Installation July 2014 digital edition

Installation www.installation-international.com

INTERNATIONAL AUDIO, VIDEO AND LIGHTING INTEGRATION July 2014

InfoComm review – what happened in Vegas p18

4K – creating the right infrastructure p24

Conference venues – how to ensure signal security p32

Clinical precisionGet a slice of the action in medical AV p28

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www.installation-international.com July 2014 3

The power and weakness of audioEDITOR’S COMMENT

‘Audio doesn’t always get the

respect it deserves in the design of AV

installations’

NEWS31012

1416

SHOW REVIEWInfoComm 2014 p18

PEOPLE20

22

FEATURES2428 3236

EVENTS38

TECHNOLOGY4045

SOLUTIONS48

50

52

54

56

NewsAppointmentsInstallAwards: a look back to a spectacular nightExpos and eventsIndustry data: medical AV

Phil Yonge of AES on the rise of the AES67 networking standardRonnie Guggenheim, CEO, Barix, converging digital signage and audio

4K: supply and demandMedical AV: tapping a growing sectorConference venues: security concernsRegional voices: Norway

InstallMarket: register now for our September event

New productsShowcase: large-venue loudspeakers

Gruppo Credito Valtellinese, Milan: financial group invests in impressive AV Birmingham Christian Centre: a lively church needed audio with a kickStefan Jaracz Theatre, Olsztyn: EU cultural heritage programme prompts system upgrade Hamburg Planetarium: immersing visitors in audio as well as videoThe iPro Stadium, Derby: unveiling a new IPTV and digital signage solution

I HAD an interesting chat recently with Stephen Patterson, regional manager, Western Europe at Biamp, basically reprising his presentation at Imago’s Business Breakthrough event at the end of May. He made a connection between the unusual nature of audio, and what happens to it in installation projects.

The ability of the human ear and brain to perceive audio is amazing. We can hear sound over ten octaves – whereas we can only see a range of one octave in light – and the quietest sound we can hear is one-trillionth the level of the loudest. The brain’s limbic system – which is associated with, among other things, the generation of emotions and the ‘fight or flight’ reflex – interacts with the auditory system more directly than with the optical system. So sound can affect us at a basic, primal level.

There are also some well-rehearsed anecdotes about how people perceive audio within the overall sensory experience. For instance, experiments have shown that people believe that a video clip has improved visually when it is shown again with better audio. And on a more pragmatic level, Stephen made the point that if the video fails during a videoconference, the meeting can continue – but if the audio fails, it can’t.

Despite all this, though, audio doesn’t always get the respect it deserves in the design of AV installations. This happens for a number of reasons. First, architects are often more interested in designing a space that looks beautiful rather than equipping it to fulfil the function for which it has been created. Second, it’s not only architects that can be guilty of not properly considering the use case. One multinational company reused the design of its US conference room in one of its European offices, without asking whether the facility would be used in the same way.

Third, end users aren’t always aware of the limitations of equipment. So, for instance, they don’t realise that the sound picked up by ceiling mics in a huddle room may be audible to people in a well-equipped videoconferencing room half a world away, but not to one of the participants a few miles away on a mobile phone. Finally, too many projects proceed without any consideration of the audio environment. One example of this was a high-profile business academy that was built on open-plan office principles – and had to be revamped at great cost when this arrangement proved to be unworkable in practice.

What needs to be done? Well, as an industry we need to be more vocal, as it were, about the importance of audio and the need to consider it properly – even if it does mean increased spending on audio consultants and better kit. And clients should be more insistent about hearing audio samples through the equipment that they are considering purchasing. You can’t see sound, but that doesn’t mean you should overlook it.

Paddy Baker, Editor, Installation – [email protected] Cover image Trinity College Dublin, courtesy of Crestron

NEWS

Belgian manufacturer Audac has named Ertikin Elektronik as its exclusive distributor in Turkey.www.audac.euwww.ertekin.com.tr

HHB Canada is the new distributor for Merging Technologies in the country. The Toronto-based company will be charged with building on the strong sales of Merging products throughout North America.www.hhbcanada.comwww.merging.com

Williams Sound has appointed International Sales as its representative for Latin America and Asia. The company will work to support existing customers and to expand Williams Sound’s distribution across the regions.www.intlsales.netwww.williamssound.com

Harman’s Martin Professional has appointed SF SES vs ISIK Sistemleri (SF) as the exclusive distributor of its products in Turkey. Istanbul-based SF will enhance the sales, distribution, and support of Martin Professional lighting solutions throughout Turkey as well as Azerbaijan and Northern Cyprus.www.martin.comwww.sf.com.tr

Grassfi sh Marketing Technologies and BrightSign have announced they are to collaborate. Grassfi sh’s content management system (CMS) will be integrated with the BrightSign XD product line with the intention of providing a cost-effi cient, scalable and highly reliable solution for digital signage networks.www.brightsign.bizwww.grassfi sh.com

NEWPARTNERS WORLD

UNITED KINGDOM

Industry growing 11% a year, says InfoComm

Esprit creates Commonwealth Games signage

Ahead of its publication in July, InfoComm International revealed a few headline statistics from its Global AV Market Defi nition and Strategy Survey at InfoComm 2014.

The survey, conducted on the association’s behalf by Acclaro Growth Partners, found that the value of the audiovisual market continues to grow at a healthy rate. Valued at $75bn in 2013, the industry is predicted to generate $92bn in 2014 and $116bn in 2016 – a compound annual growth rate of 11% over the four-year period. “The AV industry is strong, thanks to a rebounding economy and a growing need for collaboration,” said David Labuskes, InfoComm’s executive director and CEO,

InfoComm International. “However,” he added, “growth is not universal across the world.”

The survey has found that, for the fi rst time, the contribution of the Asia Pacifi c market is set to outstrip that of North America by 2016.

Globally, three sectors generate more than half the industry’s revenue. The corporate market is the single largest revenue generator, with a 30% contribution. Next come venues and events (14%), closely followed by government and military (12%).

The top three product sectors are displays (23%), AV acquisition and delivery (19%) and projectors (14%). The fi rst two of these are also in the top three fastest-

growing sectors, along with control systems and software.

Software is described as “as emerging category that is gaining in prevalence”. Worth $839m in 2012, it will double to a predicted $1.68bn in 2016.

Services contribute a third of the value of the sector. Installation/integration contributes 55% of the total, some way ahead of managed services (18%) and rental and staging

In addition to the global overview, fi ve reports on regions, plus country reports on Brazil and China,

will be released in July. A total of 17 reports will be released at InfoComm events around the world. The study will be available to purchase, in whole or in part, from InfoComm’s online store.

www.infocomm.org/store

Four digital totems, designed by Esprit Digital in association with Foster + Partners, will guide visitors around this month’s Commonwealth Games in Glasgow.

Each totem will deliver general information, games schedules and venue directions to visitors by means of high-brightness 60in LCD screens, viewable in all weather conditions, including direct sunlight. A high-speed fi bre-optic network connection feeds new content and messaging directly to the digital media player within each unit. On-screen information can be instantly updated from a central control

offi ce, allowing urgent and emergency messages to be displayed if necessary. In addition to the digital display, the totems house powerful loudspeakers and carry

site maps and games logos illuminated by LED backlights.

Standing 4m high, each unit is housed in a seamless aluminium case, designed by Foster + Partners to match the futuristic design of the SSE Hydro performance arena, which will host the gymnastics, netball and boxing events.

To ensure reliable and continuous operation at all times, the totems include full environmental control including integral ventilation and heating with delayed display start-up to ensure that the internal temperature is stabilised and all traces of condensation are eliminated prior to operation. They

were designed and tested to operate between -20ºC and 45ºC in all weather conditions.

“This is the fi rst time that we have collaborated with designers of this calibre to create a truly great design,” said James Brenner, technical director of Esprit Digital.

Malcolm Close, SECC’s director, operations, said: “The information totems are an essential element in providing a fantastic visitor experience. They extend the arena’s radial symmetry out into the public realm and with their slim and narrow format, are a perfect example of form and function.”

www.espritdigital.com

4 July 2014 www.installation-international.com

NEWSWORLD

IP traffic set to tripleGlobal Internet Protocol (IP) traffic will increase nearly threefold over the next five years due to more internet users and devices, faster broadband speeds and more video viewing, reports Cisco.

The Cisco Visual Networking Index Global Forecast and Service Adoption report for 2013 to 2018 predicts that IP traffic for fixed and mobile connections is expected to reach an annual run rate of 1.6 zettabytes – more than one and a half trillion gigabytes per year by 2018. The projected annual IP traffic for 2018 will be greater than all IP traffic that generated globally from 1984 to 2013 (1.3 zettabytes).

The Middle East and Africa (MEA) region will continue to be the fastest growing IP traffic region from 2013 to

2018 with a fivefold growth and a 38% compound annual growth rate (CAGR).

Mobile and portable devices other than PCs will drive the majority of traffic by 2018. In 2013, 33% of IP traffic originated with non-PC devices; however, by 2018, the non-PC share of IP traffic will grow to 57%. PC-originated traffic will grow at a 10% CAGR, while other devices/connections will have higher traffic growth rates over the forecast period including TVs (18%), tablets (74%), smartphones (64%) and machine-to-machine connections (84%).

Wi-Fi and mobile-connected devices will generate 61% of IP traffic by 2018. Wi-Fi will be 49% and cellular will be 12% (just 3% in 2013). Fixed traffic will be only 39% of total IP traffic by 2018 (56% in 2013).

In the same timeframe Wi-Fi and mobile-connected devices will generate 76% of internet traffic. Wi-Fi will be 61% and cellular will be 15% (up from 4% in 2013). Fixed traffic will be only 24% of total internet traffic by 2018, down from 41% in 2013.

Millions of people were expected to view FIFA World Cup 2014 games and/or highlights via the internet. Video streaming and IP broadcast of the tournament was expected to generate 4.3 exabytes of IP traffic, which is three times the

amount of monthly IP traffic currently generated by host nation Brazil. In addition, internet traffic generated by the 60,000 people in a stadium and travelling to games was forecast to surpass the ‘busy-hour’ traffic (the busiest 60 minutes within a 24-hourn period) from all 94 million smartphone subscribers in Brazil.

Global IP traffic is expected to reach 132 exabytes per month by 2018, which is the equivalent to: 8.8 billion screens streaming the FIFA

World Cup final game in Ultra-HD/4K at the same time; 5.5 billion people binge-watching Game of Thrones Season 4 via video-on-demand in HD or 1.5 billion watching in Ultra-HD/4K; 4.5 trillion YouTube clips; or 940 quadrillion text messages.

This story also appears on IBC’s Content Everywhere.

www.cisco.comwww.ibcce.org


Recent highlightsTECHNOLOGY TRENDS – SMART HOME CONTROLTFA looks at automated electronic system considerations at a refurbishment of a top-end Mayfair apartment.

AFUTURO LIGHTING LAUNCHES HIGHSTICK LUMINAIREFuturo Lighting’s HighStick luminaire has a colour temperature of 4000 K, a rectangular distribution of light and uniform light output.

SYMETRIX HELPS REVITALISE OMAHA’S ST PETER CATHOLIC CHURCHThe renovation has won awards and features a new sound reinforcement system anchored by a Symetrix Radius 12×8 Dante network audio DSP system. POLARAUDIO RESTRICTS AUDIO SPILL AT UNIVERSITY LIBRARYPOLARaudio supplied ZonarSound speakers to isolate media wall audio at Nottingham Trent University Library.

ARKAOS PRO AT THE 2014 BMW BRUCE LYNTON CHARITY BALLA pixel-mappable chandelier has been installed as a centrepiece in the Grand Ball Room at the RACV Royal Pines Resort on the Gold Coast of Australia.

TECHNOLOGY TRENDS – MEDIA FACADES VEGAS Crocus City has the largest media-façade in Russia, and boasts a shopping area imitating Times Square in New York City.

ARMOUR HOME LAUNCHES MULTI-ROOM AUDIO SYSTEMArmour Home has announced the launch of its new digital multi room audio system.

LUCAS THEATER PREMIERES ALCONS HYBRID PRO-RIBBON AUDIOThe most recent improvement has been an Alcons Audio system, which has delivered superb sound without impacting on the venue’s aesthetics.

To read these stories and the rest of our coverage for the architectural and interior design community, go to

www.installation-international.com

NEWSWORLD

Harman-AMX: it starts here

AT A press conference at the start of InfoComm, it was announced that the acquisition of AMX by Harman had been completed. Later that morning, Paddy Baker sat down with Blake Augsburger, president of Harman International, and Rashid Skaf, president and CEO of AMX, to discuss the implications of the deal for the companies and for the market.

In the press conference, Blake, I think you said that Harman has a total audio-video strategy, or possibly audio-video-lighting strategy? When does that date from?Blake Augsburger: We’ve been talking about an AV system solution for 10 years. When we bought Martin, there was a whole bunch more to it than just live events. We bought them for the growth opportunities on the installation side. Simplistically, they take a string of LEDs and wrap a building or a bridge in it, and each LED becomes a pixel – and they can run video across what is basically a big screen.

So you think about AV and really Martin starts to play a large part in that. As we grow that business, we’re going to be doing more of this architectural stuff – and you’re going to have AMX controlling and conditioning signals that are going to end up being shown on both a Martin light and, say, a Samsung flatscreen.

Will there be further acquisitions on the display side?BA: I can’t talk about that, but if you look at where we started, it was with a pro-audio system solution, and that sold very well because it was all about the user experience. Now we’re going to talk about a parallel path, which is video, and we want to provide a full video solution and then bring them together for an AV solution. So you start thinking, what am I missing in this video solution? That will kind of give you an idea of the things that we look at and talk about.

But to do a deal, you’ve got to have to have a buyer and a seller. I’ve known Rashid 10 years, we’ve been talking about this for a long time, and the timing was never right for either party. Now we’ve got lucky because of the timing.

Rashid, AMX went on the acquisition trail a few years ago and bought a number of brands that widened its reach into different markets. Those brands have been subsumed into AMX, which is now a more diverse brand than many of the other Harman brands it now sits alongside. Is there any scope for unpacking some of those AMX-acquired brands again?Rashid Skaf: We had to completely pivot the company about eight years ago. As we acquired these companies it was about building a platform to combine all these things to

come up with new solutions. Last year almost 70% of our revenue came from products that didn’t exist three or four years ago – and for a 32-year old company that’s pretty amazing.

What we really see now is not unpacking the brands again to go into Harman, but – and we’re two-and-a-half days into this, so we still have a few things that are not quite worked out yet – I would like to see some of our technologies under brands that someone in the professional audio channel would want to buy, such as a controller by Harman, or a controller by JBL. Or somebody wants to buy a speaker, and that becomes part of what we do. Blake’s vision has always been a complete solution, and we’ll become part of that – whether as a brand or as part of a different brand, it’s really not that important. It’s about solving people’s problems rather than what it says on the box.BA: AMX gives us huge credibility in video – customers know what the quality is going to be, they know what to expect.RS: And vice versa – we have audio DSPs and amplifiers in our product line. I’d rather have them under the Crown brand because we’re not an audio company. And that’s the beauty of this: what we’re really strong at Harman traditionally hasn’t been, and what they’re strong at, we’re not. So together we bring real

great strength across the board.

The really exciting part is the amount of innovation that can happen across the brands that will leapfrog us into a whole new segment of the market that we’re not in as an industry. Those are the kind of innovations that I look forward to under Blake’s leadership.

When can we hope to see the first jointly developed Harman-AMX products?BA: As Rashid said, it takes a while to design products. You’re probably looking at a couple of years before you see something material. RS: If you look at our history, that was about the timeframe to see something material after an acquisition. We have a roadmap of products that we’ve announced – so we have to complete those as we look at how this mission is going to happen. For something that makes you say, ‘Wow, that’s it, I get it now”, 18 to 24 months is probably realistic.BA: We want to bring something that’s very innovative and disruptive to the market. We want to change that whole

experience for our customers.

What’s the opportunity that you’re each most excited about?BA: From my side, looking at early wins; I think boardrooms, education and government installations are very exciting. There’s a big opportunity on the audio side.RS: I’d say exactly the opposite: the stadiums, the houses of worship, the hotels – where we don’t do such a good job. It’s not that we don’t do anything in stadiums – or Harman doesn’t do anything in government – but it’s not our main focus. I would like to see that become a much bigger part of what we do globally.BA: I met a big AMX dealer this morning, doing a big job with a ton of AMX and a ton of audio – none of it was Harman. I asked why, and he said, “Nobody really came to see me”. There’s no reason why these guys aren’t using each other’s products, it’s just that we aren’t touching those people. We’re going to get that business pretty quickly.

www.amx.comwww.harman.com


ONLINE EXTRAYou can read an extended version of this interview, and see a short video interview, at www.installation-international.com

Rashid Skaf, president and CEOof AMX

Blake Augsburger, president ofHarman International

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NEWSUNITED KINGDOM

ABTT’s theatrical attractionThe ABTT Theatre Show is a long-established part of the annual show calendar – it was first held in 1978. This year it returned to the Old Truman Brewery in Brick Lane, east London, where around 100 exhibitors showed off their wares over two days.

There was a strong showing from the lighting sector, with LDR and UK partner Zero 88 (part of Eaton’s Cooper Controls) introducing the new LED followspot, Astro. The double condenser optics system delivers high resolution for both A/B size steel and film transparency gobos. LED dimming is said to be fast and accurate with 512 step resolution controlled from a single DMX/RDM or from a local control knob positioned on the rear panel of the unit.

LDR’s Fabiano Besio commented: “The followspot is a real step forward in LED deployment and the positive comments from the market reinforce our decision to not make any compromise in quality.”

Making its ABTT debut on the stand of UK dealer AC Entertainment Technologies was Chroma-Q’s new Inspire Mini RGBW LED house light – a super compact version of the Inspire fixture featuring a shorter housing designed for venues with low ceilings and balconies. Also on show were the super-bright Color Force range of RGBA colour-mixing entertainment lighting fixtures and the Studio Force range of white film and TV lighting fixtures.

Other highlights on the AC-ET stand were Jands’ Vista lighting and media control solutions range and Stage CL lighting console; James Thomas Engineering’s Par 64 lantern and 1kW cyc lite; and Luminex’s range of networking solutions.

Loudspeaker manufacturer Flare Audio announced a new, smaller compact vertical point source system – the X2A. The system allows sound to be produced with a minimum of interference from box pressure and resonance with the aim that the purity of

sound will provide a platform for expression, allowing engineers to work with the sound created by the artist, not the loudspeaker. It is designed to bring the same studio reference quality using Vortex and Space technologies (from the X5A) to smaller installations and live events.

As well as its Digital 9000 Wireless Microphone system and 3000/5000 Series of wireless products, Sennheiser

used the event to show a new offering from K-array, Kamoflage. This new solution enables K-array loudspeakers to blend into any background or mounting surface, making them an attractive proposition for audio system designers tasked with making audio systems ‘invisible’.

As well as supporting the Real Ale d&bar, d&b was showing its D80 amp for the first time in London. The D80 represents the culmination

of a development programme that, product manager Marc Weber explained, “will fulfil the expectations of a d&b product well into the future”. The units offer a slimmer design and an increase in power (4,000W per channel) and feature power factor correction that maintains optimal performance when running from any heavily loaded mains supply.

New Cadac distributor LMC Audio used the event to showcase the CDC eight-16 digital production console. This features 128 channels, 48 bus outputs and 16 fully automated faders. Described as far less menu-dependent in operation than other digital consoles, its user interface is built around a large touchscreen.

Next year’s ABTT will be moving both in the calendar and geographically. It will move to a post-InfoComm slot on 24-25 June, and to a new venue, Alexandra Palace in north London.

www.abtttheatreshow.co.uk


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APPOINTMENTS


MARTIN AUDIO

Martin Audio prepares for growth with new hiresBash Akhtar and David Morbey are the latest names to join the manufacturer

TWO NEW faces have joined Martin Audio. Bash Akhtar (pictured left) has joined as operations director. He has previously served as operations and manufacturing director of RLC Callender, Smiths Detection and Harmonic.

Akhtar is joined by David Morbey who is the company’s first dedicated product manager. He joins from D&M Professional where he served as global product marketing manager.

Commenting on the hires,

James King, director of marketing at Martin Audio, said: “We’re delighted to have Bash and David join us as we continue to build a world-class team. Their expertise will enable us to further grow the business and support our customer base.”

These two latest hires are in addition to a number of other recent recruits: Andy Weingaertner has beefed up sales in EMEA; Robin Dibble has come in to bolster the Product Support Engineer

team; Alan Josey has been confirmed as the new finance director, strengthening the management team with over 20 years of experience in domestic and international manufacturing and engineering businesses; Carl Davies has joined as junior mechanical design engineer, strengthening the mechanical design team to three; and Nicole Thorne has supplemented the North American team in sales admin support.www.martin-audio.com

ACUSTICA BEYMA

Lily Xiao has been named as the new general manager of Beyma in China. Xiao, who has more than 14 years of pro-audio experience, will have full responsibility for sales and marketing across the including China mainland as well as in Hong Kong, Macau and Taiwan.www.beyma.com

CEDIA

Steve Carter has joined CEDIA as its new business development manager. Already a well-known figure in the residential custom installation sector, Carter has over 20 years of experience in product development at JVC. He will be tasked with helping CEDIA build closer relationships with the membership and forge

new partnerships with key industry representatives throughout the UK.www.cedia.co.uk

EAW

EAW has bolstered its customer support infrastructure with the hiring of (pictured left to right) Gino Pellicano, Dave Salmon, Peter Maguire, and Jonas Domkus (inset). Pellicano and Salmon join the EAW Application Support Group as application support specialist and application support co-ordinator respectively. Maguire has been named customer support manager while Domkus takes on the role of US field application engineer.www.eaw.com

FSR

Manufacturer FSR has promoted Maivelin Ramos to the position of international sales manager. In her new role, Ramos is responsible for strategic business

planning and development, increasing international client relationships, and networking in key regions located throughout the world. In addition, Ramos will be responsible for training and developing staff, designing new marketing programmes and identifying new areas of growth within the international market.www.fsr.inc

MERIDIAN AUDIO

Meridian has announced the appointment of John Buchanan to the role of chief executive. He has been part of Meridian’s management team since 2007 and has worked globally across all areas of the company’s business. He replaces Tim Ireland who has been with the company for almost seven years.www.meridian-audio.com

MEYER SOUNDLuke Jenks has been promoted to the newly created position of director of product management at Meyer Sound. Most recently serving as the company’s loudspeaker product manager, Jenks now represents the full

range of company solutions, from loudspeakers to show control, system optimisation and passive and active acoustic systems.www.meyersound.com

THE MULTI-ROOM COMPANY

Distributor The Multi-Room Company has appointed Matt Statham to the position of sales manager to head up field sales across the southern region of the UK and to give installers and retailers a dedicated point of contact for the company’s comprehensive product offering. He joins from Anthem AV, where he was responsible for the growth of its business in the south over the past four years. Prior to that he held sales positions with KEF Audio and Acoustic Energy.www.multi-room.com

POWERSOFT

Gilberto Morejon has joined Powersoft as regional sales manager for the Caribbean and Latin America market. He will be handling sales for Powersoft, facilitating product demonstrations, and providing design assistance and technical support throughout the Latin American region from his office in Miramar, Florida.www.powersoft-audio.com

WOHLER

Steve Farmer has been named director of engineering at Wohler. In taking on oversight of Wohler’s engineering activities, Farmer will be responsible for focusing the company’s engineering efforts to target key markets more effectively. Prior to this he has spent time as director of engineering at Drake Electronics and Clear-Com.www.wohler.com

INSTALLAWARDS


Congratulations! The fi rst ever InstallAwards were judged a great success by all who attended. Here are some photos of last month’s black-tie awards evening

Thursday 12 June was the opening night of the FIFA World Cup, and Wembley was abuzz – not for football, but for the inaugural InstallAwards, which took place at the Hilton hotel, overlooking the stadium. The great and the good of the industry got together to celebrate success, make new friends and let their hair down in the after-dinner party, which was sponsored by Barco.

Our thanks to everyone who entered, to the independent panel of judges for their deliberations, and to the sponsors for their generosity in supporting this new event. The InstallAwards will be back, bigger and even better, in 2015!

www.installawards.com

Let’s get this party started…

The host of the evening, comedian Adam Bloom, warms up the room

Constellation project director John Pellowe picks up the fi rst of two awards of the evening for Meyer Sound

The triumphant CDEC team. Managing director Toni Barnett (in the red dress) said: “It was a pleasure to attend the fi rst ever InstallAwards, the team and I had a fantastic evening. The event was well organised and a fantastic mix of people from across the industry were in attendance. The night was of course made even better by being called on stage twice to pick up our awards! We look forward to defending our titles and attending next year’s InstallAwards.”

Martin Bonsoir and Ben Wilmot of Biamp

Ashley Raines, Peter Pauwels, Fredrik Sjosted and Simon Turtle of afterparty sponsors Barco

Three of these people worked on the InstallAward-winning GSK Shopper Science lab: Neil Hartstone (GSK), Duncan Howie (Visual Acuity), Kohli Nishil (GSK) and Paddy Baker

INSTALLAWARDS


The winnersEDUCATION – sponsored by Casio Projectors SPORTS/PERFORMING ARTS

CORPORATE/INDUSTRIAL – sponsored by Shure

15 YEARS OF EXCELLENCE

15 YEARS OF ACHIEVEMENT – sponsored by Renkus-Heinz

RESIDENTIAL – sponsored by Vicoustic

PUBLIC DISPLAY

Teamwork Award: Meyer Sound – Kanbar Forum at The Exploratorium

Star Product Award: CDEC – Phoenix Academy

Best Project Award: CDEC – Phoenix Academy

Best Project Award: Meyer Sound – The Golden Hall, Musikverein

Star Product Award: AMX – Birmingham Hippodrome

Teamwork Award: Visual Acuity – GSK Shopper Science Lab

Star Product Award: Holovis – Schindler Showroom

Best Project Award: Holovis – Schindler Showroom

Barco

Robert Simpson, Electrosonic

Teamwork Award: Inspired Dwellings – Luxury Alpine Chalet

Star Product Award: Kensington AV – Queens Court Penthouse

Best Project Award: Inspired Dwellings – Luxury Alpine Chalet

Teamwork Award: Sennheiser – David Bowie Is

Star Product Award: Engage Production - Virtual Style Pod

Best Project Award: AV Stumpfl – Stiegl Brauwelt Brew Cinema

Sophie Hargrove of the Victoria & Albert Museum and Alan March of Sennheiser collect a Teamwork Award for David Bowie Is

Another two-award winner was Holovis, in the Corporate and Industrial category

The 15 Years of Excellence Award went to Barco – Dirk Hendrickx, VP of strategic marketing, accepted the award

AV Stumpfl won a Best Project Award for the Stiegl Brauwelt Brew Cinema. The award was collected by Dr Andreas Scheucher and company founder Reinhold Stumpfl . Interestingly, this event was the fi rst occasion on which Reinhold Stumpfl had met Robert Simpson of Electrosonic, despite the pair having known of each other’s work for very many years

Robert Simpson, founder director of Electrosonic, was the recipient of the 15 Years of Achievement Award. “It’s both his role in helping to create and shape the industry that we all work in, and his long-standing commitment to sharing his knowledge with his colleagues, clients and the wider industry, that we are celebrating here tonight,” said Installation editor Paddy Baker in the award citation.

The first ever InstallMarket conference and expo will take place on 4 September at the Business Design Centre in London.

The conference programme will cover topics such as AV/broadcast convergence, education and hospitality and entertainment, alongside an exhibition area with breakout rooms for demos or training sessions.

To register for this free one-day event visit www.install-market.com/registration

EXPOS & EVENTS


AUGUSTMuseums & visitor attractionsPA/VATechnology for architectsShowcase: Projection screensNews deadline: 17 JulyDistribution date: 31 July

SEPTEMBERScaling & switchingDirectional audio Sport & leisure facilities Showcase: LED lighting Features submission deadline: 11 JulyNews deadline: 14 AugustDistribution date: 1 September

OCTOBERClubs, bars, restaurants Digital signage Oil & gas Showcase: Microphones Features submission deadline: 11 AugustNews deadline: 12 SeptDistribution date: 29 Sept

NOVEMBERAuditoriums Large-scale projection Videowalls Showcase: Furniture and mountsFeatures submission deadline: 1 SeptemberNews deadline: 8 OctoberDistribution date: 23 October

EDITORIALPLANNER

SPOTLIGHT4 SEPTEMBERInstallMarketLondon, UK www.install-market.com

EVENTS Your complete events calendar for the months ahead

AUGUST26-28Integrate Expo 2014Sydney, Australiawww.integrate-expo.com

SEPTEMBER 4 InstallMarketLondon, UK www.install-market.com

5-10IFABerlin, Germanyb2b.ifa-berlin.com/en/

11-13ProLight + Sound Namm Moscow, Russiawww.namm.org

11-14NAMM Musikmesse RussiaMoscow, Russiawww.musik.messefrankfurt.ru

17-19InfoComm IndiaMumbai, Indiawww.infocomm-india.com

OCTOBER 5-8PLASA LondonLondon, UKwww.plasashow.com

8-11Prolight + Sound ShanghaiShanghai, Chinawww.prolightsound-shanghai.com

12-16Gitex Technology WeekDubai, UAEwww.gitex.com

12-16InfoComm MEADubai, UAEwww.infocomm-mea.com

23TVBAwardsLondon, UKwww.tvb-awards.com

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

NOVEMBER3-4PLASA Focus: BrusselsBrussels, Belgiumwww.plasafocus.com

DECEMBER2-3PLASA Focus: GlasgowGlasgow, UKwww.plasafocus.com

2015JANUARY31-3 FebruaryMidemCannes, Russiawww.midem.com

FEBRUARY10-12 ISE 2015Amsterdam, Netherlandswww.iseurope.org

24-26BVELondon, UKwww.bvexpo.com

MARCH2-5LED China 2015Gunagzhou, Chinawww.ledchina-gz.com

10-12Digital Signage ExpoLas Vegas, USwww.digitalsignageexpo.net

10-12CabsatDubai, UAEwww.cabsat.com

16-20CeBITHannover, Germanywww.cebit.de

APRIL8-10InfoComm ChinaBeijing, Chinawww.infocomm-china.com

12-16 IBCAmsterdam, Netherlandswww.ibc.org

25Pro Sound AwardsLondon, UKwww.prosoundawards.com

Installation

EXTRACIRCULATION

Another Installation Technology Guide, this time covering the world of Line Arrays, will be published in the autumn. To find out more, contact [email protected]

Anything worth streamingis worth recording.

Matrox is a registered trademark and Matrox Monarch HD is a trademark of Matrox Electronic Systems Ltd. All other company and product names are registered trademarks and/or trademarks of their respective owners.

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INDUSTRY DATA

In good shapeSpecialised and high-resolution displays are fuelling an expanding demand in the medical sector across a range of applications, writes Steve Montgomery


THE WORLDWIDE market demand for medical imaging displays used in clinical review, medical diagnostics and surgical procedures, is showing strong growth, according to the new NPD DisplaySearch Specialty Displays Report. Between 2013 and 2017, global revenues for the displays used in surgical procedures and clinical review are each expected to grow at a compound average rate of 9%. Growth in diagnostic displays is forecast to increase 5% per year.

Several key trends in the flatpanel display market, including the shift to LED backlighting, colour displays that accurately show both colour and grayscale images, large high-resolution 4MP and 6MP displays that can be split to emulate two side-by-side displays, together with the wide availability of

4K UHD displays, will have a significant impact on the various segments of the medical imaging market.

“Technology continues to advance at a rapid pace, creating new medical imaging procedures that require sophisticated high-resolution and larger display solutions,” says Todd Fender, senior analyst of professional and commercial displays at NPD DisplaySearch. “It is this continued advancement of technology and increased demand due to an aging baby-boomer population that are the largest contributing factors to forecast growth.”

VARYING REQUIREMENTSIn the surgical display market, larger screens with higher resolutions are becoming more common and affordable, and many are already being installed in surgical rooms as collaboration among medical professionals, both on-site and virtual, becomes more

popular. The fastest area of growth is expected from screens that are 60in and larger. Resolutions of 2MP currently provide 74% of revenue in the surgical display category. However, 8MP displays are forecast to grow 83% by 2017. According to Fender: “A larger high-resolution screen makes it much easier for more than one person to view it at the same time, and many of these screens are used for live teaching.”

Unlike surgical displays, the clinical-review display market does not require displays with resolutions greater than 2MP and screen sizes larger than 22in. Demand for the most popular screen sizes (19in and 22in) with preferred aspect ratio of 4:3 and 5:4 will be affected by lack of supply as manufacturers change to larger, widescreen displays. “The limited supply

of smaller screens, and their higher prices, may entice some clinical display buyers to transition to larger displays, higher resolutions, and wider aspect ratios in order to reduce acquisition costs,” Fender said.

The number of radiology investigations continues to increase annually, spurring growth in the diagnostic display market. The 21.3in display, now comprising 67% of the market, will continue to dominate this category. However, due to specialised panel and backlight requirements, few manufacturers participate in this niche market. Those that do participate have limited capabilities and some run on older, less efficient production lines. Therefore, the costs to produce these panels are higher than the more commoditised displays, which results in relatively stable ASPs.

www.displaysearch.com

83%Expected growth in the 8MP surgical

displays market by 2017

2013 TOTAL MEDICAL IMAGING SHARE BY CATEGORY

GLOBAL DIAGNOSTIC DISPLAY SHIPMENTS BY SIZE (IN), 2013

2013 WORLDWIDE DIAGNOSTIC DISPLAY SHIPMENTS BY SIZE

TOTAL MEDICAL IMAGING SHARE BY CATEGORY, 2013

Inches

%

Clinical (%)

Clinical

Diagnostic (%)

Diagnostic

Surgical (%)

Surgical

15-19 51

24.2

6

49.2

43

26.6

20-24 20 62 18

25-29 4 46 50

30-34 0 66 34

35-54 0 0 100

55+ 0 28 72

100%

80%

60%

40%

20%

0%15 - 19 20 - 24 25 - 29 30 - 34 35 - 54 55+

Surgical

Surgical

Diagnostic

Diagnostic

Clinical

Clinical

In the surgical display market the fastest area of growth is expected from screens that are 60in and larger. Source: NPD DisplaySearch

Growth in the diagnostic display market is due to the number of radiology investigations increasing annually Source: NPD DisplaySearch

27% 24%

49%

automate

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SHOW REVIEW: INFOCOMM 2014

Sunshine on VegasIt’s traditional to begin show reports with the attendance figures, and InfoComm 2014 attracted 37,048 people through its doors. This represents an increase of 5.5% on InfoComm 2013, and is also a higher figure than for the show two years ago when it was last in Las Vegas.

Perhaps more important than the raw numbers, though, was the general mood. Many exhibitors reported high numbers of visitors and leads at their stands, and optimism was the order of the day with economic conditions

improving in the US and further afield.

For instance, Ali Haghjoo, CEO of Hall Research, said: “For us, it’s been our best InfoComm ever as far as booth traffic goes. Some of our guys haven’t had the time to grab a bite. The economy is showing signs of steady recovery. We crawled out of the recession – we’re now on our feet and running. There’s pent-up demand in the market.”

4KAs you might have expected, 4K was a recurrent theme

on many of the exhibitors’ stands. However, some exhibitors expressed dissatisfaction with the way the technology is being presented to the market currently. “Everyone’s dying to tell you they’ve got 4K when it doesn’t exist yet,” said Tim Brooksbank, chairman of Calibre UK. “They’re scared to admit that real, proper, professional standard 4K at 60fps that can go down a single cable, without compromising colour depth, isn’t here yet.”

Some companies were showing 4K60 products,

however. Barco’s new E2 image screen processor (see page 41) can manage a 4K projector blend with refresh rates up to 60Hz. CE labs presented its Series 7 4K60 digital signage player, and Analog Way announced that a forthcoming firmware upgrade to its switchers and scalers running on the LiveCore platform that would enable a 4K60 signal to run over a single HDMI cable.

Among the companies with 4K projectors were Digital Projection, which launched the Insight laser 4K mode (see page 40), and Barco,

with its HDQ4K35 rental and staging model.

To highlight its 4K certification programme, Crestron brought its Digial Media lab to the InfoComm showfloor, showing how and why some big-name 4K products don’t always work together, and showing how its new cable exceeds the ‘under one bit error per billion’ benchmark required by the HDMI specification.

Meanwhile, Lightware presented its end-to-end 4K30 solution that has been shipping for over a year. “We’ve installed them in many different scenarios,” commented international sales manager Dave Jones.

NETWORKINGNetworking is becoming a larger part of the AV world with every tradeshow. I can hardly think of any exhibitor I talked to for which IP connectivity, remote

The mood at InfoComm 2014 was as sunny as the weather, with a significant increase in visitors and a real feeling of optimism abroad. Paddy Baker reports


The upward attendance trend continued at InfoComm 2014

VOX POPS: WHAT’S DIFFERENT ABOUT INFOCOMM THIS YEAR?

“This one has a buzz. It’s not as big a show as ISE, but there’s a positive vibe. People are talking to people, everyone’s more optimistic.”Peter Pauwels, director corporate AV, Barco

“There’s a lot more talk about the convergence of IT and AV, and the need for each side to recognise the value that the

other brings to the table. They can’t operate independently any more – each side needs the other.”Phil Sanchez, senior communications and PR manager, QSC

‘This was the first InfoComm where it was clear that IP is being adopted and recognised as the standard, preferred

interface for distributing video through AV systems. This has been driven primarily by the added influence that IT managers now have on purchasing decisions, as they often control budgets, as well as the increased comfort level AV integrators are feeling with IT-based solutions.’Jed Deame, VP marketing, RGB Spectrum

“At previous InfoComms, we’ve sometimes tested the waters with product launches, trying new technology areas or reaching down into new markets. This year, our key launches – the Tannoy CMS 3.0 ceiling speaker and the Lab.gruppen D series amp – play to the strengths of the brands.”Mark Flanagan, VP marketing, install and tour, TC Group

“The show keeps getting stronger and the organisation continues working to keep up, meeting the convergence of AV/IT; IT presents a lot of opportunities for the pro AV world. In comparison to Orlando last year, people often travel from further afield to get to Vegas.”Penny Sitler, advertising manager, Draper

SHOW REVIEW: INFOCOMM 2014


access or some other kind of networking issues wasn’t a concern.

As well as launching Dante Via for PCs and Macs (see page 40), Audinate was in a buoyant mood having just signed up Kramer Electronics as the 150th licensee for the Dante networking protocol.

The day before the exhibition opened, the company hosted the AV Networking World conference, at which case studies of Dante networks in numerous applications were presented – including a Britney Spears Las Vegas show, Microsoft’s Production Studios and the San Jose Convention Center. A common theme of many of the presenters was how easy the Dante is to use. “It makes my life easier,” said one. “It just works – no drama.”

In the AVB camp, Crown was celebrating the certification of its DCi network display amplifiers to the AVB standard. The large-scale installation amplifier series is the first endpoint to be thus recognised, having passed the necessary tests at the University of New Hampshire InterOperability Lab (UNH-IOL), an AVnu Alliance-appointed test house. “AVnu Certification provides in-depth validation of member products against

established standards enabling a healthy multi-source ecosystem,” said UNH-IOL’s Bob Noseworthy.

All-encompassing networks were very much on the agenda at the Pakedge stand. Its solutions – including wireless access points, switchers and routers – are designed to simplify the deployment of AV systems over IT networks. The company was presenting its BakPak Cloud Management system, which provides visibility of, and the ability to manage, multiple networks from multiple customers – and so enables integrators to offer their customers a managed service.

The company has been in the residential space for about six years, but has recently started targeting commercial customers. Nick Phillips, VP of sales and marketing, was in a bullish mood: “We’re having the same flood of emotion now with commercial customers as we had when we first exhibited at CEDIA. We have the solutions they need, and we can grow much faster this time around.”

PARTNERSHIPSAnother trend that has become increasingly evident within the industry

is companies partnering together on individual products. Biamp had two examples of this at InfoComm. First, one of the variants of Lab.gruppen’s new D series amplifier (see page 41) uses Biamp’s Tesira DSP, and so can be used as a complete endpoint in a Tesira AVB system. This follows a long collaboration between the two companies, and engineers have been cross-trained on each other’s products so that they are able to offer a deeper level of support.

Further down the line, Biamp is to produce a custom software block for the new Audio-Technica Dante tabletop microphone (launched at the show), which can be used to control various parameters in Dante systems.

So, overall the InfoComm 2014 experience was extremely positive. The economy is picking up, and demand is rising – driven in part by new and developing technologies. No wonder the sun kept shining.

Turn to the New Products section on page 40 for more detailed descriptions of some of the products that launched at InfoComm.

www.infocommshow.org

UNIFIED COMMUNICATIONS: WHAT THE INDUSTRY IS LOUSY ATThe unified communications industry as a whole is ‘lousy’ at setting end-user expectations of the limitations of UC capabilities, writes James McGrath. That was the opening remark of Dr S Ann Earon, president of Telemanagement Resources International at the Unified Communications and Collaboration Solutions Summit at InfoComm 2014. The Summit comprised a series of panel discussions, knowledge-sharing sessions and lectures that gave experts and attendees the opportunity to interact.

Market trends point towards no standard definition for unified communications but do show the convergence of audio, data and video.

End-users are advised to research their vendors, and ask themselves ‘How well funded are they [the vendor]?’ and ‘Who else has entrusted their UC system rollout with them?’

Technology trends for UC in 2014 are more mobility, more diversity and more Cloud. External UC drivers include globalisation, mergers, competitive neutrality, and budget issues, as well as effectively controlling and managing demands on time.

Earon discussed her daughter, who often uses video communication but doesn’t always looking at the screen. Businesses, she said, should learn from the 25-and-under digital generation that participants shouldn’t feel obliged to make eye contact with other attendees throughout VC meetings.

The session also highlighted that vendors often try to roll out single solutions for entire companies without distinguishing the needs of different departments: one department might need VC while another only requires voice. This highlights how

unified communication is a multifaceted term that encompasses different types of communications that can be used singly or as one unified solution as required.

“None of us have a cookie cutter operation that works right out of the box,” commented Case Murphy, senior manager of AV & videoconferencing Solutions at AOL.

The sessions produced three reasons why employees often neglect UC technology: they don’t know it exists; there is no clear strategy for using it; they aren’t given the necessary training.

Employees need to be trained on how to participate in meetings and meeting etiquette. They aren’t in the business of technology and don’t know how to deploy it effectively. It is down to vendors to make employees aware that the technology exists; companies need to put processes into place to ensure the technology used to its full potential.

With BYOD gathering pace in the workplace, companies need to make clear distinctions between what is and what is not acceptable to have on devices that will ultimately connect to the central network. This would require setting a policy across the board.

Overall there were three key messages from the Summit. First, VC has many facets, and understanding a company’s communications needs is central to deploying one or many of those facets effectively. Second, employees are essential to the UC technology – communications technology is only as good as its users. And finally, no one is exempt from learning how to use the technology, not even CEOs – especially as systems migrate to desktops and handheld devices.

A VISION OF THE FUTURE

In keeping with the show’s theme of ‘AV going forward’, Mike Walsh gave a thought-provoking InfoComm 2014 opening keynote address that examined ways in which the business world is developing, and how the AV world needs to evolve to continue to serve it.

The CEO of innovation research lab Tomorrow, Walsh stressed the need to consider human factors alongside technological ones. “I believe the future emerges from the tension

between, on the one side, disruptive technologies and, just as importantly on the other side, new patterns of human behaviour.”

Education, he said should no longer be about imparting knowledge but about equipping children with “computational thinking skills” – thinking like algorithms, and breaking problems down into variables. Similarly the office of the future, in its physical design and in how work is organised and people are

managed and developed, should reflect the needs of a generation that craves interactivity.

One implication of the automation of functions within departments is that technology is no longer a source of competitive advantage. “If AV is converging with IT, can you also design and offer a Cloud-based version of your service and be able to offer it to CIOs? Because that’s how the rest of the enterprise stack is going.”

Walsh also addressed the role of Big Data, and the need to focus on customer experience (“Real innovation will come from seeing the world through your customers’ eyes”). He also had specific advice for the AV community: “To win the hearts and minds of tomorrow’s consumers requires new ideas, new tools and a whole new communications playbook… AV technologies will need to evolve with a focus on designing amazing experiences.”

Crestron was one of many exhibitors strongly pushing 4K technology

OPINION

The new dawn for networkingThe sceptical observer might wonder whether we need another addition to the crowded networking landscape, but the AES67 standard’s rapid adoption is making everyone sit up and take notice


VERY FEW people would look at the recent landscape for AV networking and conclude that it was an environment characterised by a tremendous degree of uniformity and clarity. A considerable number of solutions based around both Layer 2 and Layer 3 transport crowd the market, and any end-user looking to invest in a more comprehensive networking set-up will not be short of possibilities.

What these various options do not necessarily deliver, however, is peace of mind regarding long-term operation and interoperability between various existing systems. It is therefore no surprise that in this somewhat confused period, standards that aim to guarantee core operating requirements and an acceptable level of interoperability have increasingly become all the rage.

The Layer 2-oriented audio/video bridging (AVB) initiative has been one manifestation of this philosophy, but the high price of the dedicated switches that are needed for AVB has lately slowed the project’s momentum. Automotive is one application area where AVB is still expected to achieve significant success, but there is a suspicion in some quarters that, in terms of professional AV, it may not be quite the panacea that was originally thought.

Into this context comes another new standards initiative, AES67. As standards manager of AES, it stands to reason that I have a keen interest in the fruition of this project; but adoption by a number of leading manufacturers, including Audinate (maker of Dante) and ALC NetworX (developer of Ravenna), confirms that – less than a year after its official launch – AES67 has struck an enduring chord.

AES67: THE BASICSPart of the reason for this, I believe, is the standard’s

specific brief. In contrast to AVB, the aim was not to provide the structure for a new, comprehensive media distribution system. Rather, the team – led by Kevin Gross, media network consultant for AVA Networks – wanted to find a way to ensure that the many Layer 3-based solutions already on the market could talk to each other easily and seamlessly.

Around 2012, it had struck us that there were indeed plenty of Layer 3-based options now available, but that there was a notable lack of checks and balances in place that might allow them to coexist successfully. Hence the notion of a Layer 3 protocol suite containing interoperability recommendations for pro-quality audio networking in the areas of synchronisation, media clock identification, network transport, encoding and streaming, and session description.

Developed over the course of two years and finally published last September, AES67 is the interoperability ‘meeting point’ that the team envisaged back in 2012.

EARLY ADOPTERSDefining packet time – and thus network latency –

and the specific use of encoding might seem fairly straightforward on the face of it. But they are integral to proper interoperability, and I think it is this level of assurance offered by AES67 that is making it so attractive to vendors. There is also the fact that, in contrast to some areas of networking, it is fairly easily explained!

Ten months in, we already have some of the major players committing to incorporating AES67 into their specifications. They include Audinate, which will accommodate AES67 by adding a Layer 3 RTP option to its existing Layer 3 UDP transport; Bosch, which will integrate AES67 support into its OMNEO media networking architecture; and ALC NetworX, whose Ravenna solution already satisfies AES67 requirements. Elsewhere, Telos Alliance is shipping the AES67-compatible Telos Axia Audio xNode AoIP interface, while QSC has also expressed its desire to support the standard.

Ravenna is performing particularly well in the broadcast environment, and it’s clear that one of the first areas in which AES67 will make a real difference

is with broadcasters who have already constructed IP networks and want to ensure interoperability across individual and multiple sites. But there is scope for it to be adopted across the entirety of the pro-AV landscape, including fixed install in general.

Adoption of AES67 may also be assisted by another projected standard, AES-X210, which will furnish users with an architecture for controlling devices

on a media network. This initiative is being led by Jeff Berryman, who is also senior scientist with Bosch Security Systems, and should result in a published standard by the end of 2014. All being well, with AES67 transporting

signals and X210 controlling devices, the two standards will collectively offer an extensive standards suite for media networking.

With AES67 alone, though, there is still plenty of work to be done: we are currently working on interoperability tests for manufacturers adopting the standard, and in time there is the possibility of a dedicated certification scheme. But before that, I think we will see quite a bit of compliant product on the market prior to the end of this year.

Standards work is notoriously unpredictable – and as a result can be highly frustrating! The need for a standard like AES67 was very evident, however, and it’s clear that we do have a rare incidence of ‘right solution, right time’. It’s a tribute to the great efforts made by Kevin Gross and his team, and the fact that online collaboration has made it much easier to advance standards work. The whole cycle has sped up dramatically, and that’s surely to the benefit of AV professionals everywhere.

www.aes.org

Mark Yonge was talking to David Davies.

Mark Yonge

‘We wanted to find a way to ensure that

the many Layer 3-based solutions

already on the market could talk to each

other easily and seamlessly’

Standards Manager, AES

All Im

ages courtesy of the Business D

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INTERVIEW: RONNI GUGGENHEIM, BARIX


Signage that’s really saying something

Last year marked a distinct departure in your career, when after many years in leading digital signage roles you went to work for audio over IP specialist Barix. But what would you identify as the milestones of previous career?The previous 15 or so years of my career were spent helping to pioneer the digital signage scene. It’s a process that really began in the late ’90s when I was running Minicom Digital Signage and it started to become clear quite how much potential there was in this market. The momentum picked up even further when Minicom merged with another leading digital signage specialist, EnQii, forming ComQi in 2011.

I was closely involved with making that deal happen. Not long afterwards, I decided that it was time for a change so I opted to go it alone and became an independent management consultant.

That period lasted around two-and-a-half years, during which time I advised a variety of technology companies about how to drive their growth. It’s in that area, of driving expansion, that I think I have my greatest strengths. Then, last year, I decided that I had had enough of consultancy and wanted to go back to building up one brand again. Fortunately, at around the same time, I happened to have a conversation with my old friend, [Barix founder and then-CEO] Johannes Rietschel…

It was a conversation that ultimately led to you taking over as CEO in September last year. But did the move from digital signage into audio constitute a big culture shock?I am a firm believer that there is no such thing as coincidence in life! For me, it was great timing as I was keen to identify another challenge, while Johannes [who is still closely involved with Barix as its chairman] wanted to push the company to the next stage.

As for culture shock, well, not really as it has been my observation for some time that the two worlds of

audio and digital signage are getting closer together. It was apparent to me that a convergence between these two segments was on the cards, but that it needed a driving force to help make it happen. This is something that Barix has helped to encourage over the last year-and-a-half and which has now resulted in the Barix Audio Signage range.

For the uninitiated, in a nutshell, what is the USP of

Barix Audio Signage?By synchronising very high-quality audio with video signage content, it’s designed to give screens a ‘voice’ in retail shops and everywhere else you might encounter one. Using our embedded audio streaming technology, a Barix Instreamer encodes and delivers high-quality, low-latency audio streams to WiFi access points. Consumers can then access the stream using the Barix Audio Point smartphone app, while

there is also the option for consumers to scan a QR code to activate the streaming app on the smartphone.

Another newly announced solution is Soundscape, an audio-centric CMS system driving in-store radio and background music networks. Soundscape is a Cloud-based software solution that allows the user to direct the audio stream to the right place, at the right time and in the right quality. The Cloud-based platform makes it easy to

monitor and manage devices across multiple locations, handling everything from troubleshooting to device configuration and software updates. It also makes it very easy to achieve seamless switching between live streams and stored playlists, which gives users more flexibility in managing network bandwidth and/or special content.

It is my view that historically the industry of digital signage has in many

A highly regarded pioneer of digital signage technology during his Minicom years,Ronni Guggenheim is now spearheading its convergence with audio as the CEO of Barix AG.David Davies spoke to him about the IP specialist’s groundbreaking new Audio Signage range

‘Historically...

digital signage has...

pulled back from

audio; not because it

did not ‘make sense’,

but because it did not

know how to

deal with it’

INTERVIEW: RONNI GUGGENHEIM, BARIX


ways pulled back from audio; not because it did not ‘make sense’, but because it did not know how to deal with it. Now with solutions like Soundscape and Audio Signage, I think we are really starting to make progress.

In an increasingly standards-oriented market, presumably some formal recognition would also help to encourage this new area of the market?Absolutely – and in fact, developments there are ramping up very rapidly at the moment. I am again closely involved with OVAB Europe [the pan-European digital signage association that was co-founded by Guggenheim in 2008] and we are in the process of setting up an audio chapter that will help to handle this convergence. We held the first workshop in June, then there will also be conversations at the OVAB Digital Signage conference in Munich in September. By then we should have a working group in place to define the standards, which I hope will be ready a year or so.

Barix remains a leading player in IP paging and

intercom systems, but how do you see the audio over IP landscape developing in general terms over the next few years?I think as audio over IP becomes more standardised, and we have a situation where every smart device can stream high-quality audio. The challenge will be to add value on top of the standards. In professional install, this will mean that rather than providing components which are then patched together by systems integrators, different individual vendors will have to come up with more harmonised end-to-end solutions providing added value – not just in terms of audio, but also in building whole surrounding ecosystems involving functions such as scheduling, quality of service, insertion of adverts and so on.

In terms of Barix and its own developments, we are investing significantly in a roadmap for paging and intercom that will see us taking a lot of the functionality into the Cloud. Alongside the audio signage interests, it’s something

that we now look forward to developing quite aggressively.

Will the skills required by increased convergence necessitate an even greater emphasis on training?Yes – and indeed, this is an area that we are investing in significantly at present. This is really getting underway with a series of webinars, some of which are geared towards addressing the challenges facing systems integrators. We see ourselves as a thought leader in this segment, so it’s just one aspect of what we have planned. Plus we always encourage systems integrators who work with Barix to undergo our training and certification procedures.

From your long career in digital signage and now audio, have you identified any universal principles that you think can be applied to achieve growth in all areas of professional AV?Three points immediately spring to mind. The first, and absolutely key element, is to know who you are [as a company] and what your core strengths are in terms of technology and market

positioning. If you have this clear identity of yourself then you can also portray this successfully to the market.

The second aspect is diligence – hard work and making sure that your partners are kept happy. Finally, you have to keep your own team happy. I have always been in family-oriented companies, by which I don’t mean ‘family’ in the

original sense, but rather in terms of maintaining a family spirit in which you can truly rely on your personnel. It’s an atmosphere that is highly conducive to ensuring that companies continue to develop; rather than people being there to make money, they want to take the company to the next level.

www.barix.com

Born in Switzerland, Ronni Guggenheim studied economics at the University of Zurich and holds an MBA from Belgium’s European University

The majority of his professional AV career has been spent in the field of digital signage, variously serving as president of Minicom Europe, CEO of Minicom Digital Signage and president of EnQii-MDS at ComQi Holdings – the last-named position after Guggenheim helped to facilitate the merger with Minicom in 2011

He has also helped to pioneer this technology on a pan-industry level, co-founding OVAB (Out-of-home Video Advertising Bureau Europe), whose stated mission is to ‘raise awareness of and to establish digital out-of-home communication as an independent and accepted media within the media landscape’

In recent years, Guggenheim has been a noted champion of the opportunities presented by increased convergence between different AV sectors. This is something he is now helping to pioneer with the Audio Signage solutions range at Barix AG, of which he became CEO in October 2013

Ronni Guggenheim – a brief biography

FEATURE: 4K

Are we nearly there yet?Creating the necessary infrastructure is crucial to build on the already strong demand for 4K technology, writes Ian McMurray


Bandwidth is the single biggest challenge for scaler/switcher manufacturers

[KEY POINTS]

HDMI 2.0 has a crucial role to play – but the compliance test has only just become available

The industry is looking to silicon vendors for the chipsets that will enable ‘full 4K’ to be managed

4K is deployable today – but not the all-singing, all-dancing 4K that will be deployable in the future

LAST MONTH, the first deliveries of the Tesla Model S arrived in the UK. What is the Tesla Model S? It’s an electric car with a claimed 300 mile/450+ kilometre range – around three times the range of the typical electric car available today.

It’s currently California’s third best-selling luxury car. Commentators attribute much of its success to the fact that the manufacturer, Tesla, has installed a continent-wide network of charging stations. The company has already started work on something similar in the UK.

In other words: as exciting as a new technology may be, it really needs the supporting infrastructure to make it successful.

4K resolution is as exciting as any recent new AV technology – but is it, as the

Americans say, “ready for prime time”? For sure, there is demand for 4K technology – although exactly why is not always easy to determine.

LACK OF UNDERSTANDING“In many cases,” notes Brian Davies, European technology director at AMX, “there is a lack of clear understanding of what 4K really is. In most cases where 4K is requested, it is because the end users believe they will need 4K at some point and want to invest in a solution that will leave their options open in the future.”

His experience is mirrored by that of Keith Watts, technical director at Cabletime. “We are receiving enquiries about this, but most real business is definitely still 1080p-based,” he says. “Most users want to know that our solutions have a

roadmap that will provide 4K capabilities for them in the future.”

“Customers have seen what 4K can be,” adds Andy Fliss, director of marketing at TV One, “and it’s hard for them to imagine not using it. Demand for 4K is being driven by its potential rather than a current application.”

That’s not to say, of course, that there are no real live applications that can’t benefit from 4K today.

“As with all new technologies you have sceptics and early adopters,” says Matthew Buck, commercial account manager at Crestron. “The demand is currently coming from companies that work with and require the best quality images – medical imaging, visualisation, oil and gas, security, high-end digital signage. What we are seeing

at the moment is a demand for 4K training and a desire from integrators to know that 4K works now. With our Certification Programme and 4K training course, we can provide that knowledge base and reassurance.”

Franck Facon, marketing and communications director at Analog Way, sees similar demand. “4K makes sense in applications in which resolution improvement increases visual comfort and efficiency such as cartography, medicine, CAO and photography,” he believes. For those applications where image detail could be said to be mission critical, Analog Way showed an addition to its LiveCore series of AV switchers in the shape of the new Ascender 48-4K at InfoComm 2014.

And as Jed Deame, VP of marketing at RGB Spectrum

‘Demand for 4K is being

driven by its potential rather than a current

application’Andy Fliss,

TV One

Crestron has a dedicated lab that tests third-party equipment for 4K compatibility and compliant devices become Crestron 4K Certified

FEATURE: 4K


– who showcased the 4K-capable Galileo Display Processor at InfoComm – points out: 4K isn’t just about delivering a single 4K image. “We are definitely seeing an uptick in the number of customers who require 4K capabilities in the products that they choose in their installations,” he says. “4K-capable solutions are not just for displaying 4K content – they can also display multiple HD signals without downscaling them.”

INCREASING AT A FAST RATEBut Kamran Ahmed, CEO and co-founder of AptoVision, a provider of chipsets for AV signal distribution, is bullish. “Demand for 4K capable solutions has been increasing at a much faster rate than demand for 2K solutions ever did,” he claims. “The rapid decrease in 4K display prices has been one of the main contributors. The speed at which 4K has come to the market has further fuelled the fear of obsolescence, increasing the desire for future-proofing.”

Companies like his will have a significant impact on the uptake of 4K resolution – not least because it is not yet straightforward to deploy in all its glory. In fact, according to Davies, there is, in effect, no such thing as ‘4K’.

“The technical challenges should not be the major concern for the industry, as history proves these will all be overcome in time and the release of the HDMI 2.0 definition is a significant step towards this,” he says. “The true issue today is a lack of understanding with regard to what 4K is on the part of both the industry and the end-users. 4K in itself is not a single defined standard, which means nobody can

question the validity of any claims regarding the support of 4K by an individual product, unless you drill down into the technicalities as to the exact flavour of 4K being discussed. 4K is definitely a space where early adopters could be paying a high premium for solutions that will very quickly prove to be outdated and worse still, bring them no real benefits in the short term.”

“AMX has focused on ensuring our underlying product design approach will allow us to quickly and effectively bring ‘true’ 4K support to our ENOVA DGX product line,” he goes on, “with the minimum cost to existing installations.”

So what are the challenges to which Davies refers?

“MARKEDLY DIFFERENT”“Education is Crestron’s main focus at this stage as there are five key challenges that make 4K a tricky, non-plug-and-play technology,” avers Buck. “Mixed aspect ratios, new frame rates, signal integrity, cable length restrictions and source/display compatibility are the stumbling blocks that integrators need to be aware of and each one is as important as the next. If there is to be one issue to flag up with 4K, it is that it is markedly different to 720p, 1080p and 3D, which integrated into commercial AV applications with ease. 4K is a more complex upgrade.”

4K resolution, of course, delivers not twice as much resolution as 2K – but four times as much.

“As a provider of chipsets exclusively used for AV signal distribution, the single biggest challenge presented by 4K is the increase in bandwidth,” says Ahmed. “While 4K/30Hz requires roughly 10Gbps – a

bandwidth level supported by a wide variety of readily available technologies – the full specification of 4K/60Hz requires over 18Gbps. The technology components required to support this bandwidth are beyond cost-prohibitive for mainstream signal distribution platforms. Moreover, this level of bandwidth poses a significant challenge for video transmission over copper cabling (such as CatX), limiting reach to under 50m as compared to about 150m

for 2K signals. AptoVision is overcoming this challenge by using an innovative two-cable solution which maintains 2K equivalent reach while still providing real-time, zero-latency transmission and leveraging inexpensive 10Gbps components.”

“4K video requires extremely high bandwidth – at 10.2Gbps it’s perhaps the highest frequency most of us deal with on a routine basis,” echoes Bill Schripsema, commercial product manager at Atlona. “Compared with 1080i, bandwidth changes by a factor of nearly four – which is a very significant consideration for system design. Connectors and cable all need to be of high quality and installed with care and precision for a successful project.”

NO LONGER GOOD ENOUGH“Installation techniques and cables that were ‘good enough’ for 1080p aren’t good enough for 4K, Schripsema continues. “For example, the 70m HDBaseT extenders will only work to 40m at 4K resolutions – less if Cat5e/6 are the cables of choice. Many users will need to use the 100m versions of HDBaseT products to reach the full required distance. They will find the cables they pulled and the connectors they installed for 1080p signal distribution won’t work for 4K systems.”

For Deame, it’s also about bandwidth – and about the plethora of options.

“The increased bandwidth is definitely the most significant factor when you consider the differences in 4K and 2K signal handling,” he claims. “4K data busses, FPGAs, crosspoints and transceivers must run four times faster than 2K ones, which adds complexity and cost to the hardware.”

“Then there’s the challenge of dealing with the myriad of different signal types and interfaces,” he continues. “Choices include dual-link DVI, HDMI 1.4, DisplayPort, and HDMI 2.0 – the implementations of which currently only support 4:2:0 colour space, due to a lack of silicon availability. The best way to overcome this challenge is to have a good collection of 4K signal

converters on-hand, as there seems to be no standard interface rising to the top.”

Despite what some commentators would have you believe, it’s possible – given Ahmed’s reference to 4K/30Hz and 4K/60Hz and Deame’s description of the connection options available, for example – to see that AMX’s Davies has a point: there appears to be still much to be done before 4K becomes a single, coherent, deployable technology.

Higher pixel counts have given rise to the need for more sophisticated codecs in order to minimise bandwidth requirements. For most of the industry, HEVC/H.265 is the answer – but it, too, comes at a price: the significantly increased sophistication of the algorithm is said to require 10 times the computational power of the H.264 codec used in current 2K deployments – and the silicon to deliver that capability is, as yet, far from a commodity item.

SIGNIFICANT TECHNICAL CHALLENGE“H.265 represents a significant technical challenge,” says Watts. “The CPU performance required in PC-based software decoders is likely to keep 4K away from the corporate desktop for a while yet.”

Much also seems to hang on HDMI 2.0 [see boxout].

“Better-informed potential customers will wait for the first ‘real’ HDMI 2.0 displays that will support higher bandwidth, colour depth and refresh rates as well as support for multiple audio/video streams over a single HDMI cable,” believes Stephan Vinke, product manager at Gefen Europe. “It’s similar to what we saw in the early years of HDTV.”

Martin Featherstone, CYP/audio visual product manager at CIE Group, tells a similar story. “To view a true 4K image on a display requires HDMI 2.0 to deliver

Analog Way has added HDMI 4K and DVI 4K connectors to its Ascender-48 AV processor

HDMI (High-Definition Multimedia Interface) has been around since 2002, and currently stands at rev. 1.4. For ‘true’ 4K, however, HDMI 2.0 is required. HDMI 1.4’s throughput specification is 10.2Gbps – enough bandwidth for all ~8 million pixels, but only at frame rates of less than 30Hz – and only supporting 8-bit colour.

The lower frame rate is

acceptable for, for example, movies – but the 50/60MHz bandwidth required by other applications (such as TV) will need HDMI 2.0, which also supports 10- to 12-bit colour depth.

The HDMI 2.0 specification was announced in September 2013, but the HDMI 2.0 Compliance Test Specification didn’t become available until April 2014.

[HDMI 2.0]

‘Installation techniques and

cables that were “good enough” for

1080p aren’t good enough

for 4K’Bill Schripsema,

Atlona

FEATURE: 4K


a 50/60 frame rate with 10-12 bit deep colour,” he says. “4K resolution can still be achieved using a 1.4 HDMI cable, but that reduces the frame rate to 30/24 frames per second. HDMI 1.4 can be upgraded to achieve a frame rate of 60fps, but this reduces the colour ratio to 4:2:0.”

“As well as the bandwidth

challenge, there’s the plug technology challenge,” adds Facon. “The technology for signal management in input or output is only barely available to many manufacturers. HDMI 2.0 and DisplayPort 1.2 are not easy to implement. This is slowing the uptake of 4K resolution in the pro-AV corporate market. Norms and standards are always ahead of electronic components.”

The $64 million question is, of course: “To what extent is 4K technology deployable today?” The answer depends on who you talk to – and what you mean by 4K.

QUICK SOLUTIONS“4K is now being deployed as UHD, which is arguably not really 4K because it has neither the frame rate nor the colour performance of ‘real’ 4K,” opines Fliss, who notes the importance of the consumer market for 4K in driving infrastructure. “Since bandwidth requirements are lower with 4K UHD, there are many options for manufacturers to create quick solutions using HDMI 1.4. Today there are no fully developed systems that can be used in pro-AV installations

that fully support 4K 60Hz applications. We’re using reduced frame rates and refresh in order to squeeze the bandwidth into the current technologies. Most manufacturers are planning for HDMI 2.0, but full 4K silicon chipsets are not yet available, so complete solutions may still be some time away.”

“Like most transitions, the hype has come in advance of the delivery,” smiles Schripsema. “We’re just beginning to see all types of infrastructure products available in 4K configurations – switchers, distribution amplifiers, scalers, extenders and so on – the chipsets to build the hardware to reliably manage the signals have only become available in recent months.” Atlona recently announced the AT-UHD-CLSO-612 up/down scaler supporting 4K sources and displays.

“The major IC manufacturers are working hard on this,” agrees Watts, “and the next 18 months should see the infrastructure challenge solved.”

The last word goes to Nick Mawer, UK marketing manager at Kramer Electronics. “4K is,”

he says, “still a technology for early adopters.”

4K, then, is deployable – after a fashion. But 4K with all its bells and whistles is a little further away.

Surprisingly, electric cars have been around since the 19th century – and the infrastructure to support them is still in its infancy. It seems that ‘real’ 4K technology is likely to benefit from the necessary infrastructure to

achieve substantial market penetration in a somewhat shorter time.

www.amx.comwww.analogway.comwww.aptovision.comwww.atlona.comwww.cabletime.comwww.cie-group.comwww.crestron.comwww.gefen.comwww.kramerelectronics.comwww.rgb.comwww.tvone.com

‘4K is still a technology for early adopters’

Nick Mawer, Kramer

Electronics

AptoVision’s BlueRiver NT chipset enables the transmission and switching of real-time, uncompressed Ultra-HD AV signals with zero-frame latency over Ethernet switches

FEATURE: MEDICAL AV

Picture of healthWith demand for high-quality AV kit growing in the medical sector,Steve Montgomery assesses the possibilities for professional AV system integrators in the sector and the implications of working in that field


DICOM section 14 specifies the performance characteristics of displays used for medical diagnosis

[KEY POINTS]

The majority of clinical diagnostic machines are supplied with OEM displays

Multidisciplinary team (MDT) rooms and lecture/training areas offer opportunities to professional AV installers

4K displays are highly attractive in the medical market due to enhanced image resolution

Customer relationship building is an essential element for integrators hoping to win business in the medical sector

THE ABILITY to present clear and accurate images is nowhere more important than within the medical world and the move from film representation of clinical investigations to digital display is surely the most profound and critical of all applications for electronic displays.

X-ray machines have been used in medical imaging applications since 1895. Together with later clinical diagnostic imaging systems, such as ultrasound and MRI, over 5 billion still images have since been made. More recent developments in invasive, endoscopic, investigation techniques using sub-miniature cameras and fibre optic tubes has resulted in a massive growth in demand over the past two decades for the highest quality digital displays. As a result, manufacturers of premium displays have invested heavily in the design

and marketing of clinical-quality displays for a wide range of applications within the medical industry.

Understandably, all clinical procedures are tightly regulated; the relevant standard, adopted worldwide for the handling, storing, printing and transmission of medical images is Digital Imaging and Communications in Medicine (DICOM). This covers the management of images in a Picture Archiving and Communication System (PACS) which is the common technology recognised globally for image handling within hospitals and other clinical establishments. Its purpose is to ensure that images can be viewed at the same level of detail by specialists throughout the medical chain, no matter where they are or how the digital images had been transmitted to them.

DICOM is an extensive standard covering the full

gamut of digital imaging, storage and communications. Section 14 is relevant to display devices, covering the characteristics and calibration of displays and, alone, is a 55-page, highly technical, document.

DICOM section 14 compliancy is mandated for displays used in clinical diagnosis. The handful of large specialist manufacturers, including GE, Siemens, Agfa, Philips and Carestream, that supply complex radiology instruments integrate or re-badge displays designed by Eizo, Barco, NEC or NDS Surgical Imaging under OEM arrangements and deliver a complete solution. In the majority of cases, that solution also includes installation by manufacturers’ teams and is not an area in which third parties are generally involved.

Contracts for supply of diagnostic machines are

struck between the specialist providers and the hospital’s (or other establishment’s) in-house radiology department for dedicated and complete systems. Beyond that, there is considerable scope for further system adaptation and customisation by third-parties; areas that are too diverse or of insufficient size and value to interest the main supplier.

“Modality equipment suppliers tend to focus on their specific offering and its application,” explains Alistair Holdoway, managing director of Video South. “There are many areas within the clinical areas in hospitals that require bespoke solutions to suit their areas of specialisation. Doctors may need to combine different assessment technologies to understand the complete picture; fluoroscopy and ultrasound for example, and these offer opportunities for integrators who can combine the outputs

‘Gaining the trust and

confidence of hospital staff is a long-term

process of relationship building and

understanding clinicians’ needs and

methodologies’Steve Wood,

Parity Medical

The Boulogne-sur-Mer Hospital Centre has equipped its operating theatre with NEC 46in displays to improve the viewing of PACS images and videos

FEATURE: MEDICAL AV


of separate devices together in the way the physician wants to access them.”

BREAKING BOUNDARIESIntegrating disparate systems is not as straightforward as would be expected in, say, the corporate AV world, however. Holdoway warns: “Any changes made to a medical system must not impinge on that system: you cannot simply split a video output to an additional screen in a viewing area or control room without considering the reliability and integrity of the original image.

“Manufacturers like to keep a boundary around their systems and to break into that boundary is difficult; it can be done but requires the trust and confidence of the original equipment installer. There are different signal formats in use across the manufacturers’ products which must be considered. Any device inserted into a signal chain that affects the quality of the original image in any way; by altering its colour or greyscale rendition or geometry, nullifies DICOM compliance and must not be done.”

In addition the medical environment itself presents problems: infection control requires that equipment can be treated with specific disinfectants; installing cabling and ventilated equipment in pressure

controlled treatment rooms and operating theatres is often prohibited. The presence of fluids and gases and the need to meet specific safety standards demands that only equipment designed for medical use is used. Control rooms associated with operating theatres are not subject to quite the strict levels of cleanliness but do still have their own higher-than-normal stipulations.

For integrators in this field, it can often be a lengthy process to enter the sector and become recognised. Hospitals do not tend to operate their own specialist AV staff; rather an ‘interested’ doctor or consultant will become involved in the technology and will be a key player in the decision-making process, always looking at it from their perspective.

“Gaining the trust and confidence of hospital staff is a long-term process of relationship building and understanding clinicians’ needs and methodologies,” explains Steve Wood, managing director of Parity Medical. “Each installation is unique; not just in terms of the application meeting the particular specialisation of the clinical team, but the fact that many hospitals are housed in very old buildings with their own architectural peculiarities. Every organisation has

their own working practices and there is very little commonality between them. Our experience within the medical sector, and the brand and solution portfolio we have developed over the years, means that we can help a department establish their requirements in their specific setting and suggest and adapt solutions for their consideration based on other, previous installations.”

ROOM FOR OPPORTUNITYIn medical establishments, multidisciplinary team (MDT) rooms provide opportunities for professional AV system integrators at a slightly lower level of complexity. These are areas in which specialists from different clinical areas meet to discuss and review cases and are often extended to fulfil additional roles within a hospital: seminar rooms, videoconferencing suites, live procedure and presentation and lecture theatres. They are outside the strict infection-controlled and diagnostic areas of the establishment and do not require medical-grade, fully DICOM-compliant presentation technology. University hospital training environments also offer additional possibilities for audiovisual integration of medical-class technology.

The equipment required in MDT rooms and training, and the way it is operated, closely resembles that of corporate

boardrooms and conference rooms. They do however demand that the highest quality equipment is used: the diagnosis of a medical condition may have already been made but doctors, consultants and nursing staff still need the best possible images on which to review and plan future care.

Projectors and flatpanel displays will usually be specified with DICOM simulation mode. These devices are, as Peter Adams, sales manager medical

solutions, NEC explains, “factory calibrated prior to delivery to meet DICOM section 14 based on the measured characteristics of a sample display from a batch; for native gamma curve, brightness, luminance and so on and the corresponding LUT (look-up table) applied to the whole batch – usually of 50 or fewer units. This means that the display performs almost as well as a DICOM-compliant unit. It provides a lower-cost alternative that is demonstrably sufficient for clinical review applications without needing the ability to be individually set and calibrated.”

DICOM simulation displays are not classified as medical devices and should not be used for the medical diagnostic

applications of fully DICOM-compliant displays. However the two types share common characteristics that raise

them above the level of professional displays. “To achieve the same level of grey shades as a plain X-ray film a diagnostic monitor would need to have at least 450 candela brightness, any less and the image will be clipped and some detail could be missed,” says Rob Musson of Eizo.

“The IPEM (Institute of Physicists and Engineering in Medicine) guidelines include tolerance levels and how often a display should be checked, which matches what the UK Medical Physicists would consider right for UK users. AAPM (American Association of Physics in Medicine) guidelines, TG18, set forth visual, quantitative and advanced testing methodologies for both classes of display, including recommendations for ambient lighting which can have a dramatic effect on the visual image presented on a screen. They also offer test cards that assist in establishing whether displays are fully calibrated for medical diagnosis, covering all aspects of a display’s performance: luminance, resolution, noise, glare and even example anatomical images.”

Integration with PACs systems is also a fundamental requirement in MDT rooms. This is an area that is unlikely to be familiar to general AV integrators, but is certainly not beyond their technical ability. Signal processing, switching

[MEDICAL QAWEB]

MediCal QAWeb is a Cloud-based service that automates quality assurance of Barco’s medical displays by constantly monitoring devices to continuously check compliance with a wide range of regional QA guidelines. Asset management tools provide an overview of all compatible displays within an establishment ensuring that their self-calibration process is functioning and will

provide a warning notification whenever a display falls outside designated calibration settings or is physically removed.

QAWeb ensures the continuous calibration of displays in clinical diagnostic applications while reducing the management and administrative overhead normally associated with essential periodic DICO section 14 calibration.

The Dome S6c LED widescreen 6MP radiology display from NDS Surgical Imaging

FEATURE: MEDICAL AV


and device control are all required, as are encoding for web transmission and videoconferencing and unified communication technologies.

LIFE CYCLEPurchasing contracts normally stipulate that all equipment must have a minimum of a five-year life cycle and support guarantee. The design and build programme for a hospital rebuild or renovation can be lengthy and equipment will be expected to last. Substituting any item in a critical medical system is not a viable or quick operation. This is particularly relevant to the graphics cards used in medical imaging systems: rapidly evolving imaging technology and processing power reduces the life cycle of normal graphics cards to as low as six months.

Rob Moodey of Matrox Graphics points out that graphics cards are, “of necessity, extremely high-performance devices. In order to achieve DICOM compliance or simulation they need to have a deep greyscale and colour processing depth and may be required to drive several cloned workstations at once. For precise DICOM calibration, up to 13-bit gamma LUTs are required. Other features such as digital luminance correction, field-of-view correction and image colour profiling greatly simplify integration and setup in third-party imaging applications.”

4K displays are also attractive propositions to the medical imaging industry and likely to be one of the first volume applications for this resolution. Moodey adds: “Cardiologists and other specialists are turning to 4K

display to achieve the level of clarity that they desire which puts added demands on the graphic equipment.”

Geert Carrein, vice president of Barco Healthcare, points out the necessity for technical and software support of graphics cards. “The image quality requirements of modern medicine and the necessity to create stations with up to five monitors put considerable demands on the performance of graphics engines,” he says. “We have developed a strategic partnership with AMD for ongoing product support and to allow our modification of the source code to suit specific medical application; leading to features such as the ability to zoom in to large images to show 1:1 part-images.”

As other areas within medical establishments turn

to digital display technology for signage, queue control and general information systems, AV integrators are entering the sector to satisfy that demand. There is considerable opportunity to develop the personal relationships that can lead to opportunities in the more medically oriented areas of hospitals and clinical activity. The tools and devices available for them to achieve success are readily available and already within the extensive service portfolio of professional installers.

www.aapm.orgwww.barco.comwww.crestron.euwww.eizo.comwww.jonesav.netwww.matrox.comwww.nec.comwww.ndssi.comwww.paritymedical.comwww.videosouth.co.uk

After 300 years, the Trinity College Anatomy Department has made the step into the 21st century. Jones AV installed one of the most advanced medical training facilities in Europe: a large teaching theatre with 12 student workstations and one advanced tutor/demonstrator workstation.

Each workstation is a fully functional small operating theatre environment featuring an operating table for donor bodies with operating theatre light, medical monitor and manoeuvrable HD camera and 42in wall monitors with HD SDI inputs for endoscopes, C-bows or ultrasound.

High-definition DICOM-standard video recorders are linked to a central archive server, allowing storage of pictures and video studies

that can be accessed via a web interface, connected to the university network with active directory integration.

The system is driven by a Crestron control system, with touchpanels at each workstation. Two tutor iPads give complete wireless control override of all functions. The central tutor workstation also features a 42in touch overlay for live annotation, while a freely routable videoconferencing system enables connection to other video conference units, computer desktops and iPhone or Android devices for live teaching sessions.

To complete the teaching environment, the college also includes two video editing suites for the production of educational video, connected to a DVD burning robot.

TRINITY COLLEGE IDUBLIN NVESTS IN HIGH-SPEC MEDICAL TRAINING FACILITY

CASESTUDY

‘Cardiologists and other specialists

are turning to 4K display to achieve the

level of clarity that they

desire’Rob Moodey,

Matrox

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FEATURE: CONFERENCE VENUES

Mixed messagesThe advent of wireless and IP-based solutions has raised the stakes for conferencing system security. But as David Davies discovers, a myriad of options mean that it isn’t necessarily easy for a venue to determine its ideal solution


The introduction of wireless and IP-based systems have increased the overall awareness of security

[KEY POINTS]

Improving encryption is a priority across system types

Overall system management will grow in importance as conference technology is more fully integrated into venue networks

HOW SECURE is your conferencing system? It might seem like a simple question, but the wide variety of technologies involved in such systems – not to mention the extent to which the issue of security can be regarded as a subjective one – means that it’s not necessarily that straightforward to answer.

The increasing ubiquity of wireless conference systems has, however, served to push the topic up the agenda. For example, is it really practical, some wonder, to deploy systems that run conventionally on WiFi – not just for reasons of security, but for fear of interference in an evermore congested operational landscape?

Looking into the future a little, a greater tendency towards integration into facility-wide networked systems is also bound to increase the focus on

security matters. So with this in mind, Installation worked to identify seven ‘lessons’ which, if got to grips with, might help define a clearer pathway for customers seeking security in an evermore complex infrastructure for conference AV.

1. CLIENTS MUST HAVE A CLEAR UNDERSTANDING OF THEIR SECURITY NEEDS.Few would contest the assertion by Thomas Giczy, business development manager installed sound for AKG, that “the question of security unifies all conferences. I do not know any place where organisers would not care.” Equally, however, the scope of security measures required can vary considerably from client to client.

“The level of security is mostly determined by the type of meeting,” says Lars Van Den Heuvel, director

global product management conference systems, Bosch Security Systems. “[For example] within governmental environments this can range from open meetings with access by the public, to complete secret meetings in which all media connections to the outside world are disconnected. It all relates to the topics discussed within such meetings.”

Customers, therefore, need to have a clear outline of the safeguards required going into a new project. Kristoff Henry, product marketing manager at Televic, identifies two primary considerations: “Security from the point of view that a conference system’s reliability and stability can be affected by security breaches and intrusion from the outside. Also, security from the [perspective] of secrecy or confidentiality… how easy

is it to pick up the audio of what is being discussed in the room?”

2. THERE IS A FUNDAMENTAL CHOICE BETWEEN WIRED AND WIRELESS SYSTEMS.In real terms, wireless conferencing systems are in their infancy, and continue to be outnumbered by wired solutions. For reasons of track record and longevity alone, then, conference venue owners may instinctively favour wired systems. However, their feelings may be strengthened by those who maintain that, security-wise, some wireless systems are not yet entirely fit for purpose.

Romano M Cunsolo is director marketing & business development at Xavtel, which recently launched its Senator System that delivers a (proprietary protocol-using) networked and wired solution. “One of the reasons

‘Using IP as a platform makes

our system highly flexible

and expandable for the future’ Lars Van Den

Heuvel, Bosch Security

Systems

Televic’s Confidea Wireless system was used at the eighth ASEM summit



we do not go wireless so far with Xavtel is the security issue,” says Cunsolo. “I totally understand that sometimes people like to have a wireless system, but so far I believe that a real secure ‘encryption’ is not yet there. Having a closed network on a wire with a proprietary protocol still seems the most secure approach.”

Many others, however, would contend such claims about wireless. “The belief that wired is more secure than wireless systems is no longer applicable as there are a number of secure wireless systems available,” says Stuart Stephens, systems project engineer, Shure Distribution. By way of example, he points to Shure’s own ULX-D, Microflex Wireless and recently launched QLX-D systems, which “all offer AES-256 encryption for applications where security is paramount”.

3. MAKE SURE YOU KNOW ABOUT ENCRYPTION.Whatever your view, the number of IP and wireless-based solutions will surely continue to rise, heightening the need to grapple with security issues. “Moving to IP-based conference systems [means that] the general requirements for

security grow and proven encryption technology is required. This also applies to wireless-based conference systems,” says Den Heuvel.So far, so clear… However, opinions on the effectiveness of encryption techniques for wireless systems are subject to considerable variation. Brähler is the manufacturer of the Digimic wireless system which employs a proprietary narrowband WiFi protocol, known as APRON, to minimise the risk of interference, as well as a host of innovative encryption methods.

“There are a lot of systems out there using variations on standard AES encryption, which is the same as what you use for going onto a wireless network with your iPad,” says Simon Sainsbury, who is managing director of Brähler ICS UK. “Making that work properly in a conference environment would require a technician to go out into the room and enter a separate key sequence for every station. In reality, that isn’t going to happen very often, so a one-time key tends to be used.”

Uniquely in the market, Brähler believes, its Digimic wireless system benefits from constantly changing encryption with a different key used every 10 seconds.

“If our encryption were subject to a brute force attack it would need to be broken within 10 seconds before the key changed again. If it were broken on one attack in less than 10 seconds, in say seven seconds, the eavesdropper would only be able to pick up on three seconds of audio before the key changed yet again. Consequently, any interruption would be very brief.”

4. THE IR VS RF DEBATE REMAINS UNRESOLVED.Audio-Technica’s ATCS-60 conference system is just one of the infrared-based systems to have come to market in recent years, combining as it does IR communication with wireless transceiver units to provide the user with (according to the company) “greater flexibility while configuring the system and freedom of choice when placing microphones”.

AKG utilises IR-based language distribution in both its wired CS3 and CS5 conference systems, with Giczy observing that security issues mean that IR is “the preferred medium to distribute translated languages. RF, encrypted or not, is just too dangerous in

The DCN multimedia conference system from Bosch provided a secure, reliable solution for the recent two-day Nuclear Security Summit at The Hague in the Netherlands. Staged at the World Forum Convention Center, the event attracted 58 world leaders to discuss ways of improving co-operation in the prevention of nuclear terrorism around the globe.

The system installed by JACOT Audiovisueel comprised a central DCN multimedia audio powering switch and, for each participant, a DCN multimedia conference device

equipped with a touchscreen combining audio, video and meeting content as well as internet access, a two-way loudspeaker and a microphone with a speaking distance of 60cm.

Among the advantages of using the DCN system was the ability to avoid the need to place conference monitors in the centre of the room. There were also many strengths in terms of security, with Bosch Security Systems’ Lars Van Den Heuvel remarking: “Meeting owners need to be able to rely on the conference system

completely. By providing a secure and surveyed solution, the DCN multimedia system enables meetings to continue as planned with minimum risk of data loss. The system features cable redundancy. Next to this all the audio and data that is running through the system is encrypted securely, in accordance with internationally recognised standards. This means that DCN multimedia is strongly protected against tampering and unauthorised access of the system; extremely important in highly secured or sensitive meetings.”

BOSCH DCN DELIVERS FOR NUCLEAR SECURITY SUMMIT

CASESTUDY



terms of security.”But system purchasers

may wish to go deep into the details before making a selection because there are differences of opinion across the market. For example, Den Heuvel remarks: “RF-based systems with proper encryption have a much higher level of security as they have better management on the connection of devices and avoid audio touting to unlisted devices which can be used to eavesdrop a meeting.”

5. INTEGRATION WITH NETWORKED SYSTEMS WILL DEEPEN.The drift in favour of a unified AV/IT philosophy also has implications for security. In particular, conference venue operators will want to think carefully about the architecture of the systems they specify.

“This brings us right to the question – an open or a closed conference network architecture?” says Henry. With its uniCOS multimedia product, Televic has opted to keep the delegate side of the conference network closed and to only allow interfacing with the outside world through the central unit (“third-party network hardware or software is not allowed, nor supported on the conference bus”).

This design “warrants its failsafe operation and avoids situations where it is difficult to attribute responsibility in cases of issues”, he explains. “The second benefit of a closed network is its performance. With an open architecture, it would have been impossible to achieve the extremely low latency for the video and scale-independent responsiveness since it would have prevented

using the technologies that make this all possible. And the third is security: the conference network is a self-contained eco-system that is guarded from outside intrusion by the central unit. The latter acts as a guard, but also as a bridge to the outside world through its LAN connection and Dante interface.”

Most conference system manufacturers seem to be innovating in this area: for example Xavtel, with its “so-called net deployment, [with which] there is no way to just add a piece of hardware to the system without knowing it”; or Bosch, whose OMNEO platform provides “proven encryption technology and smart key management” in its IP-enabled systems.

6. SYSTEM EXPANSION WILL GET EVEN EASIER.Wired or wireless, system expansion in the networked era looks set to become even easier with manufacturers consistently emphasising scalability to match the application. “I do not see a problem [with regard to system expansion],” says Giczy, adding that AKG’s CS5 system has a “ring configuration. You open the ring where needed, add or take away units as required, close it again and you are ready to go – without change of any security standards.”

An IP-based approach can also pay dividends. “Using IP as a platform makes our system highly flexible and expandable for the future,” says Den Heuvel. “From a security aspect here too, access to and from the network can be well managed. The same counts for upgrading the system from, for example, a remote location.” Ultimately, it comes down to “well-managed network security handled by professionals in the IT department”.

Stephens also highlights the importance of appropriately trained personnel. “The main threats to the security of networked systems are poor implementation of the overall network infrastructure and internal leaks from personnel with security clearance on the systems in question,” he says.

7. NEW REQUIREMENTS WILL CONTINUE TO EMERGE.The flexibility of IP and wireless means that systems based around these principles will continue to

emerge. One implication of more complex systems is that convenience and ease of use will be very highly prized. But new customers will also want to think about issues such as remote participation and its ramifications for security.

“The emerging requirement lies between the growing demand for flexibility of system design like remote participation or site coupling versus the security aspects of these kind of flexible

topologies,”

says Den Heuvel. “Therefore IP-based systems offer unique advantages as security can be well-managed by standard IT security measures while additional encryption technologies with advanced key management further secure this type of solution.”

Youjie Shao is marketing manager for Gonsin, whose latest solutions for conference include the DCS-1020 Daya Distributed Congress System and large conference system-oriented DCS-2020. Invited to consider the next

paradigm shift for conference technology, Shao responds: “From a macro point of view, conference systems will be horizontally expanded from single AV technology to adjacent industries, and will be integrated into large smart platforms such as the Internet of Things and the Smart City. From the micro point of view, conference systems will change from excessive pursuit of unconventional technical innovations to more practical micro-innovations, such as more convenience for disabled people to use the equipment, lower costs in running the equipment, less difficulty in management, and greater ease of installation.”

All of which, it seems fair to surmise, will be keeping R&D teams very busy for

many years to come.

HIGH STAKESOur case studies

on a recent nuclear

security summit and a prestigious Middle Eastern conference facility underline the fact that the stakes for conference system security can be very high indeed. But there is no mistaking that this is a period of transition: wireless and IP systems are coming through, but some of the technologies involved need to be more clearly explained to overcome the (understandable?) concerns of some end-users. With no shortage of different approaches, potential customers may need to make more exact calculations than ever before about their specific requirements vis-à-vis capacity, expandability and security.

www.akg.comwww.audio-technica.comwww.boschsecurity.comwww.braehler.comwww.gonsin.comwww.jacot.nlwww.televic.comwww.xavtel.com

‘[IR is] the preferred

medium to distribute translated languages’

Thomas Giczy, AKG

One of the Middle East’s most prestigious conference venues, the Qatar National Convention Centre, was recently equipped with a new communications system in its main auditorium, incorporating more than 400 Digimic wireless microphones manufactured by Brähler.

Robustness and security of operation were among the reasons that led to the specification of Digimic. Benefits include Brähler’s patented APRON (Intelligent Adaptive Proprietary Narrow Band) WiFi protocol, which features FHSS (Frequency

Hopping, Spread Spectrum) technology to deliver transmission that is claimed to be more robust to interference than that utilised by DSSS technology.

“FHSS offers a number of benefits over a fixed frequency system,” says Simon Sainsbury, MD of Brähler ICS UK. “Firstly, spread-spectrum signals are very resistant to narrowband interference. Secondly, they are challenging to intercept; anyone wanting to intercept the transmission would have to know the pseudorandom sequence. Finally, spread-

spectrum transmissions facilitate more efficient use of bandwidth as they can share a frequency band with many types of conventional transmissions… and all of this with minimal interference.”

Brähler’s ability to deliver such a large number of units (in excess of 400) also informed the QNCC’s decision. “In addition, we’ve put some systems into hall 3, which is the main exhibition space,” notes Sainsbury. “The feedback from the operators has been very positive; the new system really gives them a lot of flexibility.”

BRÄHLER PROTOCOL DELIVERS ROBUSTNESS, SECURITY FOR QNCC

CASESTUDY

The CDM-T5, part of Xavtel’s Senator series

FEATURE: REGIONAL VOICES


Norway’s economy has long been supported by the country’s natural resources – for instance, it is the world’s fifth-largest oil exporter and third-largest gas exporter. But what is the picture like in its installation sector? Our latest survey finds out

3.6%Annual GDP growth, Q1 2014Source: Trading Economics

11.0% Budget surplus, 2013Source: Trading Economics

The same – 81%

Lower – 19%

STATE OF THEMARKET

Do you think general levels

of confidence in the Norwegian

installation sector are higher or lower

than six months ago?

EXTERNAL FACTORS

HOW INFLUENTIAL (EITHER POSITIVELY OR NEGATIVELY) ARE THE FOLLOWING

FACTORS ON YOUR BUSINESS?

‘The national economic situation has been rather good in Norway. The financial crisis didn’t hit us that hard,

compared with, for example, Denmark.’

MOSTINFLUENTIAL

More affordable technology

National economic situation

Competitor activity

Legislation/regulations

Energy efficiency/green issues

LEASTINFLUENTIAL

ENTERING THE MARKET

WHAT ADVICE WOULD YOU GIVE TO A MANUFACTURER LOOKING TO ENTER THE NORWEGIAN AV INSTALLATION MARKET?

‘Close integration with control and monitoring systems like Crestron, AMX, Neets etc.’

‘Get an independent distributor that can support all the

integrators. Get your products known by integrators, consultants and larger public owners (such as at ISE).’

‘I think they would need to have an alliance with a well-established Norwegian supplier.’

…AND TO AN INTEGRATOR LOOKING TO ENTER THE MARKET?

‘Go into the major markets: education, defence and oil.’

‘Focus on technical competence, customer awareness and good project management. Decide which geographical

regions you want to cover, and make sure your service organisation can support all these regions. Know how to

communicate with IT departments.’

‘Be prepared to spend some time and effort before starting to earn.’

‘Be visible – have a good, communicating website.’

DESIRED CHANGES

IF YOU COULD CHANGE ONE THING ABOUT THE WAY THE NORWEGIAN

INSTALLATION MARKET WORKS, WHAT WOULD IT BE?

‘Certification to increase competence in the installer market, with specific focus on the EN54 installer market.’

‘There are a few big players, and a lot of small ones. On big

tenders, we usually just get one or two bids. That’s not optimal.’

‘In addition to the big companies, I would like to have small specialised integrators, with a more service-minded approach. The margins for equipment are getting smaller, so we need to provide and deliver other qualities than the

lowest price on a tender.’

Consolidation in the Norwegian marketplace means we will continue to see fewer integration companies, but with more employees

There are no significant skill gaps in the Norwegian installation sector

In general, Norwegian installers are comfortable with the increasing amount of IT networking in AV installations

DO YOU AGREE WITH THESE STATEMENTS ABOUT THE INDUSTRY?

Strongly Agree Agree Neither Disagree

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

Norway

EVENT: INSTALLMARKET

Register now!Registration for InstallMarket is now open. The free event, which takes place on 4 September at the Business Design Centre in London, comprises a high-level conference with expert speakers, plus an exhibition supplemented by breakout rooms for training and education.

The target audience for InstallMarket is systems integrators, end-users, architects, facilities managers and consultants. Early registrations indicate a roughly equal split between integrators, end-users and consultants.

The conference will address the latest technologies and business opportunities in six key vertical sectors: retail; AV/broadcast convergence; education; hospitality and entertainment; transport; and AV-IT integration. Each session will comprise panels of experts: it will be chaired by a consultant with long experience of the sector, and their expertise will be supplemented by those of the panelists, who are consultants or integrators with specific and complementary knowledge of the relevant area.

In addition, there will be a keynote address by internationally renowned projection artist Ross Ashton. He will present some examples of his work and will discuss the technology and the business issues that support these eye-catching projects.

“InstallMarket is shaping up to be a great event,” said Installation editor Paddy Baker. “The formula is a winner. We’ve got an engaging, pertinent conference that will help attendees understand, and win business in, key market sectors. We’ve

got a fantastic keynote presentation that I can’t wait to see myself. We’ve got an exhibition where attendees can update their knowledge of the latest products for AV installations. And, best of all, it’s free to attend! Please register now to ensure that you don’t miss out on this wonderful event.”

SPONSORSVivitek, Mode-AL, Vicoustic and Audio-Techica are confirmed as gold sponsors for the event. If you are a manufacturer and you would like to discuss exhibiting at the event or becoming

a sponsor, please contact Ian Graham ([email protected]) or Steve Connolly ([email protected]) – phone +44 20 7354 6000.

REGISTRATIONYou can register online on the InstallMarket website: www.install-market.com/registration. If you have any queries about registration or other aspects of the event, please contact Sara Mather ([email protected]) – phone +44 20 7354 6001.

www.install-market.com

With our one-day conference and expo just a few weeks away, you should register now to ensure that you don’t miss this exciting new event


4 SEPTEMBER

9.30 Registration and coffee

10:00 Forces That Drive Retail Tech Chaired by Nick Gale, Realisation

11:00 Keynote: Ross Ashton, The Projection Studio

12:00 AV & Broadcast Convergence: A Marriage in IP Chaired by James Raby, venture capitalist and Sainsbury Management Fellow

14:00 Not Your Father’s Classroom; Not Your Mother’s Campus Chaired by Colin Messenger, Futuresource

15:00 What Hospitality and Entertainment Venues Really Want Chaired by John Grew, Spartan Comms

16:00 What Moves Transport Technology Chaired by Charlie Henderson, PA Consulting

17:00 Whose Network is IT, Anyway?

Chaired by Keith Humphreys, euroLAN Research

PLAN YOUR DAY

Gold Sponsors

Andy Duckworth of CDEC will join the education panel

Elements™

TECHNOLOGY: NEW PRODUCTSOur selection of the latest products for the installation market


What’s newIT’S… A conference room solution that introduces the concept of ‘infopresence’ – telepresence with a stronger emphasis on information sharing and collaboration.

DETAILS: In many dispersed meetings, being able to share and collaborate on information – either graphics or data – is more important than talking face to face with other participants. Mezzanine is designed to accelerate a company’s ability to share content among distributed teams and so boost productivity.

Mezzanine enables multiple participants to share their image, voice, devices and data simultaneously. It combines

presentation design and delivery, application sharing, whiteboard capture and videoconferencing, all within the technology framework.

Web browser, smartphone and tablet support are provided. The solution is compatible with existing videoconferencing and telepresence infrastructure and offers easy integration with enterprise authentication.

AND ALSO: Oblong’s founder, John Underkoffler, was science and technology adviser for the films Minority Report and Iron Man.

AVAILABLE: Now

www.oblong.com

IT’S… A new software application designed to transform computers into Dante I/O devices.

DETAILS: Dante Via transforms Macs (running OSX) and PCs (Windows 7 or 8) into networked I/O devices. Users can build a complete, standalone audio system of networked computers without any dedicated Dante-enabled hardware present on the network. Any computer instantly becomes a networked audio I/O device.

Dante Via frees users from the constraints of short-reach point-to-point

analogue and USB cables. It also enables the creation of a flexible audio bridge for a computer to connect with legacy USB, FireWire and Thunderbolt audio interfaces and transform them into networked devices.

AND ALSO: With Dante Via it is said to be easy to distribute or loop back audio via the network from any application such as Skype, iTunes, Cubase, Pro Tools, Nuendo, Logic or Reaper.

AVAILABLE: December

www.audinate.com

IT’S… A 4K laser projector that delivers 12,000 lumens of solid-state illumination.

DETAILS: At four times the resolution of a standard HD projector, the Insight 4K Laser produces a level of detail beyond that available from HD projectors.

Suitable for a variety of vertical markets, the device offers the ability to project large, detailed images from one projector where previously edge-blending two or more projectors would have been necessary.

The Insight 4K is able to operate in both portrait and

landscape mode without any modifications and offers 20,000 hours of illumination from the solid-state laser light source, creating a low total cost of ownership in a small, compact chassis.

AND ALSO: The Insight 4K Laser also features full 4K 3D,

with advanced functionality including Adjustable Dark Time and Sync Offset for optimisation of ghosting and smooth greyscale for active glasses and polarisers.

AVAILABLE: Q4

www.digitalprojection.com

OBLONG INDUSTRIESMEZZANINE

AUDINATEDANTE VIA

DIGITAL PROJECTIONINSIGHT 4K LASER

IT’S… A powerful videowall system designed around a PC-based architecture.

DETAILS: The Galileo processor adds the benefits of PC-based systems such as IP inputs and the ability to run applications

natively on the processor, while maintaining the reliability and real-time performance of all of RGB Spectrum’s solutions. It supports a full range of input and output types (IP, analogue, DVI/HDMI, 3G/HD-SDI) with resolutions up to 3840 x 2160 (4K). It can also deliver HDCP-protected content to an unlimited number of displays.

Galileo supports H.264 decodes for motion video. RGB’s VDA remote desktop technology, with integrated KVM capabilities, allows the Galileo processor to provide

operators with low-latency control over remote systems and equipment via a LAN or WAN. System performance is claimed to be demonstrably superior to the industry standard VNC, particularly at low bandwidth or with high-motion graphics and video.

Windows can be displayed anywhere on the videowall, in any size, within or across screens, and in correct aspect ratio or scaled over multiple monitors. Images within individual windows can be panned or zoomed

to emphasise detail. The processor’s window layout options are endless, and users can use presets to save and recall preferred configurations to quickly change the appearance of the videowall.

AND ALSO: The GUI allows users to drag and drop inputs and applications, such as VMS, SCADA and videoconferencing, to the videowall.

AVAILABLE: TBA

www.rgb.com

RGB SPECTRUMGALILEO DISPLAY PROCESSOR

InstallationPRODUCTOF THE MONTH

TECHNOLOGY: NEW PRODUCTS


IT’S… A new install-dedicated four-channel DSP amplifier platform.

DETAILS: The D Series can integrate seamlessly with a wide range of digital audio and control protocols. It is available in two variants – one featuring Lake, the other featuring Tesira by Biamp Systems – each offering different capabilities and advantages.

The Lake variant offers a well-established and proven package of Lake Processing DSP with analogue, AES and a dual-redundant Dante network solution. It is supported by the development of new custom software to provide extensive integration potential with most key systems manufacturers.

The Tesira variant of D Series is the outcome of collaboration between Lab.gruppen and

Biamp Systems. This has resulted in dedicated models equipped with Tesira DSP, with AVB audio and control, to offer unheralded amplifier and DSP platform integration, designed to ensure interoperability between the manufacturers’ respective systems.

The D Series is available in three power configurations (8,000W, 12,000W and 20,000W total power output).

AND ALSO: This launch heralds the debut of Lab.gruppen’s Rational Power Management (RPM) technology, which allows flexible power allocation across all channels to ensure the most efficient and rational use of total amplifier inventory.

AVAILABLE: Mid-summer

www.labgruppen.com

LAB.GRUPPEND SERIES

IT’S… A scalable videoconferencing/meeting platform.

DETAILS: Infinity Version 6 has been upgraded with Active Directory (AD) integration, role-based authentication, and secure NTP/SNMP to provide IT managers with secure meeting platform management.

AD integration support allows administrators to use existing AD or LDAP servers to authenticate all incoming connections to the Pexip Management Node. As a result, the company says organisations obtain simpler, more secure authentication capabilities while allowing the automatic enforcement of password complexity, expiration, automatic account creation/deletion, and single password access

via any device. Role-based authentication now allows the creation and assignment of role-based permissions to individuals or administrator groups – allowing the logging and tracking of individual administrator activities.

Pexip Infinity’s support for Secure NTP and SNMP version 3 ensures that communication with external services remains encrypted and protected. Practical single-screen notifications are sent to administrators whenever new platform events occur.

AND ALSO: A new Assured Services SIP feature enables failsafe operation within mission-critical environments.

AVAILABLE: Now

www.pexip.com

IT’S… A 4K screen management system that supports content at professional frame rates (up to 60p 4:4:4).

DETAILS: Built for live screen management, the system offers eight mixable PGM outputs and four scaled Aux outputs for full show control from a single box. Barco claims the system is the first and only screen management system on the market that can manage a 4K projector blend with refresh rates up to 60Hz. The HDCP-compliant system can handle all types of scenario, including native or scaled inputs, two

connectors or four.With 28 inputs and 14

outputs, the E2 offers full show control, including eight independent PIP mixers and a dedicated Multiviewer. The system is not only built to expand outputs but its inputs and layers can also be extended – the system is even capable of managing a blend of up to 32 4K projectors. With a linkable chassis, the E2 can

expand its capabilities without requiring external routers to distribute the signals.

AND ALSO: Thanks to its modular design, users can simply add a new input or output card to support future signal interfaces.

AVAILABLE: November

www.barco.com

PEXIPINFINITY VERSION 6

BARCOE2 IMAGE SCREEN PROCESSOR

TECHNOLOGY: NEW PRODUCTS


IT’S… A new line of tables built to accommodate HuddleVU 4, 5 and 6 user configurations, with built-in AV features. All equipment is plug and play, eliminating the need to load custom applications or software.

DETAILS: The new tables provide collaboration opportunities in any number of environments with both table and counter height versions. The table base provides an area for mounting all HuddleVU equipment, and a vertical rear panel can be added for open office environments. The units are available in stock light maple finishes to blend with any décor, but custom finishes are available upon request.

The new HuddleVU Dugout seats up to 12 users who can share their information on one or two large monitor screens. The dual height tables seat the users at two viewing levels to maximise space, reduce visual obstructions and provide seating comfort.

Two additional seating areas can be utilised for handicapped seating as required. The inner table boxes furnish AC power, device charging, AV connectivity and control, while the outer table has AC power and device charging. There are a variety of table finishes available as well as upholstery styles to match existing décor.

AND ALSO: Units are shipped pre-assembled for ease of installation.

AVAILABLE: Now

www.fsrinc.com

FSRHUDDLEVU COLLABORATION TABLES

IT’S… A range of microphones featuring the company’s LumiComm Touch Ring system and designed for permanent tabletop installation.

DETAILS: The LumiComm Touch Ring consists of a dual-colour LED light ring and a touch sensor output, which provide integrators with complete freedom to assign function and LED colour with a media control system.

The IML microphone is a back-electret condenser that features a ‘near-perfect’ cardioid polar response and a flat 30Hz-30kHz frequency response, allowing orators to

maintain the same intelligibility at the front and sides of the microphone without a reduction of high frequencies.

IML models come standard with RF shielding, cardioid polar pattern, 4.5in body, black finish, touch-sensitive surface, and dual-colour (red and green) LED light ring. They are available with 3, 6, 10 or 12in goosenecks.

AND ALSO: Primary applications for the IML Series include boardrooms, teleconferencing, distance learning, and government facilities.

AVAILABLE: Now

www.earthworksaudio.com

EARTHWORKSIML INSTALLATION SERIES

IT’S… An OEM low-profile compact hearing loop solution for integration into intercom applications.

DETAILS: The Hearing Loop System Driver Module (HLS-DM) is designed for incorporation into intercoms in applications such as lifts, help points, drive-

throughs, car park barriers and door entry systems.

To ensure good-quality audio, the HLS-DM features metal loss correction and automatic gain control while producing ample power and sufficient voltage headroom.

AND ALSO: Ampetronic’s new

products adopt the EN 62489-1 Standard, a reference for measurement and rating of induction loop equipment.

AVAILABLE: TBA

www.ampetronic.com

AMPETRONICHEARING LOOP SYSTEM DRIVER MODULE

TECHNOLOGY: SHOWCASE

Large-venue loudspeakersCovering every inch of a venue to ensure a loudspeaker system performs optimally is essential to any install. James McGrath looks at how different speaker models cope with issues such as problematic room acoustics


The R-series from Community Professional is an all-weather range of high-performance loudspeakers comprising eight models.

Representing the core of the range is the R2, which can typically be deployed in outdoor as well as indoor environments thanks to its all-weather qualities. The outer enclosure forms part of a double wall construction, with the internal bass horn acting

as the second layer, providing a completely weather-sealed chamber for the LF drivers.

The R2 is available in three symmetrical and two asymmetrical coverage patterns with 400W continuous power handling and 130-133dB maximum output. The array of coverage patterns means the range is suitable for installation in numerous locations. The system is suitable for both

music and speech with high intelligibility over long distances through high power and efficiency and what the company says is extremely low distortion.

Recent EN54-24 certification enables audio consultants and installers to deliver a single system for information, entertainment and fire alarm systems. www.communitypro.com

{ }Community Pro’s versatile R2

The d&b audiotechnik passive V-Series has been created to meet the demands of a wide range of application requirements. The Vi8, Vi12 and Vi-SUB, which differ only in mounting hardware from their live counterparts, are designed for permanent installations.

With weather resistance and colour options these

line array loudspeakers can be made to blend with their surroundings, while d&b technical features ensure impressive results. The cardioid subwoofer suppresses energy towards the rear, while the two horizontal dispersion options of 80° and 120° for the three-way passive Vi8 and Vi12 respectively are controlled down to 250Hz.

Constant directivity and ease of use are particular concerns at d&b; the operation of the Vi loudspeakers is simplified by a workflow comprising d&b ArrayCalc simulation software, R1 Remote control software and amplifiers.

ArrayCalc predicts the electroacoustic

performance of a system in a given venue, even with curved walls, before the export function generates an R1 Remote control file. This software offers all features and functions available on the front of a d&b amplifier, and these can be remotely controlled and monitored from anywhere in the network. All settings are

saved, meaning the user knows that on start-up all

functions will be recalled and the system will perform consistently.www.dbaudio.com

{ }d&b audiotechnik networks its V-Series { }Funktion-One widens dispersion

Following the launch of the MST1040 in early 2013, British loudspeaker manufacturer Funktion-One recently extended the MST (Modular Stadium Technology) Horn range with the addition of a wider dispersion option. It means the large-format loudspeaker range boasts the MST1040 (20º vertical, 60º horizontal) and the MST160 (20º vertical, 60º horizontal).

The MST Horns have been designed for expansive

environments, such as arenas and stadiums, where audio performance is integral to the audience’s enjoyment and its safety.

Both models are said to deliver excellent low-frequency dispersion control without recourse to impact-compromising delay techniques. By using MST Horns in acoustically challenging environments, sound can be focused where it’s needed, without exciting

the reverberation space. The company says such levels of control, combined with ultra-low distortion and exceptional pattern control, result in clear message transmission and intimate, intelligible and involving sound.

Large waveguides that completely control all the relevant frequencies – including low-mid – enable audio to be directed solely at audience areas. www.funktion-one.com

TECHNOLOGY: SHOWCASE


The self-powered LYON linear sound reinforcement system is the newest addition to the Meyer Sound LEO family of linear loudspeakers. The company believes that by incorporating the technology of the LEO family in a lighter and more compact package, LYON extends the advantages

of highly linear self-powered systems to a broader range of venues and applications.

To make a solution possible for numerous types of installation – offering maximum flexible in system design – LYON is available in two versions. The LYON-M main loudspeaker serves as

the anchor for installations in arenas and large auditoriums, as well as tours and festivals. LYON-W, meanwhile, provides wider horizontal coverage at the bottom of LYON arrays and can also be used for the top of an outfill array for upper side arena seating.

Both the loudspeakers can work with LEO-M systems, handling the wider coverage needs at the bottom of LEO-M arrays, and serving as outfill or delay arrays when needed.

The system features a high peak power output with exceptional linearity and precise transient reproduction at any operating level, and is self-powered for simplified set-up and increased reliability.

What’s more, LYON’s Compass RMS remote monitoring system reports loudspeaker performance statuses, assuring greater reliability. Self-powered technology eliminates power amplifier racks and attendant room cooling requirements.www.meyersound.com

{ }Meyer Sound’s compact LYON roars

VUE Audiotechnik’s flagship al-8 line array offers versatility and sound quality in mainstream line array applications. It features state-of-the-art transducers – including VUE’s unique beryllium compression drivers – as well as intelligent system electronics, on-board SystemVUE networking and full compatibility with VUEPoint beam steering technology.

al-8 is an adaptable array system that is suitable for numerous applications. The company’s rackmounted V6 System Engine acts as the system’s optimised DSP/amplifier. VUE believes its DSP technology improves out-of-the-box performance while streamlining set-up. Installers assemble the array and then select the appropriate configuration from the SystemVUE software. The result is that minimal EQ or tweaking is required, so the operator is free to concentrate on creating the mix. www.vueaudio.com

{ }VUE Audiotechnik al-8 line array{ }L-Acoustics ARCS series

shaped for soundThe Arcs Wide and Arcs Focus systems from L-Acoustics have designs based on two constant curvature enclosures, which ensure distant directivity pattern and SPL capabilities.

The systems are primarily made for medium-throw application in fixed installations but are versatile in that they can also be deployed in rental applications. The line sources deliver the necessary performance for applications including FOH L/R systems, central clusters, side-fill monitors, distributed systems and complementary fills.

Both line sources provide high SPL with a high standard of acoustic coupling. Coverage angle of the Arcs Wide line source is proportional to the number of enclosures in the array: N x 30º.

By contrast, the Arcs Focus line sources focus the same acoustic energy within half of the coverage angle: Nx15º. The Arcs Focus is therefore suited to achieve a narrower coverage, offering higher SPL with a more

extended throw than its sibling. Another benefit of the

systems is that they can also be combined in hybrid arrays for complex audience geometries. The dual directivity pattern and the various possible speaker configurations allow a high level of creative freedom, according to L-Acoustics. Before installation, these configurations can be acoustically and mechanically modelled with the company’s Soundvision 3D simulation software.

The company’s LA4X and LA8 amplified controllers sit at the heart of the system and can be monitored and controlled in real time using the LA-Network manager software.www.l-acoustics.com

{ }Martin Audio MLA CompactThe MLA Compact from Martin Audio represents a new direction in the way loudspeaker arrays are configured and controlled. The company believes the device delivers much more consistent sound compared to conventional arrays.

Instead of the line array goal of producing coherent wavefronts as they exit the speaker grilles, MLA Compact focuses on what arrives at the audience. The users/engineer specifies the SPL and frequency response required at various points throughout the venue, and intelligent software controls each of up to 120

individual cells in the array to produce the desired result.

Every cell in the array is controlled by a central

computer, meaning the MLA Compact is not

constrained by the 3dB decrease in SPL with doubling

of distance that is associated with conventional line arrays.

Instead, the frequency response and SPL at the farthest seats closely track those at the front rows. ‘Hard-avoid’ areas such as ceilings and rear walls can be programmed in and vertical coverage can be fine-tuned electronically. This is very significant, given the acoustic

challenges that large-venue

installations can present. This way of operating a line array also removes trial and error from the outcomes. www.martin-audio.com

SOLUTIONS: GRUPPO CREDITO VALTELLINESE, MILANITALY

A meeting of minds

ITALY’S GRUPPO Credito Valtellinese (Creval) consists of three local banks, three companies operating in specialised areas of finance, two insurance companies and three production companies. Parent company Credito Valtellinese, founded in Sondrio in 1908 and the first Italian bank to be awarded quality certification for its loan application, issue and management process, currently has 370 branches.

Following its policy for quality based on innovative technological solutions, the group’s Via Feltre premises in Milan, Italy’s finance capital, recently underwent a high-profile expansion. The new facility includes a boardroom, meeting rooms and a professional training centre featuring cutting-edge AV and videoconferencing technology, designed and installed by video communication specialists Gecom.

As well as a Full HD videoconferencing system, the set-up includes an impressive Crestron DigitalMedia system for digital AV and control signal management and distribution, and Crestron’s Fusion enterprise management platform, both

installed for the first time by Gecom on this prestige application.

Gecom technical manager Mirko Ciarlo followed the project from the preliminary stages, working with the client to establish the operational deployment of each room, the design of the AV/control solutions, and the execution of the work of planning the various areas in such a way as to enable the systems to be installed in a satisfactory manner from both a technical and aesthetic point of view.

He explains: “We have worked with Creval since 2010. Previous projects include the supply of a centralised video communications infrastructure (multiconference unit, gatekeeper, manager, etc), and specialised support for the complete integration of the videoconferencing system with other facilities already in use by the client, such as Cisco CUCM and Microsoft OCS.”

After its solution had been compared with those of three competitors, Gecom was appointed as contractor and chose the technology installed along with clients, according to their specific

requirements. Gecom worked directly with Claudio Miotti, who was in charge of the Creval department, as well as with Enrico Scarafoni, Sacha Petix and Cristian Paieri.

PLANNING AHEADCiarlo continues: “Apart from ensuring the technology installed had the lowest possible visual impact, to satisfy the architects’ brief, the main technical difficulty was that we were obliged to design the fibre infrastructure used to transport the contents combining the multimedia environments a year before the definitive design was completed. This meant forecasting everything that would eventually be realised in order to calculate how extensive the cabling had to be to connect the various rooms and ensure perfect multimedia data transport.”

Preliminary work began in February 2012; installation work was carried out by Gecom technicians and the rooms tested and handed over at the beginning of this year.

All the rooms can exchange an AV flow (1 TX and 1 RX for all of them, except the auditorium, with two TX and two RX flows), via a

combining control room. This houses a Crestron 16 x 16 DigitalMedia matrix switcher, with nine fibre input cards, two output kits and a CP3 control processor.

After passing through the ground floor reception area, which features six wall-mounted Samsung 46in monitors, there are four small meeting rooms, a 200-seat auditorium also able to host large videoconference link-ups for key events such as shareholder meetings, and an equipment room containing all the building’s centralised control hardware. This auditorium features a videowall formed by nine Samsung UD55C LED displays; video content can also be viewed on four stand-mounted Samsung 55in monitors which can be moved around the room as required.

Sound reinforcement is courtesy of six Tannoy VLS 30 array speakers and a pair of VX 15Q compact enclosures, powered by two MC2 amplifiers (a T1000 and a T2000). Six speakers hosted on the podium communicate via a DIS Digital Discussion System, while Audio-Technica handheld wireless mics are available for audience participation.

The first floor hosts

two 25-seat rooms with videoconferencing and projection facilities (NEC UM330W units), while two other adjacent almost identical training rooms with 25 workstations can either host separate events or (with the soundproofed dividing wall removed) be used as a single large room (sharing the audio/video/control facilities).

On the second floor, another pair of modular rooms (used for various functions, such as trade union meetings) offers the same possibilities. Here too videoconferencing facilities are installed and the rooms are almost identical to the training rooms, with the exception of the latter’s MimioTeach interactive whiteboards, MimioCapture for recording whiteboard notes and graphics on a PC and wireless MimioPads to control the whiteboards from anywhere in the classroom.

Audio in each of the six rooms comprises four Tannoy ultra-compact Di 5DC speakers, an Apart Champ 2 amplifier, Apart Audiocontrol 12.8 digital mixer, Audio-Technica lavalier and handheld wireless microphones and Biamp Nexia VC for conference audio processing.

A financial group continues to invest in AV to bring staff together, with impressive results, writes Mike Clark


CONTROL

All Crestron CP3 control systems 8 x 8 and 16 x 16 digital

media matrices DM-TX-201-C digital

media transmitters DM-RMC-100-C room

solution boxes TSW-1050-W-S 10in

touchpanels Capture-HD AV HD

recorders SW-Fusion+RV supervision

and control software

AUDIO Biamp Nexia VC digital

audio processors Biamp Nexia PM

presentation mixer Apart Audiocontrol mixers Apart Champ 2, PA240P

amplifiers MC2 T1000/T2000

amplifiers Tannoy Di5 DC, CVS4,

VLS30W, VX15QW speakers

Audio-Technica ATW-3141, ATW-3110BDP3 wireless mics

DIS CU6105 digital conference system

VIDEO Radvision XT1200 codecs Sony EVI-H100VW PTZ

cameras NEC UM330W projectors Arthur Holm AH22D2

retractable monitors Samsung HG22EA470

22in TVs, MD55C LED PRO monitors, UD46C 46in videowall panels

Samsung DE 46C 46in monitors, 32C monitors, UD55C 55in videowall panels, MD55C 55in monitors

MimioCapture interactive whiteboard module

MimioPad wireless tablet

MimioTeach interactive system

[INSTALLED]

Installation

OF THE MONTH

Up to six speakers can be hosted hosted on the podium communicating via a DIS Digital Discussion System

SOLUTIONS: CREDITO VALTELLINESE


Each of the six rooms has a local rack with a Creston 8 x 8 DigitalMedia matrix switcher, Audio-Technica mic hardware and other local units, whereas the boardroom has a 16 x 16 DM matrix.

Full HD videoconferencing facilities include a Radvision RT1200 codec and a pair of Sony EVI-H100VW HD cameras, except the boardroom, which is equipped with five 1080p PTZ colour cameras.

BOARDROOM SET-UPIn the stylish impeccably appointed third-floor boardroom, the table houses 17 Arthur Holm retractable 21.5in HD monitors and a DIS Digital Discussion System with 24 microphones. Tannoy sound reinforcement comprises eight two-way bass reflex recessed speakers, powered by an Apart amp; teleconference audio is processed via Biamp Nexia VC. Four Samsung UD46C 46in displays form a videowall, supported by four stand-mounted 55in monitors. Technology is controlled using a Crestron TSW-1050 touchscreen. There is also a small room adjacent to the boardroom equipped with three Samsung 55in LED Pro displays.

The entire building has WiFi coverage and each room’s hardware, including lighting and blackout curtains (one side of both the auditorium and the boardroom is entirely glazed, and looks on to the centre’s courtyard) can be remote controlled via a dedicated Crestron touchpanel with an intuitive GUI developed by Gecom along with the Creval technical work group.

Ciarlo states: “This project stands out among similar work done in the past precisely thanks to its core technology – Crestron DigitalMedia – and the fibre network used to combine the rooms.”

Miotti concludes: “Our investment in Via Feltre, introducing some extremely innovative technological features to our group’s AV

infrastructure, is the natural evolution of choices taken from 2000, with the first videoconference rooms for meetings between branches throughout the country, necessary to enable staff to take part without having to travel. Being able to count on a reliable highly qualified partner such as Gecom was fundamental and will continue to be so in the future, to maintain the high standards achieved to date.”

www.apart-audio.comwww.arthurholm.comwww.audio-technica.comwww.biamp.comwww.crestron.comwww.creval.itwww.dis.ccwww.kramerelectronics.comwww.mc2-audio.co.ukwww.mimio.comwww.necdisplay.comwww.radvision.comwww.samsung.comhttp://pro.sony.comwww.tannoypro.comwww.videogecom.it

Founded in 2000 by a group of technical system and service specialists, joined by an expert video communication management team in 2005, Gecom has its main premises in Milan and Rome and a technical assistance and account manager network throughout Italy

It takes projects for meeting and conference rooms and all venues intended for communication events, from drawing board to installation

Its client portfolio includes high- profile companies such as Geox, Mapei and BTicino, several banks, hospitals and universities, as well as hospitals, ministries and telecom carriers

[ABOUT THE MAIN CONTRACTOR]

The boardroom table houses 17 Arthur Holm retractable 21.5in HD monitors

SOLUTIONS: BIRMINGHAM CHRISTIAN CENTREUNITED KINGDOM

Precise coverageBirmingham Christian Centre is a lively church in the heart of England’s second city. With a main space that seats 850 people, the centre hosts a number of regular events each week: not just church services and discussion groups but also children’s events, keep fit classes and more. Music plays an important part in many of the services held there.

When it was approached by the centre for a new sound system, local company LMC Audio Systems came up with an exacting project brief. The main requirements for the venue, specified by LMC Birmingham’s technical field sales manager Tim Bamber, were that the main system should provide even coverage, good speech intelligibility and unobtrusive aesthetics. As the front-of-house position is right at the back of the hall, it was especially important to provide consistent frequency response and SPLs throughout the entire room.

The solution was a system based around Nexo’s GEO12 array series. The GEO 12

allowed LMC to achieve consistent SPLs within 3dB-A, with equal amounts of mid-to-upper range energy at the back and the front. This ensures that the engineer mixing the service can carry out his job without subjecting the congregation to unnecessarily high volume levels.

Another criterion was that the flown main speakers should provide a full-range, punchy sound without too much reliance on sub bass. The centre’s previous system lacked headroom and the subwoofers – located beneath the stage with a tendency to be uncontrolled and ‘boomy’ – were used to compensate.

LMC designed a system consisting of left and right hangs of GEO S12, each comprising two S1210 and one S1230 modular cabinets. The hall was producing large amounts of reverberation, and this has been minimised by using these highly directional loudspeakers and designing the system to cover only the required areas. The line array system also

directs vertical energy away from the high ceiling. The speakers in the left and right hangs were fitted with 120º flanges as the room is very wide.

Two further S1230s, one per side, have been flown vertically for outfill to the extreme sides of the venue. Two RS15 subwoofers are installed underneath the stage, while four PS8 monitors across the front of the stage provide front fill. The system is being driven by two NXAMP 4x4 Powered TDControllers.

James Lawford, sales manager at LMC Birmingham who handled the technical specification and document proposal, also carried out loudspeaker predictions using Nexo NS-1 simulation software. “This allowed the exact configuration to be determined before a speaker was even installed,” he says. “The real world performance matched the prediction with great accuracy.”

Running down to 85Hz, the GEO S12 cabinets can provide most of the bass energy the system needs, with the RS15

subs used to add weight to the bass guitar, kick drum and low keyboard sounds.

“The spoken word is of critical importance in a church environment, so intelligibility was key to this installation,” says Lawford. “The GEO S12 system provides crystal clear speech coverage across the whole room. The addition of front fills helps locate the perceived sound source back to the stage instead of overhead for the people closest to the stage. The addition of front fills also ensures the church leadership, sitting on the front row, can hear!”

Finally, the solution proved cost-effective for the centre. “Nexo products are extremely high quality but represent excellent value for money,” says Lawford. “The modular rigging system requires only the necessary parts to be purchased. And buying a high quality system saves money in the long term by not needing upgrades in the foreseeable future.”

www.lmcaudio.co.ukwww.nexo-sa.com

A new audio system for a modern church needed even coverage for music and good audibility for speech. James Christopher reports on the chosen solution


LMC Audio dates back to the 1980s and has offices in London and Birmingham, both of which have extensive demo areas

The company does not install systems itself, but has a list of approved installation contractors that it recommends to its clients

Recent installations for which the company has supplied equipment include the Ivor Crewe Lecture Hall at Essex University, the Director’s Suite at the Science Museum in London, and the Oval Space arts and events venue in east London

[ABOUT THE MAIN CONTRACTOR]

AUDIO Nexo GEO S1210

and S1230 two-way loudspeakers

Nexo RS15 subwoofers Nexo PS8 two-way

monitors Nexo NXAMP

4x4 Powered TDController amplifers

[INSTALLED]

The Nexo solution features hangs of GEO S1210 and S1230 array cabinets, with PS8 monitors providing front fill and RS15 subs under the stage

Experience IBCYour essential guide to the current and future direction of the electronic media and entertainment industry.

www.ibc.org

RAI AmsterdamConference 11-15 September | Exhibition 12-16 September

SOLUTIONS: STEFAN JARACZ THEATRE, OLSZTYNPOLAND

Old meets newWhen the EU comes knocking with a new initiative or with tightened guidelines, it isn’t very often that it is ignored. Given the Stefan Jaracz Theatre’s cultural importance to the Polish city of Olsztyn – having been opened in 1888 and steeped in playhouse traditions – it was only a matter of time before the EU put the venue on a cultural heritage programme to bring its audio system up to scratch.

A EU cultural heritage programme initiated the beginnings of a new way of hearing performances at a 125-year old theatre, writes Tom Bradbury


AUDIO All Dynacord VL122, VL212, VL62,

VL262, D-Lite D 12-3, D-Lite D 8A speakers

CMX-15 stage monitors SUB28, PSD 215

subwoofers CMS 1000-3 mixer H2500 amplifiers RCM-26 controller

module P64-1500 controller

[INSTALLED]

Tradition meets innovation: the Stefan Jaracz Theatre opened in 1888

SOLUTIONS: STEFAN JARACZ THEATRE


Bialystok-based systems integrator Delta collaborated with Dynacord partner Tommex for the audio part of the project, which encompassed a brand new sound reinforcement system.

Given the reputation of the theatre, the expectations placed on the new sound reinforcement system were very high. The stipulations were that it deliver the highest possible audio quality as well as being both highly reliable and versatile.

“The Stefan Jaracz Theatre is dedicated entirely to drama,” explains Piotr Wosiek, the head of Tommex’s Olsztyn office. “That means the sound has to be crystal clear and flawlessly intelligible – even at very high volume levels. For this reason, we adopted a complex, modular sound design as our solution.”

FOUR IN ONEThe Stefan Jaracz Theatre is in fact three theatres in one: the Large Stage, the Margines Stage and the Kameralna Stage.

The largest of the three performance spaces, the Large stage can accommodate audiences of up to 420 visitors. To ensure the highest possible levels of intelligibility as well as homogeneous coverage throughout the seating area, a sound design based on three zones was adopted.

The first zone comprises the stage area, where Dynacord VL212 and SUB28 cabinets are mounted on mobile trolleys in the rear. The second zone covers the seating area and is the main sound system. Dynacord VL212 loudspeakers are flown to the left and right of the stage at a height of 10m.

The third zone, the section of the stalls beneath the balcony, posed an acoustic challenge that was solved by two Dynacord VL262 and VL62 loudspeakers on a delay line to compensate for their position halfway up the hall. Presets are available for all the loudspeakers, with FIR filters employed in each case. “These make life far easier,” says a grateful Wosiek. “With FIR filters, there’s no phase shift and the characteristics of the sonic image remain linear at all times.”

The principle underlying the installation in the Margines Stage is maximum flexibility. The stage is mobile, allowing it to be placed in any corner of the auditorium. To ensure even coverage whatever its location, the sound system is split in three, with four VL122 cabinets shared equally between front and back trusses and, to reinforce the low frequencies, two SUB28 cabinets mounted on the equipment bridge. The signals emanating from the Dynacord CMS 1000-3 mixer pass through a P64-1500 controller and then via IRIS-Net to a total of six H2500 amplifiers with RCM-26 modules.

The Kameralna Stage uses a Dynacord Madras sound system that was already there prior to the renovation: this active system has had a Dynacord P64-1500 controller added to allow its integration into the network via IRIS-Net.

MOBILE AND MODULARA mobile system rounds off the complex installation. The mobile sound reinforcement system is a new acquisition and offers new possibilities

to the creative staff. The theatre management intends it to be used for rehearsals as well as outdoor productions, roadshows and other such events. It consists of a CMS 1000-3 in a prewired mixer case and two Dynacord PSD 215 active subwoofers. Depending upon the requirements, these can be operated with two passive VariLine VL262 tops or with active D-Lite D 12-3 and active D 8A cabinets (two of each).

The newly purchased Dynacord CMX-15 stage monitors have greatly enhanced the monitor system that was already in place (Dynacord AM12 and M12 cabinets) and the sound on stage is now, according to Wosiek, “beyond reproach”.

If necessary, the sound components of all four systems can be connected and controlled via IRIS-Net software.

www.dynacord.com www.delta-av.com.plwww.tommex.pl

Beneath the balcony VL262 and VL62 loudspeakers set the tone

Delta started business operations in 1991 and specialises in designing systems for applications that include conference facilities, theatres, concert halls, sports facilities and retail displays

Delta has a specialist studio preparing 3D spatial visualisations and designs

Other specialities include audio guide systems, PA/VA and room acoustic protection

[ABOUT THE INTEGRATOR]

SOLUTIONS: HAMBURG PLANETARIUMGERMANY

Out of this world

SOUND, AS we know it, has taken on a whole new form at the Hamburg Planetarium. The attraction, which pulls in 300,000 visitors a year, has dared to go where no planetarium has gone before by installing a wholly new and somewhat prototypal approach to audio, thanks to close collaboration with audio specialist Shure. The exploration into the depths of the audio universe comes from the Planetarium’s desire to offer something more to its visitors – something out of this world.

Thomas Kraupe, director of the Hamburg Planetarium, had been in the market for a new way to fully immerse visitors to his central attraction – a large 360º immersive dome-shaped space located inside the red-bricked structure, originally a water tower, which was converted in 1930 and renewed in 2003. He planned to keep the attraction at the forefront of technology to ensure it kept pace with other visitor attractions.

Beyond an impressive star projector that audiences view the fruits of from almost-horizontal positions when fully reclined on their auditorium seating, the Planetarium offers numerous shows and journeys of discovery, some of which are augmented by lasers and smoke – but all of which rely upon both audio

and visual content. “Sound is 50% of the

immersive experience; the flat sound that has been heard in the past has had a negative impact on the immersive visuals,” he says. “The audience needs to trust the image and sound plays a vital role in this.”

LIFT OFFResearch into a new way of distributing sound began over six years ago when German research organisation Fraunhofer IDMT started development of WaveField Synthesis – a means of dispersing a true-to-life sound impression across an entire venue – that was originally pioneered by the Delft University of Technology in the Netherlands. From this, Fraunhofer IDMT created SpatialSound Wave technology.

Kraupe trusted the future of his Planetarium (and potentially planetariums across the world) to Shure to meet the needs of the dome space. Shure’s development team worked closely with Fraunhofer over a number of years to develop a 3D immersive audio system to complement the characteristics of the dome space. Licensing Franuhofer’s SpatialSound Wave technology the two teams created the pioneering system, which they named Atmosphea.

STAR OF THE SHOW

Installation and deployment of the system began in the summer of 2013. The system was installed by the Planetarium’s technical team, mostly during nightshifts while the Planetarium continued its business as usual during the day.

A total of 60 QSC AD-S loudspeakers supplemented by four subwoofers were installed in rings around the outside of the 21m-diameter immersive dome.

The defining feature of Atmosphea in comparison to other systems is that it is orientated in sound objects. Picture content, which is projected onto the dome, is combined with a sound source; each loudspeaker is individually driven, enabling up to 32 audio sources to be reproduced around the dome. Loudspeakers have been carefully positioned so that together they create a 3D soundfield. This gives the immersive impression that the sound is following the content, and works irrespective of where the person is sitting in the auditorium.

Central to the overall success of the installation was the processing power of the QSC Q-Sys network audio solution, which offers low latency of only 2.5ms, with a high data rate to handle some 2,000 commands of data

per second. This also allows the system to handle the Planetarium’s live microphone system, which was a prerequisite for the new audio solution.

“It is an important aspect for us to have low latency because the dome is very high and you have certain installation heights of the loudspeakers,” says Torsten Haack, project manager, audio systems, Shure.

The Q-Sys system also guarantees operational security, allowing staff to monitor the operation and functionality of the Atmosphea components – which include 15 four-channel QSC power amps – over the network.

All the power amplifiers are connected to the Core or IOFrames via DataPort cables which allows them not only to send audio signals to the amplifiers, but also to enable monitoring of all the connected amps and loudspeakers.

For system redundancy, each Q-Sys networking device in the system has two network ports – A and B. These feed or take out signals into or out of two seperate Ethernet structures, including cabling and switches. If one switch should fail or a cable has been cut, the second network takes over immediately.

MISSION CONTROLContent for the space has been mixed by Primetime Studios, also located in Hamburg. The studio has been equipped with a scaled-down version of the Planetarium’s loudspeaker system so that the owner, Pierre Brand, can hear any mixes in Atmosphea

form before they run in the main space.

The new audio solution is offering more to the Planetarium than first imagined – and a new name for the auditorium has been coined: ‘the brain theatre’.

The content development team has even gone as far as running a radio show at the Planetarium in which the audience sees no visuals and only hears the 3D movement of people and conversation – meaning their minds have to work out where people are in relation to their seat in the auditorium. This show runs every three months, and was only previously available in audio books.

“Combining visual content and the new Atmosphea sound system, with its freely positionable sound sources, we can create completely new kinds of audiovisual events and experiences with immersive media content,” comments Kraupe. “It’s a tremendously exciting prospect. This should prove hugely attractive to artists and producers of audiovisual media everywhere, and we look forward to the many collaborative ventures and synergies that will ensue, involving creative minds from around the entire world!”

www.qsc.comwww.shure.eu

A new wave of Shure audio technology is launched into the ‘Atmosphea’, writes James McGrath


AUDIO QSC AD-S loudspeakers QSC CX404 four channel

power amps QSC Q-Sys networked

audio QSC AD-S28Tw

subwoofers

[INSTALLED]

A close-up of one of the QSC AD S82-H loudspeakers fitted to the exterior of the dome

Arrows mark the positions of the new QSC loudspeakers that drive the pioneering Atmosphea audio technology

SOLUTIONS: THE IPRO STADIUM, DERBYUNITED KINGDOM

An eye on the future

DERBY COUNTY is a football club steeped in history and tradition. Having been one of the founding members of the English Football League in 1888, it is one of just 10 clubs to have competed in every season since.

In 1997 it moved from its long-time home at the Baseball Ground to a new, purpose-built, modern stadium on the outskirts of Derby city centre: The iPro Stadium.

With the passing of time and the changing nature of an increasingly digital world, the technology within the arena needed reviewing and updating. An element of this was the provision of TV services within The iPro Stadium and the lack of digital signage.

Martin Coleman, technical consultant at Derby County comments: “Our internal TV channel, DCTV, was delivered on a very poor quality RF network which, while suitable for our initial needs, had deteriorated over the years as we had added more televisions to the network.

“We were very restricted in terms of what we could display, digital signage was certainly out of our reach, and we had no scope to show high-definition television, Freeview or Sky TV.”

READING THE SIGNSDerby County researched the market, speaking to a number of integrators and football clubs to find the best solution for their needs, and chose to implement the Tripleplay digital signage and IPTV solution.

Coleman adds: “We considered several IPTV systems but we wanted one which offered more than ‘just’ a digital signage and IPTV platform, while also having the flexibility to adapt to our conference and banqueting requirements which incorporate a huge range of needs. These can include broadcasting videos or presentations in a specific room to streaming live events around the stadium. In the end, Tripleplay was the stand out candidate to offer all of these features and more.”

Tripleplay’s solution has been delivered around the stadium via its IP network and integrates with the on-site television studio used to produce and edit content for DCTV.

“The Tripleplay solution has provided us with the ability to broadcast our internal channel around the concourse on match day, while also enabling us to deliver multiple additional high-definition TV channels

such as Sky Sports News, Sky Sports and BT Sport to corporate lounges, boxes and offices around the stadium.

“With the addition of digital signage we’re now also able to offer fresh, vibrant and accessible advertising around the ground, in corporate boxes, lounges, reception areas and hospitality entrances,” continues Coleman.

REVENUE STREAMSAs well as creating a higher quality and more flexible TV experience within the stadium, the Tripleplay digital signage solution has opened up new revenue-generating

opportunities for Derby County, meaning the club does not need to consider if it saves time or money.

Coleman adds: “We don’t look at the solution as something to save us effort or reduce costs, we’re actually generating more revenue because our corporate boxes, lounges and reception areas are broadcasting our products and services in crisp HD, they are far more attractive to a potential sponsor.

“Tripleplay’s management system has also allowed us to aggregate control to all corners of the club, allowing appropriate rights for each user to update adverts

and content, ensuring the signage screens are always up to date and relevant.”

Derby County has also been able to continually develop and extend the solution’s use, finding new ways to utilise the technology outside the normal match-day environment.

Coleman continues: “The coaching team have found the system to be more useful than we anticipated, using the Tripleplay solution to view multiple angles of incidents and events during games to better affect change on the pitch and better inform on the training ground.

“The iPro Stadium also now hosts White Collar Boxing matches, and through integration between our on-site TV studio and the Tripleplay system, we have been able to use the solution to live stream these events around The iPro Stadium in high definition. This is something that we never anticipated in any way, and for the Tripleplay solution to be able to accommodate this is a testament to our decision to select them.”

www.aminocom.comwww.arrisi.comwww.dell.comwww.tripleplay-services.com

A Championship football club with a long heritage has installed a high-qualityfuture-proof IPTV and digital signage solution, writes Tom Bradbury


VIDEO Dell head end servers

with Freeview (running Tripleplay software)

Tripleplay low-latency HD-SDI encoder to MPEG-4 HD encoder

AminoTripleSign digital signage

TripleTV IPTV TripleChoice TV portal Amino set-top boxes (for

digital signage) Motorola set-top boxes

(for TV portal)

[INSTALLED]

High-definition TV channels such as Sky Sports News, Sky Sports and BT Sport is now shown in corporate lounges, boxes and around the stadium

The addition of digital signage means the club can also offer fresh,vibrant advertising around the ground

BACK PAGE


Rants and ramblings Bits and pieces from the editorial cutting-room floor

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Installation is published 12 times a year by Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LR, EnglandEditorial tel +44 (0)20 7354 6002 Sales tel +44 (0)20 7354 6000

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Editor: Paddy Baker

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Managing editor: Joanne Ruddock

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Deputy editor: James McGrath

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Designer: Tom Carpenter

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Sales manager: Ian Graham

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US sales – Executive vice president: Adam Goldstein

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Production manager: Evan Graham

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Digital content manager: Tim Frost

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Publisher: Steve Connolly

Managing director: Mark Burton

Contributors: Mike Clark, David Davies,

Ian McMurray, Steve Montgomery

Special thanks: Torsten Haack; Sara Mather and

the Intent events team

© Intent Media 2014. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners.

Printed by Pensord Press, Wales

A sister title to SCN

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Publishers Association

ISSN: 2050-6104 (print),2052-2401 (online)

Albiral....................................... 14

Amina.......................................... 5

AMX.......................................... 17

Analog Way............................ 26

Atlas Sound.............................. 9

Audio-Technica.................. 4,27

Audac....................................... 55

Blackmagic Design................. 7

Comm-Tec............................... 53

coolux......................................... 3

Datapath..................... 31

Digital Projection.................. 35

Faital........................................... 8

Gonsin...................................... 49

Hetec.......................................... 8

IBC............................................. 51

InOut......................................... 11

InstallMarket.......................... 21

Kramer..................................... 43

Lectrosonics.......................... 30

Lightware.....................................

.....................Inside front cover

Matrox...................................... 15

Meyer Sound...............................

..................Outside back cover

MiPro......................................... 52

Optics....................................... 23

Peavey..................................... 39

Pioneer..................................... 47

Plasa......................................... 37

Riedel..................... Front cover

RGB Spectrum....................... 41

Shenzhen Leyard.................. 42

Sommer Cable....................... 33

Taiden......... Inside back cover

Vaddio...................................... 44

Xavtel....................................... 21

Zonar........................................ 11

ADVERTISERS

INDEXThe Twitterati on the InstallAwards

We’re in the business of reporting on the technology trends that we encounter at trade shows, but there’s one that we haven’t really touched on until now – the technology of press kit distribution. We’ve identified six distinct phases in the development of personal information dissemination technology that have appeared over the past half-dozen years or so. They’re not distinct phases – in fact we saw examples of all of them at InfoComm last month – but they definitely mark an evolution over time.

In the olden days, press kits were entirely paper-based. Typically one would receive a folder containing a few printed press releases and usually some printed photographs. It was always a ritual, when packing to come home from a show, to discard the folders and just keep the information – paper is surprisingly heavy when you have a lot of it.

Phase 2 saw the move to CD. The weight was much less, and you could stack them neatly in your suitcase or on your desk when you got back. They weren’t so easy to browse, though.

As USB memory sticks grew in capacity, they were used for press material - Phase 3. Again, not so easy to browse, and not stackable, but they do have the advantage of being reusable. Canny exhibitors would try to curry favour with journalists by giving them the largest capacity memory stick there was. After all, reusing it increases your brand visibility, which is surely the point of sticking your logo on things.

Our favourite development was Phase 4 – the novelty shaped USB stick. A few that we have amassed in recent years are pictured here. Again, brand recognition is key here. One minor quibble, though, is that the larger ones may block access to adjacent USB ports.

Then there was Phase 5 – the credit card-shaped kit with a USB connector that you have to either pull out or flip round. We never really got on with these, being unsure what to do with the connector and often breaking it off in the process, until it looked like…

Phase 6 – the miniaturised USB key. We’re not terribly fond of the ones where the metal contacts are visible, as we can never remember which way round they go to plug in. Last month, RGB Spectrum’s was the smallest we’d ever seen – with the cover removed, the body is only about 5mm deep. We were worried a small child might swallow it – not that there were any small children around.

Phase 7 brings us fully up to date – the virtual press kit. Because people still like to hand things over, some companies now give you credit-card sized pieces of plastic printed with the URL from which the press information can be downloaded. The really jazzy ones have a QR code – which actually isn’t that useful for those of us who don’t do our main writing work on mobile devices.

So there you have it – a brief history of the press kit over the past decade. We think there might be a book in this – albeit a highly tedious one. But what should we put it on to send to the printers?

If you’re a fan of this page – assuming the previous item hasn’t been the last straw in relationship that was on-off at best – then we should warn you that its content will be somewhat different from next month. In fact that won’t be the only change, as the magazine as a whole will be getting something of a revamp. We don’t want to give anything away – just watch out for a new-look Installation, starting with the August issue. We’re really rather excited about it…

Documents

Installation July 2014 digital edition