Installation Nov 2013 digital edition

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INTERNATIONAL AUDIO, VIDEO AND LIGHTING INTEGRATION November 2013

Videowalls – what’s controllingthe images we see? p40

Projectors – an illuminating lookat new light sources p26

Look, listen, learn Inside San Francisco’s Exploratorium p58

Show review – Did PLASA ExCeL in its new home? p22

IF YOU’RE familiar with Douglas Adams’ The Hitch-Hiker’s Guide to the Galaxyin any of its various forms, you may be aware of the Total Perspective Vortex.To put it bluntly, this is a device intended to destroy people’s minds: “Whenyou are put in the Vortex you are given just one momentary glimpse of theentire unimaginable infinity of creation, and somewhere in it a tiny littlemarker, a microscopic dot on a microscopic dot, which says, ‘You are here’.”

I experienced something of a perspective shift – though fortunatelyneither on this scale nor with those consequences – at the Smart BuildingConference last month. As we all know, AV systems used to be standaloneentities, but as networking has become more widespread, they haveincreasingly become part of IT systems. What the conference brought hometo me is that these IT systems can potentially be much larger than we mayhave previously considered.

It was the presentation by Mario Pullicino of Orion Engineering Group thatspoke most strongly to this point. His company supplies fibre infrastructuresthat are designed to rationalise multiple proprietary management systemsand run them all over a common IP network infrastructure rather than eachover having its own proprietary communications network. So buildingmanagement systems, fire detection systems, PA-VA, security, energymanagement, voice, data, network security and WiFi are all delivered overthe same fibre backbone, and managed via a common four-layer frameworkknown as FOCUS.

Thinking over the implications of this, my first thought was concernbecause – unlike, say, the IT infrastructure or the HVAC system – AV is not initself a core function of a building. It helps many people to do their jobsbetter, but wouldn’t necessarily be front of mind when a CEO wasenumerating a wishlist for his new corporate HQ. (This might change ifvideoconferencing becomes much more popular, as one report suggests itwill – see page 10.) Might we get squeezed out of the picture?

However, after the event, reading through the session presentations fromthe Conference’s residential track, I found reassurance. There is a lot ofcomplexity involved in running smart buildings, a lot of which springs fromthe large amounts of data that the smart-building concept is predicatedupon. Will Brocklebank of residential integrator Face to Face Digital made thepoint that AV installers are better placed than most other disciplines in thesmart buildings market to create user interfaces that make complexsystems more intuitive to operate – so users don’t have to go on a trainingcourse before they dare to touch anything, or consult the manual every fiveminutes when they get back.

It’s the integrator’s ability to pull different systems together that is thesource of his or her value. Yes, we will need to learn about unfamiliartechnologies and talk to clients in unfamiliar industries to find out theirneeds, but the basic tools are already ours. We just need to apply them innew areas.

Paddy Baker, Editor, Installation – [email protected]

www.installation-international.com November 2013 3

WELCOME & CONTENTS

EDITOR’S COMMENT

You are... where exactly?

‘I experiencedsomething of a

perspective shift atthe Smart Building

Conference’

Cover image The ‘Visualizing the Bay’exhibit at San Francisco’s Exploratorium(© Exploratorium, All rights reserved)

NEWS & DATA4 News - including:

Smart Building Conference p6Obituary: Steve Jones p8

12 Appointments14 Expos and events

PEOPLE20 Interview: Adrien Corso on building

the new Analog Way

SHOW REVIEWPLASA Londonp22

FEATURES26 Projectors: We offer guidance

on the profusion of new illuminationtechnologies

32 Auditoriums: What are the truly essential audio requirements of larger spaces?

40 Videowalls: The increasing demandson wall controllers

50 Regional voices: Russia

TECHNOLOGY50 New products54 Showcase: Furniture and mounts

SOLUTIONS58 Exploratorium, San Francisco:

Behind the scenes at the coolest science museum you’ll ever visit

60 Metropolitan Arts Centre, Belfast: This multi-space venue benefits from a complex technical infrastructure

64 Royal Botanical Gardens, Toronto: Dinosaur-themed exhibit draws visitors during winter months

4 November 2013 www.installation-international.com

NEWS

MITSUBISHI ELECTRIC is tocease Visual InformationSystems division operations insix European countries as itwithdraws from the front-projection and public displaymarkets. The company’sEuropean display wall businesswill be centralised at its officein Mijdrecht in the Netherlands,with the result that dedicatedVIS division operations in theUK, France, Germany, Italy,Spain and Sweden will close.Technical support, which isoperated separately from theVIS division, will continue to beprovided locally.

The Japanese manufactureris to focus its efforts on rear-projection cubes, display wallproducts and super-narrowbezel displays.

Peter van Dijk, EMEAbusiness manager at MitsubishiElectric, said: “The Mijdrechtoffice will have a centralfunction – the warehouse willbe there, procurement andmarketing will be done there,but we will have salespresence in various countries.”This sales presence will befrom other Mitsubishi Electricdivisions, with Mijdrecht as “thecentral hub, so to speak”.

The company is seeking toconsolidate its position withinthe command and control,traffic management andsecurity monitoring markets.Production (in Kyoto) ofprojectors and LCD displayshas ceased (apart from supernarrow bezel models), but thecompany will support these

product lines until March 2019.Production resources will beredeployed into the company’sdisplay wall business. OLEDand large LED displays – suchas the enormous DiamondVision screens at the DallasCowboys stadium in the US(pictured) – which are built on aproject-by-project basis at thecompany’s Nagasaki factory –remain available.

Van Dijk added that thecompany had looked at “everysingle option” whenconsidering the future of theseparts of its business. He saidthe decision was due to theworldwide economic picture,the level of competition in themarkets and price erosion,leading to lower profitability.

He also stressed thecompany’s credentials in thecube market: “We are one ofthe world leaders in terms ofdisplay wall cubes, we have avery strong position here, andwe feel very strong in buildingthat position to a high level.”

He confirmed that therewould be redundancies as aresult of the companyrestructure, but did not name

a figure. “We are looking at allkinds of options for keepingpeople within the Mitsubishigroup,” he said. This, he said,was likely to mean redeployingpeople in their own countrieselsewhere within Mitsubishi,rather than relocating peopleto the Netherlands.

Mitsubishi Electric’s plansfor upcoming tradeshowsIntegrated Systems Russiaand Integrated SystemsEurope are not affected, hesaid. “[At ISE] you will find usat the same location as theyears before, with the samesize booth as you can expectfrom Mitsubishi.”

Mitsubishi Electric is not theonly Japanese display productmanufacturer to be takingmajor strategic decisions atthe moment. This newsfollowed just days afterToshiba axed 3,000 jobs fromits TV division, and Panasonicsaid that it was consideringdifferent strategic options forits plasma division – denyingreports that it had decided toexit plasma production byspring 2014.www.mitsubishielectric.eu

JAPAN/WORLD

NEWPARTNERS

Crestron has signed anagreement with automationand AV specialist Domeosysto become the company’sofficial sole distributor forthe Maghreb countries –bringing Crestron technologyto clients throughoutMorocco, Tunisia, Libya andAlgeria. www.crestron.ma

Audiovisual distributorTDMaverick has expanded itsrange of accessories bysigning a distributionagreement for the UK andIreland with mountmanufacturer NewStar.Amsterdam-based NewStaroffers a wide range ofmounts from wall, desk andceiling options for largeformat displays, to specialistmedical solutions and laptopand tablet products.en.newstar.euwww.tdmaverick.co.uk

NEC Display Solutions hassigned a partnership dealwith distributor VanDomburg Partners torelaunch itself in the Beneluxregion. Van Domburg has itsown transport andinstallation department andexpertise in facilitating largeroll-outs.www.nec-display-solutions.comwww.vandomburg.nu

Cadac has appointed TheAudio Specialists UG todistribute its console rangeexclusively in Germany andBenelux. The latter companyis an independent subsidiaryof the Dutch TAS group andis headed by professionalaudio sales manager Hans-Juergen Heitzer. www.cadac-sound.comwww.theaudiospecialists.eu

HAGAI GEFEN, founder of thesignal management productmanufacturer that bears hisname, has stepped downfrom the company to pursueother interests. The newGefen president will be SeanBurke, who is group presidentof Nortek TechnologySolutions group.

“This is a natural evolutionthat we have all beenanticipating for some timenow,” said Burke. “We have

worked very closely withHagai and his executive teamat Gefen to ensure a smoothand effective transition.”

During his 25-year tenure,Hagai Gefen (pictured) grewthe company from a small,localised business into amultinational signalmanagement solutionscompany, which waspurchased by Nortek in 2006.The Gefen company was oneof the first to implement

connectivity solutions for theemerging DVI, HDMI and 3G-SDI formats as well as beingamong the first to bringreliable wireless high-definition video extension tomarket.

Burke is joined by Kevin EWeiss, vice president, globalsales and businessdevelopment. Weiss bringsmore than 20 years ofexperience in developing andgrowing small, mid-size and

largeenterprisetechnologybusinesses.

“I’m lookingto leverageassets among all theTechnology Solutions brandswithin Nortek in the bestpossible way to meet a newand exciting future in thishighly competitive professionalmarket,” added Weiss.www.gefen.com

US

Gefen moves on after 25 years

Mitsubishi exits projection and public display

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Mitsubishi Electric is continuing to build bespoke LED displays, such as this one at the DallasCowboys stadium

HARMAN HAS bolstered itssizeable audio portfolio withthe acquisition of privately heldDuran Audio. The deal providesHarman with access to leadingelectroacoustic and software-based directivity controltechnologies including theAXYS Intellivox line of‘steerable’ loudspeakercolumns. The AXYS productsand core technologies will beintegrated into the HarmanProfessional audio product line.

Duran Audio was funded in1981 in Zaltbommel, TheNetherlands (pictured) byGerrit Duran, who will join theexecutive team at Harman. Hesaid: “Our focus has alwaysbeen on innovation. Over theyears we have developed arange of solutions for some ofthe most difficult problemsfacing sound systemdesigners, architects andacoustic engineers. Today’sacquisition by Harman

presents many wonderfulopportunities to push the R&Dboundaries even further and todeliver some truly unique

technologies to a widercustomer base.”

Dinesh C Paliwal, Harman’schairman, president and CEO,said: “Over the years, DuranAudio has established adistinct and loyal customerbase built on innovativetechnology. By leveragingDuran’s unique product lineswith Harman’s global footprintand product synergies, ourbusiness is optimallypositioned to serve new

customers around the worldwith expanded audiosolutions.”

As well as pioneeringmodern loudspeaker beamsteering and beam shaping,Duran Audio has alsoestablished a leading positionin audio solutions for EN54safety applications andsoftware technologies foraudio design.www.duran-audio.comwww.harmanpro.com


NEWS

RTI TAKES HOST OF AWARDSAT CEDIA EXPO 2013RTI picked up four awards atceremonies during this year’sCEDIA Expo. The company’sKX2 in-wall controller andT2x handheld controller werecelebrated by the ResidentialSystems’ Resi Awards andTechnology Integrator EXC!TEAwards.

BANG & OLUFSENINTRODUCES WIRELESSSPEAKER TECHNOLOGYThe new wireless platform isscheduled to be incorporatedinto the company’s nextgeneration speakerslaunching this autumn. The

technology was developedalongside some big players inthe wireless industry.

SONY BOLSTERS HOMECINEMA OFFERING WITH VPL-VW1100ES 4K PROJECTORSony chose CEDIA Expo 2013to launch its newest 4Kprojector targeted at homecinema installations.

INVISION UK TO DISTRIBUTENILES’ CYNEMA SOUNDFIELDInvision UK will now distributeNiles Audio’s new CynemaSoundfield in-wall soundbar.The system incorporates anumber of features for easeof installation.

To read these stories and the rest of our residential coverage, go to

www.installation-international.com/residential

NETHERLANDS/US

Duran steered into Harman Professional fold

UK

Recent highlights

New strategy and structure for Shure

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SHURE Distribution UK(SDUK) has announced aninternal reorganisation, toreflect a new pan-Europeandistribution strategy fromShure EMEA. Three groupshave been created to directlyserve systems integration,pro audio and retail markets.

SDUK is creating a morecomplete and channel-focused support package forselected partners. The aim isto ensure service andsupport levels are consistentat a country level.

Duncan Savage has beenappointed to lead theSystems Group, which hasbeen created to serveintegrators and contractorsworking on large-scaleinstallation projects. The ProAudio division is headed byTuomo Tolonen, previouslyapplications and productplanning manager, whileformer SDUK field salesmanager Anthony Shortheads up the Retail division.

Each division will work in a

manner that supports thechannel it represents. For theSystems Group, a major partof this is providing projectdesign assistance forsystems integrators, andenhanced technical trainingfor resellers. In the case oftechnologies such as ShureAxient Wireless or QSC’s Q-Sys platform, resellers willneed to undergo accreditedtraining before they can offerthe products. The aim is tocreate a customer networkthat is fully qualified andequipped with the skills toenable them to develop salesin their core markets.

Tied in with this is the

launch of the Shure AcademyEuropean Audio Network.This is a new educational andnetworking initiative aimed atall levels of the audioindustry. The Academy willincorporate existing trainingprogrammes run by Shureand integrate new workshopsand seminars.

Peter James, SDUK MD, toldInstallation: “Dealers need apricing structure and supplystructure – they need to knowthat there aren’t a thousandcompanies with access tothese products, and if 10 or20 people have access to aproduct then they’re all onsimilar terms. No-one is goingto invest the time in trainingon very advanced-levelproducts to be one ofhundreds with access to it.But if the requirement toaccess that highly advancedproduct is to be trained andaccredited and to offer acertain level of support, that’sa very strong message.”www.shuredistribution.co.uk

L-R: James, Tolonen, Savage, Short


NEWS

THE SECOND instalment of the Smart BuildingConference took place at Dexter House inLondon last month. Organised by IntegratedSystems Europe, the event covered thedeveloping smart building market from variousangles, bringing together the worlds of AV,building automation, security, electrical and ITsystem design and installation.

A key message arising from the day was thatthe market is an immature one; integrators needto work hard to establish a foothold in a marketpeppered with different technologies andstakeholders.

First to give a keynote address was Dr StevenFawkes, chairman of Day One Energy Solutions,which develops and finances energy-efficiencysolutions. His address was entitled ‘Only ElevenPercent’ – which refers to the world’s overallefficiency in converting primary sources intouseful energy. He used statistics to paint apicture of a world vulnerably dependent on fossilfuels. One startling statistic was that the globalpopulation falling within the middle-class bracketwill be 3 billion by 2030, leading to an exponentialincrease in energy usage over that time.

He made it clear that it is manufacturers’ dutyto make “cool” products to counteract theperception that saving energy is boring and toentice customers into using energy-efficienttechnology. As an example he cited the PhilipsHue system, which allows users to measure lightlevels in environments they admire and use these readings to create similar light levels intheir living space.

In the second keynote – ‘The Battle for theSmart Building’ – Jeremy Towler, senior managerof energy and smart technology at buildingservices research organisation BSRIA, discussedthe different elements involved with smartbuildings and how it was important to mergethese applications and systems. The existingmarket for building automation and controlsystems (BACS) is under threat from multipleemerging systems and technologies such asCloud-based BACS solutions, new softwareapplications, intelligent heating controls and even

variable refrigerant flow (VRF) BACS systems. “It’sa crowded space and everyone is trying to get apiece of the market,” commented Towler.

The analytics available through these systemscan be leveraged and raw data collected,presented and analysed so to make better, moreenergy-conscious decisions. For this, hehighlighted the need for a common network for allIP-based systems, because wireless LAN solutionsare enabling greater data capture in buildings.

Integrators also need to be aware of the shiftfrom IT-based products to services, which isbeing driven by BYOD trends.

What also emerged was a lack of customerawareness of the products currently on themarket. There is a need to make the productsknown and he addressed how products could getto market through systems manufacturers and,for residential markets, systems integrators.

The panel discussion on ‘Future Visions ofIntelligent Buildings’ brought together InfoCommInternational’s chief sustainability officer AllenWeidman; Quentin Drewell, who is smart buildingslead at Accenture; Matt Dodd, education directorat CEDIA Region 1; and Jeremy Fawkes oncemore. A question was raised about buildingowners being reluctant to invest heavily for long-term savings because of concerns about ROI.The panel pointed out the availability of grantsand ‘free money’ initiatives for these projects. Itis down to the integrator to sell the technologyto the building owner, they said. The overallfeeling was that integrators need to focus onbeing businessmen rather than hobbyists,installing confidence in to prospective clientswith numbers and watertight proposals.Education was highlighted as a major factor inthis. Dodd made it apparent that integratorsshould be looking at their products and servicesfrom an energy-efficiency point of view ratherthan as luxury items.

At this point, the conference split into twoparallel tracks, covering commercial andresidential smart building technologies. Weattended the commercial sessions.

Graham Naylor-Smith of consultancy Arup

UNITED KINGDOM

Getting smarter on smart buildings

JJeremy Towler of BSRIA was one oftwo keynote speakers


NEWS

warned that there is no such thing as a standardsmart building and there is no route to a quickprofit. Instead, integrators need to be involvedwith the process of creating a smart buildingfrom the beginning, with the integrator consciousof all interested parties on the ‘journey’ to itscompletion. Thought also needs to be given towhat happens after the building is completed,with reviews of success and system updates.

Kathy Farrington from Norman Disney & Youngconsulting engineers insisted that, whenconsulting on a project, education was importantfor parties such as external consultants, projectmanagers and quantity surveyors to understandhow one smart project differs from another. Shealso highlighted conflicting interests in thesmart building world, especially in the case ofdata bandwidth, of which security applicationsdemand a large proportion.

Rounding off the morning sessions, RogerWoodward, MD of building software providerTridium, revealed that 90% of all the world’sdata to date was only produced in the last twoyears. With the trend towards smart devicespumping out status information over thenetwork, enormous amounts of data would beinvolved in running a successful smart building.

In the afternoon, Eric Bloom of NavigantResearch presented ‘Building EnergyManagement Systems – Trends to Watch’. BEMSenjoy significant support in the market, he said:worth $2 billion today, the BEMS market isprojected to grow to $5.5 billion in 2020. Also,technologies are changing: the greater use ofdata and the growth of the ‘smart grid’ aredriving a move from localised efficiency tolocalised intelligence to networked intelligence.

John Corbett of EnOcean made the case for‘Self-powered Wireless Sensing and Control forSustainable Buildings’. These are simpler toinstall than their wired equivalents, and as theydo not contain batteries that need periodicchanging, they are much more affordable, andalso greener. They can be used to optimiseenergy consumption within a room dependingon conditions inside it: for example switching offthe HVAC when a window is opened, or adjustingthe lighting to complement ambient light levels.

Mario Pullicino of Orion Engineering Group spokeabout the benefits of ‘Fibre Optics for UnifiedCommunication’. Rather than having separatenetworks for BMS, fire and PA-VA, security, energymanagement, voice, data and other applications,these can be converged onto a blown-fibrenetwork running through the building. This ischeaper to install than conventional copper-basednetworks, both because the fibre is cheaper permetre than Cat cable, and because using fibreeliminates the need for junction cabinets on each

floor of the building.After this, the conference recombined into a

single track. John Melchin of FSR talked about‘Building Information Modelling in Action’. BIM isa method by which all the data about thedifferent elements in a building – such as HVAC,fire alarm systems, lighting, communicationsand more – are combined into a single three-dimensional model. This approach offersbenefits from a building’s construction phasewell into its occupancy, when it becomes a kindof “digital owner’s manual”. “BIM gets systemsto work together synergistically,” said Melchin –pointing out that it can often prevent expensiveerrors from being made.

BIM is growing in popularity: its use ismandatory in certain US states, and in USgovernment projects. There are moves for BIMstandards to be adopted in other countries,including the UK, France, the Netherlands andAustralia.

Rafel Borek of KNX Shop gave a shortpresentation about the role of the integrator asa project engineer, then took part in a paneldiscussion about building automation protocolsalongside Zoltan Karpathy of BSRIA, Matt Doddof CEDIA and InfoComm’s Allen Weidman. One ofthe questions addressed was the implications ofChina just having ratified KNX as its buildingcontrol standard. This was felt to be a goodopportunity for the KNX protocol and formanufacturers of KNX-based equipment(despite the fairly closed nature of the Chinesemarket); however, it seemed likely that it wouldalso lead to Chinese-produced KNX equipmentappearing on the European market.

In the final session, Rick Holland of theTechnology Strategy Board (TSB) gave apresentation about sources of UK governmentfunding for smart building projects. A newcompetition – aimed at helping to developenergy management products that will be on themarket in the next three to five years – has justopened, with a fund of £4 million. Applicationsfrom consortia are now being sought. It is likelythat 20-30 schemes will be invited to make adetailed submission, with around half of theseultimately receiving a share of the fund.

The TSB also has other sources of funding:innovation vouchers, which support micro, smalland medium-sized companies wanting to workwith external experts; and Smart grants, whichsupport projects at key stages – proof ofmarket, proof of concept, and development ofprototype.

Looking back over the day, some key pointsemerged:� Making buildings smart requires huge

amounts of data, which need to be generated, analysed and acted upon with as little human intervention as possible.

� The market is immature, fragmented and regionally diverse.

� Energy efficiency is a key driver in the developing smart building market. Rising energy prices, scarcer fuel sources, energy legislation and regulations, and the increasingimportance of corporate social responsibility are all factors here.

� However, smart buildings are about more thanjust energy efficiency – although there are no widely agreed definitions of the term.

� The AV world needs to create its own opportunities in this marketplace. After all, companies in other sectors will be looking to do the same thing.

The next Smart Building Conference will takeplace in Amsterdam on 3 February, the eve ofthe ISE 2014 exhibition.www.smartbuildingconference.com

FFor part of the conference, the programme split into parallelcommercial and residential tracks

WE ARE very sad to announcethe death of Steve Joneswho has died after a shortillness.

Steve was aninternationally renownedaudio consultant, working onprojects such as theMillennium Dome, WembleyStadium, Millennium Stadium,Ascot Racecourse and TelAviv opera house.

In addition to project work,he was also very active inhelping with Standards. Hewas instrumental in creatingBS7827 for sound systems atsports grounds. He alsoworked on BS5839-8, thecode of practice for voicealarm. More recently he wasworking on revisions to theEN54 standards.

His 45-year career startedat EMI, initially working ondefence projects. Stevehelped build the soundmixers for Abbey Roadincluding the TG12345 – thefirst transistorised mixer. Healso worked with Peter Dix,measuring reverberationtime. This was for the designof the (successful)mushrooms at the RoyalAlbert Hall.

He was asked to deliversome parametric equalisersto Abbey Road and wasabout to leave when theengineer told him to wait“until John was happy”. Heapplied for a job there and

worked as a tape editor.Since he could read music, hewas assigned classical work,which he found “boring”.

After EMI he worked forFerrograph selling multitracktape recorders, and thenHayden Laboratories sellingTelefunken (maker of the first48 track), Sondor andSennheiser.

After that he worked forElectrosonic for seven years.Steve was the only pureaudio person they have everemployed. With significantfunding from the Arts Councilhe did many theatre projectsfor them, looking after thesound and communications.This work then took him allover Europe.

Starting up on his own, hisfirst job was for Cable &Wireless and he found himselfbidding against Electrosonicfor a job in the Middle East.With his BBC Model Bcomputer he used C&W’s‘Easy Link’, one of the firstever email systems. Becausehe could respond much morequickly he won the job.

He could boast of beingarrested more than 20 timesin one day while working inHong Kong. He wasconducting sound tests atthe Hong Kong Stadium andeach time he did a test hewas arrested for making toomuch noise and taken to aside room where, each time,

he subsequently proved hewas below any limits.

At the IOA ReproducedSound conference in the late’80s he met Jim Griffiths.Steve was armed with thehalf written spec for Tel Aviv.Jim asked if Steve coulddesign the system forWembley Stadium.

Through the 1990s, heworked with Jim at TraversMorgan, who becameSymonds Travers Morganthen Capita, eventuallybecoming an employee. The‘alas Griff and Jones’ trickworked on many projects –Millennium Stadium Cardiff,Twickenham Stadium, AscotRacecourse, the Millennium

Dome and many more.In recent years he worked

for himself again.Always willing to speak his

mind he recently reiteratedsome of his thoughts on theindustry. “People get thestandards they deserve,” hesaid – commenting that manycompanies complain aboutstandards like EN54, but didnot try to get on thecommittee. He also said thatattendance from audiopeople at committeemeetings was often poor:“The reason why we get fire-orientated standards isbecause fire people attend.”

He also said that “every UKstadium is possibly illegal”,

referencing the fact thatnone of the standards set atolerance for load monitoringof loudspeaker circuits. “Ifyou follow the rules of thecurrent standards you risklosing too manyloudspeakers but stillthinking your system is OK.”

Those of us lucky enoughto know him got to know akind, intelligent man whotruly cared about the peoplehe worked with and theprojects he worked on.

RIP Steve.

Jim Griffiths, VanguardiaConsultingRoland Hemming, RHConsulting


NEWS

Steve Jones: 1952-2013

Paddy Baker writes: Steve made a couple of appearancesin this magazine during my editorship, commenting onarticles on EN54 and picking us up on points where we hadslipped up. He was a thoughtful and insightful contributor,and the industry is diminished by his passing.


NEWSWORLD

VC to become favourite comms tool by 2016

JAPAN

Epson ships90 millionthHTPS panel

BUSINESS decision makers believe thatvideoconferencing will become the most favouredcommunications tool by 2016. A Polycom-sponsoredsurvey found VC cited as the preferred mode ofcommunications by 47%, behind email (89%) andvoice or conference calls (64%). Those percentagesare expected to change to 52%, 51% and 37%respectively in three years’ time.

Over three-quarters of decision-makers (76%) areusing videoconferencing at work, with 56% of videousers taking part in video calls at least once a week.That number increases significantly in Brazil, Indiaand Singapore.

This growing acceptance of VC is reflected in theuse of the technology in people’s domestic lives –particularly among younger respondents. The surveyfound that that 83% of respondents use consumervideoconferencing solutions at home today, and thisfigure rose to 90% among those in their 20s and 30s.Almost half of all respondents said they usevideoconferencing at home at least once a week.

Intelligibility topped the list of the mostimportant criteria for an ideal video meeting. Sixty-nine percent selected ‘the ability to hear everyoneclearly’; ‘technology that is straightforward andeasy to use’ was chosen by 60%; and ‘good eyecontact with colleagues/everyone is clearly visible’was the choice of 58%.

The survey also tracked use of VC by differentfunctions. On a weekly basis, marketing uses videocollaboration the most frequently, with 64% using itat least once a week. When the timeframe changesto daily, HR takes the lead (with 32% using it everyday), followed by sales (28%). The functions mostlikely to use VC to collaborate face to face withcolleagues internationally are IT/engineering (61%)and manufacturing/supply chain (58%).

An overwhelming majority of respondents (97%)said it is important to try and understand differentcountry cultures when meeting using VC, and 89%

called for etiquette rules to be established to helpthem make better use of the technology forbusiness. To help business better navigate culturaldifferences and so use VC more effectively,Polycom has launched its Guide to CollaboratingAcross Borders, which is designed to help readersunderstand the nuances of doing business acrossthe globe.

“The growing popularity of videoconferencing athome, especially by millennials entering theworkforce, is a big driver of increased preference forand adoption of video collaboration in theworkplace,” said Jim Kruger, EVP and chief marketingofficer at Polycom. “Some key factors to makingvideo as popular in the office as it is at home isensuring it’s easy to use, providing a high-qualityconnection, delivering enterprise-grade security, andparticipants’ willingness to accept and adapt tocultural differences as they communicate acrossborders. We’re seeing businesses around the worlddefy distance every day using video collaboration,including increasing productivity, enhancingemployee engagement, improving time to marketand helping to save lives.”

The survey polled 1,205 people in the USA, Braziland a further 10 countries across EMEA and Asia-Pacific in August and September 2013.www.polycom.com/defydistance

INFOCOMM International is to hold itsfirst three-day in-depth course onNetworked AV Systems for UKaudiovisual professionals on 29-31October 2013. The course will bepresented by InfoComm Internationalsenior staff instructors Paul Streffon,MBA, CTS-D, CTS-I, Network+ (picturedleft) and Rod Brown, CTS-D, CTS-I(right), and will be held at London’sHilton Green Park Hotel.

The course will explore the impact ofaudiovisual applications on enterprisenetworks, address client needs,examine trade-offs between quality

and bandwidth, and explain how tonavigate conflicts between networkpolicies and customer demands.Remote monitoring and management,streaming, conferencing, and othersoftware applications will also beaddressed.

Chris Lavelle, regional director, UK &Ireland, said: “Without a thoroughunderstanding of IP networks and theway AV networks operate within them,it is likely that what the customerexpects to experience won’t matchwhat they ultimately see or hear. TheAV world has changed and if you arenot knowledgeable about IT you are ata distinct disadvantage.”

InfoComm International has workedwith the IT industry over a number ofyears to pinpoint what an audiovisualnetworking professional should knowabout IP networks. This valuableknowledge is incorporated into thecourse using a mix of theory andpractical exercises.

“Audiovisual professionals will walkaway from the course withdemonstrated practical knowledge ofthe AV/IT cultural divide, and how toagree, document and adhere to theshared expectations of networkedsystems,” added Lavelle.

Streffon said: “The professionals thatleave this course will have a greaterconfidence in their ability to design,configure and discuss the networking

issues required by the audiovisual andnetworking systems. Topics start fromthe basis of networking through theapplications and demands ofstreaming, digital signage andvideoconferencing systems. Comeprepared to learn and ask questions, itwill be a busy three days!”

Interested participants areencouraged to register early, as spaceis limited. For further information,contact Ben Barnard [email protected], +44 1442345100 or visit the InfoComm website.www.infocomm.org

UK

InfoComm to hold three-dayNetworked AV course in London

SEIKO Epson Corporationrecently announced that ithas shipped a total of 90million high-temperaturepolysilicon (HTPS) TFT liquidcrystal panels for 3LCDprojectors – enough for morethan 30 million projectorunits. This maintains itsposition as the world’sleading supplier of HTPSpanels.

“Epson has consistentlystrived to develop leading-edge products of the HTPSpanels,” said NobuyukiShimotome, deputy COO ofEpson’s Visual ProductsOperationsDivision.“Epson willexpand andenhance itsHTPS line-upwith panelsthat contributeto theoutstandingcolourbrightness,detailedimages, energyefficiency andreliability of3LCDprojectors.”global.epson.com

PPaul Streffon Rod Brown

Pictures © InfoComm International

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AMX

Scott Bahr has joined AMXas executive vice president,global sales. He comes tothe company from Nokiawhere he held a number ofsenior sales executive posts,most recently as generalmanager of global channelsales. Prior to Nokia, Bahrspent time at Dell where heled sales, businessdevelopment and channelmanagement teams inseveral business units. In hisnew role, Bahr will assumeoversight of AMX salesoperations within the US andall markets outside thecountry, which previouslyhad been managedindependently.www.amx.com

COMMUNITYPROFESSIONAL

Community ProfessionalLoudspeakers has appointed Steve Johnson as CEO.

Johnson has over 25 years ofengineering, marketing andmanagement experience inthe pro-audio andcommunications industries.In his new role, he willoversee the company’soverall business and salesstrategies. Johnson joinsCommunity from Boschwhere he held the position ofglobal brand manager andwas responsible for thebrand management ofElectro-Voice, RTS, Telex andDynacord audio productsworldwide.www.communitypro.com

CORE BRANDS

Joe Roberts has joined CoreBrands as VP of productsand marketing, replacingindustry veteran PaulStarkey. Prior to this Robertsspent time at companiesincluding The LearningCompany, Broderbund and Corel.www.corebrands.com

D&M PRO

As part of its organisationalrestructure, D&M Pro has

promoted Mark Perrins topresident and David Morbey(pictured) to global productmarketing manager. Perrinsjoined the company in 2005as general manager. In hisnew role he will continue toexpand the company’spenetration into the globalinstallation market.Morbey was previouslyEuropean product marketingmanager, with responsibilityfor product planning for thecompany’s entire portfolio ofproducts.www.d-mpro.com

EYEVIS

Two new faces have joinedeyevis: Alexander Koller(pictured, right) has beenappointed CFO and member ofthe board of management,and Oliver Mack has assumedsales management inGermany, Austria andSwitzerland. Koller previouslyworked at consulting firmRödl & Partner in Munich. In hisnew role he will supervise thefinancial and commercialissues of the eyevis group.Mack joins from ICT AG andwill be responsible for thesafeguarding of key projects,the set-up and expansion ofthe distributor network aswell as for the set-up andsupport of key accounts inthe DACH region.www.eyevis.de

HARMAN PRO

Harman Professional hasannounced the promotion ofThomas Marcher to lead allsales and support operationsfor its professional audio andlighting technologies in theGreater Asia region. Marcherwill now take on theadditional operationalresponsibility for Harman’sSingapore-based MartinProfessional team.www.harman.com

MUSIC GROUP

Graeme Taylor (pictured) andGraham Rowlands havejoined the Music Group team.Rowlands will head thebusiness developmentefforts of Music GroupProfessional brands Midas,Klark Teknik andTurbosound. He will also takeon responsibility for theInstalled Sound division inthe Asia-Pacific region.Taylor joins the ProfessionalDivision marketing team;prior to this he spent time atYamaha and Bang & Olufsen.www.music-group.com

ZEEVEE

ZeeVee has promoted BobMichaels (pictured, top) toCEO. In his new role, Michaelswill lead commercial marketdevelopment and globalexpansion initiatives.Previously, as senior vicepresident of worldwide sales,he contributed to verticalmarket expansion, developedstrategic partnerships,expanded the companyglobally and oversaw revenueincreases. Before joiningZeeVee, he was president ofMagenta Research. Anotherformer Magenta executive,Rob Muddiman, has joinedthe company as EMEA salesdirector. The appointmentaccompanies the opening ofZeeVee’s London office andexpansion of its technicalsupport team. Muddiman waspreviously international salesdirector and Europeansales/marketing manager atMagenta, and has also heldmultiple generalmanagement roles with Sony Europe.www.zeevee.com

APPOINTMENTS

LOUD TECHNOLOGIES

Global growth for LOUD TechnologiesNew names will lead worldwide and Latin American sales


LOUD Technologies hasannounced that CarlosVargas (pictured, left) hasjoined the company asdirector of Latin Americansales for the Ampeg, EAW andMackie brands. In addition,Rusty Waite has beenappointed to the position ofVP of sales at EAW.

Vargas’ role will be toensure distributors region-wide realise the supportpossible from the variousheadquarters-based brandsupport teams to build theirmarkets and market share.

He will work with distributorsto implement plans to bringEAW’s full product line andfactory support to customersthroughout Latin America.

Industry veteran Waite,meanwhile, will lead theworldwide EAW sales networkfrom his new home base inEAW’s design centre inWhitinsville, MA.

“Throughout my 25 years inthe industry, I’ve looked up tothe EAW brand for itsphenomenal sound andreliability,” said Waite. “But as Igot closer, I was flat-outblown away by the newerlines such as Anya and the QXseries. And coupled with thefact that the majority of EAWspeakers are once again

manufactured in the US, ourmomentum is catching onboth domestically andinternationally, and I cannotwait to see what we as a

team do next.”Waite joins from Stagetec

and previously spent timewith AMS Neve and Euphonix.www.loudtechinc.com

‘I cannot wait to see what we as a team do next’

Rusty Waite

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T E | M O N I T O R & M A N A G E | C O N S E RC O M M A N D | C O N T R O L | C O N N E C T | C O M M U N I C A

V ET E | M O N I T O R & M A N A G E | C O N S E R

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EXPOS & EVENTS

SPOTLIGHTLDI/Live Design, Las Vegas, US22-24 Novemberwww.ldishow.com

Over 8,000 attendees working in theatre, concerts, houses ofworship, corporate presentations, clubs, theme parks, and anyother live venue come to LDI from 72 countries to see thelatest gear in action, refresh their knowledge, and replenishtheir creativity. More than 300 exhibiting companies provideattendees with live demos and the opportunity for face-to-face discussions about equipment including lighting, sound,projection, special effects.LDI begins with with Backstage Las Vegas, a fact-filled insider’slook at some of the most challenging applications for cutting-edge entertainment design and technology. Tour groups willmeet the creative and technical teams from Cirque du Soleilshows – Zarkana and Michael Jackson ONE — as well as themusical Rock of Ages.

In addition, the LDInstitute provides focused comprehensivetechnical training – all-new sessions from projection contentcreation to site-specific training with Cirque du Soleil, hands-onlighting console training, to the latest version of VectorWorks,and Hippo School.

EDITORIALPLANNERDECEMBERAirports and railway stationsCommunicating with peopleon the move

Video distributionWill matrix switcherscontinue to add inputs andoutputs – or is thereanother way?

Cruise linersFixed installations infloating environments –what are the challenges?

Showcase: Conference systems

News deadline: 11 NovemberDistribution date: 22 November

JANUARYEducationAs the BETT showapproaches, what are thehot technologies in theclassroom and the lecturetheatre?

Show controlAs software capabilitiescontinue to grow, what isthe future for thehardware-based showcontroller?

Feature submission deadline: 1 NovemberNews deadline: 5 DecemberDistribution date: 2 January

Your complete events calendar for the months aheadEVENTS OCTOBER24-27CeBIT Bilisim Eurasia –Istanbul, Turkeywww.cebitbilisim.com

29-31Integrated Systems RussiaMoscow, Russiawww.isrussia.org

NOVEMBER 4-7ShowEast Orlando, USwww.filmexpos.com/showeast

7-9Viscom & Digital SignageWorldDüsseldorf, Germanywww.viscom-messe.com

19Next TV Summit London London, UKwww.nexttvsummitlondon.com

22-24LDI/Live Design Las Vegas, USwww.ldishow.com

DECEMBER 10-12CineAsia Hong Kongwww.cineexpo.com

JANUARY 20147-102014 International CES Las Vegas, USwww.cesweb.org

22-25 BETT London, UKwww.bettshow.com

25-28 MIDEM 2014 Cannes, Francewww.midem.com

FEBRUARY 3Smart Building Conference Amsterdam, Netherlands www.smartbuildingconference.com

4-6 Integrated Systems Europe2014 Amsterdam, Netherlands www.iseurope.org

10-14SIEL Paris, Francewww.siel-expo.com

12-14 Digital Signage Expo Las Vegas, USwww.digitalsignageexpo.net

23-26 LED China Guangzhou, China www.luxin-led.cn

24-27Pro SoundLight China Guangzhou, Chinawww.soundlight.cn

25-27BVE London, UKwww.bvexpo.com

MARCH5 ISCExMilton Keynes, UKwww.isce.org.uk

11-15CeBIT Hanover, Germanywww.cebit.de

12-15 Prolight + Sound Frankfurt, Germanywww.prolight-sound.com

23-25 CABSAT 2014 Dubai, UAEwww.cabsat.com

APRIL9-11InfoComm ChinaBeijing, Chinawww.infocomm-china.com/en

23-25 LLB Stockholm, Sweden www.llb.se

24 Music Week Awards London, UK www.musicweek.com

30-1 May PLASA Focus Leeds, UKwww.plasafocus.com

MAY15-18High EndMunich, Germanywww.highendsociety.de

26-29PALM ExpoBeijing, Chinawww.palmexpo.net

JUNE14-10InfoCommLas Vegas, USwww.infocommshow.org

16-19CineEuropeBarcelona, Spainwww.vnufilmgroup.com

17-19IFSECBirmingham, UKwww.ifsec.co.uk

SEPTEMBER18-20Prolight + Sound NAMMRussiaMoscow, Russiawww.prolight.messefrankfurt.ru

18-21 NAMM Musikmesse RussiaMoscow, Russiawww.music.messefrankfurt.ru

OCTOBER5-8PLASA LondonLondon, UKwww.plasashow.com

January 201423-262014 NAMM Show, Anaheim, USwww.namm.org

ISE DAILYAt ISE 2014, Intent Mediawill once again beproducing thedaily, theofficial show newspaper.The editor’s chair will beoccupied by Installationeditor Paddy Baker, andthe paper will be puttogether from an officejust off the showfloor.

The content creationprocess for thedaily,including the PreviewEdition which will beavailable in the secondhalf of January, hasbegun. The allocation ofhalls to writers will beannounced shortly; in themeantime exhibitorsshould send ISE 2014press material [email protected].

www.dynacord.com

A success story continues!

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DESPITE THE lack of arecognised standard for theultra-high definition (UHD) TVtransmission format, thereare clear indications thatdemand for 4K flatpanels anddisplays is beginning toemerge. This is particularlyapparent in the larger-size,prestige-end of the range fordisplays of 50in and above.

According to WitsView, thedisplay research division ofglobal market intelligenceanalyst Trendforce,manufacturers have identifiedthis new display format as thenext mass-market product tolift sales momentum in thesluggish TV market.

Worldwide sales of all LCDpanels in 2013 have droppedslightly from 2012 and arepredicted to remain at a flatlevel of 225-235 million unitsinto 2015. However, the UHDpanel share of that market is

rising and is expected toreach 4.5% in 2015. Growthhas already been spectacular,with sales in August 2013alone of 0.38 million units; arise of 47% over the previousmonth. Total sales of 1.22million units have alreadybeen achieved this year.

BIGGER FOCUSMedia interest in the newformat has been stimulatedby strong campaigns frommanufacturers at recenttrade exhibitions, such as themajor German IFA fair, whichhas generated significantconsumer interest. Japanesemanufacturers, includingSony and Toshiba, areexpected to focus on largerpanel sizes of 55in, 65in and84in, and will address globalmarkets, while Chinese andKorean manufacturers willextend their ranges to thelower-size TVs by including39in, 42in and 50in sets inresponse to strong domesticChinese demand. The pricepremium of these lower-sizedTVs in China is around 1.5

times that of Full HD setswhile it is three times forlarger sizes in North America.

An announcement byKONKA of a 39in UHD TV setpriced at RMB3,333 (around$550) has set a benchmark inthat market. Othermanufacturers are expectedto follow suit by downgradingproduct specificationsthrough lower frame ratesand more efficient backlightsystems enabled by moretransparent LCD panelstogether with extensive useof dedicated, highlyintegrated components.

LCD panel fabricationplants are already producingproducts in quantity. Innolux(formed by a merger betweenChi-Mei and TPO) leads withalmost 45% market shareand when combined withAUO, Taiwanesemanufacturers have

successfully gained almost80% of the market.

WitsView’s researchmanager Jeffy Chen indicatesthat: “The war for the entireseries of 4K panels will beformally declared in 2014.WitsView projects that thelow-cost UHD TV is likely tobecome a star product as itgains traction in China,encouraging panel makers torestart their productdevelopment of 50in sizesand below.”

The monitors used inprofessional AV applicationsuse the same LCD glass asdomestic TVs and there isonly a handful of LCD glassmanufacturers in the world.The mass-market appeal offlatscreen TVs helps to keepprices down in theprofessional market. So when4K enters the domesticscene, it will also be availableto the digital signage andpresentation markets.Integrators should beprepared. �

www.witsview.com


INDUSTRY DATA

UHD TV on the riseLCD panel makers are predicted to compete for the sub-50in TV market as demand for Ultra HDsets takes off in 2014, writes Steve Montgomery

0

100

200

2012 2013* 2014*

50

150

250

0

2

4

1

3

5

Total LCD shipments UHD penetration

0.38 millionSales of UHD panels in August 2013

2015*

The UHD panel share of the global LCD panel market is expectedto reach 4.5% in 2015*= ForecastSource: WitsView

2012 2013* 2014* 2015*

Total LCD shipments (million units) 230 225 228 235

UHD penetration (%) 0 0.8 2 4.5

Innolux 43.8%AUO 35.0%CSOT 17.2%LG Display 2.9% Samsung 0.9%Sharp 0.3%

UHD PANEL MANUFACTURER MARKET SHARE

UHD TV PANEL PENETRATION M %

Source: WitsView

drives business to exhibitors’ stands at the show and helps convert business opportunities into solid revenues.

To confirm your advertising space in any of products, contact the sales team now:

Drive visitors to your stand

International: Ian Graham +44 (0)20 7354 6000

[email protected]

International: Les Wood +44 (0)20 7354 6000

[email protected]

Guaranteededitorial with all

advertising packages in theform of a Q&A

or opinion piece

The Preview Edition is sent to all previous visitorsand pre-registered visitors inearly January. This offers aunique opportunity to reachvisitors with your marketing

message ahead of the show.

Official Visitor Newsletter, before,

during and post showand direct to the

inboxes of over 50,000potential visitors to

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NEWfor 2014

ISE Daily TV: allows exhibitors to showcase

their activities in video form

ADRIEN CORSO likes tocompare Analog Way withAudi. Unlike carmakers suchas Peugeot and Renault, ithas resisted competitionfrom lower-cost brands bymoving upmarket in recentyears. “Like they did, weworked on innovation, qualityand design”. And during ourconversation, it becomesapparent that a lot of whatCorso has brought to theFrench signal processingequipment manufacturercomes from his experienceworking in Germancompanies.

Corso came to Analog Wayin 2009 when he wasapproached by owner and co-founder Marc Loret tobecome CEO. Loret hadreached his mid-50s and

wanted to step down fromthe day-to-day running of thecompany – although hewanted to remain involved.

According to Corso, Loretwas convinced that AnalogWay needed to change, andthat “to change the companywe had to change from thehead”. Loret considered thathe wasn’t the person to drivethat, but he laid thegroundwork, “so I wasn’tfacing the situation wherepeople were fighting thechange”.

THE NEW ANALOG WAYWhen you join a newcompany, says Corso, “youfirst come and look – youdon’t touch anything”. Butwhat he found was acompany that was “lacking a

lot of things –You could saythere was a passion for proAV and R&D – but if you askedproduction or sales adminstaff, what is Analog Way’sculture or strategy, theydidn’t know.”

Loret and Corso decidedthat they had to work on thevision of a “new Analog Way”(a phrase that comes upfrequently during ourconversation). So themanagement team worked todefine the company’s newstrategy and missionstatement, and circulatedthese around the wholecompany.

There were deeperproblems to address,however. “The business waschanging, as were thecompetition and the

environment. Manyelectronics companies

went through this in the2000s as the weightof software gotstronger. That meantthat some of theengineers were‘hardware peoplewho learned

software by doing’ –and eventually didn’t

feel comfortable”.Corso also found that not

enough time was being takento think through productdevelopment processes,while projects were growingboth in budgets andcomplexity.

So, what was the vision forthe new Analog Way?

First, “we want tomanufacture state-of-the-artsignal processing in WesternEurope”. With the growinginflux of products from theFar East, this meant “climbingthe ladder” – starting at themid-range and moving up tohigh-end products.

From customer surveys,Corso found that Analog Waywas known for innovation butdidn’t always score highly onquality and reliability. “Weweren’t involved in all thethings that make a gooddesign into a good product.So we needed to add qualityto innovation.”

Quality touches many partsof the new Analog Way. “Inmany areas, this comes downto formalising processes: wedecided that working on ourR&D processes was the firstthing to do.”

The first stage is thediscussion of initial concepts,until agreement is reached

between R&D and marketing.This plays to one of thecorporate values of the newAnalogy Way: relevance –ensuring that the company isproducing products that areright for the market.

The next stage is highlyimportant: ‘pre-studies’,which focus on identifyingand minimising risk. “Are weable to overcome the risks[involved in the product]? Ifnot, we stop.” This stage cantake up to one-third of theproduct development time,but it is time well spent

“All the risk must havebeen worked around at theearly stages so the laterstages are safe and fast”:this is what Corso calls “theprice to pay to achieve a wellborn design”. He adds: “If youwant high-quality products,you need to have a steadydevelopment process – notchanging direction all thetime to end up with ahardware patchwork orspaghetti code.”

Hardware quality alsoneeded to be looked at. Thecompany had used manysuppliers and subcontractorsfor 20 years. “We had torealign those that couldfollow us to the top of thetop.” In the end, the companyended up changing asignificant part of its supplychain – in some instancesusing companies that Corsohad dealt with when workingin Germany.

Then there was the issueof hardware design. NewAnalog Way products aremore sturdy – “it’s moreexpensive to do, but if youdrop it, it won’t fall apart” –


INTERVIEW: ADRIEN CORSO, ANALOG WAY

‘The top of the top’

‘If you want high-quality products,you need to have

a steadydevelopment

process’

Since joining the company in 2009, Analog Way CEO Adrien Corso has overseen a transformation ofnearly every aspect of the company’s operations. And, as Paddy Baker discovers, this Frenchmanufacturer has benefited from a lot of German-style thinking

Adrien Corso –a brief biography

Adrien Corso has worked for various multinational corporations,including key players in the electronics industry. Before joiningAnalog Way, he was general manager of a business unit ofMettler-Toledo, the world’s largest precision scalesmanufacturer

He joined Analog Way as chief executive officer in 2009 – the20th anniversary of the company

Since joining the company, he has been responsible for theoverall management of Analog Way, including its subsidiaries inthe US and Asia

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INTERVIEW: ADRIEN CORSO, ANALOG WAY

and they use componentsthat are of a higher spec thanabsolutely necessary to avoidoverheating or running out ofpower.

“Reliability meansproductivity and peace ofmind. We told customers itwould be more expensive butthe total cost of ownershipwould be lower.”

The company is alsoworking with industrialdesigners for the first time.“Some people think the aimof industrial design is tomake beautiful things, so it’snot relevant. But we endedup with the idea thatindustrial design is usefulbecause it can help to giveyou the perception ofsturdiness, quality andmodernity. Old-fashioneddesign will give a badimpression about what’sinside the box.”

COMMUNICATING QUALITYAnother important aspect ofquality is in communications.It’s important to keep yourpromises to the market, hesays: “So be precise fromwhen you startcommunicating. Neverpromise what you can’tdeliver, or you give animpression of bad quality.” It’sbetter to under-promise andover-deliver, he says, in orderto build trust. “When AnalogWay says something, we do it.So we sometimes say no!” Hehas clear views on productannouncements: “Neverlaunch a product more thanthree months afterannouncing it. And don’tmake an announcement justto probe demand in themarket.”

In addition to the new focuson quality and processes,people-based issues have

also come under scrutiny. “Itwas a moral duty but also aneconomic need to look at thepeople. For us, managing acompany doesn't meantaking advantage of people.They come here, they investtheir life, their skills and theirwill, and the company is away of changing these intovalue and money. ”

Not surprisingly, teamworkis a highly importantconsideration in the newAnalog Way: “Only collectivesuccess counts,” says Corso.“We created a tagline: ‘Createa company where we feelgood, where we are proud tocontribute and whereeverybody needs to earn hisposition’. Everybody has tocontribute to create that.”

RENTAL, THEN INSTALLTurning to product strategy,Corso initially focused the

company’s attentions on therental market. “Our mostproactive market is rental andstaging – they are veryinnovative, and alwayslooking for new solutions. Sothe logical first target for ournew products was rental – wehad a stronger reputationthere, and our bigcompetitors were not soactive at that time. OurRental customers wereexpecting more from us. Alsothis market is a goodshowcase because it’s veryintensive, you need a verysturdy design, they demandthe best in terms ofperformance.”

He wanted to make astatement with the firstproduct that was entirelydeveloped under hisleadership. “We needed tofocus on a very ambitiousproject that could help usshow the world the changeswe’ve made.” That product isthe LiveCore platform. “It wasthe new Analog Way as aproduct – it containseverything we’ve talkedabout – innovation, quality,relevance, new positioning.It’s perfectly adapted forrental but also withapplications for systemsintegration.”

He adds: “For us, thenumber one target was not tobuild huge revenues from theproduct – it was to win adurable reputation.” Therental market is suited to thispurpose because of thespeed of its reaction. “Weneeded a visible market toget quick wins and quickpaybacks.” In systemsintegration, this can take sixto eight months because ofthe process of submittingquotes, having themapproved and waiting for theproduct to be installed, but “inrental it’s virtually overnight –some people are prepared tobuy it at the show”.

LiveCore has beendesigned to be extremelysturdy, with the lowest failurerate possible. The companyalso looked at what happenswhen breakdowns mightoccur, and how to lessentheir impact. “We worked onhow to keep improvinguptimes. And we looked atdowngraded ways of running– keeping the show goingeven if one or two boards aredamaged. We also tried toreduce the time to solve theproblem, so we worked onremote diagnosis andmaintenance, so customersdon’t necessarily have tosend products back to us.”

One of Analog Way’scompetitors, he says, seemsto be willing to start a pricewar, which he has nointention of following. “It's astrong message when thecompetition squeezes downits prices, it's like they haveno other lever to use: It'sacknowledging somehowthat our product is better. Wedo not intend to underpriceour LiveCore range, becausewe trust that it's a goodproduct and a smarterinvestment for ourcustomers. We sell the valueand people see it.”

Corso acknowledges that“rental is also a niche marketfor processors – in order togrow, we must haveambitions beyond that,including the integrationmarket.” But the two marketshave different product needs:“In rental, people never knowwhat kind of show they aregoing to do, so they needsomething versatile and builtlike a tank that can adapt toany situation – the typicalrental switcher is thereforepowerful, complex and ratherexpensive. Most of the timethat is overkill for thesystems integration market,where people are sensitiveabout costs. They areprepared to pay only for thefunctionality they use, not forover value.”

With this in mind, thecompany has launched a newplatform, more suited to theinstallation market, calledMidra (for ‘midrange’). “It’s likea baby LiveCore,” he explains,“with everything scaled downto make a more affordableand more specialisedproduct.”

There’s one more thing inthe pipeline – what Corsocalls “selling our know-how”.He explains: “In our growthstrategy we want to getinvolved in OEM and customerengineering. Sometimes wehave had integrators gettingin touch, asking us to designhardware with them – that’ssomething we’d like to domore in the future.”

The philosophy behind thenew Analog Way can beneatly summarised in thecompany’s corporate values.These are Team (in French,Équipe), Quality (Qualité),Innovation and Relevance(Pertinence). As you can see,the acronym works better inFrench – EQIP. And with Corsoat the helm, it looks like thiséquipe couldn’t be in saferhands. �

www.analogway.com


TThe new Pulse2 switcher, in the middleof this stack, is the company’s firstproduct based on the new Midraplatform (see Products, page 50)

(L-R): Franck Facon, marketing and communicationsdirector; Adrien Corso, CEO; Amandine Teyssier,communications manager

FIRST IMPRESSIONS onentering the ExCeL Centre forPLASA were good: even onthe Sunday, there was apalpable buzz on theshowfloor, with goodnumbers of visitors, and thespace was well occupied. Thefinal (unaudited) attendancefigure was over 11,000 – withroughly 20% coming fromoutside the UK – and morethan 3,000 spread their visitover more than one day.

Some exhibitors we spoke toduring the show reported aneasier build-up thanks to thevenue’s purpose-built facilitiesand its location away from thecongestion of central London.

On closer inspection, though,there was a distinct shortageof audio manufacturers on theexhibition floor. Some of thebig names had sizeable stands– including Martin Audio, Rolandand Shure – but many of theaudio brands listed in the showcatalogue were representedby distributors. Harman’spresence was mainly in theform of its Martin lightingdivision, although this standwas showing a few audioproducts from Harman brands.

Some manufacturers choseto be present in other ways.For instance, d&b audiotechniksponsored the bar, Peavey

supplied equipment to theAudioLab Interactive sessions(of which more later), and VueAudiotechnik even hosted itsown equipment demo a fewmiles away in Bermondsey.Still more attended the showas visitors but did not exhibit.

All of this suggests thataudio manufacturers still seevalue in the PLASA show, butnot enough to make themwant to exhibit. The show’sorganisers admit that theyhave work to do here. ChrisToulmin, head of events forPLASA London 2013, said: “Weacknowledge that we havemore work to do – in certainareas of the exhibition,” addingthat the 2013 show had“provided a great starting pointfor the future development ofthe show”. The overallresponse from visitors andexhibitors, he said, had been“overwhelmingly positive”.

AUDIOAudio was arguably betterrepresented off the exhibitionfloor than on it. The AudioLabArena provided a space forsystem demonstrations from adozen different manufacturers.The AudioLab Theatre hostedup to five presentations anddiscussions each day of theshow on various topics in live,

installed, and broadcast sound,and the audio business.

A new strand of theeducation programme,AudioLab Interactive,consisted of six lab-styledemonstrations that broughtaudio concepts to life andchallenged some myths. Weweren’t able to attend ‘Thingsyou really shouldn’t do with apower amplifier’ – one of whichwas cooking popcorn – norcould we make ‘Does networklatency really causeproblems?’, in which adrummer was deliberately putoff his stride by being given anincreasingly out-of-time in-earfeed. We did, however, manageto come to ‘What happens inan emergency?’ in which aMediaMatrix PA-VA systemwas set up to simulate theaudio in four wings of astadium. As various failureswere introduced (a ‘fire’ brokeout, and cables were cut), theaudience were asked whatthey would do if they were incharge of safety at the venue(by means of voting handsets)and it became clear how thedesign of the systemmitigated some of the effectsof the failures.

Powersoft was highlightingits collaboration with Pioneerat PLASA. The two companies

have been working together fortwo years, since Pioneerprepared to enter theprofessional audio market.

In the AudioLab Arena,Powersoft’s advancedproprietary Armonía DSP digitalcontrol suite was powering a3m-high Pioneer dancefloorstack, the GS-WAVE. This isdesigned to offer widedispersion and high SPL acrossa broad frequency range. Wewere impressed with thesystem’s clarity of sound andchest-rattling properties whenwe stood a few feet in front ofit during a demo session.Unfortunately it performedless well at a very well-attended evening launchevent, where the single stackstruggled to fill the room, andthe presenter’s audio systemwas also hard to hear.

Focusrite was showingRedNet, its new range ofDante-based audio distributionproducts that distribute andrecord high-quality audio withlow latency. According to thecompany, the range has beenused in a wide array of live andinstalled applications in sectorsincluding education and housesof worship.

RedNet 1 and RedNet 2 offereight or 16 channels of line-level analogue in and out, with

24-bit A-D and D-A conversion.RedNet 3 interfaces a digitalaudio system and componentsto the Dante network viaAES/EBU, S/PDIF and ADATconnections, while RedNet 4adds eight of Focusrite’s next-generation remote controlledpreamps/line inputs with twoselectable DIs to the Dantesystem. RedNet 5 and 6provide a bridge between theDante network and Pro ToolsHD or MADI systems. Finally theRedNet Dante PCIe carddelivers up to 128 channels ofI/O for any Dante network.

The Roland Systems Groupstand featured a live band,whose performance wascaptured by the new VR-50HDall-in-one AV mixer. Designedfor a single operator, itcombines an audio mixer, avideo switcher, a multiviewer

Following several years at Earls Court, PLASA London was held at the ExCeL Centre in London’sDocklands area for the first time this year. How did it fare? Paddy Baker and James McGrath report

SHOW REVIEW: PLASA LONDON

Docklands verdict


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touchscreen and USBvideo/audio streaming. Sittingalongside the company’s VR-5and VR-3 AV mixers, the VR-50HD adds HD/multi-formatcapability.

Video inputs can be3G/HD/SD SDI, HDMI,RGB/component andcomposite, while outputs,alongside USB, include a mainand an aux bus, both availablevia SDI, HDMI and RGB/component connections. Atthe heart of the audio sectionis a 12-channel digital mixer;sources can be mixed 12analogue inputs or from audioembedded in the four SDI orfour HDMI inputs.

Sommer Cable washighlighting its newly updatedGlandmaster splice adapter,which now offers a flexible andsturdy special solution forcable splicings. It incorporatessleeves turned from aluminiumand fitted with various femalethreads for taking up standardglands. When combined withthe company’s cable glands,the solution offers numerousoptions for cable splicing forapplications including loaddistributions, loudspeakersystem wirings or fibre-opticaland fibre-optical hybridsystems.

Bosch Security Systemssaid the latest DCN Multimediaconference will be shipping bythe end of the year. Thesystem, which is the firstcomplete product to use theOMNEO network architectureand was first seen at thisyear’s ISE, is designed to offera paperless solution for councilchamber applications andboardrooms. Several new appsfor the product are availablethrough the iTunes store.

Bosch was also showing itsnewest media matrix for high-end retail applications, PLENA.This contains a high-qualityClass D amplifier andincorporates a mic for PA calls– a feature that the companysays is often overlooked inthese types of systems.

VIDEO AND LIGHTINGPSCo marked its re-entry intothe LED display market atPLASA London. CEO StuartHolmes told Installation that,after considering a number ofdisplay manufacturers, hiscompany has partnered withUnilumin for the new displays,which are available for rentaland fixed installation.“Unilumin is a strong brandwith good quality and a goodroadmap,” he said.

Holmes added that theprice of LED had fallen enough“to make it a viable option” –and that PSCo is able toprovide support even for2.5mm and 1.9mm models.

He likened the LED marketto that for videowalls almost adecade ago: “The people re-engaging with us are thepeople who bought videowallsfrom us eight to 10 years ago.”

PSCo had two stands atPLASA: ‘The PSCo LEDExperience’ showed the new1.9mm, 2.5mm and 3.75mmLED models, while the otherwas devoted to PSCo’s rangeof Samsung LCD and plasmadisplays and videowallmodules.

Above the ETC stand was a7m x 4m cyclorama, lit withETC Source Four LED CYCfixtures, using the Lustr+ LEDengine. One side featured apainted backdrop, on which thecapabilities of the Lustr+ sevencolour mixing system could bedemonstrated – including verygradual colour changes tosimulate sunrise or sunset.

Also new from ETC was theCobalt control system. Thisuses multiple touchscreensfor a more intuitive approachto lighting control than isoffered by traditional lighting

desks. “Users simply touchwhat they want to change,just like they’re used to withtheir smartphone or tablet,”said product manager SarahClausen.

Cooper Controls – whichincorporates lighting brandsZero 88, Cogent, DTS and LDR– used the show to announceit would now operate underthe company’s parent name,Eaton. Highlighting thesynergies between the Cooperand Eaton names, DavidCatterall, general manager atZero 88 and Cooper Controls,said: “This also increases salesopportunities for the company.Just in the last 12 monthssince the acquisition we havelanded several projects worthseveral hundred thousandeuros that wouldn’t havehappened without the backingof Eaton.” Eaton is a diversifiedUS power managementcompany headquartered inIreland. It acquired the CooperControls family in November

2012. Under the new name,products and brands withinthe Cooper Controls portfoliowill remain the same, “with thesame individual customerservice”, stressed Catterall.

Robe Lighting unveiled itsParFect 100 LED source ACLbeam. This is a static versionof the company’s LedBeam100 and incorporates some ofthe same features, includingCMY and RGBW colour control.Other features includeTungsten Emulation, Zone Fx,selectable and variable colourtemperatures and 7º beam. Forthe show, the company ran aninitiative in partnership withthe University of South Wales.BSc students in live eventtechnology or lighting designtechnology were given thechance to attend the show aspart of the Robe team –helping on the stand, learningabout the industry and pickingup a few contacts. �

www.plasa.org

SHOW REVIEW: PLASA LONDON EETC used a 7m x 4m cyclorama to show off the new Source Four LED CYC fixture

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ENGLISHMEN OF A certain agemay remember their fathersreferring to someone stupidas being “as dim as the TOC Hlamp”. Few of us understoodthe reference… It turns out,however, that TOC H was aChristian movement foundedin the First World War thatadopted an oil lamp as asymbol. By definition, thelamp was not very bright.

And speaking of lamps… Thevenerable lamp has been atthe heart of projectors sincetime immemorial. But, itseems, that’s changing. In fact,it began to change in January2010, when Casio announcedits Green Slim range of hybridlaser/LED projectors, whichthe company said were thefirst to achieve 2,000 lumensusing solid-state illuminationtechnology.

Thus it was that xenon andmercury lamp technologiesfound themselves incompetition with LEDs, lasersand combinations of the two.

“Today, lamp-basedprojectors represent at least95% of total global sales as

they use a tried and trustedillumination technology thathas been around for at least50 years,” says MarkWadsworth, internationalmarketing manager at DigitalProjection. “However, as withall technology, people arelooking for a better and morecost-effective solution andthis is what solid-stateillumination sources proposeto bring to the market.”

Phil Clark, head ofprojection at Casio, sees thenumbers slightly differently.“With hybrid light sourcetechnology accounting foraround 10% of units shippedin the UK, it would be fair tosay that traditional lamp-based projectors do enjoythe mainstay of the market,”he says.

MAJOR DEVELOPMENTS“Projectors using solid-statelaser/LED light sourcetechnologies have developedsignificantly in the last fewyears,” says Tom Gibson,product marketing, visualsystem solutions at Panasonic.

“They’re attractive becausethey offer a host ofadvantages when comparedwith lamp-based projectors.They require less maintenance,

with no need to replace lampsand filters. They’re quicker tostart up and quicker to turnoff. They’re less fragile.”

“There is a constant drivewithin companies andinstitutions to reduce cost:the hybrid light sourcereduces running andmaintenance costs offering afantastic TCO [total cost ofownership] for end-users,”continues Clark. “Not onlythat, but this new technologyremoves harmful and toxicsubstances like mercury fromthe working environment (dueto the absence of lamps),meeting organisations’ drivesto improve their greencredentials.”

Given such a comprehensiveset of advantages, it’s easy tobelieve that the days of lamp-based projectors arenumbered.

Alexis Skatchkoff, productmanager, projection at Barco,puts the case for the defence.“Xenon and mercury vapourstill have a firm grip on themarket, and that’s likely toremain the case for some

time,” he says. “I believe themost important reason is theirinherent efficiency in terms oflumens per watt, and howthey are built and optimised togenerate natural white light.New technologies have otherstrengths and opportunities,but these have not yet gainedsufficient importance ortraction. As yet, there are nogood affordable alternativesfor high-brightness projection.”

And, just because there isexcitement about the newtechnologies, it would be amistake to believe that lamptechnology is just lying downand playing dead.

“For the foreseeable future,the vast majority of projectorswill be supplied with lamp-based illumination,” believesWadsworth. “This technologyis on a continuousdevelopment cycle to reducecosts, increase light outputand achieve longer lifetimes.”

An example of thatdevelopment is cited by JasonDonica, lamp sales specialist,EMEA, at Christie. “The newSuperior Performance Xenolite

A major change has been taking place in the projector market in recent years, as LED, laser and hybridprojectors have begun to displace their lamp-based equivalents. Ian McMurray seeks enlightenment

An illuminating trend

Projectors using lamp-based illuminationtechnologies continue todominate the fixed-installmarket

So-called ‘hybrid’projectors, featuring acombination of LEDs andlasers, are currently themain alternative to lamp-based projectors

The rise in popularity ofprojectors based on newillumination technologyis primarily driven bylifetime cost ofownership

[KEY POINTS]


FEATURE: PROJECTORS

Laser technology hasthe requisite brightnessand colour gamut todisplace lamps at thehigh end, but is stillexpensive and largelyunproven

The first laser-LED projectors – like this oneinstalled at London’s Royal Albert Hall – wereintroduced by Casio in early 2010

‘Solid-statelaser/LED light

sourcetechnologiesoffer a host ofadvantages’

Tom Gibson,Panasonic

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lamps for our Series 1 andSeries 2 Solaria projectors lastup to 30% longer than existingxenon lamps – we warrant theCDXL-20SP for up to 3,200hours – and maintainbrightness for longer periodsthan current xenon lamps,” henotes. “Because that meansless frequent lampreplacement, users benefitfrom a lower total cost ofownership.”

“Lamps are still underdevelopment,” affirmsSkatchkoff. “Continuouslyoffering higher lifetime andhigher efficiency is the target.We continue to work withlamp manufacturers to makefurther improvements.”

IMPROVED ARCHITECTURESIt’s not just aboutimprovements in the lampsthemselves, but how projectormanufacturers are revitalisinglamp-based projectorarchitectures in order toaddress issues such asresilience and cost ofownership. ‘Eco mode’ – inwhich the user can swapbrightness for lower powerconsumption and longerlifetime – is now a feature onalmost every lamp-based

projector. Other changes havetaken place too.

“The Panasonic PT-DZ21K20K lumen projectorrevolutionised large-formathigh-brightness lamp-basedprojection with quad lampredundancy,” notes Gibson.Along similar lines, DigitalProjection offers what it calls‘sequential mode’ whichallows a projector to be runwith one, two, three or fourlamps, with the projectorautomatically selecting lampswith the lowest run hours tomaximise lamp life.

Be that as it may: the newtechnologies are encroaching.

“The standard is stillconventional lamps,” pointsout Rudi Hradil, chiefmarketing manager at showcontrol company AV Stumpfl.“But, especially for fixedinstallations such as museumsand visitor centres, the newalternative illuminationsystems are already the bestchoice. In multi-displayinstallations, even an ordinarylamp failure is a big disaster.New LED/laser systems are areal advantage because oftheir reliability, and becausethere is no need for lampreplacement and the

downtime that involves – soongoing costs for service andmaintenance can be reduceddramatically. The systemintegrator often recommendsa more expensive projectorsolution at the outset,because he knows he will savetime and money in future.”

That comparatively recent

phenomenon – of looking, notat initial purchase price, butrather at lifetime cost ofownership – is far from uniqueto the projector industry. It isunquestionably, however, thekey driver behind the growingascendancy of newillumination technologies.

“Traditional lamps in

projectors are the singlecomponent that have thebiggest impact on operations,maintenance and total cost ofownership,” opines Skatchkoff.“Their lifetimes are typically anorder of magnitude smallerthan the total system. This issomething than doesn’t existin flatpanel displays.


FEATURE: PROJECTORS

Earlier this year, Sonylaunched the VPL-FHZ55 –the first projector based on alaser light source.

The device is Sony’s firstlamp-less projector using3LCD imaging technology toachieve 4,000 lumens ofcolour light output atWUXGA resolution (1920 x1200), to deliver bright andvivid colour reproduction.

“Sony has always beenabout innovation, and thisunique laser projectiontechnology continues thattradition,” commentedRobert Meakin, business andeducation product manager,Sony Europe. “Ourexperience in projection isfar-reaching, and we’re

applying thatexpertise to developa solution for thefuture.”

The VPL-FHZ55uses blue laser as itslight source, whichexcites aphosphorous materialthat in turn createswhite light. The whitelight is delivered to the 3LCDoptical system, generatingvibrant RGB colour through acolour splitting process. Theresulting 4,000-lumen ColourLight Output producesbrightness sufficient for arange of commercialapplications.

The use of a laser lightsource also gives the

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Manufacturers, installers andend-users want to get rid ofthis complexity and cost. Thebig advantage of thealternative lamp source is thelong lifetime and the nearlyconstant light output over along period – resulting in lowermaintenance time and cost.”

But projector manufacturersare realistic: there is – at least

for the foreseeable future – aplace for all illuminationtechnologies.

“NEC was the first projectormanufacturer to offer arealistic digital cinema 4Klaser projector that isavailable today,” claims GerdKaiser, marketing andbusiness developmentmanager for large-venueprojectors. “NEC was also oneof the first to deliver a mobileprojector based on LED

technology. In our installationbusiness NEC continues tobase our projectors on lamps,because solid-state hasn’t yetbeen quite good enough tomeet our expectations. Butthat situation is changing, andyou’ll see us bring solid-stateprojectors to the fixed-installmarket.”

Christie’s position is similar.“Xenon and mercury lamps arekey in our fixed-install projectorrange at the moment and will

continue to dominate over thenext year or two,” says Donica.“However, over the longer term,laser will begin to dominate,especially when the price ofthis illumination technologycomes down.”

Digital Projection is perhapsa little further down the track.“We’re currently developingprototypes with a variety ofillumination technologies,”says Wadsworth. “As with allof our products, ultimately themarket will be the drivingforce on which technologiesare used where. Our productline currently offers HID (high-intensity discharge) lamps,xenon lamps and LEDillumination technologies,allowing us to provide aprojector for every verticalmarket.”

“Our PT-RW and PT-RZlaser/LED projectors areachieving 3,500 lumens – andour R&D team are looking topush this higher,” saysPanasonic’s Gibson. “Higher-brightness laser LED is a bigtarget for manufacturers asmany of the benefits of thelight source technology arealready clear.”

“But it’s important toremember,” he continues,

“that choosing a projector isn’tjust about the illuminationtechnology. There are manyhybrid projectors out therethat don’t offer professionalfeatures such as edgeblending, colour matching andinstallation-friendlyfunctionality.”

Clark makes an interesting,if contentious, point. “Casiooffers a ‘hybrid technology


FEATURE: PROJECTORS

‘In the nearfuture, hybrid

will be thedominant

solid-statetechnology’

Gerd Kaiser, NEC

Xenon lamps are the goldstandard in applications,such as cinema, whereoptimum colour fidelity,long-term colour stabilityand brightness are pre-requisites. Mercury vapourlamps, on the other hand,are more efficient – betterat converting electricalpower into light. Thismeans that, for a givenbrightness, they requireless power and less coolingthan xenon – which, ingeneral, gives rise to morecompact projectors. Theyalso have a longer usefullife, contributing to a loweroverall cost of ownership.

STANDARD LAMPS

Digital cinema projectors, such as Barco's DP4K range,tend to favour xenon lamps because of their highbrightness and broad colour gamut

only’ range of projectors,” hepoints out. “We do not offerlamp-based solutions. It is verydifficult for othermanufacturers to market thisnew technology efficientlywhile still maintaining anexisting lamp-based fleet. Youcannot highlight thedownsides of lamps forexample, when your ‘bread andbutter’ sales come from lamp-based projectors.”

MID-GROUND APPEALAs Kaiser and Wadsworthimply: the projector marketisn’t ‘one size fits all’. Lasertechnology is still expensive,but its high brightness and

colour fidelity make itespecially attractive tocinemas. At the other end ofthe market, pico projectorswill use single LEDs to achievelow cost and high portability.Hybrid LED/laser projectorsare likely to prove appealing tothe middle ground.

Almost by definition, the‘middle ground’ represents thelargest sector of the projectormarket. Are the newillumination technologiesready yet for prime time?

“From a technologyviewpoint, LED, laser-phosphorand laser are mature,” offersSkatchkoff. “What needs tohappen is to make them

commercially mature – createmarket understanding,awareness and acceptance, inorder to create volume andbring prices down.”

“In the near future, hybrid willbe the dominant solid-statetechnology,” believes Kaiser,“because the cost of pure lasertechnology is very high. Later,as costs come down, theamazing colour space and highbrightness of laser will see itbecoming dominant.”

“The hybrid market is, in‘human terms’, a teenager,”says Clark. “It has evolvedthrough a number of chassisdesigns with several tweaks tothe light-source configuration.This technology is now readyand primed to move to thenext level. With othermanufacturers joining thehybrid market, this will help tofurther stimulate the sector.”

But as Hradil points out,there are still unansweredquestions about the newillumination technologies,given that their history hasbeen so short. “What aboutthe reliability of the newLED/laser systems?” he asks.“Are there any ageingproblems? For example: can weexpect consistency of colour

over time? We’ll see.”“But,” he concludes, “we

definitely expect that, in thenear future, we’ll see a largenumber of LED/laser projectorsin our fixed installations.”

There can be little doubtthat flatscreen technology haseaten significantly intoprojector sales. While thereasons for this are many –ease of installation, generallybetter resistance to ambientlight and low cost – a keyreason has unquestionablybeen that projectors based ontraditional lamp technologieshave declined in popularitybecause of their high cost ofownership. While there are

many applications where, forexample, brightness is moreimportant – and, as such,lamp-based projection, whichis by no means standing still,will continue to dominate largesectors of the market for theforeseeable future – it couldbe said that projectormanufacturers are, finally,seeing the light. �

www.avstumpfl.comwww.barco.comwww.casio-projectors.euwww.digitalprojection.comwww.christiedigital.co.uk/emeawww.nec-display-solutions.comwww.panasonic.netpro.sony.com


FEATURE: PROJECTORS

So called solid-stateillumination projectors use acombination of lasers andLEDs. Why not just LEDs?The simple answer is thatprojectors create imagesthrough combining red, blueand green light in varyingproportions. In the case oflamp-based projectors,white light is split into thethree primary colours, andthen recombined. When the

first hybrid projectors werelaunched, green LEDsoffered insufficientbrightness – a problem, asgreen is a large part of thevisible spectrum. Taking the– much brighter – light froma blue laser, and filtering itto produce green, fixed theproblem. Projectorsfeaturing three LEDs arenow becoming increasinglycommonplace.

WHY HYBRID?

NEC has launched the NC1040L laser projector for digital cinema – but it comes at a relatively high price

TWELVE MONTHS ago,Installation sought to take thetemperature of the audioconsole market by looking atthe FOH desk-demands ofsmall to medium-sizedtheatres and concert halls. Byand large, the primaryconclusions drawn were asexpected: ‘analogue sunset’was ongoing as more venuesdiscovered the flexibility ofdigital; increasingly compactconsoles were proving to bean asset for facilities keen tomaximise audience capacity;and support for a variety ofnetworking solutions wasgenerally felt to be aprerequisite of making afutureproof investment.

Slightly more surprisinggiven the rise of new

networking technologies wasthe plentiful evidence of aresurgence in interest of thetwo-decades-old MADItransmission technology.Unidirectional and limited to64 channels it might be, butMADI is proven, reliable… anddefinitely not going away anytime soon.

Quite a few of thesefindings hold true for thelarger auditoriums market,which for the purposes of thisarticle has been defined aspossessing a capacity of2,500 and upwards. Perhapsinevitably, however, somespecific requirements aremagnified: chiefly the shifttowards digital transmissionof signals to help reducereliance on (increasingly

expensive) copper cable, andthe flexibility to operate desksfrom different parts of avenue, away from the surfaceand/or control room.

To help put all theseobservations into some kind ofuseful order, Installationinvited a trio of leading consolemakers to put themselves inthe position of owner/operators of largerauditoriums. The result was ahandy half-dozen-strong list ofrequirements likely to face allowner/operators of largerauditoriums seeking to acquirea new console for fixedinstallation, beginning with…

1) EASE OF INTEGRATION“The first question people askthese days is, ‘How do I

integrate this?’” says SimonKenning, sales manager atRoland Systems Group, whoselatest console innovation isthe V-Mixer series. “So as avenue owner, I would beasking what is the existinginfrastructure in the building…do I have to reconfigure thewhole building to make theconsole work? Do I haveanalogue tie-lines or someform of digital connectivityvia RJ45 connection or a BNCfor MADI, or fibre…?”

For Leon Phillips, productmanager at iLive mixingsystem developer Allen &Heath, a double-whammy offactors – namely, “the price ofcopper cable and theinefficiencies of sendinganalogue signals over long

Analogue sunset isintensifying as venuescontinue to invest indigital consoles

Flexibility of configurationand support for differentnetworking technologiesare leadingconsiderations for mostlarge auditoriums

Hassle-free integrationwith other venuesystems, such as commsand video, is expected tobecome more importantin the years ahead

[KEY POINTS]


Migration from analogue to digital desks is continuing apace – but what arethe truly essential feature requirements for larger, multipurpose auditoriums?David Davies canvasses industry opinion

FEATURE: AUDITORIUMS

Crowd pleasers

‘Do I have toreconfigure thewhole building

to make theconsole work?’

Simon Kenning,Roland Systems

Group

MICA speakers from Meyer Sound feature atSvetlanov Hall, Moscow

Elements™

runs” have forced the take-upof “digital transmission foraudio, often packaged withcontrol elements”. In the caseof Allen & Heath’s digitalconsoles, this has translatedto the comprehensive use ofstandard TCP/IP networkingprotocols for direct control ofthe DSP and surface – makingit straightforward to integratevarious options for control.

2) FUTUREPROOFEDNETWORKINGThe complexity of deliveringeffective signal transmissionis inevitably informed by theusage of the venue itself. Invenues where touringproductions are generallyworking with the site’sfavoured protocols,interoperability is not going tobe so much of an issue.

“But in situations whereyou have lots of companiescoming in with differenttechnologies, you need a wayof being able to bring themtogether,” says Kenning.“That’s quite an interestingchallenge. There’s no singleanswer, even at themoment.”

He’s not wrong. Anecdotalevidence suggests anabundance of touringcompanies still favouringEtherSound, CobraNet, theaforementioned MADI andother established protocols.But, increasingly, the smartmoney for the future appearsto be on Audinate’s Dantemedia networking solution,which celebrated its 100thOEM partner (StudioTechnologies) during IBC 2013and has lately been



‘The rise ofmultimedia

extravaganzashas driven us to

designsolutions for

more immersiveperformances’

John Monitto,Meyer Sound

Moscow's legendary Durov Theatre recentlyupgraded its sound equipment, specifying the newAllen & Heath GLD digital mixing system tomanage FOH and monitors


incorporated into a wealth ofnew products – not leastYamaha’s CL series mixers.

3) INPUT/OUTPUTAlthough a good proportion oftouring shows still bring intheir own consoles, moreproductions than ever are‘travelling light’ to help cutcosts in a pressurised market.Accordingly, in-houseconsoles need an input andoutput count sufficient toaccommodate everythingfrom one-mic comedy sets tofull-blown spectacles.

“In terms of inputs, as ageneral rule somewherebetween 48 and 64 wouldprobably be sufficient, but[arguably] it is outputchannel count that is the keypoint,” says Andy Cooper,manager, YamahaCommercial Audio SupportCentre – Europe. “Venuesthat are on that threshold ofsize (2,500) might be doingmonitor mixing from thesame desk as FOH, so theywill need plenty of monitoroutputs – at least 24. Thenthey will need some matrixoutputs as well to sendsignals to different parts ofthe PA system.”

Of course, adds Cooper,many larger venues “will havea separate monitor desk – inwhich case the number ofoutputs is not such a keyissue”.

4) FOOTPRINTRequiring less elaboration butequally pivotal is the size ofthe console. Simply put, thesmaller the desk’s footprint,the greater the amount ofspace available toaccommodate the audience.In the current economicenvironment, it’s unsurprisingto discover that this is

becoming increasinglyimportant.

Console selection,therefore, is very much amatter of form and function.“The fewer seats you take[out] with equipment, themore you can sell to thepublic,” says Cooper. “Arevenues increasingly consciousof that? Yes, they do seem to be.”

5) RECORDING CAPABILITYWith touring bands, inparticular, looking to squeezeevery last penny out of liveperformances by web-streaming, instant live CDpressing and other post-showrevenue streams as incomefrom conventional albumreleases continues to decline,recording capability is alsoascending the priority list.

“In such cases, venueswould need multitrackrecording capacity, recordingevery input coming into themixing desk, to thecomputer,” says Cooper.

6) INTEGRATION WITH OTHER SYSTEMSThis one’s more of a nebulousarea, but as venues work onreducing expense andmaximising flexibility, thecapability to integrate withvenue communications, videoand other systems is destinedto become increasinglypivotal. This is also likely topave the way for moreimmersive AV experiences.

Such convergence couldtake several forms, but forexample Phillips suggeststhat there might be interestin “the integration of radiomic/monitoring where RFhardware may have to bephysically distant from theconsole. [In addition] videolinking and comms

The very definition of a modern multipurposevenue – hosting everything from cinemascreenings to full-on club nights – Oval Space inBethnal Green, east London, has been equippedwith an Allen & Heath GLD-80 digital console toensure the necessary audio flexibility.

“As a truly multi-use space we knew that weneeded a flexible and user-friendly console thatstill sounded great, for both seasonedengineers and those users with more limitedexperience,” says Dominic Gross, head engineerat Oval Space (pictured, left). Gross’s ownexperience with GLD informed its eventualselection for the venue: “The GLD seemed totick all of the boxes.”

Supplied by LMC Audio London, the GLD-80will be deployed for the majority of events atOval Space, which opened its doors for the firsttime in April 2012. But on the occasions that alarger FOH console is brought in, the GLD will bereassigned to monitor duties.

“The flexibility of the Cat5 stagebox systemmeans that we can deploy it anywhere withinthe space as needed,” says Gross. “This isimportant as every event requires somethingdifferent.” Moving ahead, Gross reveals that“we’re very much looking forward to addingMADI to the GLD shortly to allow us to run alldigital throughout our signal flow”.

The system has already been put through itspaces at a variety of shows, including a set byThom Yorke-led ‘supergroup’ Atoms For Peace,performing in support of recent album releaseAmok. “Like any venue moving from analogueto digital, I’m sure the GLD’s fast-pacedinterface and copy-and-paste functions are awelcome time-saving tool,” says Sam Simon-Norris, technical sales at LMC Audio London(pictured, right). “It was a treat to get downand see Dom, the desk and the whole team inaction, in what looks [set] to become a verysuccessful venue.”

ALLEN & HEATH GLD RUNNING AMOK AT OVAL SPACE


CASESTUDY

DDe Levende Steen in theNetherlands features aYamaha digital audio system

integration with the audioconsole may be attractive tooperators in large auditoria.”

Manufacturers whoseprimary interests lie outsideof consoles also recognisethe trend. The rise of“multimedia extravaganzas”requiring “more and morelighting, video and soundequipment”, says Meyer

Sound director of technicalsupport John Monitto, “hasdriven us to designloudspeaker and other audiomixing solutions for moreimmersive performances orexhibitions that can enrichthe audience experience.”

User permissions and lock-out capabilities, scenecontrol and post-installationsupport/maintenance areamong the other cited itemsfor the typical large venueshopping list. Meanwhile,overall demand for new desksis reported to be robust,particularly with analoguesunset now spreading to the east.

“Developing world marketsare picking up quickly on theadvantages of cost-effectiveand flexible digital consoles,”says Phillips. The ofteneconomically driventendency of venues tooperate across disciplines isalso exerting an influence:“Budget-consciousrefurbishment of existingvenues [to make them] moreflexible and multipurpose intoday’s financial climatemeans that networking audiomixing systems become thenorm.”

And, in a wider sense,manufacturers across the

board are benefiting as largervenues upgrade in order toaccommodate productionsthat, for example, may betravelling with band gear andlittle else in order to helpreduce costs. JBL’s PaulBauman [see box below]sums up the dual driverssuccinctly: “A venue with atour rider-friendly, well-

installed and tuned soundsystem with a competent,friendly production staff willquickly gain a reputation as a‘must play’ venue. At thesame time, it is necessary tooffer the audience animproved listening experienceto help justify high ticketprices – and a high-performance sound system

can help to deliver this.”For pro-audio

manufacturers, as the oldsaying goes, what’s not tolike? �

www.allen-heath.comwww.jblpro.comwww.meyersound.comwww.rolandsystemsgroup.co.ukwww.yamahaproaudio.com



‘For liveperformance,

the mostimportant

loudspeakerfeature is

technical rideracceptance’

Paul Bauman, JBL

The need for versatility in consoletechnology highlighted in the main body ofthe article is mirrored to a considerableextent by loudspeaker products designedwith larger venues in mind. JBL Professionalis among those to have risen to thechallenge with products including therecently introduced VTX Series featuring D2(dual diaphragm, dual driver) and DifferentialDrive component technology. The systemhas already found its way into a number ofsizeable venues, including the Baku JazzCenter in Azerbaijan and The Theater atMadison Square Garden in New York City.

The VTX Series and other JBL products,including the VerTec compact models,reflect the fact “for live performance, themost important feature is technical rideracceptance since whatever system isinstalled in the venue must be acceptableto touring artist productions”, says PaulBauman, senior manager, tour sound at JBL Professional.

‘Technical rider acceptance’ he goes on todefine as being largely driven by thefollowing features: sound quality, headroomand overall output capacity, coverage andthrow capability, ease of installation, andease of operation… “although the order ofimportance of these features will varydepending on who you are talking to!”

And again, as with consoles, Baumananticipates “increased integration on alllevels” – a direction that JBL’s parentHarman Pro is heading in with “the recentintroduction of Audio Architect[Architectural Media System technology]software and the [2012] acquisition ofMartin Lighting”. Meanwhile, in terms of JBLspecifically, “we are introducing the VTX FSeries of multipurpose point-and-shoot fillenclosures that can also be used as high-performance floor monitors. There will alsobe another exciting addition to the VTXfamily early in the new year, so watch thisspace.”

SPEAKING OUT

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THE RESOLUTION and size ofvideowalls has rapidlyincreased over the past fewyears, as has the complexityand amount of data thatusers expect to be able topresent on them.Professional datamanagement applicationsused in plant and utilitycontrol rooms, emergencycontrol centres and transportoperation complexes nowdemand some form ofexternal controller that cansimultaneously manipulatemany individual channels ofinformation from camerasand TV channels to complexSCADA (supervisory controland data acquisition) andprocess control softwareapplications.

Videowalls must presentlive data to operators andsecurity staff withoutcompromise. They must be

totally reliable, and flexibleenough to respond to anysituation so that the mostpertinent data is displayed atall times, with the ability toswitch views instantly inresponse to changingsituations. While thevideowall is the presentationdevice that displaysinformation, there is always acontroller of some typebehind it, responsible formanaging and manipulatingthe content shown.

Videowall controllers havedeveloped beyond the role ofsimply scaling and presentingmultiple images in tiledblocks. “The latestinstallations now demand amore collaborative system foraccessing, displaying andcontrolling shared computerand visual resources,” saysJed Deame, vice president ofmarketing for RGB Spectrum.

“The controller is the brainsbehind the videowall. It isresponsible for accepting avariety of inputs, scaling andresizing as required, andcreating a large multi-monitorcanvas with inputs windowedacross that canvas. Beyondthat, systems now enableoperators to completelymanage their facility’senterprise resources in acollaborative methodologythat is based on the explicitgrant and release of controlof source computers.

“A system of user-assignable permissions andpriorities allows completeflexibility to tailor a systemto a specific set ofrequirements; operators canrequest, transfer or relinquishcontrol within seconds.Senior operators can takeimmediate control. Thosesources are then steered not

just to the main wall but ontoancillary screens and to sub-controllers that manageseparate displays in remotelocations. The latestgeneration of videowallcontrol software providesintuitive drag-and-dropinterfaces with live imagethumbnails to improveusability, even for theunskilled operator.”

The fundamental role ofthese controllers is, as LailaHede Jensen, director ofsales – Europe, Russia &Africa at Prysm, states: “Toprovide seamless overlap andblending of several videosignals over multiple sectionsof the wall, the ability toshow picture-in-picturecontent and easily move andresize images. Integrators arebeing more creative withvideowall configuration,building them in unusual

Videowall controllersperform a range offunctions including imagescaling, resizing,positioning and switching

Control rooms arebecoming moresophisticated and offerdistributed andcollaborative solutions tousers with networkcontrol facilities

Network-attached videosources and encodedvideo are more commonwithin systems and needto be manipulated bythe controller

[KEY POINTS]


Demands on videowall controllers are increasing all the time – both in terms ofthe amount of visual information they handle and the use they make of it.Steve Montgomery reports

FEATURE: VIDEOWALL CONTROLLERS

Looking behind the wall

Software-based andhybrid controllers areavailable that seamlesslymanage baseband andencoded content

Videowalls andcontrollers are keepingpace with the rise invideo resolution andbandwidth

NNetwork control company Infobloxinstalled a 16ft wide by 6ft highPrysm videowall in the company'sexecutive briefing centre

‘The controllerneeds to

transform froma centralised

device to a moredecentralised

one’Kai Schönberg,

eyevis

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shapes and sizes; thechallenge is to display largeamounts of content withoutlowering its quality andreducing its inherentinformation-carryingcapability. The ability toseamlessly switch betweencontent is essential as theexperience for the viewershould be completely natural,with no delay or interruption,and free from artefacts,which can be caused duringthe processing of anyconversion of input or output.Windows, picture-in-picture,switching and cross-fading ofinputs must be instant andnon-invasive. An increaseddemand for this has arisenwith the popularity ofcollaboration spaces, wherevideoconferencing, datasharing and switchingbetween content all need tohappen at once. This requireseven more ability to controlthe input.”

PROCESSING POWERThis means that theswitching architecture andprocessing capability of thedevices must be on a par

with, or preferably one stepahead of, prevailing videoformats. The maximum datarate of DVI is 165MHz with aresolution of 3,840 x 2,560.Video resolutions exist thatexceed that rate soalternative formats need tobe accommodated. “Thecurrent standards are singleand dual-link DVI and HDMI,with DisplayPort approachingrapidly as graphic cardsexceed the capability of DVI,”says Nico Kamffer, deliverydirector, PSCo. “4K and 8Kimage processing is on thehorizon, which allows super-high resolution playback inany form or aspect ratio up to10 megapixels.”

In addition, the wide varietyof video formats and displaytechnologies in use in thesetypes of installation presentsadditional challenges in thecontrol and interaction ofcomponents throughout thesystem. Controllers must beable to manage data securityand device managementprotocols, even if they arenot strictly being used in theoriginally defined manner.The incorporation of EDID

pass-through, emulation andmanagement is essential inensuring operation of finaldisplay screens, while HDCPcompliance is oftennecessary, even on materialthat may not necessarilyrequire encryption – somedevices simply add it as amatter of course.

This concept means thatthe controller must besufficiently powerful andsophisticated to deal withany type of incoming dataformat, scale and mix it withothers and switch andtransmit multiple signalstreams. They are effectivelymany different devices inone, performing a plethora offunctions – switching, scaling,transcoding, KVM extension,edge blending, IP gateways –all with multiple operatoraccess and capable ofdealing simultaneously withdifferent display devices,from single desktop monitorsto large matrix and paneldisplays and multi-projectorinstallations.

Complexity and bandwidthconsiderations have, in thepast, dictated that



In June 2013, the National Aeronautics andSpace Administration (NASA) unveiled a newlyupgraded facility at the Marshall Space FlightCentre in Huntsville, Alabama. The PayloadOperations Integration Center is theheadquarters for International Space Stationscience operations.

NASA required a system that enhancescollaborative research and delivers round-the-clock support to the space station crew.Teams of controllers need to be able tomanage over 200 experiments from theground, monitor science activities, andconnect astronauts aboard the space stationwith researchers from around the world.

A 2 x 12 monitor videowall uses RGBSpectrum’s OmniWall processor to manage 32input signals. The processor enables operators

to share real-time information, including livevideo feeds, graphics, photographs,experimental results and power usageinformation.

Other inputs include H.264 feeds from on-board video cameras, news broadcasts,weather information, and the NASA channel,as well as SCADA systems for machine control.The OmniWall processor outputs these signalsto local control stations, auxiliary displays andto the main videowall.

According to Aladin Bashir, a seniorengineer with system integrator ColsaCorporation: “The OmniWall processorprovides extremely fast source switching,enabling the collaborative management ofhuge amounts of information, and supportsreal-time decision making.”

ACCELERATING SPACE STATION SCIENCE: NASA’S PAYLOADOPERATIONS INTEGRATION CENTER

CASESTUDY


controllers are generally builtaround a dedicated hardwareapproach and as modular,highly configurable options.That is now changing assoftware platforms becomemore powerful and the needto manage encoded materialincreases.

“We have recently seen asignificant introduction ofCloud-based technologiessupplementing pure base-band video distribution

systems,” explains HelgiSigurdsson, product manager,Matrox Graphics. “Customersare increasingly looking toincorporate more videoresources within theirvideowall installations. Ournewly launched MatroxMaevex video-over-IPencoders and decoders cannow be integrated alongsidea Mura MPX-poweredvideowall controller toaddress these requirements.”

RGB Spectrum’s MultiPointControl Room ManagementSystem (MCMS) is builtaround a high-speed, high-capacity AV hardware switchwhich acts on real-time, full-resolution video to deliverfull-frame rate performancethat is not available in video-over-IP systems. It is a hybridsystem that uses the IPnetwork to send commandsand provide secure remoteaccess and has the ability to

receive and transmit H.264signals to accommodatenetwork-attached devices.

The wide availability ofsignal transmissiontechniques is an advantageto manufacturers, who areable to integrate and deploystandard and proprietaryextension capability to suit allinstallations. Video-over-IPallows access from anywherewithin a location, and beyond.For dedicated videoapplications, analogue anddigital video transmissionusing CatX and fibre cablescan overcome distancesbetween sources, controllersand displays from hundredsof metres to severalkilometres. HDBaseT is oftenoffered as an option that canlead to simplification insystem design.

Most manufacturers offercomplete systems to enablesingle-supplier systemdesign. Modular designs canbe populated as required sothat walls with any number ofelements and sources can beconstructed. Additionalvariants with smaller, fixedconfigurations of betweenfour and 16 inputs andoutputs and less control and

imaging functionality areuseful when deployed assatellite controllers for thesmaller sub-walls typicallyfound in break-out areas or inspecial access control roomsin emergency or incidentoperations centres. In manycases these are controlledfrom the main controller,forming a completeintegrated and usablesystem.

Hiperwall’s software-based


eyevis LCD monitors are in use at Dusseldorf Airport’s Control Centre

‘4K and 8Kimage

processing ison the horizon’

Nico Kamffer,PSCo


approach is a digression. Aset of computer monitorsare located adjacent to eachother in a tiled arrangement.Each monitor is driven by aPC that can be external, orembedded in the monitor.Content on these displaynodes can be resized,located and given visualeffects, including rotationand transparency, to enableany desired configuration. Itis possible to expand theHiperwall system withoutany practical limits.

CEO Jeff Greenbergexplains the advantages:“Hardware-based controllershave specific scalabilitylimitations. These canusually be overcome byselecting a higher-endcontroller, but at higher cost.Software controllerstypically have lowerscalability limitations andprovide for easy incrementalscalability options.”

NEW TOPOLOGIESAt the same time thearchitecture of the controlroom is developing and newtopologies are emerging: “Inmany applications, thecontrol room is evolvingtowards an IT infrastructure,which means moving fromhard-wired cabling to aflexible networkinfrastructure,” points outKai Schönberg, productmanager, IT software &controller at eyevis. “Inputswill be streamed to thenetwork and can be pickedup and shown in multiplelocations and on multipledevices. The controller

needs to transform from acentralised device to a moredecentralised one. They haveto be more network-basedand cascadable. The Netpix4800 controller bridges thegap with the capability todeal with real-time videostreams, network video andPC graphics simultaneously,combining them into acoherent display.”

Steve Seminario, seniordirector of product marketingfor Planar Systems, agreesthat this is changing theindustry: “The evolution tothe extended enterprise hasfollowed the larger trends ofmore geographicallydistributed organisations andthe other macro trendsrelated to use of mobiledevices. At the same timethere is a need to handle agreater number of high-resolution sources and manymore network-attachedvisual sources, most notablyH.264 cameras. The oldmodel of all sources endingat the control room videowallhas expanded to includemuch more of a peer-to-peersharing of visual information.This brings big implicationsrelated to security and userrights management.”

Alongside these changeshas come the desire to controlthe system from anywherewithin the network. Cloud-based access to systems anddata sources is now wellestablished in many fields, andno less so in this industry. Italso allows intelligent controlof displays to be carried outthat can relieve the operatorof the burden of responding tocritical and emergencysituations.

Seminario explains: “Theability to dynamically changewindows and content to

‘There is muchmore of a peer-to-peer sharing

of visualinformation’

Steve Seminario,Planar Systems


An eyevis installation in the A89 (Bordeaux toLyon) motorway control room in Tarare,France, consisting of six 60in rear-projectioncubes with LED backlight and two videowallsof 2 x 2 46in LCD displays – all controlled byone netPIX graphic controller

react to situations is oftencrucial in coping withunexpected events. Manycontrol rooms rely on theoperators to react tosituations. But a new trendis emerging in the use ofalgorithmic intelligence tofocus the operators orautomatically alter theviewed data. Controllersmust be able to respond tothat capability.”

This is important in manysituations: in security, anintrusion alert from theaccess control systemmight trigger an eventwhich would cause thecameras in that area to behighlighted on thevideowall. In a SCADAsystem, a failure of acomponent might bring thecontrol panel for thatdevice front and centre ofan entire wall to highlightits critical nature andensure immediate action.

Videowall controllers arean essential element of anyoperations centre. They areevolving rapidly and arecapable of managing all ofthe latest video formats,whether they are capturedand delivered over discretecables or in encoded andcompressed form on anetwork. Their ability tomeet end-userrequirements and provideadaptability in use andoptions for differentformats that will ensurefuture-proof operation iscritical to the success ofeach and everymanufacturer of thesetypes of products. �

www.eyevis.comwww.hiperwall.comwww.matrox.comwww.planar.comwww.prysm.comwww.psco.co.ukwww.rgbspectrum.com



RGB Spectrum’s MultiPoint Control RoomManagement System (MCMS) is the focal point of theCyber Command and Control Simulation Center atRsignia headquarters in Columbia, Maryland, US,which simulates real-world environments for militaryand cyber security professionals

RussiaFEATURE: REGIONAL VOICES

Russia’s economy was not hit as strongly as some bythe global financial crisis, and Moscow has morebillionaires than any other city in the world. But howmature is its installation market? Our survey finds out

EXTERNAL FACTORS

HOW INFLUENTIAL (EITHER POSITIVELYOR NEGATIVELY) ARE THE FOLLOWING

FACTORS ON YOUR BUSINESS?

0.8%Budget deficit, 2013(as share of GDP)

1.7%GDP growth (Q1-Q2 2013)


MOSTINFLUENTIALNational economic

situation

Competitor activity

Legislation/regulations

More affordabletechnology

Energy efficiency

LEASTINFLUENTIAL

Source: Financial Times

Source: Bloomberg

Higher 0%The same/no answer 88%Lower 12%

The majority of Russianintegrators specialise in a singlesector, such as corporate,education or sport facilities

There are no significant skillsgaps in the installation sector

In general, Russian installers arecomfortable with the increasingamount of IT networking in AVinstallations

DO YOU AGREEWITH THESE

STATEMENTS ABOUTTHE INDUSTRY?

STATE OF THEMARKET

Do you think general levelsof confidence in the Russian

installation sector arehigher or lower than six

months ago?

DESIRED CHANGESIF YOU COULD CHANGE ONE THING ABOUT

THE WAY THE RUSSIAN INSTALLATIONMARKET WORKS, WHAT WOULD IT BE?

‘I wish integrators would provide more technicallyinnovative and sophisticated solutions. It is a shame tofollow all the customer’s demands without engaging

one’s brain and technology knowledge.’

‘There is still corruption in the market. Formally it hasbecome more and more transparent with electronic

tenders, but in real life the winner is chosen outside thetender room.’

‘We wish designers and architects were more willing tolearn about AV options, as they are the leads for the

majority of the AV projects.’

Strongly Agree Neither Disagree

‘At the moment in Russiathere is no AV consultantmarket at all. I hope this will change.’

0% 20% 40% 60% 80% 100%

ENTERING THE MARKET

WHAT ADVICE WOULD YOU GIVE TO AMANUFACTURER LOOKING TO ENTER THE

RUSSIAN AV INSTALLATION MARKET?

‘For normal customers, price is the only issue. For thosewho just show off, the brand is what matters the most.’

‘For the Russian AV installation market it is importantto have a strong project protection policy and to select

the proper dealers who have trusted integrators.’

‘The connection between the manufacturer and theend-user (or installer) should be closer. Everyone should

be able to place the order directly.’

… AND TO AN INTEGRATOR LOOKING TOENTER THE MARKET?

‘To enter the Russian AV installation market, the companyhas to be extremely flexible to the customer’s changing

demands, to be ready to provide a technical solution ASAP.It is important to share technical knowledge with

customers to make them appreciate your professionalismcompared to others.’

‘There are not enough clients.’

Agree

© 2013 Harman International Industries, Incorporated

Soundcraft T: +44 (0)1707 665000 E: [email protected] Soundcraft US T: 888-251-8352 E: [email protected]

Find out more

soundcraft.com

TECHNOLOGY: NEW PRODUCTS

BOSEROOMMATCH

IT’S… Twenty-two new additions to the arraymodule loudspeaker family.

DETAILS: With the addition of these asymmetricalarray modules, the RoomMatch series nowincludes 42 unique coverage patterns providingsystem designers with coverage control andscalability for venues including houses of worship,auditoriums, performing arts centres and sportsarenas. The asymmetrical pattern modulesimprove sound quality in many room shapes byreducing side-wall reflections, helping to improveconsistency of sound quality. The modules alsoimprove stereo soundstage effects when usedeither in left/right pairs or in L/C/R array

configurations. They feature the industry’s onlylarge-format asymmetrical waveguides, withpattern control down to 800Hz, improving vocalclarity by reducing room reflections in the 1-4kHzvocal intelligibility range.

AND ALSO: All RoomMatch full-range modulesutilise six Bose EMB2 extended-midrangecompression drivers with 2in voice coils for thehigh frequencies and dual Bose LF10 high-excursion 10in woofers with 3in voice coils for thelow frequencies.

AVAILABLE: Nowwww.pro.bose.com


Our selection of the latest productsfor the installation market

InstallationPRODUCTOF THE MONTH

What’s new

AMXHYDRAPORT CABLERETRACTOR

IT’S… A retractable cable solution.

DETAILS: Each of the four new RetractorModules supports a specific AV format(HDMI, DisplayPort, Ethernet and RGB withAudio) and can be installed in any of the600, 900 or 1200 HydraPort baseassemblies. AMX is also making the newcables available for additional use undercarpet or anywhere a flat cable is desired.

Designed to work smoothly, require noadjustments and to ensure video and audiofidelity, the latest additions to theHydraPort family offer functionality andreliability.

The Retractor Modules are also said to be,on average, 85% more compact thanmarket alternatives.

AND ALSO: AMX has also announced twonew HydraPort Dual USB Modules that offerthe convenience of two USB modules in asingle HydraPort unit for connecting to anetwork and/or charging devices.

AVAILABLE: Nowwww.amx.com

IT’S… A transmitter and receiver that usesHDBaseT Class B technology to send HDMIwith embedded audio, bidirectional RS-232and IR over distances of up to 70m.

DETAILS: The TP-580T and TP-580R aredesigned as a cost-effective method forsending HDMI and control signals overdistance. For resolutions above 1080p60and up to 4kx2k30, distances of up to 40m can be achieved. The products areideal for use in locations including houses,lecture theatres, churches, boardrooms andthe like.

The TP-580T and R support HDCP, 3Dpassthrough, Deep Colour, x.v.Colour CEC,Lip Sync, HDMI uncompressed audiochannels, Dolby TrueHD, and DTS-HD. Theyare housed in the Kramer Tool enclosure and

powered by the supplied 12V adapters.

AND ALSO: The TP-580T can be used with areceiver, or connected directly to theHDBaseT input of display devices fromcompanies such as Panasonic and Epson.

AVAILABLE: Nowwww.kramerelectronics.com

IT’S… A new mixer/native matrix switcher based on AnalogWay’s Midra platform.

DETAILS: The Pulse2 is said to offer a new design andfunctionalities, including some advanced features from theLiveCore series of presentation mixers.

Pulse2 comes in a 2RU enclosure with a deeper chassis,ensuring better air circulation and cooling of the device.Compared with its predecessor, Pulse, it offers upgradedconnectivity, through eight seamless inputs and 14 inputplugs: four Universal Analog, four DVI-D, four HDMI and two 3G-SDI plugs. Thanks to the CleanCut effect, thePulse2 can operate fast and seamlessly switch betweenany of its 14 input plugs without fade through black orloss of sync.

The device features a matrix mode with two outputs. Tofit any display resolution, including non-standard formatslike LED walls and rear-projection cubes, it offers customoutput format management.

AND ALSO: Thanks to optimised programming and a newarchitecture, the Pulse2 offers fast seamless switching,with a 50% speed gain in control parameter response. Thede-interlacing process on the Pulse2 has been significantlyimproved, and is similar in quality to the process availableon the LiveCore series.

AVAILABLE: TBCwww.analogway.com

ANALOG WAYPULSE2

KRAMER ELECTRONICSTP-580T, TP-580R

TECHNOLOGY: NEW PRODUCTS

EPSONEH-TW9200W, EH-TW9200, EH-TW7200

IT’S… Three new top-of-the-range 3D homecinema projectors.

DETAILS: The range features the EH-TW9200W, a wireless Full HD model thatallows users to connect Full HD devices tothe projector without having to install themin the same room. The EH-TW9200 isavailable as a non-wireless version. The EH-TW7200 offers features such asa wide lens shift and very highcontrast ratio.All three models offer a highcontrast ratio, which ensuresdeeper, crisper blacks. The EH-TW9200W and EH-TW9200both feature a very highcontrast ratio of 600,000:1, whilethe EH-TW7200 is 120,000:1.

AND ALSO: The EH-TW9200W is one ofEpson’s first home cinema projectors toallow users to play content directly from

their smartphone or tablet – includingphotos, videos and music – thanks to theMHL (mobile HD link) port.

AVAILABLE: Nowwww.epson-europe.com

LG ELECTRONICS84WS70

IT’S… The world’s first 84in UHD LEDbacklit large-format display capableof playing 4K Quad HD content.

DETAILS: With a 1,400:1 contrastratio combined with automaticbrightness adjustment sensor andaccurate colour reproduction,content is said to be clear andprecise on the 84WS70. The size ofthe screen is designed to make itsuitable for retail as it is almost bigenough to accurately reproduce alife-size person when in portrait

orientation. Equally in broadcast andcreative applications the display’swide viewing angles can makeaudiences feel drawn into a sceneand part of the action.

The 84in comes with an LG 4Kmedia player to showcase contentwith maximum impact at the highestresolution.

Also new from LG is the 55WV70MSLCD videowall solution. It features anultra-narrow bezel of 5.3mm (bezel tobezel), said to be the slimmest bezelon a 55in videowall on the market.

Like the 84in, the 55in offerswide viewing angles plus its99mm slim display depthallows for greater installationflexibility in a wide range oftarget applications.

AND ALSO: Both displays areavailable exclusively in the UKthrough PSCo’s Distributionand Rental businesses.

AVAILABLE: Nowwww.psco.co.uk

IT’S… Twenty new additions to the FusionSeries of videowall solutions.

DETAILS: The new mounts includefreestanding, bolt-down and ceiling models,making it possible to construct videowalls inlocations where walls aren’t available.

Installer-friendly features include sixindependent adjustment knobs per display;micro-height and levelling adjustment at allcolumn intersection points; and fullyintegrated cable management. The solidconstructions come in a variety ofconfigurations including back-to-back andportrait versions.

The ceiling videowall mounts will supportdisplays up to 55in ranging from 85lb to 125lb(38.5-56.7kg) per screen. The ceiling mountedvideowall is compatible with traditional 1.5inNPT and Chief’s new CPA pin connectionceiling plates and column system.

Freestanding landscape models areavailable in 2 x 2, 3 x 2 and 3 x 3 orientations,while portrait options are 3 x 1, 2 x 2 and 3 x2. Using accessories, mounts can becombined to achieve videowalls up to threedisplays high and any length. Portraitarrangements are available in both cart andbolt-down solutions for retail or menu boardapplications.

AND ALSO: The bolt-down option is said to bedesigned for permanent digital signage inretail, corporate and hotel lobby applications,or any public space.

AVAILABLE: Nowwww.chiefmfg.com

CHIEFFUSION


EXTRONXTP T UWP 302

IT’S…A two-input XTP wallplate transmitter thatprovides the convenience of connecting local sourcedevices at a wall or other locations including alectern or floor box.

DETAILS: The XTP transmitter mounts into astandard three-gang junction box, and sends HDMI orRGBHV video, audio and control up to 330ft (100m)over a single CatX cable. It is HDCP compliant andsupports computer-video to 1920 x 1200, includingHDTV 1080p/60 Deep Color and 2K. For simplifiedintegration, the XTP T UWP 302 features automaticswitching between inputs with selectableprioritisation, and can be powered over the sameCatX cable. The XTP T UWP 302 is designed for use inXTP Systems for signal distribution and long-distancetransmission between remote endpoints.

AND ALSO: To further simplify integration with HDMI-equipped devices, the transmitter features twoExtron technologies. EDID Minder ensures continuousEDID communication between devices. Fortransmission of HDMI signals with protected content,

Key Minder authenticates and maintains HDCPencryption to provide reliable transmission acrossthe XTP System infrastructure.

AVAILABLE: Nowwww.extron.com

Furniture and mounts James McGrath takes a look at the ways in which specialist furniture and mounting solutionscan help integrators to install AV equipment

Developed over an 11-yearperiod, the MV-Brix fromMode-AL is a modular

videowall mounting systemfor large-format LCD, LED andOLED screens.

For set up, each screenmodule (or Brick) simply boltstogether. This allows foraccess to each screen

independently of the adjacentscreens as each Brick has itsown chassis, allowing it to beattached to its neighbours –providing a self-supportingstructure.

The compact videowalloffers options for removingscreens for access fromeither the front (MV-Brix TypeD and P) or the rear (MV-BrixType R) depending on therequired set-up.

A clever vacuum-likesystem called the‘pressurised plenum system’continuously supplies filteredair into the gaps between thesystem’s glass and thedisplay screens. This reducesthe chances of dust and

debris settling, meaningmaintenance and servicingare kept to a minimum.

The MV-Brix Type R isspecifically targeted at theretail market, as it is said tobe unique in providing acomplete self-supportingscreen-mounting system. Itcan be used to produce ascreen array of almost anysize that is only 180mm (7in)deep – which is said to giveretailers significantly moreusable space than any othersystem. The rear of the brickscan be covered in theretailer’s choice of pegboardor slat wall to increase theretail display area. www.mode-al.com

Cleverly designed to exploit thelaws of physics, STANDiT fromFrench manufacturer Erard Proenables a flatpanel display tobe installed without drilling anyholes.

The mount is mainly targetedat applications in plasterboardwalls that cannot be drilled, butalso offers integrators a quicksolution for mounting flatpaneldisplays ranging from 30in to50in.

The hole-less wall mount,said by the company to be thefirst of its kind, is made fromstainless steel with feet placedfar in front of its centre ofgravity, guaranteeing rigidityand stability, according to the

company,while astabilising pad ensures ‘perfect’adherence to the wall.

The system uses a secure,patented anti-hooking systemso that the screen won’t falldown. In addition, users canadjust the screen to one of sixdifferent heights over 200mm.

There are three models in theseries: the STANDiT 400,STANDiT 600 and STANDiT PRO– each of which offers differentheights. All mounts incorporatecable management at the rearfor clean installations, VESA200-600 mounting options anda 10-year guarantee.www.erard.fr


TECHNOLOGY: SHOWCASE

Peerless pops the mountPeerless cites a growingtrend towards largervideowalls in a wide range ofmarkets, and increasingdemand for digital signage,as the main reasons for theenhancements made to itsDS-VW765-QR (QuickRelease) mount.

The DS-VW765-QRfeatures a spring-loadedpush-release mechanism toenable quick and convenientaccess to any individualscreen in a videowall (mid-array and in a recesseddisplay). With most digitalsignage in high-traffic areas,the benefits of this directaccess include reduceddowntime during servicingand the ability to replace‘dead’ or malfunctioningscreens quickly andeffectively.

The system incorporatesfeatures to help integrate thesystem effectively, includingan eight-point tool-less microadjustment to ensure thatdisplays are seamlesslyaligned even when thesurface of the wall is notcompletely level. Moreover,

the system is supplied withscreen-specific customspacers that remove allmeasuring and calculationsfor mount positioning, whichthe company says can reduceinstallation time by up to60%.

The system is available inboth portrait and landscapeorientation versions, with anextra large format model duein Q1 2014 that will

accommodate screens up to95in in size.

Another benefit of thesystem is that the DS-VW765-QR models share acommon design with the rest

of the Peerless-AV videowallmounts range. This meansthat models with differentfunctionality can be usedtogether in specific areas ofthe display. So fixed, flat-to-wall mounts in certainpositions can be mixed withfull-service, quick-releasemodels for other displays, tocreate a mixed array.

What’s more, the QuickRelease mechanism can be

restricted with a locking bolt– this will secure the screenwhen not required and canprotect the displays in publicareas.wwww.peerless-av.com

{ }

Unicol’s latest innovationin its array of mountingsolutions is the smartlyfinished Rhobusvideconferencing andpresentation range.The unit’sstylish, piano-black finishhelps it blend in with high-endboardrooms.

After speaking with itscustomers from corporatebackgrounds, the companyfound that the market waslooking for an all-in-one solutionthat could house a PC/codec,single, twin and triple screens,VC camera mount and have arange of utility shelves. Theoutcome was Rhobus.

Rhobus offers a neatsolution for office spaces inthat all the equipmentrequired – such as codecs,cabling, PCs and any otherequipment – can be stored

out-of-sight in alockable space inside

the unit.As for the VC camera,

this can sit above orbelow a single screen up to 80in,or, when Rhobus is in dual-screen configuration, can beplaced on a specially designedmount that places the cameramidway between the screens atthe centre of the screen height.

Other features include a built-in power socket as standard.www.unicol.com

Unicol’s Rhobus videoconferencing andpresentation range

{ }Erard Prouses physicsto STANDiT

{ }{ }Mode-AL’s self-cleaning videowall solution

For the biggest walls, Peerless-AV has the solution

Large format video walls, now with added convenience

Problem?.. Solved!..

Up to 55� display 3x3 video wallPictured: DS-VW-C655 3x3

Up to 90� display - landscape/portraitPictured: SC590

Up to 65� display - landscape/portraitPictured: DS-VW765-LQR

A full range of LFD mounting solutions for displays up to 90” are available at www. peerless-av.com

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T: +44 (0)1923 205610 E: [email protected] W: www.peerless-av.com

Availableto pre-order

now!

TECHNOLOGY: SHOWCASE

SmartMetals has developed awhiteboard mounting solution thatincorporates whiteboards andtouchscreen technology as separateentities.

Thecompany says the152.0100 mounting kitsolution, which canaccommodate displaysmeasuring between 55inand 70in, is ideal forclassrooms andbusinesses.

Once the userspecifies the type oftouchscreen displaythey have, SmartMetals can custom-produce the solution so that thewhiteboards, which flank the display,integrate correctly. Delivery is usuallywithin three weeks of ordering.

With a combination of whiteboardsand a touchscreen, the solutionprovides a double dose of interactionand collaboration possibilities forusers. The two whiteboards also slidetogether, meeting over the display to

hide the touchscreen when it’s not inuse, putting emphasis purely on theboards’ written content.

The mount can be used inconjunction with a motorised floor lift.This is available in two sizes, one for

adult users (model052.7200),which canbe heightadjustablebetween115cm and175cm. Theother,shorterversion is

designed for elementaryschool applications, and allowsthe screen to be adjustedbetween 88cm and 138cm(model 052.7250).

The lift, which is availableas a fixed or a mobile solution(wheeled), also has anintegrated screen bracket forthe optional addition of a PC.www.smartmetals.eu

SmartMetals’ customisableclassroom whiteboard combo IIt’s academic for Quadra Concepts { } { }

Blending AV equipment in with itsenvironment is often imperative toan installation – especially in high-profile facilities. Gooseneckmicrophones, although sleek, are noexception to the desire for AV tofully integrate with its surroundings;this is partly because desks areoften used for more than onepurpose and a clear surface areamight often be required.

Arthur Holm has devised amotorised lift system for preciselythis requirement. The DynamicTalkmotorised gooseneck microphonelift system is available for short,medium and large microphones withXLR connectors. The system is alsocustomisable for all types and sizesof conference system microphones,with the company also offeringoptional integration ofmanufacturers’ interfaces on thecover plate, which is made ofbrushed stainless steel.

The solution is operated via abutton on the cover plate, orremotely through RS422 or GPIconnections. No adjustments haveto be made before the mics aretucked away because thegooseneck mics are automaticallypulled down from a flexed to a

vertical position when retracting.DynamicTalk has two different

working modes, ‘Public Address’ and‘Conference’. When the former modeis in use, a button on the cover plateallows participants to activate ordeactivate the microphone. TheDynamic light LED ring indicates thestatus by changing colour fromgreen to red; the microphone isautomatically silenced when in theretracted position.

In ‘Conference’ mode, themicrophone remains constantlyactive and connects directly to theconference system for furthercontrol.

Arthur Holm offers a variety offinish options for the cover plate,which can also be covered withwood, leather or any other tablesurface material to match thefurniture finish.www.arthurholm.com

AV technical furniture specialistTeamMate recently launched anenhanced version of its VariHitePresenter – a versatile mount for large-format displays weighing up to 150kg.

The new system featuresenhancements that include variableheight adjustment and improvedmobility. Both these features wereadded to provide users with a suitablesolution for interactive requirements.

The upper mounting enclosure allowsthe addition of a computer and thefacility to run a laptop or tablet from aconnection panel attached to the sameenclosure.

This means that all cabling andservices can be managed within theenclosure, which is lockable andsecure.

The all-in-one solution allowsintegrators to design systems thatmay include videoconferencing orcontrol functionality; a 2U 19in rackspace can house this equipment.

Carrying a five-year warranty andshipped fully assembled, the VariHitePresenter can be deployed quickly.Users of previous models include majorcorporates, banks, the UK’s Ministry ofDefence and higher education centres. www.teammate.co.uk

TeamMate enhancesVariHite Presenter{ }Arthur Holm retracts

DynamicTalk system { }

Academy lecterns andcabinets from QuadraConcepts have been designedto offer AV equipment users arange of options, and canaccommodate the latestcontrol technologies. Each isof a modular make-up,enabling any number ofbasic units to be put together.Features include well-ventilated but secure designs,strong steel frames with arange of finishes, a choice oflaminated or veneered panelsand tops, and optional heavy-duty castors.

In terms of interior spacethe cabinets incorporate twinintegral equipment racks (13or 16U). There is also 360ºaccessibility, developedthrough working withinstallers, to simplifyequipment maintenance andservicing.

The company says its main advantageis that it manufactures and stocks all its

components, enabling the provision offast service with a bespoke feel. www.quadraconcepts.co.uk


HAVE you ever wanted tocontrol a rainstorm byadjusting the size, frequencyand velocity of raindrops? Ordo you fancy interacting withplankton, the microscopicorganisms that supply half ofthe oxygen we breathe? Ormaybe you like the idea of ahands-on ‘Tinkering Studio’where you can learn aboutsubjects that interest you bymaking things?

These are just a handful ofthe hands-on attractions atSan Francisco’s Exploratorium,which describes itself as “a21st century learninglaboratory”. Founded in 1969by physicist and educatorFrank Oppenheimer, theExploratorium moved toexpanded, enhanced facilitiesat Piers 15 and 17 on the SanFrancisco waterfront in 2013.It contains over 600 exhibitsthat are designed to “ignitecuriosity, encourageexploration and lead toprofound learning”, to quotethe attraction’s website.

One of the many distinctareas within the newExploratorium is the KanbarForum, a 3,600sqftmultidisciplinary theatrespace. It is used for filmscreenings, live music,lectures, training sessions

and a variety of specialevents – under the titleResonance – which explorethe technology, culture andperception of sound.

AV system design was byPhil Bailey of systemsintegrator BBI Engineering,working in consultation withtheatrical design firm TheShalleck Collaborative. AdamShalleck, the lattercompany’s principal andpresident, says: “TheExploratorium asked thedesign team to create an all-age venue for 200 peoplethat framed the idea that hasfinally come to mass appeal:science is approachable,accessible and hip.”

The Kanbar Forum has beendesigned to break away fromthe traditional presentationauditorium configuration,with rows of seats facing a‘sage on stage’. It can beconfigured in different ways,as Shalleck explains: “Theroom has three seatinglevels: the flat floor in thefront of the elevated stage issurrounded with wide,elevated terraces, allprovided with movable chairsof varying heights forsightlines, space for tables,and drink and gadget rails. Itscasual configuration puts the

audience at ease. Betweenits configuration and thesound system, audienceinteraction happens naturally.There is a bar in the roomwhich gives it a relaxed feel,and the window to the bayconnects you back to SanFrancisco.”

VARIABLE ACOUSTICSThe audio systems in theKanbar Forum were conceivedby the Exploratorium’sexecutive associate directorRon Semper and renownedmultimedia pioneer KristinaWoolsey. Chief among theseis a Constellation systemfrom Meyer Sound, whichenables the Forum’s acousticproperties to be transformedat the press of a button: oneinstant it can behave like anon-reverberant recordingstudio, the next it becomeslike a vast cathedral.

Ian Hunter of The ShalleckCollaborative explains howthe decision to install theConstellation system cameabout: “The idea ofsomething related toacoustics and science hadexisted from the beginning ofthe design phase. Once weintroduced The Exploratoriumto Meyer, we all knew it was amatch.”

Constellation hasimpressed staff and visitorsat the Exploratorium. “As partof his Full-Spectrum Scienceseries, our staff scientist RonHipschman has beendemonstrating Constellationin his talks,” says Nicole Minor,the Exploratorium’s managerof moving images. “Switchingthrough the presets, heelicits ‘oohs’ and ‘aahs’ withjust his voice and handclapswhen the audienceexperiences the startling, yetnatural acoustical effects.”

Shalleck adds: “At theopening event, the audienceenjoyed banter with thepresenters using the voice liftfunction, and then theacoustic character wasaltered to suit a stringquartet, a high-impactsurround sound experienceand a commissionedsoundscape installation.”

Constellation is built onMeyer Sound’s patented VRASacoustical algorithm. It worksby using an array ofmicrophones to capture earlyreflections, then adjustingthem as required and playingthem back through a set ofspeakers. To provide a natural-sounding result that does notalter the directionality of thesource, a large number of mics

SOLUTIONS: KANBAR FORUM, EXPLORATORIUM, SAN FRANCISCO

Located within a vibrant hands-on scientific educational visitor attraction, theKanbar Forum benefits from technology that allows it to get the most out ofthe different types of events that it hosts. Paddy Baker reports

[INSTALLED]

AUDIO� Meyer Sound

Constellation system• DVRAS Constellation

processor• Stella-4C installation

loudspeakers• MM-4XP self-powered

loudspeakers• UP-4XP 48V loudspeakers• MM-10XP 48V

subwoofers• MIC-CARD1 compact

cardioid microphones� Meyer Sound UPQ main

speakers� Meyer Sound 600-HP

subwoofers� Meyer Sound UP Junior

monitors� Meyer Sound Galileo 616

audio processor� Meyer Sound MM-4 front

fill speakers� Yamaha LS-9/32 audio

console� Audio-Technica wireless

microphones � Biamp Audiaflex DSP� Toa M9000 mixer/amp� Lab.gruppen C20:8x

amplifier� MOTU 896 computer

audio interface� Tascam CDX1700 dual CD

player� ClearOne AEC unit� Clear-Com MS-702

production intercom� Listen Technology FM

Assistive Listening� Crestron PRO2 control

system with touchscreens

VIDEO� projectiondesign F35 HD

projector� Da-Lite Professional

Electrol projection screen� Blackmagic Design ATEM

2ME Production Switcher � Blackmagic Design

rackmount LCD monitors� Blackmagic Design studio

converters � AJA KiPro video recorder� Cisco-Tandberg

videoconferencing codec� Panasonic HE-120 PTZ

camera� Extron VGA/HDMI

extenders� Ensemble Designs

converters/distribution� TV One

converters/distribution

LIGHTING� ETC Element Console

with RFU� ETC Source Four lighting

fixtures � ETC/Selador LED lighting

fixtures � Strand S21 dimmer strips� ETC Unison Paradigm

control system

Informal butinformative

Installation

OF THE MONTH


The Kanbar Forum is used for talks, audiovisual installations, film screeings and more


and speakers are needed:the Kanbar Forum’s systemfeatures 12 distributedmicrophones and more than90 loudspeakers, includingStella-4C installationloudspeakers, MM-4XP self-powered loudspeakers, UP-4XP 48V loudspeakers, andMM-10XP 48V subwoofers.

“The production systemsare deceptively simple yetelegantly executed. Themost difficult aspect wasintegrating the numerousConstellation loudspeakersinto the architecture in a waythat was both functional andvisually appealing,”comments Shalleck.

There is also a soundreinforcement loudspeakersystem from Meyer Sound inthe Forum, which featuresUPQ-2P and MM-4XPloudspeakers, UPJ-1P andUPJunior VariO loudspeakers,and 600-HP subwoofers witha Galileo loudspeakermanagement system.

“The main audio system isactually used as part of theConstellation system, andthe Constellation systemcan also be used forsurround playback ofsoundscapes, movies, etc,”explains Hunter.

Other installed audio kitincludes a Yamaha LS-9/32audio console, a BiampAudiaflex DSP system, aClear-Com productionintercom and an assistivelistening system from ListenTechnologies.

The venue’s audiocapabilities are furtherenhanced by Meyer Sound’sSpaceMap multichannelpanning, a technology thatallows sounds to be flownthrough space. SpaceMap isbeing used in Fathom, aninteractive sound installationby Shane Myrbeck and EmilyShisko, currently running atthe Kanbar. Fathom is madeup of six distinct sounds, fourof which can be movedaround the space by visitorsusing a glowing hemisphereon one of the specially

designed interfaces, whilethe other two sounds moveon their own trajectory. Whentwo or more sounds occupythe same position in theroom, they fuse intocompositions of varyinglength.

VISUALSVideo also plays a part insome of the piecespresented. Floating, byartists Wayne Grim andPhoebe Tooke, combinesvideo shot from the airshipEureka as it flies over theSouth Bay Salt Flats withaudio created by digitally

enhancing and manipulatingthe prominent naturalfrequencies in the recordingsof the Airship Eureka’sengines and propellers.

Video is beamed by aprojectiondesign F35 HDprojector on to a Da-LiteProfessional Electrol screen.Other installed videoequipment includes aBlackmagic Designproduction switcher, aPanasonic PTZ camera and aCisco-Tandbergvideoconferencing codec.Overall control comes from aCrestron PRO2 system.Lighting fixtures and controlequipment are mostly ETC.

“It took a great deal ofeffort by a lot of dedicatedpeople to create a roomthat looks so deceptivelysimple, yet has the

potential for such a varietyof uses,” says Shalleck. “Allparties worked together toensure that the Kanbar’stechnical and aestheticelements fit in with theExploratorium’s vision.”

The Kanbar has earnedpraise from David Meckel, aprominent architecturaleducator. He has said: “TheExploratorium’s KanbarTheater strikes a magicalbalance between café,cabaret, pub and clubhouseinformed by smartarchitectural andtechnological design workto create a kind of digitallyenhanced speakeasy thatwould not have beenpossible just a few yearsago.”

“We’re very excited aboutexploring the Constellationsystem’s potential for bothartists and scientists,” saysMinor. “We’ve only scratchedthe surface of what we cando with it. I expect we’ll beable to develop an entirelynew breadth of workfocused on both the art andthe science of sound.” �

www.aja.comwww.audio-technica.comwww.bbinet.comwww.biamp.comwww.blackmagicdesign.comwww.cisco.comwww.clearcom.comwww.clearone.comwww.crestron.comwww.da-lite.comwww.ensembledesigns.comwww.etcconnect.comwww.exploratorium.eduwww.extron.comwww.labgruppen.comwww.listentech.comwww.meyersound.comwww.motu.comwww.panasonic.netwww.projectiondesign.comwww.shalleck.comwww.strandlighting.comwww.tascam.comwww.toa.euwww.tvone.comwww.yamahaproaudio.com

[ABOUT THE DESIGNER]

� The Shalleck Collaborative is a planning and designconsultancy for performing arts spaces and productionsystems

� Two key aspects of its work are planning thearchitectural and engineering aspects that enable theatres to function; and conceptualisation, design,specification and co-ordination of theatre productionsystems

� The majority of its work has been in California, but thecompany has been involved in projects in Oregon andNew Mexico in the US, as well as in Canada and China

After more than 40 years, the Exploratorium moved to its new location onSan Francisco’s Pier 15 earlier this year

SOLUTIONS: KANBAR FORUM, EXPLORATORIUM

BELFAST MAC (MetropolitanArts Centre), a vibrant newarts venue, aims to bring localand international talent in thefields of music, theatre, danceand arts to the people ofNorthern Ireland.

Consisting of two theatres,art galleries, rehearsal space,studios, cafes and more, thevenue has had its newlydesigned productioninfrastructure equipped andinstalled by Rea Sound, MartinAudio’s Irish distributors.

Appointed as specialist sub-contractor to Bowen MascottJV after responding to acompetitive tender, Rea Soundmasterminded the entiretechnical fit-out including aMartin Audio W3 theatre PAsystem, as well as stage,working and house lighting,dimmers and control,intercom, video relay and IR –for both the main auditorium(downstairs at the Mac) andthe smaller studio (upstairs).

The 350-seat mainauditorium on the ground flooris an adaptable, moderntheatre space with tiered,retractable seating, whileupstairs on the first floor, the120-seat studio theatre offersflexibility for both seated andstanding audiences.

Working from a designspecification by consultantCarr & Angier, which hadselected Martin Audio’s W3arrayable three-way compacttrapezoid system as best fitfor purpose, Rea Soundintegrated leading sound andlighting brands throughout.

The scope covers the twoperformance areas, two

rehearsal rooms and the foyer,allowing video and audio to belinked between all areas. Thetwo performance spaces haveraked seating, retractable toallow for a flat floor. The mainspace also has two balconylevels and here the designallows the speaker cabinets tobe positioned on vertical gridsto provide exceptional soundcoverage and clarity.

Purpose designed fortheatre, each enclosuremeasures just 28in high. Yetwith its high SPL capability itdelivers the clarity required forspeech and musicapplications. “The W3 is afantastic sound system andperfect for the requirement,”assesses Rea Sound’s RogerMcMullan.

The original design called forfour W3s on each side –however, the client laterchanged this (to great effect)deploying three W3s on eachside, along with a Martin AudioAQ10.

The system is powered byMartin Audio’s MA range ofamplifiers located in thededicated amp rack. Theseprovide separate channelfeeds to each of the house PAspeakers as well as the infillsand effects speakers, whichinclude three Martin AudioAQ10s plus four ‘floating’Martin Audio Blackline F10+and two F12+. Custom patchpanels allow for the effectsspeakers to be positionedaccording to their requirementfor the production at handsince the space is designedfor multifunctional use andsignals need to be routed to

UNITED KINGDOM

SOLUTIONS: METROPOLITAN ARTS CENTRE, BELFAST


A complex technical infrastructure has been installed in this world-classvenue in Belfast’s Cathedral Quarter, writes James Christopher

[INSTALLED]

AUDIO� Allen & Heath I-Live R72

digital console � Allen & Heath IDR16 and

IDR48 stageboxes� Allen & Heath i-Live T122

digital console � Martin Audio AQ10 subs� Martin Audio Blackline

F10+ and F12 speakers� Martin Audio MA range

amplifiers� Martin Audio W3 PA

system

Creating art

Martin Audio’s W3 arrayable three-waycompact trapezoid system was chosen forthe main auditorium

It’s not by chance that you encounter TOAon a daily basis with products specified inareas such as your local gymnasium to theworlds prestigious buildings around theworld, it is in fact due to design and innova-tion that makes us world leaders

The TOA voice evacuation product line-upincludes management system, amplifica-tion, DSP, matrix, speakers, in fact we canoffer the complete system from small tolarge, all complying to EN54

Choosing TOA will guarantee peace ofmind and high quality with an establishedaudio solution provider that has been grow-ing a legacy for over 75 years and counting!

sound without compromisewww. toa.eu

In an age where there iszero room for compro-mise! TOA have ensuredthat their customers have itall - from the microphoneto the speaker


SOLUTIONS: METROPOLITAN ARTS CENTRE, BELFAST

speaker locations throughoutthe venue.

“The original design calledfor three AQ10s to be flownfrom the gantry above at therear upper balcony,” McMullancontinued. “While using theflying brackets from MartinAudio we needed to designand build drop arms to comeoff the gantry at the rightheight and angle.”

At the heart of the systemlies one of two Allen & HeathIDR units, allowing for fullcontrol on all inputs andoutputs of the PA speakerchannels. A touchscreencontroller is located in themain auditorium control room– allowing the user to selecteither pre-determined presetsor their own. Supplied for theaudio engineer is an Allen &Heath i-Live T122 digitalconsole and IDR48 stageboxthat again allow for ease ofuse and preset recalls.

SMALLER STUDIOThe upstairs PA system alsoutilises the Martin Audio W3cabinets flown from the gridhorizontally. An Allen & HeathI-Live R72 digital console andIDR16 stagebox again allowfor ease of use and presetrecalls.

Elsewhere, Rea Sound hasprovided a range of otherservices, including a fullbackstage communicationssystem, allowing for pagingfrom three fixed positions andany of the stage manager’sdesk positions, as well as theshow relay mic signals alsounder IDR control from bothvenues to all dressing rooms;the IR systems in both venues;and voice description systemsin both venues.

While each venue also hasits own intercom system, it ispossible to link the twosystems should the needarise.

Lighting includes 140 waysof dimming with 46 ways ofswitching in the maindownstairs theatre and up to72 ways of dimming in theupstairs. The discreet videocameras in each venueprovide video relay to a varietyof areas including foyers,dance and rehearsal rooms.

The same patch panels inthese areas also allow foraudio tie lines, sending audiorelayed from either of theshow relay mics in each venue.The systems are flexibleenough to relay audio andvideo from any of theperformance areas, foyer

areas, dance and rehearsalrooms and combine them witha live performance in the mainauditorium downstairs. �

www.allen-heath.comwww.loudtechinc.comwww.martin-audio.comwww.reasound.com

[ABOUT THE INSTALLER]

� Rea Sound has offices in Belfast, Dublin and Cookstown, County Tyrone

� The company has been active for more than 40 years and offers services including design, commissioning and installation

� Rea Sound has experience in the fields of houses of worship, theatres, stadiums and more

TThe Martin Audio W3 speaker cabinetsare purpose designed for theatre. Eachenclosure is just 28in high

MANY BOTANICAL gardens are‘dark’ during the January-Aprilperiod when plants aredormant, and so theiroperators are actively lookingfor exhibits to attract visitors.One such attraction is thelarge-as-life dinosaur exhibitBattle of the Titans, which ranlast winter at the RoyalBotanical Gardens in Toronto.The link between a dinosaurshow and a botanical gardenis strong, given that most, ifnot all, of the plants from theprehistoric age are still livingall around us.

Installed in the garden’stwo-storey atrium, the exhibitwas created by designer HallTrain, with audio installed byScott Pollard of Toronto’s

Palmer Audio, which wassupplied an Out Board TiMax2SoundHub unit by ContactDistribution.

The exhibit presented whatwas a typical occurrence ofthe era – a formidable face-offbetween a Tyrannosaurus rexand a Triceratops. Adjacentkiosks display replicas ofdinosaur teeth, horns, bones –even excrement. A dozen ofthese kiosks, fitted with 26invideo screens, weredistributed around the lowerfloor and balcony, runningshort videos on variousaspects of the flora, faunaand geology of the period.

Surrounding the static full-scale models was animmersive environmentcreated by sound designerGary Hardesty, whoseaccolades include theopening and closingceremonies of the BeijingOlympics.

Hardesty explains: “Iwanted to create a 3Dsoundscape that would tell abit of a story, starting with aTibetan flute effect and alow-frequency drone to builda feeling of mystery, andprogressing to building theforest, injecting different

birds from that era, along withfrogs, crickets, and a lot ofthings that were alive backthen, then becomingturbulent and stormy withwind and thunder.”

Out Board’s TiMaxSoundHub-S16 playbackserver and TimeLine editorfacilitated the creation of thisdeep forest environment, anevolving 3D forestscaperunning in a continual 72-minute loop of ambient andspot effects, triggeredautomatically at the start ofthe day by the unit’s built-inscheduler. The TiMax DSPmatrix then distributed,zoned, EQ’d and panned themulti-layered content via 16outputs across a total of 36loudspeakers, which coveredboth the ground floor areaand the 10ft-wide atriumsurrounding the exhibit.

As Hardesty expands:“There’s over 300 differenteffects I put in there, so it’s afairly deep forest. When youturn it off, it feels like thewhole room just collapses. It’snot until you turn it off thatyou realise how much TiMax iscontributing to that wholeenvironment. It’s very cool.”

The decision to use TiMax2

was the culmination of muchresearch, “...and it proved tobe very comprehensive interms of what I was able todo. I was very, very excited touse it,” admits Hardesty. “Likeanything, parts of thesoftware benefitted fromsome fast-track guidancewhich I received from OutBoard’s Dave Haydon over thephone, but the learning curvewas actually pretty simple. It’svery intuitive, very simple touse and very friendly.”

He continues: “I liked thatthe TimeLine editor is almostCubase-like or Pro Tools-likein terms of dragging anddropping sounds on tracksand being able to do a lot ofediting of your tracks right inthe TiMax domain, so youdon’t have to worry aboutbringing fully finished piecesinto it. And then, being ableto layer the cues was great.In my case, due to thebudget, I was limited to 16outputs, although I couldhave used 32, so I doubled-upon some tracks and put indifferent cues to change therouting of the next soundcompletely. Having the abilityto assign routing multipletimes certainly gives you a lot

of flexibility. I think those twofeatures combined are verypowerful.”

According to Pollard, theaudio ran perfectly. He adds:“Compared with some of theother equipment that’savailable, we found TiMaxSoundHub to be the mostcost effective and most fullyfeatured. You’d pay about thesame just for loudspeakerDSP, so all the input-outputmatrixing, playback and showcontrol is basically free.” �

www.electro-voice.comwww.outboard.co.ukwww.palmeraudio.comwww.samsung.com

How do you draw the crowds to a botanical centre when most of the plants are dormant? Youinstall a T rex fighting a Triceratops and, as Tom Bradbury explains, you put in a lifelikesoundscape for added atmosphere

CANADA

Jurassic harkSOLUTIONS: ROYAL BOTANICAL GARDENS, TORONTO


[ABOUT THEINSTALLER]

� Palmer Audio was createdin July 1980 by owner ScottPalmer to serve the liveevents industry

� Originally focused on themarket in southern Ontario,the company has grown andevolved and now worksacross Canada and into theUS, Mexico, Brazil andAustralia

� Projects include the CoorsLight Silver Bullet Express,which involved convertingfive baggage cars on a traininto a themed experience forcompetition winners, and theMolson Canadian HockeyHouse at the 2010 WinterOlympics in Vancouver

[INSTALLED]

VIDEO� Samsung 26in flatpanels

AUDIO� Out Board TiMaxSoundHub-S16 playbackserver� Electro-Voice ZXA1 and15 EV ELX112P two-wayself-powered speakers

Over 300 audio effects running in a 72-minute loop weredistributed over 16 zones and across 36 loudspeakers

The speakers coveredboth the ground floorarea and the 10ft-wideatrium surrounding theexhibit

A joint venture partnership of

Find out more. www.iseurope.org

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ONE OF the presentations at last month’sSmart Building Conference was given byMario Pullicino, managing director ofOrion Engineering Group, about the use offibre as a backbone for unified delivery ofconverged systems.

Towards the end of his presentation heran through a few case studies for thetechnology, one of which was theCorinthia Bab Africa Hotel in Tripoli, Libya.As one of his slides pointed out, this hasa fibre infrastructure that coversstructured cabling for admin offices, data

and voice communication, WiFi, TV, IPTV, the EPOS network, utilitymonitoring, CCTV and access control. “This was in the news last week,because the Libyan Prime Minister was kidnapped from this hotel,” heconfided. Sorry, was that CCTV and access control? “We’re not runningthe hotel, we just supplied the system,” he clarified. “And the PrimeMinister is safe.”

INVISIBLE loudspeakermanufacturer AminaTechnologies has made itsfirst foray into sportssponsorship, by providingHunts County Squash ClubLadies teams with T-shirtsemblazoned with the AminaInvisible Loudspeakers logofor the 2013-14 season. Theclub has three men’s andtwo ladies’ teamscompeting in theCambridgeshire Squash leagues and regularly hosts the British Under-23Squash Championships.

Why has the company chosen this particular sponsorship opportunity?Well, each of the ladies’ teams features an Amina employee: Wendy Bradshaw (left of centre trio) works in sales, and Babs Moore (right of centre trio) is sales director. But we can’t help wondering ifthere’s an opportunity missed here. Amina’s speakers are installed in wallsand plastered over, rendering them invisible. Which is one of the fewsports where walls play a key role? – squash. So come on, Amina – whynot put some of your speakers into a squash court and hold someexhibition games?

AS WE mentioned in our PLASA review, a decent number of people turnedout to the show in its new location at the ExCeL Centre in London’sDocklands. This isn’t the first show that Installation has attended there.Broadcast Video Expo made the same move from Earls Court earlier thisyear. And, until its untimely demise, the UK CEDIA Home Technology eventhad been held there for a few years. We recall one year when, travellingon the Docklands Light Railway to the venue, we couldn’t help noticingthere was a large proportion of teenagers and young adults on the train –and nearly all of them got off at Custom House, the station for ExCeL. Sowas residential AV technology drawing in a fresh intake of tech-savvyyoungsters? Sadly not – it turned out that, alongside the CEDIA event, thevenue was hosting auditions for The X Factor.

Out and about with the Twitterati

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