Sound & Video Contractor - October 2019

Page 1

OCTOBER 2019 // VOLUME 37 // ISSUE 10






OCTOBER 2019 // VOLUME 37 // ISSUE 10




8 | O n the Circuit By Chief Editor Cynthia Wisehart

Tech Showcases

46 | P ractical Drama

22 | Cable and Power 32 | Conference Mics

A new kind of government video at US Army Corps of Engineers HQ

The SVC Interview

40 | O pen Format Capture & Streaming at GW Law



51 | Control Rooms Open Mic

51 6

SVC | O C TO B E R 20 1 9 | SVCO NLINE . COM

66 | Convergence: AVIXA, CEDIA, EMEA and you

on the circuit

Vol. 37 No. 10

October 2019



By Cynthia Wisehart

Find me online cynthia.wisehart@ and SVC_Online

ow can our industry evolve to be more diverse? I’ve been in this industry as a theme park designer and a journalist for decades. I can confirm that it was advanced by the labor of many men that I respect. They did most of the lifting. You could say they had most of the opportunity, connections, mentoring, etc., and that would be a fair statement. You also could say that mixed into that male majority were key women whose accomplishments were instrumental, whether at the leadership or code level. That would also be true. As a woman in AV, I nearly always felt included and appreciated, but I was still often one of the few women in the room. Some things did happen in those male-dominated spaces that wouldn’t be tolerated today; jerks will always be a thing, unconsciousness is a thing (we all do it), and so is being paid less than your male colleagues to do the same job. I’m not naïve about challenges or injustices. But that co-exists with my direct experience that nothing was done by “men” or “women”. People-individuals and teams—built this industry. (Yes, lots of them male). So I feel that any conversation about diversity must start with acknowledging the good work of those who preceded us, as well as the opportunity at hand. I believe there is a real desire for people to collaborate across gender and other demographics. I hope that’s because there’s a growing understanding that different viewpoints and backgrounds are not important only because it’s “fair” but because there’s a vitality of thought and enterprise that goes with diversity. We’ve all been around the bureaucratic efforts to foster diversity— women-owned companies, minority-owned companies, and other vehicles for driving change. Sometimes they work, sometimes not. I’m not a super fan of bureaucracy and political solutions; they can have their place. They are sometimes powerful forces for progress. But nothing really works without people taking personal action. And that works best when people are chasing something they actually want, not something they think they “should” want. Personally, I want diversity. By that I don’t just mean opportunity for myself as a woman. I mean, I want to be in the flow of a diverse environment. I want to work with people who think differently than I do, who have different histories and who learn, create, manage, vent, succeed and fail differently. Sometimes that’s hard, but I still value it more than the alternative of homogeny. And I want to be part of being more fair to people who have been and still are excluded—whether arbitrarily, willfully, subtly, or even violently. Years ago, I wrote a book about a theater company that integrated people with and without physical and neurological disabilities. The power of that company was not that they “accommodated” or “included” anyone, but that everyone included everyone else. They worked with the differences as a resource not an obligation. The result was surprising and powerful art, and unforeseen success. CORRECTION: In last month’s print issue, we incorrectly illustrated coverage of the Audix M60 which is a sleek, unique-looking boundary mic, with a picture of the more traditional ADX60 (and a caption that said ADX50!). I apologize for the errors, and any confusion. It is corrected online but it’s still wrong in print because print is forever.

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 Managers Nicole Schilling, Heather Tatrow ADVERTISING SALES VP/Market Expert, AV/Consumer Electronics & Pro Audio Adam Goldstein,, 212-378-0465 Sales Janis Crowley,, 845-414-6791 Debbie Rosenthal,, 212-378-0465 Zahra Majma,, 845-678-3752 SUBSCRIBER CUSTOMER SERVICE To subscribe, change your address, or check on your current account status, go to www.mysvcmag. com and click on About Us, email futureplc@, call 888-266-5828, or write P.O. Box 8608, Lowell, MA 01853. LICENSING/REPRINTS/PERMISSIONS Sound & Video Contractor is available for licensing. Contact the Licensing team to discuss partnership opportunities. Head of Print Licensing Rachel Shaw, MANAGEMENT Senior Vice President, Content Chris Convey Group Publisher Carmel King Vice President, Sales John Bubello Head of Production US & UK Mark Constance Head of Design Rodney Dive FUTURE PLC 11 West 42nd Street, 15th Floor, New York, NY 10036

All contents © 2019 Future US, Inc. or published under licence. All rights reserved. No part of this magazine may be used, stored, transmitted or reproduced in any way without the prior written permission of the publisher. Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered office: Quay House, The Ambury, Bath BA1 1UA. All information contained in this publication is for information only and is, as far as we are aware, correct at the time of going to press. Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any other changes or updates to them. This magazine is fully independent and not affiliated in any way with the companies mentioned herein. If you submit material to us, you warrant that you own the material and/or have the necessary rights/permissions to supply the material and you automatically grant Future and its licensees a licence to publish your submission in whole or in part in any/all issues and/or editions of publications, in any format published worldwide and on associated websites, social media channels and associated products. Any material you submit is sent at your own risk and, although every care is taken, neither Future nor its employees, agents, subcontractors or licensees shall be liable for loss or damage. We assume all unsolicited material is for publication unless otherwise stated, and reserve the right to edit, amend, adapt all submissions.

Future plc is a public company quoted on the London Stock Exchange (symbol: FUTR)


SVC | O C TO B E R 2 0 1 9 | SVCONLINE . CO M

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


CITY COUNCIL SYSTEMS Since 1984, Laredo, Texas has broadcast its city council meetings via public access cable television. The city updated its 10-year-old DCN conference system with a DICENTIS Conference system from Bosch, to achieve upgrades in control, sound quality and ease of operation with IP connectivity and to support in-meeting voting. The Public Access Center Manager of the city, Gerardo Leal, is responsible for operating the conferencing system during meetings, and porting the audio into the video feed. The program is aired on large video screens within the meeting room, which accommodates about 100 people. In addition, the meetings are streamed online and aired on the city’s public access channel. Audio, data and power for the discussion devices all run over a computer-based IP network using Bosch-developed OMNEO media-networking technology. Laredo’s set-up features 16 DICENTIS Discussion devices with voting for council members and staffers. Each device is controlled by a single button for request to speak, mute and relinquishing the from the wire floor. A green light on the microFor more case studies, visit phone indicates a request to speak,



then begins flashing when that person is next in line. Once recognized by the chair, the mic status light changes to red to indicate it is active. The device’s five color-coded touch buttons light up when voting is open. Votes are tracked and tabulated, with the results then displayed onscreen for attendees and TV/streaming viewers to see. Each device also features a volume control and headphone jack, with onboard feedback suppression and data encryption. The mayor/chair uses one of the latest generation DICENTIS Multimedia devices, which features a 7 in. touchscreen. This enables a wide range of documents, images and video files to be inserted into the council room’s big-screen video displays as well as computer screens located at each council member’s seat. Each device is connected via a single CAT-6 network cable via a standard network switch connected to the system’s DICENTIS Audio processor and powering switch. In the control room, an operator tracks system/device status on a display showing a schematic layout of the council chambers, including current and upcoming active mics, and allowing remote override if needed. Manager Leal likes the DICENTIS High

directive microphone, which replaces the long gooseneck mics of the original system. A discreet 4.25 in. long, their dual-capsule design allows a larger speaking distance and superb intelligibility – even in noisy conditions. “It picks up from several feet away, which basically takes microphone technique out of the equation,” explains Leal. “Now we don’t have to worry about height or talking distance, and the mics are also visually much less intrusive.” Also important are the remote operation capabilities which allow operators to control robotic PTZ cameras, character generator, agenda and other media for recording. “Having everything networked means smoother-running meetings and an easier job for our techs.” Mood: Texas of San Antonio provided installation and training.


Bosch DICENTIS Conference System integrates audio, video, and meeting content with internet access into one system using the Bosch-developed, IP-based OMNEO media networking technology.





file. What we saw in its predictions seemed quite accurate to what we were hearing. We chose to adjust the subs to a more standard four across-the-front setup. The NoizCalc pictures showed that it would help with our spillage, and in practice it seemed to track.” Volkman noted the need to be more concerned with the noise sending out of the concert boundaries than what the audience is hearing within. “It’s a rough balancing act to provide the best experience possible for the artists per-

Photos: Mark Doyle

As you read this, another season of outdoor concerts and dance performances will have concluded for the Capital One City Parks Foundation SummerStage series. This year, the not-for-profit City Parks Foundation renovated its flagship venue, transforming it with a new stage. The mission was to improve the sound quality for audiences within the venue and to create an atmosphere with fewer noise reflections off the surrounding buildings, an issue for the residents living around the park. To address the concerns of Central Park’s neighbors, the SummerStage team utilized d&b Audiotechnik’s NoizCalc environmental noise prediction software, which allows the user to accurately predict the far-field noise emmisions associated with a d&b sound system. “During a demo, we were shown d&b NoizCalc predictions for the venue, and based on it, our choices for sub deployment,” states Jason Volkman, Audio Lead. “When we installed the d&b KSL system, our first sub configuration was a mono-block on center, with 2 stacks of J-SUBs, packed tightly. After a few days of listening and a few low impact shows, we decided this wasn’t a great from the wire setup, and reached out to Drew Levy For more case studies, visit of d&b to take a look at the NoizCalc

forming, engineers mixing, and audience members listening, while maintaining a very low impact on the neighbors. In the past, there were complaints from a few residents of park-facing apartments on 5th Avenue - some of the priciest real estate in the world. With the old PA, there were far fewer tools at our disposal to correct for our spillage. We were left having to choose between good experience within the venue or fewer complaints from the neighbors. Having d&b NoizCalc available to us as a tool to at least show that we were really trying to address the issue and that there was real science behind what we were doing, was very helpful. “Since the venue is very wide, but not terribly deep, having the spread that the SL-Series offers was very helpful. In our case, having a PA that gradually tapers off as you travel out of the array’s coverage is much nicer than the sudden cutoff you hear with some other PA types. I was also very excited for SummerStage to invest in a product that was at the very beginning of its cycle, building on the success of GSL before it. The mains are an eight box-perside KSL hang (six KSL8 plus two KSL12). We have four J-SUBs spread across the downstage edge, buried under the stage platforms. Six Y10Ps spread out as front fills, and two Y7Ps - one hung on each side of the stage - are used as VIP outfills.” Volkman added that Domonic Sack from Sound Associates, the AV integrator on the project, provided strong support and shop resources during the build and install process.


12G-SDI WORKFLOW ASTROLab, an astronomy activity center located at the Mont-Mégantic National Park in southern Québec, has built a new 12G-SDI AV and streaming workflow, demonstrating how tech can complement national park guest experiences and provide outreach beyond the park’s borders. The new workflow powers ASTROLab’s daily science presentations in its interactive theater, allowing them to live stream the presentations to audiences around the world. The custom 4K installation was designed by Solotech, a systems integrator well known for its work with Céline Dion, Justin Timberlake, Cirque du Soleil, Centre Vidéotron, Staples Center, Bridgestone Arena and more. Located in the world’s first protected IDA Dark Sky Reserve, designated for its exceptional quality of starry from the wire nights and nocturnal environment, For more case studies, visit the ASTROLab is a 95-seat



rium and astronomy activity center. Presentations are projected on a 27’ by 18’ screen and cover a range of topics such as cosmology, space exploration, light pollution and more. To support these, the ASTROLab uses ATEM Production Studio 4K, Smart Videohub 12G 40x40, HyperDeck Studio 12G, Blackmagic Web Presenter, two Blackmagic eGPUs and 16 Teranex Mini converters. ASTROLab presentations require two presenters on stage at the same time. The main presenter walks the audience through the given topic, while the second operates a panel powered by the Blackmagic system that controls all the lighting, sound and video projections in real time. “While the presentations are scripted, we encourage audience participation and questions. With the ATEM Production Studio 4K and Smart Videohub 12G 40x40, we’re able to instantly adjust the images to

reflect impromptu conversation within a matter of seconds, just by clicking a button,” said Guillaume Poulin, one of the ASTROLab’s senior presenters. “Switching from one HDMI signal to another would take a lot more time and the result wouldn’t be as smooth. Having the Smart Videohub 12G 40x40 at the SDI level allows us to operate the theater even faster.” Since the images and video are projected on such a large screen, it’s critical for the ASTROLab’s content to run at 12G-SDI 4K at 60 frames per second for a smooth and comfortable viewing experience. To achieve this, the ASTROLab team incorporated two Blackmagic eGPUs into the theater control panel, one for each computer, to output two signals in 4K at 60 frames per second. Additionally, the Blackmagic eGPUs improve graphics performance and accelerate computational tasks, which is beneficial for maintaining instant seamless transitions. Separately, all video inputs get converted to 12G-SDI with the Teranex Minis. Poulin explained, “Prior to implementing Blackmagic Design, our real technical challenge was getting content projected on the screen in 4K at 60 frames per second. This is particularly important for astronomy footage. Attempting to achieve this with any other gear was a strain both technically and financially.” According to Ghislain Veronneau, technical project manager, Solotech, “One of the biggest challenges we faced was projecting multiple video sources in 12G-SDI 4K at 60 FPS. We also needed to facilitate completely fluid cross fades on demand on a massive screen. In addition to these technical parameters, it was imperative to maintain a budget that the client was comfortable with. We were able to deliver a custom budget-conscious solution of incredible quality for ASTROLab. The final on-screen rendering that we were able to achieve is remarkable.” Further expanding their reach, the ASTROLab leverages a Blackmagic Web Presenter to bring live presentations into classrooms around the world via video conference. “The ATEM Production Studio 4K’s picture in picture viewing allows us to show the presenter talking in the upper corner while the image currently being shown in the auditorium can be viewed full screen by the students,” said Poulin.


IPTV AS A SERVICE San Diego-based GovTV is using a Broadcast Pix BPswitch MX integrated production switcher to provide turnkey live remote video production of official meetings for the city of Lancaster, Calif. The city is GovTV’s first client to use a new IP-based workflow operated from about 170 miles away at the company’s offices. GovTV is owned by Pacific Design and Integration (PDI), a full-service systems integrator with extensive experience in broadcast, houses of worship, and government projects; GovTV provides live government broadcast as a service. When PDI acquired GovTV in 2015, it inherited a production platform based around a serial control system that, while functional, had issues with internet connectivity and latency that delayed camera control and switching. “We made it work,” recalled Bob Anderson, president and CEO of GovTV, “but we were always looking for something that would be more of an IP system.” GovTV developed a new workflow from the wire last year built around the BPswitch. For more case studies, visit The company launched its new



tem for Lancaster at end of December, and quickly received positive feedback from city personnel. “Now, we can instantly cut to the person speaking, so there’s no need to go to a wide shot when we’re following a conversation,” Anderson said. “It’s made a huge difference for us and exceeded our expectations.” Master control is housed in San Diego. According to Steve Sagday, CTO of GovTV, operators use a traditional Broadcast Pix control surface to switch the live meetings, and can also control and monitor client productions through the Broadcast Pix Commander browser-based user interface. A dedicated VPN connects GovTV to its client, allowing system and robotic camera control (as well as seamless insertion into live programming) from San Diego. BPNet, BPswitch’s integrated cloud-based video workflow service, provides a virtual backup to the VPN. The city of Lancaster operates LTV, a PEG channel on Spectrum Cable and AT&T that is also streamed by Granicus. LTV programming is played out on a Leightronix Nexus, which allows GovTV to cut into the channel remotely

from San Diego with live meetings. The BPswitch mainframe, located in Lancaster, has dedicated inputs for five cameras connected via SDI, plus an electronic voting system, scan converter to display PC-based PowerPoint presentations, and a dedicated video calling system for Skype. The system operates in 1080i HD with SD downconversion for the cable feeds. The new system also utilizes BPswitch’s integrated NewBlueNTX multi-layer 3D motion graphics, along with BPfusion software for template-based CG creation, to display agenda items and lower-thirds. “We’re really surprised at the flexibility we have,” added Sagday. “Broadcast Pix is making it more cost effective and efficient for our clients.” With the Lancaster launch deemed a success, GovTV is now looking to aggressively grow its business with its BPswitch IP-based workflow model. “We take government entities out of the broadcast business and allow them to fully focus on the business of government,” said Anderson. “We have confidence this system is viable and we won’t have latency issues like we did in the past.”


DIY TV Napa Valley Television is the PEG channel serving the Napa Valley, California region, reaching some 30,000 households and a global online audience. The spartan but technicallysavvy studios are open to everyone in the community to use for a modest fee, an opportunity that has taken off with the bottomless appetite on social media for polished video. Executive Director James Raymond describes the station as “YouTube for the community,” a role he sees as furthering First Amendment Rights. Anyone living or working in Napa County can use Napa Valley TV’s 4K studio and HD field equipment to produce TV shows. An $20 annual fee includes full access to a stable of Blackmagic and Sony cameras, Shure, Sennheiser, and DPA microphones, a NewTek TriCaster® TC1 production switcher, 4K TV studio with virtual set and graphics keying capability, a full Adobe Creative Cloud editing workstation, as well as three days from the wire of hands-on training and For more case studies, visit technical backup to learn



to use it all. In exchange, Napa Valley TV gets to run member-produced shows on all of its cable channels and both live and on-demand through their website. Napa Valley TV provides trained staff for government functions, such as local city council, planning commission, and other committee meetings. At election time, they produce “Meet the Candidates” and on Election Day, they cover the results. The station also provided coverage of recent Napa County wild fires along with other public emergencies, as well as special community events. Local nonprofit organizations use their studio facilities

to produce and broadcast PSAs for free. Napa Valley TV members produce virtually every kind of programming you can think of, including talk shows, info-rich presentations, musical and dance performances—all within a 192-square foot studio and its adjoining control room and editing suite. Key to all this flexibility, is a greenscreen wall and powerful virtual set capabilities that are built into the studio’s TriCaster TC1, as well as professional graphics functions and templates for lower thirds and more. The studio features three Black Magic URSA Mini Pros on E-Image pneumatic tripods with studio viewfinders, tally lights, and Fujinon XK6 20-120mm servo zoom lenses. A Skaarhoj camera control unit (CCU) provides remote control of black levels, iris, color settings, and other camera controls, along with Black Magic SmartScope Duo 4K screens for preview and program waveform monitoring. Members can shoot in 4K-quality in the studio, which is equipped with NDI®, (NewTek’s Network Device Interface), used to bring the 4K camera sources into the TC1 via two NewTek NC1 Input/Output (I/O) units. The 4K signals then go into any of three Black Magic Teranex Mini 12G-to-Quad-3G converters that convert to quad-split 3G SDI format. The quad-split feeds go into either of two NC1 I/O units where each quadrant of each camera signal is pieced back together into a single image. These NDI camera signals are then available as sources that the members can switch between within the TC1. In the adjacent production control room, a Behringer X32 digital audio mixer, DVD recorders, and an Eartec UltraLITE wireless headset system anchor the setup. To handle phone lines during live call-ins, Napa Valley TV’s control room also has a JK Audio Innkeeper PBX system, and the TC1 inherently handles calls via Skype for live, remote interviews. The editing cubicle is based upon the Adobe Creative Cloud and can also be used to record voice-overs. Members also get to check out gear for shooting in the field, including three Sony NX70 1080p HD cameras with 2-input XLR adapters with Manfrotto 501HDV tripods and array of quality microphones.


SINGLEHANDED STREAMING Panasonic’s new AV-HLC100 Stream Studio has become the hub of wide-ranging video production for the City of Kissimmee in central Florida. The City operates a 24-hour government TV channel, Access Osceola, which is also supported by four AW-HN130 three-chip FHD PTZ cameras and two AU-EVA1 5.7K handheld cinema cameras. The HLC100 is an all-in-one professional live streaming system that includes an integrated PTZ camera controller, built-in audio mixer, titler, clips/stills player, and multi-destination stream encoder in a single device. The HLC100 makes it possible for one person to operate everything from PTZ camera shooting to streaming transmission. Supported network protocols include NDI and RTMP (for direct transmission to live streaming services such as YouTube Live), and a mix of NDI, SDI and HDMI video sources can be utilized. Beyond the central assignment of providing live coverage of the City’s bi-monthly council meetings on Access Osceola and the City’s website, Kissimmee’s from the wire Communications & Public Affairs For more case studies, visit Office also produces a range of civic



and educational videos for broadcast and web consumption. In addition, Access Osceola delivers production support to City Departments, as well as County partners including the Sheriff’s Office, Supervisor of Elections Office, and the water and power utilities. Assignments for these partners range from producing social media content and Public Service Announcements (PSAs) for local TV stations to live event coverage. According to Lead Video Producer Christopher Rodriguez, Kissimmee’s Public Affairs Office has been using Panasonic PTZs to cover City meetings for more than 15 years. “Our cameras were outdated, and it was time to upgrade to HD and beyond,” he said. “The HLC100 streamlines live broadcasts on our access channel and live streams on our website. We can stream and record simultaneously for easy archiving. Also, the HLC100 has a small footprint, a crucial consideration as we operate our control room out of Access Osceola’s office in City Hall.” Rodriguez explained that the four HN130 PTZs are permanently installed in the Commission Chambers, likewise located in City Hall. The new 1/3” 3-MOS HN130 has built-

in Network Device Interface (NDI) support, which links the camera directly to an NDI network with automatic detection by the HLC100. The single-cable NDI connection established between the HLC100 and the PTZs facilitates full control of the remote cameras and requires no additional menu configuration. Rodriguez said that a pair of EVA1 cameras are being utilized for both studio and field production. “Our partners are increasingly asking us to shoot in 4K-- the Panasonic handheld is an ideal solution as we already had a full set of prime cine lenses, compatible with the new cameras.” The newly-designed EVA1 sensor is Super-35 sized (24.60mm x 12.97mm) with 5.7K resolution and an active resolution of 5720 x 3016. Weighing only 2.65-lbs with a compact form factor and a removable handgrip, the EVA1 can be used for efficient handheld shooting applications. The Panasonic equipment has been up and running at Kissimmee City Hall since early summer, which represents live coverage of more than a half dozen major council meetings, election debates and daily production projects for the City and its partners.


CABLE AND POWER By Cynthia Wisehart and Bennett Liles

The distance limitations of digital video have put new demands on precision cable manufacturing and modern AV circuitry requires increasingly stable and reliable power sources. The devices shown here represent advances in cable and power support for AV transmission and trouble-free delivery. The CNK222 Cable Nook from Altinex is designed to give conference AtlasIED room presenters a simple yet versatile AP-S20RT tool for easily connecting AC power, USB charging HDMI, network, and other media sources right on the table top. The cabling can be stored inside the box and covered by the on-rails lid. The CNK-IP-210 faceplate is equipped with two CNK-IP-200 single gang dual power, dual USB plates and one CNK-IP-217 HDMI module. This provides a total of four AC outlets, four USB charging ports, an HDMI pass-through connector and four blank snap-in ports that can be customized.

Belden 4K UHD Media Cable



Altinex CNK222

For 20A AC power distribution with remote activation AtlasIED offers the AP-S20RT with EVS (Extreme Voltage Shutdown) to safeguard connected equipment and RFI/EMI noise filtering. The remote activation allows up to 20A of clean electrical power to be switched on or off with a simple latched dry contact closure. With the a remote activation switch, 12VDC at 100mA is available to power a remote status LED. On the rear panel the single space rack unit features six switched, two unswitched AC outlets and remote activation bypass switch. On the front is a single unswitched convenience outlet. The Belden 4K Ultra HD Media Cable is designed for optimal performance in 4K HDBaseT transmission which it can deliver to distances over 100 meters. The compact cable, rated to withstand 45lbs. of pull tension, has a small bend radius and it incorporates a corrugated foil shield and a helical drain. They can be terminated using the Belden REVConnect product line of modular shielded plugs and jacks eliminating the need to separate the bonded pairs. In March, Black Box introduced its ultra-thin (.048mm) Active Optical Cable product range for transmission of ultra-high-bandwidth video and audio (including PCM 8-channel, DTS-HD and Dolby Digital True HD surround sound analog). With this triple-shielded, hybrid fiber/ copper cable, users can extend HDMI signals with resolutions up to 4K


medical optical imaging, video walls, VT, and high density enterprise applications. Active Optical Cables support HDMI: full 4K UHD resolutions up to 4096 x 2160 at 60 Hz, chroma 4:4:4 with up to 18 Gbps bandwidth; and DisplayPort: full 8K UHD resolutions up to 7680 x 4320 at 60 Hz or 32.4 Black Gbps. The cables’ hybrid fiber/copper Box Active design allows power to be pulled from Optical the source and transmitted over copCables per to the display side, with no external power required. Standard lengths are 10, 15, and 30 meters (box) and 50 or 100 at 60 Hz 4:4:4 and DisplayPort signals with resolutions up to 8K @ 60 Hz 4:4:4 for more meters (spool). The cables are hot-swappable, than 200 meters. The cables were designed to require no software and are compatible with provide a simple, time-saving alternative to Black Box and third-party equipment. Cleerline’s Cleerline SSF Cleerfiber cable HDMI/DP cables or AV extender kits, especially for high density UHD installations such provides fiber optic speed and reliability in as digital signage, control room, surveillance, one clear strand of cable. Constructed with a

transparent jacket, SSF Cleerfiber can virtually disappear into any indoor setting. Offering the same strength, safety, and speed of termination as the entire line of SSF fiber optic solutions, Cleerfiber provides signal distribution without the necessity of penetrating

Cleerline SSF


Furman CN1800S

walls. SSF Cleerfiber makes it possible to discreetly connect components with a cable that resembles fishing line. SSF Cleerfiber is a single strand of SSF 50/125/250 μm multimode fiber contained within a 900 μm transparent jacket. Like all SSF cables, Cleerfiber incorFSR porates SSF polymer coating Symphony at the glass label for durabilLinx ity and bend-insensitivity. SSF Cleerfiber can be routed and placed along baseboards or ceilings, up walls, or directed anywhere for detached, revealing a connector crosssection easy indoor point-to-point cable placement. that measures just 10 x 12.4 millimeters to get through tight openings. The video signals The cable can be caulked and painted over. Crestron PC-200 is a single RU rack are transmitted over four optical fibers, which mountable 15A, 120V AC power controller, make them immune to interference from conditioner, and surge protector with environmental noise. FSR’s new Symphony Linx addresses energy monitoring of all connected devices. It has switching of three separate outlet power and data needs in work and learnbanks and it features network connectivity, ing environments. Symphony Linx provides web browser setup, event logging, ping easy access to power either on, or under a monitoring, temperature sensing, and UL single work surface area by allowing users to 1449 compliance. Front panel LED indicators interconnect one Symphony table box to the show power, faults, protection activation next—providing power for all in the series. and shutdown. There is also a front panel Designed with reconfiguration in mind, Linx makes it easy to add power and connectivalways-on AC outlet. The DVIGear HyperLight Series opti- ity to any work environment. Presented in a cal cables are fully HDCP 1.4 / 2.2 compli- modern design with no visible hardware, the ant and support signals with data rates up main table box powers up two satellite units to 32.4 Gbps to support very high resolu- from a single AC power cord. Above table tion applications at 4K/60Hz (4:4:4) with and under table models that fasten simply cable lengths up to 100 meters and 8K/30Hz with a clamp are both available with choices (4:4:4) up to 50 meters. Plenum rated (UL of power and charging options, interconnectCMP-OF), compact, lightweight and highly ing cord lengths, and AC power cord length. flexible, the HyperLight cables have a mini- Symphony Linx is available with up to eight mum bend radius of just two millimeters and AC outlets and four USB Chargers. The Linx their DisplayPort docking connectors may be is offered in black or white.



DVIGear HyperLight optical cable

Hall Research CHD-DE Javelin Furman’s CN-1800S is a single rack space device featuring SmartSequencing technology and bidirectional communications between multiple units, a primary can control and sequence multiple secondary units. Its RS-232 ports and command sets enable it to be operated through control systems and an optional RS-232-to-Ethernet adapter adds full IP-addressability to the unit, allowing it to be controlled, programmed, and monitored from a smartphone, tablet, PC, or any Web-enabled device. It includes noise filtration, voltage/ surge protection and it provides a total of nine AC outlets. At InfoComm, Furman showed the new SS-6B-PRO with Extreme Voltage Shutdown (EVS), a 6-outlet power block that adds EVS to the Furman SS-6B. The new unit also delivers EMI/RFI filtration, heavy duty steel construction, and a 15ft. power cord. Hall Research put removable ends on their CHD-DExx 4K-Javelin active plenum HDMI cable and configured them to extend HDMI signals 33-100 ft. with zero loss. DVI cable


Juice Goose CQ1520

Kramer Electronics TBUS-202xl

Hosa Technologies Pro Fiber Optic Cable

ends are also available. A light-weight hybrid of fiber and copper, the cable has proprietary circuitry inside the HDMI connectors to make the conversion from video to light pulses and back. The onboard converters operate on HDMI bus power and a pulling capsule with eyelet is provided in each package. For a low cost solution to short fiber optic runs Hosa Technology has a variety of lengths from 3 to 30ft. in its Pro Fiber Optic Cable each of which is terminated in Toslink connectors. This plastic optical fiber (POF) cable is designed to interconnect digital audio components and it is compatible with ADAT and all S/PDIF formats, including Dolby Digital and DTS surround. The polished optical terminations provide minimum signal loss and the tough construction will stand up to demanding applications. The Juice Goose CQ-1520 has 7 AC power outlets on the rear panel with a total rating of 20A. One of these is unswitched and the others are grouped into three power pods of two outputs each. The power pods’ activation can be sequenced and each CQ-1520 unit can be the master or slave in a power sequencing system. Indicator LEDs on the front provide real time monitoring of the processor and sequencing functions. Kramer Electronics designed the TBUS202xl Dual Pop–Up Table Mount Multi– Connection Solution to be accessible from either side of the conference table with its pneumatic lifts that close flush with the table surface. They can be fitted with a custom choice of Universal, USA, European and many other power connections and each includes 15–pin HD, HDMI, 3.5mm and Ethernet ports. The enclosure is constructed



Legrand InteGreat AV Table Box with USB

Lowell Manufacturing ACSPRSEQ62009

of anodized aluminum and tops are available in silver and black. Another very slick looking power and cable connecting box is the Legrand-Wiremold InteGreat A/V Table Box with USB. Available in a selection of finishes, the unit has an activation surface that can be lowered in 1/2in. increments from 1in. to 4in. to accommodate a range of longer cable connectors. The accompanying template makes installation hole cutting easy and the unit can be purchased in both cord-ended and fieldwired versions.

The Lowell Manufacturing ACSPRSEQ6-2009 rack-mounted power sequencer has nine AC outlets, six of which are switched and three are unswitched. The four-step sequencer has a screwdriver adjustable delay between steps that can be set between 0.5 and 10 seconds and this can be activated either by a front panel rocker switch or through a rear panel remote control terminal block. The unit includes surge suppression and an alarm interface. The front panel includes LED indicators for power, circuit


Neutrik PowerCON TRUE1

MSolutions MS-TESTPRO TESTER The MS-TestPro is an all-inclusive battery-based handheld tool for in-field testing of HDBaseT cabling and systems; it is the only tester capable of testing HDBaseT 2.0, as well as DC resistance unbalance between twisted pairs. The MS-TestPro is designed specifically for AV installers, integrators and technicians, and features a built-in HDMI pattern generator. The MS-TestPro generates a detailed report after a very brief test, indicating the quality of various installation parameters, including details about link quality, link status of the transmitter and receiver, pixel clock, HDBaseT link chip type, and cable length for signal up to 4K UHD. User-friendly graphs summarizing the overall information are generated to certify status. Accommodates removable and exchangeable Tx and Rx modules and supports PoE.

activation and surge protection. Earlier this month, Middle Atlantic announced that the WRP, WRS and HDR Series of wall enclosures are being Middle discontinued, effecAtlantic Products VWM tive October 1, 2019, Series and will be replaced by the VWM Series wall enclosure. VWM Series Wall Cabinets are available in a variety of pre-configured models to maximize space and handle the highest density of components of any vertical wall cabinet in the industry. No further configuration is necessary as each model includes a patent-pending design that has flexible position spaces for the included rackrail, multiple knockouts, electrical box, and different levels of user access depending on the model. The pre-configured VWM Series Wall Cabinets also can be customized to support additional small device mounting within the cabinet and/or on the door, thermal management, cable integrity, and power distribution for a systems approach that ensures uptime and reliability. Among the wide range of connectors and cables from Neutrik is the PowerCON TRUE 1 series. These are the familiar locking 20A true mains types with breaking capacity (CBC) and dust and water resistant according to IP65 in mated condition. This line of connectors has unique Neutrik cable retention and they are ENEC certified according to IEC 60320. The male connector is the NAC3MX-W and the female is the NAC3FX-W. At IBC this year, Neutrik announced the mediaCON product family



MSolutions TestPro

designed for interconnecting devices like hard drives, cameras, video monitors, media capture equipment, audio interfaces, computer hardware and more. The new mediaCON products include robust, lockable USE Type-C cable assemblies and chassis connectors for PCB-mounted USB IF receptacles, with all components designed for data rates up to 10GB/s (USB 3.1 Gen 2), 100 W power, and 10,000 mating cycles. Opticis DisplayPort 1.2 to HDMI 2.0 converting active optical cable extends 4K (4096x2160) at 60Hz up to 100m (328feet) over plenum graded (or LSZH) hybrid cable. A high-retention HDMI connector, (Rx) side, allows more retention force compared to standard HDMI connector; the DisplayPort connector secures its connection with its own locking mechanism. The VT4315-PRO from Panamax has a vertically rack mounted form factor that offers 15A power control with linear noise filtration,

Opticis DHFC-200D


automatic voltage monitoring and catastrophic surge protection. The BlueBOLT enabled system enables users to remotely reboot 12 outlets in 8 individually controlled banks as well as monitor energy use, set alerts and program scheduled commands. The outlets are spaced apart to accommodate wall wart DC power transformers and at 37 inches it fits into most racks 20 RU and

Panamax VT4315-PRO

RapcoHorizon S Series

up. Last month Panamax added two new vertical power distribution units – the VT-EXT12 and VT-EXT16 – to the Vertex line; both add flexible protected power to the system rack. The 12 and 16 outlet configurations mount vertically at the back of the rack, placing power where it’s needed and reducing cable lengths. The slim design of each unit allows for easy workflow, while clip mounts make for a quick installation. The spacing allows for large transformers, such as wall warts; the 12-inch heavy duty extension cable – the 15-EXT1 – is designed for extralarge transformer and wall warts. While all Panamax Vertex models can be used as stand-alone Power Distribution Units, when plugged into Panamax and Furman power conditioners they share all the AC line protection and AC line filtering from the power conditioner to distribute protection and performance to extra outlets in the rack.


SurgeX UPS1000-OL

SnapAV WattBox Ultra-Compact IP Power Outlets

Thinklogical PDU 4/4

Rapco Horizon’s S Series snakes feature nylon “D” series type connectors on a steel box with raised edges to guard against connector damage and the return lines can be specified as either 1/4in. or XLR on the fanout end and on the box. The 6 through 16 line variants include nylon strain relief grip and each line has a channel number ID. The 24 - 40 channel versions have metal mesh grips and all circuits are hand soldered. Rose Electronics designed its new CrystalLink USB3.1 Active Optical Cable with built in optics to extend USB up to 300ft. while using USB bus power. The low smoke zero halogen jacket can be run through plenum or floor-to-floor. The three available models include hybrid cable that supports USB3.1 gen 1 / USB 2.0 and provides power through cable, a second model for pure optical cable and a third model that is hybrid with power transmission capability. SnapAV’s WattBox ultra-compact IP Power outlets provide IP power and remote monitoring in the smallest form factor in the industry. This budget-friendly UL listed, single-controlled bank with two outlets is designed to stop service calls with OvrC, SnapAV’s free remote management and servicing system. Through the OvrC dashboard, you can reboot and troubleshoot devices remotely, eliminating unnecessary truck rolls. Software includes scheduling features, notifications, and an end-user app. The SurgeX UPS-1000-OL is a standalone 1000VA UPS that uses online double conversion technology and hot swappable internal batteries to deliver AC power with zero interruption in case of an external out-



As we go to press, SurgeX also introduced the Security Plus II Rose Large Format UPS line. This CrystalLink Active Optical new UPS line is equipped with Cable an isolation transformer and uses double-conversion technology for clean, continuous, and reliable power even in conditions with backup generator power or in areas with common short-lived power outages. The Security Plus II UPSs were designed for ultraquiet operation, plus increased efficiency with the 1.0 power factor, and an energy saving ECO mode. For smoother installation, the UPSs also include an age. Also configurable for 19in. rack mounting, the unit has a load rating of 8.3A and an easy-view LED display panel for easy configextended scalable runtime up to 8 hours via uration, front access serviceability, and hotself-charging extended battery packs. There swappable batteries allowing the unit to stay is an RS232 port, USB Type B and on optional online during maintenance to keep the connected system running without interruption. SNMP card, an RJ45 terminal. The SurgeX Security Plus II Large Format UPS line is available to order in models ranging from 10,000 volt-amps (10kVA) to 20,000 volt-amps (20kVa). Thinklogical’s PDU 4/4 Remote Power Distribution Unit provides eight individually controlled AC power outlets in a single rack unit system. It features password security, user definable port names and port groups along with a front panel LCD for easy setup and TrippLite configuration. It also has redundant DC power OmniSmart supplies for built-in I/O and control circuits LCDLineand individually programmable Reboot Time Interactive Delay on each outlet. The unit works in conUPS junction with Thinklogical’s Secure Console Servers. The PDU offers effective out-of-band management by enabling users to power cycle, hard boot, and control power to individual servers through console management sessions.


The OMNI1500LCDT Line-Interactive Tower UPS System from Tripp Lite provides surge suppression and Automatic Voltage Regulation (AVR) circuits continuously regulate brownouts and overvoltages from 92V to 150V back to usable levels while maintaining backup battery power. The back panel has 10 built-in outlets, 5 with full battery backup and surge suppression. The built-in USB port enables optional unattended system shutdown without data loss in case of extended power failure and the PowerAlert software can be downloaded. The Magenta HDMI 2.0 Active Optical Cable (MG-AOC-66x) from tvONE supports up to 4K60 4:4:4 with no compression or latency up to 328ft. without the need for external power and is available in UL rated Plenum (CMP). It allows HDCP 2.0 support of bi-directional EDID and HDCP communication using its 4 channel 850nm VCSEL array

tvONE Magenta Active Optical Cable

source. The cable is a hybrid type with OM3 fiber and copper wire. Whirlwind’s versatile PLR Distro series can provide power in a range of connector types and it can be fitted with a custom assortment of input panels, main breaker panels, combo panels, output panels, and power

Whirlwind PLR-SKB02

meter/accessories. The custom-made PLRs are built into a self-contained UL listed enclosure. The PLR-SKB02 puts all of this capability into an SKB waterproof case to make it ready for the road.


A budget friendly solution when port density matters / Advanced functionalities / The unit offers 26 Gigabit ports / Configuration through an intuitive web interface / Validated against most AV over IP protocols / Out of the box redundancy / Robust, reliable and powerful … VISIT US @ TOTAL TECH SUMMIT NOV 4-6 / BOOTH 324

Luminex lighting products distributed by: A.C. ProMedia | 416-255-9494

Luminex GigaCore AV switches distributed by: Allied ProTech |+1 949 436 4745



There was a day when dim, blinking video and slightly distorted or reverberant sound was good enough, almost expected, in conferencing environments. Hey, it’s just a conference, not a hit TV show right? Wrong. Not anymore. In modern corporate conferencing systems video and sound quality are considered to be as much a part of the company’s identity as what you see in the lobby at headquarters and it’s the front door for many who have never physically visited. The products in our survey here demonstrate the recent advances in quality, reliability and user friendliness that have become a basic demand in the conference room. Lending a very professional look and sound to any formal conferencing event, the AKG CGN521 STS table top gooseneck microphone provides a frequency response of 70Hz to 18kHz while its 120-degree cardioid pattern rejects room noise and feedback. Its base switch can be programmed to operate in several different modes including push-to-talk, push-to-mute, push ON/OFF and push for low cut. The large LED on the base indicates the microphone’s status while the gold-plated

AudioTechnica ES925

XLR connector assures a solid audio connection. The 19.5 in. stem allows the mic to reach across notebooks and papers to get close to the user but the solid, heavy metallic base prevents it from tipping over. Among the many conferencing solutions from Audio-Technica are the ATUC-50 wired and ATUC-IR wireless conferencing systems which may be used independently or in a mixed configuration. Using 24-bit/48kHz uncompressed digital audio and a 12-band feedback suppressor, the systems can provide clear speech in large, multiple microphone setups. As many as 100 ATUC-50DU discussion units, ATUC-50IU integration units, and ATUC-50INT interpretation units can be run by one ATUC-50CU rack-mountable control unit. Three of these can be cascaded with AudioTechnica ATUC 50 & ATUC IR




CAT5e cable. Wired or hybrid wired/wireless systems can be driven by the AT UC-I RC U rack-mountable infrared control unit. Two ATUC50CU control units may be linked off the ATUC-IRCU with CAT5e or better cable. Audio-Technica is also now shipping a new Engineered Sound line of modular microphone systems that the company announced at InfoComm. The line includes several dozen variations of the ES925 gooseneck microphone. ES925 modular microphone systems includes a microphone element, gooseneck and power module. Components are interchangeable with each other, allowing users to configure each microphone system from a choice of three different polar patterns (“C,”/ cardioid, “H”/hypercardioid, and “ML”/ MicroLine designations); four power module options (“DS5,” “FM3,” “FM5” and “XLR” designations) and six different gooseneck lengths — a total of 72 new offerings. The desk stand, flush-mount power modules, and all mic element housings feature highly vis-


ible, two-state RGB LED status indicators. The 5-pin desk stand is also equipped with a touch-sensitive capacitive-type user switch with local and remote switching options and a UniSteep filter that provides steep low-frequency attenuation to improve sound pickup without affecting vocal reproduction quality. The 3-pin and 5-pin flush-mount power module options mount unobtrusively in tabletops and come with isolators that provide mechanical dampening of the mounting surface. Both versions are equipped with a capacitive touch switch to enable local muting of the microphone. The 3-pin XLR power module version plugs into any standard XLRF-type connector or mounts to 5/8”-27 stands using the included quick-mount stand adapter. The XLR version allows LED control when used with ATUC series products and the AT8699R desk stand. All four power module versions include UniGuard RFI-shielding technology.

beyerdynamic Orbis

Audix MicroPod6S

The Audix MicroPod modular gooseneck system features the M1250B microphone on stem lengths of 6, 12 and 18in. The MicroPod Series provides RF immunity and clear speech pickup across the conference table with its 50Hz to 19kHz frequency response and cardioid polar pattern. For use in noisy environments, the mic is also available with



Natural conversation without concern for speaker location or proper mic technique Natural reproduction of sound without accentuating ambient noises Unobtrusive profile favorable for architectural interior design requirements Uninterrupted line of sight for video "Plays nicely with others" compatible with all 3rd party audio conferencing hardware


Presets for changing room configurations IPad App for intuitIve set-and-forget configuration or ultimate real-time control of one or multiple AMIOs User-friendly mute control with clear status indtication Easy installation and flexible placement including ceiling, wall, or tabletop applications

a hypercardioid pickup pattern. It can be mounted on a standard mic stand or used with the Audix ATS Series table stand with lighted on-off switch. Each mic is machined brass with an integrated mic preamp, field replaceable capsule and it terminates in a male XLR connector. The condenser microphone has a non-reflective black matte finish and operates on 18-52V phantom power. The beyerdynamic Orbis conference sys-



Clockaudio D33

Biamp Parlé TCM-X


tem consists of a range of components ControlSpace including the GMS 52 installation EX-440C holder, Classis GM 115 Q gooseneck mic, MU 43 chairman unit, MU 41 compliant IP cameras or Sony and Panadelegate unit, SU 63 system unit and other hardware. The system connects on a twisted sonic cameras with CGI protocols. All of the pair loop so that the mic units can be powered DICENTIS devices use Intelligent Acoustic from either end of the line. A media control Feedback Suppression to allow high volume system can be connected through the RS-232 levels without feedback and echo. Conferinterface and each unit can be wired from ence devices can be connected with star and behind or from below for installation options. looped daisy-chain configuration using Bosch beyerdynamic’s Revoluto array microphones powering switches and Bosch system network can also be used. Depending on the connect- cables. The latest addition is the DICENTIS ing topology, each control unit can support up Interpreter desk and it accompanies the wide to 100 microphone units or up to 50 when con- range of discussion devices that include mulnected in loop for redundancy and fail-safe timedia and voting capabilities. At the end of July, Bose started shipping operation. Biamp Systems introduced the Parlé two new conferencing processors for small TCM-X ceiling microphone for use with their and medium sized conference rooms. Bose Tesira systems in meeting rooms with 10ft. or has an all-in-one processing design in the lower ceilings. It consists of the microphone ControlSpace EX-440C conferencing proand a network box and it uses beamtracking cessor. With its four mic/line analog inputs, to pick up sound in four 90-degree zones. four analog outputs, onboard VoIP, PSTN, Available in black or white to match the ceil- USB, Bose AmpLink output, eight-channel ing color, the mic has less than a 6in. diameter acoustic echo cancelling (AEC), and 16 x 16 and it includes a bright LED mute indicator. Dante connectivity, the unit can easily be set The network box has a digital signal process- up and configured with the Bose Controling module and an extra RJ-45 connector to Space Designer software. The USB connecallow addition of an optional TCM-XEX. The tion allows simple integration with all soft beamtracking technology actively tracks and codecs. The AmpLink output has 4 channels of uncompressed, low-latency digital audio to intelligently mixes conversations. The DICENTIS Conference System from send to AmpLink-equipped Bose amplifiers. Bosch Communications is an IP based system The processing is handled by a 32-bit fixed/ using open standards and OMNEO media net- floating-point DSP 456 MHz/ARM Cortexworking architecture. A variety of third party A8 600 MHz processor and the unit provides control systems can be interfaced and auto- full 20Hz to 20kHz frequency response. Also matic camera control is possible with ONVIF shipping is a second conference processor,



Clearone BMACT

the Control Space EX-12AE. With an openarchitecture design, twelve acoustic echo cancellers (AEC) and 16 x 16 Dante connectivity, this conferencing processor provides a costeffective, robust expansion for conference rooms using ControlSpace EX- conferencing processors. New from ClearOne is the BMA CT ceiling tile beamforming mic array for drop ceilings. Available in three sizes to fit US and international ceiling-grid sizes, the device uses advanced acoustic echo cancellation and its adaptive steering minimizes background noise pickup. Multiple BMA CT units can be seamlessly combined through its advanced gating and the system uses a single cable for audio, power and control. Its power source is switch selectable between PoE and the P-Link input and loudspeakers can be driven by the built-in


Crestron UCM100-T

2x10W 8-ohm power amplifier. There are controls for AEC and noise cancellation, gain, automatic level control, mute and manual/auto gating along with extensive filtering. The Clockaudio D33/D34 dynamic gooseneck mics offer a versatile addition to any conference room or speech podium with their speech optimized response and durable black brass construction. These can be purchased with a fully flexible or semi-rigid (SR versions) shaft and for custom orders they are also available in Nextel Suede Coating finishes. The D33 is 11.8in. long and for extra reach the D34 is 16.7in. The mics produce a cardioid pattern with a frequency response of 150Hz to 12kHz. They can also be ordered in base mount or three-pin XLR styles and they work quite well to deliver clear speech in high background noise environments. Crestron’s Flex M100-T is at the forefront of their line of unified conferencing and collaboration systems built on the IoT cloud based XiO Cloud platform. Used with the Microsoft Team’s intelligent communications platform, the system is a complete audio conference room solution and combines a full-duplex conferencing speakerphone and touch screen controller in a single unit. Easy to operate, the Flex M100-T provides secure full-duplex wideband audio in a native Microsoft Teams IC audio conferencing environment. Featuring one-touch meeting joins, onboard calendaring and corporate directory access, the system uses an integrated 360-degree quad microphone array and a high-powered, fullrange speaker to allow full-spectrum, bidirectional voice communication. With 4K video, ultra-high definition content sharing, powerful 20x zoom and 10 shot presets, the Lifesize Icon 700 also supports dual displays. Its compact form factor with integrated PTZ camera allows it to be placed on a credenza or small mobile media table. The system uses standard wired networks as well as 802.11ac wireless and the camera’s 83-degree wide angle of view makes it easy to include all conference table participants in the same shot from a short distance. The web interface can be used for system management with backup and restore capability. Serial control interfaces can operate through the unit’s two USB 3.0 ports. The fully inte-



Lifesize Icon 700

Sennheiser TeamConnect 2 Ceiling

Mipro BC-24T and MM-204

Shure Microflex Complete Wireless

grated Lifesize phone has a response of 90Hz to 22kHz and a pickup range of up to 15ft. One of the more adaptable and versatile conferencing solutions from Mipro is the combination of their MM-204 gooseneck microphone and BC-24T wireless conference microphone base. The Proprietary microphone mount design allows 110 degrees up/ down and 300degrees left/right angle adjustments of its 15in. black stem. Its 50Hz-18kHz frequency response provides good speech pickup and the multi-layered microphone grill minimizes pop noise. The BC-24T base allows the ACT-24TC transmitter PCB to be inserted while maintaining hard-wired sys-

tem capability by accepting phantom power directly from a mixer. The base includes a talk/mute button with an LED status indicator. The unit also has a built-in charging circuit for recharging the battery. The Sennheiser TeamConnect Ceiling 2 is a conference microphone that uses beamforming technology to allow participants to be mobile and use the entire conference room with perfect speech pickup. Operated with Sennheiser’s Control Cockpit software, one or more mics can be controlled from anywhere on the corporate network and it can be connected to the conference system through its analogue and DANTE outputs. Installation is


Vaddio TableMIC

Taiden HCS8668ACE TOA Electronics TS-910

made easy with PoE and the system is fully compatible with Dante Domain Manager. The mic can be flush mounted as a ceiling tile, suspended under a higher ceiling using the SL CM SK accessory suspension kit or it can be attached to the ceiling using the optional ceiling mount bracket. Shure has the conferencing system to use when hard wiring is not possible. With Microflex Complete Wireless, there is not only no wiring clutter but the quick setup and flexible configuration are basic advantages. Transmitters and receivers automatically find and use clear channels and meetings of up to 125 participants can be accommodated using the same multi-role wireless conference units for chairman, delegate or listener. Features include two, three or five-button voting, color touch screens, rechargeable Lithium-Ion batteries and there is a networked charging station that charges ten batteries in four hours. A variety of Shure gooseneck microphones can be used with any of the participant stations. Taiden’s HCS-8368 Series Paperless Multimedia Congress System is designed for high-level meetings, summits, conventions, parliaments and city councils. The system is user-focused on the HCS-8668 Series Paperless Multimedia Congress Terminal with its 14in. HD touch screen and its buttons for voting, language channel selection, video source selection, mic on/off and IC card identifier. The base is the HCS-8600M Main Unit with a built-in DSP processor and amplifier, direct recording and playback via USB port, and an HDMI interface.



The TS-800 and 910 Series Conference System from TOA can be wirelessly set up and configured for secure operation saving time and potential connection issues. The user can choose between the highend TS-910 system featuring up to 96 chairperson/delegate stations, three level voting and simultaneous translation audio channel and the TS-800 system supporting up to 64 chairperson/delegate stations. Each station in the system can be powered by a rechargeable lithium-ion battery or AC power supply. Both systems can be controlled externally via RS-232C and USB port and each station is individually controllable by assigning a unit address. Separate external devices can be connected for conference recording. Feedback is automatically controlled by switching the station speaker off when that unit’s mic is on and vice versa. Vaddio is now shipping its new plug-andplay TableMIC microphone. Engineered to reduce distracting table and operational noises that arise in the conference room, the TableMIC has a solid metal base construction, acoustical fabric wrap, and padded rubber feet to diminish table vibration noise. The top of the TableMIC features a capacitive touch control surface for silent operation. The ability to enable and disable button functionality during configuration can further simplify the end user’s videoconferencing experience. With full 360-degree coverage from three unidirectional condenser microphone elements (and integrated echo cancelling and DSP

Yamaha Unified Communications YAI-1

including EQ, filtering and AGC) a single TableMIC microphone provides excellent coverage for most meeting rooms. The DSP in a companion product such as the Vaddio AV Bridge MATRIX PRO or EasyUSB Mixer/Amp provides an AEC reference from the far end and applies it to individual mic elements, so conference calls are crystal-clear on both ends of the conversation. Power, control and audio are all carried over a single CAT 5 cable. up to 100 feet (30 meters) between the microphone and equipment with Vaddio EasyMIC ports. The YAI-1 Conference Ensemble from Yamaha Unified Communications is a working system right out of the box with its pre-programmed configuration, integrated Executive Elite wireless system and microphones. It features the Yamaha MRX7-D DSP processor, 256-bit AES encryption and USB connection for use with existing conferencing software. The system is available in a number of variants to easily blend with existing hardware and conference room environments. It rejects GSM noise from other wireless electronic devices while its DECT protocol protects against radio frequency changes.


OPEN-FORMAT AT GW LAW With Bennett Liles

t George Washington University Law School they’re no strangers to video technology and they knew they needed an upgrade for better video recording and conferencing. Head of Instructional Technology, Matt Bochniak is going to tell us how Cattura streaming and Vaddio cameras brought the 55 classrooms up to speed and supported the school’s extensive roster of remote guest speakers.


SVC: Hi Matt, first tell us a bit about George Washington University Law School. Matt Bochniak: We roughly have 2,000 students, approximately 55 classrooms across seven buildings here. We’re located right in downtown Washington D.C. We’re just a couple blocks from the White House. You’ve been working on a big technology upgrade there with increased video and recording capability. Is there a unique



challenge or benefit that’s specific to law classes when implementing video technology? I would like to start by saying we value our students’ learning experience and we want to provide the law school community with the best technology possible to achieve our learning outcomes for our students. We had an older video recording system that we felt wasn’t flexible for our changing needs. So about five years ago we began a remodeling process of our classroom technology. In that process, we really wanted to address two major points. We wanted to put a video recording system in that allows us to publish through multiple channels, and we wanted to incorporate web conferencing technology. It’s important to have the ability to have a wall-less environment especially where we are in D.C. We wanted to be able to bring experts easily into any of our classrooms. A big part of doing that is making sure that it’s implemented smoothly so your professors aren’t fooling with the technology all the time. Absolutely. Transparent technology is definitely important. Our classrooms are full of technology, but it’s transparent to both the students and faculty members and the people using the rooms. We have 55 rooms. They all are classrooms, but they also serve as

meeting spaces. They also serve as event spaces. They also serve as places where faculty will interview other candidates. They serve various needs and have the same technology in every single classroom. And having the ability to service and support that was also important. Let’s talk about the video streaming and recording part of this. I think you implemented the Cattura Kaltura platform for this. Why was that particular one chosen? Mainly for open formats. I sat down with Mike Briggs, our IT director here at the law schools, and we both agreed that having an open format solution was key. So it ties to how we use the room, right? If we’re doing an academic recording, it has to be permissioned in such a way that only one student can watch that recording. Our academic recording policy is very strict. We have to be able to track and maintain who’s watching what videos so if a student has an approved recording made for them, even though there might be 100 students in that class, only one student will have access to that recording. We had to handle that requirement, but we also have to support other use cases. On any given day, we host an average of five events here in our rooms and most of

those events are being recorded. We had to have a place for those recordings to live. On our old system, we were hosting them in our servers. Recordings were just getting bigger and bigger and more and more costly. Now if it’s an event recording we’re probably going to stream it to YouTube; we’re no longer maintaining this huge catalog of recordings. That was important to us. If we’re streaming live it might be on the law school’s Facebook page. But if it’s an academic recording it’s going into our Kaltura system, which is really locked down, to achieve the goals of our academic recording policies. Well, with people watching different videos in 55 different rooms that’s a lot to keep up with. Yes. It’s a very large operation here that I run alongside Andrew Lawrence, who is our media technology coordinator, and about nine student employees. Who actually handled the initial installation and testing for this? We tackled this in different phases. The remodel phase was over a four-year period. In the remodel phase, we had some rooms that

Your Presentation. Focused. Marble floors, glass walls, vaulted ceilings. Large foyers, grand lobbies, and expansive workspaces. All architecturally fascinating and all acoustically challenging. Only Renkus-Heinz has the tools necessary to tame these sonic beasts and place sound precisely where it’s needed most, delivering the intelligibility, clarity, and power your audience demands without the wash and reflections of traditional loudspeaker systems. From corporate environments, museums and cathedrals to airports, lecture halls and theaters, the Iconyx Compact Series of digitally steered arrays from Renkus-Heinz brings flawless audio into focus.

were on an old analog AMX switch and we had some rooms going to an AMX digital switcher. So we started with that part, getting all of our analog gear into the AMX digital world. And then at that point I started looking at the conferencing aspect of it and we started incorporating the Vaddio AV Bridges into the designs in those early years. Once we were done with that, we then looked into upgrading the video system and retiring our older system and moving to this Cattura-Kaltura/open format system that we are currently using. You know, we only had two months to decommission and reinstall and commission a brandnew recording system. That was done pretty much hand-in-hand with Cattura. They did a lot of work with us. And then Acuity did the remodel and they were also onsite when we did the Cattura installations and decommissions of our older video recording system. How exactly is the videoconferencing used in the classroom now?



We have a group of faculty that will bring expert guests into the classroom. Most of the time it’s other attorneys, but they might bring other important people that can’t make it physically into the classroom at like, say, 6:00 p.m. on a Thursday. The other aspect that we’re using—the web conferencing—is for our growing online LLM program. With our LLM program, our faculty will have office hours via Blackboard Collaborate. Oftentimes they’re teaching here during the day and they just stay and just go into a classroom at night and do their office hours through Blackboard Collaborate through our AV system. They’re also bringing in guests into those office hours, so that’s another aspect of how the web conferencing technology of our system is being used in learning.

Yes. Pretty much all of them can. The GW users will generally use Webex, Google Hangouts Meet or Blackboard Collaborate. We use all three of them constantly here in the law school. However, when outside people use our space to do meetings not tied officially to the law school, they might use Skype or Zoom.

What are the various videoconferencing applications that can interface with your system? I know they can use a wide variety of them.

Did you have to run new wiring in each of the classrooms? Yes. We ran new wiring to the classrooms and we also invested in fiber so we have fiber

How did the hardware installation go? Did you need new wiring and camera mounts? Absolutely. The four-year remodeling process was pretty much a full gut job. We took out old standard definition cameras and video equipment and replaced it with HD cameras and video equipment, so it was a lot. New wall mounts. Half of our racks were pretty much gutted during the remodel. We couldn’t keep that much.

jumps from closets to closets that go back to our central control – our master control. Where is all the support equipment mounted? Obviously, you have to have that in a secure place. Normally all of our classrooms, except for a few, have a closet attached to them. It’s just a door in a corner of the room. If you open that door, there is a wall of racked equipment. That all gets networked back to our master control, which is in our Office of Instructional Technology— that’s pretty much the brains of the whole operation. We have room control of all 55 classrooms from one room. We also have a closed-circuit phone system to all the 55 rooms. There’s a white phone that we train our faculty on that’s right by the podium – it automatically rings and we know what room it’s ringing in the master control. And then we can pop up the room control for that room and actually nine times out of ten solve their problem. A lot of times it’s questions like ‘how do I

get my laptop to project on the projector?’ We can just push a button at our master control without sending somebody down there. We keep the operation going until 10:00 at night during the weekdays and until 8:00 at night on the weekends. So anytime a faculty member has a problem, they just pick up the phone and they’re talking to a human being that can

pretty much resolve their problem remotely. Having the ability to do a lot of things by remote control really saves a ton on lost instruction time. That’s a very important key to the design of our classrooms. We don’t want our 55 minutes of class time taken up waiting for a computer

Introducing the Next Generation UWP-D Wireless Microphone Series by Sony Ideal for ENG, Live Events, Cinema, Internet Production, and a variety of professional applications.

Available from:

Shoreview Distribution


to boot or figuring out how to show a Power Point. We want to maximize the student experience and the faculty’s time with the students. It goes back to the whole transparent technology. I noticed you use the Vaddio RoboSHOT cameras. Those have been around and they’re pretty much proven so why was that model chosen for this? Features or cost? [Laughs] You just pretty much answered my question for me; they’re proven technology. I used them prior to coming down to GW with great success, so when I had the chance to put an HD camera into our classrooms, that’s just an easy one to use. It’s great. They work well. They give us good quality HD video. We never have to worry about rebooting them. That’s why I put them in their classrooms. You also put in the Vaddio AV Bridges so how do those work and how are they installed? They sound pretty simple. I love the AV Bridge. That’s probably my favorite aspect of our design. I think that this is something that a lot of people are missing the boat on—how simple this is. Basically you just feed your wall camera video and your room audio to it; it has a USB port and you plug the USB port into the back of your computer and your AV system. Now your computer sees it as a webcam. That’s as simple as it gets. We live in an age where web conferencing is the norm now and being able to do this in a classroom environment is just key, I think. I think it’s very important for institutions to understand the importance of being able to incorporate a guest lecture from anywhere in the world that can connect to Webex. I think it’s key to make a wall-less environment for our students, faculty and staff. How is the sound picked up from the participants? In pretty much all of our classrooms, we have a Biamp DSP audio audiomixer. And



we have microphones all over the place and we have them set to certain thresholds. So once they get to a voice threshold they’ll turn off and turn on. That’s how we get the crowd or student audio to be picked up for classes. As far as the podiums, they all have mics on them. We also have wireless lav packs that we’ll give to faculty. In some of our rooms we have handheld mics. Some of our rooms we have the ability to put a tabletop microphone system in, which again works with our speaker systems and our Biamp system for audio.

of event spaces being used with this technology is going to be for our communications department. We do a Supreme Court briefing that we stream to the law school’s Facebook Live account. In that presentation we have some of our faculty members go over all the cases that the Supreme Court are going to be looking at for this session. We’ve had huge views for that and that was just using the AV Bridge to stream to Facebook Live. Very simple. It took us no time at all to set this up and it went without a glitch for two hours. So events people are the ones who have taken quickly to the technology.

Yeah, I would think the hand-held is best for gain before feedback if you have any kind of tough situation in there. It’s always a challenge. I mean, we probably tune the system once every year, all of the rooms. As time goes on and microphone tolerances change it’s something that’s an ongoing thing, tuning the rooms for sound.

What proved to be the most challenging part of it? I think the most difficult part was over the four-year period being on two systems; being on an analog AMX and being on a digital AMX and keeping track of which room is working on which system. The other challenge would be the decommissioning and commissioning a new video system in two months. That was a lot of pressure for us to do that. As soon as the summer semester was over we had a two-month window, really, to decommission and put in place a new video recording system. Our racks are pretty full so we couldn’t have both of them sitting in the same rack, so we were challenged on that. It’s not like we could come in here six months earlier and start putting together the new system. We just didn’t have the rack space to do it. So we literally did this in a two-month process and it went well. We focused, we were detailed, and we were always on top of things and making sure that if we saw something wrong we fixed it immediately and we didn’t let anything sit.

How did people take to it? Professors and some of our more technologyforward faculty members took it on quickly. However, I think even more people will use it for our event spaces. I think our administrative staff will use it for meetings and for events that we host. One of the great examples

Are there any future upgrades in the early planning right now? Probably projectors is my next major task. I’m probably going to look into the laser projectors in our classrooms. Right now we’re still using the bulb kind. I think that’s the next big upgrade for our AV system.

PRACTICAL DRAMA The U.S. Army Corps of Engineers models a new role for government video


By Cynthia Wisehart and Phillip Cordell, Vice President of Technical Operations at M3 Technology Group

he U.S. Army Corps of Engineer’s Engineer Research and Development Center (ERDC) strives to be the premier public engineering and environmental sciences research and development organization. As such, the Corps recently reimagined its headquarters building in Vicksburg, Mississippi. The stated objective of this upgrade was to educate visitors on



the role of the ERDC and learn about government research, as well as providing working spaces and inspiration for the engineers, staff, visitors, government officials and conference-goers who do important work for the country in this vibrant center. As such, the remodel strove to expand the definition of AV in a working government building. ERDC hired Nashville-based M3 Technology Group, an audiovisual integrator based in Nashville, Tennessee, to create a unique audio-visual experience not seen in other government facilities. To maximize appeal to visitors, M3 tapped into a trend that’s seen in corporate lobbies to create a dramatic atrium display environment. The new display environment creates an immersive space

with soaring mosaic video walls, and a unique AV walkthrough centerpiece. As they enter the building, people encounter two 32’ high mosaic video walls composed of 30 LG VMC5 series displays, 19 55” models and 11 46” models. These displays fit the contractual requirement of providing an ultrawide viewing angle and ultra-thin bezels. The signal to these walls is driven by a Crestron Digital Media switching backbone and an RGB Spectrum Galileo video processor to handle the custom content. In the heart of the atrium, the immersive Pavilion installation is encased on both sides by custom structure are 14 LG OLED 65EV5C displays. These OLED video wallpaper displays allow the folks at ERDC to convey their mission in a stunning manner. Typical content includes information about each of the labs on base and their core functions. The custom content in the atrium is driven by RGB Spectrum’s Galileo video wall processors, chosen for their display layout flexibility, ability to output to multiple walls, and image quality. The Galileo processors receive feeds from digital signage players, media servers, and PCs with custom-created content. In the immersive pavilion, a single Galileo processor outputs this content in portrait orientation to two OLED video walls; a 2 x 5 video inside the Immersive Pavilion structure and a 1 x 4 video wall on its exterior. Two additional Galileo processors drive the 32-foot high 15-monitor mosaic video walls presented vertically. The mosaic video walls posed particular challenges. First, the images feeding the displays needed to be rotated in a variety of angles. Secondly, the processors had to support two different display sizes, 55 and 45-inches, inter-



mixed in the digital signage mosaic. Thus, the processors had to scale the output for each display and properly align them to form a seamless image. Galileo produced a seamless, contiguous visual across the multi-screen mosaic with the desired visual appeal. aving made a statement in the atrium about the vision and mission of the ERDC, hosts often lead guests to the auditorium space for large scale meetings, panels and workshops that focus on the work that has been done and on the job ahead. These gatherings often need to be webcast as well and, as such, the auditorium needed to be versatile and impressive in its own right. The contract specification called for two Barco F90 4K 13 laser phosphor projectors, which are just under 12k lumens. These projectors are driven by an Extron Quantum Elite video processor for edge-blending and image scaling, enabling the projectors to give the appearance of multiple displays or one large display. Audio in the space is handled by two Biamp Tesira Servers for DSP that feed QSC CX series amps and drive an assortment of Tannoy speakers, including the QFlex 16 steerable column arrays, VX12s and CVS 8s. With this setup, the space can be setup for both typical speaking engagements as well as more robust live events. The production side of the auditorium is driven by a Tricaster 410 system and 4 Sony BRC-H900 cameras controlled from the production booth located in the rear of the room. This professional broadcast system allows events to be recorded and distributed all over the world. In addition to the auditorium, the ERDC facility also features a number of high-tech


classrooms and conference rooms to facilitate the transfer of knowledge, all supported with AV displays. n addition to the public-facing aspects of the facility, the building also a functioning component of the Corps of Engineers and, as such, has some impressive technology that isn’t open to its visitors. In the Emergency Operations Center, an 2x3 video wall composed of LG VMC5 series 55” Video wall monitors and Extron Quantum Connect video processors ensures that anytime an emergency arises, the Corps is prepared to assess and assist in the situation. Video signal is distributed by a Crestron


Digital Media switcher and endpoints while audio is handled by Shure Microflex wireless mics and Audix wired microphones feeding a Biamp Tesira Server-IO and amplified by Extron XPA series amps. Video conferencing capabilities are handled by a Cisco SX80 allowing seamless communication with other remote sites and the entire system is tied together by a Crestron control system. In addition to the EOC, the secure facility features two other large scale video conferencing suites where secure communications

Product at Work: GALILEO

can take place once again through LG video walls, Crestron DM switching and control and a Cisco SX80 video codecs. A control room leveraging Crestron’s 3-series processors and TSW Series touch screens services both of these VTC suites, enabling an operator to setup and configure calls for all near-end participants. Discussions and communication

that take place in these secure rooms ultimately ensure the mission and vision of the ERDC are carried out effectively and reliably for the advancement of the country. Editors Note: Due to governmental policies on affiliation and endorsement, it should be noted that this case study does not imply USACE endorsement of any of the solutions

The Galileo processor supports real-time throughput of inputs and outputs at up to 4K resolution. The processor offers the flexibility to output in rotated and portrait orientation, and display content in windows of any size, anywhere on the video wall. Display layouts can be changed instantly to focus on particular areas of interest. Operators can select preset display layouts, switch and route sources, and size and position windows. Image overlap capability is available for projector-based video walls, custom timings accommodate the special resolutions of LED walls, and bezel compensation optimizes viewing with LCD video walls. Advanced features include a unique “wall mimic-- the entire video wall or any region of interest can be encoded and streamed for live viewing elsewhere; HDCP content protection, scripting for third party system control, and automatic IP stream discovery for RGB Spectrum’s Zio AV-over-IP encoders is included.

W W W. V I T E C . C O M





SV C ON L I N E.C OM | O C TO B E R 20 1 9 | S VC 51


STRATEGIC CLARITY eadquartered in Stuttgart, Germany, the United States European Command (USEUCOM) is a joint forces community of approximately 1,000 U.S. service members and government civilians. USEUCOM conducts military operations, international military engagement and interagency partnering to defend the U.S and enhance transatlantic security. From its state-of-the-art plans and operations center, the USEUCOM directs the operations of more than 50,000 military and civilian personnel, integrating and synchronizing forces across Europe, portions of Asia and the Middle East, as well as the Arctic and Atlantic oceans. Two key segments of the USEUCOM include the Joint Operations Center (JOC) and the Senior Decision Cell (SDC), both of which fall under the USEUCOM’s Mission Command Center. The JOC is the strategic and operational hub of USEUCOM and is organized to accomplish missions, move resources and support the commander’s decision cycle. The SDC—co-located with the JOC—functions as a high-end briefing center for general and flag officers and can be used as a situation room for senior staff members. USEUCOM identified the need to replace two outdated projection systems which previously served as control room displays for the JOC and SDC and had surpassed the manufacturer’s estimated life cycle by several thousand hours. USEUCOM engaged Tampa, Florida-based Command and Control Communications Engineering & Logistics (C³EL), a specialized builder, designer and technology integrator for the Department of Defense (DoD). It was important to the USEUCOM that a display solution offer a long lifecycle, quieter operation, higher efficiency with respect to head and load calculations, and be able to scale with new technology, according to Lavar McDowell, C³EL project manager. C³EL was familiar with Planar, a Leyard company, having partnered with them on past installations; McDowell and C³EL pitched the Leyard DirectLight LED Video Wall System and the Leyard TWA Series LED video wall.




Initially, the investment cost for a 51.2-foot-long, 6.6-foot-high Leyard DirectLight LED video wall in the JOC and a 26.6-foot-long, 4.4-foothigh Leyard TWA Series LED video wall in the SDC encountered some resistance. “I brought up the idea of shipping a demo video wall all the way to Germany,” McDowell explained. “It was a financial risk for Planar, but they agreed and sent out a Leyard DirectLight along with a representative. When it arrived, we set up the demo right in the JOC.” Being able to observe the Leyard DirectLight video wall alongside the projector screen changed the USEUCOM’s perspective on cost, according to McDowell. To support the large Leyard DirectLight LED video wall in the JOC, the C³EL team, led by CEO Billie McDuffee, determined that a new load-bearing wall would need to be engineered and built. McDuffee deployed to Germany with a crew from C³EL that included technicians, a structural engineer and a master programmer. With the JOC and SDC serving as true, mission-critical environments, it was extremely important that the project integration minimize impact or interference with operations and did not exceed the timeline that was set. The completed Leyard DirectLight LED video wall and Leyard TWA Series provide both the JOC and SDC with a seamless, high-performing digital canvas to help direct mission operations, according to McDuffee. “The video walls really elevate the level of technology in those rooms,” he said. “Personnel working in the JOC and SDC must view very detailed sources, including maps, videos, images or other content, and the improved clarity of the LED video walls definitely enhances their capabilities.”


SAFETY OVER IP ulton County Schools (FCS) is the fourth largest district in Georgia, spanning 106 schools and administrative and support buildings. For the safety of students and staff, the district’s Emergency Operations Department monitors weather and security alerts, school IP camera feeds, social media postings, and local and state events at its Emergency Operations Center (EOC) on the sixth floor of the main administrative building. Until recently, this was accomplished using a video wall consisting of consumer displays in varying sizes and a standard HDMI 8x8 matrix switcher. The capabilities of the EOC’s existing were extremely limited, so in early 2019 FCS made the decision to upgrade its technology to something modern, advanced, easy-to-operate, scalable and more futureproof. To meet these requirements, the district called on Lawrenceville-based integrator Nisewonger AV. At the EOC, Nisewonger replaced the consumer displays with (12) 55-inch LG commercial Ultra-thin bezel video wall displays in a 2x6 configuration. While switching to thin bezel video wall displays was certainly an aesthetic improvement, new displays alone weren’t enough to deliver the functionality and scalability FCS required. The video distribution system working behind the scenes needed to be addressed. Not only did the EOC’s existing 8x8 matrix switcher lack any video wall features, but it was out of room, making future system expansion impossible. If FCS continued with a fixed-format approach to video distribution, the facility would need to upgrade to a much larger — and more expensive — switcher, which would also reach its capacity in time. Furthermore, a traditional matrix requires the use of HDMI to CAT extenders, which clutter the system with additional hardware and increase overall system costs. An AV over IP solution was the best fit, in this case Just Add Power’s 3G Ultra HD Over IP platform. The system offers ultra-low 16 ms of latency from source to screen and supports 4K Ultra HD resolutions and HDMI 2.0 devices with HDCP 2.2. The platform enables seamless switching between any resolution HDMI source as well as uncompressed lossless multichannel audio formats, including Dolby Atmos support. Video wall functionality is built-in for displays installed in portrait and flipped configurations, as well as image push, pull, and pop features. An integrated scaler on the receiver automatically adjusts the pic-




ture to fit the screen. Each of the 12 displays in the EOC’s video wall is equipped with a VBS-HDIP-508PoE 3G receiver. Sources include multiple cable settop boxes, an Apple TV, PCs, 10 Antrica SpotBox4K multiviewers for IP camera footage, a Biamp Tesira digital signal processor, and a VoIP voice system. 12 sources are connected to three J+P VBS-HDIP-747PoE 4-in-1 3G rack-mount transmitters, and eight are outfitted with VBSHDIP-707PoE transmitters. In addition, the system features J+P’s VBSHDIP-759A 3G four-input tiling processor, which allows up to four sources to be viewed on a single display. The video distribution system is supported by two Cisco SG550X-48MP 52-port managed AV switches. EOC staff have complete control over the video wall using Just Add Software’s MediaSwitcher platform on a standard PC or a web interface client that can be accessed from virtually any device. Developed in partnership with J+P and designed to work with the company’s entire HD over IP product line, MediaSwitcher allows users to send any video source to any display or group of displays — or send multiple sources to one display — with the push of a button. By incorporating FCS’ Biamp DSP and VoIP phone system into the J+P system, staff can also send and receive VoIP calls via the MediaSwitcher interface.



s if the last “spectrum reallocation” and subsequent repack hasn’t provided enough drama, there’s another move afoot to further trim broadcasters’ operational resources. This one hasn’t received the notice that the big “reverse auction” commanded, but it has the potential to send TV, radio, and cable system operators scrambling, should the FCC (and wireless providers) have their way.


This time, the government has its sights on the 3.7 to 4.2 gHz block of C-band spectrum used by one-to-many satellite distribution of content, contending that it’s needed to build out 5G wireless networks. A 2017 FCC “Notice of Inquiry” hinted at repurposing this spectrum chunk that’s seen heavy use during the past three decades or so, and the Washington wheels are grinding even faster and more noisily following a Notice of Proposed Rulemaking issued last year. In that NPRM, the commission contended that this “mid-band spectrum is well-suited for next-gen wireless,” and suggested that some or all of the 3.74.2 gHz real estate be turned over to 5G developers. And if they get the whole enchilada, current C-band deliveries could migrate to Ku-band birds, fiber or even the internet.


“…Commission action that repurposes spectrum in the C-band cannot undermine the existing, essential pipeline that relies upon the C-band to bring video content to American viewers. That pipeline must remain undisturbed, reliable, smooth and efficient.” (Joint filing by the ABC Television Affiliates Association, CBS Television Network Affiliates Association, FBC Television Affiliates Association and NBC Television Affiliates) “The record affirms that proposed changes to the C-band downlink spectrum… could significantly disrupt the television content distribution ecosystem to the detriment of more than 100 million U.S. television households, particularly if the Commission does not engage in a sufficiently transparent and robust review and oversight of any reallocation process.” (NCTA – The Internet & Television Association) “Significant questions remain unanswered regarding how this distribution architecture can be protected while reallocating a portion of the C-band for mobile use, and the Commission should move forward in this proceeding only after those questions are fully and publicly addressed. Airy and unspecific commitments regarding the accommodation of current C-band users will not mollify American viewers and listeners when their favorite programming is interrupted.” (NAB)

The FCC also urged C-band users to register their sites and to speak their minds about accommodating The proposed waveguide-type terrestrial filters to allow both 5G and C-band interests to share 3.7 5G. Response was good in both areas. Some 10,788 to 4.2 gHz spectrum might look like this. If a decision is made to hand over the lower 200 MHz of earth stations were added to the 3,800 that the FCC downlink spectrum for 5G purposes, all C-band antenna systems would require such a filter. already knew about. And many players chimed in, The Church of Jesus Christ of Latter-day Saints—the single largest including TV station groups and networks, wireless providers and even stakeholder in the fray, with nearly 3,500 registered C-band receive Google. Some offered suggestions for easing the pain brought on by placing sites—was quite insistent about protecting its interests: “Given the past investment in, and importance of, the C-Band to con5G ops in the band, while others called for restraint and moderation in sumers and existing users, the Commission must reject proposals to intenany plans that might rock the C-band boat: “The commission should proceed cautiously where it looks to make sify terrestrial use of the C-Band absent a robust record demonstrating intensively utilized spectrum—as is the case in the C-band—available for that existing services will be protected from new, potentially-interfering services. Since the Commission first proposed altering and expanding new uses.” (Comcast/NBC Universal)



CONTROL ROOMS the use of the C-Band, Comcast and others have posed numerous questions about how existing services will be protected. Yet, the administrative record remains largely devoid of detailed answers to those questions.” The organization also voiced concern about expenses arising from changes. “If a permanent solution to this issue requires the Church to limit its use of the C-band, the Church is open to discussing that solution. But fair is fair. If the Church is required to reconfigure its distribution network to ensure the availability of spectrum for other services, it should be reimbursed for the cost of that transition.”


Sherrod Munday

Among those entities promoting moderation in any C-band makeover, the CBand Alliance, a group of four satellite operating companies—Eutelsat, Intelsat, SES and Telesat—propose


to allow 5G occupancy of the lower 200 MHz of the band, and accommodate current C-band services within the remaining 3.9 to 4.2 gHz chunk. (A 20 MHz guard band at the top of the 5G berth, along with the special installation filters on all TVROs would ensure interference-free operation.) Based on comments received in putting this article together, there seems to be something of a consensus as to the workability of the CBA proposal, if indeed 5G has to become a bedfellow. One of those favoring band sharing is Sherrod Munday, a TV and radio consulting engineer who has been closely following the matter. “I would say that the CBA has the largest amount of industry support,” said Munday. “A large number of players are behind it. The FCC’s proposition and public notices seem to give this a fair chance of success. If the CBA’s proposal to reallocate 200 MHz can happen without loss of service, this would go a long way to satisfy

The Versatile Solution for Tomorrow



Automatic Point to Point KVM Extension

Bidirectional IR, RS232, and auxiliary stereo

Input resolutions up to 4K 60 HZ 4:4:4

Low latency video and audio

Extend & Switch multiple HDMI Video and USB Data

Dynamic Virtual Matrix utilizing Telnet

USB Device Class Filtering and 4 USB ports on Receiver.

and WebGUI control

SERVING YOU SINCE 1984 714-641-6607 SV C ON L I N E.C OM | O C TO B E R

20 1 9 | S VC 57

CONTROL ROOMS the [5G] requirement.” Munday doesn’t really believe that the other suggested alternatives are realistic, given the need for the rock-solid delivery in all types of weather, and the difficulties and vulnerabilities that come with a fiber or internet solution. “A Ku-band downlink is not always comparable to C-band,” said Munday. “Yes, it can be done, but reliability might suffer. And I’m not sure that I would be comfortable with internet program distribution either. You need an active backup. The internet is effectively non-controllable—not all outages can be routed around or fixed. If there’s a major attack on the internet, all bets are off. I would be much more comfortable with satellite for large-scale distribution.” Munday added that while point-to-point fiber John Joslin is highly reliable, the approach does not scale economically. “Many telcos and organizations like the Broadband Access Coalition

[an alliance of tech companies advocating the use of “white spaces” to provide broadband in rural areas] have said that there is not an economical model that makes sense for providing fiber to rural customers,” Munday added. “[For example], in the middle of Kansas, there’s no way to run fiber cost-effectively to a site. You’re looking at perhaps $20,000 per mile to run fiber to a rural location.” Munday said that while fiber can replace satellite in major cities, it probably can’t be done economically. Google, for example, announced in 2016 that while they would continue to support existing fiber service, no further expansion was planned. “If Google has backed out of their fiber distribution plan, what does that tell you about replacing C-band with fiber?” Munday asked. John Joslin is director of sales and marketing for satellite company Dawnco, and has been involved in communications satellite endeavors

CONTROL ROOMS The CBA’s proposal preserves the upper 300 MHz of the current C-band downlink spectrum while allowing use of 5G devices in the remaining portion.

for more than three decades. He noted that CBA says they’ve tested their concept and that it works. “However, all C-band downlink users will have to obtain an LNB filter [a waveguidetype device that mounts just behind a dish’s LNB or low-noise block downconverter] and get it installed,” he said. “Right now, the FCC is authorizing the use of 3.65 gHz for WiMAX purposes, and this is very close to the satellite spectrum, which starts at 3.7 gHz. Use of LNB filters makes this possible.” Joslin said such filters employed for this are based on new technologies and can provide some 45 dB of rejection. “They allow you to have an interfering signal very close to your C-band satellite frequency and still have things work,” he said. “These newer designs should work to reject 5G interference.”


Even though Joslin praised the CBA’s approach, he admitted that there could be a small number of sites that may have issues. Others too, although trying to remain optimistic about a C-band/5G skirmish, also noted that the outcome might not be entirely favorable for satellite users. As expressed by one consultant, who asked not to be identified, but whose firm handles FCC matters for several very large broadcast and media groups: “Syndicated programming has to get to the stations somehow, and they don’t truck videotapes around anymore. C-band is very reliable and remains the best option. However, you can register all of your downlink sites twice if you want to, but if they decide to take that spectrum, they will.

S V CO N LI N E .C O M | O C TO B E R 2 019 | SVC 59




Interference is not hard to find; it is actually difficult to avoid, especially in urban areas where the wireless revolution is well underway. By definition, interference originates from a source external to a signal path and produces undesired artifacts in the signal. A radio frequency, or RF, is loosely defined as being in that portion of the electromagnetic spectrum above audio (about 20 kHz) but below infrared (about 30 THz). Electromagnetic interference (EMI), is a broader term having the same basic meaning but without frequency limitations. Electromagnetic compatibility (EMC), is a term coming into more widespread use regarding issues of equipment electromagnetic emissions and susceptibility, especially because regulations now require all equipment sold in Europe to carry the CE mark.


Electromagnetic fields, such as radio and TV signals, travel through space (or air) at the speed of light, about 300,000,000 m/sec or 186,000miles/sec. Because wavelength is the physical distance such a signal travels during a single cycle, as frequency increases wavelength decreases. For example, a 1 MHz AM radio signal has a wavelength of about 1,000 feet (305 m), but for a 100 MHz FM radio signal, it is about 10 feet (3 m), and for a 12 GHz DSS TV signal, only about an inch (25.4 mm). Any wire can accidentally become a good antenna if its length happens to be, say, the wavelength of a strong local FM station. Sources of RF interference fall into two broad categories-intentional and unintentional. Intentional sources include AM, shortwave, FM, and TV broadcast transmitters as well as ham and CB transmitters, remote controls, wireless phones, cellular phones, commercial taxi/police/aircraft radios, microwave ovens, motion sensors, radar systems, and a myriad of medical and industrial RF devices. Unintentional RF sources are most commonly devices that produce an electrical spark. Sparks are potent RF generators-before vacuum tubes, they were the heart of radio transmitters-that splatter energy over a wide frequency spectrum. Any wiring connected to the spark source not only conducts the RF but also acts as a transmitting antenna to radiate it. Com-



mon sparking sources include electric welders, brush-type motors, relays and switches of all kinds. Less obvious sources include arcing or corona discharge in power line insulators (common in seashore areas or under humid conditions), malfunctioning fluorescent or neon lighting and automobile spark plugs. Lightning is the ultimate spark and a well-known producer of momentary interference to virtually anything electronic. Other unintentional RF generators are devices that abruptly interrupt current flow using some form of electronic switching. The most common examples are light dimmers, fluorescent lights, TV or computer CRT displays and any piece of equipment using a switching power supply or “clock” oscillator (computers and other digital devices). The RFI source may be in the same room as your system or, worse yet, it may be a part of your system.


The tolerance of equipment to RFI depends largely on how well it is designed. Generally, symptoms will appear when sufficient RF energy reaches an active device-IC, transistor, tube-inside the equipment. The energy can arrive in two ways: radiation or conduction. As it travels through the air, internal equipment wiring can act as a receiving antenna and deliver RF voltages directly to an active device. This is most common in equipment with plastic or wood enclosures that have no RF shielding ability. Because any wire can become a receiving antenna, RF energy can also be conducted into the equipment’s active devices via any wire leaving or entering the equipment. Interference can also arrive via any wire coming into the building. Because power, telephone, CATV and even driveway intercom, landscape lighting, or outdoor loudspeaker lines also behave as outdoor antennas, they are often teeming with AM radio signals and other interference. The most troublesome sources, however, are frequently inside the building where the interference is distributed via the power wiring. At high frequencies, a building’s power wiring behaves like a system of misterminated transmission lines gone berserk, reflecting RF energy back and forth throughout the power wiring until it is eventually absorbed or radiated. The RF does not just follow the green ground wire back to the earth ground rod and magically disappear. RF power line noise is coupled through equipment power supplies into system ground conductors. Therefore, significant noise voltage will inevitably exist between the chassis grounds of any two devices



in AC-powered systems, whether safety grounded or not. This is the dominant noise source in most systems, not noise picked up by cables as is so widely believed. When this noise flows in the shield of unbalanced signal cables, the voltage drop directly adds to the signal. Unbalanced interfaces generally use single-conductor shielded cable and two-contact connectors, such as the RCA or 1/4 inch phone for audio and the RCA or BNC for video signals. Remember that RS-232 data connections are also unbalanced. Sadly, most commercial equipment has never been tested for susceptibility to RF interference, whether arriving through the air or coupled to its inputs, outputs or such other outside world ports as its power cord. Of course, even well-designed equipment will misbehave if confronted with extreme levels of RF interference. In audio systems, RFI symptoms range from actual demodulation of radio or CB (heard as music or voices) or TV signals (heard as buzz) to various noises or subtle distortions often described as a “veiled” or “grainy” quality in the audio. In video systems, symptoms from intentional transmitters usually cause herringbone patterns of some sort, and power-line related-sources usually cause bands of sparkles that slowly move vertically in the picture. In data connections, RFI generally causes otherwise unexplained behavior or crashes.


There are two basic strategies to control RFI. The first prevents it from coupling in the first place by using filters or arc snubbers at the source, relocating equipment or rerouting cables, using signal path ground isolators or adding shielding or ferrite chokes to cables. The second filters out the RF, when possible, after it is coupled but before it reaches a sensitive active device in the equipment. The following recommendations can help prevent or cure most RFI problems. Locate and treat the offending source. This applies primarily to

unintentional power-line-related sources. Because these sources tend to generate both conducted and radiated wideband RFI, a portable AM radio-tuned to a quiet frequency can be useful as a “sniffer” to locate an offending fluorescent light or dimmer, for example. Then, the offender can be replaced, repaired or a power-line RF filter installed. Keep cables as short as possible, and pay attention to routing. A long cable not only increases power line common-impedance coupling (for unbalanced cables), but it also makes the cable a better antenna. Routing cables close to such ground planes as metal racks or concrete floors will reduce antenna effects. Never coil excess cable length. Use cables with heavy gauge shields. Cables with foil and drain wire shields have much higher common-impedance coupling than those with braided copper shields, increasing power line noise coupling. Multiple shields offer no improvement unless they are connected at both ends. Maintain good connections. Connectors left undisturbed for long periods can develop high-contact resistance or become metal oxide detectors for RF. Humor other interference that changes when the connector is wiggled indicates a poor contact. Use a good commercial contact fluid and/or gold-plated connectors. Do not add unnecessary grounds. It will generally increase circulating ground noise rather than reduce it. Attempting to short out RFI with heavy ground wires is generally ineffective. At RF, a wire’s impedance is proportional to its length but nearly unaffected by its gauge. For example,8 feet (2.4 m) of AWG #10 wire has an impedance of 22 V at 1 MHz (AM broadcast band). Using AWG #0000 wire (about 1/2 inch or 13 mm diameter) reduces it to only 18 V. Of course, never disconnect a safety ground or lightning protection ground to solve a problem-it is both illegal and dangerous. Use ground isolators in problem signal paths. Ground isolators, whether transformer or optical types, couple signals while completely breaking electrical connections, which stops common-impedance coupling. Commercial isolators are available for audio, video and CATV signals. Because most types have limited bandwidth, they offer inherent RFI suppression. Beware that poor-quality units can often degrade signal quality. Install RFI filters in the signal path. If the offending RF interference is more than about 20 MHz, ferrite clamshells, which are easily installed over the outside of a cable, can be effective. In most cases, they work best when placed on the cable at or near the receive end. If this is inadequate, or the frequency is lower (such as AM radio), you can add an RFI filter on the signal line. For mic line applications, L should be a miniature toroid to prevent possible magnetic hum pickup. If FM, TV or cell phone is the only interference, a small ferrite bead may suffice for L. In any case, C should be an NP0/C0G type ceramic disc with short leads. For severe AM radio interference, C may be increased to about 1,000 pF maximum.

SV C ON L I N E.C OM | O C TO B E R 20 1 9 | S VC 61

CONTROL ROOMS DVIGEAR DISPLAY NET DN-150 The DN-150 Series represents a breakthrough in performance and value for IPbased AV signal distribution. Starting at under $1,000 per endpoint, the DN-150 Series supports signals with resolutions of up to 4K/60p (4:4:4) with 8-bit color, or 4K/60p (4:2:2) with 10 or 12-bit color. Based on the latest SDVoE standard, these units provide broad scalability, fast switching with zero frame latency and zero artifact image quality. They also are fully interoperable with all SDVoE-compatible products, including the award-winning DisplayNet DN-200 Series. The DN 150 Series relies on the intuitive DisplayNet Manager user-interface that makes set-up and maintenance of these units fast and easy.

IHSE DRACO VARIO HDMI 2X1 SWITCH This 2x1 HDMI KVM switch is a compact two-port KVM switching solution that enables extended-distance connections between computer sources and user stations. Addressing market demand for increased security when connecting multiple computers in a single workstation area, the Draco vario HDMI 2x1 system is making it possible to leverage two remote computers or servers at one desk using a single keyboard, mouse, and display. IHSE’s optimized compression technology delivers transmission of computer video images up to 1920x1200@60Hz resolution, including 1080p/60 and 2K. With the Draco vario 481 series extenders for HDMI, signals can be shared across long distances over a single fiber or Cat-X connection with perfect video quality and zero mouse latency.

HALL RESEARCH VERSA 4K This is the latest addition to Hall Research AV-over-IP product line. The system extends and switches multiple 4K HDMI video and USB data to virtually an unlimited number of receivers using simple Gigabit network switches. Bidirectional IR, RS-232, and auxiliary audio can also be extended. Features include low latency, video wall mode to expand the video over multiple displays, video rotation and flipping, IR, CEC and Serial-over-IP for control. The system also offers automatic KVM switching, Telnet and Web GUI control, USB Device Class Filtering, and PoE (power over Ethernet) support. The Sender/Encoder accepts any HDMI resolution including 4K, 60 Hz 4:4:4 with HDCP 2.2 and it includes an HDMI video loop output together with extracted HDMI audio. The Receiver/Decoder includes an HDMI output with extracted HDMI audio, bidirectional IR, RS-232, and 4 USB ports comprised



PRODUCTS of two USB1.1 ports for use with keyboard and mouse (auto switching based on user activity) and two general purpose USB 2.0 ports that support touch screens, memory devices, and many other USB device functions. Convenient front panel LED and IR remote controller included.

NETGEAR PRO-AV SUPPORT CENTER As we go to press, NETGEAR has announced a new engineering support center for professional audio video (Pro-AV) integrators deploying AV solutions which utilize IP networking. A dedicated Pro AV Engineering Services team will support AV installers, consultants, manufacturers and resellers to streamline audio visual solutions over IP and eliminate the complexity of AV deployments. Support will include free network design assistance, training and installation support. From pre-sales and post-sales support to technical training, to white papers and best practices, these services are positioned to streamline the adoption of AV over IP and to ensure the successful transition from legacy matrix switching to AV over Ethernet. To learn more about Pro AV custom integration visit the Pro AV page on This new service from NETGEAR for the AV residential installer and integrator communities is available now. The 24/7 service can be accessed via contacting NETGEAR through the email proav. The announcement coincides with news that the PSNI Global Alliance has named NETGEAR to its Preferred Vendor Partner Program.

ADDER TECHNOLOGY ADDERLINK INFINITY 4000 SERIES Adder calls this the world’s first dual-head high performance 4K IP KVM matrix over a single fiber. The ALIF4000 delivers pixel- and color-accurate, video, as well as audio and USB to single or dual 4K screens. Full compatibility with the existing INFINITY range means the ALIF4000 can be phased into an existing network without disruption, downtime or the cost of rip and replace.

FSR FLEX-LT300 The FLEX-LT300 is a version of FSR’s LT200 without the touch panel. It can be mounted in a rack or Ceiling Box and connected to all controllable devices. The user interface can be a FLEX-LT200, LT150 or the Flex Remote Windows application. Control is conveyed through IP, four serial terminals, four IR connections and four I/O ports. The unit has a built-in scheduler for automated functions and configuration is a simple drag and drop programming procedure.


15. E xtent and Nature of Circulation

Publication Title: Sound & Video Contractor

2. Publication No.: 711-250

a. Total number of copies

3. Filing Date: 9/27/2019

6. Annual Subscription Price: Requester Future US Inc., 11 West 42nd Street, 15th Floor

New York, NY 10036-8002 Complete Mailing Address of Headquarters or General Business Office of Publisher: Future US Inc., 28 East 28th Street, 12th Floor, Full Names and Complete Mailing Addresses of Publisher,

(4) Requested copies distributed by other mail classes through the USPS 9829




d. Non-requested distribution (by mail and outside the mail)

(1) Outside-county non-requested copies stated on PS Form 3541

(2) In-county non-requested Copies stated on PS Form 3541

Editor and Managing Editor: Publisher: Carmel King,

(4) Non-requested copies distributed outside the mail

e. Total non-requested distribution

11 West 42nd Street, 15th Floor, New York, NY 10036-8002; Editor: Cynthia Wisehart, 11 West 42nd Street, 15th Floor, New York, NY 10036-8002 10. Owner: Future US Inc. (Future PLC), 11 West 42nd Street, 15th Floor, New York, NY 10036-8002 11. Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds,

14. Issue Date for Circulation Data: September-19


(3) Non-requested copies distributed through the USPS by other classes of mail

New York, NY 10016-7959

13. Publication Title: Sound & Video Contractor


(2) In-county paid/requested mail subscriptions stated on PS Form 3541

c. Total paid and/or requested

Contact Person: Kwentin Keenan 845-414-6050

12. Tax Status: Has Not Changed During Preceding 12 Months


(3) Sales through dealers and carriers, street vendors, counter sales, and other paid or requested distribution outside USPS

7. Complete Mailing Address of Known Office of Publication:

Mortgages, or Other Securities: None


(1) Outside-county paid/requested mail subscriptions stated on PS Form 3541

5. Number of Issues Published Annually: 12


No. Copies of Single Issue Published Nearest to Filing Date

b. Legitimate paid and/or requested distribution (by mail and outside the mail)

4. Issue Frequency: Monthly


Average No. Copies Each Issue During Preceding 12 Months

f. Total distribution







g. Copies not distributed



h. Total



i. Percent paid and/or requested



16. Electronic Copy Circulation a. Requested and Paid Electronic Copies b. Total Requested and Paid Print Copies c. Total Requested Copy Distribution d. Percent Paid and/or Requested Circulation (Both Print & Electronic Copies) e. I certify that 50% of all my distributed copies (electronic and print) are legitimate requests or paid copies. 17. Publication of Statement of Ownership for a Requestor Publication is required and will be printed in the November 2018 issue of this publication. 18. Signature of Group Publisher: Carmel King, September 27, 2019

We Are Future

Future is a global platform for specialist media with scalable, diversified brands. We connect people to their passions through the high-quality content we create, the innovative technology we pioneer and the engaging experiences we deliver.


Our Services

Our partners look to us to make unique and valuable connections in a number of ways including creative advertising solutions, memorable live experiences, superior eCommerce technology and innovative media services. We push boundaries, seize opportunities and exceed expectations. See how we can take your business to the next level.

For more information on these brands and the many others offered from FUTURE US, as well as subscription information for all of FUTURE US’s print and electronic products, visit

SV C ON L I N E.C OM | O C TO B E R 20 1 9 | S VC 63

Ad Index

Advertiser...................................... Page.......................................... Website AC Promedia .............................................................31................................................... Analog Way ................................................................25............................................. Audio

Advertising Sales Office VP/Market Expert, AV/Consumer Electronics & Pro Audio Adam Goldstein Bosch Clockaudio

11 West 42nd Street, 15th Floor New York, NY 10036

Dataplan Digital DVIGear........................................................................49.................................................... d&b

(212) 378-0465

Focusrite......................................................................11................................................ FSR............................................................................. 25, Hall Research ...........................................................55......................................... Lowell............................................................................15.......................................................

Advertising Sales Janis Crowley 845-414-6791

Netgear........................................................................57................................................... Opticis...........................................................................29.....................................................

RapcoHorizon...........................................................23.......................................... Renkus-Heinz............................................................41........................................

Debbie Rosenthal 212-378-0465

Shoreview ..................................................................39.............................................. Stampede.................................................... inside back TOA.................................................................................33....................................

Classified Advertising Zahra Majma

Vaddio Vanguard......................................................................4,5........................................ Yamaha Commercial Installation Solutions.inside front cover............


Sound & Video Contractor, Volume 37 Issue 10, (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.





e EMEA market offers plentiful opportunities to North American AV companies seeking to broaden their horizons. The leading tradeshow for the EMEA AV systems integration marketplace is Integrated Systems Europe (ISE). Co-owned by AVIXA and CEDIA, the show— which takes place in Amsterdam each February— has grown steadily since its inception. The 2019 edition attracted more than 81,000 registered attendees and 1,300 exhibitors over four days.




Should North American AV professionals attend ISE? Dave Labuskes, CTS, AVIXA’s CEO, thinks so. “AVIXA believes that for certain segments of the market, attending both InfoComm in North America and Integrated Systems Europe can yield real strategic benefits,” he said. “As commercial AV grows globally, and as AV companies evolve to serve global customers, the two shows complement each other nicely.” CEDIA has a similar message for the industry. “ISE is relevant for all our members, as you can see from our 2018 Market Size and Scope of the Residential Technology Systems Industry survey,” said Tabatha O’Connor, CEDIA’s global president and CEO. “Looking at our integrator members in North America, approximately 75 percent of total revenues for our members come from residential installations, with the balance drawn from light commercial and hospitality work.” “Many of our manufacturers will also find great value in attending ISE, especially those trying to break into international markets, or looking to build their brands, find distribution partners, or understand the technical and cultural challenges of doing business outside of the U.S.,” she added. Labuskes believes InfoComm (organized by AVIXA) and ISE have their own distinct characters. “The experience of the two shows is different,” he explained. “InfoComm puts special emphasis on professional development—for example, hundreds of people test to become a Dave Labuskes, CTS

Certified Technology Specialist (CTS) at InfoComm every year. ISE exposes people to applications of technology in a broad set of markets, such as smart buildings and stadiums.” “Each features hundreds of exhibitors you won’t meet at the other show. And clearly, the breadth of service providers, customers, and partners you meet at both InfoComm and ISE effectively doubles your addressable business opportunity,” Labuskes added. “We understand if time and resources limit an AV company or end user to one show or the other, but for anyone in the industry wondering if they’d benefit from attending both, I’m here to tell them they absolutely would.” On the CEDIA side, O’Connor is similarly upbeat: “We firmly believe that our members can benefit from the opportunities presented by ISE. It’s important for U.S. brands to develop a robust international business, and there are significant opportunities in the European market. “For integrators, ISE 2020 will be an excellent platform to take a closer look at international brands they may not be familiar with,” she added. “As well as fresh ideas and a different design aesthetic, ISE 2020 offers a great opportunity to see evidence of the global trends likely to impact on our industry.” O’Connor cited CEDIA’s professional development offering at ISE as another draw for the show. “CEDIA provides an extensive training program that’s relevant for attendees from North America,” she said. “We offer a range of business and technical training classes that are valuable to all visitors, with great insights and advice from our global team of experts.” In conclusion, Labuskes made a point that could apply equally to the InfoComm shows in China, India, Latin America, and other locations around the world: “Regional markets are different. Meeting people who operate in those markets, and understanding their unique needs and challenges, positions companies to better serve those markets and grow their businesses.” ISE 2020 takes place Feb. 11–14, 2020, at the RAI Amsterdam Convention Center. The conference program—which is held in the nearby Hotel Okura, as well as in the RAI—begins Monday, Feb. 10.