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FEBRUARY 2020 // VOLUME 38 // ISSUE 2

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SOUND&VIDEO

CONTRACTOR

R E V I E W S | T E C H N O LO GY | A P P L I C AT I O N S PRODUCT-AT-WORK WORSHIP TECHNOLOGY

IMMERSIVE INTENSITY MULTI-DIMENSIONAL SOUND EXPERIENCES TECH SHOWCASES

*  PTZ CAMERAS, CAPTURE AND STREAMING DEVICES *  OUTDOOR AV


contents

FEBRUARY 2020 // VOLUME 38 // ISSUE 2

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FEATURES

6 | O n the Circuit

Installation Close-Up

Tech Showcases

By Chief Editor Cynthia Wisehart

30 | Warner Bros. World

32

A massive indoor theme park in the desert

Cover Story

32 | Immersive Intensity Multi-dimensional sound experience examples from themed entertainment, Broadway, an intimate concert hall, and a Dolby Atmos content studio.

Supplement

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14 | PTZ/Capture/Streaming 20 | Outdoor AV

39 | Technologies for Worship Immersive audio and infrastructure trends move into the worship space.


on the circuit

Vol. 38 No. 2

February 2020

WWW.SVCONLINE.COM

W

By Cynthia Wisehart

Find me online cynthia.wisehart@ futurenet.com www.svconline.com/proavtoday and www.rebelmouse.com/ SVC_Online

ednesday night before NAMM, I braved the 5 freeway to Long Beach (in California we say “the 5”. Sailors call their ships “she”; we call our freeways “the”). I was going to meet Amnon Harman, CEO of d&b audiotechnik, where I joined a crowd of my colleagues at the ribbon-cutting of d&b’s new facility. It’s nice on the inside—simple, sophisticated Euro-style design, clean (so far), big ceilings, and spare, furnishings that match. On the nickel-tour, my friend and d&b marketing VP Marc Lopez was in demand from passersby, reaching out for a handshake or a quick word. So I wasn’t really ready for the big reveal. We turned a corner and arrived unceremoniously at the door of the onsite Soundscape theater. Or should I say the portal? Maybe it’s the theme park designer in me, but I was definitely stopped in my tracks. Sure, it was lit up all fancy for the party, but it would still be a jaw-dropping demo room even on an ordinary day. Now the distractions fell away and we talked about what this was for: that audio expertise is in a kind of leadership position again. It’s part of that “experience” thing, beyond where hardware and mechanical physics take us and into the area of software and electro-acoustics. In their way, these technologies have as much potential as hardware has had to shape sound, and with it, human emotion. Harman had talked earlier about the company itself in emotional and experiential terms. He’s in year six of his tenure, having come in from another industry. Throughout our conversation, he emphasized the team voyage he was mapping and facilitating— and how he was trying to fortify and connect the company. He seemed to be aware that most of the audio technology community were already veterans of that journey—albeit with hardware. Over the years, that experience has spread and fanned out with a great deal of nuance and history. Harman sounded like he was reaching to re-gather all the threads and name them as common values. Indeed, they are values many of us have shared through the hardware decades: passion, quality, and what Germans call Wir gefuhl—a team ethos by another name. Yep, these can sound like corporate buzzwords, and maybe they are. But in conversation at least, Harman seemed to recognize the long history and details that roll up to those concepts. I don’t know. I just met him. But the numbers show that d&b has grown under his leadership. And I agree with him in spirit. Sound will move the senses and the space around us again in new ways. It’s always been thrilling, and it’s always been hard. We should regroup as a team, and reconnect to our beginner’s mind—just to curiously ask ourselves, what if? With that in mind, I hope we can all find our place and our contribution to make in the new decade, whether facilitator, disruptor, solver, or dreamer.

FOLLOW US @SVC_Online https://www.facebook.com/svconline CONTENT VP/Content Creation Anthony Savona Content Director Cynthia Wisehart, cynthia.wisehart@futurenet.com 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, adam.goldstein@futurenet.com, 212-378-0465 Sales Prahlad Balasubramanian, prahlad.balasubramanian@futurenet.com, 307-222-6950 Janis Crowley, janis.crowley@futurenet.com, 845-414-6791 Debbie Rosenthal, debbie.rosenthal@futurenet.com, 212-378-0465 Zahra Majma, zahra.majma@futurenet.com, 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@ computerfulfillment.com, 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, licensing@futurenet.com 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 © 2020 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. Please Recycle. We are committed to only using magazine paper which is derived from responsibly managed, certified forestry and chlorine-free manufacture. The paper in this magazine was sourced and produced from sustainable managed forests, conforming to strict environmental and socioeconomic standards. The manufacturing paper mill and printer hold full FSC and PEFC certification and accreditation.

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


the buzz CASE STUDY / MUSEUM Photos by ESI Design

AI IMMERSION The Statue of Liberty Museum, created by The Statue of Liberty-Ellis Island Foundation, Inc., allows each visitor to explore its history through immersive, interactive exhibits. The content, which utilizes cutting-edge interactive video technologies and real-time AI, was designed by ESI Design, who enlisted Montréal-based experience design studio Float4 to produce and integrate the technology and programming behind the content. Float4’s technology division RealMotion supplied the integrated servers. The guest journey begins in the Immersive Theater, where three wall-sized curved projection screens immerse them in aerial videos, historical footage and a flythrough of the statue’s interior generated and delivered by three of sixteen Realfrom the wire Motion servers which drive exhibit For more case studies, visit content throughout the museum. A svconline.com/the-wire.

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connected countdown screen helps regulate the flow of visitors through the Immersive Theater. All four displays are synchronized to cultivate a seamless visitor experience. The standout Becoming Liberty experience takes advantage of innovations in generative visuals driven by real-time data and AI. Thousands of guests are invited to use any of the 20 touchscreen kiosks to share their country of origin as well as a personal photo taken at the kiosk, and to choose a selection of images that represent their idea of ‘liberty.’ All kiosks communicate with a content management system located in the RealMotion server. This CMS receives updatable content and submissions created from the kiosks. Cloud-based artificial intelligence software works with RealMotion’s servers to automatically consolidate more than 30,000 data points into a cyclically-updated digital mural, displayed on ‘The Canvas’, a

40-foot-wide by 11-foot-tall digital screen. In the exhibits for Imagining Liberty and Embracing Liberty there are additional interactive moments in the forms of ‘Bartholdi’s Sketches’ and ‘The Statue in Popular Culture’. Four touchscreen stations engage guests with dynamic applications that feed data in real time. As an island-based attraction with minimal on-site support staff, the exhibits were designed with reliability in mind, and all have redundant backup servers to automatically transfer content, structures, and particles. The Statue of Liberty Museum was designed by architecture firm FX Collaborative, and constructed by Phelps Construction Group. The interactive exhibits, designed by ESI Design and integrated by Float4, demonstrate the capabilities of real-time graphics in a culture-consumption setting.


the buzz CASE STUDY / VISITOR CENTER

LASER RESTORATION How do you restore the ambience of a historic location when the original artifacts live on only in memory and pictures? The designers of a meticulous restoration of the Apollo Mission control room at Johnson Space Center in Houston, Texas had to factor that challenge. Almost exactly 50 years after the historic moon landing, the decommissioned room – known as MOCR 2 – has been recreated meticulously back to its 1969 state, complete with restored communication consoles, furniture, wallpaper, ceiling tiles, even the coat racks and hangers, and the slide rules, mugs, ashtrays scattered about at various workstations. Artifacts were painstakingly researched and then gathered from former NASA staffers and even eBay; the iconic mint green consoles, the from the wire wallpaper, paint, carpets, and ceilFor more case studies, visit ing were sourced back to original svconline.com/the-wire.

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manufacturers who were able to reproduce them. Steelcase reached into their archives and commissioned a weaver to recreate the upholstery of the original chairs. But what of the displays that connected Neil Armstrong, Buzz Aldrin, and Michael Coillins, and the rest of a 400,000 team? Six Christie DHD630-GS Series laser projectors, four Christie D13HD-HS Series laser projectors and a Christie Crimson HD25 laser projector were used to recreate a sense these historic displays. The Crimson HD25 projector - operating at 60 percent brightness - is projected onto a new Stewart mirror. The system creates a 10 by 20 foot display, replacing the original display setup, which had been discarded. Four D13HD-HS laser projectors use the original historic mirror to recreate the other large screens on each side of the main screen. Six DHD599-GS laser projectors are used to rec-

reate the iconic clock/timer screens above the main displays and the channel numbers below the main screens since the original mechanical displays were disposed of long ago. The room had been essentially abandoned in the 1990s, after years of hard work and various reconfigurations to support various NASA projects. The forensics of the recreation reflect a NASA-level of detail and were supported in part by the recent discovery of the film footage that became last year’s documentary Apollo 11. The six-year labor of love was led by Johnson Space Center’s historic preservation officer Sandra Tetley in collaboration with many people and companies including George L. Weisinger of the Audio Video Guys, architectural firm Stern and Bucek, and Cosmosphere - a space museum and STEM education center in Hutchinson, Kansas.


the buzz CASE STUDY / MUSEUM

MUSEUM PLATFORM The Cincinnati Museum Center has successfully deployed a digital signage network powered by Visix’ AxisTV Signage Suite software. The network today includes 35 endpoints in public-facing and employee areas, leveraging on-premise enterprise content management software and media players for 1080p content creation, management and playout. The museum will soon roll out a separate playlist of 4K content in its IMAX theater using the same Visix software. Cincinnati Museum Center bills itself as a “one-of-a-kind, multi-museum complex” that inspires learning and education through science, regional history, and engaging and meaningful experiences. The museum is located inside Union Terfrom the wire minal, a historical Art Deco tranFor more case studies, visit sit station and National Historical svconline.com/the-wire.

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Landmark that has undergone substantial renovations and expansion in recent years. ICB Audio and Video, a Cincinnatibased dealer and systems integrator, managed the design and installation of the digital signage network. ICB initially considered a video streaming solution before shifting its strategy to digital signage, which would provide more flexibility for diverse and targeted content as the network grows. Visix AxisTV Signage Suite software also offered a quick learning curve for the end customer, with the ICB team emphasizing the software’s intuitive workflows for easy content design, playlist building and scheduling; stunning visual quality for video and static content; and a way to flexibly communicate with multiple audiences from a single platform. Cincinnati Museum Center today delivers

a mix of marketing, storytelling, and promotional content video, graphics, and text to public facing screens by museum exhibits and Union Terminal ticketing areas, as well as corporate communications content in private employee areas. Visix HDn digital signage players support 1080p content playout on the 35 screens. The 4K content will include pre-show advertisements, theater promotions and general announcements in the Robert D. Lindner Family OMNIMAX® Theater, using Visix’s 4K media player to power resolutions up to 3840x2160. Visix’s internal project management team has supported the rollout through a comprehensive remote training and support services package, ensuring that content contributors and network operators at Cincinnati Museum Center are confident to use, manage and scale the network.


TECH SHOWCASE

PTZ CAMERAS, CAPTURE AND STREAMING DEVICES By Bennett Liles

The PTZ camera first provided the ability to get video 1 Beyond unobtrusively, with no local operator and enabled a AutoTracker 3 single production team member to run several cameras at once. Then capture allowed us to easily record onto tiny integrated or centralized storage media. Now streaming devices have taken that video and sound, live and playback, to every corner of the world in high resolution and crystal clarity. The products shown here are typical of the sound and image revolution in which we now live and work.

The AutoTracker 3 from 1 Beyond combines the ability to zoom into detail while still using an unattended camera. It does this by using facial recognition to automatically follow the established subject around the room with adjustable tracking settings. This feature can be turned off to use manual operation with a joystick, an AV control system on RS-485/232 or network with standard VISCA commands. Control and power (PoE) are received on a single twisted pair Ethernet cable. The device is actually two cameras with separate HD video outputs from the wide angle and PTZ camera. Big features are wrapped in a small package with the AJA Video Systems U-TAP HDMI USB 3.0 powered capture device. Handling HD/SD HDMI v1.4a 24, 30 or 36-bits/pixel, RGB or YUV and without any driver installation, it captures HDMI directly with Mac OS X, Windows and Linux operating systems. For use with video conferencing, streaming and other applications, the unit can be easily carried in a pocket and connected in seconds. The U-TAP HDMI uses its automatic video scaling

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AJA Video Systems U-TAP

and aspect ratio conformity to support frame rates up to 1080p@60 and it is backed by a 3-year warranty. Atlona designed the HDVS-CAM for soft codec applications with AV systems supporting USB interfacing and extension. Equipped with a USB 2.0 port for video and camera control, the camera is primarily intended for video conferencing, lecture capture and similar applications. Its features include fast pan/ tilt and autofocusing with support for video resolutions up to 1080p@30 Hz. The model is available in black or white and it includes an IR remote along with mounting hardware. The

Atlona ATHDVS-CAM


TECH SHOWCASE AVPro Edge Impulse

HDVS-CAM integrates with the HDVS-300KIT for a complete, automated conferencing system that includes AV and USB extension plus automatic input selection and display powering when a PC is connected. For powerful and portable streaming, the Impulse single-channel streamer/recorder from AVPro Edge can stream and simultaneously record directly to a SD card or USB flash drive. The Impulse features HDMI, component and SDI inputs, SDI output, direct audio input and an RS-232 port. Capable of handling video signals at a resolution up to 1080p, the device’s capabilities include H.264 & H.265 encoding. The USB port is on the

Barix MA400

front panel along with an LCD screen with navigation buttons for setup and operation. There is also an LED indicator that changes colors to indicate operational status. The RJ-45 port allows it to be set up and managed on IP with a web browser. The Barix MA400 SIP Opus Stereo Encoder/Decoder provides a royalty-free Opus codec with SIP for VoIP and other IP based connections. It can dial another unit or respond to a call with automatic setup of a transmission link for Opus based audio streaming. Supported codecs include G.711,

Biamp Tesira CONNECT

Speex, GSM, G.722, iLBC and OPUS. On the back panel are speaker and line outputs, mic/line input, an 8-ohm 5W speaker output and the RJ-45 port with PoE. The front panel provides a recessed reset button, status LEDs and a 9-pin RS-232 control port. The M400 version omits the amplified output. The TesiraCONNECT from Biamp Systems brings together all of the Biamp devices in a conference room and runs media and power over a single CATx cable. Four of its five Gigabit RJ-45 ports provide PoE+ power and the fifth RJ-45 port is used for DSP con-

QIP-DVX IPTV DECODER /CONTROLLER

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TECH SHOWCASE

Blackmagic Web Presenter

ClearOne UNITE 50 4k nection or daisychaining TesiraCONNECT devices. Requiring no initial configuration, it works as soon as it is unpacked. Capable of fitting into very small spaces, the TesiraCONNECT includes front panel LEDs for port connections, device status, and fault conditions. It uses an external universal power supply and is covered by a five-year warranty. Blackmagic Design’s Web Presenter can take an SDI or HDMI video signal and put it directly online via Facebook Live, YouTube Live, Skype or other streaming platforms. The Web Presenter features HDMI and 12GSDI inputs, each with a loop output. There is an XLR mic input, twin hi-z unbalanced audio inputs, an SDI program output and a USB output port. With the addition of the optional Teranex Mini Smart Panel, there are input selection buttons that allow switching between video sources. Also featured is a small video monitor. The device makes any HDMI or SDI video source appear as a web cam so there are no drivers needed to connect directly to a Mac, Windows, Linux or even Chromebook computer. Among the advanced MIC IP family of motion cameras from Bosch Communications is the MIC IP fusion 9000i with optical and thermal imaging, 30x zoom, intelligent tracking, metadata fusion and analytics while moving. Capable of withstanding extreme weather conditions and impacts, the camera is also resistant to vibration. All MIC IP cameras offer Intelligent Dynamic Noise Reduction and intelligent streaming, combined with

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Bosch MIC IP fusion 9000i H.265 video compression. The system can capture images through smoke, complete darkness and in foliage. Installers can preconfigure the MIC IP cameras while they Crestron DM-TXRXare still in the box Hanwha 100-STR and mount them in Techwin minutes. QNPinput or output at resolutions ClearOne has the 6230RH up to HD 1080p and bitrates up to solution for sending 25 Mbps while the sound uses AAC Ultra HD 4K video audio compression for stereo. Unicast and between conference multicast streaming are supported, with rooms with the UNITE or without RTSP. The RTSP can be used to 50 4K ePTZ Camera. manage the configuration of numerous conCapable of a 120-degree field of view, 3x digital zoom and auto focus, the nections automatically. The Hanwah Techwin QNP-6230RH PTZ camera also features a USB 3.0 port for video and power. It also has super-high signal-to- camera has a maximum 2 megapixel (1920 x noise ratio with advanced 2D and 3D noise 1080) resolution, 23x zoom lens and a maxireduction. Control is done through an IR mum viewable IR distance of over 300ft. remote or UVC protocol. Perfect for meeting Other features include Intelligenct Analytrooms, huddle spaces and executive offices, ics, H.265, H.264 and MJPEG codec support, the UNITE 50 4K ePTZ Camera can integrate IP66 weather protection and MicroSD / SDHC an existing audio system for a perfect fit to / SDXC memory. Imaging is provided by a 1/2.8in. 2MP CMOS chip that shows color in the room. The DM-TXRX-100-STR HD H.264 light down to 0.05Lux. Video output formats streaming transmitter/receiver from Crest- include a wide range of resolution capability ron is designed to work with a DigitalMedia and there is web connectivity that is compatswitcher with one or more streaming inputs or ible with many browsers. The body is ivory outputs and it can operate with other systems and the head is black plastic. The new plug-and-play Jabra PanaCast as well transporting all video, audio, control, and power signals through a single PoE LAN features panoramic 4K video using its three connection. The system supports streaming integral 13-megapixel cameras and patented


TECH SHOWCASE JVC CONNECTED CAM Studio 6000S

real-time video stitching. These provide a full 180-degree view of the conference room or huddle room. The Intelligent Zoom automatically includes all local participants in the room even under challenging lighting conditions. The unit is connected to a laptop or computer’s USB port and it’s ready to go immediately providing data and information via API. The camera system can be wall or stand mounted and it is designed to operate perfectly with a Jabra Speak Series speakerphone. Introduced at the 2019 NAB Show, the JVC

Jabra PanaCast

CONNECTED CAM Studio 6000S is an allin-one production and streaming system with a built-in H.264 encoder supporting up to 1080p streaming at up to 10Mbps with RTMP and MPEG-TS simultaneous output and direct streaming. It accepts HDMI and HD-SDI video input and it has an audio mixer, internal CG with templates, four layers of DSK, and clip store with playback. For sports production it also offers automated multi-channel instant replay and slo-mo, as well as an integrated sports CG for scores and timers. It also provides integrated remote control for JVC cameras, including full PTZ control for the KY-PZ100 robotic PTZ production camera. The KDS-EN6 encoder from Kramer Electronics does 4K@60Hz (4:2:0) video streaming in addition to audio, IR, RS−232, USB on IP networks in unicast or multicast

through RTSP. Sound is input on the HDMI or through the direct audio 3.5mm line-in port. The unit can handle 7.1 PCM, Dolby True– HD, and DTS–HD Master audio. The system is HDCP 2.2 compliant and it can run on an external power supply or PoE. The RS-232 port is on a terminal block and the IR connection is a 3.5mm mini-jack. The front panel includes a reset button, up and down buttons

One FLEX. Many faces. Confidea FLEX is a delegate microphone system that instantly adapts to your meeting. Whether it’s small or large, simple or complex. Activate only what you need with licenses: discussion, voting, interpretation, and more. And switch easily between chairperson and delegate, or single and dual-use. All with a simple tap. On a bright, full-color touch screen. Only on Plixus®. Only with Televic.

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TECH SHOWCASE

Marshall Electronics VS-1043GSDI Matrox Monarch LCS

Sony SRG300H Kramer Electronics KDS-EN6 and 7-segment display along with status, link and power LEDs. The Marshall Electronics VS-104-3GSDI is a 1080p@60 full HD encoder/decoder carries stereo embedded or analog audio and supports 3GSDI, HDSDI, SDI, HDMI, and CVBS I/O. There is H.264/H.264, H.264/MJPEG streaming and two-way G.711, AAC communication. It operates on over 30 PTZ protocols. Other features include PoE operation, USB recording, RS-232, RS-422/485 communication, motion detection, direct connection for external sensor and a 2CH event alarm output. Multiple video output stream bitrates are individually adjustable. The rear panel includes master and slave LAN ports while on the front panel are indicators for power, link, status and data. For stand-alone lecture capture or live webcasting, Matrox offers the Monarch LCS, a dual channel, dual-input H.264 encoder with 3G-SDI and HDMI inputs and HD recording while streaming. There are a number of operational modes that include picture-in-picture and side-by-side video layouts. Also available is a switcher mode that allows changing inputs during capture. For webcasting the input device is connected and a single button push starts the webcast. The device provides scaling, de-interlacing, and noise reduction in resolutions up to 1080p/30. With its dualchannel streaming each channel can be assigned separately and each can stream up to 8 Mb/s. The AW-UE4 wide angle 4K PTZ camera from Panasonic has built-in streaming capability with a 111-degree field

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Speco Technologies O4P30X

Panasonic AW-UE4

of view, 4x digital zoom and its output formats include USB, LAN and HDMI. Powered either by USB or PoE, the model is available in black or white. Sound capability includes an internal microphone with mute function. A green power indicator LED is on the front along with a red tally LED for multi-camera setups. The camera’s panning range is 220 degrees (110 in each direction). Accessories include the Panasonic BT-LH1770 16.5in. production monitor and the AW-RM50 Professional PTZ Remote. A primary feature behind Sony’s SRG300H PTZ camera is that it can be located in an unobtrusive corner and still get ultra-clear close-up images from all over the room with its 30x optical

TekVox 79060

z o o m , Exmor CMOS sensor and 60fps frame rate. Capable of getting good video in light levels down to 0.35 lx in High Sensitivity mode, the SRG-300H has 16 preset positions, the system adds a 12x digital zoom and control with VISCA command protocols over IP and RS-232C/RS-422. The HDMI output enables direct connection to a conference or recording system. All-weather functionality through IP66 compliant construction makes the O4P30X 4K PTZ camera from Speco Technologies a great choice for high performance in rough climates. Its 4.5-135mm 30x optical zoom lens has a viewing angle from 60 to 2.2degrees to find subjects at long distances and the built-in PoE+ (IEEE 802.3at) simplifies installation. There is also local SD card recording, sensor inputs and relay outputs, RS485 control and 2-way audio communication. The progressive scan 1/3in. CMOS, 4MP imaging chip produces video resolution up to 2592x1520 while the camera pans a full continuous 360 degrees and tilts 180 degrees. The TEKVOX 79060 can be connected to a PC or laptop for videoconferencing or recording while simultaneously sending HDMI to a confidence monitor and a USB selected sound


TECH SHOWCASE

source. Powered from its USB connection, the unit supports video capture of resolutions up to 480i~1080p@60Hz. The tiny device can also input PC selectable HDMI as well as analog stereo sound on a 3.5mm port. The 79060 is compatible with Windows, Linux, and OS X operating systems and is small enough to be tucked safely away just about anywhere.

Vaddio RoboSHOT 30E NDI

An added feature is the 3.5mm direct stereo audio output. As far as Vaddio is concerned, the way to begin NDI technolVITEC ogy implementation is with their MGW width and provide ultra low RoboSHOT 30E NDI camera and NewTek ACE HEVC latency HEVC streaming down control software. The unit’s 1/2.5-type Encoder to 16ms glass-to-glass while still Exmor R CMOS sensor delivers 1080p/60 supporting H.264 as well. Powered video in low light conditions and its 20x optical zoom is augmented by 10x Intelli- by the VITEC HEVC GEN2+ encoder, the Zoom image processing. This compares unit enables Time-Synchronized Playback patterns found in adjacent pixels and cre- and it features a portable, low-power hardates new pixels to match selected patterns to ware design running on 28 volts. The system make better images. Featuring both HDMI ensures perfect synchronization of multiple and NewTek NDI streaming outputs, this independent IP streams. Input formats include nimble little machine uses Vaddio’s Tri- 3G-SDI, HD-SDI, SD-SDI, DVI, HDMI and Synchronous Motion technology to allow Composite video along with analog and digisimultaneous three-axis movement for the tal sound. A built-in video matrix enables routing of video sources to both the HEVC same smoothness of a live camera operator. VITEC MGW ACE Encoder uses and H.264 compression cores for simultaneHEVC/H.265 compression to use less band- ous H.265 and H.264 streaming.

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TECH SHOWCASE

OUTDOOR AV By Mary Bakija

Outdoor AV applications are on the rise, both video and audio. Performance expectations rise along with that. Here are some of the options for AV that can stand up to the elements and deliver the fidelity needed to overcome outdoor conditions. The AMK DS84-B-X is a Dante audio network addressable and self-amplified ceiling speaker system. The weather and water-resistant speaker is powered by PoE+ network switch, so no external power supply is required, plus it includes a Class D amplifier. The audio network system is also compatible with AES67, which makes it flexible with other audio network systems. The network system is also Dante Domain Manager Ready. The system comes with an 8in. coaxial 40W loudspeaker driver, the CX802, that has excellent dispersion, wide bandwidth, and a smooth frequency response, ideal for overhead commercial applications. The commercial-grade, all-weather outdoor digital signage display enclosures that are part of the Apollo’s affordable Apollo Pro-X line offer ultra-high bright (1500-4000) nit outdoor applications for 49- to 75-inch ultra-bright displays in portrait and landscape. All-aluminum, powder-coated, and anti-reflective. Tight-Seal Technology combines with thermostatically controlled and filtered multi-fan air-flow system to protect from temperatures ranging from -4 degrees to 122 degrees F, in addition to rain, dust, and insects. Power cable is 9ft. outdoor rated; signal cables are protected by a watertight cover entrance (or choose direct conduit for both). Weatherproof articulating or non-articulating wall mounts are also available.

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AMK DS84B-X

AtlasIED Strategy Series Series speaker systems include a versatile C-bracket designed Apollo Pro X to provide easy vertical or horizontal installation on just about any surface, To withstand the harshest envithough care should be taken to prevent ronments, AtlasIED Strategy Series the SM63T from being exposed to direct SM63T surface mount speakers are constructed of weather-resistant materials: UV- precipitation. The design provides smooth, resistant, talc impregnated, polypropylene even sound coverage (120°H x 120°V). The injection molded cabinets; polypropylene high-frequency section is symmetrical, for woofer cones; powder-coated aluminum equal coverage in both vertical and horizontal grilles, and all brass hardware. The Strategy cabinet mounting positions.


TECH SHOWCASE Bose Panaray 802 Series

The Bose Panaray 802 Series IV installed sound-reinforcement loudspeaker is a costeffective solution that features a WeatherRated Design that makes it a good choice for harsh outdoor installed sound-reinforcement environments. It features a full-range driver array, eliminating the need for tweeters and crossovers, and the Articulated Array design, with wide 120° x 100° coverage, can reduce the number of required loudspeakers, while the 52-Hz low- frequency range can reduce the need for subwoofers. Additionally, it has a 123 dB peak SPL for sound-reinforcement and foreground music. Earlier this year, Bose began shipping the new Bose ArenaMatch Utility loudspeakers for outdoor installations. These compact new speakers were designed as a turnkey solution for entire outdoor sound installations and include both array and utility loudspeaker options for consistent zone-fill coverage and easier equalization of complete systems. Designed and built for zonefill coverage or high-SPL foreground music, the four new Bose ArenaMatch Utility loudspeakers (AMU208, AMU206, AMU108 and AMU105) feature similar tonal balance to ArenaMatch DeltaQ array modules but in compact designs. They have the same EMB2S compression driver as ArenaMatch arrays and the same IP55 weather rating. Users may deploy them for zone-fill coverage in sports stadiums, arenas, outdoor entertainment centers, and more. Or they may be utilized to provide intelligible, high-level sound in any outdoor area — from niche venues such as breweries and fairgrounds to larger settings like resorts and outdoor shopping centers. These speakers provide wide, even coverage via a constant-directivity high-frequency horn, which can be rotated for horizontal

Bose ArenaMatch Utility

Crestron Saros Community Professional R.35

or vertical installation. The largest model (AMU208) features 70 Hz – 18 kHz frequency range and 126 dB maximum peak SPL, with all models supporting the lowest vocal range. ArenaMatch Utility modules can mount easily with included stainless-steel U-bracket. ArenaMatch loudspeakers also integrate with Bose PowerMatch amplifiers, ControlSpace DSPs and ControlSpace Designer software, which simplifies setup and monitoring, saving users time with loudspeaker presets for EQ, limiter and crossover settings. The Community Professional R.35- 3896EN from Biamp is a high performance, compact loudspeaker for fill and supplementary areas in larger venues, and for smaller venues wanting to conform to EN54 standards. With outstanding voice and music quality, the R.353896-EN is equally suitable for indoor and outdoor use in a wide variety of applications, including background and foreground music and announcement systems. The R.35- 3896EN is a fully horn-loaded triaxial three-way,

full-range loudspeaker system, designed to provide high-quality voice and music reproduction that can be clear even at swimming pools, stadiums, cruise ships, theme parks, and more. Featuring Community’s MultiSource Waveguide horn design, the output from the dual midrange compression drivers and 1-inch exit HF driver are combined into a single time-coherent source, resulting in excellent musicality, intelligibility, and dispersion consistency. In addition to excellent speech intelligibility and full, rich music reproduction, Crestron Saros SR6T-B-T-EACH speakers deliver solid, weatherized construction and other features that ensure years of reliable performance. The Saros SR6T model is a 2-way surface-mount speaker featuring a 6.5inch woofer and a horn-loaded 1-inch dome tweeter. A built-in 60 Watt multi-tap transformer allows for use with 70 and 100 Volt distributed speaker systems. Power handling at 8 Ohms is 150 Watts (program), with a frequency range from 70 Hz to 18 kHz (-10 dB). Its weatherized construction allows for use in outdoor entertainment venues, decks, patios,

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TECH SHOWCASE

Danley OS12CX

D.A.S. WR6412DX

Draper Nocturne

ElectroVoice EVID P6.2

EAW SMS3 locker rooms, and swimming pools. Additionally, a weather boot is included to protect the wiring connections from moisture. Danley Sound Labs’ OS12CX is a high output, fully weatherized outdoor loudspeaker in an ultra-compact box. The OS12CX features a coverage pattern that’s 90 degrees conical, an operating range of 69Hz -21.7kHz +/-3dB, and an output of 124 dBSPL program/127 dBSPL peak. It’s constructed of a thermal molded poly-composite and includes a heavyduty aluminum mounting bracket and angle strap, making it ready for tough environments including sports venues like hockey rinks and swimming pools, and entertainment venues like cruise ships, race tracks, and water parks. Designed for the outdoor installation market, the “DX” finish of the D.A.S. Audio WR-6412DX protects the cabinets from the

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elements thanks to a fiberglass exterior and ISO-flex interior protection, augmenting their weather resistance when used in direct exposure situations. Stainless steel threaded rigging points and optional mounting hardware are also available. The WR-6412DX employs a single 12AV woofer for low-frequency reproduction. A M-75 compression driver with 3in. titanium diaphragm attached to a 60-degree x 40-degree rotatable horn provides exceptional high-frequency reproduction. The birch plywood cabinet construction offers an ultracompact design and is available in black or white. Designed for outdoor use, the Draper Nocturne projection screen is available in a motorized version (Nocturne Series E) or as a crank-operated model (Nocturne Series C). Both are equipped with a weather-resistant solid aluminum head box that includes an installation hinge. They ship in sizes from 65in. to 133in. diagonal with standard cable guides and a weighted dowel. Among the surfaces that can be specified are Matte White, Contrast Grey, ClearSound Perf, ClearSound White Weave, and ClearSound Grey Weave. Compact design and several mounting options make the EAW Commercial SMS3

(black) and SMS3W (white) compact two-way loudspeakers ideal for use in business music systems. The woofer is a high-excursion, carbon fiber design. The mylar dome tweeter is mounted on a constant directivity horn to provide natural, smooth sound reproduction and high resistance to weather. Installation of the SMS3 is fast and efficient using the accompanying adjustable wall-mounting bracket. Four M6 threaded inserts add to the speaker’s flexibility. Connections are made to recessed color-coded, spring-loaded terminals. Wattage taps, voltage adjustments, and 4-ohm operation are selectable by means of two detented rotary switches. The enclosure is constructed of high density, scratch-resistant polystyrene and includes a protective perforated steel grille and connection cover. The Electro-Voice EVID-P6.2 loudspeaker system is a complete two-way pendant loudspeaker. The package consists of a bezel assembly, magnetic grille, rear enclosure, 6.5-inch coax two-way loudspeaker and internal line-matching transformer. The loudspeaker features a titanium dome tweeter. It is UL1480A and CSA C22.2 certified for indoor installations and protected outdoor installations. The EVID-P6.2 loudspeaker utilizes a 2nd order crossover network with a comprehensive protection circuit to protect the network, woofer, and tweeter drivers from excessive power levels. The EVID-P6.2 loudspeaker utilizes a transformer that offers a selection of 1.88 (70-V only), 3.75W, 7.5W,


TECH SHOWCASE

Elite Outdoor Mobile Cinema Bundle

Holosonics AS-24i

15W or 30 watts delivered to the loudspeaker system using either 70-V or 100-V lines, or 8 ohm bypass. Selection is via a convenient switch on the front baffle, easily accessible by removing the magnetic grille. In November Elite Screens launched the Elite Outdoor Mobile Cinema Bundle, introducing the MosicGo (Movie Music Power Go) UST projector bundles with the Elite Yard Master2. The package incorporates the MosicGO portable outdoor DLP, LED UST projector (with optional built-in battery). The set includes a free-standing tripod and Yard Master2 (OMS58H2) 58” folding-frame, outdoor projection screen, plus wireless speakers and power source. All can be carried and set up by one person. The included MosicGo projector by Elite Projector is a line of stand-alone portable outdoor UST projectors that feature a 3-in-1 design. The bundled DLP projector is a 1000 lumen Osram LED (20,000-hour lamp life) ultra-short throw (UST) projector with a native full HD with 20,000:1 contrast ratio. It is IPX2 certified against water droplet ingression. The built-in Hi-Fi sound system can be used to amplify other audio devices. Wireless speaker connectivity allows end users to wirelessly stream audio though the projector’s 2 x 8w (75Hz-20KHz) wireless stereo speakers. With the integrated power source comes a USB Type-A charging port and a USB-C video/ charging port to accommodate cell phones, laptops, and tablets while sharing photos and videos at the same time. An adjustable tripod support and a power cord with (US) Type-B, 15A 3-prong power connection included. The ultralight telescopic tripod attaches easily with the projector to provide ground clear-

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JBL Control 31

ance with variable height settings. The bundled Yard Master2 OMS58H2 is a fast folding and free-standing portable outdoor frame projection screen with a 58” size in a 16:9 aspect ratio. The Holosonics Audio Spotlight AS-24i offers the strongest output and deepest lowfrequency response of all models. It is designed to compete with noisier environments or areas requiring more coverage, making it great for museums, trade shows, supermarkets, outdoor applications, and many retail environments. It easily replaces standard 2x2ft. ceiling tile with no additional hardware. It includes a built-in microSD player, and balanced and unbalanced audio inputs are standard. Bluetooth and motion sensor options are available, and it has a standard VESA100 mounting pattern. A two-way, high-output monitor speaker, the JBL Control 31 features a highly outdoor capable design with its included WeatherMax multi-layer grille, plus optional marine-kit

Leon B115LX grille for salt-air environments. The enclosure material features high impact polystyrene (HIPS) with 10 percent glass fill plus patent-pending internal 5mm foamed polyurethane secondary mold for additional cabinet density. The grille is a zinc-plated and thermoset-composite coated steel, with WeatherMax multilayer foam with a tight-weave mesh vapor barrier. The high-output 2414H-C compression driver has a 25mm exit, and patented design and high-temperature polymer diaphragm. It offers extended bandwidth, extremely smooth frequency response, with 110 degree x 110 degree symmetrical coverage. The Leon Boundary B115LX from Leon Speakers comprises one 5” outdoor aluminum cone woofer for durability and performance and 1” aluminum/magnesium dome tweeters designed to maintain audio accuracy and imaging in outdoor use. Available in matte black, matte white, and custom colors with a UV-resistant finish. Everything from the marine-grade driver to the perforated metal grill to custom mounting brackets is made in


TECH SHOWCASE

Planar VS Series Terra FIVE

America. In 2018, Leon acquired Maine-based Terra Speakers and their product range including the popular Terra AC line of outdoor speakers and sub. Now the modern, angular Terra FIVE outdoor range has been influenced by the acquisition. The FIVE line consists of Terra’s all-climate UniCavity enclosure models, designed to withstand continuous exposure to the elements. The FIVE’s modern, angularly molded Polypropylene enclosures keep the elements at bay, and reduce sonic distortion. The line includes three sizes of speakers and a sub. The 50, 50-MT, and 50 MTM are all supported with 5.25” cast frame woofers (two in the MTM). The MT and MTM incorporate Terra’s unique 1.1” inverted Titanium dome fluid cooled tweeter with a computeroptimized crossover; they are available as 70Volt with a switch for 8W, 16W, 32W, 64W taps or 8 ohm. All three speakers are designed with color to permeate all the way through. Connection is a water-tight 4-foot pigtail; a universal mounting bracket eases installation. The sub is a waterproof, partial-burial unit. Its ACAD™ (Anodized-Ceramic Aluminum Diaphragm) cone is stiff, responsive and element-proof. The driver’s motor structure includes a large ceramic alloy magnet and a vented 2-inch aluminum edge wound voice coil. Its surround is a half-roll rubber composite that’s also impervious to the elements including salt spray and chlorine mist (as is the rest of the system). The Planar VS Series is built for easy assembly and transport, adaptability to

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Lowell OS150-TB

LG XE4F diverse environments, and fast serviceability. Based on industry demand, the LED video wall displays are built from the ground up to provide a lightweight, simple design that is rugged enough to withstand wear and tear. The Lowell OS-150-TB is a 150W indooroutdoor loudspeaker made for applications requiring pattern control. The horn-loaded compression driver controls high-frequency dispersion for systems requiring longer throws or using live microphones. The enclosure is a weather-resistant, UV-resistant polypropylene that can be painted to suit the installation’s needs. The grille is a weather and UV-resistant powder-coated aluminum mesh grille in black. An adjustable, black, U-shaped bracket for horizontal or vertical installation allows the speaker to rotate 90 degrees, depending on install orientation. At InfoComm, LG debuted its next-generation outdoor displays. The LG XE4F models are slimmer, lighter and higher-brightness (4000 nits) in 55- and 49-inch options with HDBaseT connectivity. The screen brightness is automatically adjusted depending on ambient light, increasing during the day for better

visibility and decreasing at night or in the shade for efficient power management. Quarter Wave Plate technology enables clearer visibility even when the viewer is wearing polarized sunglasses. The displays are IP56 certified as waterproof and weatherproof; they are IK10 certified helping to assure protection from external impacts, and the glass is replaceable. The series features a high operating temperature range from -22°F to 122°F. The XE4F series is supported by LG’s webOS Signage smart platform. The Martin Audio CSX118-WR is a compact, high-performance subwoofer that extends the low frequency operating range of the combined system to 35Hz. It features a long-excursion 18in. /4in. voice coil driver with a water-resistant cone and triple roll surround in a compact reflex enclosure. The design of the 18in. driver maximizes output while minimizing power compression and distortion, and the four reflex ports have a large frontal area to reduce turbulent air noise at very high levels. The enclosure is constructed from high-density MDF, and its per-


TECH SHOWCASE

MirageVision Platinum

Martin Audio CSX118

NEC S[quadrat] Q-Series PixelFLEX FLEXStorm

forated steel grille is pre-curved to withstand physical damage. The MirageVision Platinum Series 55in. outdoor televisions are equipped with a proprietary software-driven, internal video processor/ scaler (MVVP), which enhances the TV’s brightness, color, sharpness, contrast, image depth, and picture clarity, which provides the best possible picture image when used in outdoor direct sunlight viewing. The Platinum Series is built for outdoor use: the cabinet has been sealed; there are rear guard breath vents, moisture-resistant internal circuitry, and a water-resistant input cabinet; plus a UV sealer on the outside of the cabinet and enhanced backlight and contrast provide increased brightness/visibility outdoors. When combined with the company’s Backyard Portable Outdoor TV Cart, it becomes a wireless, portable unit that allows for movement and multiple viewing options. With pixel spacing options of 2.8mm, 3.9mm, 4.8mm, 6.2mm, and 7.8mm, NEC S[quadrat] Q-Series provides an optimum display resolution regardless of viewing distance. The S[quadrat] Q-Series outdoor dvLED is ideal for live event venues, DOOH,

airports, and train and bus stations. Low power consumption and less heat dissipation make Q-Series an environment-friendly option, and a high efficiency LED chip plus black mask provide a high contrast ratio. Ideal for mass transit applications where sustainability and durability are key, the fully-sealed PeerlessAV Xtreme High Bright display is equipped with a high TNI panel and 1500 nits minimum. The Xtreme High Bright display provides a bright, crisp picture, even in direct sunlight, while IPS panel technology provides color accuracy at every angle. The patented Dynamic Thermal Transfer system allows the display to operate in extreme temperatures ranging from -22 degrees F to 122 degrees F. For missioncritical applications such as transportation settings where a disruption in content streaming is highly problematic, the Xtreme High Bright display offers remote monitoring and control features to access the health and wellness of the display from anywhere. Peerless-AV has also been exhibiting the Peerless-AV UltraView UHD Outdoor TV at industry events throughout the year. An allseason solution for outdoor entertainment, it is all-weather rated, maintenance-free, has an operating temperature range of -22°F to 122°F, and is equipped with a High TNI panel

Peerless-AV UltraView UHD a l low i ng for direct sunlight and readability from any angle. It pairs with the Peerless-AV Xtreme Outdoor Soundbar Peerless-AV The PixelFLEX Xtreme High FLEXStorm is Bright designed to withstand adverse weather conditions and provide a dependable outdoor LED display option. FLEXStorm can be used as outdoor advertising, entertainment, and more. Displays can be updated from anywhere with the click of a button using cloud-based content management. The IP-65 fully-rated outdoor product is key to guaranteeing the longevity of an outdoor LED display billboard. FLEXStorm has brightness offerings between 6500-7500 Nits, providing variable brightness for any condition day or night. It is fully adjustable to the surrounding outdoor conditions via sensors that talk with the screens, control system, making sure the screen looks best at all times of the day. FLEXStorm utilizes data and power connections that are fully water tight, allowing for stable and reliable connections between each outdoor LED display cabinet. The Platinum Tools Waterproof RJ45 Coupler System was designed for installs where ethernet connections need rugge-

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TECH SHOWCASE

Platinum Tools Waterproof RJ45 Coupler

Protective Enclosures

Cape Soleil

PreSonus WorxAudio I/O-4

dized protection due to exposure to water, dust, corrosion, harsh elements, and vibration. It is rated to IP67 to meet harsh environmental conditions commonly found in outdoor and indoor installs, such as wireless towers, security systems, outdoor entertainment venues, industrial manufacturing, LED lighting, emergency communications, marinas, and more. It works with RJ45 (8P8C) connectors, for UTP and STP applications. The PreSonus WorxAudio I/O-4 is a small-format, high-performance sound-reinforcement system designed for indoor and outdoor applications where music and speech reinforcement are specified. Its small size and unique appearance make it deal for restau-

QSC AD-S12

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rants, retail environments, bars, hotels, and other applications where high-quality music systems are specified. A standard mounting bracket provides flexible aiming and easy installation. The versatile I/O-4 utilizes a dual-element array of high-output, 4-inch (101.6 mm) woofers. Its horn-loaded highfrequency waveguide is positioned between the two elements to ensure a coherent and balanced high-frequency response. The Protective Enclosures Company TV Shield PRO Portrait Touch is a weatherproof digital signage solution designed for wayfinding, interactive movie theater posters, menu boards, and more. It is a weatherproof, secure outdoor touchscreen display and weatherproof TV enclosure that is made in the U.S. Combining the company’s TV Shield PRO Portrait enclosure and its IP-65 rated IR touch frame, the TV Shield PRO Portrait Touch can be used with any flatscreen TV, completely enclosing it to turn it into an indoor or outdoor interactive touch screen. Featuring tough

Earlier this year, the Hospitality Division of Almo Professional AV launched an integrated Cape Soleil brochure to give hoteliers, restaurant owners and other hospitality professionals easy access to information about the Cape Soleil outdoor furniture line. Outdoor spaces are important to guest experience and revenue, whether utilized informally or as part of venue rental; supporting this is part of the charter of Almo’s dedicated hospitality team. The Cape Soleil Furniture Collection is available in a wide range of styles, finishes and materials that can stand alone or be paired together, and is available ready-to-ship or customizable. The line includes tables, dining chairs, lounge seating, sofas, and side tables, and a variety of complimentary outdoor living essentials like outdoor TVs, mounts and sound bars from Peerless-AV, as well as fire pits, umbrellas, patio heaters, outdoor fans and misters. Recently Almo demonstrated the integration with Peerless-AV’s UtraView UHD Outdoor TVs with the Cape Soleili furniture, demonstrating the opportunity that may be available in broadening scope in hospitality environments.

metal housing that encases the screen and a high-strength, shatter-resistant, anti-glare polycarbonate front shield, this water-resistant interactive display solution eliminates the risk of having to replace an expensive outdoor touchscreen TV or interactive digital sign if the screen breaks. The QSC AD-S12 is a 12-inch weather treated woofer with a 1.4-inch compression driver and 75 degrees of conical DMT coverage, which ensures smooth, uniform frequency response over the coverage area. AD Series loudspeakers are qualified for outdoor use using demanding tests for salt, fog and humidity, and have been tested to QSC internal temperature standards between -20


TECH SHOWCASE

RCF P6215

Rockustics Cherry Bomb

degrees and 50 degrees C. Additionally, the X-Mount system enables the loudspeaker to be easily installed and deployed at a variety of angles with no slippage over time. The RCF P6215 is a weatherproof full range, wide-dispersion, coaxial two-way loudspeaker system for high-output and long-throw applications. The high-fre- Yamaha VS6 quency section is a constant directivity CMD horn loaded to a 1.3in. RCF Precision compression driver with a 2.5in. diaphragm assembly for smooth, wide dispersion. The low-frequency transducer is a 15in. woofer with a 3in. voice coil. The cabinet is equipped are available in both black and with 12 M10 brass inserts, a stainless steel white (paintable) in 4in., 5.25in., 6.5in., and U-bracket and pair of spacers for 90-degree 8in. 2-way and an 8in. woofer with UL 1480 mounting. The cabinet is a single piece, rota- and UL 2239 certification. The SoundTube Entertainment IPD-XT850 tional moulded in medium density polyethylene, fully UV protected, and is waterproof to from MSE Audio is an 8-inch, two-way, PoE outdoor loudspeaker with Dante-functionalIP 55 code. At CEDIA, MSE Audio debuted the Rock- ity. The two-way outdoor 360-degree loudustics Cherry Bomb direct-burial landscape speaker carries a 40-watt PoE amplifier and is speaker. It features a patented three-way, designed for easy installation on IP-addressdual-chamber, design. This design puts the able Dante networks. The frequency response subwoofer in the same cabinet that houses the is 38 Hz – 22 kHz with 101.0 dB maximum midrange and tweeter, in an effort to avoid SPL. The sealed, in-ground enclosure is phasing issues and simply installation and designed to support low-end response and performance. It’s an 8 Ohm speaker with a 360-degree off-axis performance. The IPDfrequency response of 42 Hz – 22 kHz, and a XT850 is IP55 approved, AES67 compatible, and includes anti-theft brackets and watermaximum program power of 100 watts. The Sonance Professional Series Surface- tight strain relief. It’s pitched at full-range Mount speakers feature Sonance’s FastMount background/foreground music and paging. The SunBriteTV Pro Series Model is bracket and a front cable connection and tap selector to speed up the installation process designed for permanent outdoor installations, and provide a clean appearance. The weather- featuring EST Technology to guard against resistant construction is IPX4, Mil Spec 810, isotropic blackout and an ultra-bright 1,000and UV IEC 529, allowing them to be used NIT panel that provides high readability in in either indoor or outdoor applications. They any lighting. The 32in. Pro Series model is

Sonance SurfaceMount

SoundTube IPD-XT850

SunBriteTV Pro

durable, with its ruggedized, tempered glass shield to protect the LED screen and watertight cable entry systems. All Pro Series displays are equipped with a powder-coated aluminum exterior to protect against rust and prevent inclement weather conditions, including rain, snow, dust, salt corrosion, and insects from affecting internal electronics. SunBriteTV’s Pro Series is designed to perform in temperatures from -40 degrees F up to 122 degrees F. A blend of aesthetic simplicity and functional sophistication, the Yamaha VS6 delivers high-quality sound in a variety of indoor and outdoor settings. With a 6.5in. woofer, the VS6 features a 1in. balanced dome tweeter and is available in black or white. Its waterproof construction meets the IEC60529 IPX3 rating requirements for outdoor usage. Internally mounted transformers allow operation in 70V or 100V distributed sound systems, while a dedicated, color-matched steel U-bracket is enclosed for horizontal or vertical installation.

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THEME PARK

INDOOR SPECTACULAR arner Bros. World Abu Dhabi, the world’s first-ever Warner Bros. branded indoor theme park, transports guests to the lands of their favorite Super Heroes and Animation characters via interactive family-friendly rides, authentically themed lands and immersive experiences including a worldclass projection-mapped show.

W

Located on Yas Island, Abu Dhabi, the 1.65-million sq. ft. (153,290 sq. m) park is owned and was developed by Miral Asset Management and Warner Bros. Consumer Projects. Electrosonic worked with Thinkwell Group, the Los Angeles based global design and production agency that led the park’s design and attraction production, to provide complete parkwide audio and video and show control solutions. According to Corrado Campanelli, who was one of the project’s leads on the project delivery team for Thinkwell, the park’s attractions proved to be a significant undertaking. “There are over 20 rides that include many types of projection, 3D 360-degree cinema, a 3D dark ride, a 3D interactive ride, and huge dome projections. Select rides also feature large-scale architectural projection mapping as well as performance stages and BGM all around the park seamlessly integrated into the show set.” Warner Bros. Cinema Spectacular show, which screens in the Warner Bros. Plaza, is believed to be “the biggest permanent projection-mapped show in the world with the ceiling and building facades mapped with scenes from celebrated Warner Bros. movies,” says Paul Kent, Senior Consultant from Electrosonic UK. “It’s a remarkable achievement,” Campanelli notes, “with 37 projectors covering the facades and ceiling of the plaza as well as over 160 speakers integrated in the scenery to support the show.” Projector placement was key in order to maintain a consistent pixel size of about 5mm over different distances and objects in the plaza. “For every attraction, show control programmers spent many hours on site working with the creative team to sort out timing, the functioning of every device and the triggering of every cue,” points out Jim Maddux, Senior Commissioning Engineer from

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Electrosonic Burbank. Batman: Knight Flight uses a moving robotic arm for the dark ride vehicle within a series of dome structures. Armed with positional information from the ride manufacturer, Electrosonic’s onsite software engineering ensures that the video content and fog and lighting effects trigger at precisely the right moments so no one misses any part of the experience. Electrosonic devised creative solutions for many of the park’s attractions, including Justice League: Warworld Attacks. In this dark ride, trackless vehicles travel two different ride paths within the same fleet of vehicles. Electrosonic devised a system based on the vehicle position information received by the ride system, which triggers the correct media files on-board and off-board to maintain extremely accurate synchronization.


For Ani-Mayhem, in which guests hop in vehicles and score points by “scanning parcels” in various scenes from the classic show Looney Tunes, Electrosonic provided the projection studies and engineering as well as interfacing with an integrated gaming engine and show control system. The Flintstones Bedrock River Adventure is a flume ride with eight passenger boats surrounded by a variety of show elements, including projection of a 220 degree screen, audio,

lighting and animated figures and props triggered by beam-break sensors pointed across the flume. The show control system takes the triggers and, based on where boats are in each scene, starts the video projection, animated figures and audio. Electrosonic supported many additional attractions, including Scooby-Doo: The Museum of Mysteries, Acme Factory, the 3D ride Superman 360: Battle for Metropolis, and the live interactive show Meet Bugs! (And Daffy). “There’s a real sense of achievement working on a theme park of this size and scope, which the Theme Park Insider recognized as the best theme park 2019,” says UKbased Chris Mothersdale, Head of Projects for Electrosonic. At times as many as 100 people were on site, including 13 programmers. To give an idea of the massive amounts of equipment required for the project Electrosonic built and tested 92

47U racks in the UK before shipping them on site. There are an estimated 75 7thSense and 50 BrightSign media servers throughout the park, more than 140 Christie and Barco projectors with custom lenses and a large complement of Meyer Sound, JBL, QSC and Renkus-Heinz speakers. Typically, projectors and speakers were concealed in the attractions so guests can enjoy seamless, immersive experiences. Medialon Manager show control systems, the brain of every attraction, reside on Smart Monkey’s ISAAC hardware scheduling platform and control audio, video, lighting, props, effects and fountains. To ensure smooth day-to-day operations of the park and its attractions Electrosonic trained park technicians on the use and maintenance of all systems. Following Warner Bros. World Abu Dhabi’s first anniversary, the technology continues to run smoothly and issue-free.

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IMMERSIVE INTENSITY Multi-dimensional sound experiences By ?

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It’s well known that human experience is super-charged by audio. Pioneers in immersive audio have been working for decades to capture the holistic rush that comes with a complete audio experience; it’s been longer than that if you count the efforts of our pre-amplification ancestors who shaped literal rock and buildings to fill people’s minds and hearts with sound. Remarkable achievements have already come from work in immersive audio; that will accelerate in the coming decade, becoming the expected experience, even the norm. From there,…who knows? With that in mind, let’s look at a few recent experiences that are defined by immersive audio, with examples of playback, software, switches, studio environments, and even natural rock, all deployed in the service of audio immersion. –Cynthia Wisehart

ier 39 at Fisherman’s Wharf has seen its share of mid-budget projects that deliver the cutting-edge, theme park-style ride experience on a small scale. The latest is The Flyer, created by Québec-based Triotech. The virtual birds-eye footage of San Francisco is supported with a cinematic soundtrack. Filmmakers captured the HD footage with the help of drones and helicopters, and blended it with computer-generated imagery. The audio had to be equally immersive; the sweeping soundtrack is played back through a high-impact, high-fidelity sound system. When The Flyer experience begins, 28 seated guests, suspended on an active-motion platform, embark on a high-definition “flight” through some of the Bay Area’s iconic landmarks and neighborhoods, including the Golden Gate Bridge, Alcatraz, Coit Tower, Marin Headlands, Chinatown, the Castro and more. Mathieu Vachon, audio director for Triotech wrote, created, and produced the soundtrack and sound effects to follow the fast-paced point-ofview narrative that brings the city to life vividly with Hollywood-style jib, track, and drone-supported cameras. The sound had to be big. To create the necessary playback impact, coaxial L-Acoustics X12 loudspeakers are positioned in an LCR array across the front of the attraction’s theater, behind its massive 1,100-square-foot (50›x22›) screen. Two rows of tiny 5XT speakers are mounted on the rear walls for the surround elements—one pair per side, covering and upper and lower seats—while four SB18 subwoofers complete the discrete 5.1 system, which is powered and processed by two LA4X amplified controllers. Montréal-based Solotech integrated the audio complement for Triotech in conjunction with L-Acoustics’s Andre Pichette, who performed the final system calibration via the manufacturer’s LA Network Manager software. “The soundtrack is extremely dynamic and exciting, and it also follows the emotions of the film very closely,” says Vachon, who adds that it took three months to envision, compose, record, and mix. “But once we were finally on site at Pier 39 and I heard it played through the L-Acoustics sound system, I thought, ‘Wow!’ It was even better than in the studio. The score is huge and orchestral, and these loudspeakers make it feel so alive. The highs are crisp and clear, and the subs deliver a nice solid low end.”

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omething as small as a network switch can make a big difference when a designer is taking a chance on a new approach--and deploying it in situations that have to be rock-solid. World class sound designer, Gareth Owen envisioned ground-breaking immersive sound designs for his all-new productions of the international hit musicals, Starlight Express, Bat Out of Hell, and Come From Away. But, the aesthetic innovation he pursued, would have to fit with a decidedly mainstream business model: Those shows must deliver night in, night out in an array of different theaters. A seven-time Tony and Olivier winning and nominated sound designer, Gareth’s pioneering work can be heard all over the world, including Broadway, Las Vegas and London’s West End. Shows utilizing his designs have been enjoyed by over 30 million people. His latest collaborations—on Bat Out of Hell and Starlight Express in Germany, and Come From Away in London›s West End--set new standards in musical theatre, featuring uniquely immersive surround sound designs by the creative team at Gareth Owen Sound. Utilizing d&b audiotechnik’s d&b Soundscape object-based sound design mixing platform, the technically demanding shows-which range from 180º up to full 360º implementation--feature a huge number of data channels running over Dante. With no analog

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backup for the audio systems, the network distribution has to be 100% reliable. Working together with d&b and equipment suppliers to the shows--Stage Sound Services and Orbital Sound—the team depended on Luminex GigaCore network switches, which were rigorously tested in a Soundscape-based setup. The team wanted a Dante-approved switch that was rock solid and road-worthy. “The

Luminex switches have a proper case that’s not going to bend when they have to go up 16 stories and up onto fly floors, or when slammed off a truck,” Gareth points out. The team also needed switches that were quick and easy to set up. “You don’t need a degree in IT to configure them,” Gareth adds. “You plug in, turn on, plug things into them, and they just work. Being able to fully isolate down what the network is seeing in terms of devices is extremely valuable.” For complete peace of mind, all three shows utilize main and secondary Dante audio streams, which are run over entirely separate physical distribution networks. “We run a dual redundant Dante network utilizing the GigaCores, along with redundant PSUs that provide full power redundancy at each end of the wire for both sets of switches, so in the unlikely event of a failure, the system can seamlessly switch over to the redundant stream,” concludes Gareth who has standardized on Luminex switches for Dante distribution on all his shows. ”For such a show-critical piece of hardware, having such peace of mind is extremely important.” The Luminex GigaCore switches were supplied to Stage Sound Services and Orbital Sound by the Audio sales division of exclusive UK distributor, A.C. Entertainment Technologies Ltd (AC-ET).


he experience of live immersive music is one of life’s pleasures. Technology is making it possible for small, unique venues to thrive and to take music forward in innovative and inclusive ways. Since it launched in 2015, Brooklyn, New York’s National Sawdust has been praised as a world-leading incubator of new music talent as well as an intimate performance venue with excellent acoustics. Looking ahead to its fifth season, National Sawdust further elevated its reputation through a partnership with Meyer Sound, unveiling their new LINA direct reinforcement, Constellation active acoustics and Spacemap dynamic spatial audio mixing systems. “With Constellation and Spacemap, National Sawdust now offers an almost unlimited palette for sonic creativity, experimentation and inspiration,” says renowned composer Paola Prestini, co-founder and artistic director of National Sawdust. “Immersive sound is profound for both performers and audiences, changing our sense of space and perception and making art more of an intimate and communal experience. National Sawdust is thrilled to partner with Meyer Sound as a lab for learning, discovery and innovation in performance.” Playing a pivotal role in forging the new partnership was Garth MacAleavey, technical director and chief audio engineer for National Sawdust. “The way our programming has evolved in the last few years has been very forwardthinking,” he notes, “and now that we have these modular acoustic and spatial audio tools

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readily at hand, it’s like having the controls of a spaceship to blast off into the future. We are looking at a revolution in how artists create their music and how patrons experience it.” The Constellation system comprises 86 small, full-range loudspeakers plus 16 compact subwoofers for extending the reverberation envelope to the lowest bass frequencies. Sixteen miniature microphones provide ambient sensing, sending signals to a D-Mitri digital audio platform that includes a dedicated DVRAS module for providing the desired room acoustic. Although the room has an excellent, well-balanced physical acoustic, it is limited by the dimensions and materials of the space. With Constellation, the room’s baseline RT60 of 0.6s can be extended and reshaped as desired. Twelve presets are preprogrammed, ranging from “classroom” and “spoken word” to “large concert” and “cathedral.” Selected acoustic presets may be tailored to suit the aesthetic of each piece within a concert. The Spacemap capability employs the same D-Mitri DSP platform and 102 loudspeakers to offer dynamic multichannel panning throughout the space, with 32 input channels freely assignable to any or all of the discretely addressable loudspeakers. Spacemap

panning can be pre-programmed or implemented on the fly using an iPad interface. “National Sawdust is the first venue where front of house engineers have been trained from the outset to fully integrate the live spatial mix capabilities of Constellation and Spacemap while working with such a wide range of musicians,” says Meyer Sound Director, Spatial Sound, Steve Ellison, “I’m excited to watch this extraordinary sonic journey unfold.” Ellison highlights how the new Meyer Sound systems were employed during the opening concerts last year. “With vocalist Theo Bleckmann, we used the space as a lab to try out a few of his ideas. Using a longer reverberation, Theo was able to work with his own voice to create improvised harmonies during an a capella work. Then he added in microphones with signal processing, and together we experimented with moving the evolving vocal phrases out from the stage, into the audience and around the room,” he recalls. “Paola Prestini’s work, Silent Light, featured a small wood and marble tower with microphone pickup that was sent through a regenerating delay. We used Spacemap with both the original and delayed signals, incorporating a spiraling move on each sound but at different rates, so the sounds climbed up and down the walls, overlapping each other. For the Young People’s Chorus of New York City, who surrounded the audience, we extended the reverberation time to 2.4 seconds, which was very effective.” Even a musician’s body movements can be sonically transmuted, according to Ellison. “With Claire Chase, we used Spacemap with both the delay returns from her flute as well


as her backing track. Her body movement informed the spatial mix of the flute delay, so it seemed she was ‘throwing’ her flute sound out into the room.” National Sawdust retains the name of the industrial building it now occupies in Brooklyn’s Williamsburg district. Purchased by

hen it comes to pre-recorded immersive content, you have to build it somewhere before you can play it back. Gradually, there are more places rising up to serve that need, which will transform music and cinema and beyond. John McBride’s Blackbird Studio in Nashville, Tennessee is not known for halfmeasures. “We do everything we can to create a setting where artists and engineers are equipped and inspired to create music that can change the world,” asserts McBride as Blackbird’s founder and spiritual leader. In that spirit, Blackbird is embracing Dolby Atmos Music, a fully-immersive, next-generation multichannel playback system that has the backing of Universal, Netflix, Amazon, and other major content providers who are deploying immersive mixes in music, screened entertainment, and in theme park, museum, gaming and other virtual reality settings. “Immersive audio is the future of the industry,” McBride continued. “It’s an incredible experience, and once you start listening in Dolby Atmos Music, it’s hard to go back to stereo! For artists and engineers, the format opens up a whole new world of creative possibilities. There are consumer electronics manufacturers building sound bars to give listeners Dolby Atmos in their living rooms, engineers are hard at work perfecting headphones that will deliver Dolby Atmos, content providers such as Netflix and Amazon are incorporating the format into their new material. Of course, the potential for gaming and virtual reality is astounding. All in all, the industry has a lot of momentum behind Dolby Atmos Music, and I’m thrilled to have Blackbird at the forefront of music creation for the format.” Initially introduced in 2012, the Dolby Atmos specification accommodates traditional 7.1 surround sound speakers but then goes far beyond. It allows specific placement of sounds at precise locations along the sides

philanthropist Kevin Dolan, the structure was gutted and rebuilt following the design of Bureau V Architects. Global consulting firm Arup designed the original acoustics of the performance space, with a view towards future spatial audio system integration. These architectural acoustics and room finishes pro-

vided an excellent basis for Constellation and allowed for transparent integration of the system loudspeakers behind the room’s acoustically transparent fabric panels. All audio systems were installed by Sound Associates of Yonkers, New York under the direction of Dominick Sack.

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An Immersive LIfe The Audium theater in San Francisco is one of the oldest continuous immersive audio experiences in the world, and the first theater of its kind to pioneer the exploration of space in music. Listeners are bathed in “sound sculptures” performed through 176 speakers—from car speakers to full-range line arrays—in total darkness. The Audium concept began in the 1950s, by trumpet player and electronic composer Stanley Shaff whose work with tape compositions and live performance convinced him that space was an inherent dimension of music. With his co-creator Doug McEachern who designed the original systems, the duo created their Audium platform for spatial, three-dimensional audio exploration. The partners worked together in the San Francisco Unified School District, and embarked on a series of collaborations and small performances—initially in Shaff’s home, with partners including students, light artists and dancer Anna Halprin. Through the 1960s, Audium saw performances at locations including San Francisco State, San Francisco Museum of Modern Art; the the first Audium theater opened in 1967. In 1975, Audium relocated to its current location on Bush Street. With a small grant from the National Endowment for the Arts the team designed and built the theater with a foyer, sound labyrinth, a performance space with sloping walls, floating floor and speakers hung above the audience and embedded in walls and floors, which are controlled live during the performances. In the ensuing years, literally thousands of performances have graced and shaped the space. Audium also holds bi-monthly workshops to introduce participants to creating sound-sculptured space. In November, Stan and son David Shaff premiered Audium 11 after two years of development. It explores shifting sonic layers with a vast assortment of electronic sounds in Audium’s pitch-black theater. For this new work the father-son duo has completely reimagined the theater and artwork. Performances are held every Thursday, Friday & Saturday.

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and back, includes overhead loudspeakers, and permits flexible scaling of playback system size to include up to 128 discrete loudspeaker or subwoofer channels. To support a commitment to immersive, Blackbird Studio C--a large control room with diffusion designed by George Massenburg-now contains three ATC SCM300ASL Pro monitors in front, six ATC SCM100ASL Pro monitors on the sides, six ATC SCM100ASL Pro monitors on the ceiling, and six ATC SCM0.1/15ASL Pro subwoofers. “The first thing people notice about a Dolby Atmos system is the addition of the overhead speakers,” said Zach Winterfeld, western regional sales manager with TransAudio Group and part of the team that installed and tuned the new system at Blackbird. “Just as the experience of going from mono to stereo or from stereo to surround opens things up, the overhead speakers add a whole new dimension. Under the hood, the biggest difference is the use of ‘objects’ that allow the engineer to specify where in the room a sound should localize to. The Dolby Atmos playback engine decodes each object’s location and places it there given the particular arrangement of loudspeakers in a given room. Two rooms can have very different loudspeaker setups, and the Dolby Atmos processing will localize a given

‘object’ to the same place in both rooms.” Ben Lilly, technical sales manager with ATC and another member of the team that installed and tuned the new system at Blackbird, explains the setup, “Blackbird Studio C was already equipped with stereo ATC SCM300ASL Pros so adding a matching center was a natural choice. The ‘base’ specification for Dolby Atmos music systems is 7.1.4 (7.1 plus four overhead ‘top’ speakers), but because Studio C is larger than average, the surround speaker count was increased by four to make the system 9.1.6. The choice of surrounds speaker model and the number of subs was based on the room size, listening distance, and target SPLs at the listening position. Dolby’s DART tool helped select suitable monitors based on the room and acoustic data input into the tool.” Four of the ATC SCM0.1/15ASL subwoofers are positioned along the front of the room and two are positioned on the side walls closer to the back, as determined by a judicious combination of measurement and expert opinion. In addition to Zach Winterfeld, who has deep experience with precision measurement systems, TransAudio Group sent Tony Marra, who operates the TransAudio Group in-house repair shop, to Nashville for installation and tuning knowing that between the two, they

had the wherewithal to diagnose and repair anything that might need it. ATC sent Ben Lilly, who worked closely with the TransAudio Group team. The team dug into the analog processing capabilities of the integrated ATC amplifiers to make subtle adjustments to Blackbird’s existing SCM300ASL Pros, which had been in continuous use for nearly a decade, to match the new center channel SCM300ASL Pro. Ceri Thomas and Christine Thomas from Dolby saw to it that all of the Atmos specs were dialed in to perfection. Aleks Bars, marketing manager at TransAudio Group, who attended the studio unveiling, added, “With conventional surround sound technology, things are still focused in the front, and creative use of the rear channels kind of stands out. With Dolby Atmos, I felt like I was inside the track. I couldn’t hear gaps between the speakers; it was really cohesive.” “You get excited by different things and make different decisions when you’re mixing for stereo versus mono,” Winterfeld summarized. “The same thing is true moving to Dolby Atmos. Tracks have so much more room to exist and there are so many possibilities with movement, space, and location. It’s going to be exciting to hear what comes out of Blackbird Studio C!”

Acoustical rock Acoustics can take many forms. The centuries-old power of rock still works. In November, Beijing-based architect OPEN poured the concrete for the roof of their spectacular Chapel of Sound. The bouldershaped concert hall sits in a rocky valley at the foot of Jinshanling Great Wall on Beijing’s northern border. The last pour of structural concrete for the flat roof took about 24 hours, with workers finishing the surfaces with handtools as they pushed to complete their work before the Beijing winter settles in. The building is slated to open in the summer of 2020. Inside the rocky outcropping is a semi-outdoor amphitheater, an outdoor stage, viewing platforms, and supporting spaces. The spectacular 790 square-meter semi-outdoor concert hall is made of concrete mixed with an aggregate of crushed local mineral-rich rocks, shaped acoustically for music performances. Openings in the roof and walls pull in the sky and surrounding landscape as well as the sounds of nature--light and rain, bird song, and the chirp of insects gently fill the chapel. The interior shape was inspired by the contours of shells, wooden instruments, and the human ear. Through digital optimization, the acoustic properties were tweaked to produce the best possible sound quality. The openings of the building are placed strategically to avoid unwanted reverberations while simultaneously allowing in natural sounds and views. The Chapel of Sound not only reimagines the typology of a concert venue, but asks us to reimagine the definition of a concert itself. “Inside this mysterious space, nature orchestrates an ever-changing symphony. It is a chapel of sound.”

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TECHNOLOGIES FOR WORSHIP IMMERSION AND INFRASTRUCTURE ELEVATE WORSHIP

* INCLUDING OPTOMA • TOA ELECTRONICS • WHIRLWIND

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TECHNOLOGIES FOR WORSHIP

TRANSFORMATIVE TECHNOLOGY Audio advancements translate to the worship environment

or centuries, those who practice worship have sought immersive and inspiring communication and experiences, conjuring three-dimensional sound and compelling images in a range of creative and often pioneering ways. Worship communities have always used grand and intimate expressions of art, architecture, music, imagery, and symbolism to come together. Now, as AV technology becomes more immersive and interactive, there’s a natural fit with media ministries, which can use them to create new rituals and connections for their communities. In some cases, these technologies represent the cutting edge of AV. –Cynthia Wisehart

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IMMERSIVE SOUNDSCAPES

Immersive electro-acoustics and other immersive sound technologies are still considered new in environments such as museums, theme parks, retail, and restaurants. Now d&b’s implementation Soundscape has found application in a house of worship, where the ability to reshape the physical perception of the audio space preserved a sense of intimacy for the community as it moved to a very large space. This was an important transition for a church that started out in 1988 in the living room of founding Pastors Floyd Loudermilk and his wife Sara. Now the Anderson Mill Road Baptist Church (known locally as the Church at The Mill), located just outside of Spartanburg, South Carolina, has recently outgrown its 800-seat home worship center and moved into a new, state-of-the-art multi-venue facility. This facility incorporates a 2,200-seat main auditorium along with other environments to engage all members of the congregation — and especially young people.


TECHNOLOGIES FOR WORSHIP To serve their growing vision, church leadership wanted to create an audio environment that could accommodate the spoken word, full contemporary band performances, and a 150-voice choir, without losing the personal connection between communication and source that defined the church. Church leaders contacted their longtime partner sound system integrator XL Mediaworks Inc. in Columbia, South Carolina for their help. XL Mediaworks originally proposed a V-Series system with a trio of Allen & Heath dLive digital audio consoles as part of the new audio, visual and lighting system. With the recent release of the d&b Soundscape system, Jerry Temple and David Seaford from XL Mediaworks invited The Mill`s Executive Pastor, Ken Fisher, to attend a Soundscape demonstration at a nearby church. Pastor Fisher immediately recognized what Soundscape could bring to the worship experience for shaping the audio experience and preserving the church’s intimate vibe, while moving up to a building that would nearly triple their seating. The main auditorium design presented acoustical challenges that are common to contemporary worship spaces: an overall fan-shaped space, with a sloped lower bowl and raked seating in the upper sections. “The room is very wide with relatively low ceilings,” explained Seaford. “This posed some challenges in obtaining good audio coverage without compromising sight lines to the main video screen and two side video screens. Long line arrays would block the screen view for many audience members. A distributed system would be the next choice, but with this approach, the audience tends to localize sound to the nearest speaker, not to the presenter or performer — this is where the d&b Soundscape system could solve the problems.” Using a combination of speaker placement and source-position information, the d&b En-Scene software algorithm utilizes the processing power of the DS100 signal engine to sonically reinforce the image of what is on stage by harmoniously localizing individual sources precisely as they are seen. This pivotal change in system design and mix approach allows every voice, instrument or sound source to be represented true to its original form “We could not be more pleased with the final result,” stated Pastor Fisher. “The d&b Soundscape solution clearly has the ability to create an intimate setting even in a sanctuary of over 2,200 seats. Our desire is to ensure that all distractions are removed during our time of worship — the quality of sound delivered by Soundscape not only removes audio distractions, but actually enhances the personal worship experience.” From a system point of view, Soundscape means that loudspeaker positions cooperate with each other, using source-relative time and level information to create a completely coherent wave front emanating from the original source. The XL Mediaworks team explained it best this way: Imagine introducing the principles of time, width, depth and texture as you would find in the subtle nuances of a jazz trio playing acoustically in an intimate venue, and then overlay that experience onto a worship audience. Soundscape delivers a more transparent experience for contemporary or

traditional worship, but perhaps most importantly, the spoken word is delivered full of feeling and passion, making the loudspeakers sonically disappear. From the front row to the furthest seat in the auditorium, some 120 feet away, Soundscape delivers a consistent level of tonal quality, SPL, and a true imaging perspective for every seat in the house. The system’s added efficiency through Soundscape and ArrayProcessing allows for concert-level music reproduction and localization for every source to every seat and respect for sight lines with only six boxes per Y-Series hang for the mains, and zero delays. The engineer is able to fine-tune an impactful mix on the Allen & Heath dLive digital mixing console at FOH while reducing overall SPL levels and thus listening fatigue from members of the congregation. “The Church at the Mill has accomplished their goal of delivering an emotionally-resonant worship experience,” added Asher Dowson, House of Worship Segment Manager, d&b audiotechnik. “It’s a full sonic production for more than 2,200 congregants — but each person in attendance feels as though it’s all just for them.”

IN-EAR IMMERSION

It’s not just the congregation that benefits from immersion. As touring musicians and Broadway performers understand, immersive monitoring can supercharge a performance. That in turn translates to the audience— the congregation. This connection can matter, even on a small scale. Leaders at Willowbrook Baptist Church’s main campus in Huntsville, Alabama recently completed the first step of a multi-phased initiative to update the worship center. A key part of that process was the implementation of a KLANG:fabrik immersive in-ear monitor mixing system for its 12-piece worship orchestra.

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TECHNOLOGIES FOR WORSHIP Installed by Byhalia, Mississippi-based integrator Redwire Audio Visual in October, the new KLANG system offers up to 16 musicians their own unique IEM mixes over RF transmitters, or headphone amps via XLR. The supporting KLANG:fabrik is a flexible audio network router of up to 64 MADI, 64 Dante and 32 ADAT-compatible inputs and outputs. “Their worship orchestra had been frustrated by the lack of flexibility with their old IEM system,” says Redwire AV President, Founder and General Manager Tim Johnson. “So we brought the KLANG:fabrik in for a demo, and they experienced a huge difference immediately.” Johnson says the KLANG:fabrik’s ability to operate at 96kHz offers a much higher level of sonic fidelity to the musicians. Furthermore, the ability to move mixes around in a fully immersive space has changed how they hear themselves and the music. “They literally had no idea this science was possible,” says Redwire AV Lead Designer Charles Thompson. “They can put the click above their heads, for instance, and build a virtual stage that reflects where each of them are standing on the actual stage. This creates a realistic in-ear environment that helps them hear everything accurately, because they can hear each other where they are physically, not just left and right.” Johnson adds that this kind of immersive monitoring environment on stage also helps keep volumes down, which is good for both the music and the congregation in the 800-seat sanctuary. “It also really cleans up the stage visually,” he says. “Everyone is already using an iPad for charts, so the KLANG just plugs into that same device, keeping things very uncluttered.” The KLANG:fabrik takes feeds—via Dante and three DiGiCo A168 STAGE I/O Expanders—from a new DiGiCo S21 console. “It’s even made the existing sound system perform better, with excellent clocking that dealt with digital ‘smearing’ issues they had with the previous console that muddied the sound,” Johnson says The orchestra and church liked the system so much that a second Klang:fabrik unit has already been ordered, to be installed in the next AV upgrade phase, which Olson says will provide the musicians with even more channels with which to build their custom mixes on stage.

Willowbrook Minister of Production Chris Olson echoes that the church’s musicians were impressed immediately by the KLANG:fabrik’s sound and ease of use. “They’re able to put their instruments exactly where they want in the sound field and spread the entire image out nicely, which really makes them more comfortable on stage,” he says. “Plus, it does help keep the stage looking neat and clean, so it’s all just ‘plug and play’ for our tech team, with everything on just a single Cat-5 cable, and by eliminating all of the individual mixers on stage.” In a similar vein, For the worship team at Woodbury Lutheran Church in Minnesota’s Twin Cities, the switch to KLANG:fabrik in-ear monitors came after 25 years with stage monitors. Moving to an immersive IEM system for monitoring was a big change. Add to that the fact that the install took place only a week and a half before one of Woodbury’s biggest productions of the year, Easter weekend, leaving little time to train and acclimate musicians and technical staff. Technical Arts Director Kendall Johnson, who has headed the production ministry at Valley Creek since 2016, acknowledges the timing challenge. “We installed KLANG on April 10th, during the busiest time of year for our church,” he recalls. “We had a huge Good Friday production about 10 days after the install date and needed to get our volunteers trained on and comfortable with the new system.” With a degree in sound design for interactive media and having interned at Hans Zimmer’s studio, Remote Control Productions, Johnson has little fear of cutting-edge tech, but the same can’t necessarily be said for Woodbury’s musicians, many of who have been using the church’s existing wedge system since 1992. Thankfully, he says, the transition was painless: “People could not believe how well they could hear. They went from thinking that the immersive audio idea was a gimmick to being fully onboard within just a few songs.” For churches like Woodbury, the combination of precise placement of sound sources within a highly immersive soundstage and the fact that individual musicians can customize their own mix via a mobile device of their choice has been convincing. “Moving from wedges to an in-ear-monitor system is all about setting up our teams to lead worship with confidence,” notes multi-site Worship

Problem Solver BRIDGING LEGACY EQUIPMENT In order to achieve a flexible tally communication between its legacy and new production equipment, First Baptist Church of Jacksonville, FL (FBC JAX) recently integrated TSL Products’ TallyMan control system into its control room upgrade to allow control across a single production surface. With four distinct campuses across the city, FBC JAX was specifically looking for a means of integrating a new Ross Ultrix 12G Router with the facility’s 12-year-old Sony MVS switcher. According to Ballard, the TallyMan’s “single box solution” and extensive interface library spanning modern IP and legacy serial protocols provided an immediate means of achieving interconnectivity between older and new equipment on a single unified layer. For live production, Ballard says that TallyMan provides his team with

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“far better insight” than ever before, especially with six cameras operating at all times. Ballard also highlights the user-friendly nature of TallyMan, with reusable, multi-level actions easily grouped into a simple control surface. “We no longer have to re-label every input and output on a route change, which equates to faster and more dependable configuration changes,” Ballard says citing one of the volunteer-friendly features. TallyMan was built to be independent, universal, configurable and scalable, allowing its customers to achieve interoperability between equipment routed through analog, IP or hybrid networks, regardless of differing manufacturers and format specs. The Virtual Panel Interface allows for an easily configurable process with drag-and-drop controls.


TECHNOLOGIES FOR WORSHIP Problem Solver HEADPHONE FATIGUE Charlotte-based Elevation Church has 19 campuses around North Carolina, all with very high production values. Each location has its own worship band, and services are streamed from Elevation’s broadcast location to its satellite locations and the Internet during worship experiences each weekend. Over the past several years, the 15 technical volunteers at the main broadcast Ballantyne campus gradually abandoned large bulky double muff can-style headsets. One of the first to make the switch was production director Jared Olson when he bought a Point Source Audio CM-i3 in-ear headset with his own money. Its innovative lightweight design goes

behind the head, as opposed to over the top of the head. A lightweight frame goes over his ears and it has small earbuds, a head strap around the back, and a mic that’s a little larger than a lavalier-style mic. “I wear mine for 8-10 hours a day every Saturday and Sunday,” Olson says. “I wear glasses and any muff-style headset gives me a headache. Most of the techs have custom in-ear molds and you can easily replace the stock or standard earbuds with your in-ear molds. It’s even more comfortable, and also provides an added measure of isolation.” Olson says he wears the headset listening to rehearsals, front-ofhouse mixes or the streaming mix, as well as for conducting party line communication with camera operators, graphics, the stage, the band—the full production team. As production manager, he says the team has to know he is always available, so that’s why he wears the headsets the entire day. The headsets feature the company’s EM-3 in-earphones and a boom moving coil dynamic element with a cardioid pattern and a frequency response of 300 to 10,000 Hz. The earphones feature a single-driver ported design and come with three sizes of ear tips, a windscreen with an o-ring, and a custom storage case. The newer CM-i5 in-ear headset is a back-electret condenser design offering a noise-canceling cardioid pattern and expanded frequency response of 100 to 10,000 Hz. They feature an improved single-driver ported custom-molded style, universal design that can also be easily switched with the user’s personal earbuds.

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Director Joel Wetzstein. “Funny story: during sound check for Easter Sunday, I was seriously startled by the KLANG system,” Wetzstein laughs. “I was sitting at the piano and hadn’t finished placing every instrument in my immersive sound field when the percussion player hit one of his drums. I whipped my head to the left to see who was there because even though I knew the percussionist was on the other side of the stage, it sounded like he was standing right there! I couldn’t believe how good and accurate the placement sounded. Truth be told, that happened more than once.” Johnson routinely has to deal with three major services in a four-day period, all of which have completely unique channel assignments. “Each week, we have multiple worship teams using the system—different musicians, different names, different setups. It’s incredibly easy to save and load all of these setups.” The 2U rack device accepts up to 56 input channels via a variety of digital formats—including MADI, Dante and Lightpipe—giving the flexibility to easily route audio in and out the device. XLR audio outs can be used to distribute the audio out of the console as well as any of the digital formats. If there is a need for additional mixes, multiple KLANG units can be daisy-chained. KLANG’s immersive in-ear mixing system can be controlled via KLANG:app, which is compatible with iOS, Android Mac and Windows devices. For owners of DiGiCo’s SD series, there’s also a native implementation of the control surface on the desk. “KLANG has revolutionized how we’re able to rehearse and lead worship,” says Karl Grant, one of Woodbury’s worship leaders. “Each member of the band can hear exactly what they need to hear—and no more than that. They get to choose! We save time in rehearsals by not having to call back monitor mix adjustments, and, as a worship leader, I have much more confidence in my own monitoring of what the ensemble sound is. KLANG is also helping us all realize where we need to tighten up as musicians.”

TOUR CONFIGURATION

It’s one thing to replicate an engaging atmosphere and integrated workflow in a fixed location. But what if you need to replicate that time after time in many locations? One tool that can make a difference is predictive modeling software for speaker tuning. With an estimated 50-million-plus people singing from its catalog of songs every Sunday and over 1.5 billion minutes garnered from YouTube viewers, Australia’s Hillsong Church is unquestionably one of the primary architects of modern worship music. Although the Sydney-based organization has several performing collectives that tour worldwide, Hillsong UNITED is likely the best known. According to Billboard, the group’s 14th and most recent album, People, made its late-April debut last year as the week’s top-selling album across all US charts—not just Contemporary Christian—underscoring the band’s enormous popularity. When Hillsong UNITED headed out to support People with its first North American trek in three years, Hillsong called upon Solo-


Courtesy Hillsong UNITED

tech’s Nashville shop to carry an L’Acoustics’ K1/K2 rig for the run; L’Acoustics’ modeling software Soundvision ended up playing an important supporting role. Systems Engineer Arica Rust notes that the tour’s base arena configuration consisted of 12 K1 with four K2 down on the main left and right hangs, four K1 on top of eight K2 for the side hangs, and six K1 with six Kara down for the 270° arrays. The crew also deployed twodozen SB28 subs on the ground in a symmetrical cardioid configuration in three clusters of four on either side of the downstage thrust, spaced four feet apart. Sixteen Kiva II delivered frontfill. Depending on the venue, these

TECHNOLOGIES FOR WORSHIP were usually stacked three high on the middle sub cluster for the “inside” fill, and then either two or three stacked on the outside sub cluster. Because there was VIP standing room on the side of the stage, the last two or three Kiva II were used as an upstage outfill to cover that area and provide additional coverage to the first couple of rows of seats under the 270° hang. For the largest shows, such as Toronto’s Scotiabank Arena and New York’s Madison Square Garden, Solotech deployed an additional two K1 on each main hang for a total of 18 enclosures, and swapped out the side hangs for all K2. Forty-eight LA8 amplified controllers drove the entire PA via AES over RIEDEL RockNet. As an example of the variety they encounter on the road, Rust says there were several elements that were rather unique to this show. “In addition to the main stage, we had a ‘B stage’ where the opener, Mack Brock, and some of UNITED’s more intimate, acoustic songs were performed,” she notes. “This stage was located in front of the PA on the arena floor, sometimes very close to front of house. With the valuable assistance of our PA techs, Nick Stover and Mike Bradley, I tried my best to not aim boxes directly at the stage, but was actually pleasantly surprised by how much gain before feedback the PA exhibited even with these elements.”

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TECHNOLOGIES FOR WORSHIP Courtesy Hillsong UNITED

The tour’s sub configuration was also unique in that they had to separate the subs left and right due to the downstage center thrust dividing the array. “We wanted to steer the low frequency energy away from it, so having a symmetrical cardioid configuration with the reversed sub onstage slightly steered the polar response of the subs away from the thrust,” Rust shares. “In addition, we delayed each cluster slightly using values based off Soundvision predictions to create a slight arc to spread the low frequency coverage better throughout the floor. The great thing about K1 is that even though we did not have flown subs, the full range of the box goes down to 35Hz so it can deliver LF content to the back of an arena especially when used in conjunction with the LF Contour function in Array Morphing.” She goes on to add that another challenge they had to work with was the roof structure and video wall that displayed the lyrics. “It was crucial that the PA did not end up being shadowed by the corners of the structure, but fortunately all this can be drawn in, and thus results predicted and adjustments analyzed, in the Soundvision model,” she notes. Rust explains that every venue had to be modeled in Soundvision because every Soundvision file translated directly into an import into Network Manager that reflected the variables of that day’s configuration. “On a typical day, I would go into the venue first thing in the morning, take measurements, compare them to the Soundvision database model if there was one, and build a XMLP file,” she recalls. “It was imperative that the vertical measurements were accurate to dictate correct placement of dmin, dref, and dmax for the Autosplay functions to

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predict properly. “The Autosplay and AutoFIR tools were an inherent part of my workflow because Auto Init and Optimize would help me optimize the inter-element angles quickly where I could then make minor adjustments as necessary for each day’s deployment. I relied heavily on the AutoFIR to create an even starting point in coverage and integrity in the PA. I would try to use the same loudspeaker configuration data file in Soundvision every day so that I could use the same Network Manager file and load new synchronization groups with updated FIR filters, which saved a ton of time rather than daily trying to rebuild customizations.” One exception to this workflow was when she had to change the configuration of the PA. The tour consisted of a wide variety of venues and some arenas were smaller than others or had trim height restrictions so then the PA configuration itself had to be altered to fit the requirements of that venue. “Being able to quickly assess the effects of these variables in a model in Soundvision helped me make quick decisions on how to manipulate the deployment for that day. “Hillsong UNITED have a very dynamic set. The show goes from bass-driven dance content to soft, spoken-word or acoustic pieces. Even tonality throughout the entire audience area is mission critical for this application as much as SPL. I could walk around with James [Rudder, FOH Engineer] and the trusty VNC tablet listening to the entire system as a whole and each of the subsystems scaled evenly to create a consistent coverage across the listening plane.”


TECHNOLOGIES FOR WORSHIP

PRODUCTS WHIRLWIND CATDUSA CT-F AND CT-M The Whirlwind CT-F and CT-M are the latest addition to the Catdusa family of RJ45 solutions. Like other Catdusa products, they use Cat cable to transmit four channels of analog audio. Both have a Neutrik Ethercon connector broken out to four XLRs on 18-inch tails. They are wired with 110 ohm cable to maintain AES and DMX performance when using shielded Cat cable. The CT-F has four female XLRs, while the CT-M terminates to four male XLRs. They can be used together to create a simple 4 channel fan-to-fan snake, or combined with other Catdusa pieces to create a flexible and comprehensive stage sub snake system.

TOA DA-550F TOA Electronics designed the 4-channel DA-550F to put 550W at 4 ohms into each of its four outputs. These output channels can be independently power-controlled and the power status, protection, and fan operation for each can be monitored. Inputs use an XLR3-31 connector and include removable terminal blocks while the outputs are on M4 screw terminals.

An input signal to Channel 1 can be routed to all channels, and the output level adjusted using the input level control for each channel. The rear panel features two RJ45 connectors for remote control and monitoring.

OPTOMA FHDQ130 This is a comprehensive large 1080p display solution with 130 inches (2.88 x 1.62 m) of visuals and 4K compatibility. Setup for the QUAD LED display has a simplified threestep installation process, thanks to an all-in-one design that includes an image processor, centralized power cage, receiver cards and more. The display comes pre-calibrated out of the box and is cable-free. The LED diodes are set in clusters of four with a 1.55mm pixel pitch, which allows for a smoother screen surface, 170-degree horizontal and vertical wide viewing angle.

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SV C ON L I N E.C OM | F E B R UA RY 20 20 | S VC 47

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Ad Index

Advertiser..........................Page...................................................... Website

Advertising Sales Office

AC Promedia ...........................................19......................................................................www.luminex.com

VP/Market Expert, AV/Consumer

A-NeuVideo..............................................25...............................................................www.a-neuvideo.com

Electronics & Pro Audio

Audio Technica........................................11...................................................... www.audio-technica.com

Adam Goldstein

Aurora .........................................................39................................................................ www.auroramm.com

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

AVIXA .........................................................38........................................................www.infocommshow.org Biamp........................................................... 7........................................................................... www.biamp.com

(212) 378-0465 adam.goldstein@futurenet.com

Bose.............................................................. 9............www.pro.bose.com/installedSoundExpansion Contemporary Research...................15.................................. www.contemporaryresearch.com/

Advertising Sales Prahlad Balasubramanian

svc-moreinfo

307-222-6950

Digital Projection..................................23.................................................. www.digitalprojection.com

prahlad.balasubramanian@

d&b audiotechnik..................................35..................................................................... www.dbaudio.com

futurenet.com,

DVI Gear.....................................................17..............................................www.dvigear.com/displaynet

Janis Crowley

Matrox........................................................60.......................................................................www.matrox.com

845-414-6791

NAB..............................................................40......................................................................www.nabshow.org Shure ............................................................ 5.............................................................................www.shure.com Stampede..................................................50................................................... www.stampedeglobal.com Televic.........................................................17.............. www.televic-conference.com/confidea-flex

janis.crowley@futurenet.com Debbie Rosenthal 212-378-0465 debbie.rosenthal@futurenet.com

TOA ..............................................................43.......................................................www.toaelectronics.com

Classified Advertising

Vanguard................................................... 2,3............................................................www.vanguardled.com

Zahra Majma

Vaddio.........................................................13........................................................................ www.vaddio.com

845-678-3752

Whirlwind..................................................41.......................................................... www.whirlwindusa.com

zahra.majma@futurenet.com

Sound & Video Contractor, Volume 38 Issue 2, (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. Š2020 Future US, Inc.

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Profile for Future PLC

Sound & Video Contractor - February 2020  

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