Systems Contractor News - June 2023

SYSTEMS CHECK

Are You Ready for Your Close-Up?

Iknow exactly when it happened.

The year was 2017, and my family had come back from a once-in-a-lifetime Ireland vacation. I was sorting through our pictures and found one of me drinking a Guinness. Now, I’m not much of a drinker—you can usually count the number of alcoholic beverages I have in a year on one hand. But we were in Ireland, so sampling the local stout and getting photographic evidence seemed appropriate courses of action.

There I was, in an Irish pub, showing off my beverage (see photo below). But that couldn’t be me. The guy staring back at the camera was … older. I had spent years looking at my contemporaries on Facebook, smug in the knowledge that they had reached the aesthetic tipping point of middle age. Now, apparently, so had I. Cheers, indeed.

Which brings us to Botox.

Holli Hulett, co-founder of Boom Collaboration, recently reported a marked increase in Botox, lip fillers, and other minimally invasive cosmetic procedures since the pandemic. In the United States, for example, there has been a 41% jump in treatments.

What has sparked such an interest in injecting one’s face with toxin—the same toxin that can cause botulism—to relax the muscles that cause wrinkles? Turns out it’s videoconferencing.

“People are definitely becoming more self-conscious and aware of how they appear,” Hulett explained. “Other than looking in a mirror, many hadn’t really paid too much attention to themselves and certainly not on camera before.”

Boom Collaboration’s research showed that about half of people worry about how they look on video, hence the “Zoom Boom” in solutions for fuller lips and fewer crow’s feet. The BBC reported on this phenomenon during the lockdowns in 2020—but three years later, the market is still growing for everything from wrinkle reduction to neck rejuvenations.

If anyone decides to conduct a study, I’m reasonably sure the SCN readership will be listed among the best-looking groups of modern media audiences. I mean, it might be close between us and the Guns & Ammo crowd, but are you going to pick a fight over who has the better chins with the guys carrying multiple shotguns?

All kidding aside, appearance matters. From company meetings to sales pitches, from coursework to tech support, videoconferencing is a reality in our professional lives. If you’d rather not go the Botox route, here’s a quick refresher on some less invasive ways to improve your next appearance on Microsoft Teams.

An easy adjustment is camera placement. The low-angle look from a built-in laptop camera doesn’t do anyone any favors. Invest in an external camera for your workspace and place it above your monitor for a more flattering angle (or at least get that laptop camera at eye level). Avoid placing your camera to the side—it looks better when you look into the camera instead of taking meetings in profile.

Then there’s your background. It may not be perfect, but virtual background technology can cover up a world of distractions. It only takes a couple of clicks to insert a branded background or blur your surroundings (nobody wants to see your unmade bed or dirty dishes).

Better angle, better background—two quick fixes that can make you look more professional on videoconferences, no surgery or beer goggles required.

® avnetwork.com

JUNE 2023 VOL. 30 NO. 6

CONTENT

VP/Content Creation Anthony Savona

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

Content Manager Wayne Cavadi

Contributors Sharath Abraham, James Careless, Jennifer Guhl, Carolyn Heinze, Douglas Kleeger, Tomer Mann, Tony McCool, Pete Putman

Group Art Director Nicole Cobban Art Editor Rob Crossland

Production Managers Nicole Schilling, Heather Tatrow

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The wrinkles, the undeniable gray hair— how did that happen?

And how will I look on my next Google Meet?

Watchfire Purchases Spectrum Scoreboards

Digital display manufacturer Watchfire has completed the purchase of the assets of Spectrum Scoreboards, giving the company a complete line of fixed-digital sports scoreboards and timing displays. This transaction represents the second add-on acquisition that Watchfire has completed since H.I.G. Capital acquired Watchfire in July 2022.

Raiders Streamline Media Operations with Vidispine

The Las Vegas Raiders have chosen Vidispine’s media asset management solution for its Silver & Black Productions team. The production team produces and archives a wide variety of media content, from game footage to player features to historical documentaries, for distribution across broadcast, in-stadium, digital, and social media platforms. The Raiders needed a flexible,

Epson Celebrates Completed Los

Alamitos Headquarters

Epson hosted a ribbon-cutting ceremony for its new headquarters on May 9. Located in Los Alamitos, CA, the new campus serves as Epson’s corporate headquarters for the United States, Canada, and Latin America, overseeing operations for home, office, commercial, and industrial printing, visual communications, wearables, robotics, microdevices, and manufacturing. It also features a hoteling workspace system, greatly reducing the required physical footprint for staff, which allowed for an expanded Executive Briefing Center to host customers, partners and community members.

“By leveraging Epson technologies, we’ve optimized the space to boost productivity and foster collaboration, while prioritizing sustainability, community engagement, and employee work-life

cloud-native API-based system that offered custom workflows and integrations to streamline operations, as well as the ability to integrate with other applications, including the NFL’s Next Gen Stats application. Brad Phinney, senior vice president and chief experience officer, said the Vidispine system “does everything we need today, plus keeps us ready for future developments and functionality.”

Founded in 1971, Spectrum is one of the largest privately-owned manufacturers of sporting event scoreboards, and serves private and public schools, colleges, parks, and stadiums. Spectrum’s Houston location will remain fully operational, continuing all manufacturing, sales, and support functions.

“It really is the best possible fit,” said Jim Bishop, co-founder of Spectrum Scoreboards. “This has been a family-owned business since the beginning, so we worked really hard in this process to identify a company that was aligned with our business philosophy. Watchfire understands our commitment to building a domestically manufactured product that delivers superior performance and then backing it up with unmatched customer service.”

“Adding the capabilities of Spectrum, particularly their product set and the team that makes up their service organization, is the next logical step for us in the sports market,” noted Steve Harriott, CEO of Watchfire. “Spectrum produces the best fixed-digit option on the market today, and their approach to product development and support after the sale complements Watchfire’s existing high standards.”

Watchfire is headquartered in Danville, IL.

balance,” said Keith Kratzberg, Epson America president and CEO. “Our newly established Executive Briefing Center serves as a hub for Epson team members and partners, providing an environment in which we can envision and develop effective strategies for future business achievements.”

In addition to expanding operations to more than 150,000 square feet in a two-building, environmentally focused facility, the Epson Campus is the physical realization of the Epson 25 Renewed Corporate Vision. The new campus underscores Epson’s commitment to local community engagement, integrated sustainability, and workplace collaboration.

Epson hosted a ribbon-cutting ceremony for its new U.S. headquarters last month.

22Miles Helps Visitors Navigate Orange County Convention Center

By Tomer Mann

When InfoComm attendees return to the Orange County Convention Center (OCCC) in June, they should have an easier time navigating the venue. The Orlando, FLbased facility has spent the last five years scaling a visual communications solution to accommodate modern facility and attendee requirements. Its solution incorporates standard signage, touchscreens, and even attendees’ personal devices to create a flexible system that can adjust to any event.

A 7-million-square-foot campus spread across several buildings, the OCCC is one of the largest convention centers in the United States. Averaging nearly 200 events annually, its messaging and communications requirements change daily. Plus, it’s unusual for a single event to take over the entire OCCC, so signs in different areas often need entirely different information.

To accommodate the fast-paced engagement demands of these events, OCCC needed a solution to enable facility managers to update content effortlessly and control screens anywhere in the facility. Additionally, the OCCC’s food vendors rely on digital menu boards; they need access to update menu content directly with menu items, dynamic pricing, promotions, and more. Most importantly, the OCCC’s hundreds of thousands of annual guests need directory and wayfinding information at their fingertips.

The OCCC IT management team collaborated directly with Intel and 22Miles to implement a comprehensive digital signage and wayfinding solution. The team deployed 20 strategically positioned 3D wayfinding kiosks across the facility,

running the 22Miles Interactive Wayfinding application on Intel NUC Mini PCs. The interactive kiosks are supplemented by 60 column signs with facility and event information. The OCCC also features 94 menu displays primarily used for third-party vendor content.

Facility managers can update or replace content on any screen and preview, control, or troubleshoot any device in the digital signage network using the 22Miles Publisher Pro App. Third-party vendors also have limited access to update their menu board content through the 22Miles Web Editor.

“The menu screens process greatly improved, as in the past we had food service vendors basically running around from food court to food court with a flash drive to manually update signs,” explained Michael Distler, OCCC IT manager. “Now they use the 22Miles software, which we can easily update all of the 90-plus menu display signs from one system.”

After success in its initial phase, the OCCC IT management team also collaborated with 22Miles to

create native mobile Android and iOS apps using the Publisher Pro app development kit, making visitors’ smartphones a crucial part of the facility’s visual communication strategy. Visitors can use the new OCCC Campus app to navigate the facility using detailed interactive 3D maps, get turn-by-turn directions to any location, save their parking spot, find transportation pickup points, and submit feedback to the facility.

The app uses the same Publisher Pro backend as the signage system, so the managers can automatically push updates to the app. The app also integrates with Ungerboeck, the OCCC’s event management software, allowing visitors to access event-specific information.

Since the OCCC began its visual communication overhaul in 2018, the clear benefits to both attendee experience and facility management have led them to steadily scale the experience to more features and screens. InfoComm attendees can download the OCCC Campus app or visit 22Miles (Booth 809) for a demo of the convention center’s content management system.

“It’s so great to see the project continue to expand over the years to more touchscreen wayfinding systems, additional digital signs, and now even the mobile wayfinding app,” said Richard Towner, sales manager at 22Miles. “It’s truly amazing that the project as a whole is made possible by a single platform in Publisher Pro, needing no custom coding or programming to deliver the 3D wayfinding for kiosks, a native mobile app, and digital units—fully integrated with OCCC’s Ungerboeck event feed, too.”

Tomer Mann is the chief revenue officer for 22Miles.

Shure Strives to Save 100 Million Batteries from Landfills by 2027

According to Shure, more than 100 million AA batteries will have been saved from landfills by 2027. The number is based on data calculations from customers worldwide in music production, theater, touring, education, business, government, houses of worship, and more.

With previous technology, disposable batteries were used to power microphones and transmitter packs. Audio engineers would frequently replace batteries—even when those batteries still had power—to ensure an uninterrupted performance

with fresh batteries.

However, new innovation from Shure has converted those products to rechargeable options, creating significantly less waste. In fact, David’s Byrne’s America Utopia Broadway show used Shure’s rechargeable system over the course of the run, and the monitor engineer estimated the production saved about 21,000 AA batteries from being disposed of in landfills.

With Shure’s rechargeable wireless audio technology, it has transformed sound production into a much more environmentally friendly operation. In

the past five years, Shure estimates that it has already eliminated more than 20 million AA batteries from ending up in landfills. The company has adopted several other sustainable initiatives in areas such as packaging, facilities, and product initiatives.

“We take great pride in our ability to not only keep millions of disposable batteries out of landfills, but also to provide additional innovation and initiatives that help our customers and associates be more sustainable,” said Chris Schyvinck, president and CEO at Shure.

Wayfinding kiosks have been installed across the Orange County Convention Center.

22MILES

Bogen Keeps Students and Faculty Informed

The City of Crawfordsville is a rapidly growing suburb of Indianapolis. Nestled within the suburb, Crawfordsville Community School Corporation is home to more than 2,500 students across six school facilities. From daily announcements to threat responses, CCSC understood the need for reliable and cost-effective intercom systems to keep administration, staff, and community members connected.

Indiana-based systems integrator Fairchild Communication Systems designed and integrated an intercom system at Hoover Elementary and Nicholson Elementary using the Nyquist E7000 IP-based paging system from Bogen Communications. The project required FCS to eliminate a legacy system and integrate the Nyquist E7000.

Harnessing existing speaker cabling, Nyquist updated the schools’ respective paging and intercom system without costly retrofitting, while putting in place a solution for both long-term reliability and ease of use. With only one day of downtime, Fairchild Communications had the new intercom system operating efficiently for both schools.

“It was fairly effortless,” said Doug Lengerich, technology director, CCSC. “The integrator knew what they were doing, and it went smoothly.”

Nyquist delivers simplified configuration and control for bell/event schedules. A web-based user interface enables bell schedules to be controlled across the entire district from a single user interface. Dynamic, scripted automated sequences within the Nyquist E7000 called Routines can support crisis plans for emergencies, such as school lockdowns, severe weather events, or emergency evacuations.

“The school appreciates that with their permission, we can remotely access their systems for diagnostics and programming,” said Matthew Ranft, director of sales and marketing at FCS. “One of the main features the school principals and administrators were excited about was the simple way to adjust the bell schedule based on school schedule, to choose different bell schedules, or even have them preprogramed.”

While FCS had not originally planned to provide inputs into the sound systems in the gymnasium and other large group areas, Ranft said the flexibility of the Nyquist system allowed them to allow emergency calls or tones to be heard even during loud events, which provided another level of safety for students and faculty. “Bogen Communications provided enhancements to our technology, with minimal disruption to the schools, and the ability to use most of their existing infrastructure,” he added.

CCSC ultimately elected to increase the original project scope to four schools; now, CCSC plans to install the Nyquist E7000 platform across all primary, intermediate, and secondary schools in the district.

From daily announcements to threat responses, Bogen’s Nyquist E7000 provides increased audio functionality at Crawfordsville Community School Corporation.

Police Association Manages 4K Video Wall with Just Add Power

The Fullerton Police Department Association in Fullerton, CA, recently installed a Just Add Power MaxColor 4K60 Series transmitter and receiver to its new meeting and event space. Installed by HB Integration, the MaxColor natively supports 4K60 in and out, powering the association’s new 2x2 4K video wall.

“I was able to confidently tell the FPDA I had a perfect solution, because it’s something I’ve vetted myself,” said HB Integration’s Jason Gibson. “I have had Just Add Power in my own home since 3G and have been using the MaxColor models since their release. Their products are easy to install, they have great support, there’s no lag, and they are continuously evolving to add even more simplicity to the system.”

For FPDA, HB Integration design plans consisted of four Apple TV video sources. Through the Apple TVs, the organization would be able to access its DirecTV channels from the DirecTV app as well as music and other content with ease. In addition, anyone would be able to AirPlay content directly from their own device.

With the focus on providing a high-quality viewing experience that would complement the Apple TV’s 4K content options and the 4K Sony displays that make up the video wall, HB Integration selected the MaxColor 4K60 Series. The system infrastructure is supported by a NETGEAR 10-port stackable Gigabit Ethernet switch, Ubiquiti router, and Ubiquiti mesh access point that’s inconspicuously mounted on the wall. The video wall is controlled by a URC control system, which is fully compatible with the Just Add Power system.

MaxColor natively supports 4K60 in and out, allowing end users to play 4K/UHD video. With MaxColor, 12-bit 4K video can be distributed over Cat 5 or Cat 6, eliminating the expense of upgrading to fiber and buying more costly network switches. The

series works with existing Just Add Power drivers and supported control systems. Plus, it supports MPEG downstreaming for connected devices, such as a laptop or a mobile device.

“Our MaxColor Series was engineered to provide the 4K video-over-IP distribution platform that installers and end users have been clamoring for,” said Taft Stricklin, chief sales officer at Just Add Power. “The installation at FPDA is an excellent example of the proliferation and demand for 4K experiences beyond the living room. We’re proud to be the system of choice for HB Integration’s design and help them create a flexible and easy-to-use distribution system that will meet the association’s visual needs now and in the future.”

AVI Systems Rebrands Its Microsoft Consulting

AVI Systems has a new brand identity for its Magenium Solutions business for Microsoft Teams deployments. The new logo design evolves the Magenium brand to remain strong on its own but be visually recognizable as part of the AVI Systems business. It is the first rebranding in the company’s history and reflects both organizations’ desires to bring the brands into harmony and eliminate any confusion in the marketplace.

Throughout its 16-year history as a Microsoft consulting firm, Magenium has built and maintained its brand as the business organizations choose when they need to modernize their technology. “By aligning ourselves more closely with our parent company, we believe the market will understand that our reach has evolved to deliver solutions to our customers globally,” said Tom Egan, CTO.

“Our Microsoft consulting practice at Magenium has grown significantly in recent years,” said Jeff Stoebner, CEO at AVI Systems. “As the leader in Microsoft Teams Room deployments, we want to ensure that clients get premiere services from Magenium as well as the technology and support they expect from AVI Systems. This new brand solidified our approach in working together to deliver the services and technologies every modern workplace requires.”

The Just Add Power MaxColor AV-over-IP solution distributes 4K video over Cat 5 or Cat 6 cable.

Marshall Cameras Provide POV for Kean University Esports

For one of its most recent projects at New Jersey’s Kean University, Horizon AVL turned to Marshall Electronics for its CV380 POV cameras to enhance the learning, broadcast, and competition experience in the university’s new esports center.

There are 12 Marshall CV380 cameras, one at every player station in a 6v6 setup, to capture the POV position of each player. The captured footage is then streamed to the team’s Twitch channel, as well as the center’s LED wall, where six players from one team are shown simultaneously as a group.

The CV380 delivers 4K, UHD, and HD video while maintaining a discreet presence. Its flexible CS/C lens mount offers a wide variety of lens options. For Kean University’s esports center, the team at Horizon AVL paired the Marshall CV380 cameras with an 8 MP, 3.8-16mm varifocal lens.

“For this project, the CV380 offered everything we needed,” said Joshua Kell, CEO at Horizon AVL. “When it came to the form factor and the quality of what we were looking for, it really met all our requirements.”

PAD Celebrates 30th Anniversary

Founded by Boston-based musician and audio engineer Dave Malekpour, Pro Audio Design (PAD) is celebrating its 30th anniversary. PAD has carved out a global reputation as a leading studio design, integration, and pro audio retailer with its small yet highly experienced team—and it’s to his team and clients that Malekpour credits the company’s success.

“Celebrating a 30th anniversary is a huge milestone for any business, and we couldn’t have achieved this without the help of PAD’s incredible team and loyal customers, said Malekpour, who serves as president of PAD. “Their support and dedication have enabled us to grow into what is now the PAD Group—and for that, we are extremely grateful.”

Malekpour developed a deep appreciation of music early in life. In 1989, he founded Anything Audio, specifying audio systems for hospitality, event venues, and recording studios. He spent the next three years refining the business to focus on pro studio installation projects and equipment refurbishment. In 1993, he established PAD, which combined Malekpour’s talent for selling audio gear with advanced studio design, systems integration, and technical services.

MARSHALL ELECTRONICS

Marshall POV cameras support esports tournaments and events at Kean University.

Observations from the 2023 NAB Show Floor

By Mark J. Pescatore

The NAB Show celebrated its 100th anniversary in Las Vegas in April, and there was plenty to see. While foot traffic seemed a bit hit-or-miss on Sunday, the Monday and Tuesday crowds seemed larger, more consistent, and I daresay bustling. Here are three takeaways from my time on the show floor.

1Don’t believe your eyes.

VR is taking over the world. Maybe.

LED walls were everywhere on the show floor. For me, it harkened back to the early days of HD at NAB, when suddenly everyone had an HD display at their booth to show they were part of the new trend. Sure, there was still plenty of greenscreen on display at the Las Vegas Convention Center, but VR was definitely this year’s “shiny new object.”

Among several VR demonstrations across the show floor, FOR-A had a particularly vibrant LED display in its booth. Last month, the company announced a strategic partnership with Alfalite, a Spain-based LED panel manufacturer, to market its screens in select areas. Absen also had some jaw-dropping large displays. If NAB was any indication, prepare to experience VR nirvana at InfoComm in June.

So why the maybe? As you might expect, cost may derail the plans of VR adoption for some. A video wall is not an inexpensive investment. Customers may have grand plans for virtual production for corporate studios, broadcast studios, houses of worship, and other installs, but they may balk at the equipment, installation, and power consumption costs.

Panasonic Connect had a clever alternative (that is yet to be named) at its booth. They had three projectors working through its KAIROS system to create a

virtual set. Was it as stunning in real life as the massive wall from Vanguard LED Displays a few rows over? Of course not. But on camera it looked just fine—and the projector solution means no moiré issues, lower power consumption, and lower equipment costs.

And there’s one more important note: Someone has to create the virtual reality for your VR setup. Whether it’s a sports stadium or the Rocky Mountains or even outer space, stock images will only take your background so far. If VR is going to succeed in the long term, customers are going to need access to talented graphic artists. To me, it feels like yet another avenue for managed services (read: ongoing revenue streams) for integrators.

2Ross Video is huge.

I know what many of you are thinking: Well, duh. Fair point.

I’m not saying that Ross Video wasn’t big before—I’m saying that through its recent acquisitions, expansive product offerings and solutions, and overall business strategy, Ross has reached the rarefied air of a company that is literally setting the direction—and raising the bar—of the production, broadcast, and Pro AV industries.

During the company keynote on Saturday, David Ross, president and CEO, said the company has experienced 31 years of consecutive growth. Through its strategic acquisitions, Ross now has a nearly 200,000-square-foot global manufacturing footprint and around 1,500 employees (about 280 of whom were at NAB Show). I talked with Ross briefly at the event, and he said the company is “the equivalent of 20 companies in one, all of them working together.”

What I saw at their keynote event was a growing, dynamic company with a plan. What I saw on the show floor was a large chunk of exhibit hall real estate that was buzzing with activity. What I see from the company is innovation, quality, and leadership.

So, I’m going on the record: Ross Video is now a cornerstone of our industry.

3 Industry trade shows are going to be just fine.

Behind the undeniable joy on the faces of reunited NAB Show attendees last year, there was some trepidation from organizers and exhibitors: If we build it, will they come? Well, they did, even if they didn’t break attendance records.

For its centennial show, the National Association of Broadcasters announced 65,013 registered attendees, including 17,446 international attendees representing more than 160 countries. That’s roughly 20% more than the 52,468 registered attendees from last year. There were also 1,208 exhibitors spread across the West, North, and Central Halls of the LVCC. Yes, attendance still falls short of pre-pandemic numbers, but it’s definitely trending in the right direction.

LG had a live demo of its VR capabilities, allowing NAB Show attendees to look behind the curtain at its technology.

Solid AV Growth Despite Uncertainty

By Peter Hansen

March was great; now April is good. The latest Pro AV Sales Index (AVI-S) came in at 61.6, exactly in line with expectations.

The preceding months followed an uneven course: January and February had modest but meaningful growth, with scores near 57. Then March surprised, leaping up almost 10 points to 66.0. We interpreted that as reflecting both noise and signal, suggesting that April’s results would be above February but below

March. And the result lands almost exactly in the middle.

A level of 61.6 is good news, as it indicates a strong growth rate similar to pre-COVID norms. According to survey respondents, it is the net result of several important factors. On the negative side, you have continued supply issues, though they are improving. On the positive side, you have the continued return to non-pandemic norms. Uncertainty is a factor as well. As we cover in the next highlight, the possible recession is holding off for now but could easily strike.

GDP numbers have come in for the first quarter of 2023 and closed the door on the once-popular idea that that time window would see the start of a recession. U.S. GDP increased at an annualized rate of 1.1%, EU GDP grew at an annualized rate of 1.2%, and China’s GDP increased at an annualized rate of 9.09% (though that reflects a weak 2022 Q4 as the COVID-zero policy largely ended). Altogether, it’s a picture of sustained economic growth in defiance of expectations in Fall 2022. That said, there are no guarantees of continuance.

The banking sector continues to struggle, particularly within the United States, where a domino effect is shutting down regional banks. These bank failures represent a major tightening of credit availability far above and beyond the Federal Reserve’s rate increases.

That tightening will reduce business investment and meaningfully increase recession odds this year.

The AV Employment Index (AVI-E) continued its steady show of strength. The numbers reflect a bit of backlog from 2022’s strong revenue growth, both because companies struggled to hire given the difficult labor market and because companies were hesitant to invest in staff after such a difficult couple of pandemic years. That puts the AVI-E currently at 60.2.

That level is lower than the AVI-S, but steadier employment is normal. In fact, the AVI-S is commonly farther ahead of the AV-E than just 1.4. In short, Pro AV payrolls continue to undergo healthy expansion.

Perhaps for similar reasons, the overall labor market is also a bright spot for the wider economy. For April, the U.S. Bureau of Labor Statistics reported another significant jump in payrolls (253,000), concentrated mainly in the services sector as it continues to revert post-pandemic. Meanwhile, unemployment ticked down to 3.4%.

The Pro AV Business Index report is derived from a monthly survey of the AVIXA Insights Community, a research community of industry members that tracks business trends in commercial AV. For more information about joining the AVIXA Insights Community, visit www.avixa.org/AVIP.

Peter Hansen is an economist at AVIXA.

Looks Good, Sounds Good

Leon’s Sabbah Emphasizes Form and Function for Commercial Solutions

By Mark J. Pescatore

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

Paul Sabbah: I joined Leon Speakers 10 years ago as an independent sales rep covering the international market. Over these 10 years, I was asked to take on more territory (a bit of the U.S., as well) and to also focus on the commercial side of our business, which is the fastest-growing portion of our sales portfolio.

: You recently told me Leon had doubled its commercial sales in 2022. What’s the secret to your success?

PS: We have been riding a huge, global technologyrefresh wave. Adoption of 4K videoconferencing cameras, digital technologies, and large displays is skyrocketing due new the emergence of post-COVID hybrid work environments. Leon had been a highly regarded manufacturer of design-friendly AV solutions before this wave, so we have been able to transition seamlessly as a valued resource for this growing market.

: You produce technology concealment solutions for several big-name partners. Why not just focus on a one-size-fits-all approach?

PS: One-size-fits-all does not apply to our customers, so it does not apply to us! Our customers come in all shapes and sizes, using different UC platforms, all manner of display technologies, and many of them have both client-facing rooms and “internal” rooms just for staff. Consequently, one single approach won’t meet all needs.

: People used to love to show off their AV components, so why is technology concealment becoming so popular?

PS: Leon is uniquely positioned to answer this question because we have both a residential business and a commercial business. On the residential side, people do love to show off their fancy speakers, high-end amps, and large televisions—and their jewelry and their cars. These are aspirational possessions that denote wealth and cultural refinement.

In the office, technology is more of a necessary evil—a lot more devices, more cabling, multiple screens, and cameras, which collectively are difficult

to design around and take up large amounts of space. In the corporate world, that’s expensive real estate. In these situations, tech concealment becomes not only a design issue but also a cost issue.

: What was the inspiration for the Cove desktop workspace, and how has the response been from at-home workers and office personnel?

PS: Cove is a modern desktop designed for work, home, or co-working spaces. It features adjustable backlighting, a sound-dampening felt lining, and a sleek design. Our founder, Noah Kaplan, conceived of it when the pandemic started, thinking that workers at home were not being given the best chance to succeed with their tech and newfound “virtual” work life.

Paul Sabbah

Position: Business Development, Commercial Sales Company: Leon Speakers Overtime: I play a lot of tennis, a lifelong passion of mine, and golf, a lifelong frustration of mine.

Response to the product has been excellent, and we are seeing opportunities to design versions of Cove for corporate spaces as well. Cove has also been a great way for us to leverage partnerships with Logitech and Shure by including their products in a bundle with Cove.

: In-ceiling speakers used to be, shall we say, utilitarian in nature, but products like your Axis series have raised the bar considerably. What inspired the auditory upgrade?

PS: There are plenty of simple, low-cost in-ceiling products on the market. When we decided to offer this to our dealers, we took the “Leon approach” and made the product great, fully featured, and customizable.

: What are the differentiators in a high-quality soundbar?

PS: First and foremost, sound quality has to be superb, but we go beyond that by offering flexible mounting options, customizable cabinet colors, literally hundreds of speaker grille designs and colors, and fast lead times for custom sizes.

: I need to ask about your LiquidView Window. What makes it different from other displays, and are your sales coming more from residential or commercial customers?

PS: LiquidView is, in a word, amazing. The ability to create a digital window on a wall where none existed is one thing; it’s quite another to time-synchronize digital content on a 24-hour cycle and give the end users an app to select from many gorgeous views, all filmed in 8K. We assumed that the resi market would embrace it, but have discovered LiquidView Window also resonates with commercial clients for applications in hotels, hospitals, and corporate offices.

: Finally, the boss just told you to create a corporate conference demo room. What Leon speakers are you installing and why?

PS: Horizon Interactive is our flagship product—no room designed by me would be without it. To this product, I would add our Ultima drivers to boost audio intelligibility and enable Horizon Interactive to be used for more than conferencing, like music listening. The most important part of a meeting is audio, so the room I design will surely emphasize this capability.

Leon LiquidView

Leon Cove

PEOPLE EXECUTIVE Q&A

Change of Plans

New ClearOne CEO Graham Is Moving Manufacturing, Stressing Certifications

By Mark J. Pescatore

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

Derek Graham: I started working for ClearOne in July 2003, so I have been with ClearOne for about 20 years. Currently, one of my responsibilities is setting the strategic direction for the company and making decisions that drive growth in revenue and profit. Another responsibility is balancing the competing needs of our employees, customers, and investors.

: How has your engineering background, particularly with ClearOne, helped you prepare for your role as CEO?

DG: My engineering background taught me how to find the optimal solution for a problem with a given set of resources and constraints. My experiences prepared me by immersing me in projects that often had problems with several subcomponents and layers of complexity along with schedule deadlines and cost constraints.

My first role at ClearOne was lead engineer in a subsidiary called VideoLabs in Minnesota. Over time, I was given the opportunity to take on roles with greater levels of responsibility.

As my responsibilities grew, I was given the opportunity to work with and provide deliverables to all areas of the company. In addition, I had the opportunity to contribute to the company’s patent portfolio as an inventor and play a key role in

my unique strength in continuing ClearOne’s legacy by giving me the opportunity to move into this role.

: Now that you no longer have “interim” status, what are your short and long-term goals?

DG: In the short term, ClearOne is working to transfer our manufacturing from China to Singapore. There are several benefits we will gain from this transfer, including TAA compliance, which allows us to qualify for certain sales to the U.S. government and avoid China tariffs. The downside is that the transition places constraints on the volume of products we can produce until the transition is complete.

Longer term, I want to do a better job of addressing the concerns and needs of our channel partners and as our revenue grows, I would like to add more internal programs that benefit our employees. I have given the team a goal to increase the interoperability of our products with products from other companies. I want to obtain more Zoom certifications and add Microsoft Teams certifications for our products. I also want ClearOne to continue to innovate by using advancements in computing power to add new features, improve audio and video quality, integrate more functionality into fewer boxes, and leverage new technologies to make it easier to configure and deploy our products.

: What area is drawing the most business for ClearOne, home office or commercial solutions?

DG: Commercial solutions are generating the most revenue for ClearOne these days. We experienced a significant sales increase in 2021 for our video cameras for home office use, as many people around the world started working from home due to COVID-19, but in 2022, video sales for home office use decreased.

: How important is BYOD in today’s hybrid workforce and educational settings?

DG: BYOD is very important because these days, a significant percentage of people work from home for at least part of the work week. For those people, having the ability to use the same computing device in the office or classroom and at home can significantly improve productivity.

ClearOne has speakerphones, conference phones, and tabletop microphones. What’s the

Speakerphone is the name ClearOne uses for peripherals for a computer that have a built-in speaker and one or more microphones in a common housing. They allow a user with a laptop or mobile phone to connect to one or more speakerphone peripheral devices in a conferencing space. Speakerphones can generate louder audio output and capture audio from a larger area in a conferencing space than a single computing device. Speakerphones are typically connected to a computing device via USB or Bluetooth. Some companies have started calling

Derek Graham

Position: CEO Company: ClearOne

Overtime: I enjoy reading science fiction. I also spend some of my spare time in my home gym trying to keep in shape.

these devices “SpeakerMics.”

Conference phone is the name ClearOne uses for a device that can operate as a standalone phone instead of working only as a peripheral to another device. Conference phones have a built-in speaker, one or more microphones, a keypad, and a display that can be used for dialing and showing the status of a call. They are connected to a POTS or VoIP telephone line. Conference phones may also be able to connect to another conference phone, and/or a laptop via USB or Bluetooth. A tabletop microphone is just a mic without a speaker.

: What are the biggest stumbling blocks for customers looking to adopt AVoIP workflows?

DG: Many potential AVoIP customers want to use their existing IP networks and set up a VLAN to stream video, but they also want low video latency and high video resolution. These customers often find that they do not have sufficient bandwidth to support their desired AVoIP use cases. Also, even though video compression formats are standardized, there can be interoperability issues when customers try to integrate AVoIP streaming equipment from different vendors into the same installation.

: Your company has established ClearOne University—why such an emphasis on education?

DG: Our professional audio products offer system integrators a lot of power and configurability. To make effective use of that power, industry practitioners need to understand all the features and the different ways our products can be configured. They also need a foundation in the principles of audio for conferencing and sound reinforcement. Armed with that knowledge, a practitioner can confidently commission a space and achieve a level of system performance that will delight their customers.

: What’s next for the Pro AV industry?

DG: In the area of professional cameras and video technology, I expect to see broader deployment of multiple lenses and sensors in a single camera along with AI capabilities. For pro audio, I expect to see technology improvements that make it easier for industry practitioners to program and deploy professional audio equipment, integrate equipment from different vendors more seamlessly, and manage all the equipment in an enterprise from a single application.

ClearOne CHAT 150 BT Group Speakerphone

AURORA MULTIMEDIA has appointed CHARLES DUNCAN as its national consultant liaison. He has been in the AV Industry since 1997, where he started in tech support for AMX. He quickly moved into teaching system design, installation, and programming. In 2001, Charles stepped into the AV consultant world as a manufacturer liaison, and being well versed in AV control systems and large-scale video displays has led to some great relationships in the AV consultant/ architectural community.

CRESTON has promoted JOHN CLANCY to chief sales officer. In the newly created role, Clancy will take charge of Crestron’s entire sales operation, unifying teams across global regions and channel categories to drive strong collaboration and cross-functional engagement between business units. He has more than 30 years of experience in the AV industry. Clancy joined Crestron seven years ago. Under his leadership, the global residential sales teams have become more integrated, while sales in each region have continually experienced year-over-year growth. Most recently, he spearheaded the creation of the Crestron hospitality division.

LIGHTWARE VISUAL ENGINEERING has added MICHAEL “MOOSE” ADAMS as director of enterprise sales for the Americas. He will champion enterprise sales operations and lead business development to establish and strengthen customer relationships. Adams has more than 30 years of success in sales, marketing, and operations

in the enterprise technology sector. He has worked with Avidex, Crestron, Tempest Technologies, and, most recently, Zoom Video Communications.

As the company pushes ahead with the next stage of its growth strategy, acoustic isolation specialist STUDIO FLOAT has appointed TODD ERICKSON as director of sales and marketing. His primary focus is to drive the growth of Studio Float in North America by building sales in multiple market verticals, and he is also responsible for driving forward the expansion of the company’s global distribution network. He brings a professional musician/producer/engineer background and mechanical engineering experience to the role.

Industry veteran MARC BERTRAND has joined THEORY PROFESSIONAL as COO. He has experience building some of the audio industry’s most renowned brands, including 15 years at Tannoy North America, where he moved up the ranks to vice president of sales and ultimately managing director. He also spent eight years as CEO at TC Group Americas and more than five years at Adamson Systems Engineering, most recently as CEO. A division of Theory Audio Design (Theory) and sister company to Pro Audio Technology (PRO), Theory Professional will officially launch at InfoComm 2023.

USHIO, parent company to Christie Digital Systems, has announced KOJI NAITO as the new global chairman and CEO of Christie. He also holds the position of president and CEO of Ushio and will oversee both companies. Having held progressively responsible positions at

Rep Report

BROADCASTERS

GENERAL STORE is now a U.S. dealer rep offering nationwide support for PLAYBOX NEO. Known as a leading dealer for radio and audio solutions, BGS has expanded significantly into the broadcast and video production market, hiring several former broadcast engineers to its staff and adding lines such as PlayBox Neo, AJA, Studio Technologies, BirdDog, BlackMagic Design, and Kramer.

EASTERN ACOUSTIC WORKS (EAW) has announced its newest distributor, IMPORTADORA KARMA SA DE CV (IKA), which is now offering EAW’s portable and integration solutions to customers in the Mexico region. With 15 years of experience and seven branches throughout the country, IKA has served Mexico’s live events market with a wide variety of musical instruments, audio and lighting solutions, and technical support.

VISION2 MARKETING is now representing LOWELL MANUFACTURING in the western United States, including Southern California, Southern Nevada, and Hawaii. Led by Mick Beisel and Lee Carpenter, Vision2 Marketing will handle the commercial AV and security markets for Lowell’s line of rack, power, and audio products designed for professional systems integration.

Ushio for nearly four decades, Naito brings strong leadership and industry-wide experience to Christie. Naito succeeds HIDEAKI ONISHI, who is now Christie’s president and COO. In addition, ATSUSHI KURODA, formerly of Sharp NEC Display Solutions and currently senior director of Christie’s Strategy Office, has been appointed Christie’s CTO and chief strategy officer.

Key Appointments Usher in New Era for Mersive

MERSIVE TECHOLOGIES announced three new leadership appointments in April, including DAMIAN BLAZY as CEO, ALAN YOUNG as chief product officer, and JOEL CARROLL as executive vice president of sales. The key positions were designed to usher in a new phase of strategic growth for Mersive, as well as kick off a streamlined product philosophy for the company’s Solstice collaboration platform, which enables users to easily share content from any device to any display in a meeting room, huddle space, or classroom.

Blazy, a principal at OpenGate Capital, the company that acquired Mersive Technologies in 2017, wanted to be involved in the company on a much larger scale. He brings with him more than a decade of executive leadership experience from OpenGate and

other private equity firms.

Young joins Mersive with more than 20 years of experience in product management, strategy, mergers and acquisitions, and a patent portfolio. He has served in product and executive roles at both PE-owned and public corporations such as PWC, CA Technologies, and most recently, InRule Technology, where he served as chief product and information security officer.

Promoting Carroll brings a new level of AV expertise to the Mersive culture. He started at the company in 2020, and has been instrumental in driving the company’s sales over the last three years. Prior to joining Mersive, Carroll held roles at various AV companies, including Wolfvision, Atlona, and Extron.

“I have watched Mersive create a first-of-itskind collaboration tool and grow into something very special,” said Blazy. “Our Solstice collaboration platform will fundamentally change the way we engage with technology for meetings and shared learning. Leading the company into the next era of innovation alongside a rock-solid team is exciting, and we are entering the next era of Solstice innovation and revenue growth.”

Charles Duncan

John Clancy

Michael “Moose” Adams

Todd Erickson

Marc Bertrand

Koji Naito

From Left: Damian Blazy, Alan Young, and Joel Carroll

Club Rules

Get That Deposit!

Make Sure Compensation Follows a Payment Plan

By Douglas Kleeger

Deposits in advance of you starting a project are not only necessary and standard practice, but should never, ever be waived. I’ve been working in this industry for many years; my typical terms for integration/installations are onethird deposit before start of work, one-third when the installation starts, and one-third upon completion, with a clause for substantial payment in the event there are some lingering items.

As a consultant, it’s also one-third deposit before work starts, additional payments based on deliverables, and COD upon completion. No, I do not wait until my client gets paid to get paid. There are just too many variables. For starters, I am typically not privy to the relationship my client has with the end user, not to mention the stability of the end user.

Bad Commercials

Let me give you an example. Some years ago, when I was still active in the film industry, I was hired as the location sound and equipment supplier and recordist. As usual, I agreed to a flat rate, with the condition that I would be paid COD upon completion. Yes, I know we are talking about deposits, but crews don’t get deposits to start work. This story is relevant because it illustrates the absolute absurdity of what can happen.

The gig was a TV commercial with about a $1 million budget featuring Michael Jordan for a major food brand. It was a weeklong shoot in Birmingham, AL, including four days of shooting/recording at multiple locations, followed by a day with Jordan recording his dialogue. Yeah, it was cool to meet Jordan and work with him.

I finished my work a few hours early and was released for the week. I checked out of the hotel and got my check. Turns out my check bounced—and I started hearing rumors that nobody got paid or was getting paid.

As I recall, the company making the commercial was using the deposits from commercials not shot yet to pay the previous commercials costs. So, when a big commercial that was lined up canceled, the company had no money and went bankrupt. They did make good on my check, as it is a crime here in Georgia (where I live) not to do so, but it was a disaster. People go out of business every day, and likely will not tell you of their difficulties while you’re on the job.

Pull the Plug

Here’s another example. Recently, a former coworker, who was now working for an AV integrator, asked me if I could help engineer a broadcast project. I said no, as I had other commitments, but I was able to make a recommendation for a broadcast consultant that worked out for him. Of course, as I bowed out, I told the consultant to give me a call if he got the project and needed some engineering support.

My referral led to the start of a relationship between the integrator and consultant, and they proceeded with the project. Later, I got a call from the consultant to assist with the engineering. We entered into an agreement, and I requested and received a one-third deposit for engineering services. The overall size of the AV project, including the broadcast component, was more than $1 million.

Now it starts to get complicated. My friend called me and said the company that had recently purchased the AV integration company for which he had been working decided to pull the proverbial plug on the newly acquired AV side of the business. Just like that, the company canceled the AV contract we were all working on.

The consultant I had been working for had done some billing but had not been paid—and for whatever reason, they did not get a deposit up front. What if they don’t get paid anything or even reimbursed for my deposit? Typically, a deposit for a project is not transferred to another project. However, I recommended the consultant, and they gracefully paid me my deposit. I’m working closely with the consultant so his company doesn’t take a loss, which I think is the right thing to do.

But what a mess. What were the chances that a multi-year, big-money project would dissolve so fast, and under these circumstances?

I want to share a method I have used successfully when dealing with nightclubs. Many, many integrators flat out refuse to do business with nightclubs, having been burned more than once.

I once installed a system for the brother of a very famous celebrity, who opened a club. I got a deposit and was to receive weekly payments on Mondays. Payments were scattered, as the brother would spend the money over the weekend, and when we would meet on Monday, no money. Solution: My DJ friend would call me on busy Saturday nights, and I would go there at 4 a.m. to collect.

So, by chance, I came up with a different method. I would get a deposit (at least one-third) to install the system. The club owner would sign a lease-to-own contract, whereas there would be monthly payments over the course of a year or two. It was in the contract that I owned the equipment until the lease was paid off, and if they missed a month and did not make good within a few weeks, I could go in and remove the system. In New York, you would have to fill out and file with the state a form called a UCC1, which registered the property as your personal property.

How did it work? Basically, when I sat with the club owner, he would ask, “You’re saying if I make 18 payments and then stop, you still own the system and can take it?” I would say, “Right. Are you going to miss any payments?” Desperately needing the system to open, they would say, “Of course not.” I would then say, “Then you have nothing to worry about. Sign here.”

If they closed up, I could take the UCC1 forms to the sheriff, get into the building, and retrieve the system. Without those forms, the system would be sold off to pay the club’s debt.

Nightclubs are a great and rewarding market— just get it done right and in writing.

Respect the Process

Regardless of the position of the company that hires you, never feel uncomfortable asking for a deposit before you start work. No matter the terms they established with their client, get your deposit up front and set up a contract for payments with milestones.

For me, it’s about process and procedure, something I have preached for years. Contracts are unnecessary—when everything goes as planned. But from small project nuances to larger issues to catastrophes like what I’ve shared, maintaining your procedure of getting a deposit will help you from suffering too much of a loss if a project goes sideways.

Protect yourself and be comfortable to walk away from folks if they won’t pay you a deposit. It doesn’t matter if it’s “not their style.” If they don’t have the money to front you, or they want you to wait for them to get paid, don’t do it.

Doug Kleeger, CTS-D, DMC-E/S, XTP-E, KCD, is the founder of AudioVisual Consulting Services. Contact him with questions or comments at doug@avcs.us.

Regardless of the position of the company that hires you, never feel uncomfortable asking for a deposit before you start work.

An Immersive Education

Absen, ARwall Help Webster University Launch New Production Capabilities

By Carolyn Heinze

In Fall 2022, Webster University in St. Louis deployed a virtual production (VP) stage in its School of Communications. Working with LED wall manufacturer Absen and XR company ARwall, the university integrated a 20x12-foot, 1.5mm-pitch Absen AX Pro LED wall and ARwall ARFX Pro Server System.

Webster’s School of Communications offers 15 different undergraduate majors as well as media production program that enables students to combine a number of disciplines for a more diversified degree. According to Eric Rothenbuhler, dean, the School of Communications also operates an internship office internally, allowing students to produce projects for external customers.

“Our curriculum is built on integrating theory and practice, so our students have their hands on equipment the second week of their freshman year,” Rothenbuhler said. “We bring client work into classes, so students have experience with real budgets, real deadlines, real clients. It’s a hands-on curriculum, and we take pride in the quality of the facility and the equipment.”

Head of the Class

The virtual production stage is part of the second phase of a remodeling project that involves the school’s entire 66,000-square-

foot Sverdrup Building. Rothenbuhler said the main driver behind the VP stage deployment was the school’s goal to be on the forefront of media production technology.

“Right now, the most famous applications are for The Mandalorian and some other major studio productions, but think about smaller television and video production, [such as] corporate events, conventions, or producing a TV commercial,” Rothenbuhler offered. Instead of closing down a major fast food chain restaurant, for example, producers can now create a virtual dining room in a studio. Filmmakers who need a sunrise scene can shoot whenever they want, not just when the sun is rising.

Brian Macauto, director of virtual production at Absen, said the company’s AX Pro LED wall includes several features that are well-suited for VP, including a high base refresh rate, accurate brightness, and precise color temperature levels. “In a normal LED application, none of these things really matter,” he said. “In the

cinema world, when you’re editing your footage and you’ve gone from Shot A to Shot B and the red brick wall—the background—changes from red to orange, then you have to change it all in post production.”

ARwall’s on-set workstation includes its ARFX Pro Plugin, as well as the ARFX Launcher. The tools are powered by Unreal Engine 5, a real-time 3D creation platform. The ARFX Pro Plugin combines pre-visualization, production, and post in a single tool set. “Basically, you use the plugin to do the pre-vis and animatics, and you’re going to use those exact same bookmarks and presets to actually go and shoot your project,” explained Rene Amador, CEO and co-founder of ARwall.

Integration with Unreal Engine also simplifies the production process. “What we’ve done is [include] all the tools for virtual production in the actual engine— very much like a video game menu—so that you can change the color and the camera settings on the fly,” Amador added.

Lights, Cameras, Pixels

Webster’s virtual production stage uses ARRI cameras. In applications like this, to ensure that the cameras play nice with the LED wall, Amador counsels a solid calibration system. As the physical camera moves, the virtual camera is “attached” to it at a 1:1 spatial ratio. “What that’s going to do is align the virtual camera to the physical camera so that they’re basically stuck together,” he said.

From left, Eric Rothenbuhler, Rene Amador, and Brian Macauto

Webster University’s new virtual production stage features an Absen LED wall and ARwall on-set workstation.

BUSINESS VIRTUAL PRODUCTION

VP Opps for Integrators

While large-scale studio projects get the most press, virtual production (VP) presents plenty of opportunities for other markets. Absen's Brian Macauto noted that higher education and corporate video can also benefit from this technology.

At the same time, VP remains a highly specialized field, one that is unfamiliar to many traditional Pro AV integrators. Macauto said employing a full-time specialist is probably cost-prohibitive. For integration firms that are seeking to expand into this area, he suggested they partner with reputable VFX firms.

“The stopgap solution right now—before XR and VP become mainstream types of projects—is to bring in a third-party consultant who has that experience as a subcontractor to the integration company,” Macauto said. “They will be paid as a consultant to do the design work, and then the integration company basically takes over the

Pitch size is another important component of a VP environment. A tighter pixel density, such as the 1.5mm pitch of the LED wall at Webster, enables people to get closer to the screen. “If space is a consideration, then you will want to consider a tighter pitch screen so that you can avoid moiré effects,” Amador said.

At 1.5mm, actors can be six feet in front of the screen—and with the screen slightly defocused, moiré and pixelation aren’t a problem. “For those really shallow close-up shots,” he observed, “it’s a good fit.”

Webster is utilizing its existing lighting rigs for its virtual production stage. But in general, Amador argued that directors of photography working in this type of environment will discover they need smaller lighting kits, since the LED screen is, itself, a source of light. ARwall recommends DMX or Artnet systems, which can be driven out of Unreal Engine.

Previously, shining light directly onto an LED backdrop produced too much glare. These days, this is rarely a problem, according to Amador. “The new LED panels that are being generated by our partners and by

you’re not going to run into too many issues.”

Don’t Just Sit There

In order to achieve an acceptable ROI on this technology, Rothenbuhler said it was necessary to incorporate it into the school’s curriculum quickly. This means that both faculty and students must be excited about learning the new tech and using it for their projects. “The potential mistake is to spend a lot of money on the new technology and think that’s the end of the story, and the technology just sits there,” he said. “You have to have real classes that are really using it in their regular curriculum.”

The VP environment eliminates a lot of the post-production stress associated with traditional greenscreen technology, according to Amador, who has more than 350 commercials under his belt. On greenscreen shots, he said the director is not always 100 percent certain they got what they needed on set—and if they haven’t, they’ve got to fix it in the editing bay.

“There is a lot less uncertainty,” he said.

Let the Games Begin

Grand Valley State University Embraces Esports with Extron

By Wayne Cavadi

The esports revolution continues to grow, spanning colleges and universities across America. Like many other higher-education facilities, Grand Valley State University in Allendale, MI, was ready to create a permanent home for its esports club.

The Grand Valley State Laker Esports Center opened in January 2022 and has been an overwhelming success. According to John F. Klein, GVSU associate director and program manager, information technology, there was an esports club on campus for many years that would use lecture halls and other accommodations for events. But it was very makeshift, and nothing was established as the esports center.

There certainly was a long-time yearning to have a place for gamers to call home, and a project was finally put in motion to get the Laker Esports Center up and running. “I have to give the new administration credit for that one,” Klein said. “We had tried for a few years off and on, and we’re having trouble working it into the budget and getting attraction of the program. But as the administration saw the needs of the college change over time, they actually made this a priority to get this going for the esports program.”

Location, Location, Location

With funding allocated for an esports center, the next question was where to put it. “On our campus, the

location is very tough,” Klein explained. “We have a lot going here and not enough buildings to hold it all. [The space we chose] was an underutilized space in our student center, the Kirkhof Center.”

The 999-square-foot area was used for many things in the past, from small performances to group meetings and even a comedy club. It had become underutilized in recent years, mainly because it was blocked off on all sides, with no windows or view of the outside world. Of course, with the lighting and displays demanded by gamers, this made the space ideal for esports.

While finding the right spot was a challenge, finding the right technology was not. GVSU and Extron are no strangers, as the campus is powered by many Extron solutions throughout its buildings. “The staff knew the capabilities would serve the Laker Esports Center well,” explained Joe da Silva, vice president of marketing for Extron. “They also knew that DTP systems work well with the wall-mount Samsung QB75R 75-inch digital signage displays [used in the center]. Using a selection of the same products simplified equipment management due to familiarity of capabilities and reduced backup equipment requirements.”

That doesn’t mean there weren’t challenges. Innovative Communications joined on as the integrator with Extron and per da Silva, there were many room accommodations and infrastructure considerations to be made. There was a complete renovation of

the 36x32.5-foot room that would become the Lakers centralized gaming hub, including the creation of a closet for most of the electronics and managing the floor space to allow for a coach’s station.

When it came to the Pro AV system, there needed to be sufficient power to meet the needs of multiple gaming computers simultaneously without impacting the main power supply, a multi-windowing requirement to enable simultaneous viewing of multiple stations, a way to keep the cables out of the way, and the twisted pair signal distribution to overcome distance challenges within the space and in the dining area directly outside of the room for additional viewing.

Making Connections

A bevy of technologies power the Laker Esport Center, including colorful and inviting LED lighting throughout, Alienware gaming computers paired with Dell 27-inch monitors, and NETGEAR GS105v5 five-port and GS108PP eight-port Gigabit Ethernet unmanaged switches, to name a few. But what brings it all together is Extron solutions.

In order to eliminate lag, maintain the desired resolution and refresh rates, and extend the action to the dining area, GVSU chose an Extron DTP system. “Primarily, the DTP CrossPoint 84 4K scaling presentation matrix switcher provides high-performance switching and signal extension, as well as an integrated audio processor and control processing,” said da Silva. “This streamlined integration and conserved rack space. GVSU also had experience with the product’s reliability and its built-in features and capabilities.”

Additionally, an Extron ShareLink Pro 500 wireless collaboration gateway provides connectivity for an authorized personal device from a coach or student to share content, such as a saved game technique or new game trailer. “To support the school’s Miracast devices, the installation includes the ShareLink Pro WFA 100 USB to Wi-Fi Miracast adapter for the gateway,” da Silva continued. “Content can also be streamed using an Extron SMP 351 H.264 media processor, facilitating distribution to remote locations on campus in real time, as well as recording gameplay for viewing at a later time.”

The DTP CrossPoint 4K matrix switcher serves as the central component for full audio system integration. It includes audio switching as well as breakaway from the active video sources. Mic/line inputs support the microphone system, which includes a lavalier and a floor stand-based unit available on one side of the room. “The DTP CrossPoint 4K provides DSP processing for the audio signals, while the integrated stereo amplifier drives the speakers in the facility,” da Silva added. “Its integrated control processor is used to switch source material and adjust volume.”

There are 7-inch TouchLink Pro touchpanels that work in concert with the IPCP Pro 355MQ xi control processor built into the DTP CrossPoint 4K matrix switcher. According to da Silva, the Extron touchpanels

EXTRON

Extron Pro AV solutions bring the new GVSU Laker Esports Center to life.

were selected because of their AV control capabilities and customizable interfaces. “The coach or a staff member can use the tabletop touchpanel at the coaching station or the wall-mounted unit under the displays to select what content is switched to each display within the center and extended to the three dining hall displays,” he offered. “Usually, content follows or highlights game play. Other content can include player stats and standings.”

GVSU also mounted a touchpanel in the equipment closet. While it has the same functionality as the others, the support staff typically uses it for general system management.

New Opportunities

The GVSU Laker Esports Center is producing great results. Not only do the current esports teams (which cover 19 game titles) have a fun and centralized place to play, it is attracting new gamers and students. In fact, GVSU plans to add classes on the business and technologies of esports, something the new center has the capabilities to host.

“It gave us the opportunity to do some new things in a student-oriented space,” Klein said. “Generally, all our spaces are geared toward instruction. This space was just geared toward the student community,

making them feel part of the institution, which was very refreshing. We made the space very inviting and very cool looking, and we gave it a nice high-tech feel with the lighting and the backlighting to the displays and other accents that make you want to come in there and just see what’s going on.”

“It has been a very popular venue for students to hang out and take small breaks from their studies,” da Silva said. “Due to the success, the school has plans to increase the center’s hours going forward. Groups of students and even staff members have been spending time in the previously underutilized dining hall, watching and commenting on the gameplay. There are favorite players to watch and cheer on during intense interactions. Also, the dining hall displays are credited with boosting new esports club enrollments, resulting in more than 500 members and 12 teams to date.”

Gameplay can be viewed on displays in the dining hall directly outside the Laker Esports Center.

Touchpanels make it easy to select content for each display within the center.

Amateur Sports, Professional Sound

Girardin Sports Center Invests in AtlasIED for Audio System

By James Careless

Be it ice hockey in the winter or soccer in the summer, amateur sports are important to the city of Drummondville, Quebec. This explains why the city built the 73,000-square-foot Girardin Sports Center in 2021. At a cost of $21.7 million, the multi-sport facility has separate arenas to house a full indoor ice hockey rink (with fan seating) and indoor soccer field (with 250-meter suspended running track), plus conference rooms, locker rooms, and offices.

“Girardin is a very modern rink with a lot of comfort and rooms for players, but also for the audience, too,” said Daniel Bolduc, director of commercial audio visual installation at SONIMEC, the systems integrator/installer for this project. “It’s very family friendly. Parents can support their children from the bar or the restaurant while watching a soccer and hockey game. They can bring their computer and finish their work during a game.”

Rather than settling for a substandard PA system, the Girardin Sports Center has an AtlasIED audio system throughout this facility, right down to its publicly accessible Bluetooth audio connections.

“Music in the locker room for our guests creates special moments for them before and after the game,” said Jonathan Guay, director of Drummondville’s Recreation and Community Life Department. “Sport is all about passion and feelings, and music helps create it. By allowing players to easily access the system in the locker room, our guests can enjoy their time. It’s a better overall customer experience.”

Setting the Soundscape

Considering the Girardin Sports Center was built and outfitted during the COVID-19 pandemic, getting the AV into place on time wasn’t easy. “We had to rush to meet the Grand Opening Day deadline,” Bolduc said. “That’s because we wanted to be able to play music on the ice rink and the soccer field on Opening Day. This meant we needed to install the speakers, Bluetooth audio inputs, and the IPX in the dressing rooms by then—which we did. After that, there wasn’t as much of a rush for two conference rooms and all the displays.”

All told, it took a month to install all the AV equipment. “The local electric company was very helpful during the construction, putting in all the pipes and cable I needed to complete the job,” Bolduc added.

Giving the Girardin Sports Center a consistent, reliable, and high-fidelity audio system capable of distributing many streams simultaneously in all areas is no mean feat. For example, the ice rink is a highly reflective surface, while the artificial turf in the soccer arena absorbs sound waves. Then there’s the varying climatic conditions inside the sports center. Granted, the soccer arena and various rooms are set at a comfortable 70 degrees, but the hockey arena is kept near freezing to preserve the ice.

“They needed a speaker system that was capable of holding up in a cold, harsh environment and sometimes being exposed to moisture, as well as needing something with a decent fidelity that would play the music tracks that figure skaters require,” said Dean Standing, AtlasIED’s international sales manager.

SONIMEC installed AtlasIED FS12T coaxial all-weather speakers in the arenas. “The 90x40degree speakers are perfect for the hockey audience and the 90x90s are right for the soccer area,” Bolduc said. “Their range is perfect for announcements and music in a reverberant environment, and they are powerful yet tough. Meanwhile, in the dressing rooms, we installed AtlasIED IPX series clock speakers with Atmosphere Bluetooth audio inputs for teams to play music within the spaces when preparing for the games.”

Not only can players play their own music through the locker room speakers, that capability follows them to the ice rink and soccer arenas. The AtlasIED Atmosphere AZM8—coupled with Atmosphere remote Bluetooth audio input endpoints—can automatically detect a connecting Bluetooth device. As a result, the AZM8 dynamically assigns the appropriate audio settings, such as auto gain control, EQ, and makeup gain, to this input.

“We believed that we must give control of the sound system to the users, so the Atmosphere Bluetooth access point in every zone gives the power to the users,” said Bolduc. “We just set the maximum volume in each zone, and then allow the users to provide their own sound, be it from a smartphone, a DJ, or a music controller and game commentator. In this last case, they just have to

SONIMEC installed AtlasIED FS12T coaxial all-weather speakers in the hockey arena.

AtlasIED IPX Series clock speakers are installed in smaller spaces in the Girardin Sports Center.

flip on the switch on the mic and connect their mixing board to our RCA connectors, and they are ready to go.”

Separation By Design

From an audio perspective, SONIMEC benefitted from the “separation by design” layout of the Girardin Sports Center’s architecture. “Hockey and soccer each have their own zones and they are separated by a hallway,” Bolduc noted. “The 18-player dressing/locker rooms are built with cement blocks, so very little sound leaks from the dressing rooms.”

To meet the needs of the facility, SONIMEC chose AtlasIED’s Atmosphere audio processing and control platform, IPX loudspeakers, and endpoints to control and distribute audio throughout the building. “The IP-based products from AtlasIED were ideal for our installation,” Bolduc said, “as they helped us avoid having to run separate cables to each of the loudspeakers and displays for power—and a completely different type of cable in the facility.”

The AtlasIED Atmosphere AZM8 is the foundation of the center’s multi-channel/multi-playout audio system. The eight-zone audio processor can detect and compensate for ambient noise within the playback zones, has a built-in message player/ display system to status reports, and supports up to 16 plug-and-play accessories that can be connected across four accessory ports.

SONIMEC also installed AtlasIED IPX Series displays with built-in loudspeakers in areas of the center. The units deployed included IP-DDS indoor dual-sided displays to show the time and scrolling messages, plus IP-SDM indoor wall mount loudspeakers in the dressing rooms and other smaller spaces. All the IPX Series endpoints are connected to a VoIP network and are PoE+ capable.

In smaller rooms, SONIMEC installed Atmosphere C-ZSV wall controllers to manage the audio system. “We have a wall mount controller that fits in a single-gang electrical box, with an LCD screen on it that will allow you to do source selection and level control for any combination of sources or zones that

are connected to the AZM8,” Standing said.

The Girardin Sports Center also has a 10-seat conference room equipped with a ClearOne COLLABORATE Versa Lite system, plus an 80-seat conference room for larger meetings or game strategy sessions. Both spaces have a projector and a monitor with a Barco ClickShare CSE200 wireless presentation system. Bolduc said the restaurant features a 2x2 video wall, plus digital menus and

two TVs in the bar area.

The Atmosphere C-ZSV wall controllers give users control of the entire Atmosphere system from various rooms throughout the facility. This includes the ability to control audio, select sources, limit the number of people accessing the system, and adjust the volume for the different spaces—not just from a wall controller, but also a mobile device or a computer.

With the AtlasIED Atmosphere AZM8 and Atmosphere remote Bluetooth audio input endpoints, teams can play their own music in the locker rooms or in the arena.

The Girardin Sports Center has separate indoor areas for ice hockey and soccer.

‘There’s No Stopping Us Now’

AVIXA CEO Labuskes Expects Big Things at InfoComm 2023

By Mark J. Pescatore

InfoComm is returning to the Orange County Convention Center in Orlando, FL, in 2023. Education sessions run June 10-16, with the exhibit hall open June 14-16. SCN asked David Labuskes, CEO of AVIXA, the association that produces InfoComm, for some insider information about the upcoming event.

SCN: With the pandemic behind us, the message for attendees changes from “We’re back” to … what? David Labuskes: There’s no stopping us now! This year’s show has amazing technology, unique experiential components, and partnerships with organizations bringing education and insights that you won’t see anywhere else under one roof at one time. If ever there was a “can’t miss” InfoComm, 2023 is it.

SCN: How did attendance at InfoComm 2022 measure up to previous events in Las Vegas, and what are expectations for 2023 in Orlando?

DL: It seems that every year we, as an industry, continue to drag ourselves back into the trap of measuring a weeklong gathering of the industry with one number. I fall into that trap, too—particularly when the number is big—so don’t get me wrong, I understand. In Vegas last year, we had just under 20,000 verified attendees at the event. This was well above our expectations and a huge success for the

industry overall. We expect to easily exceed that number this year, and are on track to achieve or exceed our goals for attendance numbers, while also driving new audiences and decision makers to the event.

SCN: What do you anticipate will be some of the big buzzwords on the show floor?

DL: Well, first, let’s hope they aren’t “pivot” or “unprecedented.” I think you’ll hear and be a part of conversations that embrace the unknown we face over the coming decade. Maybe phrases like perpetual beta, but definitely ecosystem, acceleration, agility, imagination, and new frontiers. In so many ways, our industry is going to be an essential enabler of whatever comes next for the world, and InfoComm 2023 will be the place to be if you want to see into that future with more clarity and optimism.

SCN: What’s new and different for InfoComm attendees in 2023?

DL: We have a lot of new things in store for InfoComm 2023. After five successful virtual editions, Congreso AVIXA will make its in-person debut at InfoComm 2023. The conference is presented in Spanish, and will provide practical strategies and insights to help attendees succeed in the ever-changing AV landscape.

Also new this year is the Enterprise IT Conference, which was developed to help bridge the gap between AV and IT. The program will focus on network convergence and AV system optimization, cybersecurity, and more.

In addition, InfoComm has partnered with multimedia entertainment studio Moment Factory and LED designer and manufacturer Nanolumens to bring three days of interactive experiences to the trade show floor. There’s so much more—be sure to spend time on infocommshow.org to check everything out.

SCN: What partnerships are part of InfoComm’s educational efforts this year, and why are they so important?

DL: More and more of the manufacturers in our industry are embracing an ecosystem approach to delivering customer solutions. AVIXA is on the same journey, as we form more partnerships and alliances with other associations and organizations. Our customers’ expectations, and AVIXA’s members and audience, demand expertise from multiple areas of specialization—and the best solutions will be aggregated offerings. The same is true with our show experience, educational offerings, and networking experiences.

For InfoComm 2023, our partner programs include an AVUG [AV User Group] hosted buyers event, the D=SIGN conference co-produced with the Digital Signage Federation, the Sixteen:Nine Digital Signage Networking Mixer, NSCA’s business program for AV integrators, an extensive program for higher education technology managers by HETMA, and an experiential event hosted by XUSC [Experience United Social Club] at the Museum of Illusions.

SCN: Will DEI play a part in InfoComm 2023?

DL: AVIXA is very proud of the work we are doing with the AV community to bring discussions on DEI out in the open and support programs that are making a positive impact. At InfoComm, the AV community will experience more of the manifestation of AVIXA’s dedication to DEI through powerful discussions, diverse voices on stage, and programs to reach diverse youth.

SCN: How healthy is the Pro AV industry as a whole, and what are some of the standout growth areas?

DL: Based on the results of AVIXA’s latest Industry Outlook and Trends Analysis (IOTA), which is being released at InfoComm, the industry is once again in true growth mode. Last year, Pro AV revenues exceeded the prior peak set in 2019, with another record expected this year as the industry surpasses $280 billion in total spending on Pro AV products and services.

Some supply chain challenges remain, but demand is running high as revenues from past return to in person fuel renewed AV-related spending in performance, entertainment, and event solutions. Investments in content production and streaming capabilities are also an area to watch as companies continue to seek ways of engaging their audiences digitally.

Make sure to check out the State of the Industry luncheon at InfoComm to learn more about the trends driving AV.

David Labuskes (inset) led the opening of the InfoComm show floor last year in Las Vegas.

InfoComm 2023: Trends and Technologies

By Wayne Cavadi

It’s June, which means it’s time for InfoComm 2023. Before the show floor opens at the Orange County Convention Center in Orlando, FL, we turned to several exhibitors and posed the question: What trends and technologies can attendees look forward to seeing at InfoComm this year?

Jordan Feil, Director of Marketing, Navori Labs

I would be very surprised if it’s anything but artificial intelligence. AI is all the rage right now, and most exhibitors will likely have some form of AI integration on display. As an early adopter of AI and computer vision in our digital signage software and marketing analytics, Navori has always taken an interest in the technology, and we believe it’s important for the AV and digital signage industries to find new ways to help integrators and end users leverage the technology in a way that benefits their businesses, operations, and interactions with consumers.

Scott Normand, Security Market Director, Snap One

I expect that the expansion of remote management platforms and services is going to be big this year. Integrators want and need these solutions more than ever to be able to scale their businesses and generate recurring revenues. Aligning with this trend, Snap One will be showcasing its OvrC cloud platform, Control4 automation platform for bars and restaurants, and a new systems design service to help integrators be more successful.

Paul Richards, Chief Revenue Officer, PTZOptics

I expect to see a lot of discussion around AI and its applications in the Pro AV space. AI has the potential to revolutionize various aspects of our industry, from video analytics and content creation to automation and personalized user experiences. At PTZOptics, we are showing some very advanced AI-based auto-tracking capabilities that can automatically detect individual presenters and steer a robotic PTZ camera to follow them. Additionally, I believe advancements in computer vision will open up new markets for Pro AV, which is especially interesting in large markets that are fairly new to Pro AV investment such as industrial manufacturing and construction.

Sean Matthews, President and CEO, Visix Collaboration. Immersion. Sustainability. Those were key themes at ISE, and I think they’ll be centerpieces of InfoComm as well. Collaboration has really dominated AV innovation in the past couple of years, and I think a lot of space management, VR and AR tech is blooming in that area, moving away from hardware to be more immersive and sustainable. I’m also hoping to see some cool holograms on the show floor.

PREVIEW INFOCOMM 2023 BUSINESS

Sam Malik, Vice President of Sales and Marketing, MAXHUB

The advent and popularity of IFP Touch Screen Technology is very exciting for the corporate marketplace. This technology is changing the way people meet and communicate with each other. MAXHUB has created the meeting-in-a-box solution, where one unit includes everything. The display, microphones, speakers, and PC module allow you to connect to others with just one touch, and really share their ideas easily. I think this technology will grow more and more in the next few years, eliminating all of the extra hardware—and the required knowledge of how to hook them all together—for easy communication and meetings.

Dan Holland, Marketing Manager, IHSE USA

As computers and monitors continue to advance image quality, we expect to see an increase in demand for video distribution and switching systems to support high dynamic range (HDR) and high frame rates (HFR). These will be big influencers for the production, media and entertainment, and live event venues. Conversely, we expect to see demand for better compression and IP-based KVM to support higher bandwidth and resolutions. UHD has more options available now, and many display manufacturers are introducing full 4:4:4 60 frames now with 120 frames making headway in early adopters. With the higher bandwidth, professional AV users will be looking at fiber optic solutions.

Matt Czyzewski, Executive Vice President, AtlasIED

The expectation is to hear more about [mergers and acquisitions] activity, as there was already one big announcement earlier this month. We often think of M&A activity on the manufacturer side, but also look for this on the integrator side as well. Maybe InfoComm will not be the right time for some to announce, though the discussion may start or be concluded at the show, with the announcement to come shortly after.

David Bacher, Head of Marketing, LG Business Solutions USA

Attendees will see the latest in transparent signage technology. LG is showcasing various transparent displays designed to provide high-impact digital visuals that pull the viewer in while still showcasing what’s behind the graphics. Another technology sure to generate buzz is our MAGNIT DVLED display line, which delivers stunning images as the content creator intended, with vivid colors, breathtaking contrast, and ultra-fine detail.

Eliran Toren, CEO, MSolutions

One area is the growing demand for high-speed, high-bandwidth video transmission over long distances, particularly in applications such as digital signage, broadcast, and live events. As more organizations seek to leverage high-quality video content to engage audiences and

drive business outcomes, there is a need for reliable and efficient transmission solutions that can handle the demands of high-resolution video formats and large-scale deployments. MSolutions will showcase solutions that address these needs, such as advanced spec 3.0 testing and measurement equipment, and also next-generation USB switching for USB applications.

By Tony McCool

Invest Your Way to Productivity

How to Grow the Value of Hybrid Work in a Recession

Business leaders are likely experiencing many new challenges right now. Amid rising inflation and global economic challenges, it’s become vital to rethink how to maximize productivity to achieve business growth. The costof-living crisis has also meant that many employees are looking for ways to cut down spending, and with it a move to increased hybrid ways of working, putting new pressures on existing infrastructure.

It’s a pressure that will continue as businesses try to weather the storm. Many leaders will find it tempting to let economic concerns overshadow all other considerations, but prioritizing money-saving strategies above all else will not help businesses in the long term.

With hybrid working here to stay, enhancing productivity and enabling collaboration has never been more important for businesses. Investment in Pro AV conferencing solutions that facilitate a new era of collaboration between employees in hybrid settings will prove key to productivity and job satisfaction and—ultimately— keep businesses competitive.

Split Workforce Realities

Some workers are returning to the office to avoid rising heating bills and other home office expenses. Others are staying at home to avoid the cost of the commute.

A split workforce makes finding the right

in-office tech solutions more vital than ever, particularly when considering that it is central to employees performing to the highest standard. Recent MAXHUB research found that 28% of U.K. workers do not feel their company has the correct hybrid working technology in place to support them, while a further 59% of workers take up to 10 minutes to setup virtual videoconferencing technology when working from the office.

Outdated technology could be slowing businesses down and ultimately costing them in the long run. That’s why it’s important that organizations look past the current climate and remove these hurdles from their workforce. Businesses can create bespoke hybrid workplaces using technologies and solutions that cater to their specific needs. They need to support future business success with quality investments, especially as video and audio conferencing technologies are becoming much more accessible.

It’s now estimated that more than 30% of fulltime U.K. employees are working in a hybrid model, and 72% of workers would consider changing jobs if

they were dissatisfied with their ability to be flexible at work. Such findings demonstrate the importance for employers to embrace functional remote and hybrid working practices.

In recent years, the quality and portability of AV technology has evolved considerably. For hybrid working to be successful, remote workers need to be guaranteed the same opportunities as those working from the office, successfully communicating and collaborating with their colleagues from a distance. All-in-one solutions make it easy for employees to engage with their teams with shorter setup times and fewer technical issues. Tools that empower communication, such as MAXHUB’s UC M40 all-in-one conferencing device, ensure that businesses are not only able to function well in a hybrid structure, but also that employee satisfaction (and retention) is maintained. There is no one-size-fits-all approach to enhance the in-person or remote employee experience. However, quality, user-friendly designs are key, as IT managers and decision makers need to rethink the tools and facilities they implement in each space to maximize productivity.

Bespoke Solutions for Unique Spaces

In the current climate, businesses need to ensure they’re encouraging maximum productivity. Enabling collaborative workplaces to connect colleagues wherever they are working is key to this. Pro AV and how it combines with the design of the meeting room space is essential to optimizing collaboration and productivity. Not only does this bridge the gap between meeting participants in the room and online, but all in-person meetings will also be improved.

Working with the right partner and distributor can offer businesses the solutions needed to modernize and create an effective and suitable working environment, ensuring that each space meets their unique requirements. Large organizations right through to SMEs can access a vast range of high-quality UC and IFP solutions at a price point to suit all budgets. While establishing such a setup does require initial investment, it’s a strategy that pays for itself in the long run.

By promoting productivity, enabling workers to focus on tasks, reducing time spent dealing with outdated or non-functional tech, and most importantly boosting collaboration, businesses will see financial and personnel dividends.

When investing in hybrid working technology, it’s the needs of employees that should form the basis of business strategy. It may sound paradoxical, but the best way to navigate the economic uncertainty is investment—smart, bespoke investment in your tech to ultimately invest in your people.

Tony McCool is MAXHUB’s UC country manager for the United Kingdom and Ireland.

All-in-one solutions can provide shorter setup times and fewer technical issues.

When investing in hybrid working technology, it’s the needs of employees that should form the basis of business strategy.

The Case for OpenSource Codecs

Should You Avoid Proprietary Solutions for AV-over-IP ?

By Pete Putman

If there’s one thing the Pro AV industry is known for, it’s our continued adoption of and reliance on proprietary systems for signal management products. Consider that related industries (telecom, broadcast, cinema, streaming, and digital imaging) work in collaborative, worldwide industry groups to develop, test, and adopt standards for audio and video interfacing and compression. Meanwhile, we often simply pick “winners” from groups of competing proprietary systems and stick with those, basing our choices on strong marketing and sales pitches.

Think of all the HDMI-based switchers and extenders offered over the past two decades: While most of them worked quite well, the dominant products got that way simply because their manufac-

turers were big enough to outsell competitors early on, establishing an iron grip that eventually pushed out any newcomers.

Now, we’re seeing a similar thing happen with the transition to IT/IP-based switching and distribution of video signals. Outside of the AV industry, the codecs used to compress video are based on opensource formats that grew out of user groups, were extensively tested and improved, and eventually became standardized. The best-known examples are those developed by the Moving Picture Experts Group (MPEG, founded in 1988) and Joint Photographic Experts Group (JPEG, founded in 1992).

Exhibits: MPEG and JPEG

Both professionals and consumers cross paths with these codecs on a regular basis. Broadcast, cable, and steaming video all employ MPEG codecs (MPEG-2, MPEG-4 H.264, HEVC H.265), while photographers (and your smartphone) rely on JPEG variations. Digital cinema also uses a JPEG-based codec, JPEG2000.

The advantages of standardizing on these open-source codecs are obvious: Anyone anywhere in the world—using a compliant TV, computer, tablet, phone, or other viewer—can watch MPEG video streams and JPEG-compressed photos over wireless or wired connections.

MPEG-derived codecs typically have high compression ratios and correspondingly high latency. They’re designed for efficiency first and foremost, minimizing bit rates and file sizes. So, they’re not suitable for real-time signal distribution and playback.

On the other hand, JPEG-derived codecs have very low latency and use much less compression, but the resulting video streams have higher data rates and

large file sizes. Logically, if we want to replace HDMIbased signal management systems with an AV-over-IP equivalent to deliver low-latency high-quality video, then a JPEG-based codec—or a similar proprietary system that uses light compression—is the only way to go. But which is the best choice?

Point of Order: Compression

There are many ways video signals can be compressed. JPEG codecs do this by performing light compression on a series of still frames of video, which are then played back at standard frame rates. (Think of those flip movies you made as a kid.)

Unlike MPEG compression, which uses a “copy and repeat” method to minimize redundant picture information from frame to frame, combined with frames that look forward and backward to predict spatial and temporal changes (hence, all that latency), JPEG uses no frame interpolation and prediction at all. All the luminance and color information in each JPEG frame of video is complete and can stand separate from preceding and subsequent video frames.

Display Stream Compression (DSC), another light compression method that was originally developed in 2014 for display signals, works in a similar manner and is the basis for a proprietary video codec now being marketed for AV signal management, using the older HDMI version 2.0. The difference between DSC and JPEG codecs is that DSC is limited to 2:1 compression—just enough to push an Ultra HD (4K) video signal with 8-bit RGB color through a 10 Gbps network switch.

Star Witness: JPEG XS

While DSC has been demonstrated in the past with as much as 3:1 compression, a version of JPEG known as JPEG XS (ISO/IEC 21122) has achieved much higher compression ratios and was found to exhibit minimal signal deterioration. Because JPEG XS uses less compression than MPEG codecs, but more than other JPEG-derived codecs, it’s sometimes referred to as a “mezzanine level” codec.

At the 2018 NAB Show, the Japanese broadcast network NHK demonstrated 8K video (7680x4320 pixels) with 4:2:2 10-bit color, compressed 6:1, passing through a 10 Gbps network switch. (For those interested in the math, the uncompressed data rate was 47.7 Gbps, and the resulting compressed signal was just under 8 Gbps).

And NHK didn’t cheat on the demo. They used video of a water polo match and showed the compressed signal on a 70-inch 8K LCD TV. As anyone well-versed in video compression knows moving and splashing water is very difficult to compress without introducing artifacts. But it was difficult to see any evidence of aliasing or other artifacts in the decoded signal.

JPEG XS as a codec has been around for more than a decade. One Pro AV brand has used it to compress Full HD signals and pass them through a

AV-OVER-IP TECHNOLOGY

1 Gbps network switch. And, for a long time, while the conventional wisdom with JPEG-based compression systems was not to exceed 4:1 compression, JPEG XS has lifted much heavier weight than that, going up to 10:1 with acceptable results while retaining low latency.

JPEG XS is easily integrated with a wide variety of applications. From the JPEG XS website: “JPEG XS works with…professional video links (3G/6G/12GSDI), IP transport (SMPTE 2022-5/6 & SMPTE 2110), real-time video storage, memory buffers, omnidirectional video capture systems, head-mounted displays for Virtual or Augmented Reality, and image sensor compression.”

While JPEG XS is strictly a video codec, it travels easily over standard IP networks with the appropriate headers through switches that are set to pass “jumbo” Ethernet frames larger than 1,536 bytes. (MPEG video can travel in standard Ethernet frames.) And JPEG XS moves easily alongside industry-standard audio codecs and control signal packets, along with ancillary data (captions, ratings, and even ancillary languages). Also from the JPEG XS Web site: “Its design offers various degrees of parallelism allowing for efficient implementation on various platforms such as FPGAs, ASICs, CPUs, and GPUs.”

The Defense Rests

If you’ve attended large industry trade shows like NAB, ISE, InfoComm, and IBC in recent years, you’ve certainly noticed the lines blurring between broadcast, cinema, and Pro AV, and even consumer electronics. Whatever differences remain essentially disappear once all these industry segments migrate to AV-over-IP networks.

Today, the same video interfaces are found on professional video cameras (HDMI) as on televisions and computer monitors (again, HDMI),

alongside serial data interfaces (3G and 12G-SDI). 10 Gb network switches with built-in HDMI ports are now available, further blurring the lines.

The takeaway here is that MPEG and JPEG codecs are continually being improved. JPEG XS has been successfully tested with compression ratios as high as 16:1, and it will no doubt continue to improve. Best of all, it will work with any video source— baseband or display—using software encoding and decoding across any viewing platform through any IT network.

NHK demonstrated 8K video passing through a 10 Gbps network switch using a “mezzanine level” codec, JPEG XS, at the 2018 NAB Show.

TECHNOLOGY LOUDSPEAKERS

I Love It Loud

Slowly But Surely, Loudspeaker Technology Is Moving Forward

By Jennifer Guhl

Loudspeakers are evolving. Slowly. The technology has mostly stayed the same over the years, but recent improvements in design and materials are helping manufacturers design lighter, smaller products with higher output possibilities and improved sound quality.

“It’s a broad development scope,” said Andy Davies, senior product manager with Meyer Sound. “A new generation of integrated digital amplifiers, digital infrastructure taking audio-over-IP direct to the loudspeaker, improved driver design, and advances in acoustic modeling that all combine to dramatically improve the new generation of products.”

Which Way?

Depending on the application, two-way or three-way speakers have distinct advantages that could benefit a system’s overall output. Two-way speakers offer a more compact design and are ideal for a more cost-effective solution. Three-way speakers enhance audio performance by splitting the audio signal into three different frequency bands, improving audio clarity and giving a more exact sound reproduction.

The decision on which to choose ultimately depends on the requirements of the install and the audio quality needed for the project. “In addition to two-way and three-way speakers, we often encourage using one-way speakers, such as columns that utilize our unique Pure Array Technology,” noted Andrea Torelli, global marketing and communications director with K-array. “This approach offers a significant advantage in phase coherence, as no crossover points exist between the speaker components. The sound is incredibly smooth and natural, making it the best solution when possible.”

The Royal Opera House in London and Teatro alla Scala in Milan rely on this system, where the

mid-high speakers are Pure Array Technology columns reproducing the same frequency range. “Those who have experienced these systems have witnessed sound that becomes a true extension of the performer on stage, extremely natural and optimally distributed throughout the theater,” Torelli said.

Dispersion characteristics are one of the most essential specifications when selecting a loudspeaker. Whether narrow, wide, or adaptive, this specification is often overlooked, impacting an install’s ability to offer an evenly dispersed audio landscape. Only a few audience members are on a direct axis with a loudspeaker; with the desire to create an even playing field where the entire audience hears the same thing, it is important that beamwidth characteristics match the specifications leading to a robust loudspeaker deployment.

“Unlike light, sound is a slow medium, with drastically varying wavelengths, which make it a challenge from a design perspective to achieve smooth, even, and predictable dispersion characteristics over the operating range of a loudspeaker,” explained Graham Hendry, vice president of loudspeaker strategy for AtlasIED. “A small-time alignment anomaly due to displaced sources will cause directivity changes.”

A Delicate Balance

When deciding between column or line array loudspeakers, it’s essential to think about the use case. With line array speakers designed for optimal clarity, they are ideal for use in large spaces, such as music venues and large auditoriums. They offer more flexibility than column arrays, with line arrays able to adjust splay angles to better match the projection to the audience area.

However, that flexibility comes with a price in the form of more mechanics and more individual boxes, according to Tom Back, managing director and co-founder of Alcons Audio. “In applications with a flat-audience area and no stringent restrictions on speaker placement, a column speaker could be the efficient, but similarly effective choice,” he added.

Finding the balance between a loud and intelligible system is a delicate balance. At certain times, a system must be loud to achieve a certain level of intelligibility, depending on the surrounding.

“Just think of a soccer stadium where a very basic requirement can be to achieve sound pressure levels above crowd noise,” offered Marcus Baeumler, product manager for d&b audiotechnik. “Once you have achieved that, intelligibility, of course, is of great importance.”

Image is another thing clients are constantly

From Left: Aki Mäkivirta, Andrea Torelli, Andy Davies, Graham Hendry, Lou Mannarino, Marco Cantalù, Marcus Baeumler, and Tom Back

The Calvary Church in Clearwater, FL, addressed issues of poor audio coverage and spoken word intelligibility with new d&b loudspeakers.

LOUDSPEAKERS TECHNOLOGY

concerned with, leading to manufacturers offering various options to fit a variety of needs. “Look is often very important, which is why we offer custom colors and wood finish loudspeakers, where clients can choose to make their speaker blend into its surroundings,” said Lou Mannarino, founder and designer of 1 SOUND. “However, we have found a trend starting with our end clients who are actually embracing the look of a loudspeaker. For example, our Contour with the magnetic grille removed showing the horn— because they are proud of the quality of sound and want to show it off.”

Often, the client is focused on having the latest loudspeaker innovation over what makes the most sense for their venue, finding out after it’s too late that the intelligibility of the product does not match their needs. Also, focusing on the visual can leave a venue with a beautiful space but terrible sound and acoustics. It’s vital to think of audio quality.

“In install applications, the sheer quantity of audio does not replace quality,” said Aki Mäkivirta, R&D director for Genelec. “Even then, it is tough to simplify the system quality this much. There is more to quality than just loudness or intelligibility.”

Even if you have the best technology, you must still work with sound system engineers to ensure the system operates optimally. “Too many results are subjectively evaluated with music as a program source and the human hearing system as the only instrument,” said Hendry. “This design approach has clouded the division between sound system engineering and music reproduction as an art form. While there’s a place for both, we must remember that they are completely different. Anyone can crank up a PA system and make it loud, but it takes a professional to design one that’s intelligible.”

Current Trends

Advances in digital signal processing (DSP) power and speed allow for increased flexibility and functionality, surpassing analog technologies of the past. These advanced processing technologies boost audio performance while allowing systems to adapt to various applications and environments, taking a much more significant role in a system’s overall performance.

With emerging trends like advanced beam-steering technologies, growing demand for environmentally friendly materials and manufacturing processes, and the increased use of networked audio systems, manufacturers are constantly looking for ways to stay at the forefront of loudspeaker advancements. With a growing need for integrated audio systems, including audio within IT systems, manufactures are looking to innovative software solutions to improve ease of use, control, and performance for its product lines.

“The trend now for manufacturers is to develop more comprehensive solutions in loudspeakers by investing in deploying systems with better control, immersive systems, and flexible products which fit

well into several different scenarios,” explained Marco Cantalù, application support engineer with dBTechnologies. “We are continually working on making our products more intelligent, more selfaware of where they are.”

Greater use of the software, such as Aurora Net software from dBTechnologies, will also provide more

precision in deployment, supporting loudspeaker components as they get smaller, more compact, faster, and louder. “Everything will continue to work better and even more efficiently,” said Cantalù, “and that’s why we are working on future speakers that are increasingly more power-friendly, more eco-friendly, and with a higher sensitivity which can achieve even

TECHNOLOGY LOUDSPEAKERS

more SPL with the minimum possible power consumption.”

There are so many Pro AV loudspeakers on the market today, with a variety of form factors and features. Which solution is best for your next project? Here’s a handful of models to help start your research.

frequencies low to high are delivered dynamically, making it ideal for use in medium to large-scale installations and live production audio.

Alcons VR5

This two-way mini versatile loudspeaker is the ideal solution for near-field applications where fidelity response needs to be projected with wide horizontal and vertical coverage. Built within a small, compact package, it provides the sound of a more extensive system and delivers crystal-clear acoustics and ultra-low distortion for both portable and permanent applications.

1 SOUND Contour CT212

Launching at InfoComm 2023, the Countour CT212 is a horn-loaded, three-way passive loudspeaker that delivers full and present sound while sounding delicate when needed at lower volumes. Combining two 12-inch low-frequency drivers with a 4-inch mid-high coaxial and 2-inch compression driver in a horn-loaded point source enclosure ensures that

AtlasIED ALA Series

The EN54-24 certified ALA20TAW column line array loudspeaker provides maximum pattern control performance, delivering high performance and contemporary styling within a minimum footprint. With excellent speech intelligibility, the design combines 20 tight-packed 3-inch full-

range drivers and six 22m high-frequency tweeters in an aluminum housing, making it durable while providing optimal sound reproduction. Plus, its contemporary design allows it to complement any environment.

d&b audiotechnik GSL8

Designed for large-scale sound reinforcement, this line array module can be arranged in vertical columns to produce an 80-degree constant directivity dispersion pattern in the horizontal plane. Flying hardware for the SL-Series includes an integrated tension and compression rigging mode, allowing splay angles between cabinets from 0-7 degrees. The loudspeaker can reach very low frequencies with extended LF response while delivering these with significant headroom.

dBTechnologies VIO L1610

A versatile solution, the VIO L1610 combines VIO technology with an ultra-compact, three-way line array system that delivers a dependable line

source system. The acoustic engine is driven by a Digipro G4 Class D amplifier. The VIO L1610 also includes a three-point rigging system for smooth setup, and its weight and form factor allow it to deliver dynamic audio for without being too intrusive.

Genelec 4430A Smart IP Installation Speaker

A staple of the Smart IP networked loudspeaker family, Genelec offers the compact 4430A, which provides power, audio, and loudspeaker management via a single CAT cable. As a result, it delivers flexibility, cost-effectiveness, and simplicity of installation. Powered by PoE and compatible with Dante and AES67 audio streams, the 4430A also integrates tightly with Genelec’s Smart IP Manager software for complete control, even in challenging acoustic environments.

K-array Vyper

Found within a compact and durable 2-inch-deep aluminum frame, the Vyper line offers the flattest speakers in the K-array catalog. It is highlighted by closely-spaced transducers featuring K-array’s Pure Array Technology. The Vyper demonstrates true line array characteristics including phase coherence, low distortion, and focused listening, no matter the distance from the speaker. The technology allows the Vyper to cover venues and provide a long throw evenly.

LOUDSPEAKERS TECHNOLOGY

Yorkville Audio Synergy Array Series

This active point source system offers flexibility, power, and directivity control. Consisting of the SA153 fullrange powered cabinet and SA315S powered subwoofer,

the Synergy Array Series is scalable for events of all sizes, including outdoor festivals, arenas, and music venues. With patented Paraline Lens Technology and Synergy Horn Technology, the system operates as a true point source, providing a flexible and powerful advanced system that is easy to use.

Meyer Sound PANTHER

With a ground-breaking output of more than 150 dB, PANTHER is a self-powered system that delivers unrivaled linearity in a compact cabinet. With a new ultralight Class D amplifier, PANTHER doesn’t sacrifice power output for a lightweight design. The line array can tackle even the most complex production plans, with internal amplifiers precision-matched to drivers.

TECHNOLOGY NEW PRODUCTS

houses of worship, classrooms, and other locations. The innovative mount is designed to reduce unwanted vibrations from loudspeakers, machinery, foot traffic, and other problematic sources that can negatively impact camera performance. For a PTZ or fixed camera installation, the system provides excellent isolation, because all of the load can be placed directly on the elastic vibration isolating components. For installations, the cables offer security in the event that the elastic tubes fail over time and to prevent “pancaking.” The PTZ camera vibration isolator is made in the United States and constructed with high-quality materials, including machined 6061 aluminum mounting plates and high-quality elastic dampening elements. It is designed to be easy to install and can accommodate a wide range of cameras.

watts continuous. An advanced cooling design that enables its voice coil to run cooler than comparable competitor drivers, which greatly reduces heat-related stress on the 4-inch glass-fiber voice coil former and other thermally sensitive parts. It also reduces the temperature-related rise in Re (coil resistance) that causes power compression. By operating at less severe temperatures, the subwoofer offers end users high performance throughout the product’s lifespan.

with other G&D components and can be used either as an extender or in a matrix installation. Either CAT cables or fiber optic cables are used, with IP-based or dedicated transmission. All KVM solutions from G&D are designed for 24/7 use and ensure that critical processes can be controlled reliably and without any disruptions.

Blackmagic Design ATEM

4

M/E Constellation 4K

Contemporary Research LA-B18 Light Alert Bar

The LA-B18 Light Alert Bar is a remote controllable visual signaling device, ideal for health care, first responder, education, houses of worship, ADA support, meeting room status indication, and high-noise environments such as industrial, manufacturing, or production. The 17.5x0.5-inch RGB LED optical element has programmable color and intensity that can be preset and recalled by Ethernet or RS-232 serial command or by contact closure. Programming may be accomplished via Ethernet, Telnet, or RS-232 serial commands as well as using onboard DIP switches. The enclosure is aluminum with black powder coat paint for a base. It offers hundreds of colors and intensities, can be mounted on the wall or ceiling in any orientation, and is powered via PoE or optional external power supply.

Celestion PowerProX18

The 18-inch PowerProX18 subwoofer is ideally suited for fixed installs, cinema sound, and touring sound reinforcement. It has a usable frequency range of 35-1000Hz, making it suitable for any large subwoofer applications, and excels when delivering the deep, palpable lows of cinema audio. With a nominal impedance of 8 ohms, the PowerProX18 subwoofer’s power rating is 1,200 watts nominal (AES) and 2,400

Key Digital KD-WP8-2

Key Digital has updated its popular KD-WP8, an eight-button, PoE-powered IP control wall plate keypad that fits into a single-gang wall box. It can control any IP-networked Key Digital device—and control extends to third-party systems through the Compass Control Pro protocol, user-friendly Open API support, or the WP8-2’s now integrated IR output and RS-232 port. The KD-WP8-2 natively sends TCP and UDP commands in ASCII or HEX format for controlling IP-enabled devices, without the need for any additional hardware. It is programmed by a simple web GUI walkthrough of network settings, button configuration, and event selection, with project import and export that makes it easy to setup multiple control points or duplicate a system. Button command stacking allows up to 20 events per button, and a two-button press combo may be set to lock and unlock the keypad.

Guntermann & Drunck VisionXS Type-C

The newest addition to G&D’s VisionXS product series, the VisionXS Type-C computer modules enable modern sources to be incorporated, such as USB-C computers, notebooks, tablets, and even smartphones, following the trend toward an improved and universal USB standard. The connection can be used to transmit video signals, keyboard, and mouse signals and audio, all via a single cable. Plus, the module’s power supply can be provided via the connection. Available as KVM-over-IP or classic direct transmission, the new modules are compatible

A new Ultra HD model of the ATEM Constellation family, the ATEM 4 M/E Constellation 4K switcher offers 40 12G-SDI inputs, 24 12G-SDI outputs, 16 upstream chromakeyers, four downstream keyers, four media players, two SuperSource processors, and more. Its compact rack mount design includes a built-in control panel, so it can be operated during setup or for emergency use. A large LCD allows customers to see the program output and change switcher settings via the on-screen menus. For live streaming, the USB-C connection operates as a webcam source. Other features include four independent multiviewers, built-in Fairlight audio mixer with up to 156 input channels, built-in talkback with a 5-pin XLR headset connector and rear-mounted RJ12 connector, and a wide range of control panel options.

Pliant Technologies CrewCom IP-Rated RTs

The latest addition to Pliant’s CrewCom wireless intercom line, the CrewCom IP-Rated Radio Transceivers (RTs) are available in 900MHz and 2.4GHz versions. The weatherresistant RTs are ideal for any live event where outdoor placement of transceivers for wireless coverage is required. The newly designed RTs feature a sleek, yet durable ABS plastic housing along with silicone-molded connector covers to ensure moisture ingress protection for unused connections. In addition, an updated power connector (for use with the optional PPS-48V-02 power supply) allows for a push/ pull quick-release connection and disconnection. The IP-rated RT supports seamless roaming and can be software selected for either six normal mode users or 32 high-density users, and is compatible with all CrewCom systems and existing transceivers.

Sony’s new flagship 30.5-inch 4K HDR TRIMASTER HX reference monitor was designed for critical evaluation, color grading, live production, and post-production. It features a Sony-designed dual layer, anti-reflection LCD panel with Sony proprietary signal processing, supporting a higher peak luminance of up to 4000cd/ m² while maintaining deep blacks. Along with accurate color reproduction, picture consistency, and precision imaging, the BVM-HX3110 offers brighter specular highlights and introduces a new optional fast pixel response mode for reduced motion blur. It also provides a wider viewing angle, as well as standard IP interface for SMPTE ST 2110 signals, to complement Sony’s Networked Live ecosystem. The monitor’s standard toolset incorporates waveform monitor and vectorscope, false color, focus assist, closed captioning, 3D LUT processing, and quad and side-by-side viewing modes.

FIBER CABLES

MultiDyne HoneyBadger

HoneyBadger, a new bulk fiber transport platform, brings several MultiDyne strengths into one common platform with signal density for HD, 3G (quad-link 4K), and 12G (single-link 4K) productions. Ideal for stadiums, arenas, campus-wide signal extension, metropolitan intra-facility connections, and classic point-to-point links between trucks, control rooms, and studios, HoneyBadger offers an expansive feature set for production-based fiber transport. It offers support for eight camera feeds and SDI return channels, both expandable through HoneyBadger’s modularity. HoneyBadger features high I/O density and two independent 1 Gb LAN extensions, the latter of which enables IP connectivity over single-mode fiber strands. Users can also extend four partyline intercom channels (wet or dry), eight bi-directional line level analog audio outputs, and eight mic-pre inputs with phantom power over two cost-efficient single-mode fibers.

AVer A30

The AVer A30 all-in-one device combines a document camera, microphone, and speaker. Designed for huddle spaces, personal desks, and home offices, the A30 delivers 4K resolution. Its camera can be utilized as a webcam for videoconferencing as well as a document camera to visualize materials in hybrid environments. With automatic image rotation, the A30 empowers a seamless experience as users switch from a conference camera to a document camera. Featuring HDMI and USB output ports, the A30 supports video streaming and allows users to connect to an additional USB camera for picture-in-picture images. High-quality AI audio technology, powered by AVer’s exclusive algorithm, produces clear sound with echo cancellation while minimizing background noise. The A30 also features a microphone and speaker that easily connect to computers and monitors for clear audio recording and playback from up to 20 feet away.

MODULAR FLOOR BOXES

FLYPACKS & ROAD CASES

FURNITURE

It’s Time for Pro AV to Take Digital Twin Metaverse Technology Seriously

By Sharath Abraham

As the world continues to evolve, how we interact with the environment and each other has also changed. With the rapid rise of digital technology, the way we work, communicate, and entertain ourselves has shifted to digital spaces. And with the metaverse becoming the next frontier in digital technology, the Pro AV industry needs to recognize the potential of the digital twin as a critical component of this new paradigm.

Digital twin technology is a virtual replica of a physical system that can simulate, monitor, and optimize performance. The digital twin can simulate anything from a building to a factory floor to an entire city. With the ability to affect physical systems in real time, it has become a valuable tool for many industries.

Immersion and Optimization

The AV industry has always been at the forefront of using technology to enhance how we experience our environment. From the earliest movie theaters to the latest videoconferencing tools, we have created immersive experiences that bring us closer to the content we consume. With the rise of the metaverse, our industry must embrace the digital twin as a critical technology to enable us to create new immersive experiences.

One of the most exciting possibilities of the digital twin in the Pro AV industry is its ability to create hyper-realistic environments. By creating digital twins of real-world spaces, Pro AV can help clients develop immersive experiences and revolutionize how we interact with the world around us.

An example would be utilizing digital twin technology to create virtual tours of physical spaces, allowing users to explore a location in detail without

multiple site visits. Many real estate, construction, and architectural firms have already been utilizing this, so it would make sense for the Pro AV industry to work with these groups using the same technologies.

Another important use of the digital twin is its ability to optimize AV systems. With the ability to simulate physical systems in real time, the digital twin can test and optimize AV systems before they are installed in the physical world. This can save time and money by identifying potential issues before they occur and improving the system’s overall performance.

For example, many AV vendors provide simulations on their websites for speaker and lighting configurations. The next evolution would be to include that information in a digital twin of the entire AV system— and run multiple simulations so the client can better understand the system and its capabilities.

Practical Applications

The digital twin can also be used to enhance the way we communicate with each other. With the rise of virtual meetings and events, the digital twin can be used to create more immersive and engaging experiences.

Consider the increase in remote working and distributed teams working with clients unable to be on site. A digital twin of the system can be utilized to allow stakeholders to see and interact with the digital twin to ensure everyone is on the same page and reduce the risk of miscommunication. Plus, this would be a way cooler meeting than a Teams or Zoom call reviewing CAD files.

As the use of digital twins continues to grow as a metaverse technology, it will likely become necessary in the Pro AV industry. Plus, we all know tech doesn’t stand still: Digital twins will become more advanced and sophisticated. Now is an excellent time to start thinking about how companies and individuals in our industry can better understand how it can be used collaboratively to provide better service to all our clients.

At this time, for example, there is much interest

in IOT sensors for buildings. Although IOT devices aren’t in the old-fashioned AV playbook, I believe AV companies need to ramp up their education and offer additional services around IOT hardware and installation. Companies and individuals in the AV industry need to stay updated to be better positioned to take advantage of new opportunities as they arise.

Ready or Not

As with all technologies, there are disadvantages, and digital twins have some drawbacks. They are complex systems requiring specialized expertise to design, develop, and maintain, so this can be a challenge for companies that currently need more technical resources.

Based on the user’s level of expertise, learning to use these systems effectively will take time and resources. For example, a CAD technician will be able to understand the complexity of digital twins faster than a new technician. Digital twins also require a significant investment in technology, hardware, and software, which can be a barrier to entry for smaller companies or those with limited budgets.

The digital twin is a metaverse technology that the Pro AV industry needs to take seriously. Its ability to create hyper-realistic environments, optimize AV systems, and enhance communication and collaboration makes it an invaluable tool in the age of the metaverse.

Investing in learning opportunities around digital twin skills for individuals will help organizations stay ahead of the curve in an increasingly competitive and fast-moving business environment. This will allow organizations and the Pro AV industry to adapt to changing market conditions and position themselves for long-term success. By embracing the digital twin, we can create new and exciting immersive experiences for our clients to bring us closer to the content we consume.

Investing in learning opportunities around digital twin skills for individuals will help organizations stay ahead of the curve in an increasingly competitive and fast-moving business environment.