Sound & Video Contractor - January 2019

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JANUARY 2019 // VOLUME 37 // ISSUE 1








JANUARY 2019 // VOLUME 37 // ISSUE 1


6 | O n the Circuit

FEATURES 32 | Tuning Tracks By Steve Harvey Experts weigh in on demo tracks

By Chief Editor Cynthia Wisehart


Tech Showcase

16 | R outers & Switchers 26 | 4 K & 8K Projection

26 32 6



39 | D anteEnabled

on the circuit

Vol. 37 No. 1

January 2019



By Cynthia Wisehart

Find me online cynthia.wisehart@ and SVC_Online

appy New Year, My new year’s resolution was to find a new piano tuner. And I did! All better now. My beloved, longtime tuner retired, or at least retired from me—perhaps he has kept only his most glamorous or favorite pianos. He didn’t say—he has lovely manners to go with his good, patient ear. So after a search, I found my tuner. You know how scary that can be, especially on the voicing front. I should say that I have a humble U1 studio upright with the tall cabinet. Shiny black with beautiful copper/gold hardware. Based on the serial number, it was born in Hamamatsu in late 1963. It made it’s way to the US where I bought it 25 years ago from a local piano impresario, a well-known character who dressed and talked like he was in a Bing Crosby movie. I know many people who bought their pianos from Charles—he kept a small shop and had a knack for the good ones, which he sold only in their original state—no restorations for him. Maybe he’d fix a nick in the cabinet or replace a key. But musically he took pride that his pianos were entirely original. As you can imagine, that gave his shop a unique personality—a gathering of durable and unique pianos, each with their own history and voice. Of course I couldn’t consider the blond Yamaha baby grand that Charles was selling for Michael Caine’s wife Shakira. There were a couple that I could manage though. Barely. But there was no contest. It was the U1 for me. Bright and rambunctious, it sounded as if none of the hammers had been touched since they emerged from the factory. Eventually I mellowed, and it has mellowed with me, but my tuners still go easier on the needle than they really want to. It was the first thing I bought with the first little bit of money I ever had in my life—ironically money I had made building a theme park not that far from Hamamatsu. I was moved to write this because for me, that tuning was an affirmation of the new year and a promise to myself to spend less time on screens and more time on my analog values. I love the technological revolution, I love gadgets and electric cars and the 18 new solar panels on my roof that Jim is wiring in right now as I type. But this year, I am already spending more time in my high, bouncy concrete music room with the super-reflective glass ceiling ricocheting my too-bright Yamaha tones all around me. And I think maybe, just maybe, some new voicing, and an acoustic panel. I’m looking for just little more nuance and a little more peace for my 2019. And let it begin with me. My best to all of you and yours.

FOLLOW US @SVC_Online CONTENT VP/Content Creation Anthony Savona Content Director Cynthia Wisehart, Contributors Bennett Liles Managing Design Director Nicole Cobban Design Director Walter Makarucha, Jr. Production Manager Beatrice Weir ADVERTISING SALES VP/Market Expert, AV/Consumer Electronics, Education & Pro Audio Adam Goldstein,, 212-378-0465 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.mysvcmag. com and click on About Us, email futureplc@, call 888-266-5828, or write P.O. Box 8608, Lowell, MA 01853. ARCHIVES This magazine is available for research and retrieval of select archived articles from leading electronic database and search services, including ProQuest. Back issues are available. For more information, contact www.proquest. com REPRINTS/PERMISSIONS This magazine may not be reproduced or quoted in whole or in part by printed or electronic means without written permission from Future US, Inc. To obtain permissions, contact Wright’s Media, 877-652-5295. MANAGEMENT Managing Director/Senior Vice President Christine Shaw Chief Revenue Officer Luke Edson Chief Content Officer Joe Territo Chief Marketing Officer Wendy Lissau Head of Production US & UK Mark Constance FUTURE PLC 11 West 42nd Street, 15th Floor, New York, NY 10036

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Chief executive Zillah Byng-Thorne Non-executive chairman Peter Allen Chief financial officer Penny Ladkin-Brand Tel +44 (0)1225 442 244


VISUAL STORYTELLING Under the leadership of Senior Pastor Dr. Tony Evans, Oak Cliff Bible Fellowship in Dallas, Texas, is dedicated to demonstrating the power of life-changing discipleship. With a Worship Center that accommodates a congregation of over 10,000 members, a total redesign and upgrade of the church’s multi-media integration system was necessary to enhance and maximize the worship experience for both the church and Dr. Evans’ national radio and television broadcast ministry. As they wanted to renovate the technical design behind their worship services, the church worked with the AVL integration specialists at Clair Solutions who installed two FLEXTour 3.9mm LED video walls from PixelFLEX, as well as the projections design and system installation for lighting and audio. “On the video side, they had been using two 16-foot wide, 4:3 Standard Definition, rear projection systems in the sanctuary.” Says Seth Morth, Engineering Manager, Clair Solutions. “Since they had already been through several iterations of projecfrom the wire tion equipment, we went in and modFor more case studies, visit ernized almost every facet of their



AVL technology including the installation of two 21x12-foot FLEXTour LED video walls.” A high-definition and curve-able LED video display, FLEXTour is designed specifically for the rigorous demands of live entertainment productions. With its unique rigging capabilities that allow for traditional and off-set configurations, each 500mmx500mm tile is fully front-serviceable and its integrated climbing ladder allows for quick access to displays flown high overhead. Built with components including the new NovaStar A8s receiving card, FLEXTour is completely flicker-free. Morth continued, “From a worship standpoint, they wanted to make it easier for technology to tell their story without changing the architecture of the space and making it unfamiliar to their congregation. Since they have worked closely with Dr. Evans’ national broadcast ministry for a number of years, video is very important to them. They did go back and forth a bit on whether to use another projection system, but in the end, we decided on an LED video solution with many more live switching capabilities to create a new experience for their congregation.

“When doing live IMAG, we always strive for as little latency as possible, and it’s about who can give us a raster that is pixel-for-pixel for what is coming out of any camera switcher,” admitted Morth. “It’s not really about background graphics, but more about making sure the video is fast to reduce lip-sync between what the audience sees on video and what they hear. “For the install, we used the PixelFLEX rigging headers to clamp to a 1.5-inch pipe that is dead hung from the ceiling,” explained Morth. “We were easily able to hang the weight of the LED video walls from above, and from a service standpoint, it also allows us to get a little bit further off the wall just in case we need to get behind the system for any reason.” Utilizing an experienced technical crew, the LED video walls became a part of a stateof-the-art production facility. “For the services, they are using a total of six cameras with a Ross Ultrix Router, two Ross Carbonite Switchers, and a Clear-Com IP-based intercom system. They now have a very advanced video broadcast production system, with two rows of control and a monitor wall for visibility into their signal path at any point for all content.”


BIG BOUNCE Completed in 1915, St. Paul, Minnesota’s massive Cathedral of St. Paul is the country’s largest church outside of New York and Washington, D.C. Its Saint Cloud granite exterior walls are matched in grandeur by the American Travertine marble coating the 3,000-capacity interior, which reaches 175 feet up to a dome nearly 100 feet in diameter. It’s a big, reverberant space. “If you took the Statue of Liberty off its pedestal and set it in here, it would fit under the dome,” observes Randy Keeley of St. Paul AV systems integrator Metro Sound & Lighting. “And everything within this space is very reflective: Travertine marble all over the walls and floors, hardwood pews, different angles, glass-you’ve got sound literally going everywhere.” These are from the wire not friendly acoustics for any kind of For more case studies, visit amplified sound, yet a sound system is



the only way every worshipper can hear what is being said and sung. “In the more than 40 years since Metro Sound’s founding, we have performed installations in numerous churches and spaces with tough acoustics, so we understood the nature of the challenge,” Keeley explains. Keeley’s solution was a left/right system of two RenkusHeinz ICONYX Gen5 IC32-RN digitally steerable line arrays, which enabled him to keep sound off the walls and on the congregation. To preserve the cathedral’s aesthetics, the loudspeakers were color-matched to the marble. Every IC32-RN houses 32 purpose-designed, 4-inch coaxial transducers, each with its own amplifier and DSP channel. Each coax transducer is paired with an “array within an array” of three tweeters, an arrangement that reduces the distance between high-frequency sources,

yielding consistent, broad horizontal dispersion and greatly improved high-frequency performance. Under software control, powerful onboard DSP can form, shape, and aim sound in up to 16 separate beams from a single IC32-RN. With a typical throw of 270 feet, the IC32-RN easily fills the 216 foot-wide cathedral. “With Renkus-Heinz ICONYX, we can steer beams vertically to keep them in the listener areas and try to prevent energizing any more of the space than we need to,” Keeley explains. The Cathedral of St. Paul is only the latest successful ICONYX installation by Keeley and Metro Sound, who have also put the IC32RN in other Minnesota sanctuaries with challenging acoustics, including the Church of St. Charles Borrowmeo in St. Anthony and Church of St. Agnes in St. Paul.


SANCTUARY SOUND Alpha Sound of Salem, Oregon recently installed a NEXO M6 line array and Yamaha QL5 Digital Audio Console into the Valley Life Center in Dallas, Oregon. “The 400-seat, intergenerational congregation sanctuary previously had a mono center cluster of horns enclosed in a fabric cloud and a simple analog console with a few wedges for monitors,” states Devin Sheets, head engineer at Alpha Sound. “We have had so much success with the Yamaha and NEXO brand, we simply bring prospective clients into spaces where we have installed these systems or let them hear demos in their own spaces,” states Duane Sheets, President of Alpha Sound. “We have a pretty unique way that we like to tune and calibrate the Yamaha and NEXO systems for house-ofworship applications, and the sound of it sells itself.” Head engineer, Devin Sheets, said that the sonic demands of modern worship styles and the need for consistent and ergonomic functionality drove the from the wire decision for the Valley Life Center For more case studies, visit to purchase the Yamaha and NEXO



systems. “The very first Sunday on the new Yamaha QL5, with no previous rehearsal, we had 32 inputs and 15 monitor channels (12 IEMs via the Monitor Mix App) up and running within satisfaction in under an hour.” People of all ages and technical skill levels can easily download the Yamaha intuitive Monitor Mix App on their phones, and within minutes receive the exact monitor mix that they need to hear. “For Valley Life Center, Sheets continues, “this freed up the personnel at front of house to concentrate entirely on the house mix.” A Yamaha Tio digital I/O stage box was also installed. “The ability to digitally save Alpha Sound’s settings on the mixer and start from that week to week is wonderful,” states Roger Shinn, Tech Director at the church. “Also, having everyone on stage both young and old adjusting their own monitor mixes through their phones has been a major relief. After all, who doesn’t like their own mix? We hardly get any complaints now! And the system sounds beautiful and makes mixing very easy and enjoyable. I especially appreciate Alpha’s team investing

so much time with us doing one-on-one training until we could fly on our own.” The NEXO M6 line arrays cover the 180-degree room with added localization from ultra low profile outfills. Along with the subwoofers, the speaker system naturally delivers a “modern” sound that is fitting for contemporary worship styles. The M6 line array configuration consists of six per side, one per side of NEXO LS18 subwoofer, one per side NEXO ID24 speakers used for outfills, and two NEXO NX4x1 Mk2 amplifiers. “Many people can hear the instruments and voices for the first time, and the younger crowd really loves the new depth of sound,” states Chris Barker, Head Pastor. “Because it all sounds so smooth, we really aren’t getting complaints about the volume even though it is actually a lot louder than ever before.” The Alpha Sound team said they really enjoy working with churches. “It is really great seeing worship team members who are sometimes also a good half-century apart in age getting along so well with the new technology and many benefits.”



The critical point at which operators interface with signal routing gear AJA Video is one that has seen a quantum leap Systems Kumo 3232-12g in features and capabilities while the manufacturers have been creative in their approach to maintaining user friendliness. Getting signals from one device to another is basic and when there is transport trouble it’s a sure-fire show stopper. Take operator ease and add multi-format compatibility along with digital video extension and you have the solid foundation that many of today’s switching and routing tools have built-in.

MultiTasker can be custom suited to the facility and it can leave room for any needed expansion or change in formats. In its card slots can be placed the MT312-104 control card, the MT305-804 8×4 HDMI Matrix Switcher, the MT315-101 HDMI Over Anywire Transmit Card, the MT315-102 HDMI Over Anywire Receive Card, the MT317-101 HDMI Over Fiber Optic Transmit Card, the MT317-102 HDMI Over Fiber Optic Receive Card, and the MT310-104 16×16 Stereo Audio Matrix Switcher in any combination. Combining switching, scaling and distance transport into a single kit that includes both a transmitter and receiver, the CTC-1402 Conferencing Connectivity and Transport Kit from AMX also features USB 2.0 peripheral switching. These features make it perfect for conference rooms where USB microphones and cameras are shared between attendee laptops and the room devices. The front panel includes a tri-color LED status indicator and input selection buttons along with active input LED lights and relay controls. Analog Way designed the Ascender AMX CTC48 - 4K - PL around their LiveCore 1402TX

The ANI-88HDRH 8x8 HDMI 6G Matrix from A-Neuvideo connects up to 8 sources and displays with full support for 6G resolutions up to and including 4K@60Hz. Its capabilities include selecting between built-in default EDID and data copied from connected sink Altinex devices, as well as using a configuDigital rable EDID. Active extenders can be MultiTasker Up to powered from the switcher’s 8 USB eight salvos ports. The built-in OSD can display can be stored and recalled, user editable general information text and the unit can be remotely operated through each of which is setup with predefined sources to specific destinations. Optional control panRS-232, Telnet, WebGUI and IR. AJA Video Systems put the routing power els, the KUMO CP2 and KUMO CP, can be of a larger unit into a compact 2 rack space used in standalone or networked configuradevice with the Kumo 3232-12G router. Sup- tions. There is also a redundant power supporting 12G-SDI/6G-SDI/3G-SDI/1.5G-SDI, ply option and a USB port for IP address the unit is controllable through an embedded configuration. Accurately named, the Altinex Digital web server, via serial commands or locally.




Analog Way Ascender 48

Aurora Multimedia DXM-884-G4

Atlona ATOpus-810M

The Aurora MultimeBlack Box I/O is configurable through any dia 4th Generation Digital AVS1600 combination of the four input and four Xtreme Series DXM-884-G4 output cards, each of which has four is a modular card-based 4K60 4:4:4 selectable digital and analog channels matrix switch with the versatility to be including HDMI, HDBaseT, DVI-D, DVI-I, configured to suit a wide variety of switching applications. The hot-swappable I/O cards VGA, composite, component and S-Video. One of three Blackmagic Design models are compatible with HDMI, HDBaseT and SDI formats and four of the slots can be either of multi viewers that show independent SDI inputs or outputs. Control options include the video sources on a single HD or Ultra HD disfront panel 5in. touch screen, Web server, play, the MultiView 16 uses router style conRS232 and LAN. Features include advanced trols, an LCD and menu spin knob on the front panel. With these, overlays can be added and EDID, HDCP, and data handling capabilities. Another highly customizable design, the the layout can be set at 2x2, 3x3 or a 4x4 grid Black Box AVS1600 modular video matrix with any single source available full-screen. switcher, can seamlessly switch 16 sources There is full frame resynchronization on all to 16 displays using built-in scaling and for- SDI inputs so that each input is fully indepenmat conversion. Sound and 4K video can be dent. The unit’s appearance is suitable for a extended up to 230ft. with HDBaseT and the control room setting and it is rugged enough

platform as a multi-screen seamless switcher with 12 inputs and 48 input plugs, independent preview/mosaic/monitoring output and full live preview of all sources. The monitoring layout can be customized and stored in 8 separate templates. Inputs include 6 HDMI, 9 DVI-I, 3 DisplayPort, 12 3G/HD/SD-SDI and 12 universal analog connections. There are universal analog, DVI-I, and 3G/HD/SDSDI along with a Video Optical SFP module cage. This is a rugged rack mount unit with an intuitive user interface and an advanced cooling system. Featuring HDBaseT outputs for transmission of HDMI, Ethernet pass through, bidirectional IR and RS-232 control signals up to 330 feet, the new Opus line of HDMI-to-HDBaseT matrix switchers Blackmagic from Atlona are suited for residential Design or light commercial applications. The MultiView 16 AT-Opus-46M (4x6), AT-Opus-68M and the AT-Opus-810M (8x10) made their debut at the Cedia Expo 2018. These switchers are HDCP 2.2-compliant and support 4K/ UHD video at 60Hz with 4:4:4 Chroma sampling, as well as HDMI data rates up to 18 Gbps. All three models provide A-Neuvideo routing to HDBaseT outputs plus two ANI-88HDRH additional HDMI outputs.

SV C ON L I N E.C OM | JA N UA RY 20 1 9 | S VC 17


Clearone CONVERGE MATRIX DVIGear DisplayNet DNS-100 Server Crestron DMMD64X64

for the road. The ClearOne CONVERGE MATRIX mixer and router uses Dante audio-over-IP networking to handle up to 512 x 512 audio channels. The smaller models of the mixer are all field-upgradable with expansion cards. With full matrix and filtered matrix views, groups and zones can be configured. It is compatible with all ClearOne CONVERGE units and it works with any 3rd party Dante products. There are primary and secondary network ports on rear panel Gigabit EtherExtron net RJ45 connectors. Quantum For the larger signal routing instalUltra 610 lations Crestron has the DM-MD64x64 Consisting of multiple transmitDigitalMedia switcher with lossless HD ter and receiver endpoints, a 10GbE signal distribution over CAT type twisted pair copper or fiber optic cable. Capable of network switch and a DisplayNet Server, the handling SD, HD, UHD, 2K, 4K, and com- DisplayNet system can be used for routing, puter signals, the system offers advanced matrix switching, multiviewing and signal HDCP support, USB signal routing, an inte- extension. The number of endpoints in a Disgrated Ethernet switch, CEC signal manage- playNet system is only limited by the numment along with its wide variety of input and ber of available 10GbE switch ports, and any output signal formats. For additional reliabil- switch port can be assigned to a Tx or Rx unit. ity it also features hot-swappable redundant The DisplayNet server (DNS-100 or DNS200), a 1RU fanless rackmount PC running power supplies.

Windows 10 Professional, is used to control and manage the system. Extron has recently introduced its new Quantum Ultra 4K Videowall Processor with HyperLane Bus as a scalable 4K/60 videowall processor. The system’s HyperLane video bus has a total throughput of 400 Gbps to accommodate the bandwidth needs of windowing simultaneous HD and 4K sources. It can manage 4K video as a single, dual, or quad-path signal, for flexibility when working with 4K sources, peripherals, and displays. The Quantum Ultra allows seamless cut and fade through black transition effects and it can store image file types, including JPEG, PNG, and bitmaps for use as backgrounds. The FSR DV-MFSS-71 is a 1RU rack mount 7x1 multi-format switcher that includes 4 HDMI, 1 DisplayPort, 1 DVI-I, and 1 VGA/ RGB/YPbPr input and 1 HDMI output supporting resolutions up to 4k x 2k 30hz. Each video input has a corresponding audio input on a captive screw terminal. The unit can be controlled on the front panel, via RS-232, or IP via the integrated GUI Control. Suitable





KanexPro MXHDBT8X818G

for video walls, digital signage, auditoriums, conference rooms and broadcast control, the DV-MFSS-71 is versatile. Each of the inputs is scaled to match the output resolution and switching between them is glitch-free and instantaneous. For displaying four HD sources on one 4K Ultra HD display the EXT-UHD600AMVSL-41 4K 600 MHz 4x1 Multiview Seam-


less Switcher from Gefen can show one source on the whole display or individually scale and position the source images as needed. Audio from any of the four HDMI sources can be selected via IR, RS-232, or IP, for playback through the HDMI output and the L/R analog audio output. Commonly used display arrangements are stored as factory presets recallable on the front panel buttons, on-

Hall Research HSM-88-4K


IHSE Draco



screen interface, or the web server interface. With support for HDMI resolutions up to 4K@30Hz and 4K@60 Hz, the Hall Research HSM-88-4K matrix can save and recall multiple 8x8 routing configuration PRESETs and the two-line character LCD on its front panel displays the current video routing setup. Its EDID management allows a selectable EDID for each input from a list of 15 internal configurations or the use of EDID from any monitor connected to the outputs. The switcher is controllable through RS232, IR or the front panel buttons. It includes rack brackets and a 12VDC/2.5A power supply. The IDK FDX-32UHD accepts any combination of available HDMI, DVI or HDBaseT input/output boards. Input and output boards are available in 4-input, 4-output, providing various I/O size combinations with sizes from 4×4 to 32×32. The system can input/output HDCP protected contents such as Blu-ray, and it can support DVI signals by using HDMI to DVI connector conversion cables. The unit can be externally controlled through RS232 and Ethernet. Digital video and analog audio can be switched separately using the optional MAU-3232 audio matrix switcher. IHSE’s Draco Compact XV 16x8 Fiber Matrix system for Dual Head display workstations is designed to meet the extreme bandwidth requirements for sharing multiple UHD and DCI Cinema video signals in the same switch fabric. It is a fixed size KVM system supporting up to 16 Dual Head 4K computers and 8 Dual Head 4K monitors at resolutions up to 4096x2160 60fps, and 4:4:4 color sampling on each display. The system can be configured using the on-screen display (OSD) or through the included Draco tera tool software for configuration and real-time diagnostics.


Liberty AV Solutions DLS41-H2

Lightware USA MMX8x4HT420M

Opticis OMM-1000 Marshall VMV-402-SH The KanexPro 6x6 Matrix is an HDMI 2.0 to HDBaseT switcher that provides 4K/60Hz video with Dolby Vision and HDR 10 along with multi-channel digital audio from six HDMI sources to four HDBaseT outputs and two HDMI 2.0 outputs. The HDBaPesa Cougar seT outputs allow transmission via 32x32 a single CAT5e/6/7 cable up to 230 ft. audio sources that with PoC (power over cable) and the indeoutput to embedded audio, balpendent HDMI outputs support cables up to 33 ft. The switcher features an independent anced stereo audio as well as a power ampli18x12 digital audio matrix. Control options fier output. The unit can also provide power include the front panel, IR, RS-232, Telnet to auxiliary room controllers via the KNET and Web GUI or any 3rd party control system. connectors. With the capability to manually or autoThe all-in-one presentation system with matrix switching, room control, PoE and matically switch between up to four HDMI power amplification from Kramer Electronics sources, the Digitalinx DL-S41-H2 from Libis the VS-88UT. 8x8 switching for resolutions erty AV Solutions has an HDMI output along up to 4K@60Hz (4:2:0) can be controlled with a de-embedded analog audio output. Feathrough RS232, RS485, IR, GPI/O, and relay turing front panel, IR and RS232 control, the ports. Audio support includes balanced/ switcher supports EDID management, CEC unbalanced stereo audio and de−embedded pass through control of source/display and it handles video resolutions up to 4k@60Hz, 4:4:4 with 8 bit deep color. The unit is only a half-inch tall and includes a Micro USB Firmware update port. Among Lightware’s Kramer switching solutions is Electronics the MMX8x4-HT420M, VS-88UT a standalone 8x4 matrix system designed for conference rooms. Its four HDMI and four TPS inputs are routed to



two HDMI and two TPS outputs with 3D and HDCP support. The system extends DVI or HDMI 1.4, Ethernet, RS232 and IR over one CAT5/6/7 cable. It also has a built-in microphone preamplifier and sound mixer, audio embedding and de-embedding, PoE power injector and an Event Manager automation feature. The rack mounted unit has front to back cooling airflow. For small footprint switching, Marshall offers the VMV-402-SH, a quad viewer/ switcher that shows four SDI video signals with independent audio meters. Pre-programmed with five default quad-view layouts, the unit is for presentation and control room environments and its embedded processor converts signals from input sources to match the native resolution of monitors, flat panel displays and projectors, with user-selectable output settings up to 4K2K 60HZ (HDMI output). Control options include USB, IR, and Ethernet. The Opticis OMM-1000 can use general PC software like Hyperlink terminal, telnet or a web browser to switch up to 16 DVI, HDMI, SDI or DisplayPort sources to 16 different digital displays. Configuration is done with four input/output cards and each has four separate ports for input and output. The rackmount unit is controlled with front panel assignment buttons or command line entries.


PureLink Media Axis MAX_216

Remote operation is done through RS232 or Ethernet. There is an embedded video signal generator and diagnostic function to assist in installation and setup. Pesa has the Cougar 3 digital routing switcher that supports redundant power and control, networking and the option for either a local or remote control panel. A 32x32 configuration, the system has re-clockers on each output to allow signals to be re-generated at the appropriate data rate for SMPTE compliant SDI-SDI, HD-SDI, or 3G-SDI. Each Cougar 3 includes the CATTRAX control software which allows setup of physical X/Y pushbutton control panels, custom on-screen user panels, or routing capabilities directly from a PC desktop. The MAX-216 is a completely modular, cross-platform matrix switcher from PureLink designed for large plant operations supporting HDMI 2.0, 12G-SDI, and 4K/60 4:4:4 via native and IP architectures in any combination required. The system features hot-swappable, field upgradable I/O cards, MCU, cooling modules, and power supplies. The unit’s AirLift cooling system provides lateral air flow/direct cooling powered by modular blade units, each composed of eight fans. Its iAxis option has a detachable, front panel tablet control for wireless/mobile command of the Media Axis’ matrix and IP switching capabilities from anywhere. Media Axis is available with configurations from

Rose Electronics UltraMatrix AV-HDMI 16x16

SV CO N L IN E .C O M | JA NUA RY 2 019 | SVC 23

20x20 to 216x216. Small to mid-size switching operations can effectively use the Rose Electronics UltraMatrix AV HD 16x16 HDMI matrix switcher

to reliably route HD video among all sources and displays. Handling video resolution up to 1920x1200, the unit allows flexible front panel operation. It can also be controlled by RS232






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using a PC Windows based software, through a web browser (on some models), optional IR remote, or optional TCP/IP controller. Repetitive switching sequences can be recorded and saved in any of 50 macros for playback at any time. Tekvox TekFlex 32 Now power-over-cable (POC) enabled, the Binary matrix line of switchers from SnapAV include Ethernet, RS-232 control, and IR controlled routing. Each uses a single Cat5e/6 cable to transmit HDMI signals and bidirectional IR up to 230 ft. As with the other models, the B-520-MTRX-230-8x8 has on each output an HDMI terminal for local display and an HDBaseT output to use with a receiver for the long distance video. EDID settings can be configured using the included remote control or convenient PC configuration utility. Three EDID modes are provided for ultimate flexibility - Auto, Embedded and Learning. tvONE MXThe TechLogix Networx TL-6X1-HDV 6588 can manage connections by up to six different users. The system automatically senses is manual switching through RS232 and when someone plugs in and makes their device live to the display. Newer devices with front panel controls. Tekvox designed the TekFlex 32 Matrix HDMI can connect right beside older VGA sources. Secondary audio-video inputs, such Switcher to be customizable for the specific as BluRay players, dedicated computers, and application through selection of the types cable boxes can also be used. There are four of input and output units slid into the mainHDMI and two VGA inputs whose signals can frame slots. The frame has a total of 24 card be scaled up to WUXGA and output through slots with flexible input/output combinations HDMI. In addition to the auto-sensing, there and 8 fixed output card slots. These may be

SnapAV Binary B-520MTRX230-8x8

HDMI, DVI, SDI, VGA or HDBaseT and they are automatically recognized by the system. Also featured are EDID management and a web based GUI. All outputs have adjustable output resolution and are controllable via front panel buttons, IR, RS232 & TCP/IP. Designed to allow the distribution of HDMI 2.0a (with HDCP) sources to multiple display devices independently or all at the same time, the TVOne MX-6588 4K HDR, HDMI 2.0 matrix switcher is controlled through the front panel, infrared remote control or the TVOne control software, MX-tools. 3D signals are also supported. Sound supports 7.1 audio capability including DTS-HD and Dolby TrueHD. Once the system is installed up to 16 signal routing presets can be saved and all this functionality is packed into a single RU rack size unit. TechLogix Networx 6X1HDV




Wyrestorm MX-1616HDBT-H2X

For high-density SDI coupled with the ability to create high-density IP signals from the same central frame, Utah Scientific has developed their new 400 Series 3 hybrid IP/SDI platform for handling both IP and SDI for all 288 inputs and outputs and a variety of audio formats. From standard definition and analog signals all the way up to 3G and HD resolutions, the Utah Scientific 400 Series 3 can handle both SMPTE

ST-2022 as well as the new SMPTE ST-2110. The Wyrestorm MX-1616-HDBT-H2X is an HDBaseT switcher that includes a 48x16 audio matrix and DSP. To each of the 16 video zones can be sent 10-bit HDR, control, Ethernet and PoH up to 230ft. The unit provides two EDID management systems—SmartEDID and AVR Priority Mode—and these constantly monitor source routing. Operating independently of

Utah Scientific 400-Series-3SM

the video system, the audio matrix uses audio de-embedded from the video sources, separate audio devices via S/PDIF and ARC or optical audio return from HDBaseT zones.


4K/8K PROJECTION By Cynthia Wisehart

Projectors continue to hold their own, as display options expand and diversify. We’ve only scratched the surface with 8K—starting with DP’s INSIGHT laser, which we saw at InfoComm. Last month, Japan’s NHK debuted its 8K broadcasting (even Barco FL40 though content continues to lag, with 8K content even scarcer than 4K) and Sharp showed off their 8K monitor to acclaim all year. So 8K, technically, is here, with or without anything to play on it. Still, there is more to high-resolution display than entertainment and signage. Simulation and real-time imaging will clearly grow, and for museum and theme park markets people are no doubt incorporating it into current attraction designs. In the meantime, back on earth, new laser 4K projectors have hit the market, challenging benchmarks on size, weight, price and performance for their respective categories. Ease of installation has increased for many options, either through weight reduction, new chassis designs, more orientation options, and/or supporting calibration software. As a bonus, industrial design on some of the newest projectors has raised the bar. In mid-November, Barco debuted the latest Barco Pulse low latency projection system, the 100% solid-state LED FL40. With no moving parts, the FL40 is designed from the ground up for the simulation environment’s rigorous training requirements; the sister FS40 supports night vision gogCanon

REALiS 4K6020Z/ 4K 5020Z



gle (NVG) training with IR LED and offers dual input capability at 120Hz. Combining HLD and LED illumination technology with a DLP light engine, the FL40 promises excellent brightness and color fidelity, combined with extreme lifetime and maintenance-free 50,000 hours. Thanks to the Constant Light Output (CLO) functionality, it claims complete predictability in linear brightness performance over the life of the projector. The true solid state nature of the FL40 (with no moving parts inside), combined with the built-in rug-

gedness, makes the projector very suited for motion platform operation. The FL40 is built on the proprietary Barco Pulse software platform. This powerful and flexible architecture allows for advanced low-latency processing operations designed to take place in just one single step. Also in mid-November Canon U.S.A. claimed “the world’s smallest and lightest native 4K LCOS projectors in their class” with the introduction of the REALiS 4K6020Z and 4K5020Z (as well as a new 4K zoom lens). Both new projectors measure 18.8in (W) x 7.1in (H) x 21.4in (D) and weigh just 41.8 pounds, which the company compared as “less than half the weight of competing Native 4K laser projectors.” Canon is also adding to the company’s lineup of RS projector lenses with the introduction of the RS-SL07RST 4K Standard Zoom Lens. The RS-SL07RST projec-

AV and Control over IP TECH SHOWCASE

tor lens is the seventh in the lineup; all seven RS projector lenses are compatible with the two new projectors. The new 4K6020Z and 4K5020Z Native 4K Laser LCOS Projectors are pitched at a variety of applications, including art galleries, museums, schools and medical institutions. They are also suitable for product design and simulation use where both high-quality imaging and accurate color reproduction are a must. Both projectors feature LCOS panels and Canon’s proprietary AISYS optical system that helps to deliver 6000 and 5000 lumens respectively. This technology, when combined with true Native 4K (4096x2160) resolution, helps both projectors to produce a cleaner and more robust image with virtually no grid lines. Contrast is 22,000:1 achieved by the combination of an image engine that analyzes the contrast of each frame and a doubledoor type shutter system which allows the iris to operate fast-tracking scenes instantly and reducing light leaks. The laser-light source

supports up to 20,000 hours of operation in typical use or up to 40,000 hours in Canon’s Long Duration Mode. Start up clocks in as little as two seconds while in Fast Boot mode. In addition, users are able to create presets to be set up to their specific preferences and needs. HDR support (including HDR10 and Hybrid Log-Gamma) in both expands colorgamut range but also the overall brightness. Compatible with seven optional genuine Canon interchangeable lenses for a wide variety of applications, including Canon’s new RS-SL07RST 4K Standard Zoom Lens, this lens can project images up to 600 inches and can even project onto curved surfaces—maintaining focus in the center of the image when peripheral focus has been adjusted. With 4K UHD resolution and Christie BoldColor technology, the Christie 4K10-HS and HK710-HS 1DLP laser projectors are also equipped with Christie’s unique Twist warping and blending software. This, and their compact size, quiet performance, and

On the LED front, Sony anchored their NAB and InfoComm booths with the eye-popping 8K x 4K Crystal LED System, playing footage shot with the UHC-8300, Sony’s first 8K System Camera. Also new in 4K LED, the Leyard DirectLight X LED Video Wall System is the next generation of that award-winning family. The X adds increased video processing and management capabilities. Significantly, it is the first LED video wall system to integrate a remote power supply and advanced processing directly into the product. It supports 4K video standards, signal extension, multi-source processing, system monitoring and modern web-based graphical control software. DirectLight X reduces dependence on external processing systems while making the video wall easier to operate and monitor. A new Leyard WallDirector software simplifies installation monitoring and management. It also incorporates Leyard WallSync, providing precisely synchronized video playback and genlock across the video wall. Available in 0.7, 0.9, 1.2, 1.5, 1.8 and 2.5 millimeter pixel pitches. It features a 27-inch cabinet with a 16:9 aspect ratio, and comes with the Leyard Remote Power Supply, a redundant and hot swappable power supply that eliminates heat, weight and points of failure from the video wall.










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Christie 4K10-HS and 4K7-HS

Digital Projection INSIGHT LASER 8K

Epson Pro L1755UNL with 4K Enhancement omnidirectional capability makes them flexible for a wide range of business, public, education, and entertainment venues. The BoldColor Technology uses blue and red



laser diodes with what Christie describes as a patented optical chamber, and supporting software to saturate color. The projector supports 4K60 video over a single HDMI or Dis-

play Port cable; an integrated camera assists with setup and alignment, and delivers auto zoom and focus. Both models are compatible with two new 4K specific lenses and both feature two expandable option slots, SDVoE connectivity for video over IP and option of using the Christie Terra products. Digital Projection made waves when it brought an 8K laser projector to InfoComm 18. The DP 25,000 lumen INSIGHT LASER 8K projector, developed in collaboration with Delta Electronics, produces a precise 33 million pixel resolution with deep black levels and a broad color gamut. A capable selection of zoom lenses, providing extensive lens shift, ensures integrators installing the INSIGHT LASER 8K will have complete flexibility with respect to projector placement in both portrait and landscape. With a 7680 x 4320 resolution and 25,000 ANSI lumens, it incorporates DP’s new 3x1.38” DarkChip DMD and ColorMax and proprietary Smear Reduction Technology. A companion controller software is ideal for use in large installations or where projectors are in multiple locations in a building; the software can dramatically reduce the time required for setup and configuration from a single network-enabled PC. The Epson Pro L1755UNL WUXGA 3LCD Laser Projector with 4K Enhancement has received several awards for its various iterations, in part because it can deliver 15,000 lumens of color/white brightness from 120V in a compact form factor. And it’s pretty. Now, with the 4K enhancement, the native WUXGA resolution gets Epson’s 4K Enhancement Technology. Built-in Edge Blending and 3G-SDI and HDBaseT are among the integration-friendly features. Nine optional powered lenses are sold separately. Making entry-level, 4K-ready accessible, NEC updated two popular laser/LCD projector models with last month’s launch of the P525WL and P525UL. The P525WL replaces NEC’s P502WL-2, and the P525UL replaces NEC’s P502HL-2. For each new model, the imaging unit has been changed from DLP to LCD technology with 5200 center lumens. These 4K-ready projectors support UHD signals, while WXGA and WUXGA native resolutions produce high-definition images.


Installation series features including manual horizontal and vertical lens shift, 1.6x zoom lens and HDBaseT input. Quick start-up and shut-down ease operations for users, and the projectors claim quiet operation. Both models offer advanced networking capability and improved wireless collaboration capabilNEC P525WL/ ity. They feature Dual HDMI for seamP525 UL less switching between Blu-ray, computer or other digital sources; USB with 2.0A support for powering third-party devices; LAN port for network control and asset management; and Optional Wireless Module house of worship environments. The Optoma (NP05LM1) with MultiPresenter capability 4K550 and 4K550ST are the latest additions for up to 16 simultaneous connections. They to Optoma’s line of 4K UHD projectors, and will begin shipping this month at a minimum combine advancements in 4K technology advertised price of $2,299 (P525WL) and with flexible installation and ease-of-use features. Powered by Texas Instruments DLP $3,099 (P525UL). Optoma has debuted two new 4K UHD chipset with XPR technology, the Optoma projectors designed for detail and color 4K550 (5K lumens) and 4K550ST (4500 performance in professional, corporate and lumens) offer 3840 x 2160 4K UHD reso-

IFP AV Tech Ad.pdf 1 12/11/2018 9:45:37 AM

lution and display 8.3-million addressable pixels on-screen. Both projectors are HDR10 and REC.2020 compatible for color precision and include vertical lens shift and 12v trigger for installation flexibility. With a short throw ratio of 0.78:1, the Optoma 4K550ST can display 100-inch images from a few inches away, with the integrated 1.6x optical zoom. The projectors are also 3D ready with

Connect to an interactive world. Introducing Optoma Creative Touch interactive flat panels.

Packed with useful annotation tools, Optoma Creative Touch interactive flat panels combine 4K UHD resolution and 20-point multi-touch capabilities to make interactive collaboration easy in classrooms, lecture halls, boardrooms and other shared spaces. Product features: • • • • • • •

4K UHD resolution Up to 20-point multi-touch capabilities Ready-to-use whiteboard and annotation tools Blue Light Filter, anti-glare glass and wide viewing angle Plug and play compatibility with Windows, Mac and Chrome OS devices BYOD collaboration—wireless content sharing via iMirror and ScreenShare Built-in Cloud Drive with easy access to Google Drive and Microsoft OneDrive

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Panasonic PT-RQ22KU

Optoma 4K550/4K550 ST

DLP Link compatibility and equipped with a variety of input and connectivity options, including HDMI, VGA, RS-232C and LAN, for easy integration and control with devices that require full support for Crestron, IP Link, AMX and PJ-Link protocols. The new Optoma 4K550 and 4K550ST projectors are available for purchase for an estimated street price of $4,499 and $5,499, respectively through authorized dealers. Panasonic has added the PT-RQ22KU 3-Chip DLP 4K+ SOLID SHINE laser projector to its 3-Chip DLP laser projector portfolio. This large-format family member claims 21,000 lumens of maximum brightness, a refresh rate of 240Hz and 20,000:1 contrast ratio in WUXGA or SXGA+ resolution. Panasonic claims 5K pixel performance with a quad pixel drive system on a WQXGA chipset. Compact size, flexible 360-degree installation, powered lens shift, and wide range of optional lenses pitches it for rental, staging and large venue installations. The projector can be mounted in any 360-degree configuration without picture distortion in temporary or permanent installation. Single LAN cable DIGITAL LINK connectivity simplifies installation, reduces cabling and associated costs, and enhances reliability. Maximizing performance at lower lumens the new Sony VPL-GTZ270 and VPLGTZ280 projectors are 5,000 lumen SXRD models with native 4K (4096x2160) resolution and play in large format applications. Both the new projectors can also operate in 4K 3D mode; both benefit from SXRD blacks. The 270 is positioned for entertainment use including planetariums, theme parks, museums, and retail; the 280 is ideal for the demands of It’s not a projector, but the Sharp Electronics 8K Ultra HD LCD 70” Display attracted a lot of awards this year since its debut at NAB and it serves as a reminder that there is still an image-quality frontier to be explored. Its compelling picture comes via confirmation to the 8K Ultra-HD standard (7680 x 4320) supported by HD (HLG/PQ) functionality (peak brightness of 1000 nits). Sharp’s Rich Color Technology and Mega Contrast support depth of color, blacks and contrast. It can display more than 1 billion pixels in 10-bit color space and can convert from 2K and 4K input sources, for flexibility on content. It works beyond broadcast for surveillance, post-production, medical and education.




simulation, visualization and training. The 270 claims an immersive reality viewing experience with image enhancement functions including “Reality Creation” upscaling and support for HDR. A wide color space covers the full DCI range and simulates the new ITU-R BT202 color gamut. The 280 uses high-speed motion functions and new highspeed 4K 120Hz signal processing for 4K3D 60Hz left eye/right eye. So expect reduced blur in fast motion scenes, in addition to smear and transport delay reduction. Infrared light output supports night vision simulation. Vibration resistance (as well as a new chassis on both models) means effective installation options are increased, including options for complete tilt angle free capabilities including clockwise or counterclockwise, portrait or landscape. The new chassis makes both more stacking-friendly. Both are quiet at under 35bB. These new projectors join the Sony

Sony VPLGTZ270/280

lineup that includes the VPL-GTZ1 model to provide a more versatile 4K laser light source

lineup, further evidence of the expansion of the 4K ecosystem.

Transform the ordinary.

The future is here. Laser projection from Optoma. Flexible, reliable and cost-efficient, laser projectors by Optoma are designed to deliver powerful punches: offering stunning colors and brightness, impressive image performance and the ultimate in flexibility for every installation. • Laser phosphor display technology • Up to 10,000 lumens • State-of-the-art picture and color performance • 20,000+ hours of maintenance-free operation • Ultra short throw and interchangeable lens options • Ideal for classrooms, boardrooms, museums, houses of worship & public displays

ZU1050 Learn more about Optoma’s robust laser lineup at UHZ65, ZU1050, ZU850, ZU750, ZU660, ZU510T, ZH510T, ZU500T, ZU500TST, ZH500T, ZW500T, ZH420UST, ZH400UST, ZW300UST, ZW300USTi

SV C ON L I N E.C OM | JA N UA RY 20 1 9 | S VC 31


Experts weigh in on demo tracks By Steve Harvey



f you visited the Amek booth in 1987 you might well have had the opportunity to mix a song or two from a multitrack tape copy of U2’s Joshua Tree album. The band had used an Amek desk to record at Danesmoate House in Dublin— indeed, I flew to Ireland to crate it up for its return journey to Manchester—and they generously allowed us to demo our gear using their tracks that year.


Ralf Zuleeg, head of Sales Services and Application Engineering (right) and Marcus Baeumler, head Of Product Management with the d&b Audiotecknik Soundscape

Although the record business has changed a great deal in the three decades since Joshua Tree was released, pro audio manufacturers are still sometimes able to get their hands on original recordings with which to show off their products. “It depends a little bit on the relationships we have with different musicians. I’ve got one track from Kraftwerk that we’re allowed to use: ‘Man-Machine.’ We’ve got the complete track, with video,” says Ralf Zuleeg, Sales Services and Application Engineering, d&b audiotechnik. Zuleeg toured with Kraftwerk in 2014 with an early version of what would become the d&b Soundscape immersive system—one of the more challenging demos to execute. It takes much more than a stereo CD to demonstrate Soundscape, of course, so d&b has commissioned some custom tracks, Zuleeg also reports. Those tracks are available for d&b’s partners to download. Speaking with several manufacturers, I discovered that, once upon a time, some companies had a recommended playlist for their sales staff and field engineers. “When I first started working for the company 28 years ago we had a list of CDs that we carried around that had a particular track for each one of the five products; it was a whole lot easier then,” recalls Bruce Hurst, Regional Sales Engineer, Bose Professional. Nowadays, says Hurst, “It’s harder and harder to get people on your team to use the same tracks for everything. We’re a little bit more independently minded than we used to be.” Of course, anyone can now carry a massive catalog of music on his or her smartphone.

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But, rule number one when demonstrating a speaker system—no MP3 files. “There have to be guidelines,” says Peter Chaiken, Director, Recording Solutions at Harman International, who stipulates WAV files with a minimum resolution of 44.1 kHz/16 bits, played through a USB interface out of a computer. You’d also better know where the WAV files came from, he says. “I’ve been in situations where I’ve played somebody’s WAV file and there’s something wrong. I’ll play that same song from my computer and hear something different; that WAV file was a copy of an MP3. So either you lift a track from a CD or get it from somebody you trust.” Almost any disc in any CD player is going to be better than an unknown file on a computer, Chaiken argues. But when playing out of a computer, also be aware of the conversion, he advises. Are you coming out of the headphone jack? Is any sort of DSP engaged?

“If you play a familiar song from the eighties or nineties and they start singing along, then you’ve lost them for the demo.” —Bruce Hurst, Bose “One of our guys ran across a playback device called DragonFly,” shares Hurst. Available from AudioQuest, the thumbdrivesize micro-DAC hooks into the USB or Lightning connector on any handheld or laptop to offer superior conversion when compared to the headphone output, and outperforms any computer soundcard, he says. “You want your tracks to sound as good as possible,” agrees John Schauer, Product Manager, Yamaha Corporation of America. “I also look for tracks that aren’t fresh in the minds of

the listeners. I want them to want to listen to something new and different.” Typically, the idea is to guide the listener through a demo, building to a climax, while pointing out the product’s attributes along the way. “We want to take you on a journey. I want you to want to listen, lean in and hear it,” says Schauer. “If you play a familiar song from the eighties or nineties and they start singing along, then you’ve lost them for the demo,” says Hurst. He will suggest that the listener takes notice of a particular musical aspect that highlights the product. “But if they already know the song then they’re not listening for that.” But while the demonstrator will cue the listener to certain musical elements that make the speakers shine—listen to what happens in the chorus; hear how the background vocals seem to come from beyond the speakers—tracks are rarely selected to show off only one facet of a

The “Freebird” of Pro Audio By Clive Young Years ago, I went to New York’s Beacon Theatre one morning to hear its new house system. Once there, we were faced with a quandary: what to listen to. The answer was to put on a song that’s become the “Freebird” of Pro Audio. A number of folks involved with the installation were there, including Tom Arrigoni, head audio engineer at Radio City Music Hall, and legendary FOH engineer Dave Natale (Rolling Stones, Tina Turner), who consulted on the project. We exchanged pleasantries and marveled at the 1920s opulence of the venue, but then we were faced with a quandary: what to actually listen to. “What’s the name of that Donald Fagan song that everybody plays? I guess you have to hear that,” joked Dave. “The Nightfly?” replied Tom “The album’s Nightfly, but what’s the name of the song?” “Oh, you mean ‘I.G.Y.’” “I.G.Y!” Dave laughed.“Listening wouldn’t be complete without it!” So “I.G.Y. (What A Beautiful World)” was called up on the laptop at FOH, and sure enough, the Beacon’s new system sounded excellent. Then, with the musical ice broken, people started adding their own favorites, and soon the playlist was ranging anywhere from power-pop bombast (Toy Matinee’s “Last Plane Out”) to sublime jazz (“I Remember Bill Evans” (excerpt) by David Benoit). The moment was amusing, but it’s kind of true: Everyone does play “I.G.Y.” It’s become the “Freebird” of pro audio—visit a linecheck at a major concert venue or a speaker demo at AES or InfoComm, and those familiar strains will turn up sooner or later. It’s a well-recorded song, to be sure, which is why it’s always used to illustrate a system’s “tight low end” or “crystal-clear mids” or, to be honest, any other detail they want to point out. However, the sheer pervasiveness of “I.G.Y.” within the pro-audio community as the track that you use to tune or show off your PA is remarkable. The distant second place song is, of all things, “Pulp Culture” from Thomas



Dolby’s obscure (but admittedly awesome) 1989 funk album, Aliens Ate My Buick. Bidding everyone adieu, I headed off to Long Island for my second assignment of the day—covering Roger Waters’ epic tour of Pink Floyd’s The Wall. On the train ride, I mused over the idea that a song from 1982 about 1957 would be considered the height of audio in 2010. Maybe its days in that lofty position are numbered—there’s plenty of engineers who feel the best way to tune a system is to use a live recording of the band that’s playing. With the advent of the Virtual Soundcheck feature on Avid Venue consoles and similar abilities on other desks, pulling that off is a lot easier than it used to be. Still, pseudo soundchecks ignore one crucial aspect of using a test song. While the whole point is to put on a piece of music that you know well so you can spot what’s wrong, deep down every engineer loves the chance to play something they love on what amounts to a massive stereo system. It reminded me of an interview I did in 2007 with Danny Leake, longtime FOH engineer for Stevie Wonder, where he revealed the surprising music he puts on to prep a system for an old fashioned, 1970s funk workout: I test the system out with the soundtrack of Silverado which has the big drums, but it’s got the French horns. If I play that on the Martin system and hear all the details, I’m good. A lot of systems don’t pass the Silverado test, but to me it’s not enough to just have it loud and banging, a big bass or whatever; I gotta have details. I like it, I know it well, but it’s not the only one I use, like ‘Only A Dream In Rio’ by James Taylor—I used to use that on rap shows. If I play that and James Taylor sounds like an alien, got a weird voice, then I know something’s wrong. I use ‘Angel’ by Sarah McLachlan for a lot of vocal stuff, too, but generally the grand test is Silverado. Eventually I got to Nassau Coliseum to cover The Wall, and began chatting with system engineer Bob Weibel. While we talked, FOH engineer/ Tour Manager Trip Khalaf fired up the system—and the first song he put on to tune the PA? Take a wild guess.

product. “The bottom line is, if you’ve got a track that shows off the high end of a speaker but doesn’t impress you in the low end then it’s not so useful,” says Chaiken. Whether you’re listening to an entry level or a premium speaker, he says, the same tracks should work if the speakers are built to the same philosophy. “The speaker should be neutral in the room and allow you to hear a lot of detail,” he says. Zuleeg agrees that a good sound system should be able to reproduce everything. “I’ve never thought about having a particular track just to show the capabilities of the system in terms of low frequency reproduction, or something like that,” he says. His demo typically starts out with stripped-down arrangements and builds from there. “We get much more complex with a fourpiece band, then a big band, where we’re able to move instruments around. We go to classical and show them what the reverb does to classical music. We usually end up with a track from Nigel Stanford called ‘Cymatics.’ We recently bought the rights. We deal with completely immersive sound, so everything is flying around,” says Zuleeg. Some Favorite Demo Tracks: Although he is not as involved in stereo demonstrations, Zuleeg lists some favorite artists for demo material, including Jennifer Warnes, Steely Dan and Tears For Fears. Those tend to be older tracks, to be sure. But as he says, “Quality never goes out of style. And I usually play a piece from Pink Floyd’s The Wall,” which is now 40 years old, or something from

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the Eagles’ Hell Freezes Over live comeback album. Beyond that, Zuleeg favors music by Robbie Robertson or Norway’s Kari Bremnes, he reports. “One of my favorite tracks to start off with

is a live a capella track from the Wailing Jennies, a Canadian group,” says Hurst. “They do a version of ‘Summertime’ on Live at the Mauch Chunk Opera House that’s pretty breathtaking.” Another favorite is Bonnie Raitt, he says, not only for her distinctive voice but also the instrumentation and song arrangements. “Not Cause I Wanted To” from Raitt’s Slipstream album also shows up any low frequency limitations in a system, he says. “The bass does a lot of walkdown parts. If he’s using the low B string on that five-string bass, which is 30 Hz, and you don’t hear it, then your system doesn’t go that low,” says Hurst. “If it’s consistent all the way down then your system extends quite nicely down to those lower frequencies.” Hurst reports that a friend turned him onto a Toto song that he hadn’t previously heard, “I Will Remember.” “It starts with this great drum impact, then a big, fat, low bass, and

everything sits right on top of that,” he says, and never fails to impress. “When you do a demo, you want them to go, ‘Wow!’” Then there are the old standbys, says Hurst, including the almost obligatory Steely Dan, or Donald Fagen’s Morph the Cat album. “Anything by James Taylor is also pretty good,” he says, singling out “Jump Up Behind Me” from Hourglass for its bass guitar. For jazz fans, anything by Diana Krall is a safe bet, Hurst continues. “If they want a big band, Gordon Goodwin’s ‘Hit the Ground Running’ off Act Your Age is a well-produced track.” If they want jazz but really want to hear guitar, in a similar vein to, say, Earl Klugh, he adds, “There’s a guy called Antonio Forcoine. The conga and percussion are great on his ‘Tears of Joy.’” Marc Cohn, known for his “Walking in Memphis” hit single, has a deep cut worth a mention, Hurst continues. “He has a song called ‘Ghost Train.’ It gives you different things that you can point out—the percussion, the hi-hat, the click of the kick drum, the tambourine.”



The mantra at Bose is: the demo makes the sale, says Hurst. “You tell them what they’re going to hear, you let them hear it, then you reinforce it. What did you think of the bass guitar? What did you think of her voice? You evaluate whether they’re hearing what you ask them to hear.” Another good vehicle for that approach is Bonnie Raitt’s cover of “Baby Mine,” a collaboration with Was (Not Was), from an album

recalls. “The same frequencies in the voice are in everything else. If it doesn’t sound balanced when there’s a voice, then it’s probably not going to sound balanced when you’re playing a track.” A vocal track can also be very compelling, he says. “I have a track, ‘8th of November,’ off a Big & Rich album. Kris Kristofferson narrates the song’s introduction, which talks about one of the first black men to get a Medal

“Because our ears are so sensitive and can go into self-compression, I don’t want you to hear a 120-dB track until the end of the demo.” —John Schauer, Yamaha of interpretations of Disney classics. “It starts with a bass guitar walkdown, then slide guitar, organ, acoustic guitar. It builds, instrument by instrument. You can walk people through it and give them something to concentrate on.” As pro audio innovator Cliff Hendrickson—once of Bose, among other manufacturers—used to say, “Play me voice,” Hurst

of Honor. Through a good sound system, it stands out in front of your face.” It’s not unusual for listeners to seek out a copy after a demo, he says. “I really love the new Diane Krall and Tony Bennett record,” says Schauer, listing some of his favorite demo material. “You close your eyes and it sounds like she’s right there in the

room with you. And Tony is 90 years old and still singing. People take note and it adds to the fun of the demo. And if you want to listen to a piano properly, you want her playing it.” Schauer, too, relies on some of the standbys: “Of course, any Steely Dan, such as Gaucho,” he says. Less well known, perhaps, is Polish singer-songwriter Basia. Her recordings are firm favorites among the staff at Yamaha, Schauer reports, and are go-to tracks when checking out new products. “Her songs are upbeat and very well produced. I like any of her stuff.” For a bit of fun, he’ll pull out a copy of the Eagles’ Hell Freezes Over, which was released in 5.1 surround. “If you play it through a DTS decoder the center channel of ‘Seven Bridges Road,’ which is almost a cappella, is Joe Walsh by himself. He couldn’t carry a tune with a bucket. It’s the best; so fun,” he laughs. Looking for another stripped-down choice sent Schauer back to the eighties: “I just recently dug up an old Linda Ronstadt song, ‘When You Wish Upon a Star.’ It’s so unprocessed, and when she decides to belt you get

the dynamics.” At the other end of the scale, and equally dynamic, are Schauer’s orchestral selections. “Anything with very wide dynamic range is great, particularly orchestral music from the movies, such as anything from Star Wars. There’s a record from Telarc, Erich Kunzel and the Cincinnati Pops Orchestra—I play ‘Also sprach Zarathustra’ [by Richard Strauss]. It has timpani in it, 35 Hz of noise buried in the track.” You need to also be attuned to the location, observes Schauer. “Because our ears are so sensitive and can go into self-compression, I don’t want you to hear a 120-dB track until the end. But when you’re in a church, where there’s a lower dynamic range and there may be ears that are too sensitive to hear very bright, high-level sound, you have to be careful. Where you put the listener might decide whether they have a good or bad experience.” Some Favorite Setup Tracks: In his 17 years with Harman, Chaiken, who started out as a recording engineer at the Record Plant back in the day, has developed a playlist that

not only shows off the company’s monitor speakers favorably but, perhaps more importantly, enable him to correctly set up a demo system. “We listen to these tunes very carefully, because they tell us what we need to know. If we get it right, they also turn out to be very good demo tracks,” he says. When setting up a system at a tradeshow, for example, “We take a lot of care to set the speakers up to reproduce the material as expected,” he says. The room is in control of the low frequencies, he points out, while the speaker is in control of the mid and high frequencies. The aim, then, is to ensure the correct balance across the frequency range through correct positioning of the speakers and the elimination of resonances or standing waves. “If I only had one tune to set up a speaker system it would be ‘Line ‘Em Up’ by James Taylor, from Hourglass, recorded and mixed by Frank Filipetti. There are some things I know about the record. Jimmy Johnson is playing a five-string bass, and Frank added a dbx subharmonic enhancer to some of the low frequency instruments on that album. The key

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List of tracks and artists Kraftwerk


Nigel Stanford


Waling Jennies


Bonnie Raitt

“Not Cause I Wanted To”

Bonnie Raitt with Was (Not Was) “Baby Mine” Toto

“I Will Remember”

James Taylor

“Jump Up Behind Me”

James Taylor

“Line ‘Em Up”


“Did My Time”

Gordon Goodwin

“Hit the Ground Running”

Antonio Forcoine

“Tears of Joy”

Marc Cohn

“Ghost Train”

Big & Rich

“8th of November”


“Seven Bridges Road”

Linda Ronstadt

“When You Wish Upon a Star”

Vince Gill

“Pretty Little Adriana”

Aaron Neville

“Louisiana 1927”

Steely Dan

“Hey Nineteen”

Van Morrison


Crosby, Stills & Nash

“Lay Me Down”

Richard Strauss

“Also sprach Zarathustra”

Ray Charles

Genius Loves Company

Green Day

“Boulevard of Broken Dreams”

Pink Floyd

The Wall


Hell Freezes Over


Dan Gaucho

Donald Fagen

Morph the Cat

Diana Krall and Tony Bennett

Love is Here to Stay

Bonnie Raitt

Nick of Time

Basia Sara Bareilles Jennifer Warnes Earl Klugh Tears for Fears Robbie Robertson Kari Bremnes



point is, there’s enough room around the bass that I can hear the way the notes settle in. If the low B settles in right, then we’ve got it. If a note disappears or falls back, we’ve got work to do. “Once Jimmy’s bass line falls into line and has authority, at all places in the tune, I can walk away from the system and know that it’s okay. All I’m trying to do is solve for the balance between low frequency, midrange and high frequency,” says Chaiken. “When the bass instrument is in line musically then everything is working. Pay attention to the bass notes.” At the opposite end of the spectrum is a track by Korn, also recorded and mixed by Filipetti. “As congested and as crazy as ‘Did My Time’ gets, you can hear everything in it. It’s got plenty of low end and is very demanding on the speakers.” Chaiken will play almost anything by engineer and producer Al Schmitt, he says. For instance, “Diana Krall’s latest album is fabulous.” For surround systems, he says, “Genius Loves Company [by Ray Charles, recorded by Schmitt] is probably the best 5.1 mix I’ve ever heard. You can stand anywhere and hear the mix.”

“If I only had one tune to set up a speaker system it would be ‘Line ‘Em Up’ by James Taylor, from Hourglass, recorded and mixed by Frank Filipetti.” —Peter Chaiken, HARMAN Engineer and producer Chuck Ainley gets a shout out for Vince Gill’s song “Pretty Little Adriana.” “That’s a beautiful tune. We have a little five-inch speaker that has some impressive low end and it’s a really good tune for that,” says Chaiken. He reels off more favorite selections. Bonnie Raitt’s Nick of Time album, engineered and mixed by Ed Cherney, for the vocals. Aaron Neville’s “Louisiana 1927,” which features strings, as an example of engineer and producer George Massenburg’s work: “Absolutely beautiful,” says Chaiken. “And the low end is gorgeous.” Steely Dan’s “Hey Nineteen” and “Moondance” by Van Morrison, both engineered by Elliot Scheiner, at opposite ends of his (ongoing) career, are also on Chaiken’s playlist. So too is Crosby & Nash’s “Lay Me Down,” recorded and mixed and co-produced by Nathaniel Kunkel. “Big, fat vocals, with real nice bass,” says Chaiken. For horns and strings, he turns to Morton Lindberg and anything on his 2L record label. Chris Lord-Alge’s mixes on Green Day’s Boulevard of Broken Dreams album offer “a lot of rock tunes that people relate to,” he says. “Those are the ones that I go to,” says Chaiken. “They’re not the ones that the young ‘uns want to hear, necessarily, I realize. But they help you to get a system to sound right. And once you’ve got it right, you can play symphonic, jazz or anything.” While these veterans of the industry each have a long relationship with music that enables them to compile their ideal playlists, at least one welcomes the opportunity to add new material. “A lot of manufacturers have great demo music; I discovered Sara Bareilles through a demo,” says Hurst. “If you go to a tradeshow and you don’t have your phone out with Shazam already loaded and ready, you’re missing out.”




CASE STUDY: DANTE MANAGEMENT itting in the heart of downtown Minneapolis, Target Field is home to Major League Baseball’s Minnesota Twins, and accommodates more than 39,000 spectators. Though designed as a baseball venue, it also hosts football, soccer, and a wide range of outdoor concerts and various non-sports-based corporate events. It’s a large venue with multiple areas around the facility that require high-quality audio support. This includes distributing audio out to various areas as well as pulling signals back to the control room for mixing and processing. For example, live bands perform before ball games and during breaks, the performances routed throughout the stadium. Technicians needed a way to easily and inexpensively expand the number of inputs and outputs to the stadium’s main console to better mix, manage and control the total system. Their search led to the Dante audio network platform from Audinate. “We started using Dante to connect the control room to the band stage, and this step alone brought 16 channels from the band to my main console – a huge improvement for us,” said Jeff Pedersen, Lead Audio Technician, Minnesota Twins Baseball. “Our plan now is to get Dante into all of our remote locations and bring all the control and mixing to our main control room.” With the large range of Dante-enabled products, Pedersen can now mix any Dante-enabled speaker, amplifier, microphone, mixer, receiver,




converter and more. And, with the addition of Dante AVIO Adapters, the stadium can integrate older, legacy gear into Dante systems, adding to Dante’s interoperability and flexibility. With a Dante system in place, Dante Domain Manager proved to be a natural next step to the network, as it added the control and security features the stadium desired. Dante Domain Manager is network management software that enables user authentication, role-based security and audit capabilities for Dante networks, while allowing seamless expansion of Dante systems over any network infrastructure. Dante Domain Manager allowed the stadium to integrate 34 separate subnets into a single, manageable and secure audio network. Dante Domain Manager provides the ability to scale and segment audio networks, regardless of the physical constraints of the network. Administrators can define specific AV device groupings, by room, building and site, ensuring the stadium’s audio is playing in the correct location. Dante Domain Manager ensures the stadium’s audio is separate from the audio they grant the visitors to use, with robust user authentication and role assignment. “Before Dante and Dante Domain Manager, what I wanted to do was not really possible: the cost would have been prohibitive and the time spent patching and running cables wasn’t feasible,” said Pedersen. “One of the things I can do now is send 16 channels of audio to almost any place in the stadium up to the control room. It is very liberating.”


CASE STUDY: DANTE TV ith two hospital locations, 12 primary care clinics, six rehabilitation centers and nine specialty care sites, Children’s Minnesota is one of the largest pediatric health systems in the United States. Star Studio is the hospital’s in-house television studio with production spaces located on both the Minneapolis and St. Paul campuses. Star Studio programming is shown on Children’s own 24-hour television channel. In addition to prerecorded programs, Star Studio also produces twelve unique live and interactive shows a week. This programming provides education and comfort to thousands of patients, and gives them something to focus on while they wait. To increase production efficiencies and to provide better audio quality for the studio’s interactive game show programs and recorded content, Ben Diger, Star Studio Broadcast Engineer at Children’s Minnesota, began using Dante-enabled equipment and the Dante Via software for the multi-channel routing of computer-based audio. Dante uses standard IP infrastructure—not traditional analog cabling—to network audio devices, making interoperability easy and reliable. By getting rid of analog cables, Dante eliminates noise, hum and channel limitations. Dante Via software allows any computer-based audio to easily be networked, including audio from software applications, built-in microphones and peripherals. “With live and prerecorded content, audio is 80 percent of the experience, and if we have bad audio, no one’s going to watch,” said Diger. “Producing a show with high-quality, professional audio is a must for us. Dante allows us to do this.” The Dante audio network platform allowed Diger and his team to pull in separate game show audio and music channels, as well as microphone and headphone channels, from a single computer, creating a virtual studio. The team also uses Dante to tie together its intercom system over the network, instead of traditional XLR cabling. Star Studio was using a digital/analog system to connect the two large studios—which are 12 miles apart—but the setup was very




channel limiting, making changes was difficult, and there were noise and latency issues. Diger explained that the hospital campuses are connected over fiber. With two 32-channel mixers with Dante cards in place, Diger turned to Dante Domain Manager to link the two subnets. With Dante Domain Manager, Star Studio’s audio is efficiently integrated into a single, manageable and secure audio over IP network that won’t disrupt or delay any of the hospital’s audio needs. Dante sends near-perfect audio from one mixer to the other across town, with far fewer cables and almost no delay. The result is a high-quality, efficient digital audio integration that helps keep hospital programming engaging and entertaining. “Dante Domain Manager perfectly streamlines our workflow by allowing us to access any of our audio sources and destinations from anywhere in our hospitals,” said Diger. “Whether it be on our Minneapolis campus or our St. Paul campus, we’re able to pull in our program feed or microphones to any of our studios.” With the added benefits of network security, user authentication, audit capabilities and the ability to seamlessly expand Dante systems over any network infrastructure, Dante Domain Manager is an essential tool for Children’s Minnesota. Diger trusts Dante and Dante Domain Manager to also provide the high quality, near zero latency audio required of listeners.

DANTE-ENABLED AURORA IPX-TC3 SERIES Utilizing Aurora’s IPBaseT technology, this is a 4K60 4:4:4 10G IP box or wall plate based on BlueRiver NT+ platform. The IPXTC3 Series can uniquely be set up as either a transmitter (encoder) or a receiver (decoder) to make installation, inventory, and troubleshooting easier. It also includes an option slot to add other IP capabilities, like ExtremeUSB (USB 2.0 over IP) or Dante audio, for a more complete distributed system. Audio, video, data, and control can be sent securely to one or many IPX-TC3 transceiver units using off-the-shelf 10G fiber or Cat ethernet switches. When the IPX-TC3 is set up to be a transmitter, the two HDMI inputs become a source switch and the HDMI output becomes a potential loop out. When set up as a receiver, a user can select the local HDMI inputs or an IP source. The audio can be de-embedded at any location, break away, and/or be sent to or received from a Dante-enabled device. The USB 2.0 option is also flexible, working as a KVM and/or a high-speed data transfer (480Mbps) for memory sticks. This range brings new capabilities to SDVoE-based products including dual fiber, dual OSD, copper/ fiber selectable version, 4K60 4:4:4 three- Gang wall plate, and 10G PoE, integrated server control.

AURORA IPBASET MANAGER Frequently the management software for an AV over IP solution is overlooked. The software is ultimately what determines the experience with the AV over IP product during installation, usage, and troubleshooting. Aurora Multimedia introduced its latest IPBaseT Manager web server tool which enhances the existing SDVoE server capabilities. Aurora is the only SDVoE adopter that can make routes by IP address or Host name not just MAC address. Extreme USB is now a unified protocol for easier USB routing. Virtual comm ports allows for the control system to directly connect via Telnet to the RS-232 of a unit therefore a macro is required. Additionally, it fully supports secured socket communications between the server and the control system for full end to end security. New enhancements include statistics, tagging, alerts, user profiles, grouping, and much more. Compatible with the IPX and VLX lines.

CLOCKAUDIO C303W-D This is the Dante version of the company’s popular Tri-Element hanging microphone. Designed for audio or video conferencing, the C303W-D offers a new option when specifying hanging microphones in applications that demand the highest sound quality. The microphone uses the same tri-element microphone array, covering a 360 degree pick up pattern, but packaged in a Dante/AES67 version.



PRODUCTS Each independent capsule is RF immune, will capture approximately 120 degrees and is optimized for speech intelligibility. Its three channel, Dante transporter is powered by Power over Ethernet. It features an RGB LED ring on its ceiling rose (grommet) for mute status confirmation at a glance. It ships in a plenum rated enclosure for North-America. It does not require phantom power as it outputs on the Dante network.

QSC Q-SYS CORE 510I The Q-SYS Core 510i processor is an audio, video and control processing system that leverages Intel CPUs and motherboards as well as a dedicated, Linux realtime operating system developed by QSC to provide class-leading capabilities for AV systems of any scale. The Q-SYS Core 510i processor offers the most flexible audio I/O of any Core in the Q-SYS Platform, perfect for applications that require a diversity of analog, digital and networked audio connectivity. It features eight onboard I/O card slots that can be populated with any combination of Q-SYS Type-II I/O card allowing diverse connectivity options.

PROCO AODOM 2 AoDoM 2 channel provides one RJ45 Dante input and two Neutrik NC3MXX-BAG series black XLR analog outputs. Using our rugged aluminum extrusion channels and hand soldered, 3 ft. analog audio tails, ProCo AoDoM modules provide simple connection of analog equipment to a Dante network and provide studio-quality, low-latency audio via the XLR connectors. RJ45 metal connector with integrated LEDs.Compatible with any Dante ecosystem and provides line level analog audio signal to output devices.

MIPRO ACT 748II ACT-7 Series microphones RF stability is highly appreciated by audio experts. The microphones are ideal for broadcast, live sound production, conference and similar large venue applications. Features include IA standard rack-mountable receiver with metal chassis; advanced RF and IF circuitry to improve anti-interference characteristics and increase channel count; Dual “PiloTone & NoiseLock” circuits to minimize interference; 400 preset channels in compatible groups, plus a user-defined group: Auto Scan; ACT frequency sync to the transmitters; RF interference warning indicator; full-color VFD screen for clear viewing in day or night environments; realtime computer setup, control, and monitoring.




This is a 50 Watt audio power amplifier that converts one analog input to a 70 V or 100 V constant voltage amplified output. An analog audio source may be connected to either the mono balanced terminal block input or to the unbalanced Mini-Jack, which sums the left and right channels to mono. Amplifier gain is set by the installer using a rear-panel single-turn potentiometer with an associated dual-LED VU meter calibrated to 20 dB below maximum power output. The SF-PA50A is equipped with an internal VCA for setting the amplifier output level. A detachable terminal block provides for the connection of an external 10 kΩ potentiometer or a 0 to 10 Vdc control voltage. RDL remote controls are available to provide single-turn, multiturn (rotary encoder) or pushbutton (ramp or fixed level selection) user level control. VCA control insures long term noise-free level adjustment. Designed for both thermal and output short-circuit protection; included is an external 24Vdc power supply and all-metal enclosure. Engineered and manufactured in the USA.

The YAI-1 Wireless Microphone Conference Ensemble is a seamless and easy out of the box system for boardrooms and large conference rooms utilizing UC applications. Available in North America, the conferencing solution is a preconfigured USB audio system that achieves premium audio experience for an organization’s chosen UC platform. The ready-to-install professional audio system comprises an eight-channel Executive Elite wireless microphone package, two VXL1-16P Power over Ethernet (PoE), Dante®-enabled speaker arrays with wall volume controller, a preconfigured digital signal processor, a five-port PoE switch, Dante AVIO USB adapter, and cabling. Once set up, the Yamaha YAI-1 Conference Ensemble is ready to connect to an organization’s chosen UC platform through a single USB cable. Utilizing Yamaha’s leading audio engineering expertise, the system features advanced acoustic echo cancellation (AEC) algorithms and dynamic microphone mixing technology that drives the best-in-class

DANTE-ENABLED audio experience and meets the requirement of enterprise IT departments for fast and simple installation, setup, and ongoing management. Two 16-element PoE powered line array speakers deliver high-quality audio throughout the room, and a wireless microphone system enables flexible, superior audio capture and stress-free conversation. The system is available in two microphone options: an eight-gooseneck microphone package for boardrooms, or seven tabletop microphones and one wearable microphone for presentation flexibility in conference rooms.

AUDINATE DANTE ADAPTER MODULES These modules were designed for the production of cost-effective, compact, manufacturer-branded Dante audio adapters and low-channel count audio devices. Dante Adapter Modules are pre-programmed and are easily integrated into larger host devices to provide Dante network support without the need for PCB design and manufacturing, component procurement and programming, significantly reducing time-to-market. The Dante Adapter Modules family contains 6 models – single and dual-channel analog input, single and dual-channel analog output, 2 in / 2 out AES3, and 2 in / 2 out USB. These modules can be used to create custom-featured adapters or incorporated directly SVC_9x5.625.pdf 1 2018/8/14 下午 05:21:27

PRODUCTS into low-channel count endpoint products such as powered speakers, direct boxes and more. Using the same highquality field-tested components as the Dante AVIO adapter family, the modules are designed for over-molding, clamshell enclosures or mounting on a baseboard, enabling manufacturers to design products with their own physical enclosures, branding, and connectors. Dante Adapter Modules feature excellent audio performance, sample rates up to 96 kHz (except USB), user-configurable signal levels (for the analog models), Power over Ethernet, and support for AES67 RTP audio transport. They are fully-functional Dante devices which can provide a hardware master clock for a Dante network, and are also Dante Domain Manager ready. The USB Adapter Module can also be powered by USB and offers class-compliant audio enabling it to work without additional software drivers on most popular operating systems like Windows, Mac, Linux and iOS and Android.

World’s Only Dante-enabled


Plug-on Digital Wireless System

Digital Plug-on Transmitter


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Distributed in USA by Avlex Corporation 6655 Troost Avenue, Kansas City, MO 64131 Tel: 816-581-9103 | Fax: 816-581-9104 | Email: |


100% Made in Taiwan


PRODUCTS AUDINATE DANTE AVIO ADAPTERS Dante AVIO adapters are a family of costeffective endpoints that enable audio professionals to easily connect legacy analog and digital audio equipment to Dante networks. Starting with a list price of only $129 USD, the Dante AVIO series features six adapters including line-in and line-out analog adapters, a bi-directional AES3/EBU adapter and a bi-directional stereo USB adapter.The Dante AVIO Analog adapters are available as dedicated inputs or outputs with one or two channels of audio. Analog input adapters allow mixers, mic preamps, stage DIs and more to connect to a Dante audio network, while analog output adapters are perfect for driving amplifiers, powered speakers or recorders. Long runs of noisy analog cable can be eliminated and all signal routes are managed via Dante Controller software. The Dante AVIO USB adapter connects any computer to a Dante audio

network without additional software, providing class-compliant stereo input and output that can be used by any audio application. Ideal for presentations and conference rooms, the Dante AVIO USB adapter may be passed between computers without altering networked audio connections. The Dante AVIO AES3 adapter provides stereo input/output, preserving investments in AES3-connected DSPs, mixers, compressors, preamps and more. Any AES3 device may be fully connected to any Dante network with no degradation of signal due to extraneous D/A and A/D conversion.

SOUNDTUBE IPD-RS62-EZ The IPD-RS82-EZ is a 6.5� open-ceiling, Da nte -add r essable coaxial pendant speaker designed for consistently smooth high frequency. Configuration and zoning of the speaker are accomplished via software.

Network Audio Solutions

RDL SysFlex modules provide connectorized interface between data networks and analog and digital audio devices, networked and conventional amplifiers and other application-specific solutions. In RDL’s tradition of versatility, SysFlex modules can be used right where they are needed: Rack-mounted, Surface-mounted, or unmounted. They are light-weight, compact and easy to install with simple, straightforward switch settings and LED indicators. Learn more about all of our Dante products at SV C ON L I N E.C OM

Precision Audio and1 9 AV |Interface | JA N UA RY 20 S VC Products 47

DANTE-ENABLED ALLEN & HEATH - SQ-5 Powered by Allen & Heath’s XCVI 96kHz FPGA engine, SQ-5 is built for professionals in the most demanding live sound applications. Delivering classleading high resolution audio with an ultra-low <0.7ms latency, the SQ-5 gives you unrivalled power and audio fidelity.

FERROFISH - A32 DANTE The A32 Dante Version has an additional interface with 64 digital inputs and 64 digital outputs, which can be easily integrated into existing Dante networks.

AUDIO-TECHNICA ATND The ATND931 Dante six-inch gooseneck microphone and ATND933 Dante hanging microphone are both available in a number of con-

PRODUCTS figurations, including black and white color options and a selection of three polar patterns (cardioid, hypercardioid and MicroLine). All configurations come standard with the new ATND8734 Microphone Ceiling Mount Power Module with Dante Network Output, offering a simple and cost-effective solution for integrating these new microphones with a Dante network without the need for a separate, standalone audio interface.

VISIONARY SOLUTIONS PACKETAV DUET This provides a single platform to support Dante and video over IP, integrating 4K UHD video over IP into the Dante-enabled audio network and bypassing the constraints of a traditional switch matrix.

STNet Series • 40W PoE • Dante Controlled • Individually Addressable • Self-Monitoring

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Sound & Video Contractor, Volume 37 Issue 1, (ISSN 0741-1715) is published monthly by Future US, Inc., 11 West 42nd Street, 15th floor, New York, NY 10036. Periodical Postage Paid at New York, NY, and at additional mailing offices. Postmaster: Send address changes to Sound & Video Contractor, PO Box 8608, Lowell, MA 01853. One year subscription (12 issues) is $39. Outside U.S. is $79. Canada Post International Publications Mail (Canadian Distribution) Sales Agreement No. 40612608. Canada return address: Pitney Bowes International, P.O. Box 25542, London, ON N6C 6B2. Š2019 Future US, Inc.




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