Sound & Video Contractor - July 2023

When I was in theme park design, we always wanted more than the technology could do. Even with the inevitable limitations there were always designers who could overcome nearly anything to make magic. In those days, as a designer, our technical partners were like the other half of our brains. Our dialog and collaboration was everything. They were both the reality check and the inventors—sometimes telling us something was impossible, sometimes going out of the way to make it possible.

From personal experience, this was one of the most gratifying parts of making place-based experiences, and it’s hard to capture how significantly the meeting of minds—creative and technical--moves the industry forward as a whole. The things we dreamed up together for museums, theme parks, and other public spaces became part of the generally available technology. Sometimes it took decades to see those ideas go mainstream, sometimes it happened quickly.

For this issue, I went back to my roots and talked to Mikael Charpin at Moment Factory. The company is a long-time trailblazer in using design ingenuity to redefine experience and push technology. Moment Factory’s decades-long integration collaborator is Electrosonic, a company I also worked with on theme parks worldwide and where my husband lead the company as CEO through 2017.

We have long heard the idea that the integrator should be “at the table” from the beginning. It doesn’t always happen, or even often. But it does happen, by necessity, for the big interactive projects. Those projects are proof of why the integrator should always be one of the earliest collaborations while pen is still hovering over paper (and not after all the HVAC has been stubbed up right where you need the projector to be).

Charpin eloquently explained how far we’ve come in technology and also how urgent it is that real-time and interactive possibilities continue to expand. With his dual master’s in architecture and Civil Engineering he naturally gravitates to the practical intersection of art and science as do his colleagues at Moment Factory. He’s excited about what is possible and impatient for what is to come.

Moment Factory has recently formalized their relationship with Electrosonic into an initiative designed to serve transportation hubs and other public spaces. Both companies see this as a great opportunity to transform every day experiences as only designers and technologists can do. I agree. I hope relationships like this will continue to grow and define our industry for the coming years.

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Pro AV Today Top 5 Most Read

Star Wars Galactic Starcruiser hotel shuts down

1 Disney’s Galactic Starcruiser will be making its final voyage September 28-30. The interactive Star Wars-themed hotel experience was met with much fanfare when it opened just over a year ago on March 1, 2022,

but it has reportedly struggled to bring in the revenue needed to justify it. Now, Disney has announced that the entire venture will be closing. With only 100 available rooms, and the price for two adults being just under $5,000, industry

experts speculate that even if the hotel’s business fared better than it apparently has, it wouldn’t be enough to justify the cost of running such an operation.

https://tinyurl.com/mesvt2tn

WATCH: 8K TV folds into coffee table

2

TCL showcased their 8K, 65-inch OLED TV that is able to fold in half before lowering itself into a coffee table, leaving half of the display still visible under glass, t hen transforms back with the push of a button.

https://tinyurl.com/37ecpbnm

Crestron unveils hybrid workplace portfolio

Marshall adds NDI to its compact 4K60 camera

Samsung Display showcases rollable OLED

3

Crestron Electronics announced the largest expansion of the Crestron Digital Workplace portfolio to date, with a complete range of hybrid meeting solutions across the enterprise.

https://tinyurl.com/mss6k2ha

4 Marshall Electronics introduces its new CV420Ne, an NDI|HX3 version of its ultra-wide 100-degree angleof-view streaming POV PTZ camera. It also supports USB connectivity and HDMI out.

https://tinyurl.com/57p24z4b

5

The display, which can unroll to over five times its initial length, was shown alongside another OLED display with an integrated fingerprint at Display Week in Los Angeles.

https://tinyurl.com/338haerp

Solid AV Growth Despite Economic Uncertainty

Pro

Writer PETER HANSEN AVIXA

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

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

A level of 61.6 is good news, as it indicates a strong growth rate similar to pre-COVID norms. According to survey respondents, it is the net result of several important factors. On the negative side, you have continued supply issues, though they are improving. On the positive side, you have the continued

return to non-pandemic norms. Uncertainty is a factor as well. As we cover in the next highlight, the possible recession is holding off for now but could easily strike.

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

The banking sector continues to struggle, particularly within the United States, where a domino effect is shutting down regional banks. On May 1, First Republic Bank became the second largest failure in the United States, and other mid-size banks now teeter on the edge. These bank failures represent a major tightening of credit availability far above and beyond the Federal Reserve’s rate increases. That tightening will reduce business investment and meaningfully increase recession odds this year.

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

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

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

The Pro AV Business Index report is derived from a monthly survey of the AVIXA Insights Community, a research community of industry members that tracks business trends in commercial AV.

AV is showing strong growth similar to preCOVID norms, but recession odds are increasing with tighter credit availability.

Power Amplifiers

Traditionally strictly the muscle end of any sound system, power amps were for ages just big dumb, heavy brutes. Users plugged them in and they either worked or they didn’t. Now, the power amp has evolved into a system within itself with logic, networked control, self-diagnostics and security, all contained and operating in sync within the unit. Many modes of operation can be configured to blend the new features with the needs of a wide range of sound systems. The models noted here illustrate the new trends in ever smarter power.

Writer

Contributing Editor and Senior AV Tech, Clayton State University

Efficiency and dependability were the targets in the design of the Ashly Audio CA-1.54 four channel amplifier as part of the famed CA Series. Two of these Class-D units, each providing 6000W, can be operated on a single 20-amp service. On the front panel are LED indicators for Temp, Current, Input signal (-45dB) and Clip/Mute (one for each channel) along with Protect Mode and Disable. The rear panel is equipped with 3.5mm removeable balanced Euroblock connectors for each input in addition to an XLR/TRS 1/4in. combo jack.

For precise control of more sound zones, the AtlasIED HPA2408 provides eight channels and a total of 2400W through a Class AB design. This versatile amp can operate in 25V/70V/100V distributed environment or used for low impedance 8 or 4-ohm

applications. HPA amps are energy efficient and meet Energy Star 1W standby mode standards. Each channel load can be independent of the others and there are Stereo and parallel operating modes. Multistage fan cooling, selectable input sensitivity, and removeable air filters are additional features.

Designed to fit the company’s impressive line of powered speakers, the Renkus-Heinz SA Series amplifier modules enable a speaker network to input a variety of signals and be easily controlled and configured. The user has only to install speakers and select just the right SA Series amp module for the power and distribution needed. Each one is equipped with native DSP, including delay, equalization and nine available preset memories. These devices handle analog and AES. Optionally, a redundant Dante network can be used as well as fiber optic inputs. A standard feature is networked control through RHAON II System Manager software.

The AUDAC AMP203 has the smaller end of amp applications covered with its Dante/AES67 digital audio input, advanced DSP and loudspeaker management, Ethernet and RS-485 control as well as PoE 802.3bt powering capability. This amp can distribute uncompressed audio via standard Ethernet networks with near-zero latency. All configurations can be made in the AUDAC Touch 2 system control platform. By way of its 4-pin terminal block connector, the AMP203 delivers 30W per channel or 60W when bridged.

Versatility in a mini-box describes the Aurora AS-AMP1 with its two selectable inputs, treble and bass control, mute button, and auto-ducking function. This tiny Class-D unit can operate in bridge or dual mono mode and its

BENNETT LILES

AtlasIED HPA2408

Aurora AS-AMP1

Audac AMP203

RenkusHeinz SA Amp Modules

Ashly CA-1.54

Power Amplifiers TECH SHOWCASE

the limitations of current high power amplifier configurations used in most installation projects. Unique in the market, LA7.16i offers a 16x16 architecture in a 2U chassis with Milan-AVB redundancy. Each of the 16 output channels delivers up to 1300 watts at 8 ohms or 1100 watts at 4 ohms. At InfoComm 23, it will be joined with a similarly highdensity touring model, the LA7.16

For less brute power needs but with more individual audio zones to cover, the Extron XPA 2004 four-channel amplifier uses its convection cooled, fanless operation to quietly make it happen with ENERGY STAR power efficiency. The patented Extron CDRS technology eliminates the high frequency switching ripple characteristic of Class-D amplifiers. There is also power factor correction for steady power draw. Auto power-down, protection circuits, automatic clip limiter, bridgeable outputs, and a remote standby port are additional features.

The Crest Audio Pro 9200 holds sonic accuracy as its top priority and its exclusive IGM circuit enables the Pro 200 Series to drive 2-ohm loads safely without compromising performance. This produces up to 3250W at 2 ohms per channel. Clean audio signal comes in on balanced inputs with input sensitivity selection while dual, variable speed fans maintain cool running. Stepped attenuators are recessed and there is a mode selector switch for stereo, parallel and bridged-mono operation. Output is available on two Neutrik SpeakON NL4 terminals as well as twin binding post connections.

control extends to RS-232 with smart feedback. The internal international power supply allows it to power up anywhere. Either selected mic input can be mixed with the line output. This amp puts two 20W channels into a 4-ohm load.

Rarely is there a more high-pressure, mission critical environment than professional cinema and the two-channel, 1300W Crown Audio XLC 21300 is quite at home there. Capable of powering subwoofers at 8 or 4-ohm loads, the amp supports parallel, input Y and bridged-mono-output modes. Along with this unit, the addition of the JBL CPi2000 cinema processor (on the HD-15 input) and JBL Cinema Expansion Series speakers forms a complete cinema sound system. LED indicators include Signal, Clip, Power, Bridged Output and Fault. Stable performance is provided through forced-air cooling.

The Denon DN-280 zone amp allows the user to pack a lot of power into a small space while maintaining a conventional looking control surface. Capable of summing stereo signals into a mono output for paging, P.A. announcements and background music applications, the DN-

280 occupies only a half rack space and it provides a convenient direct microphone input. This unit can be installed into an existing 8-ohm or 70/100V speaker system to provide 100W power with a signal-tonoise ratio above 95dB. The front panel includes a 3.5mm (1⁄8in.) AUX input.

The Lab Gruppen C 88:4 is a powerful single frame, 4-channel installation amplifier with 2200W output from each channel at 2 ohms. On each channel there is an individually controlled voltage peak limiter. Each of these can be set for operation on

Extron XPA 2004

Lab Gruppen C-88:4

Crest Audio PRO 9200

Crown Audio XLC21300

Denon DN-280

low impedance or through a 70/100V speaker system. This works along with adjustable gain on the channel. This model can be operated as part of a NomadLink network system in which key amplifier parameters are displayed via DeviceControl software, and remote control of channel mutes and power on/off is managed efficiently under network control.

Another versatile and powerful amplifier for heavy duty service is the Lea Professional CS1504D, a member of the well-known CONNECTSERIES. Its connection capability includes both Dante and AES67. There are four balanced inputs with user selectable 26dB and 34dB input sensitivity, 20Hz to 20kHz frequency response, and a routable matrix in which any input can be run to any output with primary and secondary input priority. Features also include real-time load monitoring and pilot tone detection

from internal or external sources.

Temperature is maintained through front to rear variable fan speed cooling. For permanent installation of the most reliable system available, the Dynacord C3600FDi from the Dynacord C Series is a popular favorite with its low impedance and 100V system capability. Integrated digital

signal processing, power saving standby mode, front panel LC display, and intuitive system control software allow this unit to be custom configured to meet the needs of any venue, for any type of production. In a two-ohm load, the power from a single channel is 3200W while maximum power in bridge mode reaches 6000W.

For bigger, multi-zone applications, the Bluesound Professional A860 amp is a 2RU rack mount design providing 8 channels as 50Wx8 at 8 ohms, 60Wx8 at 4 ohms or 120W at 8 ohms per pair of channels in bridged mode. When not in continuous use, the 0.5W low power standby mode can be activated remotely or automatically. Multiple units can be configured to operate as one and a global balanced input can be run to all outputs. Thermostatically controlled low noise fans make sure the unit keeps running cool and reliably. Separate amps will find each other on a Bluetooth network and the BluOS Controller app can be used for easy configuration into zoned outputs.

At the top of the line of M-Class modular power amps is the Bogen M600 with three modes of operation: Stereo, 70V Mono, or Dual Mono. Its modular input bays allow complete customization of signal input types to be a perfect fit for the facility in which the amp is installed. In 70V mono mode, the system delivers 1200W into a 4-ohm load and in stereo mode there is 600W per channel into 4 ohms. The 14-gauge steel chassis with cast aluminum front panel stands up to road use and rough wear.

For installations that need four amp channels in a single rack space, the Crestron AMP-4600 provides it to complement the Crestron Avia family of digital signal processors. An advanced Class-D system, the AMP-4600 includes a universal power supply and delivers 600W per channel into 4 or 8 ohm low impedance loads. Adjacent pairs of channels may be configured for stereo or bridged operation. Users

LEA Professional CS 1504D

Bluesound A860

Dynacord C3600FDi

Crestron AMP-4600

Bogen M600

with the Avia Audio Tool software can have remote level control and monitoring. Centralized monitoring and control of multiple amplifiers throughout a facility is possible as part of a Crestron Fusion or Crestron XiO Cloud managed enterprise.

Users can have centralized Core OS processing, GPIO for control, two flex (line/mic) channels, and 60W each into four channels with the QSC Q-SYS SPA-Qf 60x4 amp system. Designed for operation on Q-SYS networks, the unit can provide 48V phantom power on

Amplifiers

inputs configured for microphones. This halfrack amplifier includes bi-directional GPIO and convection cooling for ultra-quiet operation. It can be connected to operate in low-Z or 70/100V speaker systems and output clear sound with 20Hz–20kHz (+0.2/-.08dB) frequency response. A rack/wall mounting kit is included.

The RCF XPS 16KD Dante-equipped, fourchannel amplifier uses RDNet Networked Management for advanced processing and routing. With 4000W into each of its four channels, the unit

Use Freely and Cleverly

puts top quality sound through digital and analog I/O. Each output features: 4000ms output delay, EQ filters, crossovers, FIR filters, multiband compressor, RMS limiter, and thermal limiter. Controls and indicators are easy to see and operate through the large touch interface on the front panel. This includes manual muting,

level control, and level indication. On the rear panel are connections for primary and secondary Dante networks, AES, analog XLRs, and two RJ45 terminals for network control.

The Speco Technologies PL200M is the thing for multi-zone environments such as restaurants, museums or office locations. Up to five playback

can fulfill your cable-free sound pick-up or recording requirements by offering various kinds of transmi�ers and microphones.

RCF XPS-16KD

Speco Technologies PL200M

sources can be fed to as many as four zones with individual level, bass, and treble controls for low-Z or 70/100V distribution. A telephone interface and limited music on hold broaden its versatility. Mic 1 has selectable priority paging with internal toggle and there are three combination XLR/ 1/4in. inputs with selectable phantom power, line level or mic level. 40W power can be sent to each zone for a total of 160W RMS output power.

Amplification doesn’t always need to be high muscle. Sometimes just a touch of it at the fingertips is perfect and the RDL D-TPA1A has that situation covered. This Class-D amp fits into a single gang wall box and can be powered over twisted pair. The D-TPA1A units are twopair audio amplifier modules compatible with RDL Format A twisted pair products. Along with 24VDC power, the amp gets stereo audio over the RG45. The output drives either a 4 Ohm or 8 Ohm speaker with 6.5W into 4 ohms and 3.5W

knob on the front panel is as simple and easy as it gets.

Five thousand watts divided over four channels are produced by the Martin Audio VIA5004 , a 2RU Class-D unit with a switch mode power supply. Also configurable for 3-channel operation with TH Series 3-way systems, the VIA5004 has a variable speed cooling fan with front-to-back airflow, a power supply with 115V to 230V auto-sensing, comprehensive protection systems, and signal/clip limiter LEDs. The front panel features separate level controls for each channel along with an LED level indicator for each one. All VIA amplifiers are fitted with one SpeakON connector per amplifier channel. Impressive power from Yamaha and infinite control from Nexo are the main attractions for the Nexo NXAMP4X1MK2 4-channel Class-D amplifier. Well suited to fixed installation and touring, the system puts 1300W through each channel. 24-bit/96KHz converters and 64-bit signal processing provide top quality sound

amp can run on anything from 100 to 240V for global power compatibility. This model offers four, high end analog inputs using cascaded converters. Digital inputs are also available through the rear panel expansion card slot offering optional AES/ EBU, EtherSound, Dante, Dante + AES/EBU or AES67 inputs, all with automatic analog fall-back.

A digital mixer amplifier that can be configured with as many as eight inputs and with 480W of power, the TOA Electronics A-848D also features web-based control and monitoring. Onboard DSP and 900 series module slots make it a versatile performer. The remote troubleshooting capability makes it a favorite for integrators with church clients that have little or no permanent tech staff. Also available is an emergency override that replaces program sound with a highvolume announcement. Paging, noise masking, wireless mic receivers and other inputs can be configured through the choice of specific input modules.

RDL

D-TPA1A

Martin Audio VIA5004

TOA Electronics A-848D

Nexo NXAMP4x1MK2

DSP. The universal switch-mode power supply features Power Factor Correction and the output has a patented output filter with ripple cancellation network. The amplifier is fully safeguarded with a clip limiter, DC protection, short circuit protection, and thermal protection. This unit is lightweight and fits into a single rack space. There are NC/NO contacts per channel for alarm notifications, a remote ON/ OFF switch, and remote VCA control per channel. Output is 500W per channel into 2 ohms while bridge mode provides 1000W into 4 ohms.

Another very space saving sound solution is presented by the Biamp Systems AMP-D225H two-channel Class-D amplifier. Running without any cooling fans, the amplifier makes no noise so that it can be installed right where it is being used if need be. The 25W per channel device can be operated in bridge mode for more power to 4 or 8-ohm loads. There are four stereo inputs along with four GPIO and two RS-232 connections and its USB input enables direct audio connection and volume control from a computer.

Leading the PX Series amps, the Yamaha PX10 two-channel, two rack space amplifier pumps 1000W into each channel at 8 ohms and 1200W into them at 4 ohms. It has alert lights, gain/limiter indications, signal presence LEDs and rotary level controls on the front panel in addition to a menu navigation button and USB input. All models have eight programmable and instantly recallable presets that can be saved to a thumb drive and shared with other PX amplifiers, substantially reducing setup time. A range of input types includes XLR and TRS inputs, along with binding post terminals. Outputs use SpeakON connectors and 1/4in. jacks. SVC

Power Amplifiers TECH SHOWCASE

Powersoft

Duecanali 804

DSP+D

Yamaha PX10

Biamp AMP-D225H

Installed Speakers

Designed to deliver high-performance audio in nearfield applications with a wide range of flexible mounting options, the d&b audiotechnik 44S is the company’s first flush mountable cabinet. It is comprised of dual 4.5-inch neodymium LF drivers together with dual 1.25-inch HF dome tweeters mounted on a rotatable constant directivity horn to create a rotatable dispersion characteristic of 90° x 30°. An optional d&b 44S back box can be used for flush mounting the loudspeaker into ceilings or walls, in both horizontal and vertical positions. The 3.6kg (6.2kg with back box) loudspeaker can be used as a standalone system or supplemented by actively driven d&b subwoofers. Measuring 390 x 128 x 150 mm, the asymmetric cabinet design and the optional back box promotes adjustments of +/- 20° in 5° increments for different listening heights. Powered by 10D or 30D installation amplifiers, the passive 44S can produce a maximum SPL of 121dB and 123dB output respectively. The compact point source two way design incorporates an intelligent, rotatable waveguide and baffle design that the German manufacturer claims delivers smooth horizontal and tightly focused vertical dispersion between 90Hz–17kHz (-5dB). The injection molded enclosure is finished in a resistant paint and further protected by a rigid metal grille. Two M8 threaded inserts are incorporated into the back panel to connect to different rigging accessories. The loudspeaker cabinet and most accessories are also available with the Special Color (SC) option that can be executed in all RAL colors.

Writer

CYNTHIA WISEHART

Chief editor

Former theme park designer

The Meyer Sound ULTRA-X20 Compact Point Source

Loudspeaker claims the same revolutionary design principles and advanced technologies as the X40 but employs smaller drivers in a lighter and more compact package —a power-tosize breakthrough for the company. The ULTRAX20 incorporates two 5” cone drivers, one 2” diaphragm compression driver and a rotatable 110°x 50° horn in a coaxial configuration. Power comes from a three-channel Class D amplifier with extensive DSP. Everything fits inside a compact cabinet that measures just 7.5” wide by 19.04” high by 8.6” deep and weighs only 26 pounds. Preliminary performance specifications give an operating frequency range of 60 Hz to 18 kHz, phase response of ±45° (100 Hz – 16 kHz) and linear peak SPL of 123.5 dB measured with M-Noise. The ULTRA-X20 may be ordered with any one of three connector panel options. The two AC powered versions both have looping Powercon connectors with choice of 3-pin XLR or 5-pin XLR for audio and RMS remote monitoring. Another version is offered for integration in IntelligentDC systems (audio and remote DC powering on a single cable) with a 5-pin Phoenix connector. Two additional variants are offered, identical except for the patterns of the rotatable horn: ULTRA-X22 (80°x 50°) and ULTRA-X23 (110°x 110°). For extended low-frequency power, the ULTRA-X20 may be paired with the new USW-112P subwoofer, the 750-LFC low-frequency control element or USW-210P subwoofer. Versions of the USW-112P are offered with either direct AC powering or for integration into systems using IntelligentDC; rigging and installation has been carefully considered.

The L-Acoustics Soka and its companion subwoofer SB6i extend the L-Acoustics installation-focused product range with

new creative possibilities. Inspired by the success and design principles of Syva, the discreet colinear Soka combines line source technology with a sleek aesthetic. Soka integrates nine 3.5-inch MF drivers and three one-inch HF transducers to impart a wide 140-degree horizontal coupled with a highly controlled 26-degree vertical directivity. Soka and SB6i are an ultrashallow 3.9 inches/99 millimeters, designed to be easily enclosed in-wall or discreetly mounted on-wall. Despite its diminutive size, Soka delivers 124 dB over a wide bandwidth that extends down to 70 Hz when used with the full-range preset. Using the SPL preset, Soka offers an even higher 130 dB down to 100 Hz. Like all recent installation products from L-Acoustics, Soka hides its technical features from sight. The rear face holds all the mounting points and speaker connectors. All mounting gear is located at the back of the loudspeaker to allow it to be mounted on a wall in any orientation, or flush mounted in the wall. The ultra-wide horizontal directivity and throw capacity of up to 35 meters make Soka the perfect solution for L-ISA immersive deployments. With two 6.5- inch neodymium LF drivers and the L-Acoustics Laminar vent technology found in the company’s concert-grade reference subwoofers, L-Acoustics designed SB6i to be one of the most powerful ultra-compact subwoofers on the market. The 4-ohm enclosure can operate down to 29 Hz and produce as much as 114 dB, again via two presets, matching coupled or decoupled configuration with the main system. Both

Meyer ULTRA-X20

L-Acoustics Soka

In May, the Q-SYS PL Series was announced. It’s a new family of installation loudspeakers designed for entertainment, auditoriums, houses of worship, theaters, small sports venues and more. The Q-SYS PL Series includes line array, point source, and subwoofer models, allowing integrators a way to install audio in unique spaces. When paired with the Q-SYS Platform, including Q-SYS processing and network amplifiers, PL Series lets integrators take advantage of simplified setup and custom voicings (Intrinsic Correction), telemetry, monitoring, and customizable end-user control. A weatherized enclosure (IP54 rating) is available. Comprising the lineup, the PL-LA models are two-way passive line arrays (8” and 12”) ideal for front-of-house needs in small to medium-sized venues. PL-DC models are two-way point source loudspeakers with directivity control. The dual-4” and dual-6” are ideal as stage fills, delays or under balcony fills, while the 8” and 12” can act as delays or be deployed in distributed systems. The three larger models also include reconfigurable half-horn assemblies. PL-SUB are passive subwoofers (10”, 12”, 15” and 18”) that offer a range of size options, all in a compact form factor. Additionally, the two larger subwoofers offer omnidirectional or cardioid coverage when deploying two or more subwoofers.

Installed Speakers TECH SHOWCASE

In January, Meyer Sound announced the Meyer 2100-LFC low-frequency control element, which extends the PANTHER large-format linear line array loudspeaker down to the lowest limits of audibility. By pairing a Class D amplifier with a single, all-new 21-inch driver with four voice coils, the 2100-LFC produces a linear acoustic output suitable for the most demanding applications. An extended frequency response from 30 – 125 Hz is achieved in a loudspeaker that is more than one foot (30 cm) narrower and about 20 percent lighter than the 1100-LFC product.

In March, AtlasIED announced two new speaker endpoints for the AtlasIED IPX family of IP-enabled mass communication products. These products work off existing VoIP and IT infrastructure to quickly and reliably dispatch audible and visual notifications for both routine and emergency communications. The newest additions to the IPX Series include two passive loudspeakers, the IP-12SYSP and IP-22SYSP The AtlasIED IP-12SYSP and IP-22SYSP are installer-friendly, suspended ceilingmount 8-ohm loudspeakers designed to integrate with existing IPX Family of IP endpoints. The IP-12SYSP and IP-22SYSP are designed for expanding announcement and paging coverage in large spaces across multiple markets, including education, corporate, government, worship, and other commercial installations. With the same industrial design as the popular AtlasIED IP-12SYSM endpoint, the new speaker works seamlessly with mixed systems of passive and active speakers.

In April, the all-aluminum IP55-rated AUDAC VIRO5 was announced. It’s a 2-way coaxial loudspeaker with 8 Ohm and 16 Ohm variants and optional toroidal transformer modules. It combines a soft, silk-domed tweeter for smooth tonality with a 5”, 2-way coaxial speaker driver. This unique acoustical composition was designed for clarity and a surprisingly lowfrequency response. The optional 70V / 100V line transformer enables the VIRO series to be used in low-impedance installations and in 70V or 100V systems. The transformer can be easily inserted by simply removing the back plate. The multifunctional mounting bracket that comes included allows for the VIRO5 to be mounted on any wall or ceiling. In addition, there are several optional mounting adapters for poles, stands, and ground pins. AUDAC

Q-SYS PL Series

AtlasIED IPX family

AUDAC VIRO5

Meyer 2100LFC

is available through A.C. ProMedia.

The patented Biamp Magic Cable is used in the company’s Desono audio pendant loudspeakers. Magic Cable comprises two stainless steel suspension cables, two 18 AWG signal conductors within a separate cable jacket, and integrated ripcords that allow the installer to easily slice through the jackets as needed — greatly increasing installation efficiencies. Magic Cable’s patent covers its innovative construction, a subcable jacket that encloses the metal support cables, a second sub-cable jacket for the insulated audio cables, the main ripcords, as well as sub-cables that allow tool-less stripping of each cable jacket. Because of its unique assembly, it also meets the UL 13 Standard for Power-Limited Circuit Cables with a Class 3 indoor/outdoor rating. With the Class 3 rating, it is “listed for purpose,” meaning there’s no need to seek a waiver if installed at lengths longer than 10 feet (3 meters). The cable is also pre-dressed in an outer jacket that provides a clean post-installation appearance without the need to smooth out kinks, regardless of ceiling height and/or length of exposed cable. Magic Cable is pre-terminated inside the Desono P6 and P6-SM pendant models to ensure there are no exposed connections at the loudspeaker. It can also be used with other Desono pendant loudspeakers including the DP6, DP8, P30DT, and P60DT.

In January, the new Biamp Desono C-IC6LP and DX-IC6LP low profile, highefficiency ceiling-mount loudspeakers

debuted for conference rooms, and a range of affordable commercial loudspeakers compatible with the Vocia line of voice communication solutions, all of which are now available globally.

The Desono C-IC6LP and DX-IC6LP offer the shallowest, low-profile ceiling loudspeaker form factors on the market with just a 4” (10 cm) mounting depth. Optimized for speech reproduction in conferencing environments, the C-IC6LP is a two-way 6.5” (16.5 cm) passive coaxial loudspeaker with either standard category cable or traditional speaker cable installation connection. The C-IC6 includes RJ45 jacks (for connection to the Biamp AMP-450BP) and is low-impedance only (no transformer). The DXIC6LP includes a switchable 60W transformer and low-z tap and omits the RJ45 jacks. Biamp also introduced the Biamp DC220T, a 2’ x 2’ (61 cm x 61 cm) lay-in tile ceiling loudspeaker that provides wide coverage and higher output, ideal for high ceiling applications.

The new Biamp CM10TB is a one-way 5.5” (14 cm) in-ceiling back-can loudspeaker that delivers clear audio for speech reinforcement applications.

Also in January, the Bose ArenaMatch Utility compact outdoor loudspeakers debuted as a turnkey solution for entire outdoor sound installations; the range includes both array and utility loudspeaker options for consistent zone-fill coverage and easier equalization of complete systems. Designed and built for zone-fill coverage or high-SPL foreground music, the four new Bose ArenaMatch Utility loudspeakers (AMU208, AMU206, AMU108 and AMU105) feature

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 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 the 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.

In January, the K-array dedicated installed sound business unit debuted, bringing K-array, KSCAPE, and KGEAR under one roof as a single resource for consultants and integrators looking to specify projects. The company says the unification of its brands under the single umbrella will help to ensure the timely delivery of product and it will help to circumvent the current supply chain issues faced by the industry. K-array emphasizes that it has invested in both components and final assembled stock to guarantee a minimum of 12 months’ supply to ensure that solutions are available upon demand. ISE 2023 saw multiple new products from each of the three brands, from the K-array miniaturized Lyzard loudspeaers, to the KGEAR GF column speakers, to several innovative partnership products such as the KSCAPE RAIL all-in-one sound and lighting solution. Also new is the Dolby ATMOS certified Rumble-KU315 for tight aesthetic indoor and outdoor situations (including a marine version). A choice of plugins ensures integration with most major control systems such as Crestron, Crestron Home, Q-SYS and Control4. K-array also claims to be the first manufacturer to adopt

Bose Arena Match

K-array

Biamp Desono

C-IC6LP and DX-IC6LP

Audinate’s revolutionary ‘Dante Ready’ licensing program that allows customers to add Dante channels and features as and when they are needed.

The Electro-Voice MTS series is a full-range, high-output, long-throw, point-source loudspeaker system incorporating four 15-inch woofers and dual coaxial mid/high frequency compression drivers. The system is capable of generating more than 151 dB peak SPL with exact directivity for very-longthrow applications. The MTS series includes 16 unique models. These are based on two standard three-way configurations (MTS-4153) with 60 degrees x 40 degrees or 40 degrees x 30 degrees coverage, and two cardioid configurations (MTS6154) that provide the same coverage patterns with enhanced low-frequency directional control. The 60 degrees x 40 degrees models can deliver extremely high SPLs: 151 dB peak (music) and 154 dB peak (speech) down to 55 Hz at -10 dB; the 40 x 30 models are capable of 152 dB peak (music) and 155 dB peak (speech) down to 50 Hz at -10 dB. All MTS loudspeakers have an IP55 rating, indicating that they are highly impervious to dust and water ingress. The loudspeakers were designed using exclusive High-Performance Computing (HPC) clusters, running proprietary modeling software designed by EV engineers.

The Adamson IS-Series weatherized installation speakers are built to withstand the most extreme climates in the world. Weatherized enclosures are ideal for marine and coastal venues, outdoor stadiums, open air performance

spaces, and other permanent outdoor installations. IS-Series Weatherized models have an IP55 rating without sacrificing performance or aesthetics. All structural steel elements of the ISSeries Weatherized cabinets are made of a high yield strength stainless alloy that offers 100% corrosion resistance. The models also feature an interior and exterior coating with a distinctive smooth finish that provides a water-resistant seal and allows for easy cleaning and removal of dirt, grime, salt water or sand.

Ashly Audio IS Series dual-impedance column speakers and companion sub are designed for flexibility for integrators by operating at 8 or 32 Ohms, making them effective for simple applications or allowing larger numbers to be used in distributed installations – up to 32 IS Column speakers can be run off a single Ashly PEMA or CA amplifier. The IS Series is designed for precise vertical dispersion and consistent sound levels front-to-back in virtually any type of venue, including next to flatscreens in conference rooms or houses of worship. The speakers combine with Ashly amps and processors that incorporate Protēa or AquaControl DSP. The SP12.1P subwoofer provides an extended low end and offers a portable “system-ona-stick” configuration solution.

The new SP-8.1P sub handles

up to 150W at 8 Ohms, with a sensitivity of 95dB (1W@1m) and a frequency response of 43Hz-180Hz (-10dB).

The Extron SoundField SF 228T Plus is a two-way ceiling tile speaker for low impedance and 70-volt/100-volt systems. The SoundField SF 228T Plus features a new coaxial driver and a low-profile, 2-foot by 2-foot (610mm x 610mm) by 5.3-inch (135 mm) deep enclosure that is UL 2043 plenum rated, utilizes toolless connections, and drops directly into standard US style suspended ceilings. The twoway ported design includes an 8-inch (203 mm) woofer and a 1.1- inch (28 mm) silk dome tweeter in a coaxial configuration that provides a smooth frequency range of 47 Hz to 22 kHz for music and speech reproduction. The SF 228T Plus offers 90 watts continuous pink noise and 180

Extron SoundField SF 228T Plus

Electro-Voice MTS

Adamson IS-Series

Ashly Audio IS Series

Speakers

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.

The JBL Control 23-1 is the most compact of JBL Professional’s Control Contractor Series indoor/outdoor loudspeakers making it a fit for patios, foyers, retail, or other applications where foreground/background music and paging are required with minimum aesthetic impact. The two-way 3” speaker was designed for rich sonic character, wide coverage, consistent dispersion, versatile mounting, and a contemporary highdesign look that fits into a wide range of decors. This makes the Control 23-1 appropriate for a wide variety of applications, including retail stores, restaurants, health clubs, theme parks, educational facilities, hospitality, music cafes, leisure venues, and anywhere where a top quality compact indoor/ outdoor foreground/background music (and/or paging) speaker is required. The unique and global patent pending InvisiBall mounting hardware is included in each system, plus available U-bracket.

JBL Control 23-1

SVCONLINE.COM | JULY 2023 | SVC 23

optional U-bracket to threaded insert points. ESP Series speakers are available with a 6.5-inch 50W coaxial driver, 8-inch 120W coaxial driver, or 80inch 150W coaxial compression driver. The durable ABS plastic ported enclosure (black or white) is tuned for extended bass response.

The long-established Martin Audio CDD comprises six two-way full-range coaxial systems from the micro CDD5 to the powerful CDD15, which, when complemented by high-performance SX Series subwoofers, cover practically all install applications. With the CDD Weather Resistant (WR) and Marine (MAR) variants, those applications are extended even further. The range supports a broad even coverage area, which can reduce speaker count. The enclosure design is visually appealing and different models are optimized from different materials including ABS, UPM Formi fiber composite, and birch ply.

NEXO’s first column speaker design, the NEXO ID84 comprises eight 4-inch long-excursion neodymium low frequency drivers paired with an array of eight 1-inch dome tweeters configured in a patented arrangement to maximize efficiency. It has a peak SPL output of 135dB

and a frequency response of 90Hz20kHz. The slim 1m-length column is joined by two companion products, a low-frequency extension module (ID84L) and partner subbass (IDS312), which can be configured to provide a scalable solution for acoustically challenging architectures. The ID84 offers switchable dispersion, with a choice of two vertical directivities selectable by a switch on the back plate – +0/-10 degrees in Narrow Mode or +0/-25 degrees in Wide Mode. Dedicated presets are available for each directivity. Sonically, the ID84 shares the same phase response as other NEXO loudspeakers, making it possible to seamlessly pair with different models without the risk of comb filtering or the need for complex electronic adjustment. For long-throw applications, the ID84L low-frequency extension cabinet has almost exactly the same footprint as the ID84 and contains eight 4-inch LF components. The ID84 can stand alone on a specially designed base plate, or stacked on the dedicated IDS312 sub. The ID84, ID84L and IDS312 are available in installation, touring and TIS versions. Connectivity is made through cable gland and captive two-core cables and the installation version is IP54-rated.

The full-range passive two-way RCF X MAX series was designed a multi-purpose speaker, to achieve nearfield quality, vocal coherence, and a stable tonal balance even at full volume. X MAX series builds on the heritage of the popular RCF MAX series for a complete range of solutions for high-powered applications in bars, party rooms, clubs, and discos. The sleek and compact design with accurate finishing makes it suitable for

almost any environment and architectural constraint. The X MAX Series features a customdesigned mid-frequency shaping for close distance listening on a perfectly tuned crossover to ensure even coverage and detail of the vocal range. Both models feature 1” compression drivers with electronic protection, X MAX 10 carries a 10” woofer and delivers a maximum of 128 dB SPL with a total power handling of 700 W. The 12” woofer X MAX 12 reaches a maximum of 129 dB SPL with a total power handling of 800 W. Each cabinet is covered with a sturdy black textured acrylic paint and a powder-coated metal grille with internal foam protection. Included are multiple rigging points to fly the speakers and a robust steel pole socket on the lower side. The rotatable 90°x70° horn allows installation either vertically or horizontally.

The Pioneer Pro Audio CM series offers a more discreetly sized range of options alongside the company’s flagship XY series, while also drawing on the company’s club-based heritage. These uniquely shaped speakers—neither square nor round—suit nightclubs, bars, shops, offices, hotels, and restaurants, and in tight areas such as corridors, bathrooms, and VIP zones. Newer additions to the range include the affordable two-way CM-S54T, CM-S56T, and CM-S58T, and the Kelton-configured CM-510ST sub, all with installation-friendly transformer taps.

The Renkus Heinz PCX Series brings The Sound Solution to more partners, across more installations, in more locations. This series incorporates UniBeam steerable technology in

Martin Audio CCD

RCF X MAX

NEXO ID84

vertical dispersion pattern, shaping the coverage downwards, and delivering consistent front-toback coverage with minimal side lobe artifacts. The PCX Series utilizes state of the art neodymium 3” Full- Range drivers ensuring a sleek and ultradiscrete appearance. The PCX will be available in three different sizes upon launch - PCX4, PCX8 and PCX16. The combination of the included wall mount bracket (optional pan and tilt bracket) and Passive UniBeam will enable flush mounting in most applications. This results in the lowest possible architectural intrusion without compromising audio coverage. All models in the PCX Series are weather resistant (IP64) as standard. Each model includes a gland/conduit knock-out input cover for added security and enhanced weatherization, and high quality, low insertion loss transformers with an easily accessible tap switch for 70V/100V constant voltage operation in larger, distributed audio systems. Specification is aided by compatibility with EASE Focus 3 software.

SoundTube Entertainment STNet IP-enabled pendant speakers are Dante capable. The IPDRS62-EZ and IPD-RS82-EZ use SoundTube’s BroadBeam Ring high-frequency dispersion technology for clear, understandable messaging and music over a wide area, even off-axis from the speakers. The IPD-HP82-EZ uses a BroadBeam HP compression driver with waveguide for use in rooms with extra high ceilings. Applications for STNet pendants include any facility with high or open ceilings. All speakers are available in a black or white with a paintable finish. Hanging hardware is included. With digital signals plus power sent directly to the speakers via standard category cable,

SoundTube’s

STNet bi-amped pendant speakers are DSP-managed with the crossover, time correction and EQ all done in the digital domain. Because they are on the Dante platform, they are interoperable with a host of other products worldwide. The STNet pendants may be used with SoundTube’s ST-Net Switch, offering up to 40 watts PoE to each speaker, or with standard PoE or PoE+ switches. Suitable for high, open structure and sloped ceilings, the Yamaha VXH series comprises two models, the VXH6 and VXH8, engineered for optimum background music and voice reproduction. Featuring a 120-degree dispersion pattern, the 6.5in VXH6 has a peak power handling of 300w and is designed for use where the speakers are to be suspended at a relatively low level. The 8in VXH8 has a narrower dispersion pattern of 75-degrees and a higher peak power output of 360w for higher suspended positions. Installers can mix and match both models, as well as with other speakers in the comprehensive Yamaha range. Weighing just 5.7kg and 7.2kg respectively, The VXH6 and VXH8 support high and low impedance connections, while the speaker wattage can be easily switched even after installation, thanks to the straightforward tap selector. VXH series speakers are IP45-rated and are supplied with a Gripple suspension hardware and wire kit for easy, safe height adjustment during installation. SVC

Renkus Heinz PCX Series

Yamaha VXH series

Pioneer Pro Audio CM series

PUBLIC-FACING

In 2001, creative director Sakchin Bessette and chief innovation officer Dominic Audet founded Moment Factory to design and produce multimedia entertainment. As designers and technical trailblazers they started combining video, lighting, architecture, sound, and special effects long before immersive was a buzzword. They immediately started pushing AV technology beyond the assumed limitations, making their name initially with events, then expanding into concerts, place-based installations, museums, and most recently themed attractions. The team was joined in 2007 by Cirque du Soleil veteran Eric Fournier and together they grew the team from 15 to 400. The Montreal-based company has built over 525 projects, each one unique and designed to be unforgettable, whether that’s through spectacle, surprise, or a sense of the moment from which they took their name.

The projects are all designed as AV communication—not static or passive but unfolding around the viewer, and bi-directional between content and consumer.

While this ethos is most often applied to entertainment and the arts, some of their most interesting work has been on airports. Ten years ago, they reimagined the Tom Bradley international terminal at LAX as a massive interactive art canvas with a multi-story video waterfall and LED totems that responded as passengers walked by. For Singapore’s magnificent Changi, their media experiences include a 230-foot video fresco, the content tied to the architecture. As visitors move through security of Terminal 4, animated and photoreal images cycle across their gateway, including a bas relief virtual sculpture that transforms the entire screen into a carved alabaster jungle.

Moment Factory and their installation partners and clients understood early that AV could entertain, soothe, and delight in a stressful public setting; this helped lead the trend towards airports as destination environments, and not merely the pass-through from one place to another. Since then, the team has applied their magic to the remodel of the iconic Tokyo Shinjuku Station, Moynihan Train Hall in NYC, and most recently to the new Terminal A at New Jersey’s Newark Liberty International Airport, a collaboration with longtime technical partner Electrosonic.

Mikael Charpin is General Manager and Producer, Cities Unit at Moment Factory and in that role leads the side of the business that transforms transport hubs and other large infrastructure and public spaces. He holds master’s degrees in Architecture and Civil Engineering and feels that AV has become an ever more robust tool, aesthetically and practically.

“Because we create experiences, content is king,” he says, but the canvas matters he adds. One of the biggest areas of technical opportunity is in LED screens as pixels get smaller, resolutions get bigger, and panels get hardier. “They’re starting to compete with LCD screens, even projectors to give you that impactful seamless experience and more flexible shape

integration within the architecture.

“For the kind of public spaces we’re talking about—like airports and transportation hubs—natural daylight and ambient light is very present, daytime and nighttime, Charpin continues. Even five years ago it would have been difficult and expensive to deploy LED screens in those contexts.

Moment Factory has worked with many content presentation platforms across the decades, from simple to extensive.

“If I were to summarize, there are two main families of systems we use for these projects—the digital signage systems which are easier, and less costly to use and deploy where multiple screens need to be linked together.” For the more complex projects, the studio turns to platforms with robust show control to support high resolutions and multiple screen sync. “We can play with transparency, do seamless transitions, and jump from one screen to another,” Charpin notes. The screen is never black, and it’s not framed and stationary but rather a dynamic canvas.

For the near future, Charpin’s looking for improvement in real time and generative systems.

“There are options in the market, but when we talk about very large canvases it’s more complicated and very expensive.” He says real-time and interactive content is something the team is exploring on every single project, and he says that’s one of the most important ways to future-proof these kinds of designs.

“For a public space to still be relevant in five years it will need to support interactive and real-time content.”

For a company steeped in the arts, the concept of storytelling also extends to the more practical project Charpin oversees. He says public spaces need storytelling too, but the communication can be quite different. “It has to take into consideration the way it’s being used—you want to entertain, but you don’t want to distract.” He says the storytelling may sometimes be narrative, sometimes impressionistic, sometimes just an emotional queue. Sometimes it’s practical—as in alleviating boredom while in line. “But you don’t want to slow people down either, so you want them to experience the content but not focus

Writer CYNTHIA WISEHART Chief editor Former theme park designer

The vibrant Welcome Banner is 1800 square feet of Nanolumens Engage Series 2.5mm dvLED situated above TSA. At 230 feet by eight feet this digital canvas is the backdrop used to display a series of vignettes, all about New Jersey.

Photo: Moment Factory

on it.” Airports are an inflection point in travelers’ journeys and often the gateway to a place. As such, they are an opportunity to welcome and to introduce, to prime people for the atmosphere and experiences they may be looking for from the city. Hub operators want to increase dwell time, remain competitive, and serve the city’s identity. This, he says, is where generative and interactive content is going to be increasingly powerful. “For example, we’re going to be able to, depending on your destination, your waiting time, traveling status, etc., create a tailored journey, not only on your cell phone but on the displays.”

For the New Terminal A at Newark this meant insuring that every frame—every moment if you will—told a story about New Jersey. “Every single image has to be beautiful and self-contained, every frame has to tell a story, even if it is part of a larger narrative,” Chapin says. “You don’t want to disturb the highly functional spaces like security, so we want to reward attention without demanding it. That can help the passenger relax, entertain them a bit, provide an ambience that’s calm and soothing. “In other locations, the demeanor of the passenger is very different,” he says. “They maybe have an hour, you now have the opportunity to engage them for more time and more interactively.”

As with the imaging, the audio has to enhance the experience without competing with the PA

system or the general noise of a frequently noisy space. Using a separate and high-quality sound system supports more directional and nuanced audio—and like the video system is integrated into airport operations so it can be taken over in an emergency.

For Charpin and Moment Factory, the twodecade commitment to public spaces has gone to a new level with an eye towards the significant future potential of complex settings like airports. In April, Moment Factory and their long-term global partner Electrosonic launched a collaboration to drive innovative experiences in transportation hubs and public spaces, building on the success of a two-decade collaboration between the two companies. It’s a great example of the shared expertise. Designwise it offers a New Jerseycentric passenger experience with its use of dramatic canvases and sculptural video elements

that cheerfully impart fun facts, interactive trivia, and star-studded vignettes, underpinned with a robust, operator-friendly software system.

“We found our experience very complementary,” Charpin says. “Together, we can deliver a turnkey project from concept to integration, commissioning, and operation. We support clients from initial concept and design to content production, equipment procurement, fabrication, installation and support. Our shared expertise allows us to seamlessly blend moments of entertainment with the operational needs of these highly complex and busy spaces, which enhances overall passenger satisfaction and engagement,” Charpin says.

“We’re proud to partner with Moment Factory to revitalize the passenger experience, by creating a sense of wonder and excitement,” sums up Ewan Smith, Chief Executive Officer of Electrosonic. SVC

The Forest of Firsts incorporates eight LED pillars and directional audio to engage passengers interactively in the terminal.

Writer

ERIC WENOCUR

Lab Tech Systems

HANDY LINKS

https://www. electronicshub.org/ rs232-protocolbasics/

https://support. biamp.com/ Audia-Nexia/ Miscellaneous/ Analog_telephone_ interface_basics

https:// tombuildsstuff. blogspot. com/2015/02/howto-wire-66-block. html

Serial & Telco

Not Gone Yet

When does a technology finally fade out? We don’t use the horse and buggy anymore. Except in a few special cases. We don’t use fax machines anymore. Except for some doctors’ offices. Vinyl records? Might be making a comeback. Okay, we really don’t use stone tablets for writing! But somewhere between stone tablets and the internet are various old(er) technologies that are still in use, and might be for quite a while, so it’s useful to understand them.

Serial Data Interfaces

Long before USB and ethernet, simple serial data interfaces allowed communication and control between devices. They are still a part of many AV products because of the huge installed base of older equipment, and because they require very little overhead to implement.

We are talking here about RS232, and variants like RS422 and RS485, which are called serial because data words are sent as sequential bits on a single data line (as opposed to parallel data using multiple lines). The Recommended Standards were established back in the 1960s by organizations such as the

Electronic Industries Association (EIA). Fortunately, the deeper details are not necessary to understand key aspects.

These interfaces work at relatively low data rates, typically 1200bps (bits-per-second) up to around 100Kbps, suitable for simple commands in low-complexity applications, like controlling a TV or matrix router (or lighting via DMX). One of the most commonly used rates is 9600bps, which is often a good place to start if you are trying to connect an interface without knowing the specs.

In RS232, data is carried on two wires, one in each direction between devices, at levels between -15 and +15 volts (which is quite different than the more common 3-5V range of logic circuits). Several other wires in the interface are used for signaling and flow control but are not strictly necessary for communication. The DB9 (aka 9-pin subminiature D, or D-sub) connector is most common for RS232, though DB25 connectors, terminal blocks, or even RJ45 jacks may be used (read those labels carefully).

Since RS232 was originally intended for connecting computers to telephone modems, the spec called for the computer (ie, Data Terminal Equipment--DTE) to have connectors with male

pins, and the modem (Data Communications Equipment--DCE) to have the female counterpart. This is still the case, which is why a DB9 serial port on a PC (or USB adapter) is almost always male.

One confusing aspect of RS232 is the use of Transmit (Tx) and Receive (Rx) nomenclature. In order to have bidirectional communication each device has both a transmit and receive connection, which are on different pins. When connecting native DTE to DCE equipment a “straight-through” cable is used so that the Tx of one lands on the Rx of the other, and vice-versa. When connecting DTE to DTE, or DCE to DCE, not only is a gender-change adapter needed, but it’s usually necessary to crisscross the wires with a null-modem adapter Fig 1 RS422 is very similar to RS232, but uses differential pairs of wires for Tx and Rx to provide better noise immunity (the same as balanced audio and ethernet). RS422 can reliably handle higher data rates than 232, though still not very high compared to ethernet. RS422 was adopted for control of videotape machines and is still commonly seen on video editing and production equipment.

There is no auto-configuration in these protocols, so when connecting devices with any of the serial variants certain parameters must match on both sides. The main parameters are data rate (bitsper-second or baud), word length, parity type, and number of stop bits. A typical RS232 spec might be something like 9600, 8, N, 1. Meaning 9600 baud, 8-bit word, no parity, 1 stop bit. In fact, that’s a good place to start if the specs are unknown. Not all parameters are needed in every case, but interfaces will definitely not work if their baud rates don’t match. Parameters and pins for signaling and flow control (such as RTS, CTS, DTR, etc.) may also be implemented, but most of the time these are not critical for the interface to work.

If you know that two devices will connect straight-through or null-modem, and you have the correct parameters on both ends, the devices can talk. Unfortunately, this information is not always

spelled out by manufacturers (or is lost to time) which might mean some trial and error to get an interface working. You may have to experiment with different combinations of baud rate, straightthrough and null-modem before data starts to flow, which can be quite frustrating.

In a worst-case situation it’s possible to hang an oscilloscope on the data lines and look for activity under different conditions. This can be helpful to at least identify which connections are Tx and Rx, or if there’s any signal at all. Serial data usually appears as short bursts of well-defined spikes (actually very narrow square waves) above or below 0V.

The information that actually traverses the serial link is generally unique to the equipment being used. There are often descriptions in equipment manuals that indicate the syntax and characters used to send or receive commands. For example, a matrix router might expect a command like “1” “V” “4” to switch video input 1 to output 4. And it might reply with “O” “K” when the switch is executed. Each of those alphanumeric characters is sent as a word in a little burst of bits.

Monitoring that traffic in real time can be done with a terminal program, like PuTTY, and can be useful to see what’s going on with the interface. For example, matching baud rates might be enough to get data moving, but the characters might be nonsense until other parameters are set correctly.

The Plain Old Telephone Service

The telephone system that grew in the U.S. under the auspices of Bell Laboratories and the Bell Telephone companies was the progenitor of many important technologies we still use (balanced audio connections, for one). It was also one of the most dependable and consistent technical systems deployed for the general public. It’s a shame that people have come to expect their phones, computers and everything else to misbehave regularly. This wasn’t always the case.

But I digress. If you spend time behind equipment racks, in server rooms, and in “telephone closets” of office buildings you may encounter infrastructure from old (or still functioning) phone systems. Some old telephone technology is still in use, and sometimes actually necessary, so it’s worth knowing what this stuff is and which wires to leave alone!

Analog telephony (also known as the Plain Old Telephone Service, or POTS) was based on a simple twisted pair of copper wires--essentially one for every phone number in use. Wires made their way from buildings to local offices, to central offices, grouped into larger and larger cable trunks with hundreds or thousands of pairs. A single telco connection is duplex, meaning both sides can talk simultaneously, and within the telephone itself the audio is separated for the microphone and earpiece.

The telco pairs also carried 48VDC power for the phone, which was supplied by batteries at the central offices. This is why home phones rarely stopped working during power failures. Ringing was created by a mechanical or electrical device in the phone, triggered by a higher ring voltage. These voltages are not dangerous, but you would get a surprise if you’re holding the bare wires when it rings!

Telco providers today, who are also Internet Service Providers, want to eliminate the cost and hassle of maintaining the old copper infrastructure, so it is steadily being replaced by “simulated”

POTS on broadband internet services. In my case, with Verizon’s home fiber service, there is an RJ11 telephone jack on the fiber interface (ONT) that behaves like conventional analog telco, providing an “off hook” dial tone, DTMF dialing, and other telephone functionality. But only while the interface has power, either from AC or local battery. If the ONT is down, there’s no phone service either.

Speaking of DTMF, this is Dual-Tone MultiFrequency signaling--the musical sounds of dialing a “touch-tone” phone. Each button produces a different combination of two tones that the central

DB-9 Serial Connections

(Female)

office interprets as the number or letters on the phone buttons. DTMF can also be used to send other types of data over audio lines and was/is used by radio and television stations to trigger remote events, among other things. Before DTMF there was “pulse” dialing, which really is an old technology.

POTS connections in phone closets and machine rooms are generally made with various types of punch blocks. These use metal terminals with slits that slice through the insulation when the wire is forced into them (punched down). This type of termination requires no stripping or soldering, so is very fast. It’s also surprisingly reliable. Common telco punch blocks in the U.S. are the 66 and 110 types, which have their own special tools. The 110 style is also found on network jacks and patch panels. Similar insulation displacement connectors, such as ADC’s QCP terminal, are used in audio patching and termination panels. In most cases the installer can choose to cut off the “tail” of an inserted wire when punched, or leave it intact in order to daisy-chain several connections.

Since the 1970s, connections on phones and other devices use a modular connector similar to the familiar RJ45. This is casually referred to as an RJ11 or 12 (though that is not strictly accurate) and may have 2, 4 or 6 active contacts. In fact, these connectors can plug into the center of RJ45 jacks, which makes it easy to send POTS signals through network wiring. Just keep them away from network equipment! The telephone handset connector looks like an RJ11 but is actually smaller.

The convention for the RJ11/12 pinout in telco is that the first phone line goes on the center two terminals (numerically 3 & 4 in a 6-position plug). Line 1 uses the red & green wires of simple telephone cable, while on trunk cable at the punch block it’s the blue & blue/white pair. A second phone line would go on terminals 2 & 5, with wire colors of yellow & black, or the orange & orange/white pair. The pair colors in ethernet cables originated with telco, but telco trunks use an elaborate color scheme to account for hundreds of pairs. Fig 2

In terms of current usage, I still have clients with legacy telco service for phone bridges that allow outside callers to join a production (such as guests, producer monitoring, or talent IFB). Telco may be used for alarms, fax and ISDN. Sometimes it’s a case of old things being left in place because they work. Other times certain equipment requires a conventional phone connection. These connections might use the original copper POTS lines, if they are still available, or simulated POTS through an ISP. Either way it’s important to understand how the “telephone” part works.

Integrated Services Digital Network (ISDN) is a service that provides high-quality digital audio between locations via phone lines. ISDN was a primary tool for radio stations to do guest interviews, and for long-distance live voiceover work, and even music recording, for some 30+ years. It is being phased out by phone companies for the same reasons as POTS, but is still around.

In telco terminology, POTS and ISDN are sometimes referred to as circuit switched networks because connections are made between endpoints using specific signal paths (circuits) to carry analog or digital data. This is in contrast to packet switched networks, like ethernet, where data is broken into small pieces (packets) that are sent along varied paths and reassembled at an endpoint.

The Resistor Color Code

I’ve been fooling with electronics since I was a kid, which means building a lot of circuits that used resistors. The colored bands on a resistor follow a well-established code that describes its value (in ohms) and tolerance. This in itself is still important! But even if you never touch circuit components the color code may appear in other places--though not consistently across all uses.

One example is multipair audio snake cable with jacketed pairs (such as Belden 1200 or 1400, or Gepco 618 or 724 series). I never have to read numbers on the jackets because the colors follow the resistor code that is embedded in my brain. Multipair that uses white jackets drives me crazy.

Needless to say, I automatically turn to the resistor code when I want to assign colors to numbers for some reason, and I find this with products out in the world as well. If anything, I’m surprised by the number of exceptions that do not use this code. Some examples are colors in multi-fiber trunk cables, colors inside DB9 pin adapters, and colors in some non-jacketed multipair audio snakes. In some cases the color patterns come from other standards, or they developed over time and stuck. SVC

Figure 3: Resistor Color Code Table

Figure 2: Analog telco wiring

Virtual with Projectors

In the heart of Los Angeles, CREATE TH!S is an end-to-end extended reality (XR) stage and production studio. Established by Irfan Nathoo, David Cannava, and Simon Thirlaway as a collaborative creative studio and projection-based XR stage in 2020, the studio’s virtual production capabilities combine augmented and real-time in-camera visual effects, content creation, and projection mapping. CREATE TH!S now brings to life bold creative visions for brands, including Nike, Facebook, and Disney, and cultural influencers, such as Billie Eilish and Calvin Harris.

“We stepped into vertical production out of adversity,” said David Cannava, partner and director of operations for CREATE TH!S. “We created a small music video for a female artist that required XR components. It required a budget method to avoid having to purchase three different sets. We created a homebuilt solution for rear projection. It worked pretty well. A week later, a producer reached out to us to film a Facebook show. It was a similar situation, and they wanted XR but didn’t have the budget.”

Cannava added, “We were utilizing front projection rather than LED displays. My business partner had a film stage with a three-wall cyclorama, which we utilized to project and create our XR stage. We scanned the cyc with a lidar scan and implemented projection mapping. We used XR in the projection and integrated projection mapping on the stage to create the AI characters. The project succeeded, but we continued battling projection blending issues. At the time, we were using a different solution for projection mapping and the experience was a nightmare. We knew we had a viable solution by utilizing projection instead of LED displays, but we wanted to continue improving our capabilities.” CREATE TH!S selected Scalable Display Technologies to automatically blend multiple projectors across the three-sided cyclorama. Scalable’s software works on flat, curved domes and custom screen shapes.

“We implemented Scalable to test the four projects and cyc,” noted Cannava. “It was an incredibly simple process, and we were immediately impressed with the projection mapping and edge blending functionality. As

a result, our cyc is perfectly mapped and beautifully blended. Now, we’re upgrading to a larger stage and adding a second cyc. We’re implementing XR in both stages. The display quality we’ve achieved in working with Scalable has given us the confidence to work with larger brands and well-known Hollywood studios. It has pushed us to compete with many big companies that utilize the kind of LED displays that have become the go-to solutions for Hollywood productions.

“We believe that projectors are a viable alternative to LED displays because of the immense flexibility,” explained Cannava. “We’re developing a technique that allows us to travel to any facility with a cyc, install our projectors and run Scalable’s software to create a turnkey, on-the-go production solution. We can build a set based on any volume because of Scalable’s limitless capabilities. The idea is to create a server rack with our tech that allows us to be incredibly mobile – It’s something that can’t be achieved with LED displays.

“With Scalable, we can go up against the biggest XR stages in the world with our alternative displays. Within two years, we’ve gone from a studio that produces small music videos to large-scale movie productions.” SVC

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High Impact Innovation

Edwards Lifesciences is the global leader in patient-focused medical innovations for structural heart disease and critical care monitoring. The medical technology company partners with physicians to develop products designed to help patients live longer, healthier, and more productive lives.

At the corporate headquarters in Irvine, California, Edwards has built a video-enabled campus across approximately 50 acres which includes offices, laboratories for research and development, a conference center, a heart valve manufacturing facility, and even a museum. The headquarters also offers a range of amenities and recreational facilities for its more than 5,000 employees, with open workspaces and outdoor areas to encourage collaboration and an energetic work environment.

As part of a continuing expansion of the Irvine campus, Edwards constructed a new building with a seven-tiered auditorium holding 252 seats. Along with an L-Acoustics audio system, cameras, microphones and full auto camera tracking for every seat, the centerpiece is a massive 92-footlong, 18-foot-high (46x16) Planar TVF Series LED video wall with a 1.5mm pixel pitch (TVF1.5) that is curved to match the curved architecture of the room. The Planar TVF series has a cableless and stackable design; the walls are assembled with a single-step process to connect embedded power and signal connectors from cabinet to cabinet, reducing the complexity of

installation and vertical alignment. With front serviceability and a slim profile of less than three inches, the Planar TVF Series reduces the overall video wall footprint and servicing space required behind the wall.

Global design and architecture firm Gensler designed the LED video wall in collaboration with audio visual solutions provider Sound Image and technology consultant PLANNET. Sound Image also performed the installation.

When Tom Porter, senior vice president of Corporate Services at Edwards Lifesciences, first approached Gensler, his concept for the new auditorium was to create something extremely special, said Gensler Design Principal and Managing Director James Young. “He wanted it to be very unique, something never seen before,” Young said. “We learned about his vision for this new space and set about to design a video wall that would be the dominating feature of the room.”

Sound Image Account Executive Jared Shapiro said the client’s intent for the LED video wall was to leave people in awe. “We’re talking about a medical technology company that is an innovator in what they do and they wanted the AV systems in this space to be on the same level.”

Porter’s idea for the new auditorium manifested as an environment resembling a theater with the Planar TVF Series LED video wall creating a deeply engaging setting for hybrid meetings, presentations and special events. “As more of our work has become Teams-orientated [Microsoft Teams], our desire was to have a space that could accommodate a large

Photo: Planar

group of local and remote participants,” he said.

Within the first few weeks of opening the auditorium, Edwards hosted a senior leadership meeting and several other events, and the response was overwhelmingly positive, according to Porter. “The venue and LED video wall create an environment that is very intimate. We anticipate using the space for leadership meetings, visiting clinicians and for demonstrations because videos and presentations are so impactful on the screen.”

Edwards also has the flexibility to configure the digital canvas in any way they see fit, whether it’s 16 windows or a single presentation. “And the beauty of the video wall is that we can push and pull content anywhere we want,” Porter said. “It’s a blank slate. The display is very dynamic, and that’s what we love about it.”

Elsewhere on the Edwards campus, Sound Image transformed an executive conference center for Edwards Lifesciences into a highimpact collaboration space with the installation of two 16-by-9foot Christie LED video walls and a Christie Spyder X80 image processor. Specified and integrated by Sound Image and designed in collaboration with PLANNET, the new space can seat 126 people.

For its renovated conference center, Edwards was looking for a fully redundant space that included a full video production suite as well as selfserviceability. Two 16-by-9-foot Christie 1.2mm LED video walls were installed with redundant Christie E600 controllers and driven by a Christie Spyder X80 image processor. With seating to accommodate 126 people, microphones were installed at each spot. Six cameras are used at the front and two in the rear of the room, in conjunction with the Spyder X80, which enables multiwindow and self-configurable full auto-tracking during video calls.

The selection of Christie LED video walls was driven by budget and the unique requirements for the space. “We looked at a couple

other Christie products and solutions as well as other manufacturers, says Jared Shapiro, account executive, Sound Image. “The customer wanted an off-board power supply because of heat concerns they had in this space. This allowed us to move all those BTUs into the rack room where they can be better controlled.”

The Christie LED video wall is front-serviceable and features an optional remote power supply for installation flexibility, efficient heat management and redundancies. This LED video wall solution delivers 4K@60Hz resolution, HDR10 compatibility, built-in Clearview™ technology, and low-brightness enhancements for incredible visual experiences.

The use of a Christie Spyder X80 image processor in the boardroom was in part to standardize the technology across Edwards’ campus and to take advantage of its multi-windowing capabilities. “Spyder has been established across multiple projects throughout this campus, and what I like to do is standardize some of the technologies that we’re using,” says Shapiro. “Spyder is driving the multi-window and auto-tracking functionality, which helped us create clean transitions and multi-window presets.”

The requirement to create a fully redundant space was unique to the project. While it added complexity to the system, and required significantly more rack space, Sound Image was well-prepared to take on the challenge. “Sound Image is a touring company by heart, and we’ve been in the audio industry for decades. The show must go on, and we could never cancel a concert because we have technical difficulties. We have that same mindset when we do permanent installations,” says Shapiro.

Additionally, the condensed installation timeline meant that Sound Image was working concurrently in the space with construction crews and carpenters, but care was taken to ensure the project went smoothly. “From pre-sales all the way to commissioning, we had Christie’s support. I adamantly take advantage of Christie’s installation support, as well as all the commissioning services for the Spyder X80.” SVC

Photo: Christie Digital

Transparency

As part of a broad initiative to appeal to both B2B and B2C customers, Okta, a Bay Area identity and access management technology company, wanted to launch a public-facing experience space in New York City. At its core would be compelling interactive expressions to drive brand awareness and increase sales of their digital products and services.

For the digital experience, SNA Displays manufactured 243 ACCENT LED sticks, each integrated into wood paneling. The LED strips, an architectural lighting extension of SNA Displays’ THRUMEDIA line, employ a 10 mm pixel pitch, were mounted vertically, and were spaced about five and a half inches apart. The main visual piece, the interior facing side, is composed of more than one hundred 8-foot LED sticks.

The goal was to create unique digital and physical experiences within the brand’s “retail” footprint that inspire visitors to explore Okta’s services and approach to identity and access management. In other words, Okta wanted to bring its values—including innovation, empowerment, transparency, integrity, and customer success—to light in original and unexpected ways that resonate to audiences inside and out.

Staying true to its commitment to transparency, Okta opted to construct an interactive, public-facing storefront in Manhattan’s Flatiron District on Broadway—instead of a private space hidden behind closed doors. Because of its high-traffic, street-level visibility, HUSH designed a unique digital core that communicates both outwards and inwards to convey the power

of Okta’s security. Outside, passersby can view and interact with brand content, animations, and their own digital shadows designed to encourage contemplation about identity and security.

To spotlight high-touch storytelling experiences, attract a variety of guests, and convert visitors into customers, the interior brand experience features a personalized interactive moment to greet guests, a group digital briefing experience that surrounds audiences with relevant data insights, and a supporting app to control the user journey from start to finish. The space positions the Okta team as relentless problem-solvers dedicated to new possibilities as they engage with the world around them. SVC

Painting with Light

London’s Lightroom is a new, extraordinary four-story, AVdriven home for spectacular artist-led shows. For its 2023 debut, 59 Productions Ltd. turned to disguise solutions for high-performance video playback to drive the huge, immersive, “David Hockney: Bigger & Closer (not smaller & further away)” experience.

The innovative new Lightroom show is a joint venture between the London Theatre Company and 59 Productions. Designed by 59 Productions, the venue was built in collaboration with Haworth Tompkins architectural studio, as a sister space to the award-winning Bridge Theatre. As Lightroom’s partner, disguise sits at the heart of the technical set-up, providing the platform to deliver immersive visual experiences that transport visitors to new worlds.

Hockney’s fascination with the possibilities of new media comes to fruition with the 50-minute large-scale projection show that takes visitors on a personal journey through 60 years of the artist’s paintings, digital art, and set designs. In six themed chapters featuring an original score by

American composer Nico Muhly and commentary by the artist himself, Hockney reveals his creative process so visitors can look more closely, truly, and joyously at his work.

The challenge for the Hockney show’s system design was the ability to work with large video resolutions and playback 10-bit video. It was also necessary for 59 Productions to install the system in an extremely compressed timeline in order to make final delivery.

James Roxburgh, Head of Technical and Production at 59 Productions, was long familiar with disguise, having used it for years. That experience brought a high comfort level for the demanding video playback and projection mapping needed to bring Hockney’s famous and color-driven art to life.

Optimized to play up to four times uncompressed 4K60 using its highperformance NVME RAID drive array and capable of playing lossless 10-bit video, seven of disguise’s vx 4 media servers offered Lightroom the right solution. Paired with that is disguise’s Designer software, enabling an end-to-end workflow from pre-visualization all the way through to show control and delivery. Through Designer, the team was able to control the

29 projectors in the space - all projecting content for the seamless 108-million-pixel canvas.

“The vx 4 gives us playback of very high-resolution video files in full 10-bit color at 60 fps in a codec that presents every detail required of this fine art application,” Roxburgh explains. “disguise also provides a multi-user programming environment that enables us to work simultaneously, as a team, on line up, timeline and engineering across the site.”

The Times (London) called the resulting show “an immersive experience that doubles up as a gloriously illustrated lecture…a summary of all [Hockney] has learnt.” Other critics savaged the show—a true mark of the ground-breaking nature of mixing fine art and AV art.

On the audio side, the exhibition enhances the large-scale projection with immersive audio to make visitors

feel like they are placed within each work of art as the story of Hockney’s creative processes unfolds. Supporting famous pieces incuding “A Bigger Splash” and “A Bigger Grand Canyon,” HOLOPLOT’s audio pumps out a score by Nico Muhly specifically composed for this exhibit. Other times, Hockney’s works are recreated one brush stroke at a time around visitors while the artist narrates his approach and muses his observations noticed over a career spanning 70 years.

About Lightroom

Lightroom is located in King’s Cross on Lewis Cubitt Square, adjacent to Coal Drops Yard and Central St Martin’s. The innovative showspace was designed by 59 Productions in close collaboration with Haworth Tompkins, who designed the venue as a sister space to the awardwinning Bridge Theatre. Along with a generous Foyer and gift shop, the space also contains a bar and seating area in collaboration with St John. Lightroom is a joint venture between 59 Productions and London Theatre Company. Lightroom’s CEO is Richard Slaney and its executive chair is Nick Starr, co-founder of London Theatre Company. Lightroom is backed by a group of investors led by Sir Leonard Blavatnik who is represented by Danny Cohen, President of Access Entertainment; and Mike Sherwood, former co-CEO of Goldman Sachs International.

The exhibit features the UK’s first fixed installation of a HOLOPLOT X1 Matrix Array sound system. Audio is delivered through an X1 system on each end of the main room, hidden within wall cavities, creating a seamless 360 degree audio projection surface. Visitors can come and marvel at the entirety of the show, which takes about 50 minutes, or relax and unwind under the spellbinding visuals for as long as they like.

A rarity in these sorts of exhibits, David Hockney was involved heavily during the planning of the show, from the visuals to the audio, to the immersive element of the show. The artist was even provided with a

scale model of the venue so that he could watch and give input as the show came together. The show may have scandalized the London critics at its opening in February but was so well-received by the public that the run was extended to October of this year. SVC

Chief Tempo Flat Panel Wall Mount System

This new all-in-one configurable wall mounting system made it’s InfoComm debut; it is designed to improve efficiency by streamlining installation workflows, especially for mass rollouts. It was designed with feedback from installers for faster flat panel deployments--from ordering and shipping to installation and servicing. Integrators can save time by ordering one part number. The mount system includes an optional Middle Atlantic PD-715SCNS slim-profile, 7-outlet, 15A power strip. Two 15”x10” Lever Lock storage plates are included, which can be preloaded with up to six small devices plus cabling and shipped to the job site. Panels can be added and easily moved along the mounting rail to store more devices. Like other Chief mounts, it features up to 1-inch post-install leveling adjustments and 10 degrees of display tilt in 2.5-degree increments for viewing flexibility. The total installation depth facilitates ADA compliance with 49” to 86” displays with less than 2” in depth and a 970 mm x 450 mm mounting pattern. The mount pulls away from the wall for approximately 13 inches of service depth, allowing ample access to cables and AV equipment for simple, fast maintenance checks. It can be installed on any wall, including steel studs, wood studs, concrete, and block wall substrates.

Planar DirectLight Pro Series

The new Planar DirectLight Pro Series sets the standard in versatile and efficient fine pitch LED performance. With an advanced high bandwidth architecture and multiple cabinet sizes, the modern, ground-up designed LED platform supports easy installation and maintenance with fewer points of failure. Featuring the latest generation of pixel pitches and a new level of brightness, Planar DirectLight Pro Series delivers an image quality powered by 1,000-nit brightness; models in 0.9, 1.2, 1.5 and 1.8 millimeter pixel pitches deliver higher peaks, more vibrant colors, and greater detail. The series is customizable to suit a range of applications and environments.

Sony Bravia

At InfoComm, Sony debuted an ambitious BRAVIA 4K HDR lineup encompassing four series of displays. The complete range incudes 16 models from 43 inches to 98 inches with a unified design, deep black non-glare coating and Sony’s newest sustainability initiatives. The BZ50L, BZ40L, BZ35L and BZ30L series cover high-end, mid-range, and standard-needs all with the same look and feel and optimized for commercial environments where reliability, picture quality, and broad compatibility are required. All incorporate a smart System on a Chip (SoC) platform. But there is also a unique differentiator in the bright BZ40L series, which features a state-of-theart panel treatment. The BZ40L’s Deep Black Non-Glare Coating offers both high haze and low reflection, while maintaining deep blacks and high contrast. Available through ADI Global Distribution among other sources.

Peerless-AV SEAMLESS Kitted Series Universal dvLED Mounting System

This new system debuted at InfoComm, designed to be the first truly universal solution on the market that supports a variety of latching dvLED displays. The DS-LEDUNV is a fully kitted, reconfigurable solution, feature-packed in a slim, space-saving design to offer superior flexibility, scalability, and adjustability when installing flat-to-wall dvLED video walls. The display adaptors and mount frame provide X, Y, and Z axis adjustments to overcome uneven walls and to assure the dvLED video wall remains perfectly flat. The lightweight aluminum frame quickly attaches to the wall with assistance from the installer-friendly wall template, and unique quick-connect clamps allow installers to easily attach the displays to the mount frame. The system is designed to save valuable time and costs when specifying, stocking, shipping and installing flat-to-wall dvLED video walls for a corporate lobby, retail display, sportsbook, concert hall, casino, and much more.

Christie 4K22-HS and Intelligent Camera

The new Christie 4K22-HS 1DLP laser projector is designed for budget conscious venues that still require high resolution, higher brightness, and color accuracy that approaches 3DLP performance. Christie describes it as the first 22,500 lumen 4K UHD 1DLP projector on the market. On the InfoComm booth, attendees saw a new accessory—the Christie Intelligent Camera (CIC) in action, demonstrating the background compensation feature, which automatically adjusts the image color to better fit the color of the projection screen. This powerful option pairs perfectly with select Christie 1DLP projectors to calibrate projector color, trigger autofocus, and, when used with Mystique Lite software, automate warping and blending of up to three projectors in a horizontal array, coming closer to 3DLP expectations with 1DLP technology.

CLASSIFIEDS

Neoti Complete Series

This all-in-one bundle features easy-to-assemble dvLED displays, built-in controller and ADA-compliant mounting and trim systems. The new solution streamlines purchase and installation: it is easy to understand, doesn’t have complicated mounting components and comes with a user-friendly guide. Its enhanced image technology claims improved grayscale and color performance making it the ideal choice for low brightness environments. Complete Series bundles are now available for purchase in five panel dimension sizes ranging from 108-inch to 217-inch and includes both HD and 4K options.

INFiLED DB Series

The INFiLED DB Series LED Display tiles are INFiLED’s new benchmark for super black LED screens. Designed specifically for fine pixel pitch rental applications, the DB Series utilizes ultra-black masking material and exclusive black LEDs to produce a new level of contrast for LED screens. With high grey scale levels, a fast refresh rate, and the highest quality components, the DB Series provides the ultimate LED screen picture quality.

The DB Series was designed with an emphasis on ergonomics and usability. The panels are of a modular design built around a die-cast aluminum frame, with inbuilt feet and edge protectors to prevent physical damage during assembly. The DB Series comes equipped with a fast-locking system for rapid construction, and a curving system allowing both convex and concave configurations.

Absenicon 3.0 Series

Absenicon 3.0 series is an Absen LED display series ideal for conference rooms, lecture halls, and auditoriums. These all-in-one LED displays are available in 110”, 138” and 165” sizes and have a pixel pitch of 1.5 mm. With an ultra-slim design, a standard 16:9 aspect ratio and 1920 × 1080 resolution, they offer users a large surface for meetings, presentations, and brainstorming. The all-in-one solution includes an audio system and controller, so no external devices are necessary. Absenicon 3.0 can be started or switched off at the touch of a button from a remote control. Content can be shared wirelessly from a laptop, smartphone or tablet, and a total of up to four devices can share simultaneously. To meet the requirements of different scenarios, four scene modes are already pre-installed: Standard mode, Cinema mode, Conference mode and Soft Light mode. The user-friendly interface ensures easy handling of this all-in-one conference room solutions. The Absenicon series can be mounted either on the wall, or on the supplied mobile, rollable stand. Installation and maintenance of the displays is quick and easy.