in architectural recessed, surface mount, pendant, outdoor, and even soundbar styles. While I didn’t test them, one interesting speaker series offered by SoundTube is its IPD4. This speaker takes a single PoE+ Cat cable and then has internal amplification to power three additional

speakers. Plus, it can break out the second pair of connected speakers into a separate zone, giving you the ability to stream a different source at a different volume to that pair. At $675 for the main speaker and $252 for each passive speaker, this would allow you to add two zones of audio to a system for under $1500.

If the client has a pair of traditional, nonpowered speakers they want to incorporate, you could add one of SoundTube’s new Danteenabled amplifiers. There is the MCA7004t that has up to 700 watts x 4, or the beastly MCA10004t that goes up to 1000 watts x 4. And because Dante components are all interoperable, you aren’t limited to staying in the SoundTube sandbox, but rather can choose any certified Dante product, or interface with those that support AES67, like the StormAudio processor.

Setup

When I’m reviewing a new whole-house audio system, typically I pull out my existing in-ceiling speakers and install the new ones, and then replace my Control4/Triad electronics with the system I’m testing. However, that only works when the speakers use traditional speaker wiring, not Ethernet.

So, things were a little different for this install. SoundTube sent three pairs of speakers to test, along with a pile of Ethernet cables, allowing me to simulate a multi-zone setup. They also sent some brackets/stands that allowed

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the speakers to be installed and sit on the floor at an upfiring angle. Because the IPDCI62 speakers are housed in a sealed metal backbox, they don’t require being installed in a ceiling to sound their best.

The IPD-CI62 is a 6.5-inch coaxial design with a polypropylene woofer with butyl rubber surround and a 1-inch silk-dome tweeter, along with a tuned port for enhanced bass response with stated 54 Hz–20 kHz (±3 dB) performance. The speakers are bi-amped with crossovers, EQ, and time correction performed in the digital domain prior to amplification.

The installer side of me really appreciated the unique “SpeedWing” mounting system. This is two metal “clamping” arms that are adaptable to thicknesses ranging from .035 to 2.5 inches, meaning you’ll likely never encounter a ceiling they can’t mount in. Also, it only has two screws to deal with, and the wide clamps make for a solid and snug fit against the ceiling.

Worth mentioning is the excellent speaker configurator tool available on SoundTube’s website. This allows you to enter in the size of the space you’re wanting to cover with sound, the desired volume level at the listener position, and the coverage quality, and it will calculate the speaker’s performance and distribution and tell you how many speakers are needed to cover that area. It would be a great report to include with your proposals.

You connect your “traditional” analog or digital sources directly to the DSM-16, which then “Dante-izes” them and sends them out over the network. I connected my Marantz CD 50n (review available online), which has a digital preamp, CD player, and HEOS built-in, along with my DISH Joey. To test Dante sources, I installed the Dante Virtual Soundcard on my PC and SoundTube sent a Dante AVIO analog input adapter. Because there are no physical connections to the DSM with Dante sources, those bindings are all made in software.

There is a host of modules that allow you to connect different sources to a Dante network. For example, Radio Design Labs offers decora-sized devices for connecting analog line-level, balanced XLR, digital, or even Bluetooth devices. Muxlab has a module that allows connecting HDMI sources. And Lode Audio offers the La Dante, which is a fourstream native Dante audio streamer. Due to the decentralized nature of Dante, as long as the sources connect back to the

network, they can be available as sources to any zone on the system.

Configuring the system requires different steps using Dante Controller software, SoundTube’s STNet Control Center software, and the Web browser built into the DSM-16. These are a bit interconnected, and you often need to go back and forth between them to complete the initial setup. If the project requires any special network configurations, those will be made in the STNet Switch II itself; however, it is set up and ready to go out of the box for Dante streaming.

While the configuration isn’t difficult per se, it was just different enough that I got hung up on getting the Dante connections and bindings figured out and needed to reach out to Hecht. He said SoundTube offers both virtual and in-person training to help learn the configuration, and the company will also have a host of guided videos available on its website to help bring dealers up to speed.

Within Dante Controller, you make bindings between any Dante transmitters (sources) and Dante receivers, which in this case would be the IPD-CI62 speakers. The STNet Control Center gives you deep access into each of the speakers, allowing you to adjust input and output gain, set high- and low-frequency bypass, configure up to eight different PEQ settings, output pink noise, and monitor the speaker’s health and status. One of the benefits of using SoundTube’s STNet Switch II is that you can use its higher wattage output of 40 watts to drive the speakers, and this is enabled in the Control Center software. (While the speakers are compatible with PoE++, they won’t receive any more than the standard 30 watts of PoE+ power.)

Configuring the DSM-16 is more like setting up a traditional audio matrix with a couple of twists. After logging into the Installer Page, you have five configuration options: Zone, Input, User, Output, and Logic.

The Zone Config lets you create zone names (kitchen, dining, bedroom, etc.), lets you assign a password to each zone if desired, and then lets you choose whether to show or hide the meters and EQ settings.

The Inputs tab is where inputs are created, assigned, and connected to the zones created in the step above. You use dropdowns to select where the source is connected — either analog or digital to the DSM-16, or as a Dante transmitter — then you “link” them to each zone. If you don’t want a source to be available in a particular zone, just don’t link

it. Depending on how many sources you have and how many zones you are linking them to, things can get visually crowded on this page with all the linking connections. For example, if you had a CD player that was available to all zones, both of its analog outputs would each have eight separate connections. Multiply that by potentially eight or more different sources, and things can get a bit messy. Hecht said they will be rolling out a firmware update that will make it easier to see these connections. You also have adjustments for input gain, delay, ducking, crossover, EQ, volume, and limiter settings.

The User Config page is where you link the input sources created above to each audio source. Again, this is performed on a zone-by-zone basis, so if you wanted to exclude something from the user GUI in a specific zone, you would just exclude it here.

The Output page is where you would link what outputs are routed to the two pairs of analog audio outputs. This could either be one of the inputs or could be linked to a specific zone in case you were using a separate powered subwoofer. The Logic page lets you configure the four GPIO logic inputs, which can either be linked to Logic In, Logic Out, or Analog In.

SoundTube offers integration drivers for interfacing with control systems like Control4, Crestron, and QSC. I added the Control4 driver to my project, and integration and configuration were straightforward, taking about ten minutes to set up and interface with my system.

One issue we had right out of the gate was that connecting the STNet Switch immediately crashed my network. We’d reboot, try again, and crash. After some head scratching, we discovered the STNet Switch ships with a default static network IP of 192.168.1.1, which also happens to be a very common gateway for many residential networks, including my own. We created a VLAN in the switch to resolve this, segregating the Dante devices and traffic to one side and my home’s Wi-Fi and network to the other. This shows the smarts of having two Ethernet connections in the DSM-16; having one for network traffic and another for the Dante/ PoE+. But if you are working on a .1.1 network, you’ll want to reconfigure the STNET Switch prior to connecting.

Performance

Assuming you don’t have a separate control system, controlling the DSM — selecting what is playing in each zone as well as adjusting volume levels — is done by logging into its web browser. When you hit the DSM’s browser, you’re

presented with different log-in options via a dropdown list that includes Installer (for making the configuration settings mentioned above), Admin, and ones for each zone you created.

If you log in as Admin, you can select the source and control the volume in each zone on a single screen. If you are using a PC or tablet to do this, that probably won’t be an issue, but on my iPhone, this Admin GUI is a bit hard to see, and kind of clumsy to select and make changes with its small buttons and sliders. If you log into an individual Zone, it is much easier to control on a phone’s smaller screen real estate. Also, if you choose not to password-protect the individual audio zones in the initial setup, selecting that zone will take you straight to it. However, you need to go back to the DSM’s main page before you can select and control a different zone, which is a little clunky.

I found the control experience significantly improved by adding the DSM to my Control4 project. Once in Control4, I could pick the room and source like I would with any other system, then have full control of that source device as well, such as the HEOS streaming in my Marantz. I could also add the other rooms into an audio session and quickly adjust the volume in each of the areas. This provided a much more complete experience, and my recommendation would be to layer a control system on top of the DSM-16 if possible.

With either control means, I found the DSM to be quick and responsive to input flips and volume changes.

One of Dante’s strengths is its virtually nonexistent delay, and I definitely found that to be the case between the three sets of speakers. Having them all in the same room, it would have been very apparent if any were even the slightest bit off, and I certainly never noticed it. Even more impressive, there were no perceptible lip-sync issues even when watching TV from my DISH Joey. Voices lined up among the three speakers with no loss or timing issues. And the Dante AVIO allowed me to easily add an analog source streamed across the network without issues.

With a rated low-end performance of 54 Hz, the speakers don’t plumb the deepest registers

of the frequency range, but they play low enough to deliver full-range sound. They are definitely able to give the double bass line in Miles Davis’ “So What” the right weight, but not able to get to the bottom of Hans Zimmer’s “Beginnings Are Such Delicate Times.” However, with all six of the speakers playing together — not too unusual to have in a large room/space — the overall bass output was definitely augmented. The highs from the 1-inch silk-dome are clear and detailed, and presented vocals and cymbal strikes and brush strokes clearly, while not being brash or harsh.

What I most appreciated was the width and spaciousness of the sound, with audio that played well outside the physical boundaries of the speakers. The swirling opening notes from the Dune 2 soundtrack gently swayed between the two speakers and well outside to the left and right sides of my room. This wide dispersion would certainly make them great for multi-room audio playback. Also, with a rated maximum SPL of 101 dB, they have plenty of headroom to fill an audio space with party-level volumes.

I did have a couple of minor operational hiccups. One, I initially got so much static from the Dante Virtual Soundcard as to make it unusable. Whether it was an issue with DVS or my PC is hard to say, as others have reported similar problems, but after some computer reboots DVS mostly played correctly with just a bit of background crackles. (The AVIO didn’t have any of those issues.) Also, following a several-hour-long power outage at my home, the system came back but dropped a key setting that kept audio from streaming and lost connection with my Control4 system. Fortunately, these issues were both quickly and easily resolved.

SoundTube’s STNet system definitely demonstrates that Dante can successfully transition from commercial to residential, and the DSM-16 brings a lot of simplification and improvements with it. The ability to get rid of amp farms, wire a system end-to-end with Cat cable, and push the intelligence and control all the way out to the speakers is certainly appealing. And in the Resi space, it seems that Dante is more a case of when, not if. With SoundTube, that when is now.

Lighting Design Do’s and Don’ts

What every integrator should know in order to create unforgettable spaces.

BY MIKE LIBMAN, SALES VICE PRESIDENT, CUSTOM INTEGRATORS, DMF LIGHTING

Lighting design is no longer just about illumination. It’s a key ingredient in shaping how people live, work, and feel in their homes. As lighting becomes more dynamic, digital, and design-driven, smart home integrators have a unique opportunity: to partner with the designbuild community not just as installers, but as collaborators in crafting unforgettable spaces.

But with that opportunity comes a challenge: Many interior designers, builders, and even clients still operate with outdated assumptions about lighting. When missteps occur, they can lead to glare-filled rooms, clunky controls, or even costly rework. To help integrators strengthen partnerships and streamline project outcomes, we’ve compiled essential “do’s and don’ts” drawn from the experience of DMF Lighting’s design experts.

DO: Get Involved Early

Lighting is not a last-minute decision. In fact, waiting too long to bring in a lighting designer is one of the most common mistakes in high-end residential projects. Decisions about fixture placement, wiring paths, and control zones need to be made during the schematic design phase.

Pro tip: Position yourself as a design partner from day one. Being part of initial design meetings enables you to align technology with the aesthetic vision and avoid costly compromises later on.

DON’T: Assume the Ceiling Plan

Tells the Whole Story

Designers often assume a basic ceiling layout is enough to create a lighting plan. But without a full understanding of furniture placement, finishes, and spatial flow, lighting decisions can feel disconnected and disjointed.

Solution: Ask for detailed furniture layouts, art layouts, and renderings. Tools like DMF’s Lighting Application Services can help visualize how lighting interacts with elements in the home and creates moods and experiences that change based on use and time of day.

DO: Layer the Light

The days of relying on a single overhead source are long gone. Layered lighting, with ambient, task, and accent, is essential for spaces that serve multiple functions throughout the day.

Strategy: Help designers build scenes that shift with time and activity. Whether it’s a kitchen that becomes an entertaining space or a bedroom that doubles as an office, layered lighting with automation gives homeowners flexibility without compromising design intent.

DON’T: Overload the Room With Light

More light does not mean better lighting. Too much brightness can create

glare, flatten textures, and reduce comfort. Contrast creates drama and draws the eye to important elements of the home.

Advice: Focus on quality over quantity. Choose fixtures with high color quality, appropriate beam spreads, and dimming down to 1% or even 0.1%. DMF’s adjustable modules, for example, give flexibility to highlight artwork or architectural details without adding bulky sconces or tracks.

DO: Speak the Designer’s Language

Lighting pros think in terms of circuitry, loads, and control systems. Designers think in terms of ambiance, texture, and visual rhythm. Miscommunication between the two can result in mismatched finishes, control confusion, and awkward compromises.

Bridge the gap: Use visuals — mockups, demos, and renderings — to create a shared vocabulary. When possible, walk the space together to define priorities and agree on goals for form and function.

DON’T: Underestimate the Role of Smart Lighting

Some designers are hesitant about integrating smart systems, fearing they’ll be complex or clash with the visual aesthetic. But with careful planning, smart lighting enhances both performance and beauty.

Educate: Show how features like scene control, scheduling, and circadian lighting can enhance the user experience and energy efficiency without compromising style.

DO: Treat Lighting as a Wellness Tool

Modern lighting impacts mood, sleep, productivity, and potentially long-term health. Systems that mimic the natural rhythm of daylight are becoming a must-have in luxury homes.

Actionable tip: Include digital tunable-white lighting solutions as part of your base recommendation. This positions the integrator as someone who’s not just enhancing beauty, but improving how clients feel in their space.

Final Thought:

Collaboration Is the Name of the Game

Lighting is no longer just the domain of fixtures and circuits; it’s a design element in its own right. When integrators and designers speak the same language, plan together early, and leverage partners like DMF, the results are spaces that shine in every sense of the word.

Mike Libman is the sales vice president, custom integrators for DMF Lighting who works with smart home technology professionals to provide lighting solutions to their clients. He believes lighting is about enhancing the elements that people love about their homes.