Clear-Com president Bob Boster talks traditional partylines and cloud-based virtual intercoms. By Mark J. Pescatore
22 Executive Q&A
Manny Patel explains how IHSE USA is keeping up with the industry’s shift to KVM-over-IP. By Mark J. Pescatore
24 On Your Business
A collaborative sales effort can help companies avoid missteps and improve client relationships. By Steve Greenblatt
28 Diamond Days
New Daktronics displays are helping to engage softball fans in Oklahoma and minor league fans in Pennsylvania.
By Carolyn Heinze
30 Extra Lives for Esports?
Professional leagues may be struggling, but the esports
Oracle Park has amped up its fan experience with a new sound system. By
Wayne Cavadi
By
James Careless
32 Doing More with Less Integrated production switchers feature multiple tools to simply workflows. By Jennifer Guhl
34 MustangVision Struts into ACC with ST 2110 Workflow
Southern Methodist University has a new IP-based production facility. By Michael Grotticelli
36 ST 2110: An Introduction
How does SMPTE’s broadcast IP standard fit in the Pro AV space?
By Bob Caniglia
new Tail Air PTZ camera packs big features into a small package. By Chuck Gloman
Office Buzz or Buzzkill
Recent Jabra research shows technology investments can impact employee and company success. By Josh Blalock
AI Can Help Us All Be Lions
Aworld-class basketball arena on a warm August morning in New York may be an odd choice of venue for a philosophy lesson, but when you’re talking about AI, sometimes it’s best to reference a 19th century approach to spiritual transformation. Trust me, it worked.
This year’s AV/IT Summit, which was held on Aug. 1 at Barclays Center in Brooklyn, started with a keynote address from Julian Phillips. You may remember him as our “Blueprint for Success” columnist from last year. He also has a regular gig, serving as managing director of XTG, the experimental technology division of AVI-SPL. His talk was about the synergistic relationship between AV and AI—but in typical Phillips fashion, his presentation was about much more than that.
Phillips had his own take on the 90/10 Principle, variations of which have been discussed by everyone from 19th century Italian economist Vilfredo Pareto to The 7 Habits of Highly Effective People author Stephen Covey. He argued that most organizations spend about 90% of their resources focused on maintaining the status quo. That leaves only 10% to innovate or transform operations.
In other words, most of us are way too busy keeping busy. I’m guilty as charged, how about you? Do you have dedicated time in your work week to consider new ideas, new areas of opportunity, new anything?
Phillips challenged attendees to flip that ratio around and dedicate the larger share of our time and energy to exploration and innovation. Sounds great on paper, but how will the work get done?
AI can help.
Phillips had three major takeaways that we should all consider. First, whether you like it or not, AI is here and you can’t opt out. Second, AI technology that is available now, if applied properly, can help with much of the busy work that fills our calendars and limits our ability to be innovative. Finally, he encouraged each of us—yes, you too—to become lions, at least as described by Friedrich Nietzsche, a 19th century German philosopher.
Nietzsche saw spiritual transformation as a process of three stages. (I’ll be brief here; you can read Thus Spoke Zarathustra at your leisure.) We all start as camels, dutiful beasts of burden conditioned to do our work and conform to society’s rules and expectations. If we recognize those burdens, we transform into lions (aka rulers), embracing self-purpose and freedom while rejecting external controls. The final transformation is the child, which celebrates creativity and creating purpose, but that’s a whole other discussion. The point Phillips made was that we need to challenge industry norms and consider new ways to conduct business.
Flipping workplace percentages from 90/10 to 10/90 is not something that’s going to happen overnight—and some of us may never be able to achieve that kind of work/ innovation ratio. But he believes companies in the Pro AV industry need to change their organizational structures and make the most of AI tools or risk being left behind. In the short term, I’m guessing Phillips would be at least somewhat satisfied if we acknowledged that maintaining the status quo is the 100% wrong strategy for our industry. It’s a start. Now, let’s hear that roar.
CONTENT
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Senior Content Manager Wayne Cavadi
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Julian Phillips served as keynote speaker for this year’s AV/IT Summit.
AVI-SPL Provides AV Support for DOD IT Modernization
AVI-SPL has been selected as a subcontractor by General Dynamics Information Technology (GDIT) to support its $922 million U.S. Central Command (USCENTCOM) Information Technology Services (CITS) modernization contract. GDIT was awarded the USCENTCOM contract in February 2024 by the General Services Administration (GSA). The contract has a one-year base period and five option years.
For its role in the GDIT contract, AVI-SPL will deliver AV, digital signage, and collaboration technology. The company will also provide AV technology support in various spaces across the CENTCOM headquarters campus, including command and control spaces, meeting rooms, training rooms, and special use spaces in support of ongoing operations and live events. These offerings will be extended across the CENTCOM Area Of Responsibility (AOR) when called upon.
As part of the Department of Defense, CENTCOM protects and promotes American interests in vital portions of the world, including the Middle East, Central Asia, South Asia, and the surrounding waterways. CENTCOM’s U.S.-based headquarters are at MacDill Air Force Base in Tampa, FL.
Launched in 2004, AVI-SPL’s dedicated federal practice has worked with all branches of the DOD, as well as a majority of federal civilian agencies and 4th estate organizations.
Manchester Printworks, an entertainment complex in northwest England, recently underwent a major renovation that included the integration of a large digital ceiling. To complement the display (as well as events in the space), PAS Sound Engineering installed a Renkus-Heinz sound system that includes four beam-steered ICL-F-RD arrays, six UBX8 column loudspeakers, and two SX118 subwoofers. A Symetrix T-10 touchscreen panel with a custom GUI provides intuitive control of the entire system. Plus, further commands can be sent by a Green Hippo server to synchronize the audio with the screen content. CUK Group served as technical distributor for the project.
WWAVIT Launches Podcast
omen in AV/IT (WAVIT), a nonprofit organization dedicated to supporting and empowering women in the AV and IT industries, has launched a new podcast series to foster a sense of community, provide valuable insights, and inspire women to achieve their fullest potential in these dynamic fields. The first episode of the WAVIT Podcast was recorded at InfoComm 2024 and is available on YouTube, Spotify, Amazon Music, and Apple iTunes.
“As a 501(c)(3) organization, WAVIT has always been committed to creating a network that champions education, representation, and inclusion,” explained Gina Sansivero, WAVIT president and VP of marketing and communications at AtlasIED. “Our new podcast is a natural extension of this mission, providing a platform where women can share their stories, discuss industry trends, and offer guidance and mentorship to one another.”
The podcast will feature interviews with industry leaders, discussions on the latest AV/IT innovations, and deep dives into the challenges and opportunities facing women in the industry today. Listeners can expect to hear from a diverse range of voices, each bringing unique perspectives and experiences to the table.
“I’d been wanting to start a podcast for a while, and had this idea for a casual, sort of girl’s dinner night out kind of vibe. Intimate, comfortable, and off-the-cuff chats,” said Lex Evans, host of the WAVIT Podcast and WAVIT board member. “We’d love to have listeners submit stories and questions and talk about things you wouldn’t normally hear. Subjects that are sometimes hushed or taboo—or just brushed under the carpet.”
EcoVista Achieves Carbon Neutral Milestone
Known for its large-format LED display integration, EcoVista can now also be known as one of the industry’s first systems integrators to achieve carbon neutral status.
With operations in the United States and EMEA, the U.K.-based company’s sustainability journey began when it was founded last year, with a commitment to embed environmental responsibility at the core of its business. By partnering with Planet Mark, a sustainability certification organization, EcoVista has implemented robust carbon tracking and offsetting measures across its operations and client projects.
Through detailed embodied carbon reporting and operational carbon monitoring, EcoVista has been able to track more than 170 tons of carbon across its business and client projects over the past 12 months. Clients have all been onboarded to EcoVista’s carbon tracking software, enabling them to make informed decisions to reduce the environmental impact of their projects by
offsetting their carbon footprint.
“Sustainability has been a driving force for EcoVista from day one,” said Dave Neale, managing partner of EcoVista. “We recognized the significant environmental impact of our industry and were determined to lead the way in reducing carbon emissions. Achieving carbon neutral status is a proud moment for our team and a testament to the hard work we’ve put in over the past year.”
EcoVista’s Sean Morrough (left) and David Neale show off the company’s Planet Mark certification.
DN-300 Series
The Ultimate AVoIP Platform
The Future of AV Distribution is Here
The DisplayNet DN-300 Series delivers an unprecedented level of AVoIP performance, versatility and reliability— at a price point that defines a new industry benchmark for value. Based on the latest SDVoE technology, the DN-300 Series provides 4K/60 (4:4:4) video distribution with limitless scalability, zero-frame latency and zero image artifacts.
These units offer unique features that provide system designers with exceptional versatility:
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DN-300: full-bandwidth USB 2.0 routing
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DisplayNet also provides software-defined MultiViewer and Advanced Video Wall engines that power a wide range of applications without the expense and complexity of ancillary products. A highly intuitive web-based UI and API greatly simplifies setup and installation, as well as integration into third-party control systems.
Contact us today to see how DisplayNet can move your next AV system into the future.
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Talking Points and Takeaways from 2024 AV/IT Summit
By Jennifer Guhl
The 2024 AV/IT Summit, held Aug. 1 at Barclays Center in Brooklyn, NY, offered an exciting look into the future of technology integration.
AV Technology’s Cindy Davis, TV Tech’s Tom Butts, and SCN’s Mark J. Pescatore welcomed industry leaders to share groundbreaking insights and innovative strategies, from AI-driven solutions that streamline operations to reimagining workplace designs. The event highlighted a collective shift toward a more interconnected, data-driven future.
Keynote speaker Julian Phillips kicked off the program by linking AI’s transformative power to past technological revolutions, such as the steam engine and electricity, and encouraging attendees to consider reorganizing industries and processes to realize AI’s benefits. He discussed Amara’s Law, which suggests that people tend to overestimate the impact of new technology in the short term but underestimate it in the long term. Phillips firmly believes that this is happening with AI.
He offered a great example by sharing a promotional video of the Amalfi Coast that he made using an AI platform. He explained that the video was quickly created with just a few simple prompts. Phillips also challenged attendees to participate in what he believes is a new and exciting era in our lives. Throughout the day, Phillips was constantly approached by attendees, showing that many were considering his challenge.
Modern Office Adjustments
Businesses are prioritizing the creation of integrated spaces that can support both in-office and remote workers. During the “Transforming the Workplace, Engaging Teams, and Rethinking Process” session, panelists discussed the constantly evolving needs of the modern workplace.
For example, Kevin Laugherty with CVS Health stressed the importance of creating an environment where everything works together seamlessly rather than having a room filled with isolated components. From Amazon’s perspective, Harmeet Bhatia echoed this sentiment, describing a holistic approach that allows the company to create adaptable work environments that cater to various needs.
With office occupancy rates fluctuating, companies are reconsidering how they use their spaces and are prioritizing those that offer flexibility and adaptability. Matt Morgan from Ross Video, who has worked with companies like Amazon on space development, emphasized the importance of robust communication systems, especially in workplaces with a mix of remote and in-person work.
The panel also discussed the importance of achieving equity, resulting in a focus on creating flexible spaces that accommodate various working styles. Red Thread’s Ashish Maru said employees need to be able to express themselves through communication without being hindered by technology. “Having that engaged infrastructure is important,” he noted.
Higher Education Transformation
Erin Maher-Moran, IT manager of classroom technology at Johns Hopkins University, convened AV and IT experts in higher education to explore “AV/IT Technology’s Roles in Modern Higher Ed Classrooms and Campus.” The panel was presented by the Higher Education Technology Managers Alliance (HETMA).
Educators are shifting away from traditional lecture-based learning and are utilizing technology to provide a more interactive and experiential approach to education. This includes bringing in guest speakers through platforms like Zoom and sharing streaming content directly in the classroom. C. Ann Kelly from Yale University said it’s important to evaulate the interests of different learners and create spaces to support their learning, along with the infrastructure to facilitate communication among students.
The panel emphasized the importance of making schools more accessible, not only to comply with ADA regulations but also to enhance the learning experience for all students, including those with disabilities or language barriers. ENCO’s Gilbert Felix stressed the essential need for all students to be able
to follow along in the classroom and how technology can make this possible. Closed captioning, live translation, and various AI technologies were discussed as ways to create a more inclusive learning environment. Pace University’s George Chacko advised providing accessibility discreetly, so students don’t feel singled out.
Rich Miller from Pace University also stressed the importance of introducing technology that faculty members feel comfortable using. While technology enthusiasts may be excited about new advancements, it’s vital to avoid putting faculty members in a position where they feel lost.
Collaboration Requirements
Is it possible for AV and IT experts to collaborate effectively despite their distinct areas of expertise? This topic was explored during an afternoon discussion, “The AV/IT Handshake: How to Facilitate Technology and Teams.” Panelists concluded that collaboration is indeed possible— with a little bit of understanding.
According to Steve Greenblatt from Control Concepts, it’s important to consider critical concerns, such as uptime and security, when approaching IT collaboration as an AV professional. Tyler Kulp from AVI Systems emphasized that prioritizing network resources is crucial for developing effective customer solutions, advocating for a strategic approach to operations. “Bandwidth, security, these kinds of things need to be vetted out with the appropriate parties in the beginning, so they don’t escalate,” he said.
IT might only comprehend AV’s actions from a high-level perspective, but Alan Nicholls from MAXHUB said it’s important to acknowledge that they may not know the right questions to ask (or vice versa) to achieve your collective goals. “It’s really one of those things where I always recommend having a project manager, somebody to bridge that gap, somebody who knows both sides,” he advised.
Pescatore, who moderated the panel, raised an intriguing question about who needs the other more. Verrex’s Ben Dandola-Grubb said the pandemic altered his initial perspective. “I’m unaware of an organization today that doesn’t leverage some semblance of unified conferencing, period,” he explained. “So, to be Darwinian for a moment, we have to coexist. I don’t think one needs more than the other.”
The 2024 AV/IT Summit was held at Barclays Center, home of the Brooklyn Nets.
SNA Displays Partners with LynTec for Penn State Videoboards
Penn State University, committed to enhancing its athletic facilities, has embarked on a major refurbishment project that includes videoboard upgrades at its soccer field, softball park, and indoor and outdoor football practice facilities. SNA Displays won each of these projects and set out to create eye-catching display systems from the ground up for each venue.
For both the Jeffrey Field soccer pitch and Beard Field in the Nittany Lion Softball Park, the SNA Displays team created LED video scoreboards using the company’s EMPIRE Exterior technology. Both video scoreboards are approximately 26 feet wide and 15 feet tall with 10mm pixel pitch. A slightly wider display was deployed at the Lasch Outdoor Practice Fields, while the Holuba Hall indoor football practice facility features a 26-foot-wide, 14-foothigh dvLED video wall that uses BOLD Interior display technology.
Beyond the videoboards, SNA Displays provided comprehensive services, including web-based control software that offers easy operation and valuable insights into the display systems. A key aspect of the projects’ success rested on achieving effortless end user operation for both display control and power control. For this reason, the company partnered with LynTec.
“Every one of these games is critical for coaches, players, sponsors, and fans, and therefore all equipment in the system is critical,” said David Kile, director of systems integration, SNA Displays. “Our proprietary diagnostics tools provide real-time visibility into the display system and can help to address any problems from one place. That’s where having the right power solution comes in.”
Power control is an essential component for operating and protecting LED displays. First, it’s the most efficient way to safely power up and down videoboards. It also has other benefits: It contributes to an extended equipment lifespan by curbing heat build-up that can happen when displays are left on or in standby, enables displays to be reset remotely, and delivers significant cost savings by reducing standby power consumption—a factor that is often underestimated. Finally, it provides proper sequencing as it mitigates inrush current issues, preventing damage and nuisance trips.
For decades, LynTec’s flagship RPC panel has been the go-to power distribution panel for integrated AVL installations for many collegiate and professional arenas and stadiums, including University of Georgia Coliseum and Baum Stadium at George Cole Field at the University of Arkansas, among others. In response to more projects using the panel for LED video wall and lighting projects, the company designed its LCP panel series as a more affordable, compact, and flexible solution.
The LCP was chosen for the Penn State installations. It is built on the same Square D G3 Powerlink controllable circuit breaker platform as the RPC Power Control Series, but with the control features
that video wall projects require. The controller electronics have been removed from the panel and mounted in a standalone 12x12 enclosure to increase installation flexibility and reduce wall space requirements. Plus, the power supply has been moved into the primary panel enclosure, thereby eliminating the need for sidecars.
For Penn State, the panelboard had to interface with SNA Displays’ proprietary controller, V3 Pro. Because of the existing relationship between LynTec and SNA Displays, that interoperability was already customized into its web interface. Operators use the same SNA Displays GUI they use to monitor and manage the video walls to power them on/off, see if any circuits are tripped, and troubleshoot issues remotely. The result is a seamless, comprehensive video scoreboard and power control solution that achieves an elevated game experience for Penn State’s sporting events.
“Given the importance of these contests for the universities and student athletes, these systems must be running at maximum efficiency and uptime when it’s gametime,” said AJ Faxel, director of sports and live events. “Having the right team and the right partnerships like LynTec to support these challenging projects has really been a home run for everyone.”
New SNA Displays with LynTec power control have been deployed in Penn State athletic facilities, including the Lasch Outdoor Practice Field.
New displays are bringing improved visuals
High School Transforms Sports Program with Video Scoreboards
Seminole High School in Seminole, TX, has transformed its sports program with the installation of Watchfire video scoreboards. The installations include a 14x32-foot, 10mm video scoreboard at Wigwam Stadium, the school’s 5,000-capacity football arena, complemented by a 10x16-foot, 3.9mm display at the 2,000-person gymnasium, home to Leland “Buck” Caffey Court.
Both scoreboards utilize Watchfire’s Ignite Sports gametime software, seamlessly blending scoring updates, interactive entertainment, and revenue generation opportunities through live video, targeted advertising, fan interactions, and community messages, including player highlights sponsored by local businesses.
“The response from our community sponsors has been phenomenal,” said Greg Poynor, Seminole
High School’s athletic director and head football coach. “It’s evident they share our commitment to enhancing the Seminole High School sports experience and building a stronger connection with the greater Seminole community.”
In selecting Watchfire, Poynor cited the company’s reputation and recent acquisition of Spectrum Scoreboards, a Texas-based, fixed-digit scoreboard manufacturer. “Watchfire and Spectrum proved to be the perfect match,” he said. “Their expertise in digital displays and commitment to quality and customer service are second to none. The experience with Watchfire has been exceptional.”
Seminole High School plans to leverage the
versatility of the videoboards to enrich educational opportunities and community events, as well as spark increased school spirit at pep rallies, senior night events, and graduation ceremonies. Plus, students are eager to get involved, acting as control room and camera operators and gaining hands-on experience that will provide them with valuable skills.
The new Watchfire video scoreboard at Wigwam Stadium is one of two new displays at Seminole High School.
Texolve Digital Installs Riedel Intercoms in Major Pittsburgh Sports Venues
Pittsburgh-based systems integrator Texolve Digital has deployed the Riedel intercom and communications solutions across Pittsburgh’s three major sports venues: PNC Park, home of the Pittsburgh Pirates; PPG Paints Arena, home of the Pittsburgh Penguins; and Acrisure Stadium, home of the Pittsburgh Steelers.
Both PNC Park and PPG Paints Arena received a complete intercom system upgrade, with Bolero antennas, Bolero wireless beltpacks, Riedel SmartPanels of various sizes, four-wire interfaces installed at each location, and an Artist 1024 matrix frame allowing up to 1,024 ports at each park. Acrisure Stadium received an all-new intercom system including 11 Bolero antennas, eight Bolero beltpacks, 35 SmartPanels, four-wire interfaces, and Riedel’s Connect Trio for phone connections.
The Riedel systems have notably improved operations by expanding coverage into previously inaccessible areas, such as tunnels and underground spaces where announcers and teams may travel. This enhanced reach has allowed broadcasters and production teams to capture a greater variety of content, improving the overall fan experience both in-stadium and for viewers at home.
“Communication is the backbone of a successful production,” said Chris Burns, executive producer of live stadium events for the Pittsburgh Steelers. “Bolero’s ability to navigate our stadium’s concrete and steel and still provide a clear signal gives us the confidence to go anywhere to improve our presentation for both fans and sponsorship.”
The comprehensive deployment marks a significant milestone in standardizing and enhancing
communications infrastructure for the city’s professional sports teams. “All three venues share freelance operators, so it’s important for the products to not only remain consistent but also offer clarity, reliability, and ease of use. We’ve had nothing but good experiences with the Riedel systems and with Riedel itself, and that dates back to systems we are replacing at the venues that already had Riedel,” said Brian Geubtner, business manager at Texolve Digital.
Texolve Digital has been a partner with the three local sports teams and venues over the past decade. Since 2022, Texolve Digital has been particularly busy with these three projects; as a small team of experienced engineers, the company delivers service and support during and after project completion, whether through event engineering, system maintenance, support, or equipment upgrades.
“Riedel was the clear-cut choice, and we have received nothing but good feedback on the intercom, which is great for us as we have supported the system after its installation,” Geubtner added.
“We’re proud to have partnered with Riedel to bring cutting-edge communications solutions to these premier sports venues.”
“We’ve found Bolero to be an invaluable asset,” said Jon Cofer, director of ballpark productions for the Pittsburgh Pirates. “The reliability of Bolero is unquestionable, providing excellent reception throughout our ballpark, and its ability to access six different channels is a standout feature that we love. It’s not just functional, but also incredibly easy to work with. In fact, it’s so user-friendly that we’ve transitioned most of our on-field staff to Bolero beltpacks instead of traditional radios.”
Riedel intercoms have been installed in three major Pittsburgh sports venues, including PNC Park.
UNC Charlotte 49ers Mine Audio Gold
The University of North Carolina Charlotte’s football team kicked off in 2013. The Charlotte 49ers play at Jerry Richardson Stadium, which holds approximately 15,000 people and can be expanded to up to 40,000 people. Before the team’s move to the American Athletic Conference for 202324, the stadium was still using the original sound system from when it was built, which was sorely in need of an audio upgrade.
Stephen Morris, president of C.V. Lloyde AudioVisual, was contacted by the athletic staff to help revitalize the audio system. The university wanted a more reliable and robust system that could energize the crowd with the actions down on the field. To help invigorate the crowd experience, Morris turned to LEA Professional amplifiers.
“The old sound system was designed for a small FCS-style stadium, and UNC Charlotte needed a system that reflected the current status of their program in FBS football,” said Morris. “While top-notch sound quality was of critical importance to UNC Charlotte, they also wanted amplifiers that were reliable and easy to use, and LEA amplifiers fit the bill perfectly.”
Morris’s team installed multiple Connect Series 354D amplifiers to power the immersive audio experience in the stadium’s fieldhouse. With 96 kHz-capable Dante and AES67 connectivity options, the IoT-enabled 4-channel 354D provides 350 watts per channel, supports high-Z (70V or 100V) and low-Z selectable by channel, and features two Smart Power Bridge channels. With three ways to connect, the university can engage the built-in Wi-Fi access point, connect to the stadium’s Wi-Fi, or connect to the local area network via Cat 5 or Cat 6 cable.
The Connect Series also offers cloud connectivity, a significant benefit for anyone maintaining the systems. With LEA Cloud, AV teams can remotely control and monitor the amplifiers, which helps teams work more efficiently, reducing travel and saving time and money.
“The new sound system is great—it really gets our crowd going,” said Matt Messina, associate athletic director for broadcast, video, and technology at UNC Charlotte. “It’s great to see the excitement when we
play that intro video, and the fact that the stadium sound system can now get those fans engaged and get them hyped for a game in the stadium is very gratifying to us.”
WE’RE FULL COMPASS DEALER
Multiple Connect Series 354D amplifiers power the immersive audio experience.
Kramer Acquires ZeeVee
Kramer has acquired ZeeVee, a move that underscores the company’s dedication to the AV-over-IP market and enhances its product portfolio. A founding member of the SDVoE Alliance, ZeeVee brings advanced technologies and expertise that will enable Kramer to offer a wider portfolio, as well as accelerate growth and innovation. The move comes on the heels of Kramer’s acquisition of Ashton Bentley, a U.K.-based provider of collaboration spaces, in June.
ZeeVee has been at the forefront of IT and AV convergence, providing the industry with innovative solutions and a forward-thinking approach. Its offerings complement Kramer’s existing AVoIP solutions, enabling the company to provide a complete and integrated solution for customers. With deep expertise and a proven track record in 10 Gbps technology, ZeeVee solutions help facilitate large-scale and complex deployments.
“The acquisition of ZeeVee reinforces our commitment to leading the AVoIP market,” said Gilad Yron, CEO of Kramer. “ZeeVee’s
innovative solutions and industry leadership align seamlessly with our strategic vision, and together we will drive the next wave of technological convergence. This move not only enhances our portfolio but also accelerates our growth and innovation, ensuring we continue to provide comprehensive audiovisual solutions to our customers. Additionally, both companies’ customers and partners will now benefit from access to the combined portfolio of products and services.”
The merger combines ZeeVee’s on-premises AVoIP management solution with Kramer’s cloudbased offerings, such as Panta Rhei and Kramer Control, resulting in a robust ecosystem for powerful management and control solutions.
“Joining forces with Kramer is a thrilling opportunity for ZeeVee,” noted ZeeVee CEO, Bob Michaels. “Our combined expertise and resources will accelerate the adoption of AVoIP technologies, delivering unmatched value to our customers and partners worldwide. We are excited to be part of a company that shares our vision for the future of IT and AV integration.”
PSNI Adds Sony as Preferred Vendor Partner
In August, PSNI Global Alliance announced the addition of Sony Electronics as a preferred vendor partner. This strategic collaboration aims to enhance the technology solutions offered to customers of PSNI Global Alliance and its Certified Solution Providers (CSPs), providing them with unparalleled access to Sony’s professional display solutions.
Sony’s inclusion in PSNI Global Alliance is set to benefit customers with solutions tailored for a wide range of applications, including hybrid workspaces, collaborative classrooms, immersive exhibits, command and control centers, transportation hubs, houses of worship, and retail spaces. The Alliance’s customers will enjoy seamless installation and support, leveraging the collective expertise of PSNI’s CSPs and Sony’s technology.
“We are thrilled to welcome Sony as a preferred vendor partner,” said Tom Roberts, PSNI director of vendor programs. “Sony’s commitment to excellence and innovation aligns
perfectly with our mission to provide best-in-class technology solutions to our clients. Our Certified Solution Providers have rigorously vetted Sony’s professional display products, and we are confident that this partnership will bring immense value to our network and the customers we serve.”
Rich Ventura, VP of professional display solutions at Sony, said he’s excited about the opportunities the partnership will provide. “PSNI is committed to the highest operational standards worldwide and, like Sony, has a no-compromise approach in delivering these standards,” he added. “We look forward to working closely with PSNI’s Certified Solution Providers to deliver exceptional experiences and transformative solutions to organizations worldwide.”
Coming Soon: New Company for Panasonic Connect Projectors
Panasonic Connect has reached an agreement on a strategic capital partnership with ORIX Corporation to form a new company to operate Panasonic Connect’s projector business and related operations. Expected to launch in April 2025, the new company will be established out of Panasonic Connect’s Media Entertainment Business Division (MEBD).
Regarding the new company, ORIX will hold 80% of the shares, and Panasonic Connect will hold 20%. After the capital partnership, target products will continue to carry the Panasonic brand, and the new company will also use the Panasonic name for the time being. Overseas subsidiaries will be established from the sales functions of that division in North America, Europe, China, Australia, Singapore, and other regions to be operated by the new company. Panasonic Connect’s Gemba Solutions Company will continue to handle domestic sales in Japan.
While Panasonic’s projector business has thrived since its first CRT projector in 1975, significant changes in the competitive environment have developed due to the emergence of applied technologies and the demand for immersive experiences. ORIX engages in diverse financial services and is committed to business operations with a medium to long-term perspective. Panasonic Connect and ORIX have determined that further growth can be achieved by leveraging the former’s technological expertise and customer base, along with ORIX’s investment power and the knowledge and experience cultivated through business investments in numerous companies, including manufacturing and large corporations.
A new company will operate Panasonic Connect’s projector business starting in 2025.
Gilad Yron
Tom Roberts
Pro AV Growth Still Moderate Amid Tepid Macro Environment
By Peter Hansen
July delivered better news after a disappointing June, as the AV Sales Index (AVI-S) accelerated 2.3 points from 56.6 to 58.7. With this new reading, the AVI-S is now averaging the same level in 2024 as it did in 2023: 58.9 this year versus 58.8 last year. Last year, we described this level as roughly in line with what would be normal prepandemic but on the low side.
Given that pre-pandemic saw consistent strong
growth for Pro AV, the current level should be seen as a signal of moderate expansion. This is closely aligned with AVIXA’s 2024 Industry Outlook and Trends Analysis (IOTA), which shows 2024 as a lower growth year before reacceleration in 2025.
Recent economics news has been a bit negative. EU GDP expanded just 0.3% in the second quarter (an annualized rate of 1.2%). Germany fell back into contraction, with a 0.1% GDP decline. China’s GDP grew 0.7% in the second quarter (2.8% annualized), which sounds good at first, but it’s well below both the 1.5% growth for Q1 and the forecast of 1.1%.
The United States was the bright spot for GDP, as its Q2 growth was at an annualized rate of 2.8%, up from 1.4% in the first quarter and beyond the forecast of 2.1%. While that is decisively positive, it is counterbalanced by other news, especially on employment.
Overall, the news is consistent with a soft macroeconomy. We’re seeing expansion, but it’s below what we’d expect in a healthy economy. These tepid conditions are the primary reason that current Pro AV growth is a little lower than what we averaged pre-pandemic.
The AV Employment Index (AVI-E) is reliably steadier than the AVI-S. Last month, the AVI-S was surprisingly down, while the AVI-E was down only slightly. Now the AVI-S is back up, and the AVI-E is up slightly.
To share the numbers, the last three months of the AVI-E have been, in order, 57.7, 57.1, and 57.5. Like the AVI-S, this level is roughly in line with what was normal pre-pandemic but on the low side. To add a little color, the supply of available workers remains low, but a relatively small number of companies are growing payrolls right now.
In the wider economy, the U.S. July jobs report was disappointing. Unemployment moved up to 4.3% from 4.1% (though largely due to labor force expansion), while the economy added 114,000 jobs. This payroll expansion is well below expectations of 175,000, and also below what the economy averages in normal times. It’s an indicator that the economy is softening and not currently expanding at a strong rate.
The Pro AV Business Index report is derived from a monthly survey of the AVIXA Insights Community, a research community of industry members that tracks business trends in commercial AV. For more information about joining the AVIXA Insights Community, visit www.avixa.org/AVIP.
Peter Hansen is an economist at AVIXA.
PEOPLE NEWSMAKERS
Rep Report
EASTERN ACOUSTIC WORKS (EAW) named SALES FORCE & ASSOCIATES as its new manufacturer’s representative in Florida. Based in Hollywood, FL, Sales Force also serves the Southeast and Caribbean regions. With a staff that has more than 50 years of widely diversified experience and knowledge in the pro audio, lighting, and video industry, Sales Force acts as an extension of the brands it represents, allowing the relationship between the dealer and manufacturer to grow successfully and effectively.
ISOACOUSTICS made the strategic decision to move its North American distribution operations in-house, driven by the desire to take a more active role in its dealer relationships in the brand’s home territory. As the brand grows, the move will allow IsoAcoustics to support its North American dealers at the highest level and gain deeper insights into market needs for future product development. IsoAcoustics has a longstanding Chicago area warehouse that will act as a distribution hub and will be scaled up to service the demands from dealers across the United States.
SEVERTSON SCREENS has appointed Lincolnton, NC-based PHOENIX MARKETING GROUP to represent the company’s home theater, commercial, and Pro AV lines in the Northeast, Mid-Atlantic, and Southeast regions. Phoenix Marketing Group is a luxury technology manufacturer’s representative, covering 20 states along the East Coast. PMG is focused on lighting design, indoor and outdoor shading, smart automation, audio and video solutions, outdoor living spaces, and acoustical treatments.
As part of a more expansive push into the U.S. market, FOR-A partnered with VISION2 MARKETING, a manufacturers’ rep for pro audio, video, lighting, and control. Vision2 will handle all lines of FOR-A video software and hardware from its growing line up of IP-based solutions to its popular video switchers, routing switchers, frame synchronizers, color correctors, signal processors, and video servers. V2 will support FOR-A in southeast, southern, and western U.S. states.
Broadcast industry veteran ANDY WISWELL has joined ADVANCED SYSTEMS GROUP (ASG) as the company’s production technology ambassador. Known for his 40-plus year career with Sony Broadcast, Wiswell brings an invaluable combination
Powersoft Bolsters Global Team with Five New Hires
POWERSOFT has expanded its global team with two new business development managers and three new solution engineers. With more than 20 years of industry experience, JONATHAN WU, newly appointed business development manager for China, possesses a deep understanding of the pro audio market. He is charged with enhancing the user experience and product knowledge for Chinese clients, as well as continue to raise Powersoft’s brand awareness in China.
JINFU CHEN, business development manager for the Southeast Asian market, will focus on Indonesia, Thailand, The Philippines, and Vietnam, ensuring growth objectives by creating direct relationships with key integrators and consultants and utilizing regular meetings and training sessions within the distribution network. Chen has an extensive background in the industry, having previously worked with Yamaha Commercial Audio and Audio-Technica, and as a freelance sound engineer.
of knowledge and connections to ASG. He will assist ASG in a wide range of tasks, including supporting personnel with sophisticated configurations.
QUICKLINK appointed two high-level personnel specifically for the United States and Canadian markets: ANDREW TAKACS, who has been hired as head of sales, and DONNY OROPEZA, who serves as pre-sales engineer and customer success engineer. Takacs brings more than 20 years of sales and business development experience to QuickLink. In this new role, he drives U.S. and Canadian sales, broadening
QuickLink’s reach throughout those regions. Oropeza, who has 25 years of experience, works in tandem with Takacs to support the sales channel, provide necessary technical expertise, and actively work to close business.
PPDS has promoted ANDREA BARBUTI to the newly created position of global product management lead for the EMEA region. Barbuti started his journey with the company as
As a new solution engineer for the Chinese market, Michael Wu’s plan is to collaborate with Powersoft’s partner EZPRO INTL to promote the application of innovative products in the Chinese market and explore their potential within specific market segments. This includes training, promotion, and technical support.
New U.K.-based solution engineer TOM BLAND has been around the Pro AV industry since he was born, and started his first role in the education and application support team at d&b audiotechnik GB after graduating university. He will be helping the sales team by offering training, demos, and technical help, as well as being directly available to Powersoft’s users and specifiers to help them better understand the company’s offerings.
JOE BYRNE, whose industry experience includes more than 30 years in AV integration, live production, and manufacturing, joins the Powersoft U.S. team as solution engineer. Byrne will focus on assessing the immediate needs of the team, including day-to-day activities, product training, customer education, and overall technical support systems.
application engineer in 2015, before being named PPDS global product manager total solutions in 2020. In his expanded role, Barbuti oversees product management and technical support for all PPDS signage products across EMEA, while bringing together the unique requirements of every global region to spearhead professional display product management for PPDS.
CELESTION appointed POPPY HANTON as marketing executive. In her new role, she will work on projects across the company’s marketing landscape including web, social media, content creation, and advertising, as well as projects with external partners. Hanton brings a variety of experience to Celestion, spanning professional audio, music festival marketing, copywriting, social media and higher education.
DAWN CAGLIANO has been named president of IVCI. With nearly two decades of dedicated service to IVCi, Cagliano brings a depth of experience and a steadfast commitment to excellence that will guide the company toward new horizons in the ever-evolving
Andy Wiswell
Poppy Hanton
Dawn Cagliano
Andrea Barbuti
Andrew Takacs
Donny Oropeza
landscape of technology and innovation. Her career at IVCi started within its managed services division, later serving as the dedicated global account manager followed by several strategic operational roles, including COO.
ROYER LABS appointed DAVE BRYCE to the position of VP sales and marketing. In his new role, Bryce is responsible for overseeing and expanding Royer’s global sales network, managing the company’s marketing team strategies and execution, and providing market insight and product evaluation to the company’s executive management and R&D teams. He also interacts with Royer’s close endorsement clients to continue promotional/ educational outreach to the pro audio community.
ZTRANSFORM has appointed REED WILSON to its fastgrowing team as senior design engineer. With 28-plus years of broadcast industry experience, Wilson has amassed a deep knowledge of media environments in various capacities at regional, national, and international broadcast facilities across America. At ZTransform, Wilson plays a significant role in technical systems design, commissioning, configuration, and training, drawing on his skills in master agreement negotiations, budget planning, project management, and project implementation.
K-ARRAY USA welcomed DAVID REES as business development manager for production and touring. In his new role, Rees is responsible for expanding K-array’s visibility within the touring and live event production industry. Rees has more than 20 years of experience in the live event production industry, previously serving as national director of facilities and venue operations for SaveLive, director of production for Hollywood Park (YouTube Theater/SoFi Stadium), and national director of production for Live Nation.
PLANAR welcomed BILL COPLEY as a regional account manager for the company’s New England sales team. With more than 20 years in the AV industry, Copley brings a wealth of integrator and manufacturer sales experience with display technologies and control systems. He is working with dealers to grow Planar’s footprint in Connecticut, Massachusetts, Maine, New Hampshire, Rhode Island, Vermont, and Upstate New York.
AURORA MULTIMEDIA appointed industry veteran HALL TRUAX as VP of sales and marketing. In this key leadership role, Truax is tasked with implementing and overseeing Aurora’s global initiatives,
Vizrt Announces Six New Senior Appointments
VIZRT is maturing its security posture and introducing enhanced customer and partner portals to elevate the customer experience, onboarding, communication, and support the requirements of its customers. Heading up the IT team is PETRA TESCH, Vizrt’s chief information officer, while its newly promoted chief security officer, ELIE FEGHALY, spearheads the organization’s cybersecurity, fortifying the security of Vizrt’s on-premises infrastructure, cloud environments, and proprietary software.
The company also welcomed AVINASH KUMAR as its ESG controller who, with his extensive experience and strategic vision, plays a crucial role. His expertise extends to integrating sustainable practices, addressing ESG-related concerns, and navigating the evolving regulatory landscape, including compliance with the Corporate Sustainability Reporting Directive (CSRD).
Two additional senior appointments are the head of channel sales for APAC, PAUL SHUTT, and the head of channel sales for America and Canada, KARL BRADFORD. Shutt, who joined Vizrt in 2011 as a system engineer, will work to enhance APAC channel partners’ capabilities to unlock new revenue streams and drive market growth. Bradford’s team of channel account managers within the Americas’ market work directly with Vizrt’s channel partner community to gather feedback on product, market trends, training requirements, and commercial opportunities to enable a prosperous channel network.
helping to evangelize Aurora’s range of innovative and disruptive products to integrators and distributors. With a distinguished career spanning over three decades, Truax brings a wealth of experience and expertise to this new role.
KORBYT has expanded its leadership team in its most notable organizational development since the company received a strategic investment from Clearhaven Partners last year. As CFO of Korbyt, STUART MITCHELL calls on his deep experience working with technology and software companies to drive profitable growth and be a trusted partner to the wider leadership group. Three new VPs—CHRISTEL BILLAULT (marketing), ADAM GRIFFIS (engineering), and TRAVIS KEMP (product management)—bring experience to the team as well. Billault is tasked with driving growth through innovative and integrated marketing strategies, Griffis leads the team responsible for developing and expanding the Korbyt Anywhere platform, and Kemp is dedicated to driving the next generation of Korbyt’s offerings.
Bill Copley
Dave Bryce
David Rees
Reed Wilson
Stuart Mitchell
Christel Billault
Adam Griffis
Travis Kemp
Hall Truax
Talking Points
From Analog Partylines to Cloud-Based Solutions, Clear-Com Keeps Pro AV Crews Communicating
By Mark J. Pescatore
SCN: How long have you been with Clear-Com, and what are your responsibilities?
Bob Boster: I’m in my 18th year with Clear-Com. As president I have a wide range of responsibilities, but I’m deeply engaged with our customers as well as visioning the next innovations we will be bringing to them.
SCN: Your intercom solutions are in use in broadcast and live events, but what are some of the other vertical markets you serve?
BB: We have a very wide range of users in different segments, but some of the other major ones are military, aerospace, corporate, industrial (both on land and in the sea), HOW, education, film and media production, and utilities.
SCN: There are so many choices these days, but are good ol’ fashioned analog partyline intercom systems still a thing?
BB: Great question. The simple answer is yes—and the reason is that the cost and complexity profile of simply throwing down a microphone cable and plugging a few things together that allow you to talk is hard to argue with in a universe where configuring IP addresses and resetting switches has become so common. We can deliver the same functionality in a lot of different ways, but the simplicity, sound quality, and frankly the elegance of one cable/one channel is still a really great fit for many applications.
SCN: What’s more popular these days, wired or wireless intercom systems?
BB: We have always sold hybrid systems which support a combination of wired and wireless users at a given site, and that remains quite common. However, we now frequently provide links connecting multiple sites together over IP and have started to see our virtual intercom apps become a common addition to the product mix.
SCN: How has audio-over-IP impacted your intercom product line?
BB: Clear-Com and Trilogy (now a part of the CC family) were the two originators of intercom-over-IP, so we’ve been bringing IP to the table for years. The incorporation of IP into the intercom portfolio has now grown to be a part of almost everything we do, but the challenge of keeping the actual beltpack-wearing end user from having to deal with the complexity of the
system around them is something we work very hard at. Our current product, Arcadia, is a good example of all that intercom-over-IP power brought into a single system that still keeps the complexity down for the end users.
SCN: How is Gen-IC, your new virtual intercom, unique in the industry?
BB: Gen-IC is unique in a couple of ways. First of all, it leverages all the experience we’ve had with our Agent-IC mobile app and Station-IC desktop app by simply moving those onto a cloud platform for all the power it offers. So you have a proven, mature endpoint being paired with our patented “mixing” technology sitting in a high-availability, low-latency data center. Second, our solution supports our LQ IP intercom appliance as a connection to hardware intercoms, either ours or units from other manufacturers. This combo is very compelling and has facilitated some really interesting events already, such as the New Year’s Eve ball drop in New York City and the 2024 NFL draft coverage.
More and more of our users are finding that one or a few sites with a dedicated hardware intercom needs to support a geographically distributed team in addition to the local users.
SCN: Is Gen-IC designed to be an everyday tool or is it more for events with surging intercom requirements?
BB: I think it’s going to end up being both. More and more of our users are finding that one or a few sites with a dedicated hardware intercom needs to support a geographically distributed team in addition to the local users. This scenario really took off during COVID-19 and definitely has continued from there. Some of those
Bob Boster
Position:
President
Company: Clear-Com
Overtime: I’m a passionate live music fan and enjoy a wide spectrum of different musical styles. I like interesting food—both cooking and dining out—and enjoy traveling internationally.
remote users represent “surge capacity,” but some of it is needed all the time. Gen-IC is going to fill that need for a lot of users. Additionally, some parts of our business are moving more quickly to a largely cloudbased production environment, and Gen-IC is the natural solution for those users as well.
SCN: What features do you need to make a good intercom headset?
BB: This is a great question with, frankly, a lot contradictory details in it. Some people need something lightweight and as close to invisible as possible. Others need isolation, which implies some weight and heft. Key commonalities are comfort at the contact points with your head, directionality of the microphone, generally rugged design for storage and transportation, and field serviceability.
SCN: Single-ear or double-ear—what’s your preference and what seems to be the more popular option in the field?
BB: Like many people from a theatrical background, I grew up with a single - ear headset as the standard. This is the most popular as well. However, as we start to get into some newer technologies, it will be interesting to see what trends develop. Bone conduction is an interesting development, and it supplies the possibility of situational awareness greater than single-ear while still maintaining intercom inclusion. Watch this space!
SCN: What are some important details to consider when purchasing an intercom system?
BB: Let’s assume for the sake of time I can skip all the things one would consider for any technology purchase like cost, reliability, service, etc. After those points, I think the complexity of managing the system (configuring, changing, and integrating other voice systems like phones and radios) is a key distinguishing characteristic. Another is the evolution path—does it seem like you can easily add to your existing system to bring newer technology into your operation when needed, or are you facing the decision to dump what you have and start over? Lastly, does the company appear to be continuing to focus on development of new technology? In an ever-changing world, you want your supplier to continue to move with the times.
PEOPLE EXECUTIVE Q&A
Keeping Up with KVM
IHSE’s Patel Explores Pro AV’s Shift Toward Display Management Systems
By Mark J. Pescatore
SCN: What made you establish IHSE USA?
Manny Patel: When I started IHSE USA in 2009, it was a simple handshake agreement where my company and IHSE would each contribute 50% to the startup cost. IHSE Germany was already doing some business in the U.S. but wanted to expand name recognition. I took the role of president and CEO of the newly formed IHSE USA. I saw a specific niche opening for digital KVM systems used in broadcasting and production environments. Since that time, we’ve sold thousands of systems to TV broadcasters, video production studios, and news networks, and have partnered with some of largest manufactures in the industry for their backroom software and hardware development teams.
SCN: Your KVM solutions are in use in several vertical markets. Currently, what are some of the top markets for IHSE USA?
MP: Many renowned institutions across vertical sectors, including broadcast, post production, banking, healthcare, maritime, air traffic control, and government rely on our high-class KVM solutions. Practically every industry uses computers, and in many cases their employees need to gain access to more than one—whether this is in the office or from remote locations across the world.
SCN: What kind of installation would benefit most from a KVM matrix switch?
MP: Mainly, KVM technology will continue to play a pivotal role in both commercial and government control room applications. In our case, we see high-end applications where 16-400 computers would be connected to the switch and accessible to 20 or more users. Lately, we are seeing a large demand for remote access using KVM-over-IP systems integrated with our traditional KVM baseband systems.
SCN: Are you seeing more interest in KVM or KVM-over-IP solutions?
MP: Although our baseband KVM systems have their own advantages for mission-critical projects, there is a shift to KVM-over-IP for Pro AV and broadcast users. Remote workers present a unique challenge to protect confidential company data, because remote work environments usually do not have the same safeguards in place that would be found in an office environment. While there may be different levels of security in an office environment, it becomes a much higher risk to the company to prevent security breaches once a computer leaves the office security perimeter.
SCN: How do you keep KVM-over-IP systems secure?
MP: Currently, businesses and government organizations seek to prevent network cyberattacks by physically isolating the IP networks via private or secure network protocols. Mission-critical control systems and those that carry commercially-sensitive data must be secure from external access by unauthorized agents. KVM-over-IP allows low latency solutions for remote access, but still requires a professional on-staff network manager for service and troubleshooting in environments where 24/7 operations is critical.
SCN: What is a KVM display management system and how does it differ from a typical KVM system?
MP: Like the legacy KVM, the KVM display management system provides the bridge that allows users to control and switch between multiple PCs or servers via a single keyboard, mouse, plus utilizing multiple video monitors and sharing remote video sources from the local desktop. The main difference being a DMS can be configured to support multiple monitors, multiviewers, or wall processors as well as supporting configurable EDID, adding multiple layers of security, and managing resolution compatibility to maintain image consistency across different types of display connector types.
SCN: What are the advantages of KVM extenders?
MP: KVM extenders enable you to remove the critical data from computers away from the operator’s environment. For this purpose, computers are usually moved out of studios, editing rooms, and control centers and housed in access-protected and airconditioned areas. From the equipment room, fiber optics, CATx cables, or IP structures extend the computer signals back to the workplaces. KVM allows users to be even further separated from each other by enabling them to work in other premises, while still getting full access to all the systems they need.
SCN: A lot of companies are now touting webbased control and monitoring solutions—what does IHSE USA offer?
MP: Our latest web-based control software is Tera Web Control (TWC). TWC supplements the normal keyboard-based connection selection methods with a graphical user interface. Users can operate with their own mouse to select and switch individual source connections to their personal workspace or select from a range of predefined I/O configurations.
The TWC application depicts the arrangement of consoles and monitors as connection layouts. Creating and changing individual layouts is intuitive and can be
Manny Patel
Position: President/CEO
Company: IHSE USA
Overtime: I still find time to read and keep up to date on world events and Pro AV market trends. Even though my kids are grown, I still enjoy talking with them about their goals and plans for the future.
undertaken without programming knowledge. It is a license-based software module integrated into the matrix architecture that runs via a normal web browser and is specifically developed for controlling and switching Draco tera KVM matrices. All access rights previously assigned in the matrix configuration are carried forward to the TWC, making setup extremely simple while providing optimal access security.
SCN: How can systems contractors better position themselves to profit from products and/or services you have to offer?
MP: Although the industry still identifies with KVM, our focus is to migrate our SIs to a more inclusive term of DMS. A DMS switching system is primarily designed to provide a user experience comparable to a direct connection to the target PC and, at the same time, offering connectivity to a large variety of different PCs providing control commands and giving access to many different software applications running on different PCs, servers, or in the cloud. DMS will also enable status information about which user stations or operator desks are connected to which target application.
Technical staff must be trained to set up the system and configure users, the switch, and connected applications. The key differentiator of a DMS is its end-to-end, purpose-built design. This includes the switch enabling the handling of all signals with a single unit. At the edge of the system, the extender endpoints process system information, multiplex and encode/decode payload information, and transmit/receive all information over a single line connection to and from the DMS matrix switch.
SCN: What’s next for KVM for the Pro AV industry?
MP: Today’s system designers for AV signal management are going through a transition to eliminate the traditional stove-piped communications concept to a more open-source infrastructure. The ability to obtain, gather, process, and distribute information effectively is key for many system designers using KVM as DMSs. With the adoption of 4K (and the potential of 8K) in the broadcast and postproduction industries, emerging features such as high dynamic range (HDR) and high bit rate resolutions are also pushing the boundaries for DMS infrastructure and distribution equipment.
In many industries built upon custom services and solutions, including AV, sales can have a negative stigma and be considered a four-letter word. In general, there is a natural tension between those in technical and sales roles due to their skillsets, inherent personalities, and communication styles. However, finding a middle ground where these key areas can align and collaborate to benefit clients and the organizations they represent is important.
Like it or not, sales play a crucial role in the success of all businesses. They are the oxygen that fuels business operations, growth, and well-being. Without sales, businesses do not exist—and without sales growth, businesses struggle to survive long-term. So, if sales are essential to every organization’s wellbeing, why would salespeople be viewed adversely?
Smooth-Talking Misconceptions
There is a common misconception that salespeople are smooth talkers who can convince someone to buy a product or service, whether or not they need it or it provides them with benefits (the old selling ice to an Eskimo line). While some may own this persona and find it to be beneficial, most modern salespeople have found the need to approach sales from a collaborative, relationship-building, and solutions-oriented perspective to be successful with clients as well as internal teams.
Salespeople in the AV industry face an uphill battle with how they are traditionally perceived. To establish a new identity and grow past the reputation that precedes them, they must build and earn the trust of clients and team members, look beyond negative experiences from their past, and be open minded to a fresh start and new approach.
It wasn’t too long ago when it was common to find typical salespeople pitching the latest and greatest products and technology they were hired to sell without truly understanding the value they provide, the needs of the client, or the unique challenge or
opportunity they are looking to address. While this traditional approach to selling may have worked in the past and produced favorable results for both the supplier and the client, times have changed. In most cases, once the client realizes they are being sold to rather than being served, the salesperson and their organization are no longer regarded positively.
For integrated AV systems, sales missteps often result from projects being sold based on hardware specifications, capabilities of a design, and installation requirements, rather than the functional outcome it will provide. With only a broad overview description of what the system can do rather than the specific details of what a client expects, much can be left open to interpretation regarding delivery, implementation, and user experience.
This is often exemplified by the absence of a detailed functionality narrative and operational requirements description. And that leads to a common pain point and source of frustration for programmers, as they attempt to manage programming time and effort within a budget and schedule—or struggle to satisfy a client who has a difference of opinion on what they were expecting or are entitled to receive versus the interpretation of what was sold. While the age-old disconnect between sales, implementation, and end users may never be truly resolved, it is important to make strides toward closing the gap of expectations.
Leads and Relationships
In AV integration and service-based businesses, sales plays a significant role in a business’ profitability. Salespeople not only have the responsibility of providing a pipeline of work that keeps the business operating, but they must also be accountable for ensuring that projects are sold for the proper amount based on an agreed upon scope of work that the client agrees will provide value, address a need, or result in a desired outcome. Unlike selling products at a given price, selling systems and solutions that meet clients’ expectations, are competitive with market pricing, and are sold and executed profitably is inherently more challenging.
While the salesperson brings the client in, it is their team that solidifies the relationship and keeps them coming back.
While sales may be deemed to be the primary responsibility of salespeople, many members of an organization can contribute to sales. Whether they know it or not, everyone in any position can promote their company, impress a client, or contribute to the success of a sale.
Lead generation, the first step in developing a sales opportunity, can result from an organization’s visibility in any capacity. Whether it’s participating in industry events, engaging on social media, sharing company news or happenings, or discussing experiences with friends and family, personal interaction and positive exposure are stepping stones to referrals, opportunities, and relationships.
Client relationships are validated and grown through interactions at every level. Friendly and reliable email and voice communication, personalized service, pleasant interactions, and easy transactions demonstrate consideration and customer care that clients value. While the salesperson brings the client in, it is their team that solidifies the relationship and keeps them coming back.
When it comes to assessing client needs, evaluating efforts for pricing, and delivering a functional, wellpresented proposal that instills confidence in clients, salespeople enlist the support and collaboration of their team. By demonstrating respect and building trust, salespeople will receive the backing needed to capture client requirements, present options, vet solutions, ensure the accuracy of the outcome, and manage the scope of work so clients are happy and projects are completed within the parameters of the sale.
Road to Profitability
Like sales, profitability is critical to a business’ survival. Businesses that lose money regularly don’t last long, and two common ways to lose money are to sell irresponsibly and deliver inefficiently.
The road to profitability may start with the sale, but several factors can contribute to or detract from the desired result. Thus, the benefit of a salesperson who is in alignment with their team and has built trusted, collaborative relationships internally and with their clients will find an easier, more predictable, and more consistent path to success.
With AV systems becoming more critical, system requirements increasing, clients becoming more self-sufficient, margins tightening, and competition becoming more prominent, AV service providers face greater business pressures than ever. Although it can be difficult to shake the negative perception, salespeople need to establish a new identity where sales are thought of positively, embraced within an organization, and solidified as an asset to clients.
Steve Greenblatt, CTS, is the founder of Control Concepts, which provides specialized software and services for the Pro AV industry. Contact him at steveg@controlconcepts.net.
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Giants-Sized Audio Makeover
Diversified Helps Oracle Park Celebrate 25 Years with ‘Theatrical Sound’
By Wayne Cavadi
Willie Mays. Juan Marcial. Barry Bonds. The San Francisco Giants have had some of the brightest and best to step on a major league baseball field.
Oracle Park, home of the Giants, has continuously aimed to have the technology to match.
The Giants played their first game at Oracle Park on April 11, 2000, in a victory over the San Diego Padres. After a decade of playing in the venue, they celebrated the dawn of the 2010s with three World Series titles in five years (2010, 2012, and 2014).
Welcome to 2024, where bigger is better. Bigger
Oracle Park opened its doors. When it was time for the new sound system, they knew exactly where to look.
“[Diversified] brought meticulous attention to detail from the onset of this project,” said Bill Schlough, chief information officer, San Francisco Giants. “When it came to providing manufacturer options, exploring system design improvements, and communication throughout the bidding process, Diversified was unbeatable. Our confidence in the Diversified team during the design and planning process only grew as we proceeded with the implementation, as they stayed on top of every detail, ultimately delivering a transformational audio experience to our fans at Oracle Park—ahead of schedule and under budget.”
“Our on-site crews were incentivized to finish the biggest sections before full stadium events scheduled for early in 2024,” explained Jeff Dykhouse, solutions architect, large venue sound at Diversified. “If we could finish before those events, we wouldn’t need to tear down the scaffolding for the event weekends and then put it back up again. So, the teams put in the extra planning and effort to make this happen.”
Everything seemingly fell right into place—but while it may have seemed relatively simple, it didn’t come without adversity. Though Dykhouse pointed out the longstanding relationship with Oracle Park made the two a dream team, he also reminded that any project would have its challenges.
“In this case,” he explained, “one [challenge] The
Batter Up
The original distributed sound system was ahead of the game in 2000; however, its focus was on intelligibility and spoken word. Both are still important 25 years later, but new systems simply need to do more. The Giants wanted a more “theatrical experience” for its fans, which means not only a highly intelligible sound system, but one that delivers high-fidelity music for a more immersive experience.
Thus, the new system provided a much wider frequency range and “dynamic headroom for modern music and game production audio,” Dykhouse explained. “This was accomplished by using high-performance, long-throw speakers, eliminating most 70-volt speakers and adding
21-inch subwoofers around the bowl.”
Although the loudspeakers from the original sound system impressively still worked, they were near end of life. But that original successful installation gave Diversified ideas and opportunities. “The previous installation did a nice job covering most of the seating areas,” said Dykhouse. “In addition to upping overall system performance, we took advantage of the opportunity to rethink areas that previously experienced reduced intelligibility or had weak output. We also brought up the outfield experience to match the main bowl.”
The upgrade focused on the acoustic experience throughout Oracle Park and included all public area sound systems as well as the Gotham Club, executive meeting rooms, and other private spaces. Dykhouse and his team turned to the Yamaha CL5 for its audio console as well as Shure Axient microphones. A QSC Q-SYS Core 5200 provides the digital signal processing, while Powersoft Quattrocanali 8804 and 4804 DSP+D and various QSC CX-Q models amplify the sound throughout Oracle Park. During an event or a game, the production team triggers presets in Q-SYS—which include batting practice, pre-game show, the National Anthem, and others—to configure each zone and subsystem.
STADIUM AUDIO BUSINESS
There was a bevy of Fulcrum loudspeakers and subwoofers used around the different stadium zones, while JBL CBT Series column speakers were used on concourses and compact Fulcrum RX Series speakers were placed at the entrances. “Oracle Park has three types of concourses,” Dykhouse explained. “Open to the bowl, enclosed behind glass, and open but so far away that bowl sound doesn’t reach them. Each of those zones required a different approach. Dynamics processing in Q-SYS creates these zone-specific mixes automatically from console feeds.”
It’s clear the Giants are committed to providing a technologically enhanced game-day experience to its fans, one that continues to reinvent itself through its partnership with Diversified. And thus far, the results seem to be paying off.
“In a recent survey of fans, 87% of respondents were ‘Highly Satisfied’ or ‘Somewhat Satisfied’ regarding the sound quality and volume throughout the game,” reported Alex Gannon, AV engineer, San Francisco Giants. “While it’s impossible to please everyone, fans and staff alike have been extremely impressed with the improved dynamic range and clarity that we are now able to deliver throughout the ballpark.”
Diamond Days
New Video Displays Engage Minor League and College Softball Fans
By Carolyn Heinze
Collegiate softball and minor league baseball demand top-notch performances from participating athletes. These days, the facilities that house these sports are expected to deliver as well, with engaging video and graphics presentations for fans. Recently, two organizations turned to Daktronics to upgrade their on-site displays and bring new excitement to their ballparks.
Looking for Love’s
Last March, the University of Oklahoma (OU) celebrated the opening of Love’s Field, a new stadium in Norman. Home to the Oklahoma Sooners, the facility opened just in time for the 2024 softball season. The university worked with Daktronics to deploy two backstop displays, two canopy displays, and, most notably, an Oklahoma-shaped video scoreboard.
“One of our goals was to create something that’s unique and memorable, and we felt that a shaped board might have a chance to do that,” said Jacob Potter, associate athletic director, video services for University of Oklahoma Athletics, who pitched the idea to OU administration. Originally, he’d considered a screen in the shape of the interlocking OU logo but decided it wouldn’t provide enough pixel space for game information and the other elements slated for display. “That’s when I began toying with the state of Oklahoma as the possible shape—and really the light bulb moment was when I realized I could use the panhandle of the state of Oklahoma as the line score.”
At approximately 27 feet tall and 55 feet wide, the main portion of the 10mm custom LED wall displays full 16:9 video, which was an important component for Potter. “If we don’t have a true 16:9 space, then our camera operators are going to have to adjust how they shoot, and that means our content is harder to share across our different platforms,” he explained, noting that OU provides game content to broadcasters and features it on its social media channels.
The bottom section of the display outlines the Red River, and is reserved for information on balls, strikes, and sponsorships. With variable content zoning capability, the screen may feature multiple content zones— including animated sequences, game information, graphics, sponsorship messaging, statistics, and video—or one large image. A red
LED strip outlines the entire display. “It’s a really nice element at night, as the stadium lays in rest,” Potter said.
Sponsorship Behind Home Plate
Positioned behind the batters on each site of home plate, the 2.5x8.5-foot, 6mm backstop displays run animations, graphics, and messages from OU sponsors. It was important to provide ample opportunity to showcase sponsors, which is one reason for deploying backstop displays.
Potter said this emphasis on sponsors is becoming more prevalent in college sports. “Many big-league parks have backstop LED signage just for the purpose of getting sponsorships on TV, and so it makes sense to do that in this scenario for our
In fact, sponsorship presence across all displays was essential given the interest in OU’s softball program, according to Potter. He points out that the Sooners won their first national title in 2000 and have won multiple titles since. “It’s been an upward trajectory,” he said.
The two 10mm canopy displays, which are roughly 3.5x7 feet, deliver game-related information and sponsorship messaging. In conjunction with these displays are two fixed-digit scoreboards that show both scores and important stats.
In addition to collegiate softball, Potter relays that Love’s Field hosts events such as youth camps and practices throughout the year. While the main screen isn’t used for these, the canopy displays can serve as scoreboards. This enables OU to optimize the use of its new facility year-round while decreasing wear and tear on the principal display.
For Perry Grave, regional manager at Daktronics, the most rewarding part of this project was watching the displays on game day. “With a project like this, it’s fun to work through the design part of it, but once you get it fired up and running is the most exciting part for me,” he said. “It’s a good layout, the fans love it, and it’s really unique and drawing a lot of attention.”
Potter noted that his team invests a significant amount of time in remaining up to date on trends in video, which helped in developing the ideas behind the deployment. He also said the timing was right to try something different. “We don’t have any specialty-shaped boards here on campus, and I thought it would be a good idea to capitalize on the new stadium build,” he said. “It’s very rare that you build a new facility from the ground up and to be able take advantage of that opportunity.”
Fightin Words and Videos
At FirstEnergy Stadium in Reading, PA, Daktronics worked with the Reading Fightin Phils—a minor league Philadelphia Phillies affiliate—on the design, manufacture, and integration of LED video and ribbon displays. This installation, too, was performed prior to the 2024 season.
“We had just completed the massive main video board upgrade for the Philadelphia Phillies at Citizens Bank Park,” explained Charley Bocklet, regional manager at Daktronics. “Reading, being affiliated, had heard about the work we did and reached out to us about their videoboard.”
Part of the project required the new display to be positioned in a slightly different spot. “The [old] video board wasn’t facing straight at home plate—it was more oriented towards third baseline,” Bocklet described. “The new display is a bit bigger, and we changed the orientation so that we’re facing more
From top left, Andrew Nelson, Charley Bocklet, Jacob Potter, and Perry Grave
Left: An Oklahoma-shaped video scoreboard was installed at Love’s Field, the new home of the Oklahoma Sooners softball team.
directly towards home plate.”
The roughly 37x60-foot Daktronics 15 HD display features variable content zoning, allowing for the screening of one large image—such as live action content and instant replays—or multiple zones featuring animations, graphics, stats, and sponsorship messaging. A 15 HD LED ribbon board, which is 6 feet high and more than 100 feet wide, complements what’s being shown on the main display with additional graphics, statistics, and sponsor messages. The Daktronics Creative Services division provided the Fightin Phils with a digital content package that enables creators to load content into a series of templates.
“It helped them get off the ground the first year with everything they needed for their content, their layout, and their in-game presentation,” Bocklet explained.
Both video displays are operated through a Daktronics Show Control system, which provides control software, video processing, data integration, and playback hardware. Bocklet noted that the Fightin Phils production team started learning the system around Thanksgiving 2023, giving them enough time—with the help of some training sessions from Daktronics—to get familiar with it
before the 2024 season started.
“They didn’t have Show Control at this location before, so it was good [for them] to have it early,” Bocklet said. “It worked out well.”
This was a long-anticipated deployment, according to Andrew Nelson, director of client fulfillment and clubhouse operations for the
Reading Fightin Phils. He said getting replacement parts and support for the facility’s previous videoboard and ancillary equipment had become increasingly challenging over the last few years. “[Our] main goal was to have a great-looking videoboard and ribbon board,” he added. “They look awesome.”
The new video scoreboard at FirstEnergy Stadium was installed prior to the 2024 season.
Extra Lives for Esports?
Industry Faces Post-Pandemic Changes, Offers Growth Opportunities for Pro AV
By James Careless
Even a very bad situation can have some good results. In the case of COVID-19, one silver lining to the very dark cloud was the rise of esports. Being able to watch champion video gamers compete over the web provided a safe pass time for sports fans, while substantially boosting the popularity of the previously niche competitive industry.
“The COVID-19 worldwide pandemic led to a rise in esports,” said Bubba Gaeddert, president and co-founder of the Videogames and Esports Foundation, a nonprofit organization that provides financial assistance, academic support, and career guidance to students and schools who want to pursue gaming and esports. “Tournaments transitioned online and expanded globally, with new protocols and enhanced connectivity rapidly implemented to meet the increased demand for online gaming.”
When COVID-19 receded, so did esports’ fortunes. “After the pandemic settled down and people got back into large spaces again together with or without masks, we started to see consolidations, layoffs, and sponsorships not renewed,” Gaeddert recalled.
He’s not alone in his assessment. In May 2023, the New York Times reported that League Championships Series viewership (esports’ version of the NFL) dropped significantly in 2022 and 2023. The drop resulted in reduced advertising support, and professional leagues have struggled to turn a profit.
But all is not bleak for esports. According to Statista.com, the global esports market worldwide is projected to reach a revenue of $4.3 billion this year, with a compound annual growth rate (CAGR) of 7.1% that will result in a projected market volume of $5.7 billion by 2028. And that’s just for the pros: These numbers don’t cover the growing esports presence on college campuses or K-12.
Tournament of Challenges
Professional esports tournaments matter most to the Pro AV industry, due to the sophisticated AV equipment required to broadcast events in stadiums and online. Case in point: “IHSE USA works with some of the best game developers in the world and offers them a full range of products from basic broadcast in live esports tournaments to high frame rate extenders,” said Dan Holland, the company’s marketing manager. “For competition gaming stations, which must be located at distances that exceed the reach of copper cables, IHSE’s Draco ultra DP Gaming Extenders [KVM display management extenders that support refresh rates up to 240 Hz] ensure gamers and esports players see sharp
visuals during fast-action gameplay.”
Existing facilities like HyperX Arena Las Vegas are already setting the standard for advanced AV technology, according to Joe da Silva, VP of marketing at Extron. He said upcoming developments, such as a proposed esports arena in Philadelphia, will further elevate the esports experience with innovative AV solutions.
“Esports presents significant growth opportunities for the AV industry, becoming a key revenue driver for us due to its rapid expansion and diverse market segments,” da Silva explained. “As such, AV companies like Extron can offer specialized solutions tailored to the unique demands of esports. This includes largeformat video walls, switchers, streaming devices, professional audio equipment, and integrated control solutions to manage lighting, sound, and displays seamlessly—and to ensure smooth gameplay, clear communication, and immersive experiences for both players and spectators.”
Back to School
Although the professional leagues in any sport tend to dominate people’s attention, college and K-12 sports also matter. This is as true for esports as it is for football, basketball, and baseball. In fact, esports are extremely popular in both these market segments, opening up more sales opportunities in this market for Pro AV equipment manufacturers, installers, and integrators.
For example, take Horizon AVL and Esports Integration, a systems integrator based in Blackwood, NJ. “Our concentration is building up the esports community and industry from the ground up, meaning we focus on the esports industry in K-12 and higher education,” said CEO Joshua Kell. “K-12 institutions are increasingly investing in esports programs, running local events and tournaments up to statewide events and championships. In fact, more than 70% of high
schools now have some form of esports program.”
“Esports at the K-12 and college levels are increasingly popular, offering students organized gaming competitions ranging from school leagues to collegiate championship,” agreed da Silva. “Schools such as Canyon Springs High School [in North Las Vegas, NV] and Compton Unified School District in California are integrating esports into curriculums to teach valuable skills. Scholarships attract top gaming talent, raising the level of competition. Companies provide financial support and equipment, while local businesses partner with schools to sponsor teams and events.”
There are around 200 colleges and universities that have video gaming as part of their curricula, Holland said. “With the growing interest in esports, these institutions are looking at alternative programs to attract potential students. Many of them support esports teams with scholarship opportunities,” he explained. “Meanwhile, more than 8,600 high schools have started gaming teams according to the National Education Association. Educators are working with technology companies and professional AV providers to bring cutting-edge equipment to their video gaming programs.”
“The scholastic esports industry continues to triple each year. The largest collegiate esports event in the world happened for the fourth time this May in Arlington, TX, at the Esports Stadium Arlington, with four Champions colleges in Overwatch, Valorant, Smash Bros, and Rocket League,” Gaeddert reported. “There were 224 PCs on site, with an attendance of 4,095, 11,000 average concurrent viewers [CCV], and 4.1 million views on Twitch with over 175,000 chatters.”
The popularity of college/K-12 esports is not just good for enrollment and student engagement, but educational success as well. “Students are more engaged in their studies, attendance rates are rising,
Esports programs are extremely popular on K-12 and college campuses.
and higher education institutions are experiencing increased enrollment due to their esports teams and improved academic outcomes,” said Kell. “While STEM remains a focus, our primary emphasis is on career and technical education [CTE]. Our curriculum begins as early as 5th grade and extends through 12th grade, providing students with industry-recognized certifications that prepare them for the workforce or future careers.”
“Esports can offer students advanced options in their education programs through STEM programs,” Holland added. “The U.S. military is working with local high schools and universities who have esports programs in an effort to attract those who would have interest in countering cybersecurity threats.”
Learning Curve
Esports is likely to survive and thrive past its postCOVID downturn, as well as serve as a growing market for the Pro AV industry. That said, there is a learning curve associated with achieving Pro AV success.
“The AV industry requires experts who can understand and translate the specific needs of esports event operators, especially when utilizing spaces designed for large productions with concert-level lighting and sound,” said Gaeddert. “These experts must address the significant demands of internet connectivity and power for up to 400 computers in a single room. This need is far greater than the power required to just run a concert on a stage, often requiring four times as much for all the gaming PCs and consoles. Additionally, they must consider the design, lighting, and audio needs for the ‘pit,’ where non-main stage games are played.”
Not all Pro AV plays well in esports, either. “As experts in consulting and building esports facilities, we have identified a significant gap between the requirements of gaming and the support provided by AV manufacturers,” Kell explained. “To address this, our team has developed an internal certification
process for products, grading them to ensure they are the best fit for outfitting an esports facility. Given the number of venues we have in the pipeline, it’s crucial for AV manufacturers to gain a deeper understanding of this rapidly growing market.”
Given its projected global revenues, esports should
ESPORTS BUSINESS
be considered a key growth market for the Pro AV industry. It’s certainly a primary focus for Horizon AVL. “Esports now accounts for more than 50% of our entire revenue, making it a crucial vertical for our business,” said Kell. “[Yet] the AV industry is only beginning to recognize esports as a viable vertical.”
Esports demonstrations, such as this one from InfoComm 2023, have become common at Pro AV trade shows.
Doing More with Less
Integrated Production Switchers Feature Multiple Tools to Simplify Workflows
By Jennifer Guhl
With the integrated production switcher market experiencing significant growth, new technology offerings are being tailored to meet the needs of various markets, especially nontraditional broadcast environments including municipalities, schools, houses of worship, and corporations. Many of these installations are looking to simplify workflows and improve production management in control rooms as well as remote production vehicles.
“It’s largely being used by people who may not have done video storytelling before and are just getting into it,” said Christopher McLendon, senior product manager with Vizrt. “They find that an all-in-one integrated production system is a more accessible way to get into video production.”
For integrated production switchers, the biggest selling point has always been the ability to control all system components. Key features include video switching, graphics creation, and clip playout. As interest in the technology has grown, these capabilities have expanded to include multiview monitoring, camera control, streaming, recording, and audio mixing. “Luckily, with today’s technology, users don’t need to sacrifice features even when using more compact gear,” said Bob Caniglia, director of sales operations for Blackmagic Design, Americas.
The cost and convenience of an integrated production switcher can also be attractive to those operating within a limited budget but want professional-level production. “Instead of needing a variety of solutions from multiple vendors, users can select a single device that can easily handle their requirements for video production from a single control surface,” explained Mike Garza, RUSHWORKS support engineer, system designer, and installer with ENCO Systems.
To that end, a well-designed control panel can ensure that anyone can operate the system, which is critical for those working with everchanging volunteer staff. “Having everything integrated into one user interface simplifies the workflow significantly. PTZ control, audio mixing, and other built-in features allow for a streamlined
Hard or Soft?
There is also growing interest in software-based integrated production switchers, which are receiving top consideration from many venues. Vizrt TriCaster and vMix, for example, offer multiple NDI and SDI inputs as well as a wide range of production tools, including virtual sets, instant replay, and social media support. Small integrated switchers may be the preferred option for city councils or houses of worship, while more elaborate tools like vMix and TriCaster are more widely used in sports, schools, concert venues, and broadcast studios.
“We often see two types of production switcher customers: those interested in low cost and simplicity of operation, and others who plan to take full advantage of sophisticated production tools— animated graphics, video replay, scoreboards, etc.,” said Edgar Shane, general manager of engineering and product development with JVC Professional Video.
As venues rely more on PTZ cameras, integrated
production switchers with built-in PTZ control provides directors (especially those with a limited staff) the power to deliver multicamera productions with fewer camera operators. “The ability to recall camera preset positions and have full motion control of a PTZ camera offers significant flexibility without needing extra equipment or support,” noted Tony Mastantuono, product manager for Broadcast Pix.
Thinking about your needs and use cases come into play when deciding how many network inputs are needed, which could impact which switcher you choose. Networked resources could reduce the need for additional hardware and lower costs. “For instance, in a courtroom with six cameras, an integrated switcher might only need six inputs because it handles additional functions internally, such as video playback and graphics, which would otherwise require additional external inputs in a traditional system,” McLendon offered.
If you need many inputs, a software-based solution could be your best choice, with many hardware-based switchers supporting up to 12 inputs. “The software-based solutions support many more
operation, making it easier for operators to manage complex productions,” said McLendon.
From left, Mike Garza, Chris McLendon, Bob Caniglia, Edgar Shane, and Tony Mastantuono
Broadcast Pix Commander provides configurable touchscreen control, but also works with other control surfaces.
Blackmagic Design’s ATEM Mini Pro features four HDMI inputs, an integrated audio mixer, and built-in hardware streaming engine.
INTEGRATED PRODUCTION SWITCHERS TECHNOLOGY
since each input can be assigned to a live camera, pre-recorded content, graphics, virtual set, and other assets,” said Shane. “For example, vMix software supports up to 1,000 inputs.”
On the Network
Network inputs can expand content sources to include computer-generated content, IP cameras, and other NDI or IP-based sources. “These systems’ primary advantage is their flexibility and scalability, allowing video sources to be easily distributed and accessed across different locations within the same network infrastructure, simplifying cable management and enhancing workflow integration,” said Mastantuono.
NDI offers significant flexibility for systems, helping to handle video sources easily through existing data networks. This simplifies system setup and management, making it easier for those with limited technical knowledge.
“The growth in the IPS market comes from NDI because it allows users to leverage their knowledge of
data networking to create video networks—they can just set up a network, put in a couple of switches, and they’re doing video,” said McLendon. “This impacts all kinds of markets because all companies have IT people, but not all have video people. With NDI, IT people become your video people, and creating video becomes better.”
With switcher technology rapidly evolving, AI will likely be leveraged to simplify workflows and enhance the quality of integrated elements like audio and graphics. “With new and improved technologies
always on the horizon, users have a unique opportunity to make their content look better now than ever before, while at the same time simplifying their workflows and making them more efficient,” said Caniglia. There will also be an eventual shift toward 4K resolution; many are already beginning to adopt it, even though it isn’t required in many industries, to ensure their systems are ready when the time comes. “As market demands evolve, they will drive changes in integrated production switchers,” said Mastantuono.
The JVC KM-IP1258, powered by vMix 4K software, offers 12 NDI/SRT and eight SDI inputs.
MustangVision Struts into ACC with ST 2110 Workflow
SMU’s New IP-Based Production Facility Connects Multiple Venues Across Campus
By Michael Grotticelli
On Aug. 15, Southern Methodist University (SMU), a private university in University Park, TX, began producing its first soccer game for TV, in-venue, and online coverage from its new IP-based video production facility. Housed in a completely renovated space at the SMU Indoor Performance Center’s Armstrong Fieldhouse, the 67,000-square-foot facility is centrally located on the school’s 234-acre campus.
The retrofit, which coincides with SMU’s move to the Atlantic Coast Conference (ACC), involved taking the multi-level space down to a shell and rebuilding from the ground up. Now, it stands as one of the most technically advanced production facilities among the ACC’s 18 schools and maybe all of college sports. With its multi-layered sophisticated distributed architecture, any source can be routed at any destination on campus, enabling content to be produced and distributed faster and more efficiently.
Big Brand Builder
The new SMPTE ST 2110 broadcast production facility now serves as the epicenter for SMU’s coverage of ACC sporting events, offering enhanced capabilities (and faster turnaround times) for live broadcasts,
studio shows, videoboards, and digital content creation. While other colleges and universities have some type of hybrid IP/SDI infrastructure, there are only a handful that are fully ST 2110.
Providing a modern example of leveraging the flexibility and robustness of a distributed IP infrastructure to connect remotely located venues on campus, the first phase of the massive project involved connecting the Washburne Soccer and Track Stadium, Moody Coliseum basketball arena, and Ford Stadium football stadium to the new production center—all supporting the SMU Athletics MustangVision sports content production department. A second phase of the project, to be completed by September, will connect more sources and the school’s aquatics, lacrosse, and tennis facilities on campus.
Since 2020, SMU had produced content on ESPN+ as part of the American Athletic Conference TV deal. It has been sharing content with all ESPN schools since then, including schools in other conferences. In 2021, SMU rebuilt an existing control room to meet the needs of ESPN linear broadcast requirements.
“The video aspect of it this project is a big reach and a big brand builder [for SMU],” said Spencer Jones, SMU assistant athletic director and director of the MustangVision team. “Our goal is to help grow the ACC Network. I can’t come in there and just piddle
around and be average. We want to be good partners with the ACC and ESPN. We wanted to have an environment that when they walk in here to help us produce games, they will feel comfortable with the technology and systems in place.”
Time Is of the Essence
There are many aspects to marvel at, but the most impressive might be that the project, led by Jones and his MustangVision team, was completed in a mere eight months. Initial discussions began in December 2023 with Anthony James Partners (AJP), a broadcast systems designer and tech consultant that has worked with a variety of colleges to build out their media production systems. The actual build started in February.
“Everybody went in with the mentality, ‘This is an impossible task’,” said Mike Martin, VP of technology at AJP. “But soon we had our collective noses to the grindstone and all parties involved committed to getting it done. With everyone focused on the same goal, we knew that anything was possible.”
To get the job done, Jones brought in several vendors, working simultaneously, to help. Throughout the duration of the build, the various entities formed a collaborative working partnership. It started with AJP and then involved the university, SMU Athletics, and the Office of Information Technology (OIT) in the planning and design stages. This was followed by close coordination with GSBS Architects, which designed many of the production spaces; Clark Construction, which was responsible for building out the facility; Digital Resources, which installed the fiber connections, room lighting, and venue technical drawings; and ZTransform, which handled the control rooms and technical shop drawings.
“In order for this project to successful, we had to assign different tasks to different experts,” Jones explained. “I couldn’t put it all in one vendor’s hand and then hope it would all get done on time. As I always say, ‘Hope is not a plan.’”
With so many teams working at the same time, Jones said there was a real challenge to synchronize the various efforts to ensure they all came together as a whole, working toward the same goal. “Throughout the project, you’re hoping you don’t have an engineering snafu where you build both sides of the highway independently—and you hope, when we meet in the middle, it all connects correctly,” he added.
SMU’s new ST 2110 production facility manages SMU sporting event video content.
Working the Core
The facility itself encompasses the second floor of the former workout and training space (although some athlete training still occurs there) and a partial takeover of space on the first floor. The second floor is home to the main technical operations center, complete with 15 racks of gear, a shading area, an engineering room, four control rooms, and administrative offices. Two full edit suites, a cut-in studio with greenscreen, and a main field equipment storage space are located on the first floor.
“The Armstrong Fieldhouse’s second floor was significantly underutilized, so it was an ideal place to locate the new facility,” Martin said. “The square footage is now being used to full advantage. We used every bit of space they gave us.”
There are also four separate control rooms inside the production facility to handle remote productions between the sports venues on campus and the new production center—two main control rooms and two digital control rooms. The control rooms are equipped with Evertz DreamCatcher systems for replay and clips. There are also two Ross Video Ultrix Acuity 3 ME switchers, two Ross Ultrix Carbonites, and six XPression Studio CGs. In addition, Calrec Argo audio mixing consoles handle the live and studio audio. Collectively, all of the equipment used is IP-native.
Added to the inventory of the new build are two existing 3G-SDI baseband studio control rooms based at Ford Stadium, which are fed into the new production facility’s main Evertz router by a ST 2110 tie to the existing Ross Video FR-12 Ultrix Router. The house video format for all content is 1080p HDR, with extra capacity built in to produce content in 4K and even 8K should the need arise. That’s the kind of flexibility an IP infrastructure allows.
Connectivity Is Key
As for connecting all the sports venues on a fiber network, the teams deployed studio interface boxes in each of the six connected venues. Both network and wireless intercom are handled by Riedel technology, including access points deployed throughout the campus. A MultiDyne HoneyBadger venue interface unit helps manage the fiber networking between the venues and the main production facility.
Sony HDC-3500 cameras were chosen for the main production studio on the second floor, HDC3200s for field work, and numerous Panasonic PTZ cameras are permanently mounted at most of the sports venues. For example, SMU’s Styslinger/Altec Tennis Complex now has one PTZ per court, which is controlled remotely from the new production facility. Wave Central RF wireless technology is used for handheld cameras and access points inside the various venues.
AJP ran 3,288 strands of single-mode fiber between Armstrong and the new facility, 144 strands to Ford Stadium, 144 to Moody Coliseum, and 96 strands into the soccer, tennis, lacrosse, and aquatics
“We wanted MustangVision to be the best sports content producer in the ACC, technically, and I think we are.”
Spencer Jones, SMU Athletics
venues. Martin said all the runs have red/blue redundancy, each with 5 Gbps throughput.
Some 400,000 feet of fiber and cabling was run and installed by Dallas-based Digital Resources. The biggest challenge was getting all the venues prepped with new conduit paths, new cabling, fiber, JBTs, panels, racks, and other equipment on a very fast timeframe. “SMU and AJP have turned an existing facility, not originally designed for broadcast, into a high-level, multi-control space,” said Tim Bock, who led the project for Digital Resources.
The Digital Resources team also designed a custom lighting package with pixel tape LED lighting for the entire technical operations center and control rooms. They also installed the equipment racks, cable ladders, and custom console furniture for the new facility. That was in addition to getting the cameras, ST 2110 interfaces, lenses, outdoor PTZ cameras, and all other support gear for all the venues ready for the fall.
A New ACC Standard
SMU officials are extremely happy with the results. Martin said it’s the most advanced production facility in the ACC and sets a new standard for collegiate sports broadcasting.
“I spent a lot of time talking with other experts and vendors to figure out how to do this right and to make sure we were defining and installing the latest version of a 2110 system,” Martin said. “But to go with
the complete Evertz IP core and take that technology all the way out to the edge is something we’re most proud of on this project. We did everything that we could do to bring a 2110 system to life while keeping it out of the 3G world as long as possible.”
While the system will have to go 3G-SDI at some point—during studio productions, for example— Martin said they tried to maintain the ST 2110 network environment through the entire system. “It just made a whole lot of sense to move the school’s production capabilities from a 3G-SDI infrastructure to IP because SMU had limited infrastructure in their venues,” Martin added. “They really needed this decentralized infrastructure to support MustangVision, which produces more than 170 games a year.”
To coincide with its new membership in the ACC, SMU wanted to build a campus-wide sports production system that is capable of handling any sized production—and it’s mission accomplished, according to Jones. “We’re now capable of producing the largest productions that rival any major sporting events if we wanted to,” he said. “With our new IP network, I can pull all the resources out of multiple rooms and produce anything you see on broadcast television. We can do all sorts of things because IP is all about increased bandwidth and capabilities.
We wanted MustangVision to be the best sports content producer in the ACC, technically, and I think we are.”
The IP infrastructure helps MustangVision produce more than 170 games a year more efficiently.
By Bob Caniglia
WST 2110: An Introduction
How Does SMPTE’s Broadcast IP Standard Fit in the Pro AV Space?
hile not a brand-new concept, videoover-IP has been steadily evolving over the years, and its growth as a technology is revolutionizing workflows as it becomes more prevalent in products coming to the market. IP video offers an opportunity for users to consolidate equipment, as it allows the use of equipment that manages both network and video functions. It also offers less cabling with bidirectional support and low latency.
Where IP comes into play is for those who want to move video signals over long distances to other locations in a facility, venue, or campus. For example, someone producing a program on a college campus who needs to send it to the school’s TV studio across campus could use IP video over their network to accomplish that. The technology could also be used within a single facility if signals need to be shared within different production studios.
In particular, the SMPTE ST 2110 suite of standards is gaining traction as an option for Pro AV users who want more flexibility with connections, resolutions, and frame rates, as it gives users a path to migrate into low-cost, broadcast-quality IP systems.
Setting
the Standard
Released by SMPTE in 2017, ST 2110 specifies the transport, synchronization, and description of 10-bit video, audio, and ancillary data over managed IP networks for broadcast. It can also re-sync SDI inputs to a common PTP clock, or external gear can lock to the reference output that’s also generated from the
PTP clock.
ST 2110 typically uses fiber with bandwidths of 10, 25, 40, or 100 Gbps—and its standards are vendor and video format agnostic, so they support 4K, HDR, and other emerging formats. Versus other IP video transport protocols, ST 2110 is more flexible and adaptable, as the standards are open and accessible.
Designed as a new set of applications based on IT protocols and infrastructure, ST 2110 offers IP video as a flexible alternative to SDI, similar in value to when the industry moved from physical tapes to virtual files for content storage. While ST 2110 is still evolving, it has excellent future-proofing potential, great routing capabilities, and separate audio, video and metadata signals. Plus, it doesn’t need to be licensed, and the quality is very high because it’s uncompressed.
Building an ST 2110 system is relatively easy and reliable—and it doesn’t need to be all IP or nothing. There are products on the market today that help users pump in almost any video signal and convert it to ST 2110. For example, take a house of worship with multiple buildings around its campus. It wants to leverage an IP-based workflow, but it wants to retain some of its existing infrastructure instead of tearing everything out and replacing it all, which would be a greater expense.
In this case, when using IP video to send sources to several buildings, each location would need an ST 2110-based converter, but the sources wouldn’t have to return to a central point. Instead, each location could send a source to another location housing a converter, and there would be no need for a dedicated cable for every source and destination. This provides the ability to send signals via IP and bring them in and
Just like an SD workflow, users can achieve the advantage of ST 2110 IP video with simple Ethernet cables, remote power, and bidirectional video.
out of the SDI world, for example, to be able to interact with other products and workflows.
Another consideration is that ST 2110 is extremely flexible and does not lock users into routing from a specific location. Systems can be spread across departments, campuses, venues, or other various locations, and users still have access to signals as long as they are all on the same network.
Get the Point
ST 2110 products aren’t built solely for the IT world, but because of the network and bandwidth aspects, historically there has been an IT component to developing the workflow and keeping it running. Traditionally, IP video solutions have required IT support, but with advances in today’s technology, almost anyone can make IP workflows a reality.
For example, the easiest way to use ST 2110 is point-to-point, and for many users that will suffice. All they need is an Ethernet cable between a rack and a monitor converter or camera, which also supplies remote power and bidirectional video. Point-to-point connection can also auto configure, so users don’t need to enter any settings. Point-to-point connections offer a great solution in settings like live events, as the Ethernet cable can make connecting to cameras extremely simple with all control, power, and video down a single cable.
If an Ethernet switch is preferred, perhaps for larger implementations, users still have a clear path. As with anything, the larger the system, the more there is to consider, but this shouldn’t be a deterrent. When working in larger ST 2110 systems, such as broadcast, users can connect their video gear to an Ethernet switch and then make the connections between devices by configuring the switch. Products with NMOS are particularly useful in this scenario, as it describes how ST 2110 devices are discovered and controlled on IP networks.
When using an Ethernet switch, instead of point-to-point, it’s a point-to-multipoint situation, and a controller would be needed for the switch to manage all the handshakes. Some companies offer
Appliances like the Blackmagic 2110 IP Presentation Converter convert 3G-SDI signals into ST 2110 systems.
free software controllers if they run on a computer that is on the same network. Other switches can be as big as 100, 200, or 400 ports for large campuses/networks. Don’t be intimidated by a larger setup—while it may be more complex to configure, a ST 2110 setup is still very flexible and achievable for larger systems.
On the bandwidth side, one of the advantages with ST 2110 is that users can split the video and the audio stream, so if there is a poor connection, users can pick just the audio stream. Not having both tied together saves bandwidth, if needed.
Real World Expectations
The latest IP products offer users a lower cost, simplified way to achieve IP video and ST 2110 standards. A wide array of users can benefit from implementing ST 2110 into their systems, including college campuses, television stations, production studios, live events, sets, corporate setups, houses of worship with multiple campuses, and more.
Just like an SD workflow, users can achieve the advantage of ST 2110 IP video with simple Ethernet cables, remote power, and bidirectional video. Plug cameras into rack converters and get all the camera control, program video, power, and tally with a single cable—or connect an HDMI converter to a rack converter for remote monitors, with everything configuring automatically.
Building an ST 2110 system is relatively easy and reliable— and it doesn’t need to be all IP or nothing.
Traditionally, one of the biggest problems with ST 2110 was needing an IT tech on standby to keep video systems running. However, today’s new technologies are allowing anyone to create self-contained ST 2110 IP systems without needing an IT technician to configure complex multicast settings.
For some users, the extra cost associated with the largest Ethernet switches is a consideration. While many users can use point-to-point connections or even free software switches, larger switches with 100 or more ports can add up for large campuses and networks. However, with the products on the market today, users can now build ST 2110 systems at a dramatically lower cost.
Cat 6 copper cables are simple and Ethernet switches for 10G Ethernet are very common. In many cases, modern buildings already have 10G Ethernet cable installed, so users can take advantage of
infrastructure they already have. Copper cables can also power devices such as converters and cameras remotely, and there are models for optical fiber Ethernet. (Optical fiber at 10G speed is much lower cost than 25G or 40G Ethernet.)
With ST 2110 becoming more and more prevalent
in the industry, advances in technology have made the workflow easier for users. It’s safe to say we’ve reached a point where it is more achievable than ever to implement affordable ST 2110 systems.
Bob Caniglia is the director of sales operations for Blackmagic Design, Americas.
TECHNOLOGY PRODUCT REVIEW
Keep on Tracking
By Chuck Gloman
The OBSBOT Tail Air is designed specifically for dynamic, multi-camera production environments such as churches, sports, and live events. This miniscule PTZ camera will track whatever subject you put in front it, making it ideal for capturing the action in high-energy, professional content creation settings.
Mini But Mighty
Featuring an 8MP, 1/1.8-inch CMOS 4K sensor with a F1.8 eight element lens and 4x digital zoom, the Tail Air records in 4K at up to 30 fps and HD at up to 60 fps. The unit itself measures 5.2x2.88x2.73 inches and weighs slightly above 12 ounces—we’re getting close to a sparrow’s dimensions. A minor pet peeve: no lens cap.
Most PTZ cameras will record video quite well, but the Tail Air has Human Tracking, which works independently to keep the object in frame. If your subject is non-human (dogs, cats, horses, etc.), you’ve got the Animal Tracking feature. There’s even Object Tracking, so really there’s nothing this camera can’t track. This is all accomplished with Time of Flight (TOF) technology, which uses infrared light to calculate the distance between the subject and the camera.
Now that you know what the Tail Air can do, how do you get the signal to its destination? You can use
the micro-HDMI port, USB-C port, or export via an Ethernet cable with a USB-C-to-Ethernet adapter as your options to send content to a screen or live stream.
Facing the unit, the camera rests on top of a gimbal. Directly below is a blue LED status indicator as well as four blue LEDs indicating the level of the battery’s charge. Around the side of the round base of the unit is the USB–C port and a microSD card slot, which is above the Micro HDMI port. On the bottom is a female 1/4-inch port for tripod mounting.
Out of the Box
The camera is stored in a zippered bag that arrived in a red box. I charged the Tail Air using the provided USB-C cable attached to a USB-A AC adapter. I also download the OBSBOT App for my iPhone. Pressing the power button activates the unit, and the gimbal adjusts itself and displays a green bar under the camera. I opened the OBSBOT Start app, selected Wi-Fi, and my Tail Air was up and running. (OBSBOT also offers a mini remote control that can control up to three Tail Air cameras, which I did not review.)
Along the left edge of the app’s screen are several controls. From here, you can disconnect the camera, review camera and streaming settings, adjust audio from the Tail Air’s built-in microphone, and more. Across the bottom are six icons and the record button. From here you can choose your AI mode, movement speed, tracking mode, framing, positioning, presets, and Gimbal View, where you use your finger to position the gimbal.
MSE Audio Rebrands Product Lines
MSE Audio has unveiled a dynamic rebranding initiative for the professional and residential audio markets. Commercial and professional audio products, as well as residential products, will be represented by SoundTube.
“SoundTube has built a strong reputation for innovative, high-quality audio products in the commercial space over the past 28 years,” said Shannon Humphrey, president of SoundTube. “Consolidating our lines under this single brand will provide clarity for our customers.”
In addition to its own branded products, SoundTube serves as a brand umbrella for products sold under Rockustics, SolidDrive, Soundsphere, PhaseTech, and dARTS Theater. The brand will maintain its focus on innovative audio technologies backed by expert system design assistance and U.S.-based customer service. All products will still be designed and engineered by the same teams at the company’s headquarters in Lenexa, KS, and Jacksonville, FL.
Try not to be overwhelmed or bogged down with all the OBSBOT’s features. My humble advice is to just place it where you want to capture your given subject and let the camera do the rest. It’s truly amazing how this Lilliputian device can frame, follow, stream, and record what the sensor captures. Using my home’s Wi-Fi, I was able to stream my video, once I had a microSD inserted.
For the ultimate in control, the Gesture Control 2.0 feature allows the on-screen talent to use hand movements to zoom in or out, lock or unlock the subject you’re tracking, and even stop or start recording. After a few minutes in trial mode, I was able to master the “gestures” and to get the camera to do what I wanted. But don’t get carried with gesture control; gestures need to be large before the camera does what you want it to do. My students tried to foil AI by doing tiny gestures close to their body and creating other gestures I won’t describe. Score 100% for the OBSBOT—it did what it was supposed to do. There’s really not much to not like about the OBSBOT. Nothing else come close to what it does for its size and price, and the battery life has been outstanding. I’ve even become more popular because students and other faculty stop by my office to play with the “little camera.” You get high-quality video, plus the camera is small enough that it’s not a distraction. It’s a great choice for situations where you need to discreetly (and automatically) follow people, animals, or objects.
Chuck Gloman is an associate professor of the TV/ Film Department at DeSales University. Contact him at chuck.gloman@desales.edu.
TECHNOLOGY NEW PRODUCTS
Audio-Technica ES964
The latest addition to Audio-Technica’s line of Engineered Sound solutions, the tabletop ES964 boundary microphone array provides clear audio for multi-person videoconference environments. It’s an ideal solution for customers whose room cannot accommodate a ceiling/hanging microphone array option. With its low-profile design, the microphone takes up minimal space on a conference table, but still provides powerful audio capture and convenient control of two-way calls. It features one omnidirectional capsule and two bidirectional capsules. When combined with an Audio-Technica digital SmartMixer, the ES964 provides speaker-focused sound capture within a 360-degree radius for clarity difficult to achieve with standard omnidirectional microphones. The ES964 is also compatible with a range of other open architecture DSPs. The microphone’s LED ring provides immediate indication of the microphone’s mute status, while additional switches on the main unit allow users to specify optimal mute settings.
Peerless-AV
STS650
(AVC) recording to cost-efficient USB 3.0 drives or network storage with redundant recording and single-channel playback. Ki Pro GO2 helps produce higher quality images at lower bit rates, allowing for longer recording times. It also provides flexible connectivity, including four 3G-SDI and four HDMI digital video inputs, so they can connect to a wide range of video sources. Setup and operation are simple with an HD display for precise monitoring, video monitoring and menu/status overlays with an on-screen keyboard, built-in frame syncs, dedicated control buttons, and a standard Ethernet LAN connection for remote configuration and control.
Just Add Power
MC-TXWP1
Peerless-AV’s latest innovation in mounting systems for direct-to-wall and recessed applications, the STS650 SmartMount universal scissor wall mount simplifies installations by increasing the ease of display mounting while concealing components. The open-access design, optional universal AV component trays, and post-installation adjustability all save valuable install time on site. The STS650 supports 39-85-inch displays, with a maximum load capacity of 200 pounds. The extendable adapter arms allow displays to be pulled out 12 inches from the wall, providing seamless installation and maintenance of power and cabling without removing the display, while also offering versatile display placement options for outlets and in-wall boxes. The adapter arms can be adjusted and tensioned to any depth, so the display sits flush to the wall or in custom-built recessed applications. Plus, the built-in automatic spring locks and quick-release cords further simplify installation and maintenance.
AJA Video Systems Ki Pro GO2
Ki Pro GO2 is the next generation of AJA’s Ki Pro GO multi-channel HD/SD recorder. Sporting an upgraded feature set, the portable, 2 RU device facilitates up to four channels of simultaneous H.265 (HEVC) or H.264
The latest solution in its MaxColor series, the MC-TXWP1 PoE thin two-gang HDMI wall plate transmitter supports HDMI 4K60 input and distribution of source devices, making it ideal in BYOD, UC&C, and huddle environments. Available in black, white, or custom colors, it provides integrators with a convenient HDMI port that natively supports computer and video resolution up to 4K60 at 4:4:4 and deep color up to 36-bit. It distributes 4K video from connected 4K BYOD sources with no downscaling or subsampling over a 1 Gb managed network using Cat 5e or Cat 6 cable. It delivers instant, seamless switching, 4K up and downscaling, and HDR management while supporting all lossless audio formats and HDR10, HLG, and Dolby Vision. Other features include control of endpoints with CEC.
Shure XL18Xm
Designed for speech and presentation applications in corporate, education, and worship environments, the low-profile WL18Xm professional lavalier condenser microphone line includes the cardioid WL185m, supercardioid WL184m, and omnidirectional WL183m for use with wireless bodypack transmitters. The refreshed portfolio builds on the legacy and performance of existing Shure WL lavalier microphone technology, delivering enhanced specifications for optimal compatibility with modern wireless systems. The WL18Xm line is 8 mm shorter than its predecessor, making it lighter, lower profile, and easier to use. For flexible placement on speakers, presenters, and performers, each lav is available in either black or
white with LEMO or TA4F connector options. The microphone’s innovative tie clip can be rotated in 90-degree intervals for accurate positioning.
Vaddio Venture VideoBAR/TableMIC
The Venture VideoBAR and Venture TableMIC expansion microphones are an all-in-one videoconferencing system. The VideoBAR features a CMOS image sensor, 110-degree wide-angle horizontal field of view, 3x digital zoom, high-fidelity speaker system with built-in DSP, and six-element beamforming microphone array with a pickup range of up to 20 feet. Optional TableMIC expansion microphones increase flexibility by offering an additional 20 feet of pickup range for various meeting room scenarios, including larger boardrooms, and up to three microphones can be daisy-chained for full coverage in large boardrooms. The microphones feature a convenient universal mute button and a status light to provide control near participants. The VideoBAR features manual PTZ/ePTZ control and tracking technology that offers three modes: Group Framing, Speaker Framing, and Gallery View. The plug-and-play device also offers simultaneous USB and HDMI outputs for greater versatility.
Electro-Voice EVID-C-G2/EVID-EC
Electro-Voice has introduced the next generation of EVID in-ceiling speakers. The company has produced seven standard EVID-C-G2 models, replacing the existing C series, and added five EVID-EC (Entry Ceiling) entry-level models, providing a versatile and cost-effective mix of products to precisely address the audio requirements of different areas in an installation. Patented SST (Signal Synchronized Transducer) technology allows a more shallow and compact enclosure while enhancing full-range pattern control. Along with the side-access connector/cover plate, the minimized depth factor allows each speaker to fit into a tighter space and avoid ducts, conduits, and wiring—with no compromises in sound quality. Plus, a new SwiftLock System for C-G2 models provides simple, fast, and safe installation. Configurations range from 3-8 inch two-way and subwoofer models. All models include bezel-less magnetic grilles in a paintable white finish.
Extron ShareLink Pro 2000
Extron has expanded its ShareLink Pro line with the ShareLink Pro 2000, a 4K wireless presentation system that enables anyone to present content from computers, tablets, or smartphones on a display for easy and cost-effective collaboration. It supports simultaneous display of up to four sources, including an HDMI-connected device. The HDMI input supports wired devices, such as a signage player or other AV source. The ShareLink Pro 2000’s HDMI output supports displaying computer and video resolutions up to 4K with 4:4:4 chroma sampling at 8 bits of color. Collaboration and moderator modes facilitate both open and controlled collaboration environments. When used with Extron GlobalViewer Enterprise software, multiple units can be managed across an enterprise or campus. The ShareLink Pro 2000 includes ConferenceShare to share video and audio captured by in-room USB devices with remote users during Teams or Zoom meetings.
Biamp CCA-80
Biamp’s new CCA-80 loudspeaker is designed to solve the acoustical challenges presented by long aisles and concourses found in warehouses, sports complexes, shopping malls, and more. The CCA-80, a constant coverage asymmetrical loudspeaker, minimizes reverberation and enhances intelligibility for applications that require clear paging and quality background music. Offering an asymmetric, rectangular coverage footprint with a longer throw distance, the CCA-80 minimizes necessary loudspeaker count, creating more cost effective and efficient large-scale deployments. It provides a full-range performance, 100Hz-12kHz, for quality music reproduction and clear voice paging, and offers a choice of low impedance or a 70/100V transformer input, addressing the shortcomings of traditional paging horns but at a lower cost compared to other highperformance, full-range horn solutions. The asymmetric coverage pattern also delivers extended throw, better down-fill, and a more uniform horizontal coverage pattern.
MAXHUB Raptor LX165V07
The Raptor LX165V07 165-inch dvLED wall display is designed for efficient collaboration. It supports wireless screen sharing—including third-party protocols like Miracast, Chromecast, and Airplay— plus a wireless BYOM function. Users can also join meetings directly from the home page, which speeds up meeting start times and reduces connection times. The Raptor LX Series uses Android 13 OS and includes multiple pre-installed Android applications, making it ideal for presenting, videoconferencing, or collaboration. Its built-in PC supports Windows system integration, so the display can be used as a standalone PC to run applications that require a larger screen. It also features 4.2 channel audio and four 30W loudspeakers. For centralized device management capability, MAXHUB Pivot enables IT administrators to manage the devices remotely.
By Josh Blalock
ROffice Buzz or Buzzkill
Technology Investments Impact Employee and Company Success
eturn to office mandates are in full swing, with offices being reported as busier than ever. While business leaders are calling employees back to the office to boost productivity and foster collaboration, they can’t overlook the challenges that come with bringing workers back into an environment they’re no longer adapted to. For employees that spent the last few years mostly—or completely—remote, they’ve grown used to working in an environment where they have much more control over noise and distractions.
To understand just how much sound affects employees’ cognitive, emotional, and physical well-being in the workplace, Jabra surveyed 2,000 knowledge workers across the United States, United Kingdom, France, and Germany. The data found that nearly three quarters (74%) of workers say working in a loud environment makes them mentally tired, and they look toward clear and high-quality sound to enhance their ability to focus.
Returning to the office isn’t a one-size-fits-all solution that encourages better collaboration and productivity on its own. Years of working from home offices means workers will need to reacclimate to in-person collaboration, including all the noise and distraction it brings.
What once may have supported workers in pre-pandemic times—think open office spaces and traditional conference table phones—will need to adapt to the new needs brought by the rise in videoconferencing and a workforce that became accustomed to working remotely. Business leaders must look holistically at their office spaces to ensure employees have access to the tools and environments that will be conducive to success.
Out of Focus
A revived in-office culture means nearly half (47%) of respondents say they are stressed by noise at the office, preventing them from focusing. To avoid noise and limit distractions, over half of workers (59%) say they are expected to take calls away from their desks in a separate room and use professional headphones (69%).
Today’s in-office employees must be more mindful than ever of how their meeting decisions impact those around them. In fact, 37% of knowledge workers surveyed say it is difficult for them to be productive at work when coworkers are taking calls at their desks without headphones. Thirty-nine percent report it’s equally difficult to lead or participate in their own calls when coworkers are taking meetings
from their desks without headphones.
On the other hand, 74% of respondents say clear and high-quality sound enhances their ability to focus on their own tasks and projects, demonstrating that both silence and audio have drastic impacts on employee performance at work. It’s clear that part of building a positive work culture means providing a conducive environment for employees returning to in-person work. Open office coworking environments are not enough to foster culture and productivity—employees must also have the option to seek quiet workspaces where they can collaborate with colleagues seamlessly through the help of technology.
Loudness and Mental Well-Being
Beyond disruption, spotty audio quality also has negative consequences on work and mental health, with 54% of knowledge workers saying poor audio during conference calls negatively impacts their well-being. When an employee’s success depends on how clearly they can hear a client or colleague, it’s vital for an organization to eliminate barriers by providing technology like quality headphones that reliably reduce audio challenges.
In turn, workers won’t be worried about whether they’ll be able to properly hear their collaborators, reducing stress and freeing up mental energy to focus on the task at hand. In fact, Jabra’s research notes that knowledge workers believe higher-quality meeting audio can positively impact their interpersonal skills in the workplace through clearer communication (43%) and improved collaboration (40%).
When working in a larger, communal workspace, loud environments continue to negatively impact employee health and well-being beyond mental fatigue. Nearly two-thirds of respondents agree that working in a loud environment makes them physically tired (63%), and it is difficult for them to feel passionate about their work when working in such an environment (63%).
Investing in the right technology for employees—whether in-office, remote, or operating on a hybrid schedule—is not only necessary for business success, but also contributes to employees’ mental well-being by reducing baseline stress and instilling trust within workers that their organization has their best interests in mind. Feeling valued and supported at work helps
provide a sense of pride and belonging that goes a long way in keeping employees satisfied, which translates to stronger output for the business.
Strategic Support
Knowledge workers know what environments and tools work best for them, and data supports that they believe their employers have a responsibility to address audio issues in a variety of ways to improve office culture. This ranges from providing noisecancelling headphones as part of standard office equipment (37%) and allowing employees to work from home more frequently (37%). Nearly a third (32%) say their employer could also designate specific areas for different types of activities, such as quiet zones or collaborative zones, to ensure employees have options available in offices.
Gone are the days when offices solely catered to a single type of employee and one perceived working style. These findings overwhelmingly show that diverse workspaces support business success and employee growth. In fact, two out of three knowledge workers agree that employers should invest more in creating an inclusive workplace.
The way of work is constantly evolving, and with business leaders pushing for more days in the office, workers today are struggling to focus. Business leaders must take the time to understand the new dynamics of today’s office spaces.
Providing employees with options that can accommodate their unique needs and working styles reduces barriers to productivity.
Prioritizing high-quality audio technology is critical to foster positive collaboration and eliminate noise-related obstacles. Along with versatile workspaces, it’s a key investment for keeping employees happy and productive in today’s bustling office spaces.
Josh Blalock is the chief video evangelist for Jabra.
