Installation February 2015 digital edition

AV INTEGRATION IN A NETWORKED WORLDwww.installation-international.com

ISE 2015 previewWhat to look out for in Amsterdam p30

Audio networkingIP-based solutions reach a tipping point

p38

Show must grow onWhat’s driving innovation in show control?

p44

Issue 176 / February 2015

Integrators in prime position for smart building gains p50

GET SMART

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If our tradeshows were being monitored by aliens from another planet, I wonder what they would make of the spectacle. They would see lots of materials delivered to a central point; frenetic activity as these are put together; large numbers

of people, from numerous regions of the globe, congregating in and around the newly completed construction site and making themselves busy there; then a few days later the people going away and the materials taken down and removed. Would they think it was a sensible way for people to meet and interact, or would they puzzle over why we felt it necessary to pack so much activity into such a compressed timescale?

Actually, if you asked me that question, I would have sympathy with both views. The great thing about ISE,

and all shows in the industry to a greater or lesser extent, is that they provide a focus for everyone to get together in one place – whether it’s to transact business, learn about the latest technology, or simply catch up with old friends. If these shows didn’t exist, you’d have to invent them. But conversely, the event’s pulling power, the sheer level of activity there, the number of people you are trying to meet, and the number of people that are trying to meet them, can make it dicult to make that ‘let’s meet at ISE’ promise into a reality.

In our interview this month, Greg Jereys, who has served on ISE’s board, oers one tip for show attendees: allow more time than you think you’ll need. It’s good advice – no matter how much you plan your time, you need to leave some time for the unplanned things: the company that you only find out about at the show (maybe from the ISE Daily?) that looks worth investigating; the new product that you suddenly realise solves all kinds of problems in a new way; the old colleague you weren’t expecting to bump into who has an interesting proposal for you – and many more besides.

The other tip he suggests is: don’t drink. I’ll leave that decision up to you. Cheers!

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Editor’s comment

Paddy Baker, [email protected]

Editor: Paddy Baker [email protected]

Managing editor: Joanne Ruddock [email protected]

Sta writer: Duncan Proctor [email protected]

Head of Design: Jat Garcha [email protected]

Designer: Tom Carpenter [email protected]

Sales manager: Gurpreet Purewal [email protected]

Account manager: Peter McCarthy [email protected]

US sales – Executive vice president: Adam Goldstein [email protected]

Production manager: Jason Dowie [email protected]

Digital content manager: Tim Frost [email protected]

Publisher: Steve Connolly

Contributors: David Davies, John Dew-Stanley, Rob Lane, Ian McMurray, Steve Montgomery, Duncan Savage

Picture credits: In Issue 175 (January 2015), the UniCredit Tower images should have been credited to Gruppo C14 (p58, p60) and Marco Puoti (p61)

© NewBay Media 2015. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. Printed by Pensord Press, Wales

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A sister title to SCN

‘A tip for ISE show attendees: allow more time than you think you’ll need’

WELCOME 03February 2015

Cover image: The Shanghai Tower, © Gensler Architects

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62

News & Data06 Update14 Appointments24 Industry Data Signicant growth in number of smart cities expected28 Regional Voices: Italy

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Features38 Audio Networking: Manufacturers highlight their initial considerations in three specic scenarios44 Show Control: What drives innovation?50 Smart Buildings: How integrators can access this lucrative market

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Technology55 New Products58 Demo of the Month K-array Firenze arrays60 Showcase Cabling and connectors

Solutions62 First World War Galleries, Imperial War Museum, London: Bringing the past to life68 Fosnavåg Cultural Centre, Fosnavåg: Constellation creates clarity o the coast of Norway72 Brando Hotel, Tetiaroa Island: Luxury is everywhere at this eco-friendly resort

04 CONTENTSFebruary 2015

People16 Opinion Rob Lane on the multiple options for multi-touch Duncan Savage discusses networked audio Jon Dew-Stanley on the importance of sound masking22 Interview Paradigm AV’s Greg Je reys talks rear-projection and surviving ISE

Show Previews30 ISE 2015 We round up the latest kit on show in Amsterdam

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06 UPDATEFebruary 2015

Fun in IstanbulThe largest indoor theme park in Europe has opened at Turkey’s Mall of Istanbul. Moi Park, the rst indoor theme park in the country, features a total of 245 QSC speakers to cover its 12,000sqm. The park has been divided into dedicated zones with sound and lighting triggered when each particular ride starts.

The sound system, which was designed, installed and commissioned by Asimetrik, is controlled by QSC’s Q-Sys system, which can play music or announcements in designated areas and manage all channelling, processing and control functions. For sound, lighting and video sychronisation, the Alcorn McBride V16 Pro show controller has been employed.

Visitors can also enjoy Turkey’s rst interactive dance oor in a theme park, with customised lighting and QSC active line array speakers and subwoofers placed on and around the stage to distribute sound equally.

www.asimetrik.com.trwww.qsc.com

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Virtual meets reality

Solanum, an augmented sculpture, has been installed in the lounge of the JW Marriott Hotel in downtown Houston, US. Designed by Germany-based artist collective Urbanscreen, the sculpture consists of layered elements aligned to one another to compose an organic pattern. It follows Urbanscreen’s approach of using projection mapping to create artworks that combine natural and arti cial materials with digital content. The projection follows a circadian rhythm: it depicts gentle, sleeplike movement by day and vibrant animation by night.

www.urbanscreen.com


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New PartnersDPA Microphones has reorganised its distribution channels in South-East Asia by appointing new distributors in Malaysia, Thailand, Vietnam, Indonesia and Taiwan. The new appointments are AV United in Malaysia; Vision One in Thailand; Pro AVL in Vietnam; Promedia in Indonesia; and Shin Lee Sheng Music Corp. (SLS) in Taiwan.

www.dpamicrophones.com

K-array has named M-Pro as its new exclusive distributor in the Benelux. M-Pro, which has been in operation for more than 10 years, has built a portfolio of brands that provide customers with a complete audio solution for several markets, including corporate AV, sports stadiums, PA/VA, night venues, conferencing and live sound.

www.k-array.com

www.m-pro.be

Procom ME has been named as the exclusive Philips supplier for the UAE in a move to further expand its oering to the Middle Eastern market. The deal means the distributor will hold a wider range of Selecon, Strand Lighting and Showline stock, allowing customers to get hands-on with the xtures in the Procom showroom.

www.philips.com

www.procom-me.com

Audiosales is now the exclusive distributor of Powersoft products in the Italian market. The company will be managing the nationwide distribution and sales of Powersoft rack ampliers, for both the xed installation and touring markets.

www.audiosales.it

www.powersoft-audio.com

Music & Lights has become the Italian distributor for Avolites’ lighting, Ai video and multimedia control technologies. Music & Lights will hold the entire range of Avolites lighting consoles and dimming control as well as Ai Video and multimedia servers and software.

www.avolites.com

www.musiclights.it

Dusseldorf nightclub Nachtresidenz is now home to a new five-point speaker system from Funktion-One, specified by local audio company Thöne & Partner.

The venue features five different areas, spread over 1,800sqm, but it is the domed main room that really defines the venue. Here the system’s five points are formed by pairs of Funktion-One Resolution 2 loudspeakers. Bass comes from six BR221s – positioned in two stacks of three on either side of the stage. The main system is powered by MC2 E100Q amplifiers and controlled

by an XTA XO4 audio management system.In addition to the main system, a smaller club

space on the upper floor (pictured below) has been installed with a four-point system, made up of single Resolution 2s, combined with a BR221 bass enclosure and PSM12 monitors. Again, power and control for this set-up comes from an MC2 E100 amplifier and an XTA XO4 controller.

Night music

www.funktion-one.com



Displays turn a cornerClear Channel Spectacolor, a division of Clear Channel Outdoor, has installed a new two-sided Daktronics LED video billboard on the corner of West 43rd Street in Times Square, New York.

The display measures 11m high by 26m wide and features high-resolution 10mm line spacing. It plays HD content and features a darker display face providing deeper, more pronounced blacks, while custom LED louvres are said to signi cantly improve colour integrity and viewing angles.

www.daktronics.com


14 APPOINTMENTSFebruary 2015

Additions to the team will head up sales and marketing in California

New leadership team announced

Harman Professional has announced a new leadership team for AKG’s professional

business. Having previously appointed Bryan Bradley, general manager of the company’s loudspeaker business unit, to lead AKG in July 2014 and at the same time signalling its intent to appoint sales and marketing leadership in Northridge, the company has now named Karam Kaul (pictured) as director of marketing and Eric Boyer, vice president of worldwide sales.

Boyer and Kaul will both be based out of Harman Pro’s Northridge, California headquarters and will work closely with the AKG team in Vienna, Austria. The AKG home base in Vienna will be managed by Martin Thaler, head of AKG Austria GmbH.

Boyer joins with a strong track record

in professional audio sales management. He was previously director of marketing and global business development at Beijing Pacifi c Budee Technology Development Co in Beijing, China, and prior to that director of business development at Burl Audio.

Boyer was also vice president of operations at Audio Agent and led marketing for PreSonus Audio Electronics.

Kaul joins AKG from MI retailer Guitar Center, where he held various cross-functional positions, most recently as director of marketing for Guitarcenter.com. Previously, he also held roles as director of business development for Tech Merchandising and director of training for the Tech Division.

AKG

www.harman.com

Rainer Link, Kai Schönberg and Sabrina Raschke take up new roles

eyevis has started 2015 with a new management structure. Rainer Link has taken up the role of head of the international sales department, while Kai Schönberg is now IT development director. In addition, Sabrina Raschke has been appointed marketing director.

In his last position Link managed the international business of eyevis group company Teracue. Schönberg joined eyevis in 2007 and was involved in the development of the netPIX graphic controller series and the eyeCON control software.

Raschke joined eyevis in 2009. She will now be in charge of marketing across the eyevis group including subsidiary companies Teracue eyevis and STiNO eyevis.

Management structure extended

eyevis

www.eyevis.de

Jake Dodson joins from Vitec Videocom

Riedel has announced the appointment of Jake Dodson as the company’s director of product management. In this role he will be responsible for guiding the strategic direction of the Riedel product range and its development.

Dodson has more than 25 years of experience developing product strategies and bringing products and technologies to market in the telecoms, broadcast and live performance sectors. His previous experience includes time at Marconi Research before founding Integrated Optical Components. In 2006 he joined Clear-Com as part of a turnaround management team. He most recently served as vice president of product management responsible for global product management and technical publications at Vitec Videocom.

New head of product management

RIEDEL

www.riedel.net

CORE BRANDSJe Costellohas been named vice president of sales at Core Brands. Now leading all aspects of Core Brands’ worldwide sales, Costello is no newcomer to the company. For the last year he was in a senior consulting role directing major account and channel

alignment strategies, as well as leading the new UMAP compliance initiatives for Core Brands and its sister company, Linear (now Nortek Security and Control). www.corebrands .com

PLANARJe Smithis now director of sales for the central US at Planar. He has over 30 years of experience in the pro-AV industry. For the past 10 years he has developed Planar’s sales e orts throughout the central US. His promotion comes as the company

expands its sales e orts with additional US central sales team members now located in Texas, Oklahoma and Minnesota. www.planar.com

ELECTROSONICBryan Hinckley has been promoted to head of the worldwide Entertainment business, which includes the museum, theme park, visitor centre and retail markets. The post was previously held by Chris Conte, who was

recently named head of the new US Business Development team.www.electrosonic.com

POLYCOMMarco Landihas joined Polycom as president EMEA. He comes from Zebra Technologies (formerly Motorola Solutions), where he was vice president and general manager EMEA. In his new role, Landi is responsible for

leading the company’s regional sales strategy.www.polycom.com

PEERLESS-AVBeky Cann has joined Peerless-AV Europe as director of PR and communications. Cann has 14 years of agency-based PR experience specialising in the AV and electronics sectors. She was previously an account

director at Neesham PR and has also spent time at Strategic Alliance International, a B2B PR agency.www.peerless-av.com

SGMBen Díaz has taken up the position of area sales manager at SGM in South America. Since 2000, Díaz has been involved in creative roles in the entertainment industry, including lighting/production design and operation, cinematography and technical

education. He has spent the past 10 years as a lighting designer, programmer and operator. In his new role he will be based in Mexico.www.sgmlight.com

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16 OPINION: ON THE HORIZONFebruary 2015

Rob LaneMultiple options for multi-touch

What tech is currently available and where’s the touch market heading?

We human beings are a tactile species; we like to touch. And those of you with children will appreciate how touching is as much a part of the early learning experience as

crawling, crying, eating and fi lling nappies. In fact, almost as soon as a child can sit, he or she is ready to engage with your smartphone or tablet – it’s as natural to them as touching your face or playing with the dangly toys on their baby gym. Once at school, of course, engaging with displays becomes the norm for work and play; this is bad luck for the majority of us with non-touch PCs/Macs at home, as Junior can’t help touching, usually becoming increasingly frustrated as he or she realises this has no e ect other than angering mum or dad.

For a ‘new’ market, multi-touch sure has been slow to get o the mark. IBM started developing the fi rst touchscreens in the late 1960s, and in 1972 Control Data introduced its PLATO IV educational computer, employing user-interface single-touch points in a 16 x 16 array. Danish electronics engineer Bent Stumpe developed a capacitance touchscreen in the same year, and this was later developed at CERN in 1977 as a new human-machine interface for the control room of the Super Proton Synchrotron Particle Accelerator.

There was a further advance in 1991 when Pierre Wellner published a paper on his multi-touch Digital Desk, which supported multi-fi nger and pinching motions. Then, between 1999 and 2005, Fingerworks developed its Touchstream keyboards and iGesture pad.

In the meantime, Microsoft started work on its capacitance SUR 40 Surface table-top platform

(renamed PixelSense in 2012 to free-up the Surface Moniker for its notebooks) in 2001, while – at the same time – Mitsubishi was developing its multi-touch, multi-user system, DiamondTouch, which went commercial in 2008 – after which the commercial market really started to open up.

In 2015, multi-touch is a growing, highly competitive market, with a variety of players looking to infl uence and dominate the market. So what are the various fl avours of multi-touch currently available?

Old-style surface capacitance has been superseded by projected capacitance (PC). MultiTaction’s unique camera-based Computer Vision Through Screen (CVTS) system is more expensive, but is arguably more fl exible and responsive. PQ Labs o ers IR overlay frames and Flatfrog supplies touchscreens utilising its proprietary optical system. Other less mainstream or now moribund solutions include: resistive; surface acoustic wave; acoustic pulse recognition; embedded; and force sensing.

Displax’s main PC product is Skin MultiTouch, a transparent foil that can be applied to non-conductive surfaces to transform them into multi-touch, and the company has also launched its Oqtopus table and Pad upright. 3M supplies a variety of PC multi-touch solutions, including the 46in table display and 32in table/wall display – both o ering 60 simultaneous touches.

Zytronic utilises PC with its MPCT sensing solution, and supports displays of up to 85in with 40 simultaneous touchpoints, while Eyefactive supplies PC touch frames (30-84in).

PQ Lab’s G4S IR frames are available for integration or as overlays for existing monitors and incorporate PQ Labs’ fourth-generation Cell

Imaging Technology with a sample rate of 200fps. Touch points vary: two, six, 12 and 32 (unlimited).

MultiTouch unlimited-touch MultiTaction displays are available in 55in (ultra thin bezel) and 55in and 42in stackable. There are also a variety of 42in and 55in embedded models (Windows 7 and 8; Linux). MultiTouch also o ers two sizes of turnkey MultiTaction iWall, comprising 12 x 55in displays and 8 x 55in displays.

radarTOUCH, from Lang, o ers something completely di erent – something that blurs the lines between multi-touch and gesture interaction. The radarTOUCH ‘measuring device’ is a small box that projects an invisible rotating laser to measure the distance of all objects in its 2D environment. Software is a Java program that intercepts the data detected by the laser and sends to a PC via an Ethernet connection. Marry radarTOUCH to a display or displays and you can make the surface operate as if multi-touch – the di erence being that you don’t actually have to touch the surfaces.

With other gesture control applications looking to encroach into multi-touch territory (for example, Oblong’s Mezzanine system and Elliptic Labs’ ultrasonic tech for smartphones), what does the future hold for multi-touch technology? I foresee the technologies being used together more frequently to begin with, with less reliance on touch going forward. But, given our instinctive desire to use our fi ngers, it’s unlikely that gesture control will ever completely trump multi-touch.

Rob Lane is founder/director of PR/marketing agency Bigger Boat PR Ltd and doesn’t get at all antsy when his lovely daughters continually prod and press the screen of his MacBook Air.

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18 OPINION: ON THE AGENDAFebruary 2015

Duncan SavageNetworked audio: are we there yet?

Operational and cost advantages are now clear

The installed audio market has been familiar with and using networked audio systems for many years, but I feel we’re finally at a tipping point where they’re more the rule than the exception, not

just in terms of what’s already out there, but also in terms of what clients and integrators think of first when they begin to consider the right approach for a new project.

It always takes years for big technological changes to take place, in any market. Recording studios first began to hear about digital audio devices in the 1970s, but it was decades before the main parts of the signal chain could be replaced by truly digital mixers, processors and eventually recorders, and it took even longer before most audio pros were confident that they sounded good enough to use and they became widespread.

In the installed audio space, many ISE shows go by with industry pros looking askance at the early adopters of any new technology and the problems they inevitably encounter. Several development cycles often have to elapse before equipment manufacturers make good on their insuciently well-thought-out first attempts to capitalise on a new technology, and years pass while new industry-wide standards and protocols for a new technology are developed. It then takes yet longer for these to be adopted in a suciently widespread fashion to make them worthwhile and usable. The final hurdle to broad-based acceptance is the mental one; just because you can base complex installations on a digital data network, doesn’t mean that customers or integrators automatically will. There has to be a coherent case for switching to

a networked approach before they do.For network-based installations, all of

these pieces are now in place. There are many operational advantages to a network-based approach. Networked systems break the link which analogue systems will always have between their point-to-point physical connections to a system and the way the signals are routed: as long as a source is connected to the network somewhere, its routing can be rapidly and flexibly redefined in software without changing the physical connection, and from a remote location too if required. Increasingly, equipment itself can be remotely controlled over a network too, in a way that is usually expensive and complex to implement with analogue systems.

Cost clarityMoreover, we now have networked audio protocols that don’t require their own bespoke (and thus expensive) hardware, but can operate over standard IT networks, Cat5 cable and Gigabit switches, and can therefore share infrastructure that is likely to be installed at a new project anyway, or is perhaps already in place. As the cost of basing your audio on a network tumbles for reasons like this, the cost of analogue cabling remains high due to the price of copper, which remains historically high, if not at the eye-watering levels of 2010-11. Expanding and/or reconfiguring existing audio networks already based on aordable IT cabling, networks and software now also tends to involve much less of an overhead than adding analogue tie-lines into a new hotel wing or lecture theatre.

Perhaps most persuasively of all, the interconnection protocols are increasingly being

included in the basic building blocks required for an audio network. At Shure, we’ve been selling mixers like the SCM820 and wireless microphone systems like ULX-D and Microflex Wireless that have (or can have) audio-over-IP interfaces built in, utilising the Dante protocol, for over two years, and we’re not alone. In addition, established audio processing and routing platforms like QSC’s Q-Sys now have bridging that allows them to take Dante or AVB inputs and incorporate them into their systems, then return the processed audio via the same protocols. So you have IP-based means to capture, route, process and output.

With enough of these pieces in place, forward-thinking integrators are beginning to realise the advantages of the networked approach. In some cases, designing systems in the analogue domain is starting to become the less straightforward choice. If you are putting together a modern audio installation that incorporates audio processing, routing, and monitoring, IP-based technology will almost certainly be in use in parts of the system already. For example, Shure’s wireless microphone systems already use IP technology to constantly monitor parameters like battery life or RF signal strength anyway; so why not carry the system audio over IP as well?

Perhaps this is the reason we’re seeing tremendous uptake in digital networked audio solutions and Dante-enabled equipment, after many years of only slowly accelerating progress. There had to be many small incremental changes before we could say this, but the time for networked audio seems to have come at last.

Duncan Savage is head of the systems group at Shure Distribution UK.


20 OPINION: ON SITEFebruary 2015

Jon Dew-StanleyInvisible but imperative

Masking – the sound system that can be neither seen nor heard

Masking of background noise can greatly enhance productivity in oces, call centres and other busy environments. A competent acoustic engineer will be equal to

the technicalities involved, but selling, installing and commissioning the system creates a set of unique challenges for the installer.

How do you convince a customer to sign o a very substantial budget for a system that he will neither see nor hear? How do you manage the installation of a system that needs to be wired in early on, but can’t actually be fully commissioned until the building is in use? How do you commission the system? Unless handled carefully, the customer will start to think he is being sold the proverbial ‘Emperor’s New Clothes’.

Air travellers will be familiar with the experience of sound masking, though they are almost certainly unaware of it. The noise of the engines, so evident on take-o, disappears when the plane reaches cruising altitude. The manufacturers carefully measure the sound frequencies that its engines emit, and pipe all the other audible frequencies over the aircraft’s sound system at the same level. Since passengers’ ears are hearing a full spectrum of sound frequencies, their brains screen it all out and they are unaware of engine noise. The system also deadens other noise, making conversations a few seats away hard to hear.

The fact that every airliner features sound masking, but almost all travellers are unaware of it, illustrates the unique challenge in selling such a system. While digital signage will be right in the building users’ eye every time they enter, the sound masking system will only be apparent if it

isn’t working. Despite independent research documenting productivity gains, job satisfaction increases, and reductions in stress, there is widespread scepticism. Personally, I’ve found that the most eective way of overcoming this is a good demonstration in a suitably configured demo room.

Getting it rightThe installation process will need three or more visits to the site. Speakers will need to be wired into the ceiling or wall spaces at a relatively early stage, and will need to be correctly sited at this point. The racks can be added as a second phase.

Dynamic systems monitor the frequencies present in the ambient environment and automatically compensate for them, eliminating the need for a sound survey. A final site visit to switch on the system and verify that it is working correctly is normally all that is required. Dynamic systems are currently only suitable for the most straightforward environments, though. Applications where the speakers are also used for announcements or music, and multi-zoned environments, will need a static solution.

A thorough acoustic survey needs to take place in order to set up a static system. This can only be done once the building is fully occupied. These will involve using a measuring microphone with a very flat frequency response in order to identify the main background noise frequencies. Other tests, such as the classic ‘balloon’ test to characterise the tail length of sound signals, can also be done. A survey needs to be carried

out over time, and should probably be repeated during the early stages of occupancy, and again each time a major change of configuration takes place.

The interval between first occupation and full commissioning of the sound masking system is a golden opportunity for the installer. When the system is first switched on, users will appreciate that conversations held a couple of desks away become less intrusive, and that the sound made by printers, photocopiers and the air-conditioning will completely disappear. Within a few days, however, occupants will become used to the environment and the only time they will notice the system is if it stops working correctly. To paraphrase the Victorian maxim, a good sound masking system can be neither seen nor heard.

Jon Dew-Stanley is director of solutions at Midwich.

www.midwich.com

Air travellers benefit from sound masking, often without being aware of it


22 INTERVIEW: GREG JEFFREYS, PARADIGM AV February 2015

A self-taught engineer who rose to be the rst president of InfoComm from outside North America, Greg Je reys talks to Paddy Baker about serving the association, the changing landscape for rear-projection and why ISE is going to be a little di erent this year

Paradigm’s shiftsWhat was your entry point into the AV industry?A complete accident. I trained as a musician and did that for a couple of years unsuccessfully, but when marriage and responsibilities kicked in I had to start earning some money. I did part-time work for, and then joined, an exhibition company that also had a rear-projection product – using slide projectors – and I learned my trade through that. I’m completely self-taught – and it all developed like that. My life’s been a terrible mistake!

Do you think it would be dicult for someone starting out today to follow a similar career path?I think it would be possible. It would be harder – but then it’s harder for young people to make a start in life anyway. But I really wouldn’t recommend it. The AV industry oers a tremendous opportunity for young people, but because it isn’t quite mature enough in that respect, I think it behoves people coming in to be well qualified and to prepare themselves as well as possible by what they do in college, on a degree course or on work experience.

The industry has changed so much. In the early days of boardroom projects there were all these companies, most of which have disappeared now, that were doing control systems in their own way and making it up as they went along. These resources were hardly ever used – maybe for watching Wimbledon, or the occasional meeting. But AV is now so much part of the daily business process, and the contracts are massive: a lot of the significant AV contracts are seven- or eight-figure sums, and that means are only around seven companies in the UK that can handle business

on that scale. In that sense it’s become more formalised. But yet, there are other opportunities for AV in a smaller, more creative way, in areas such as retail, museums and leisure, where maybe there are opportunities to come into the industry in the way I did.

When did you start getting involved with InfoComm?It was more than 10 years ago. At that point it was very much a US organisation, but a good friend of mine, Brian Pipe – at the time he ran a company called Video Power, but now works as a senior consultant for Arup in Qatar – was a one-man vanguard for InfoComm in the UK. Two things got me into the association. One was that I became chair of the European Council when Brian stepped down, which gave me a place on the Board of Governors. At the time, InfoComm had a number of Councils, and the chair of each of these got to be on the Board of Governors. The other aspect was that I did academic work – I wrote a degree module for UMIST (now the University of Manchester) on projected images and I also put together a task group to draw up a quality standard for projected images, and some best practice work. So that drew me to the attention of InfoComm as well.

And that culminated in you becoming the first foreign president of InfoComm.Yes, all the other presidents had come from North America before then. At the end of 2008 a new governance structure came in – it moved to a small professional board of 12 members. There are four ocers and eight directors-at-large, four of whom ended up being elected and four appointed. I was appointed for one year to be a director-at-large, and I thought that would be the end of it, but during that year I got nominated to be secretary-treasurer.

InfoComm’s governance system works really well. Being president is eectively a four-year gig. In the first year you are secretary-treasurer: you have to approve all payments above a certain sum and get down and dirty and understand how the organisation works – that’s a pretty full-on year. In the second year you’re president-elect, and in the third you’re president. In the fourth year they use you as – allegedly – a wise old bird and you chair what is now called the Leadership Search Committee, which makes significant leadership appointments and chooses the slate for those appointments that have to be elected.

So the structure has some continuity built in to it.Yes – and frankly, if you’re not ready to be president at the start of the third year, you’ll never be ready. We’ve tried to make it so that incoming board members get to grips with it as quickly as possible, but it does take time. In my year as president – and every other president I’ve spoken to has said the same – when you get to the end of it you think, ‘I can do this now, let’s start again’ – but you’re burned out, and your year has come and gone. Also, in a lot of organisations it’s very dicult to avoid the trap of it being run by a bunch of ‘good old boys’ – the fact that you get unceremoniously booted o at the end of your service is actually really healthy.

How do you look back on your time as president?I look on it – in the context of being on the main board for five years in total – as being my highest professional achievement. To work with people who are smarter than me, more successful than me, it makes you raise your game. It was a unique opportunity: although I try

‘Being on the main board of InfoComm for five years was my

highest professional achievement’

Greg Jereys –a brief biographyGreg Je reys is the CEO of Paradigm AV, a company he founded in 1988. He is also a board member of Simulation Displays, which he founded in 2011

He was a board member of InfoComm International until 2013, and was president in 2012

As well as working as a consultant and academic in projected imaging, he is active in the standards movement: he was lead writer on the recent Projected Image System Contrast Ratio ANSI/InfoComm Standard, and is currently moderating a new ANSI/InfoComm Standard on setting display image size (DISCAS)

22-23 Install176 Interview_Final.indd 1 22/01/2015 12:32

INTERVIEW: GREG JEFFREYS, PARADIGM AV 23February 2015

to run my businesses in a democratic way, really it’s a benign dictatorship; but with InfoComm there was a common purpose, there were no competition issues, it was very successful both financially and operationally, and we had the chance to do good things. It was just a very inspiring experience.

I also look back and think, ‘How the hell did I do it?’ as I was eectively doing four jobs at the time: I was president of InfoComm, CEO of Paradigm, CEO of Simulation Displays and also moderating a task group writing an ANSI standard. I still haven’t got an answer to that.

How has the field of rear-projection developed during the lifetime of Paradigm?Paradigm originally existed as a general AV company when it was started in the late 1980s, but in the early 1990s we reformed it as a specialist rear-projection company, and from that into a specialist manufacturer and distributor. In those days when projectors were so dim – 200 ANSI lumens from a CRT projector was regarded as stonkingly bright – that to get a large image bright enough to be seen in a boardroom, by and large you had to do rear-projection. So the rear-projection market was a significant part of the business, and in those days it was all about winning market share – which we got thanks to the combination of our expertise in optical design, the fact that we made modular mirror systems that the dealers could install themselves, and the huge success we had with dnp rear-projection screens.

As projectors got brighter and flatpanel technologies came in, we knew that rear-projection was going to go away as a significant source of corporate revenue, and so we moved into interactivity, and dnp came out with Supernova technology, which allows front-projection to be used in high ambient light. What’s happened with rear-projection is that it’s become more specialist: it’s used mostly for signage, for large displays in corporates above 80 or 90 inches, it’s used in the leisure industry, and it’s used a lot in the simulation industry – which is partly the reason why we span out our simulation business from the main business. But in fact, rear-projection is coming back – we’re seeing a significant uptick. In the ANSI standard that applies to projected image quality, a lot of the higher levels can only be achieved with rear-projection.

ISE is approaching – you must be an ISE veteran…Yes – in one form or another I’ve been an exhibitor every year since it started in Geneva, until this year. I was on the board of ISE until the end of 2012 and I still sit on the advisory board,

so I have a very strong connection and aection for ISE. What Mike Blackman has achieved with that show, in my view, is one of the major achievements in the AV industry. To see ISE go above and beyond the US InfoComm show – and it’s still accelerating – is the most fantastic achievement. Mike has led a really great team of people and has helped them all to be really successful. I just love the show to bits.

I’m really looking forward to the show this year because for the first time I’m not exhibiting, I’m not on the InfoComm board, I’m not on the ISE board, I’m not teaching – I’m going to go and do some business!

Do you have any ISE survival tips?There’s one tip that’s completely useless, because no-one observes it: you shouldn’t drink! No, my tip is to take more time than you think you need. Have a very structured calendar with good space between the slots. It’s such a compressed event, it’s quite hard to move around, and the halls have the most random pattern which gets worse every year. I tend to book my meetings on the hour, and try to finish them after 30 or 40 minutes. But the trouble is I walk from one hall to another and see someone I haven’t seen for yonks… it’s so hard to move around. But it’s a great thing.

www.paradigmav.com

22-23 Install176 Interview_Final.indd 2 22/01/2015 12:32

www.ihs.com

24 INDUSTRY DATAFebruary 2015

Source: www.ihs.com

Americas

Asia-Pacific

EMEA

Number of smart cities

Elements of the smart city

Smart livingIt is not just buildings that are becoming smart. Intelligence is being applied to whole cities to improve services, infrastructure and communications, writes Steve Montgomery

As the world becomes more connected and the Internet of Things more prevalent, the number of smart cities, areas employing ICT across transport, energy, environmental sustainability, governance, physical infrastructure and safety and health functions, is expected to mushroom. At the beginning of 2014 there were an estimated 21 such cities; this is expected to grow to 88 by the end of 2025.An ever-increasing proportion of the world’s population lives in cities, which inevitably strains local infrastructure.

Increasing the eciency of local services is paramount and is the driving factor in maintaining and enhancing the quality of life of citizens.Inevitably, regional governments turn to technology to provide enhanced solutions for transport networks, smart building control, personal security, communication and utility service provision. Public-private partnerships are favoured by municipalities to take advantage of the expertise that can be outsourced to, and obtained from, a variety of private entities.

14%Expected growth rate of smart cities

in the Asia-Pacic region 2015-25

25

30

35

20

15

10

5

02015 2020 2025

Physical infrastructure

Smart gridEnvironmental sensors

Utility management

Integrated education services

Remote education

Smart ticketingSmart parking

Intelligent transport

Smart buildings

Smart lightingWaste

management

Remote diagnosis

Integrated services

Video surveillancePredictive analytics

Education

Governance

Mobile reportingConsolidated

services platforms

Automated revenue collectionCost reduction

Combined procurement

Smart City Concept

Economy

Energy & sustainability

Mobility & transport

Safety & security

Healthcare

24 Install176 Industry Data 1_Final.indd 1 22/01/2015 12:33

www.abiresearch.com

New deployments of location-based tracking systems in retail and other applications are expected to have reached 25,000 in 2014; a rise of 100% over 2013. “There are many worldwide retail installations, driven by a variety of applications such as customer analytics, oers and coupons, product search, sta management and waynding,” says ABI Research senior analyst Patrick Connolly. “In 2015, we expect to see signicant demand for queue-management systems, particularly in the QSR market.”

A wide mix of technologies is employed to detect and communicate with customers,

including Bluetooth low-energy sensor (BLE), sensor fusion, magnetic eld, WiFi, audio, smart devices and LCD display. “There will be a slew of regional and vertical winners, rather than one company dominating the whole space,” adds Connolly.Applications include ambient intelligence which monitors individuals and plays the role of personal assistant, in-store retail aids and targeted signage for shoppers, personal tracking of people or assets, and search and discovery of closely located information such as landmarks, shops and services.

Location-based services are set to revolutionise in-store analytics, advertising and shopper interaction as brick-and-mortar stores aim to win back customers from online sales, reports Steve Montgomery

Fighting back

26 INDUSTRY DATAFebruary 2015

Source: www.abiresearch.com

Other

Ambient Intelligence Personal tracking

Airports

Shopping centres

Retail Search and discovery

Sports venues

Small retail stores

Dining and beverage

Hotels and resorts

Food and grocery

Large retail stores

Clothing

20,000

2014 2015* 2016* 2017* 2018* 2019*

40,000

60,000

80,000

100,000

120,000

140,000

160,000

180,000

0

Deployment of location-based services

Number of deployments by activity

100% The increase in worldwide tracking

system deployments, 2013-14

15.8%3.0%

9.0%

8.3%

7.3%

10.0%

44.0%

0.8%

1.0%

1.0%

* = Forecast

26 Install176 Industry Data 2_Final.indd 1 22/01/2015 12:35

Italy has the third-largest economy in the eurozone, and at the end of last year its finance minister announced that the slowdown had ended. But how is the installation market faring?

ITALY28 DATA: REGIONAL VOICES February 2015

Do you have any comments about the Italian integration market?

‘Architects are the best promoters of these works, but the worst planners with regard to technical stu.’

‘For manufacturers, low price and high quality should be the watchword – the way to hit the right path.’

‘Web presence isn’t very important in Italy. The main thing for companies looking to enter the market is to get in contact with the main companies directly in person.’

0.6% Annual GDP growth forecast, 2015

Source: European Commission

2 . 7 %Budget deficit (as share of GDP), 2015 forecast

Source: European Commission

How do you think your company’s revenue will change over the next 12 months?

Grow more than 5%:

14%

Grow up to 5%:

26%

No change/no answer:

38%

Reduce by up to 5%:

22%

To what extent do these challenges apply to your business?

MOST SIGNIFICANT

Getting paid on time

Cost pressures

Ensuring existing sta keep up to date with new technologies

Managing complex projects

The need to expand into new vertical markets

Maintaining a good project pipeline without over or under-committing people

Recruiting/retaining employees with the right level of skills

LEAST SIGNIFICANT

28 Install176 Regional Voices_Final.indd 1 23/01/2015 17:26

All eyes on ISEJust a few days before Tuesday 10 February, when ISE 2015 opens its doors at the RAI in Amsterdam, we pick outsome of the latest products to see in the areas of video, connectivity, audio and residential technology – and choose some professional development highlights

3M’s 55in Projected Capacitive multitouch system, with up to 80 simultaneous touches, is making its European debut at ISE 2015. The stand is also shared by systems integrators and software vendors with whom 3M is working across Europe, to showcase the applications being developed by 3M’s MultiTouch Developers Network.

Arthur Holm’s new DynamicX2, which has been re-designed to become the slimmest aluminium built retractable monitor on the market, will take centrestage at ISE 2015. The Dynamic3 series has also been redesigned, with a new mechanical system to provide smoother movements.

B-Tech Audio Video Mounts is unveiling a number of new products that have been under development over the past few months. The BT8370 freestanding videowall mount is described by the company as the fi rst of a new generation of products, which features B-Tech’s dynamic new mounting system. Made from extruded aluminium, this system is said to be lightweight, strong and capable of being assembled quickly. Other solutions on display include the BT8310 pop-out videowall mount and the BT8350, which can now be used to assemble videowalls in a curve.

Blackmagic Design will be highlighting MultiView 16, the world’s fi rst multi-viewer that operates natively in Ultra HD, meaning it is possible to use an Ultra HD TV or monitor and see all views in twice

the resolution of normal HD multi view. MultiView 16 supports any combination of SD, HD and Ultra HD SDI inputs because it includes 16 6G-SDI inputs with each input including a re-sync and loop output. Also, any input can be routed to any view, and users can route from the front panel or via the external Ethernet connection.

The importance of lens technology is the focus for Canon Europe’s eighth appearance at ISE, with the company demonstrating how its research is delivering improvements in colour, refraction and brightness that have led to major advances in projection quality and capabilities.

Refl ection and brightness are being demonstrated with Canon’s Aspectual Illumination System (AIS) and LCOS technology, developed, according to the company, to enable exceptional contrast and brightness, and provide faithful colour realism and seamless images.

Casio is launching The Core, a new projector model for 2015 designed to make its laser and LED hybrid light source technology accessible for projects of any scale. The lamp-free device boasts a brightness of 2,700lm and a 20,000-hour lifespan, ensuring that presentations are bright and vivid with virtually no drop-o in brightness over the lifetime of the projector.

Receiving its fi rst public European showing, the Insight 4K LED projector from Digital Projection is said to be the world’s fi rst full 4K 3-chip DLP LED projector. Measuring 32.5cm x 70cm x 93.5cm, the projector is

claimed to be 40% of the size and weight of existing 4K projector solutions. The unit has full 4K 3D capability and utilises DisplayPort 1.2 to deliver up to 60fps 4K sequential input via single cable, or Dual Pipe input capability with two DisplayPort 1.2 cables.

Matrox will be showing its new C-Series multi-display graphics cards. The cards feature 2GB of on-board memory and secure mini DisplayPort connectivity. Matrox C680 supports up to six 4K/UHD displays – more displays can be supported

by inserting two C680 cards into a system. The board-to-board framelock feature ensures synchronisation of all displays to reduce tearing on digital signage and videowalls.

Panasonic will demonstrate its strengthened line-up of high-brightness, maintenance-free laser projectors, with the company’s fi rst 4K unit set to be introduced in Amsterdam. “4K is the new fl agship in

our projection line-up,” said Jan Markus Jahn, director of visual system solutions at Panasonic. “We are introducing a large-venue projector which features newly engineered, industry fi rst, pixel quadrupling technology.”

Peerless-AV’s Xtreme fully sealed outdoor display will prove its ability to function in severe conditions at the RAI, where a Triple Outdoor Menu Board confi guration will be positioned outside, at the Holland entrance by Hall 11. The display will be packed with features to overcome outdoor digital signage challenges.

Sharp is unveiling the PN-H701 70in 4K monitor. The PN-H701 is slim and o ers retailers crisp, vivid pictures for store displays and digital signage.

TriplePlay’s hardware-agnostic TripleSign Digital Signage platform now features 4K compatibility thanks to technology from media player specialist Shuttle, using its DS81 4K product, which will enable its users to add 4K to digital signage deployments.

“While 4K is not yet a mainstream requirement, it is widely acknowledged that many businesses will demand the improved quality it can provide for large-format display deployments. We have taken our time to weigh up options, ensuring

that when we go to market we have a genuine 4K solution that can be deployed in a cost-e ective, low bandwidth impact manner,” said Tripleplay CEO Steve Rickless.

Vaddio’s AV Bridge Matrix PRO, a complete professional AV solution designed to reduce the complexity of designing USB systems for meeting and lecture capture rooms that support multiple cameras and microphones, will be in Amsterdam. Based on Vaddio’s AV Bridge technology, the Matrix PRO adds audio and video mixing functionality directly into one box reducing the complexity of AV system design and implementation, while delivering the features and capabilities most sought after by today’s end user.

Claimed to be the world’s fi rst Full HD ultra-short throw projector with interactive fi nger touch control, the DH758USTIR is being showcased by Vivitek. It is designed for installation in classrooms and other environments where space may be limited. The projector can be extended with the optional Interactive Finger Touch module, which transforms the whiteboard into an interactive screen that can simultaneously sense up to four touch points on the screen. Two stylus pens are included for those who prefer them. The projector can project a 100in image from an ultra-short distance, avoiding casting users’ shadows on the screen.

30 IN INSTALLATIONFebruary 2015

VIDEO The Core is new from Casio

Digital Projection will debut the world’s fi rst full 4K 3-chip DLP LED projector

Peerless-AV’s Xtreme outdoor display will brave the elements in Amsterdam

Vaddio’s AV Bridge Matrix PRO

30-31 Install176 ISE Preview_Final.indd 1 23/01/2015 17:28

More than a dozen products for residential and commercial applications, including a new series of 4K/UHD extenders, switchers and matrixes, as well as the company’s first residential components designed to support HDCP 2.2 content protection, are being launched by Atlona at ISE 2015. The manufacturer of signal distribution solutions says it represents the largest new product launch in its 12-year history.

One important addition to the Atlona line will be components utilising HDBaseT 5Play standards. “System designers and integrators will appreciate the capability to route 4K/UHD video, audio, control, power and Ethernet over a single Cat5e/6 cable,” said Ilya Khayn, president and co-founder of Atlona.

Two new additions have been made to Adder Technology’s AdderLink Infinity range of keyboard, video and mouse extenders. The first, the AdderLink Infinity 2020, is built on the AdderLink Infinity Dual flexible KVM over IP system. Comprising a transmitter and receiver, the new dual-head, single-link system has been developed based on customer feedback, and is more aordable for those customers that don’t require the full functionality of the Infinity Dual.

The second release is an update to AIM (the AdderLink Infinity Manager). Version 4 features a new hardware platform that is more powerful than its previous server, as well as a sleeker design that should ensure it can be more e©ciently rack mounted.

A new Multi-Screen Seamless Switcher is the latest addition to Analog Way’s LiveCore platform. The Ascender 16 allows LiveCore models to display either two, four, or six true seamless layers per output.

It has 12 inputs with 42 source plugs (6 HDMI, 9 DVI-I, 3 DisplayPort, 12

3G/HD/SD-SDI and 12 Universal Analogue), and can handle any source from composite video, up to 2560 x 1600, and outputs a variety of formats, including HDTV, computer formats up to 2560 x 1600, and even 4K (an optional feature supporting 3840 x 2160 and 4096 x 2160 resolutions).

German manufacturer Guntermann & Drunck is presenting innovative KVM functionality to address the need for versatile signals and functions in the AV industry.

This includes the modular KVM matrix switch ControlCenter-Digital with dynamic ports. Users can decide which ports they want to connect as computers or user modules. The dynamic input/output cards can be used either with Cat cables or with optical fibres.

As a new addition, the I/O-Card-Multi allows the use of third-party non-KVM devices with the matrix and even switches their signals

together with standard KVM signals.

Showing for the first time in Europe are the VIA Collage and VIA Connect Pro collaboration solutions from Kramer Electronics. On a dedicated booth area, visitors will see how multiple participants can manage and share video, documents or files securely in real time using PC, Mac iOS and Android devices.

With the VIA Collage, Kramer says that files can be shared quickly and easily between participants or with all participants at once. The VIA Collage also allows for full 1080p/60

HD video streaming. The main unit has an HDMI input to allow the integration of an external video source. Up to six presenters’ screens can be dynamically displayed on a single display device and up to 12 can be shown simultaneously when two display devices are used.

The VIA Connect PRO allows users to share files, chat with other attendees and collaborate together on a shared document using the whiteboard feature from their own devices, in addition to being able to present their screens simultaneously.

New from Lightware is the UMX-TPS transmitter family, which includes HDBaseT extenders, wall and floor plates. These devices transmit multiple video formats at a resolution up to 4K, plus audio and control, up to a 170m distance over a single Cat cable. Designed for ever-changing

environments such as small boardrooms and classrooms, the wide range of features and supported formats is said to ensure flexibility, enabling seamless use in many applications.

Sommer Cable will be showcasing its Cardinal DVM 194 modular range of devices to enable automated standby activation for conference and training room systems. The series can be used both as a fully closed system and as an open solution with free interfaces. The devices are intelligent and will recognise each other within the network. All devices can be fully assimilated into the IP environment, have a LAN link out for structured wiring – a built-in 2-port 100 Base-T switch – and are based on the same controller platform.

CONNECTIVITY

Analog Way boosts LiveCore platform

The UMX-TPS is new from Lightware

G&D is focusing on KVM functionality

30-31 Install176 ISE Preview_Final.indd 2 23/01/2015 17:28


Making its debut at ISE 2015 will be the first model of Aimline’s ALX-Series of digitally steerable column loudspeakers that can be integrated into existing networks using Dante connectivity. The ALX-8 can be cascaded in up to six units in horizontal and vertical configurations. The speaker sports a heavy-duty aluminium enclosure with a slim design, and features Dante audio input and output.

Audio-Technica is expanding its networked audio oering with the ATND8677 Dante-equipped microphone desk stand. Removing the need for a separate standalone Dante audio interface, while adding an ‘on-stand’ switch and indicator functionality, the ATND8677 connects directly to the audio network via standard RJ-45 connector and structured cabling.

The LSS soundbar will be on the Audipack stand. A stereo or LCR loudspeaker solution designed for any size TV screen or videowall (it will fit from 90cm to 500cm) it

can be installed under or above the screen. It has an anodised, made-to-measure aluminium profile and can be used with any amplifier.

ISE 2015 sees the European launch of the I-Series high-power, high-output modular loudspeaker family from Community Professional.The series includes point-source, high-directivity, compact and floor-monitor models in multiple performance levels, providing modular scalability for a wide range of applications. Matching-height subwoofers, in sizes ranging from compact single 12in models to dual 18in models, complement the full-range I-Series models.

A highlight on the Gonsin stand is the DCS-2021 Distributed Congress System, which not only oers basic conferencing functionality such as registration, discussion and interpretation, but can also oer paperless multimedia functions via an app available for tablets and smartphones. It is available either wireless or wired. Gonsin

says that the system is a fully digital, scalable, versatile

platform-based congress solution for microphone discussion, interactive voting, language

distribution, attendance registration, camera tracking, digital recording and conference management.

One highlight on the Riedel stand will be the Tango TNG-200, the manufacturer’s first network-based platform supporting Ravenna/AES67 and AVB standards. Along with powerful processing capabilities, the Tango TNG-200 features two integrated Riedel digital partylines, two Ravenna/AES67- and AVB-compatible ports, two Ethernet ports, one option slot, and redundant power supplies.

Roland’s M-5000 live sound digital mixing console on a flexible new operating platform, O.H.R.C.A., is making its European tradeshow debut at ISE 2015. Roland says the platform embodies three key concepts: Open; High Resolution; and Configurable Architecture. This combination adapts to the

needs of the application and the operator by delivering 128 freely definable audio paths, a flexible user interface, expandable protocols and multiple-format I/O choices. All paths are delivered at 24-bit/96kHz sound quality. In addition to two REAC (Roland Ethernet Audio Communication) ports, the M-5000 has two expansion card slots to support a range of system configurations and audio transport protocols.

Symetrix will be co-exhibiting with its Dutch distributor Iemke Roos. Alongside a display of its established Dante-based DSPs such as SymNet Edge and SymNet Radius AEC, Symetrix will showcase an upgraded version of Radius 12x8. SymNet Radius 12x8 EX oers the same compact 1U footprint as its predecessor, with the added benefit of an expansion slot to future-proof installations. The expansion slot accommodates all SymNet I/O cards.

Claiming to have introduced the world’s first genuine paperless multimedia conference system in 2010 with the HCS-8300 Series, Taiden is taking the opportunity presented by ISE 2015 to showcase the latest

enhancements to the system. These include a 10in 1,280 × 800 multi-

touch capacitive LCD screen

with a display ratio of 16:10. Paperless conferencing file management allows viewing and editing of a range of document types with text guidance and desktop sharing. Multimedia support includes a number of HD video standards including SDI, HDMI, VGA, DVI and CVBS formats with VoD of up to 10 channels. 48kHz audio sampling is featured, with dual 64 audio channel selectors, while Taiden’s CongressMatrix technology enables the parameters of each microphone to be changed individually.

TOA is launching an iPad app for its M-864D digital mixer. The company says the app retains many of the capabilities and features from the original software, so input and output faders can be controlled together with channel status, memory selection and audio levels.

Also featured on the TOA stand is the AM-1 real-time steerable array microphone, which is designed to sit out of sight and allow users to move freely without worrying about their presentation becoming inaudible.

AUDIO

The LSS soundbar from Audipack

Community Pro’s I-Series will make its European debut

Roland’s M-5000 digital mixing console

Taiden has updated its HCS-8300 system

32 Install176 ISE Preview_Final.indd 1 26/01/2015 10:34


Gira will be showing its G1 compact unit – soon to begin shipping – which is designed to bring control of an entire building’s technology under a central operations point.

All KNX functions can be operated by touching or gesturing on the multi-touch display, which sports the new Gira Interface. This user-friendly graphic system features large fonts and easy-to-understand symbols on a 6in TFT colour display.

The team that invented the in-wall speaker has reunited to form a new company and intends to change the architectural speaker market. Jeremy Burkhardt and his

two previous partners at SpeakerCraft, Ed Hasse and Ken Humphreys, have reunited to form Origin Acoustics, which will be making its ISE debut this year and launching a host of loudspeakers. The 10 models that comprise the Composer collection of in-wall loudspeakers feature a new SpringLock mechanism that requires no tools, as the dogs are spring loaded and snap into place with a twist of a thumbnail. A new surround technology is employed on all the woofers in the collection. The X-Wave butyl rubber surround is actively involved in absorbing 700-1,400Hz

resonances that run up and down the woofer cone causing unwanted distortion.

ISE 2015 is providing the debut of the S7 installed multi-room music system from Systemline. S7 accesses a

wide range of online services, including BBC iPlayer, Tune-in and Spotify. It is able to store over one million music tracks, thanks to a 1TB hard drive. It oers 24-bit, 192k sound quality capability and enables auto CD ripping, including album art. It is operated by Systemline’s Net Music app, which also enables web browsing and social networking.

The SNP-2 Streaming Network Player from URC will be unveiled to European audiences for the first time at ISE 2015. Installed anywhere on the home WiFi network as part of a Total Control whole-house automation system, the player gives users instant two-way access to streaming music services such as SiriusXM and Pandora Internet Radio, thousands of

internet radio stations, their own music collection and stored music using Windows Media Player or My Music.

RESIDENTIAL

Installation is holding a Meet the Team drinks event from 16:00 to 17:00 on the second day of ISE 2015 (Wednesday 11 February) on stand 7-X195.

We have new faces on the editorial and sales teams since last year’s ISE, so please do come along and meet your new contacts.

There will be plenty to talk about. We will have copies of our new publication Tech&Learning UK, an end-user publication focusing for the education market. Additionally, we will have exciting news about the InstallAwards 2015.

It will also be an opportunity to find out about our feature coverage for 2015, and to discuss how to submit stories to the publication.

Installation has also produced the ISE Daily newspaper since its inception in 2006.

If you would like to attend the event, please email managing editor Joanne Ruddock - [email protected]

Meet the Installation team at ISE 2015 Stand 7-X195

Origin Acoustics will launch its Composer collection

The S7 system is new from Systemline



Apart from the sessions at the ISE Showfloor Theatres, places can be booked for these seminars and courses when you register for ISE. InfoComm and CEDIA courses have associated fees; however, InfoComm is oering free entrance to Members and Guest Members, while CEDIA members can redeem education vouchers to attend.

Make Your Meetings More ProductiveCommercial Solutions Theatre (Stand 8-M370)This is one of two half-hour sessions that first-time ISE exhibitor Microsoft will be presenting (the other is on Big Data). Frank Buchholz, senior partner/channel marketing manager, will discuss how Microsoft and its partners are focused on enabling productivity in any space where people come together to get things done. This session is on Tuesday at 11:30, Wednesday at 15:00 and Thursday at 10:30.

Selling LuxuryResidential Solutions Theatre (Stand 7-Z160)In this session, which takes place on Tuesday at 14:00, Jeremy Burkhardt, CEO of Origin Acoustics, will discuss how creating a sense of wonder and awe around the products that you sell can tap into what wealthy customers are looking for to set themselves apart from the masses.

Digital Signage Market BriefingsRoom: F102Each day of the show, Daniel Russell of Invidis Consulting will give an executive introduction and summary of the digital signage market in the EMEA region. Following a review of 2014, he will present the trends and drivers for 2015 in the digital signage market.

The briefings take place at 14:00 on the Tuesday and Wednesday, and at 09:30 on the Thursday.

Visual Collaboration Across the OrganisationUnified Communications Theatre (Stand 9-A140)

On Tuesday at 14:00, John Underkoer, CEO of Oblong Industries, will talk to Oblong customer Nigel Morris, CEO of Dentsu Aegis, about the importance of visual collaboration and the role of the user interface in shaping the future.

Five New Technologies That Will Change the IndustryRoom D203Joe Cornwall, technology evangelist at Legrand, believes that understanding the future is not about crystal ball-gazing, but using careful analysis and observation. He says: “If you want to know which devices you should plan for over the next five years

and what direction the AV industry will take, this session will be time well spent.”

This hour-long session is at 10:00 on Thursday.

Ecological Automation – the Basics of Energy Room D202

Are we overlooking energy eciency in the connected home, asks Daniel Knight, technical director of Fibaro UK? This CEDIA-presented course looks at the role technology can play in ensuring we use less energy in a smart, automated way. It will explore the current and future technologies used in energy management and will take a look at the opportunities oered by low-cost energy technologies. The course runs from 09:15 to 10:45 on Thursday.

Intro to AV NetworkingRoom E102This session, led by Darryl Bryans of Bose, will introduce delegates to technologies and future trends in AV networking. Hands-on workshops will expose attendees to Dante networking using a variety of components from participating manufacturers. It takes place on Tuesday from 10:00 to 12:30 and is limited to 50 attendees.

The HDBaseT Installer Expert ProgramRoom: G106This free three-hour course, presented by the HDBaseT Alliance, is targeted at installers and integrators who would like to learn more about HDBaseT technology. Content will include technology principles, installation do’s and dont’s and best practice. Attendees will receive the 2015 HDBaseT Expert Certificate at the completion of the course. It takes place on Thursday at 10:00.

Professional developmentHere’s our selection of the huge array of professional development opportunities available at ISE 2015 – presented by industry associations or by exhibiting companies


Key Pointsn Layer 3-based networking is more applicable to larger-scale designs at present

n Higher education establishments are among the growth applications for multiple networking solution providers

n Availability of compliant product should arguably be the rst consideration when deciding which networking technology to implement

38 BUSINESS FEATURE: AUDIO NETWORKINGFebruary 2015

Joined-up thinking

Somehow it doesn’t seem quite appropriate to assess the networking

technology year in terms of its ‘eventfulness’. Nonetheless, it is hard to resist describing 2014 as a highly eventful year for audio networking – possibly even the one in which we witnessed some form of tipping point away from traditional point-to-point

connectivity.Of course, many long-

serving technologies – notably MADI – remain in heavy usage. But with Audinate’s Dante continuing to record new licensees at a formidable rate (in excess of 180 at time of writing), ALC NetworX’s Ravenna starting to achieve market traction, and the AES67 networking standard providing further lustre to Layer 3-based networking, the impression

of a proper breakthrough is no mirage.

What’s more, the upward trajectory looks set to continue in 2015. A forthcoming control standard may complement AES67, while the AVnu Alliance – fl ag-waver for the audio-video bridging (AVB) movement – will benefi t from a certifi ed audio endpoint reference platform, a newly created Industrial market segment,

and a few additional members (namely Belden, General Electric and National Instruments).

But what about the situation at the ground level? Virtually everyone involved with networking talks about upping the educational e ort to reach more potential end-users – and few would deny the desirability of that. However, the early adopters among the integrator

community have already passed this point and are actively thinking about how to deploy specifi c networking technologies in their fi xed install projects.

To investigate the current state of the audio networking art, Installation decided that it might be insightful to address three specifi c scenarios and invite leading manufacturers to identify the initial considerations to be

What are the initial considerations that should be taken into account when planning anetworked audio system? David Davies explores three speci c scenarios in a bid to nd out

Symetrix Solus and Radius 12x8 processors handle lecture hall audio and online content streaming in classrooms in Trondheim’s leading centres of higher education

38-42 Install176 Feature 1_Final.indd 1 22/01/2015 12:39

FEATURE: AUDIO NETWORKING 39February 2015

taken into account when plotting a networked audio system. These, then, are the ‘headline’ priorities that should be heeded; sadly, there isn’t scope here to go in-depth into multiple design options.

The first scenario revolves around a mid-size conference facility requiring a comprehensive audio networking solution that is fully integrated and easy to use. Picture one large-capacity (1,000-seat) room and a smaller (500-

seat) space, along with respective control rooms and back oce areas. There should also be opportunity to expand the configuration relatively painlessly in the future.

A similar degree of flexibility is called for in our second scenario, which involves a multipurpose performance venue. Holding a capacity crowd of 1,500, the venue requires the ease of (re)configuration necessary to host everything from

stand-up comedy sets to full band performances. The networking scheme should cover all console positions as well as control and rack room areas.

The final scenario centres upon what is apparently a significant growth area for networking vendors: a college of higher education. Coverage of long distances is a particular priority for this environment, with the audio networking design needing to accommodate an auditorium (approximate capacity 800-1,000), two radio studios and a couple of classrooms. With the site expected to undergo a

development programme in the mid-term future, it should also be possible to achieve easy expansion of the system.

1) Conference facilityAndreas Hildebrand, senior product manager at ALC NetworX, highlights some of the key factors that would have to be taken into account when designing a networked system in a conference facility. “The first thing I would look at is whether my conference system is something that can live in a local network infrastructure,” he says. “If it is bound to the borders of a venue, you could potentially run a Layer 2 environment, which gives the option of using a technology like AVB. But if it needs to run across network boundaries, into several local area network

segments, then you need to look at a Layer 3 solution. Performance-wise you wouldn’t experience much dierence between a Layer 2 and a Layer 3-based solution.”

But, he continues, “current and future product availability would be another key issue here”. While Ravenna itself is a Layer 3-based technology successfully introduced in certain application areas (mostly professional broadcasting and high-end recording), Hildebrand admits that there isn’t much in the way of available, Ravenna-supporting

product suitable for conference applications at this time. “But it is certainly a market we are aware of and looking at,” he confirms.

Maintaining low latency would be another preference for conference applications, says Audinate CEO Lee Ellison, who highlights the ability to put together a Dante-based conference facility system using a wide variety of vendors’ equipment. “In terms of the conference market, [there is Dante deployment] for products from Symetrix, BSS, Biamp, QSC, Shure, Audio-Technica and others. There is also a wide selection of I/O boxes and suchlike to make it easier for the installer to connect, use and change the system,” says Ellison.

The general Harman philosophy, explains

Harman International senior manager for systems design Adam Holladay, is that “we don’t want to force the customer down a particular route. The emphasis, therefore, is on oering as many solutions as possible in order to meet the needs of a particular project – [not least] because in an installed sound system, certainly a larger one, we find that the IT network is often determined well in advance of the audio networking protocol.”

With that caveat in place, Holladay says that he would probably recommend a Dante-based deployment

of Harman equipment for conference applications. “In a conference venue, the Ethernet or network infrastructure will probably have been determined by an IT division beforehand. This would basically rule out using AVB, as the AVB solution we oer is only going to function on AVB-compatible switches, and at this time there are not many of those,” he says.

Suggesting a possible workflow, Holladay says that Dante could be used to network between Soundcraft consoles and BSS Soundweb signal processing. “For ease of use, I would then suggest our BLU Link protocol to daisy-chain between BSS and Crown amplifiers; in essence to turn the rack room into a large matrix taking the audio o the network. This

Pict

ure:

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lsen

‘We don’t want to force the customer down a particular route. The emphasis, therefore, is on

oering as many solutions as required in order to meet the needs of a particular system’Adam Holladay, Harman International


means that you can use the network for system-wide distribution, but then for processing audio from the processor box to the amplifier box, there is no need for audio from the network because they are right next to each other in the rack,” says Holladay.

“Where AVB has considerable merit is in a more self-contained system such as a house of worship which doesn’t face the issue of an external IT department. Here the self-policing of audio data on an AVB network would be of considerable advantage to the AV system designer.”

2) Performance venueAgain pinpointing some of the main requirements for a venue of this kind, Hildebrand says: “It would be good if the selected networking solution could oer some interoperability schemes. For example, this would mean it is possible to extract some of the individual streams for an OB van in the event that a performance is to be broadcast.”

This need for interoperability would probably lead the consultant and venue operator in the direction of a Layer 3-based solution. “While you could use some sort of bridging or gateway technology from the mixing desk to produce an output that is suitable for the OB set-up, the more natural approach would be to use a Layer 3 approach right away.”

The specific advantages of implementing Ravenna in this case, suggests Hildebrand, would be “a very high flexibility in setting up the streaming formats and adapting to the latency requirements”.

UK-based audio interface

specialist Focusrite is a long-term licensee of Dante technology. Invited to consider the roadmap for an installation of this kind, Focusrite product manager Will Hoult says that as a manufacturer of high-quality mic preamps “we would be looking

to add the number of boxes required to satisfy the channel count, then depending on what audio workstation is used we would be able to connect to it. So for example, if it’s a Pro Tools HD system we can bridge directly in to it with a 32-channel RedNet 5 interface.”

Any such venue will inevitably include a mixing console as part of the network, “and we provide bridging interfaces that allow people to use pretty much any console, whether it has a network connection or not. It’s worth noting that one of the drivers behind developing the AES and MADI bridges that we now oer is to be able to connect equipment that is not endowed with a network port, to a Dante network.”

While network design is inevitably impacted by the maximum Ethernet cable length of 100m, Hoult points to the availability of fibre modules that allow the user to cover much greater distances. “For example, you can easily get an SFP fibre module for most switches capable

of achieving a single mode fibre connection up to 40km long, which allows you to [bring the network] to a variety of dierent areas,” he says.

3) College of higher educationIn a large, potentially cross-

campus deployment as might frequently be found in an HE facility installation, a Layer 3-based solution may again be preferable. “You would probably go Layer

3 as you would need to route audio, video and data across network boundaries,” says Hildebrand. “You rarely have a facility like that sitting on a single, big local network segment, so you would need routing capabilities, and that means you need Layer 3.”

He continues: “If wide area connections are also part of the set-up, the networking solution needs to be capable to oer high flexibility in the choice

of operating parameters on individual routes to dierent destinations in order to deliver satisfying performance with the lowest possible latency, matching the individual jitter characteristics of the various WAN routes.”

Holladay confirms that, once again, “in a college of higher education the chances are that the IT specification is not going to be under the audio designer’s control. Since it is highly unlikely that the IT department would have chosen a [Layer 2-based] AVB-compatible switch as there are relatively few of them, that means a [Layer 3 design] would be the preferred option.”

In a college of higher education, remarks Hoult, the ability to deliver audio quickly and eciently

40 FEATURE: AUDIO NETWORKINGFebruary 2015

Case StudyUniversity of Sydney achieves Dante destinyDeveloped to accommodate students of disciplines including pharmacology and microbiology, the new Charles Perkins Centre at the University of Sydney is the very denition of a cutting-edge educational establishment.One of its centrepieces is the X-Lab, a 40m x 20m space that seats up to 240 students across eight distinct classes. Audio-wise, the conguration of the lab meant that using a single speech reinforcement system was not viable; a traditional headset-based set-up was also not desired given the moisture levels in the ‘wet lab’ environment.Drawing inspiration from London Metropolitan University where live lectures are digitally recorded and wirelessly streamed to radio headsets, Paul Menon and his team at the University of Sydney partnered with systems integration rm Fredon Technology to accomplish a solution with two distinct stages: ecient distribution of targeted lecture audio to students over a standard network infrastructure; and intelligible speech reproduction from overhead speakers without bleeding into neighbouring classes.At the heart of the nal design is an Audinate Dante network, with Symetrix SymNet DSPs specied for their DSP and high channel output capability. “Dante is a Layer 3 system leveraging the existing network infrastructure, which saves on audio-specic cabling,” says Menon.The Symetrix architecture includes a Radius at eight instructional locations, each feeding to a Radius EDGE that routes Dante audio to a central amplier rack. From there, the audio is distributed to 45 loudspeaker zones that deliver highly directional audio to student workstations. Dante-enabled Shure Microex Wireless Microphones are also part of the set-up.

‘While you could use some sort of bridging or gateway technology from the mixing desk to produce an output

that is suitable for the OB set-up, the more natural approach would be to use a Layer 3 approach right away’

Andreas Hildebrand, ALC NetworX


42 FEATURE: AUDIO NETWORKINGFebruary 2015

where it is required is an obvious benefit. Once again, he suggests, a Dante-based deployment can come into its own in this environment. “Often a college would be looking to move the audio equipment around the facility on something like a 12U rack, and in that regard the ease of use of Dante makes that a real possibility,” he says. “It’s based on the identity of devices rather than their physical location, so it remembers which device audio was being received from previously. It might now be in a completely dierent location, but audio would still be received properly, and that makes a mobile rack-based approach – something that would be ideal for an HE college – trivial to achieve.”

Time of transitionAnecodtal evidence aside, it is quite dicult to ascertain

precisely how widely the newer technologies are being used in real-world applications. But the experience of interface, conversion and routing technology products developer DirectOut does underline the current transitional state.

The company is currently completing work on its first Ravenna-based product – “we are finalising that now and expect to be able to announce more details shortly” – but DirectOut CTO Stephan Flock confirms that MADI conversion technology remains the bedrock of its current oer.

“It’s a slightly odd situation to be talking about the benefits of MADI at the same time we are also pursuing the road of audio over IP,” admits Flock. “But with MADI, you have defined point-to-point connectivity and

Case StudyEICC boosts exibility with new Optocore networkAn Optocore bre distribution system has been specied by Theatre Projects Consultants (TPC) and installed by Northern Light at the Edinburgh International Conference Centre’s (EICC) new Lennox Suite. The bre routing matrix is in keeping with the requirement of the multipurpose suite to transport a number of di¡erent signal protocols within a exible environment.The suite, measuring 1,600sqm, represents a multi-level expansion of the existing EICC, complete with a glass atrium and additional event spaces. This versatile facility contains a recongurable moving oor, which rapidly transforms the space from a at oor to a fully raked auditorium, as well as making it operational in both arena and tiered cabaret modes. It can also be split into a total of three rooms or run as a single space in the various di¡erent formats.Northern Light won a competitive tender to equip the facility for audio control, data and video, linking the sound and AV systems to the original building. The company also provided the production lighting dimmers and control systems.TPC’s lead consultant, Mark Ryan, had recommended an Optocore solution early in the process, based on its ability to work with various formats such as MADI, AES and analogue. A routing matrix was duly constructed, with assistance from the German company’s support engineers.“The main benet the Optocore system o¡ered us was to automate the reconguration of the AV system to match the possible layouts of the room,” said Ryan. “This allowed the sound and video comms system to be as exible as the spaces it served without having to double-up on cables and equipment.”The signals are distributed digitally (via AES3) from the stage box to the ampliers, with the ability to input and output analogue as needed. This is implemented over Cat5 via three Optocore X6R-TP-16MI and X6R-TP-16LO SANE devices, and X6R-16AE into a Yamaha DME64 mix engine, which handles the

day-to-day routing of the desk outputs in the di¡erent formats.MADI outputs from the three DiGiCo SD8 digital desks are routed to the amplier racks via

DD4MR-FX digital interfaces, which provide 128 coaxial MADI I/O channels with SANE and Ethernet.

Christian resource provider David C Cook installed the world’s first active point-source loudspeaker with Audinate’s Dante audio networking available onboard in its eponymous publishing building. The space is used for many applications, including business meetings, overseas live videoconferencing, and chapel services

very low latency. There is also the fact that it is a standard with a weight of history behind it, and it is very open with regards to selecting equipment and putting together a system design. There is a sense of reassurance that you are going to have a compatible way of working, and that can still be a challenge with networked solutions.” And that, in a nutshell, is why MADI will doubtless remain an integral part of the landscape for many years to come.

But as the above responses indicate, Dante, in particular, is now

making dramatic inroads into all manner of install applications. Dependable, Layer 3-based networking is bringing unheralded flexibility to the built environment – so expect to see it applied widely to many more than the three scenarios outlined in this feature.

www.alcnetworx.dewww.audinate.comwww.directout.euwww.harman.comwww.symetrix.cohttp://global.focusrite.comwww.optocore.com


Key Pointsn Innovations in the industry come about through a continuous dialogue between show operators, manufacturers and integrators

n Show control systems are becoming more pervasive as they become more a ordable and easier to use

n Show control systems are evolving beyond control of the audible and visible to play a key role in attraction management

n Adapting new technologies is key to improving visitor experiences – but not at the cost of reliability

44 TECHNOLOGY FEATURE: SHOW CONTROLFebruary 2015

Attracting innovation

Here’s an interesting thing. Google ‘What drives innovation?’ There are, it seems, a number of

factors. Risk-taking. Failure. Diversity. Competition. Inspiration. It takes a while before you come across the suggestion that customer needs drive innovation. That’s always been a conundrum in the technology industry: do we want things before manufacturers create them for us – or is it only when we see the new, bright, shiny object that we realise we want it?

“For Alcorn McBride, it is 100% customer-driven,” according to the company’s director of sales, Scott Harkless. “We make it a high priority to stay current on the latest technologies so that we can include them in the solutions our customers ask for, but our customers drive our development path. Sometimes they directly

communicate their needs and other times we realise the needs by observing how they use our systems in real-world applications. Either way, the inspiration comes from them.”

Tobias Stumpfl , commercial director at AV Stumpfl , agrees. “Show control is defi nitely a

market which is driven by visionary customers and a strong aim for reproduction of successful applications,” he says. “Technology development is based on market requirements.”

“The starting point of a project is the request of a

customer,” echoes Henry Corrado, founder of Tejix. “Creative people turn it into an attraction concept. While we communicate with clients and artistic directors about new technologies, a show only based on new technology is unlikely to have a long life expectancy.”

What’s possible?And there’s the conundrum – the ‘chicken or egg’ question. Customers may know what they’d like to achieve for their show – but that requirement almost certainly needs to be bounded by an appreciation

of what’s possible. As such, it’s a valuable service that manufacturers and integrators can provide – to ensure their customers are kept updated.

There is also little doubt that innovations in shows can be driven from ‘the other end’: a customer sees what’s possible, and that shapes the requirement. Fredrik Svahnberg, general manager, project sales division at Dataton, describes a real-world case.

“I think that innovation is driven by creative pioneers,” he says, “although manufacturers and integrators are both fast and profi cient at adapting existing technology or possibilities, and providing the solutions. Take projection mapping for instance: at some point, someone had an idea, grabbed a bunch of projectors, and started testing. Years later, the technology is all in place

Theme parks, visitor attractions, museums and so on are in the business of creating extraordinary experiences – and technology has a role in delivering them. But what’s driving innovation in the show control industry? Ian McMurray nds out

and projection mapping is mainstream. It’s a symbiosis, but you need those pioneers who see the potential before anyone else.”

There is, of course, no right or wrong answer: the reality lies somewhere between the two.

“It’s is a mix of both, actually,” believes Alex Carru, CEO of Medialon. “Designers are very creative and often ask ‘Can you achieve this, or this?’ – but, as a manufacturer, we always come up with new

Behind the new audiovisual centre at the monastery at Montserrat is an AV Stumpfl multimedia presentation system

‘The show control system is becoming a kind of

meta controller aiming at making the visitor

experience better’Alex Carru, Medialon


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45 Install176 AD_v1.indd 1 23/01/2015 17:49

46 FEATURE: SHOW CONTROLFebruary 2015

technologies and ideas that we propose to creative people. They will just keep it in mind and one day they’ll have a project where they will use it.”

As Steve Jobs said: “It’s hard for customers to tell you what they want when they’ve never seen anything remotely like it.”

Prosaic realityIt’s not just about the desire of visitor attractions, for example, to create new and exciting experiences – nor about the ability of manufacturers and integrators to innovate. The reality can be more prosaic – such as when new technologies become su ciently established and reliable that they become a ordable and attractive to new classes of customer.

“You no longer have to be a major theme park to control aspects such as lighting on a park-

wide basis,” points out David Willrich, managing director of DJ Willrich, “as developments in all aspects of lighting control and the ability to network in a more reliable and cost-e ective way have opened up many more opportunities within displays and attractions.

“Without doubt, show control costs have dropped signifi cantly over the years, particularly as show

control has become less dependent on custom equipment and more dependent on computers running proprietary show control software,” he goes on. “This means that there is a greater

use of show control in general, particularly in museums where more can be done in terms of general programming to improve overall visitor fl ow and experience, rather than leaving everything to local triggers such as PIR detectors. Lighting and sound can be programmed in a much more sympathetic and exciting way to deliver more immersive and informative experiences.”

Carru sees a similar evolution. “In museums and, to a lesser extent, in theme parks also, we see the show control system being connected to RFID for mass customisation and collecting data to provide information about the way visitors are acting and responding, which exhibits are successful and so on,” he says. “Increasingly, it’s being connected to the ticketing system and to sensors to organise the fl ow of visitors, and it’s being interfaced with the museum website where visitors can customise their experience. The show control system is becoming

a kind of meta controller aiming at making the visitor experience better. ‘Everything over IP’ is enabling this.”

Combining resourcesThe show control industry inevitably benefi ts from – and is sometimes challenged by – developments in the wider audiovisual industry, as Svahnberg notes.

“Show control isn’t just about the show control system,” he explains. “Today, show control is provided by a combination of resources with the logic engine and the control interface at the core, surrounded by a whole range of components such as the media servers, display technology and technology for interaction. The last couple of years have seen some big steps forward: for example, media servers have become more interactive. What’s more, everything can be done in real time now. This was just about possible two years ago, but certainly not to the same degree as it is today.”

“In more advanced applications,” he continues, “there are elements that

Brookfi eld Offi ce Properties’ new corporate headquarters in New York features an ultra-high-resolution videowall comprising 36 ultra-narrow bezel 55in screens driven by Dataton’s WATCHOUT multi-display system

Case StudyAlcorn McBride behind latest Vegas attraction The High Roller, the world’s tallest observation wheel at 550ft, has opened in Las Vegas. The visitor experience includes a video and music show that is controlled by a range of Alcorn McBride’s o erings.When visitors arrive at the wheel’s pre-ride building they meet Lucas, the narrator of the High Roller experience. Two Alcorn McBride A/V Binloop HD units feed monitors throughout the facility. In the security area, visitors see ve consecutive portrait-mode monitors where Lucas’s image is locked together and interacts with ve di erent feeds of himself. The departure concourse houses a 270º curved screen measuring 37m x 4m. Six video projectors display a giant edge-blended image across the screen. Moving lights enhance the space and a 12-channel plus subwoofer sound system delivers the audio. All of the imagery and audio are run from Alcorn McBride V16 Pro and LightCue Pro systems.Each cabin on the High Roller has a dedicated V16 Pro and A/V Binloop HD, which feed eight monitors wrapped above the windows of the cabin. They display content relevant to the position of the wheel at that moment, such as what sights visitors are seeing and how high in the air the wheel is. Dedicated AM4 units in each cabin play background music and announcements. All 28 cabins talk back to another V16 Pro on the platform that sends information to each cabin when the wheel is rotating.


47 INSTALL176.indd 1 16/01/2015 15:34

48 FEATURE: SHOW CONTROLFebruary 2015

can now realistically be achieved, such as motion tracking, dynamic edge blending and so on. All these technologies are becoming more accessible to a wider audience.”

Other wider developments – such as the growing BYOD trend in, for example, videoconferencing – represent an opportunity for shows, but can be challenging.

“With BYOD, it’s all about the flexibility of the show controller,” claims Harkless. “The majority of the time, the BYOD is a smartphone – so this means the ability to integrate with web services that allow guests to send messages or vote. The show control programming needs to be flexible enough to change the guest experience based on that information.”

“BYOD is picking up pace,” observes Willrich. “However, for some museums it presents a moral dilemma as not all visitors have or can aord the devices needed and would need to rent them for their visit.”

Harkless notes that increased user-friendliness in user interfaces is also helping show control

systems appeal to a broader customer base previously intimidated by their complexity. Ease of use can also have other positive implications.

“Operators and integrators are both becoming more and more

aware of total cost of ownership,” notes Stumpfl. “Compared to the costs arising from operation, maintenance and support, the initial investment costs are usually negligible. One can save a lot of money when looking at total costs of ownership/operation of the dierent solutions.”

Carru agrees. “Customers

are concerned by price, of course,” he says, “but basically, in most installations, the price of the show control system is a fraction of the cost of the installation, and reliability and capability are more important than

price. We’re not seeing any significant erosion in terms of pricing of our systems; what we’re doing, though, is oering increasing amounts of functionality for the same price.”

It is, then, not just about new technologies – it’s about existing technologies becoming more pervasive, more reliable, more cost-

eective and easier to use. Of these, reliability is probably the most prized attribute – which can mean that show operators prefer to wait for new technologies to prove themselves. Manufacturers and integrators in the show

control industry are acutely aware of this, and the role of technology.

“Regardless of what technologies are hot or upcoming, our customers tell us – time after time – that what is most important for them is that the technology they use is reliable and that the workflow is easy and cost-ecient,” says Svahnberg.

“Guests don’t go to theme parks, museums and so on for the purpose of seeing new technology,” smiles Harkless. “They go to have an experience that they can’t find anywhere else. When the technology within an attraction is implemented correctly, the guest shouldn’t even think about it because they should be wowed by the experience as a whole. The best way that show control can wow guests is by being reliable and performing the tasks that the creative designers of the attraction ask of it day after day.”

“The best technology cannot substitute a good story and its media production,” adds Stumpfl.

“Guests can be wowed by technology only once,” avers Corrado. “What makes them return is meaningful experiences, not technology showcases.”

Whether it’s customers who drive innovation in theme parks, museums and so on or whether it’s technology that drives it doesn’t really matter. What matters is the engagement and dialogue between customers, manufacturers and integrators that ultimately helps to create visitors who are satisfied – and, as often as not, amazed.

Case StudyMedialon at the heart of San Antonio’s history San Antonio|The Saga is a 24-minute journey through the history of the seventh-largest city in the United States. Imagery by video painter Xavier De Richemont is projected on the 700sqm façade of the San Fernando Cathedral – the home of the remains of Davy Crockett – in the heart of San Antonio, Texas. The show was integrated by XYZ Technologie Culturelle.All the control, playback and projection equipment is installed in public spaces and protected inside climate-controlled vandal-proof enclosures. The entire system is synchronised and automated by a Medialon Showmaster LE embedded show controller. The system powers on automatically, performs a self-check of all equipment, and runs the show three times per night, four nights per week, all with no human intervention. The Showmaster LE manages two Panasonic projectors, an XYZ Video Server, two coolux media players, two Meyer-powered column speakers, and an XYZ control PC, automating start-up and shutdown, as well as synchronising all devices for the show’s playback. Scheduling is handled by Medialon Scheduler software running on the XYZ control PC. The show runs automatically without an operator. For technical support and troubleshooting, the control system can be accessed locally as well as from XYZ’s headquarters in Montreal.

www.alcorn.comwww.avstump.comwww.dataton.comwww.djwillrich.comwww.medialon.comwww.tejix.com

‘The best way that show control can wow guests is by being reliable and performing

the tasks that the creative designers of the attraction ask of it day after day’Scott Harkless, Alcorn McBride


Key Pointsn The majority of individual system networks are being consolidated on the internal IP backbone, making it easier to access data

n Intelligent building management requirements should be considered at the earliest stages of design

n Collaboration with complementary service integrators can open doors to major integration projects

n 70-80% of all buildings will be re tted with smart systems of varying degrees of ability, presenting massive opportunities to integrators

n AV system integrators are ideally placed to o er skilled integration services and already understand communication and programming concepts involved

50 BUSINESS FEATURE: SMART BUILDINGSFebruary 2015

Intelligent working

Throughout history there have been numerous examples of new technologies that have rolled

along almost unnoticed for a period of time before suddenly creating radical change to the established order. It is likely that we are approaching the tipping point for smart buildings.

Bob Snyder, content chairman of the Smart Building Conference, which returns to ISE for its third Amsterdam edition this month, believes this to be the case: “The primary instigators to the creation of smart buildings are the widespread need to connect separate services and utilities onto a common

IP backbone, along with a demand for better internal services and work environments. Even though individual systems do not exhibit commonality of language, the fact that they are present and accessible on the same network means they can be linked in an integrated and all-encompassing solution.”

The question, then, is who is best placed to take advantage of this trend and expand their service o erings to realise greater return on investment?

It is not necessarily the large corporations and manufacturers that supply the largest elements of building management. Says Snyder: “You don’t need to

AV system integrators are ideally placed to o er services to help the construction industry create smart buildings. Steve Montgomery asks how they can enter this lucrative market

build a product or system to be able to integrate it. The trick is in understanding how to take data from a variety of sources and use it to control individual systems.” This places the AV integration community in an ideal situation. “AV people are ideally placed to make the bridge between systems: HVAC, energy, access control, security lighting and so on and make them talk to interact with other through a single control interface and access point; techniques they have been practising for years.”

Position of infl uenceOne of the major obstacles facing the AV integrator is being able to infl uence the tripartite combination of building owner, architect and systems engineers involved in the initial design and development of the building and its infrastructure. “Buildings contain a multitude of separate systems that are controlled from a limited number of access points. At best, there may be a combining control application that simply brings them together to a single point – it doesn’t combine and integrate them,” says Mark Tallent, international product manager, lighting and building controls for Crestron. “It is only when total integration is considered from the early stage of design that it can be achieved. Unfortunately the AV element is often perceived as a fi nal ‘add-on’ to the internal fi tting out of the building, which means it is harder for integrators in our industry to get involved.”

He sees education as part of Crestron’s role. “The AV industry has always dealt with a broad spectrum of knowledge and with

The Shanghai Tower, now under construction, will utilise automated shade control and solar adaptive software throughout its 121 occupied fl oors. The structure, designed by Gensler Architects, uses more than 13,000 automated shades and hundreds of wireless window sensors to ensure that shades can respond to local daylight conditions

Picture: Gensler


52 FEATURE: SMART BUILDINGSFebruary 2015

the ability of our Series 3 controllers to interface at a native level with proprietary building networks such as BACNet and DALI over IP we have a provided a gateway to link a wide range of systems together and we are taking that message to the construction industry.”

It is essential that the integrator is brought into the project at an early stage in order to achieve total integration. “The BMS and large control systems are often selected and installed months, if not years ahead of the AV system,” says Jonathan Mangnall, VP of sales for AMX. “However there is a move towards creating highly ecient workplaces for an agile workforce used to fast connection and instant response in their home systems. Project teams nowadays comprise corporate real estate, facility managers, HR and IT teams and greatly influence the operational design of the building and the way it fits together. Our approach is to understand what those dierent people care about and develop solutions accordingly.”

In the shadeAutomated shading is becoming a prerequisite in buildings, “particularly in glass-fronted modern designs where sunlight streams in,” says Guy Simmonds, managing director of MechoShade Systems UK. “Automated control of the solar shading is regularly integrated with the BMS to ensure maximum benefits in the control of solar heat gain, the resulting saving through optimisation of HVAC, and the ability to harvest available sunlight and reduce artificial light accordingly. The overall eect is enhanced eciency and performance, providing a more comfortable environment for users.”

A method of entry into the industry for AV integrators is to collaborate with companies that already specialise in complementary building service elements, as Snyder points out: “No industry has more elements in smart building integration than pro-AV/lighting/IT integrators; however there is an advantage in teaming with similar-sized companies to cover areas in which

they are not skilled, such as energy management and access and security systems. This can provide lead-in to projects.”

The real market opportunities could still be some way o. “It’s important to start with the big wins first,” warns Joe Short, CEO of Demand Logic, a company that deploys data analytics to identify energy-saving and operational strategies in large buildings. “There are still major ‘energy insanities’ to be found in the way the large central plant is controlled in many buildings. But once this low-hanging fruit has been picked, focus can rightly move to micro-level behaviour change and a host of smart integration

solutions. “There are significant

opportunities to bring about behavioural change through the application of cross-service, integrated and intelligent building management. These aren’t widely understood by the construction industry so there will be opportunities for integrators who can combine system control and management with a good user interface further down the line and that will lead to buildings that actually work in the way we all want.”

Jim Young, founder of Realcomm Group, a research company at the intersection of technology, innovation and real estate operations, agrees that a new approach is needed: “A new way of thinking about real estate operations: overlaying an IT network, connecting all our traditionally unconnected equipment, monitoring, analysing and controlling business processes without human intervention, will lead to much better managed assets, which translates to happier occupants and improved finances. The technical requirement to design the network infrastructure, acquire and analyse data and configure the automation may be a skillset that a traditional facility manager may not possess, yet these capabilities would have a

profound impact on anyone in charge of facilities, energy, sustainability and others. This presents an opportunity for an holistic, comprehensive company-wide approach where everyone understands the big picture and aligns within the organisation to meet not only their individual departmental needs, but also the overall strategy.”

Despite the abundance of opportunities that lie in delivering integrated and highly automated buildings, there is a dearth of solutions. The AV community is extremely well placed to deliver services and can present a compelling story. Eort invested in cultivating relationships with complementary service providers and identifying and approaching decision-makers, early in the design process – whether architects, owners, facilities managers, users or others – could potentially pay dividends in future business opportunities. The tools and capabilities already exist for AV integrators to enter this market.

Freely definable KNX light scenes contribute to the success of the events held in the 2,500sqm atrium of the administrative office of HDI Gerling

www.amx.comwww.crestron.comwww.demandlogic.co.ukwww.mechoshade.comwww.realcomm.comwww.smartbuilding conference.com

Case StudyIBM HQ streamlines building servicesIBM’s new headquarters building in Stuttgart is equipped with an integrated workplace management system that uses intelligent concepts to manage site services. Hundreds of sensors measure the current indoor and outdoor temperature, the status of various devices, energy and water consumption, internal lighting, humidity, the amount of sunlight penetrating the building, CO2 emissions, the strength of the wind, the building’s heating and cooling eciency and other levels. Data is sent in real time to the central system, which consolidates, processes and automatically evaluates it according to dened rules and limits. This helps identify abnormalities and take advantage of the cheapest and most environmentally friendly energy mix through the site BMS.


TECHNOLOGYKit you need to know about This Month

New Products p56

Demo of the Month:K-array Firenze

arrays p58

Showcase: Cabling and connectors

p60-61It’s… a high-resolution, large-scale indoor display.

What’s dierent? It’s claimed to be the world’s rst front installable and front serviceable 2.5mm LED display.

Details: The display is designed for use in boardrooms, command and control centres, and other areas where clear and up-close viewing is required, and comes with a corner-to-corner six-year warranty.

Having had success in the US, NanoLumens is making its European show debut at ISE 2015. “The European market is a major priority for us in 2015. Last year, we opened our rst UK sales oce. This year we are exhibiting at ISE for the rst time, and we are bringing with us the next generation of our product development — NanoSlim Engage,” said David DaCosta, NanoLumens’ VP of EMEA.

“Four years after introducing our rst commercial product in 2011, we are poised to create scalable visual solutions that result in immersive consumer experiences that businesses need and consumers crave in our increasingly mobile, interconnected world,” added NanoLumens CEO, Rick Cope.

NanoSlim displays accept input from nearly any device or content management system and have a prole of only a few inches, meaning they can be installed on virtually any surface without being obtrusive,

In addition to the NanoSlim Engage, NanoLumens has an extended line-up of LED displays including the NanoSlim, NanoCurve, and NanoWrap, which feature bright, seamless high-resolution picture quality viewable from any angle without colour shift or image distortion.

Available: Q1 2015

NanoLumensNanoSlim Engage

www.nanolumens.com

Product of

the month

55 Install176 ProdOfTheMonth_Final.indd 1 23/01/2015 17:33

It’s… A compact high-performance powered speaker system.

What’s dierent? Despite its compact design, the DN-304SAM delivers wide-range high-output sound for all-day use in professional applications such as meeting rooms, educational settings and retail kiosks.

Details: The DN-304SAM system comprises two acoustically inert MDF speaker cabinets, each containing a 4in polypropylene-coated woofer and a 1in ferro uid-cooled tweeter mounted to a proprietary waveguide. The left speaker contains the system’s stereo amplier, rated at 20 dynamic watts per channel. The amplier utilises class A/B architecture, providing exceptional clipping headroom compared to conventional powered speakers and contributing to the sound quality of the DN-304SAM. A 3.5mm stereo input jack lets users quickly connect auxiliary audio sources, while a headphone output allows private listening.

Available: Now

It’s… A new visualiser designed for classrooms, lecture theatres, boardrooms and auditoriums.

What’s dierent? The DC450 is one of only a handful of visualisers on the market that has dual VGA and HDMI inputs and outputs. The addition of an HDMI output enables teaching sta to show full 1080 high-denition quality video and audio – users simply need to position items under the camera, connect it to a projector and show everything on the big screen live.

Details: The DC450 boasts a shooting area of A3 landscape (297mm x 420mm). The device also features a rotating camera lens, which allows the presenter to place the item being captured the same way up as the image that is projected. Users can rotate the lens to change the orientation or rotate the image in software using SMART DC.As well as visualising 3D objects and text, the DC450 can turn lessons into video through its recording feature. These videos and photographs can be used in future presentations by saving them to the on-board memory or to an SD card, or transferring them to a PC or laptop using the supplied USB cable. With both VGA and HDMI inputs and outputs, the DC450 will connect to most devices.

Available: Now

DenonDN-304SAM

OptomaDC450

www.denonpro.com

www.optoma.co.uk

56 TECHNOLOGY: NEW PRODUCTSFebruary 2015

Calibre LEDView325DS

The latest model in the LEDView range of LED videowall optimised image

scalers is designed for digital signage projects. It features Calibre’s pixel-accurate per-edge image resizing algorithm which allows each edge of the picture content to be independently dragged to the correct position on the LED videowall. There is also per-input colour calibration capability to ensure client content looks how the client wants, with control of RGB gains and blacks as well as saturation and hue even on digital computer-originated content. www.calibreuk.com

Extron IPL Pro CR88, IPL Pro IRS8

The IPL Pro CR88 control processor features eight contact closure inputs and eight relay ports, while the

IPL Pro IRS8 features eight one-way IR/serial ports. These compact IP Link Pro control processors are loaded with features inherent to the IP Link Pro family, including more power, speed and memory, as well as Ethernet control and enhanced security. They are compatible with TouchLink Pro touchpanels and are suited to take advantage of the advanced conguration options within Extron’s Global Congurator Plus and Global Congurator Professional.www.extron.com

Gefen DVI ELR over One Cat5

The DVI ELR (Extra Long Range) Extender over One Cat5 (EXT-DVI-1CAT5-ELR) provides a cost-eective solution for

longer-range transport of uncompressed DVI using HDBaseT. It supports resolutions up to 1920 x 1200 WUXGA and extends DVI up to 150m using just one Cat5e cable, which is 50m further than previous solutions. Its green operating mode helps preserve power when the product is not in active use. Surface-mountable enclosures allow for an easy and secure installation, while locking power supply connectors ensure an uninterrupted performance. www.gefen.com

Audio Everywhere Audio Everywhere

Audio Everywhere has developed a solution for delivering high-quality sound from any source via a free downloadable app for iOS

and Android devices. Audio Everywhere is powered by a media appliance that connects to multiple televisions or other sources and operates over standard WiFi. The app is customisable and provides the capability to place streaming video or advertisements when the app is launched or at specic times and can also be easily embedded and skinned to integrate into a company’s existing app.www.audioeverywhere.com

56 Install176 Products_Final.indd 1 22/01/2015 12:49

K-array has a dierent take on line arrays – a vertical array in which each element can be individually angled. Paddy Baker went along for a listen

Thin speakers, full sound

One of the better aspects of my job is the occasional opportunity it aords to visit world-renowned concert halls and listen to

music in near isolation. This thought was going through my head as I walked along one of the rows in the circle of London’s Barbican Hall last month, at a Sennheiser UK-organised demo of K-array’s new Firenze loudspeakers. With everyone else in the stalls below, I struggled to resist the temptation to sing along rather than listening to the quality of the sound and the evenness of the coverage.

Francesco Maei, product specialist at K-array, presented the new system, which consists of just two models: the KH8 mid-high cabinet and the KS8 subwoofer. The self-powered KH8 combines digital beam steering and hardware tilting in the same cabinet. Instead of exhibiting the usual banana shape of line arrays, the KH8 arrays hang vertically; the desired coverage pattern can be obtained by setting the angle of each individual element.

Created with financial assistance from an EU fund aimed at tackling noise spillage, the range was launched in October, but beta testing, in Italy and China, started more than a year ago. The week ater this demo, Maei was heading for the US to show the system there.

Even coverageWalking around the Barbican Hall, which seats 855 in the stalls and 767 in the circle, it was striking how even the coverage across the whole of the auditorium from two hangs of six KH8 (plus a KS8 subwoofer). A number of dierent styles of music were played through the speakers: it handled most styles of music well, reproducing with clarity at high SPL, although an intimate Diana Krall jazz vocal number produced a slightly less satisfactory experience.

Each Firenze KH8 enclosure features eight built-in DSP channels and a total of 20 transducers. Shaping of the wavefront and all beam steering and coverage optimisation is performed electronically by filters calculated by FIRmaker, the sound optimisation tool developed by German pro-audio software company AFMG. Its quoted frequency range is from 60Hz to 18kHz, and maximum SPL is 145dB.

The KS8 sub just tops this, at

148dB. This features IPAL driver and amplifier technology, which allows real-time acoustic correction with just 10us latency.

“We believe Firenze will be interesting for installation in big clubs, but our first target is rental,” said Maei. The KH8 cabinet is protected to IP45 and the electronics inside to IP65 – and the system has already proved itself capable of withstanding sun, rain and mud at festivals.

Maei continued: “It’s weatherproof, so thinking about outdoor installations, this is something that can live in the rain, under the sun, for many years. And in clubs, for example, it stays straight, so it’s easier to integrate into the design of the room. And it’s loud! Especially the subs

– what we have seen in clubs is that they were really happy with just four subs for a big dancefloor. It’s also smaller than competitors, and can make good coverage with just three panels per side.”

The KH8 speakers are anchored in groups of three within rigid frames, cabled together. These can be connected quickly to create longer clusters; only two cables need to be connected from each frame to the next. This means that, according to K-array, one person can fly a 12-speaker cluster in 10 minutes.

Two types of adjustment Once the speakers are hung, the coverage pattern can be adjusted physically or by using the software. According to Maei, errors of up to 5º can be corrected

using the software, but for larger adjustments it is better to make a physical adjustment – which is quick to do once you can get your hands on the speaker.

Another time-saving feature is the KH8’s auto-configuration capability: it is possible to design configurations osite and then sync the system when it is in position and switched on.

The software can automatically calculate the optimum system design for any venue requirement, and suggests the most accurate speaker angle for optimal coverage in the targeted listening area. The optimal FIR settings – to meet any demanding set-up requirement and control sound spillover – can also be calculated at the touch of a button.

Horizontal dispersion is fixed at 120º, but Maei added that horizontal control is likely to be covered in future developments of the system. The next addition to the range will be the smaller KH7, which is to be presented at Prolight + Sound and will be launched in mid-2015.

58 TECHNOLOGY: DEMO OF THE MONTHFebruary 2015

www.k-array.comhttp://en-uk.sennheiser.com

Two hangs of six KH8, plus a KS8 subwoofers filled the 1,600-plus capacity Barbican Hall

Each KH8 enclosure can be individually angled – and also features DSP beam steering

58 Install176 Demo_Final.indd 1 23/01/2015 17:35

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60 TECHNOLOGY: SHOWCASEFebruary 2015

Cabling and connectorsManufacturers are oering more variety to suit dierent installation options with the emphasis on exibility and resilience, discovers Duncan Proctor

The Techconnect 3 is the updated AV faceplate and cable system from Vision Audio Visual. The range consists of modular parts, which are sold individually or in ‘Techconnect Lite’ packages.

There are over 35 modules for various applications, and packages include a VGA and mini jack module, three-phono module, USB module and three blank modules. The cables vary in length from 5m to 20m and the cable packages include a VGA cable, single-phono cable, double-phono cable and a mini jack cable.

Techconnect modules clip into ‘surrounds’; these attach to surface-mount back boxes, ush-mount mud rings or European dado rails. Aesthetically, the range features a new matt white look

and the surround has a cleaner surface with no screw holes.

As a modular solution it allows for parts to be replaced easily and the materials used make for a strong and exible product with the plastic reducing RF interference between modules. The self-aligning modules feature fully revised clips, which can be unclipped from the front. Also the modules have been shortened by 10% to reduce exing in the plastic section.

There are control and audio amplier modules included, making it more than a passive connectivity solution, as well as signal management products such as the USB, VGA and HDMI-over-Cat5 products, which integrate seamlessly into the faceplate.

The Techconnect also allows installers to customise faceplates for each room, but without the cost associated with made-to-order faceplates.

The cables are pre-terminated with male phoenix connectors, so they plug in straight away and can be removed to shorten or pull cables but also oer installers the option to terminate the phoenix connectors to their own cable. Additionally, the system’s modular nature means if the user changes projectors and subsequently needs an HDMI module that part can be ordered separately, helping to future-proof the solution.

Vision focuses on modular flexibility

On the back of customer demand, VDC Trading has introduced the Van Damme White Line range of Low Smoke Zero Halogen (LSZH) install cables.

The range consists of an AES/EBU audio 1 pair and twin-axial speaker cables in 1.5mm and 2.5mm. Designed in conjunction with existing Van Damme Eco ex install cables that are ABS design accredited, the White Line range is suited to every install need and targets usage in new-build projects and public buildings.

The Van Damme White Line Eco ex is an LSZH jacketed audio 1 pair specically for installation use. The use of LSZH cables is a essential in public buildings and new-build construction projects. The cable is based electrically and mechanically on the Van Damme Green Series range, which has low capacitance and stable impedance characteristics to

ensure signals remain error and jitter free over long distances. This also means this option will carry AES/EBU and/or analogue balanced audio as well as paired data signals such as RS485, RS422 and DMX512.

The second option is the Van Damme Eco ex White Line Install Grade Speaker Cable LSZH. It is an insulated and jacketed range designed for installation in public buildings and other areas where LSZH materials are specied such as new-build housing and marine installations.

The ultra pure oxygen-free copper stranding gives outstanding sonic integrity and the cable is fully tested and compliant with all IEC standards covering the re-retardant capability of single/bunched cables, gas emissions and measurement of smoke density.

VDC Trading provides low smoke options in white

www.visionaudiovisual.com

www.vdctrading.com

60-61 Install176 Showcase_Final.indd 1 23/01/2015 17:06

Sommer Cable has expanded its product portfolio with the introduction of a new exible hybrid cable for HD picture, power supply and LAN. It’s a high-performance cable suited to use in conference and building technology for the installation market aswell as in OB vans and for mobile broadcastingat large events.

The Transit MC 1031 HD allows simultaneous 10Gb network, power and HD-SDI-compliant video transmission. It is compact, easy to reel and well shielded while also being exible, despite its three inner conductors. The hybrid cable has a number of possible applications and is designed to withstand the daily strains in professional environments.

The cable provides transmission for distances beyond 100m due to low damping values and it can endure heavy-duty usage in extreme heat or severe frost because of its ame-retardant PVC jacket.

Sommer Cable’s hybrid solution

www.sommercable.com

Conec2 is a new collection of ‘snap-in’ AV faceplate modules from CIE-Group’s Clever Little Box range, which provide exibility for AV, data and communications connectivity. They are said to be easy to install – simply snapping into place – and come in standard UK faceplate sizes.

This new modular faceplate range provides a variety of professional, high-quality faceplate ttings and AV/data/communications modules. The options allow the installer or end user to specify and design their own exible faceplates to meet the needs of each individual installation.

The snap-in faceplate modules are available in an array of AV connection options

including HDMI, USB, VGA, BNC, jack, Cat5e, RJ and mains power. Additionally they are available in both 50mm and 45mm versions. The 50mm modules can be used with the white plastic faceplates whereas the 45mm modules are used with grey aluminium faceplates and an exclusive range of AV desk riser pods.

The Klotz SMPTE 311M

Hybrid Camera Cable is a durable composite cable that complies

with the Society of Motion Picture and Television Engineers (SMPTE) 311M standard.

It was designed for use with professional HD cameras and features two bend-resistant single-mode optical bre cables, built in compliance with ITU-T G.657A, which conduct the HD signal across distances of up to 4,000m. It can also be used in Association of Radio Industries and Businesses (ARIB) applications.

The cable has four integrated power lines and two control signal conductors plus llers and a central insulated steel core to ensure the maximum tensile strength.

It comes in a variety of jackets depending on intended use. A exible, temperature-resistant PUR jacket is for outdoor mobile applications, while FRNC material is used for xed installations.

It is available both as a bulk cable and in premade models such as a cable with LEMO-SMPTE connectors.

CIE-Group’s ‘snap-in’ connectivity

www.cie-group.com

www.klotz-ais.com

Klotz AIS o ers long-distance transmission

There has been huge growth in the demand for cables that give special consideration to smoke and halogen emissions and re-retardant properties. This was the thrust behind Procab’s Contractor Series, a new range of Low Smoke Zero Halogen (LSZH) and re-retardant installation cables.

The series o ers cables compliant to IEC 60032 standards and includes a wide variety of speci cations o ering solutions for audio, video or data interconnection. Examples include loudspeaker cables in di erent sections from 18 AWG to 11 AWG, microphone cables with di erent speci cations in terms of gauge and shielding, high-de nition HDMI video cables, RG59 and RG6 coaxial cables, and a variety of Cat5e, Cat6 and Cat7 networking cables in di erent con gurations.

The conductors are protected by a solid and smooth non-halogen ame retardant (NHFR) outer jacket with the conductors themselves composed of tinned copper oxygen-free strands (if applicable to cable speci cation), which o er anti-corrosive properties and longevity.

Procab targets longevity

www.procab.be

TECHNOLOGY: SHOWCASE 61February 2015

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60-61 Install176 Showcase_Final.indd 2 23/01/2015 17:07

of the Month

62 SOLUTIONS: FIRST WORLD WAR GALLERY, IWM, LONDONFebruary 2015

To mark the start of the centenary of the First World War, the Imperial War Museum in London opened a new, permanent First World War Gallery. Steve Montgomery investigates the use of audiovisual technology to absorb and engage visitors of all ages

War storiesUNITED KINGDOM

The Imperial War Museum (IWM) reopened its doors last year after a £40 million

transformation that began in 2010. During the closure, the interior was remodelled to create four gallery fl oors around a central open atrium capable of displaying large war machines, including aircraft and tanks.

On the centenary of the First World War, the museum created a new permanent gallery dedicated to this confl ict. It includes over 1,300 objects from the very small to the very large, encompassing weapons, uniforms and personal

items. In a generation in which many no longer have relatives who were alive during fi ghting, the museum explains not just the war, but the e ect it had on people both before and afterwards. “The intention is to bring alive the thoughts of people at the time; from recollections, letters, diaries, all the evidence we have of how people thought about the war in the period before they knew how it would end,” says Laura Clouting, curator at the IWM.

The museum has incorporated new and relevant ways to engage modern audiences. “Visitors can fi nd specifi c

information in over 60 audiovisual displays and hands-on interactive exhibits that illuminate, pace and punctuate the story,” explains James Taylor, lead curator at the museum. “We felt it crucial that visitors should see the confl ict through the eyes of those who lived and died during the First World War. The exhibition covers the period 1900 to 1929 and explains where the war came from, how it was fought and how lives were a ected after it ended.”

A great deal of that information and experience is conveyed through the use of visual display screens and audio soundscapes.

Footage from the IWM’s extensive fi lm library is used to recreate the sights and sounds of soldiers, munitions factory workers and ordinary civilians throughout several themed zones, ranging from Shock, in which visitors come face to face with the terrifying French 75mm fi eld gun, to Deadlock, where they pass through a recreated trench complete with the sound of soldiers’ voices, coloured images and a Sopwith Camel fi ghter swooping overhead.

A wide range of screens is used, according to the e ect and evidence each display was designed to convey, complementing the exhibits rather than

InstalledVideon 7th Sense Delta Duo and Nano video servers n Black Cat 12.1in LCD with PCAP touch displayn Black Cat 24in and 32in touchscreensn BrightSign AU320 and HD220 media playersn Epson EB-G6900WU projectorn GPEG 7in open frame LCD with SD playern Iiyama TH5563MISB1AG 55in touchscreenn Kinect cameran NEC V652 and X462UNV LCDs n Stemmer IDS-1240ME IR camera

Audio n Fohhn AS-10, AS-31 and AT-05 loudspeakersn JBL Control 67 HC/T loudspeakersn Panphonics ssh60x60RS loudspeakersn Powersoft M28Q ampli ersn Powersoft Ottocanali 1204 ampli er DSPn Solid Drive SD1 + transducern Symetrix Jupiter 8 DSPn Tannoy Di5 active loudspeakersn Vidsonix Phantom speakersn Dataton Watchout USB 8 OP audio devicen 7th Sense USB 8 OP audio device

Shock projection involved motion capture fi lming to record the movement of one actor. Using this information, a number of 3D character models were animated and projected onto a set

62-66 Install176 Solutions 1_Final.indd 1 22/01/2015 12:54


taking over for theatrical eect. “With such a wide range of visual material to hand it was possible to incorporate small visual displays among the artefacts to explain their context as well as large videowalls and projected images to fully immerse visitors,” says Hugo Roche, managing director of integrator Sysco. “Individual devices were selected to suit the requirements of each application, whether that was a projector, single large-screen display or multiple videowall as backdrops in zones or 7in, 12in, 17in or 24in screens dispersed among the exhibits themselves. To extend the amount and extent of information available, interactive touchscreens and infrared sensing tables allow

visitors to interact and explore topics more deeply.”

Osite testingSelection of equipment was made through osite testing and, in the case of projectors, a shoot-out involving members of the IWM curatorial and museum design teams. Epson EB-G6900 projectors were used, chosen primarily on their ability to deliver a subtle image and their unobtrusive design, which made it simpler to incorporate the technology within the fabric of the building. Large-format NEC V- and X-series professional LCD displays were used to create impact in the Total War zone, showing footage from the five-month-long Battle of the Somme that marked a pivotal point in the war. They were also used

to create a 3 x 2 videowall, providing a through-window view of food and munitions factories in Feeding the Front.

Audiovisual content was created by amalgamating CGI, special eects, original footage and, where appropriate, interactive content. “The diversity of

content and interactive sequences presented challenges in two areas,” points out Greame Bunyan, associate director of Sysco. “There is a lot of equipment within a small area, so we were necessarily constrained in the types and diversity of equipment selected. Content ranges

from new animated sequences and archival still images to original footage on a cross-section of types of small and large, single and multi-display LCD and projectors. This meant that we needed to consider and select the most appropriate source players, including BrightSign media players,

Visitors can walk through a recreated trench where a Sopwith Camel emerges just above their heads. At the end of the trench, archive photographs were meticulously coloured to match soldiers’ uniforms, objects and equipment



7th Sense servers and Dataton Watchout systems with Medialon Show Control.” Even Raspberry Pi players are used within some exhibits to feed custom Black Cat panels.

Setting the moodPerhaps the most striking and innovative aspect, though, is the use of soundtracks in each zone and an all-encompassing soundscape throughout the museum. Ramon De Marco, founder of Idee und Klang, the audio scenography designer that successfully conceived the museum’s audio presence, explains: “There was a need to isolate the individual audio reproductions within each zone; to stop the sound bleeding between them. These are necessarily sharp and loud as they depict

exploding shells, gunfire and aircraft intermingled with human voices. The approach we took was to create a continuously changing weather background throughout the gallery which prevented sounds from one zone encroaching on another.”

Another innovative concept is the AROS philosophy developed by Idee und Klang. “AROS, Acousmatic Room Orchestration System, creates a mood in each zone, rather than just illustrating the background noise. We eectively use individual speakers as instruments, each one playing an isolated sound in the same way that a violin or cello would in an orchestra. The combined eect is the creation of a sound symphony, built from

identifiable, relevant sounds, and because there is an element of randomisation in playback the ‘music’ is always changing.”

To create the desired eect, De Marco and his team needed to select speakers with specific sound characteristics – a challenge that was compounded by not being able to examine the acoustics of the museum before installation. Working with Sysco, they built full-sized replica spaces at the company’s HQ in Switzerland and tested a range of speakers and transducers to simulate the eect. “The museum team visited and together we listened to, and decided on, around 50-60% of the equipment that would be deployed to create the spatial eects that would best match the

atmosphere desired. Final mixing, speaker positioning and the direction they faced were then completed during installation in the museum.”

“We selected mainly Fohhn speakers, some Tannoy, JBL, Panphonics and Solid Drive speakers with Powersoft amps with inbuilt DSPs and Ovation audio servers as best suited to the constricted spaces,” points out Bunyan. “The result is a musical, in some cases melodic, sound that is constantly changing, delivering identifiable sounds from discrete locations in contrast to a cacophony of background noise.”

The four-year renovation project has resulted in an experience that respects and treats war in a sensitive manner, providing, through the use of

technology and creativity, a way of engaging visitors with no personal or first-hand knowledge of war, and it will continue to do so for decades to come.

www.7thsensedesign.comwww.blkkat.comwww.brightsign.bizwww.dataton.comwww.epson.co.ukwww.fohhn.comwww.gpegint.comwww.harman.comwww.ideeundklang.comwww.iwm.orgwww.iiyama.comwww.medialon.comwww.nec-display-solutions.comwww.panphonics.comwww.powersoft-audio.comwww.raspberrypi.orgwww.soliddrive.comwww.stemmer-imaging.co.ukwww.symetrix.cowww.syscoav.co.ukwww.tannoy.com


68 SOLUTIONS: FOSNAVÅG CULTURAL CENTREFebruary 2015

Meyer Sound’s Constellation has been employed to tackle acoustic issues in venues around the world – with the latest installation providing clarity o the coast of Norway, reports Duncan Proctor

Nordic cultureNORWAY

The Fosnavåg Cultural Centre stands on the island of Bergsøya just o the Norwegian coast. The centre has been designed for a

range of uses and forms part of a new wider complex that includes a hotel and marine engineering and nautical training school. The venue houses the latest Meyer Sound Constellation acoustic system installation, used here to cover concert sound reinforcement, cinema and active acoustics.

Constellation is a linear, predictable system that combines electroacoustic technology with the physical architecture of the space to produce verifi able results and natural-sounding acoustics. The acoustic signature of the system is an enhanced version of the venue’s architectural acoustic, which helps to ensure a natural-sounding result is produced.

The focal point of the Fosnavåg Cultural Centre is the 490-seat Fosnavåg Konserthus. During the design process the technology committee had a clear vision

to create a high-performance multipurpose space. “We wanted a perfect room for acoustic music and a perfect room for amplifi ed music, but with conventional physical acoustics we couldn’t have both,” says Bjørn Holum, event manager for the Municipality of Herøy and the lead of the technology committee.

Following his fi rst experience with Constellation in Estonia’s Nordea Concert Hall [formerly Nokia Concert Hall], Holum was quickly sold on the impact of the system. “When we fi rst entered the hall, I was thinking, ‘This place already has a quite nice acoustic, why does it need digital enhancement?’ Then they turned o Constellation and I was stunned. With Constellation back on, we heard a chamber ensemble and I then had the opportunity to perform on stage. I was fully convinced.”

The Fosnavåg project stands out because the internal acoustics of the room have been specifi cally designed for Constellation, with a very low physical reverberation time that facilitates any type of application. Typical uses include:

cinema (Constellation o ); spoken word and drama (early refl ections only); rock (Constellation set for very low reverberation time, 0.3s); chamber (1.8s); choral (2.8s).

Constellation’s reverberation processing operates under two basic principles: the apparent absorption of the venue is reduced through multichannel gain; and the apparent cubic volume of the venue is increased via the multichannel coupled reverberator. The system also uses the same microphones in the stage area to generate early refl ections and reverberation, and the same set of Constellation loudspeakers to deliver both early refl ections and reverberation.

Overcoming obstaclesThe centre presented some specifi c challenges, namely the folding tribunes, which signifi cantly increase the volume of the room. The stage is also motorised in two sections, allowing a virtually infi nite variation in room confi gurations, which was accommodated by the Constellation stage shell

InstalledAudioAll Meyer Sound n Miniature condenser microphonesn Stella-4C installation loudspeakersn UP-4XP ultra compact loudspeakersn UPJunior-XP VariO ultra compact loudspeakersn HMS-10 surround loudspeakersn MM10-XP miniature subwoofersn UMS-1XP subwoofersn MINA loudspeakersn UPJunior VariO loudspeakersn Acheron 100 loudspeakersn Acheron LF screen channel loudspeakersn 1100-LFC loudspeakersn Acheron 80 screen channel loudspeakersn X-800 and X-800C high-power cinema subwoofersn X-400 cinema subwoofersn X-400C compact cinema subwoofersn HMS-10 cinema surround loudspeakersn HMS-5 compact surround loudspeakersn Galileo 616 and 408 processorsn MPS-488HP power supplyn D-Mitri digital audio platformn 1100-LFC low frequency control elements

Other Audion Midas PRO3 console

Lightingn MA Lighting grandMA2 lighting console

Videon Christie CP4220 DLP digital cinema projectorn Dolby CP850 Atmos cinema processor

The internal acoustics of the Fosnavåg Konserthus have been specifi cally designed for Constellation


70 SOLUTIONS: FOSNAVÅG CULTURAL CENTREFebruary 2015

specifi cally designed to adjust to di erent stage heights.

Fosnavåg’s Constellation system comprises a D-Mitri digital audio platform hosting the VRAS (variable room acoustic system) algorithm and 34 miniature condenser microphones to sense ambient acoustics. Early refl ections and reverberation are delivered by 19 Stella-4C installation loudspeakers, 40 UP-4XP, 20 UPJunior-XP VariO, 30 HMS-10 surround loudspeakers, 10 MM-10XP and two UMS-1XP subs. The loudspeakers are split into two zones to create optimum auditorium acoustics and a virtual

orchestral shell around the stage.

Sound reinforcementWorking in conjunction with Constellation is a sound reinforcement system that includes left and right arrays of 11 MINA loudspeakers each and four 1100-LFC low-frequency control elements. Four UPJunior VariO loudspeakers provide fi ll, and a Galileo speaker management system with one Galileo 616 processor supplies system drive and optimisation.

“We’re using Constellation with great success in our events, from unamplifi ed symphonic concerts, to

amplifi ed concerts in combination with the PA system,” says Holum.

The concert hall also o ers a 7.1 Meyer Sound cinema system anchored by three Acheron 100 and three Acheron LF screen channel loudspeakers. Using presets in D-Mitri and Galileo, Constellation’s HMS-10 loudspeakers and the reinforcement system’s 1100-LFC loudspeakers are instantly reconfi gured to operate in cinema mode. All HMS-10 loudspeakers along the walls serve double duty for the Constellation and cinema systems, a design facilitated by Tom Sæthre of Bright Norway. The sound systems were provided and installed by Lillehammer Installation Branch of Bright Norway. The physical acoustics were designed by Oslo-based Brekke & Strand Akustikk.

The hall also features LED lighting throughout, a Midas PRO3 digital audio mixing console and a grandMA2 ultra-light lighting console, while the cinema uses a Christie CP4220 DLP projector.

In the same complex, a 90-seat movie theatre equipped with Dolby Atmos runs from a Dolby CP850 Atmos cinema processor. The three screen channels are all Meyer Sound Acheron 80s, the LFE is provided by four X-800C high-power cinema subs and two X-400C compact cinema subs handle surround bass management. Immersive audio comes from four HMS-10 and 30 HMS-5 surround speakers, powered by fi ve MPS-488HP power supplies. There is one Galileo 616 to provide equalisation and gain control for the screen channels, and LFE – all the surround processing is handled in the CP850.

www.brekkestrand.nowww.brightgroupnordic.comwww.christiedigital.comwww.dolby.comwww.malighting.comwww.meyersound.comwww.midasconsoles.com

About the installern Bright Group is a leading Nordic event and entertainment services provider with more than 280 employees in Finland, Sweden and Norway

n It was established in 2011, when AVAB-CAC and Eastway together with the buyout fund manager CapMan decided to build a Nordic group of companies within entertainment and event production services


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72 SOLUTIONS: BRANDO HOTEL, TETIAROA ISLANDFebruary 2015

A new resort blends eco-friendly luxury with high-quality audio, writes Tom Bradbury

On the waterfrontFRENCH POLYNESIA

Named after legendary actor Marlon Brando, The Brando is a magnifi cent luxury

resort. Located in French Polynesia on the Tetiaroa atoll, once Marlon Brando’s private island, the new eco-friendly resort features 35 private villas located on the coast, surrounds a completely enclosedlagoon and is accessible only by plane.

The venue o ers fi ne-dining restaurants, spas and other amenities, and has been fi tted out with a Harman Professional audio system installed by Total Video Distribution of Tahiti.

Total Video installed networked audio systems in three primary locations, the biggest in the main

part of the hotel which includes the reception area, indoor and outdoor shops, two restaurants, two bars and other sections. A large meeting room has its own audio system, and the spa was considered separately because of its environmental considerations.

“We determined that the best solution was to go with separate installations that were optimised for each location rather than one all-encompassing system, as this would best serve the needs of each facility and would be the simplest, most fl exible and most cost-e ective way to meet the Brando’s needs,” says Jacques Lilin, general manager of Total Video.

Design engineer Jean

Jacques Canot says: “That said, we standardised on all-Harman brands in each installation because we knew it would be a guarantee of perfect communication between the di erent system elements and compatibility between inputs and outputs.”

The main system is networked via two BSS Audio Soundweb London BLU-800 signal processors. The BLU-800 handles source selection, volume control and distribution for a variety of audio sources and distributes music and announcements throughout multiple zones.

Amplifi cation is provided by Crown CTs 600 and CTs 280A power amps and a variety of JBL Control 24CT and 23T loudspeakers mounted in the beams, ceilings, walls and in various other locations. An AKG D542ST-S microphone is used for announcements and each zone is managed locally via a BSS Audio BLU-6 wallmount controller.

All the equipment is housed in a dedicated equipment room located near the Brando’s concierge area. The control room also

has a BSS Audio BLU-10 programmable controller for general control of all the zones.

The meeting room’s separate audio system is managed by a BSS Audio BLU-800 signal processor, with JBL Control 26CT in-ceiling speakers powered by Crown CTs 600 amplifi ers. Four AKG WMS450PRESENTER+D5 wireless microphone systems are available, along with a DVD player and custom-built AV connectors near the video projector to accommodate a computer, iPod or other device. Two AKG wireless antennas are located in the ceiling to provide optimum reception for the wireless mic signals.

SpaThe spa system had a very specifi c requirement: the equipment had to be simplifi ed to the maximum degree because of its exposure to salt and humidity. “We needed to install components that have proven themselves in such conditions,” says Lilin. Because of the harsh environment, four separate systems were installed to accommodate di erent

InstalledAudion BSS Audio Soundweb London BLU-800 signal processors n BSS Audio BLU-6 wall-mount controllern BSS Audio BLU-10 programmable controllern Crown CTs 600 and CTs 280A power ampsn Crown 280MA mixer-ampn Crown 1-VCAP in-wall volume controln JBL Control 24CT, 26CT and 23T loudspeakersn AKG D542ST-S microphonen AKG WMS450PRESENTER+D5 wireless microphone systems

spa areas – hammams (steam rooms), tearoom, shops, locker rooms, fi tness and massage rooms. The four systems each have only an iPod as a music source, connected directly to a Crown 280MA mixer-amp with their volume operated by either the iPod or a Crown 1-VCAP in-wall volume control.

“Now that the system is in place, it’s apparent that having separate systems was the right approach for this installation,” Lilin states. “Everything operates in a manner that’s easy for the hotel sta , and the Harman components provide the fl exibility and functionality the Brando needs.” It’s a perfect combination of simplicity and functionality that complements the Brando’s beautiful surroundings.

About the installern Total Video Distributin was founded in 1985 and is based in Papeete, Tahiti

n Areas of specialisation include the distribution and installation of AV products in both commercial and residential environments

n Recent projects in the hospitality sector include The Four Seasons Bora Bora and the InterContinental in Tahiti www.harman.com

An earful you can’t refuse: Harman audio equipment has been installed in a number of locations in the luxury resort

72 Install176 Solutions 3_Final.indd 1 23/01/2015 15:42

73 Install176.indd 1 23/01/2015 17:53

MONTH AHEAD

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Pick of the monthDigital Signage ExpoLaunched in 2004, Digital Signage Expo was the rst event dedicated to the digital signage market and 2015 looks set to be bigger than ever.

Taking place at the Las Vegas Convention Center from 10-13 March, DSE features over 200 exhibitors showcasing the latest hardware, software, network delivery and content from around the globe.

DSE also o ers an extensive digital signage and digital out-of-home educational programme, with more than 125 educators and a variety of educational opportunities, including a live installation tour and structured curriculum leading to professional re-certi cation in seven educational tracks. The 2015 programme will consist of pre- and post-show educational events, general conference seminars, as

well as targeted Industry Roundtable Discussion Groups and free presentations staged in on- oor theatres.

PLANYOUROur pick of what to see, do and discover in the weeks ahead, including digital signage fun in the Las Vegassun and new events from InfoComm and PSNEurope

ISCEx 20154 MarchThe Institute of Sound and Communications Engineers’ annual exhibition and seminar day will take place at Coombe Abbey Hotel in Warwickshire, UK. Topics up for discussion include ‘Is the market really ready for Audio-over-IP’ and ‘Architectural defects? A celebration of acoustic aberrations’. On the show oor, exhibitors include Ampetronic, Audiologic, Bosch, Bose and RCF.

LEA

RN

InfoComm Connections4-5 MarchInfoComm is kicking o a new series of regional trade shows with a two-day event at the San Jose Convention Center in California. Featuring a combination of exhibits, education, manufacturers’ training and networking opportunities, InfoComm Connections is said to bring the education, products and peer-to-peer networking of the InfoComm show to Silicon Valley.

ATTE

ND

PSNPresents12 MarchFollowing the successful Pro-Roll event held ahead of last year’s Pro Sound Awards, PSNPresents is the rst in a series of networking events centred around on-stage interviews and panels with leading lights from the pro-audio spectrum. The rst event takes place at the Ham Yard Hotel in London. For more information and to buy tickets visit www.psneurope.com/psnpresents

NET

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www.digitalsignageexpo.net

74 Install176 PlanYourMonth_Final.indd 1 23/01/2015 17:36

Installation February 2015 digital edition

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