IE February 2012

Angles in the architecture

IEINSTALLATION EUROPE

audio � video � lighting

February 2012 � £5 €8 � www.installationeurope.com �

More institutions switch to IPTV ISE 2012: it’s the biggest yet!

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World-class integration at Harpa, ReykjavikCrystal clear

Following the success of similar eventsin recent years, key manufacturersincluding Lab.gruppen, PeaveyCommercial Audio, BoschCommunications Systems, YamahaCommercial Audio, Audinate and ASLwill be hosting an all-day event onTuesday 31 January at the Holiday InnAmsterdam.

The 2012 AV Networking Congress

will provide an opportunity for AVdesign consultants and pro-audiomanufacturers to share their expertise inthe rapid convergence from analogue todigital media networks.

The congress will be a multi-sessionpanel-based event, covering a wide rangeof installation application topics,including voice alarm and evacuationsystems, stadiums and large venues,digital media in theatres and anintroduction to the OCA (Open Control

Architecture) Alliance – as well as a lookat the evolution of digital audiotransport, presented by Audinate CTOAidan Williams.

Among the panel of leadingindependent consultants to take part inthe discussions will be Sam Wise ofArup (UK), Richard Northwood ofCOMS (UK) and Martin Wunderlich(Wunderton).

Service providers will be able tofast-track delivery of video-as-a-service Intention is to boost uptake ofPolycom video collaborationsolutions among SMBs

Polycom has detailed its strategy toenable service providers (SPs), such astelcos, to offer Cloud-delivered Video-as-a-Service (VaaS) solutions tocustomers. As part of the solution, thecompany has unveiled PolycomRealPresence Cloud, a wholesalecarrier-ready offering to enable SPs toquickly bring to market VaaSofferings.

RealPresence Cloud solutions aredesigned specifically for SPs to equipthem with the carrier-gradeinfrastructure, endpoints and servicesthey need to offer businesses of allsizes subscription-based solutions forvideo collaboration. The new offeringis designed to accelerate thepenetration and adoption of Polycomvideo collaboration solutions amongsmall to medium-sized businesses(SMBs) and enterprises that wanteither a hybrid solution of bothpremises-based video collaboration

solutions and video on demand, or apure VaaS solution.

RealPresence Cloud solutionsencompass a managed multipointvideo service that supports a multitudeof connectivity options betweenstandards-based room, mobile, PC, andweb-based endpoints, as well asMicrosoft Lync 2010, IBM Sametime,and endpoints supporting the non-standard TIP protocol.

Several carriers around the world arecurrently using the RealPresencePlatform as the enabler for VaaSsolutions. For example, China Unicomhas created one of the largest videoclouds in the world, powered by theRealPresence Platform, which enablesthe delivery of VaaS to more than10,000 business and governmentorganisations throughout China.

According to Polycom, thisdevelopment builds on the company’sgoal of making video collaborationubiquitous; it follows anannouncement in 2011 regarding amove towards open standards-basedinteroperability across thecommunications environment.

News and Contents

www.installationeurope.com IE February 2012 3

. NEWS & DATA3 News The latest installation

news from across Europe10 Data Broadband subscribers

investing in value-added services15 The ISE Daily in IE The 2012

show is here at last55 Product Choice Our pick of the

latest new products

. VIEWS12 Opinion: AV and IT Vendor

evaluation is an importantprocess for integrators

1 36 The IE Interview Tim Penn ofChief talks technology

58 Q&A Duffy Wilbert, PAMA onthe future of the alliance

. MARKETS21 Green AV Growing

demand creates an opportunity 25 IPTV AV must embrace IT to

make the most of this market29 Distributor Focus – UK

The market remains buoyant36 Concert Halls Some of the

best installs across Europe

. SOLUTIONS38 Harpa Concert Hall, Reykjavik

A world-class venue with a highlevel of integration

44 Palacio de Comunicaciones,Madrid Beam-shapingtechnology proves the solution

45 Evangelische Kirche, Wahrenholz An updated audio system caters to the needs of a modern congregation

47 Autostadt, Wolfsburg Germany’s first automotive theme park embraces social media

48 Media Centre, St Andrew’s House, Edinburgh The Scottish government’s briefing facility is upgraded

51 Museum Podium Speelklok,Utrecht Overcoming poor acoustics

Cover image: Harpa, Reykjavik, courtesy of

Exton/Kristján Maack

Polycom announcesnew Cloud strategy

� www.polycom.com

UNIFIED COMMUNICATIONSWireless unified communicationscompany Revolabs has announced thatco-founder and CEO Martin Bodley(pictured) is to become non-executivechairman of the board. Co-founder Jean-Pierre (JP) Carney has been named thecompany’s chief executive officer.

“I will miss the day-to-day interactionwith the team at Revolabs, but I lookforward to the strategic focus that I canbring to the company when freed fromoperational duties,” said Bodley.

Since its founding, Carney has beenresponsible for Revolabs’ sales,marketing, product definition andstrategic partnership programmes.

Moves at topof Revolabs

� www.avnetworkingcongress.com

� www.revolabs.com

Amsterdam to host AV Networking Congress

INDUSTRY EVENT

News and New Partners

4 IE February 2012 www.installationeurope.com

New PartnersPhilips Vari-Lite has appointedSvetlost Teatar as its distributor forSerbia. Specialising in the installationof entertainment technology fortheatres and other related venues,Svetlost Teatar has operations inMoscow, Skopje and Belgrade. www.philips.comwww.steatar.rs

Pixled has been named as thedistributor for LED displaymanufacturer Radiant’s Linx range inkey European countries. Pixled andRadiant have been involved in a co-development agreement for almosttwo years, with Pixled sellingRadiant’s ‘L-Series’ Linx productsbadged as Pixled F-37L/F-30L, etc.www.pixled.com

Televic Conference has establisheda strategic alliance with webcastingspecialist Company Webcast BV.The result is Televic Webcast poweredby Company Webcast, a solution inthe Cloud that adds live webcastingto the conference product range. www.companywebscast.comwww.televic.com

Listen Technologies’ EMEA salesdistribution will now be managed outof its Bluffdale, Utah headquarters.ListenPoint product group leaderTracy Bathurst and Craig Paller,product group leader for WirelessListening, will now execute sales andmarketing plans for ListenPoint andWireless Listening worldwide.www.listentech.com

AV connectivity solutions providerCovid is now distributing RainbowFish fibre optic HDMI cables. Thenew product allows for HDMItransmission over fibre optics andsupports video formats including720p, 1080p, 1080i, 3D and 480i.www.covid.comwww.rainbowfishcorp.com

Reducing costs and futureproofing at the forefront ofexhibitors’ thinkingFrom 2013 the show will moveto ExCel London

By James McGrathEach year the BETT Show promises toshowcase the best in UK andinternational education technologyproducts and services, and 2012’soffering didn’t disappoint. With over600 suppliers and 30,000 attendees,London’s Kensington Olympia housedan array of technological learning andteaching devices.

The market as a whole seemed to beresponding to recession-hit budgets bypacking more technology into itsofferings, as well as helping to reduceinstallation and maintenance costs. Forexample, AMX demonstrated how itstechnology can reduce costs by unifyingaudio and video networks in schoolsand universities.

Casio added value and productreassurance by offering a new five-yearno-quibble warranty across its projectorrange.

NEC has developed new short-throwand ultra-short-throw projectors in theform of the M and U Series respectively.These are suitable for use with existingwhiteboards, creating a fully interactivewhiteboard and reducing costs ofmaintenance and installation. And asone of many examples of future-proofsolutions on show, NEC presented its3D-compatible V Series projector inanticipation of 3D entering theclassroom.

Promethean demonstrated a completeclassroom solution from its Activ range,which included the new ActivTable, anActivBoard 500 Pro and ActivMobile. Thelatter allows pupils to connect their ownsmartphone to the network to respond toquestions from the teacher. This solutionensures the classroom is a collaborativeenvironment and isn’t purely focused onthe IWB at the front of the class.

Creston presented CaptureLiveHD, asolution targeted at colleges andcorporate enterprises. It’s said to simplifythe process of scheduling, recording andpublishing online content for anythingfrom seminars to medical procedures.

Next year the show will move to ExCelLondon and run from 30 January to2 February – unfortunate timing forthose planning to attend ISE 2013.

� www.bettshow.com

EDUCATION AVUK integrator proAV has attracted praisefor its work on the University ofSalford’s new 100,000sqft MediaCityUKcampus. The complex has opened afterthe completion of a £650 million projectto equip its digital learning space withnext-generation technologies.

Andre Davis, the university’s audiovisual & event co-ordinator, thankedproAV for “breezing through the massiveproject with a noticeably well-managedinstallation and for being remarkable inthe way they faced each challenge”.

The integrator was awarded thecontract to equip the teaching andresearch space by main contractorOverbury, and the new campus wasformally opened in October 2011.

Key technologies include an extensivedigital management system (DMS),which supports the broadcasting ofmultiple feeds from a range of datasources to selected displays across thesite. In addition, an elaborate digital

signage system, IPTV, forward-thinkingwireless connectivity, HD displays andprojection equipment, webcams, asophisticated audio system andpresentation displays, includingpresenter preview PCs, dry wipe boardsand glassboards were installedthroughout.

Jon Corner, director of MediaCityUKfor the University of Salford,commented: “Students will now be ableto benefit from our fantastic newfacilities and they’ll also be able to rubshoulders with some of the best creativeand technical minds in the country.”

MediaCityUK is home to 20,000students, 2,500 staff and 10 schools, andis one of Salford’s biggest employers.

� www.proav.com

Uni thanks proAV over MediaCityUK campus

Another busy year for BETT

www.ateis-europe.com - [email protected]

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Visit us at ISE 2012. Hall 2, Stand 3A84

News and Appointments


AppointmentsAudio Light Systems hasappointed George Purves asbusiness manager. Purves bringswith him extensive experiencethroughout the retail andinstallation sector, previouslyholding a senior management rolewith Linn Products.www.audiolightsystems.com

Harman Professional has namedDoug Green as director of salesfor the EMEA region, while HarryMcGee has joined the company’smixer, microphones andheadphones business unit. Greenwill be responsible for overseeingall sales activities in the region forHarman brands, including AKG,JBL and BSS Audio. McGee,meanwhile, will lead operations atSoundcraft, Studer and AKG.www.harman.com

Kramer Electronics is starting2012 with an expanded team in theUK. David Vincent has joined astechnical support manager; MikeLong is now area sales managerfor the East and West Midlands;and Brendan Kent has has beennamed junior product manager.www.kramerelectronics.co.uk

New staff writers for two IntentMedia brandsIE also has new-look sales team

Installation Europe and sister title ProSound News Europe are rocketing into2012 with the appointment of threenew team members. James McGrath(pictured, right) and Erica Basnickijoin as staff writers on IE and PSNErespectively, while Ian Graham(pictured, left) comes on-board as salesmanager also with IE.

James McGrath, 23, has alreadychalked up invaluable experience at aNottinghamshire newspaper, a digitalmarketing agency and with telecomsgiant Vodafone. “The Vodafoneappointment in particular highlightedthe importance of communicationtechnology in helping companiesevolve, and this relates directly to oneof the exciting technologies on whichIE is focused,” he says.

James adds that one of his greatestachievements was researching andbuilding nottinghamoncology.co.uk, awebsite dedicated to a leading cancerconsultant. “The website portrayed DrStephen Chan’s practice in aprofessional and insightful way, andbrought his vital skills to a much

wider audience. I was very proud to bepart of that process.”

Ian, 31, began his career at FreshProduce Journal (“travelling extensivelyfor the glamorous world of fruit andvegetables!”) before moving into liveevents publishing at titles includingLive UK. More recently he has workedwith The Festival Awards and theEuropean Festival Awards, andadditionally with an unsigned artistshowcase event within the live musicindustry. Ian adds: “These showcasenights were instrumental in furtheringthe careers of acts including JLS.”

Says editor Paddy Baker: “WithJames’ background in local newspaperjournalism and commercialcopywriting, and Ian’s talent forsponsorship deals and the wider

entertainment business, I amconfident that they will both be strongadditions to the Installation Europeteam.”

Ian completes the new IE sales teamfollowing the recent arrival of LesWood (pictured, centre).

New at PSNE, Erica, 31, is anexperienced journalist and sounddesigner. She says her passion foraudio began at a very early age whenshe discovered her grandfather'sdictaphone, “and promptly proceededto record over his legal notes”.

Following the pursuit of a Bachelorof Journalism degree in her nativeToronto, she then studied at AlchemeaCollege of Audio Engineering inLondon.

“I’m really thrilled to be joining theteam at Pro Sound News Europe. Audiois my passion and now I’m able toindulge in it every day, and share withan audience of professionals. Whatmore could a girl ask for? Oh, and Istill have the dictaphone.”

James, Ian and Les will all be at IE’sMeet the Team event at ISE to be heldon stand 9C106 at 4pm on Tuesday 31 January.

� www.installationeurope.com

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IE, PSNE begin year with expanded teams

News and Comment


The approach of ISE hasled me to think aboutthe products that have

been launched in the past cou-ple of years at industrytradeshows. It’s struck me thatthere’s been a recent, subtleshift in the types of develop-ments being presented.

What has changed is thatnumbers – by which I meantop-level specs – are much lesslikely to take centre stage. Untilquite recently, manufacturerswere announcing bigger and

bigger displays, with thinnerand thinner bezels (quotingthicknesses down to fractionsof a millimetre). Makers ofmatrix switchers were launch-ing devices with more andmore I/Os. Companies makingsignal transport products werequoting increasing distancesthat their products work over.Projectors were of increasinglyhigh resolution… and so on.

Now, I’m not saying thatthere will be no more develop-ment in any of these areas, butI think there has been a notice-able slowdown in this ratherinflationary type of progress.Taking all of these types ofproduct in the round, it sug-gests that the industry hasreached a point where theemphasis is no longer on push-ing technologies as far as theycan go; it’s about pragmaticallyproviding the elements of real-life solutions. It’s a bit likesupersonic air travel: Concorde

wasn’t replaced because thecost-benefit calculations didn’tstack up.

From a product develop-ment perspective, we canexpect to see increasing focuson functionality, interoper-ability, ease of integration,ease of use, value for money –all those good things. (Thiswill be driven in part by soft-ware playing an increasinglyimportant role in an ever-greater range of products.) Soif this year’s products don’tlook particularly differentfrom their predecessors, lookunder the bonnet and you’llsee signif icant changes inmore subtle areas.

Wise manufacturers havealways pursued a policy ofdesigning products to marketdemand, rather than simplytrying to make the next gener-ation product bigger, faster orwhatever. But I believe that,now more than ever, it’s the

uses that integrators put prod-ucts to that will dr ivedevelopment in this industry.And that’s exactly how thingsshould be.

Last month, I wroteabout new staff joiningInstallation Europe, and

I’m pleased to bring you moredetails now (see page 6). Ifyou’re coming to ISE, pleasedrop by the IE stand (9C106)at 4:00pm on Tuesday 31January for a ‘Meet the Team’event. We’ll all be there: ournewest recruits Ian Graham(sales manager) and JamesMcGrath (staff writer), recentjoiner Les Wood (sales execu-tive), and old stagers like JoRuddock (managing editor),Michael Mitchell (US sales)and me. I hope to see you [email protected] info: [email protected]: @installeurope

Editor’s CommentThe product spec ceiling

Is there less focusthese days on‘bigger, faster,better’ products?

For your diaryISCEx2012

28 February

Watford, UK

www.isce.org.uk

CABSAT MENA 2012

28 February - 1 March

Dubai, UAE

www.cabsat.com

The ARC Show

29 February - 1 March

London, UK

www.thearcshow.com

Digital Signage Expo

6-9 March

Los Angeles, US

www.digitalsignageexpo.net

CeBIT

6-10 March

Hanover, Germany

www.cebit.de

Fast Turnaround TV

13 March

London, UK

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Industry Data


A valuable additionBroadband subscribers continue to spend onvalue-added services, but will this remain thecase throughout 2012, asks Steve Montgomery?

How much revenue, on average,does a broadband subscribergenerate and how much can

value-added services contribute? PointTopic’s Consumer Broadband ValueAdded Services (BVAS) report looks atthe key revenue-generating servicespurchased by subscribers globally.

During 2010, value-added servicessuch as security, voice over IP (VoIP) andIPTV added almost 37% to the basicbroadband subscription. In other words,BVAS generated an extra $0.20 on top ofthe $28 monthly broadbandsubscription. These figures do notinclude revenues from online retailing.

In aggregate terms, total broadbandaccess revenues increased by 14% from arun rate of $129 billion at the end of2009 to $157 billion at the end of 2010.During the same period, total value-added services revenue increased from arate of $48.8 million at the end of 2009to $57.5 million at the end of 2010.

The 2010 numbers represent a slightlevelling off in the percentagecontribution made by value-addedservices. BVAS revenues have becomeincreasingly important over the years,with the contribution increasing from10% at the end of 2003, to 37.9% by theend of 2009.

Increasing importanceThis trend shows the penetration ofvalue-added services and highlightsthat competition is reducing marginsin the basic broadband business, sothat BVAS revenues becomeproportionately more important. Itremains to be seen whether the figurefor 2011 will go up after the slightslowdown in 2010, or whetherpressure on household budgets iscontrolling the amount ofdiscretionary spend available for some entertainment services deliveredover broadband.

The general trend since 2003 alsoreflects the fact that more people aredoing more things via their broadbandconnection. Point Topic estimates thateach broadband line supports, onaverage, two value-added services, upfrom an average of 1.72 per line at end2009, and 0.53 at end 2003.

In terms of revenue earned, VoIP wasthe most valuable service with VoIP

revenues (not including Skype) runningat a rate of just over $17 billion at theend of 2010 and 120 million VoIPsubscribers. These revenues come fromsubscribers using ‘full service’ VoIPservices, with the IP service offering asubstitution for a public switchedtelephone network (PSTN) service. IE

� www.point-topic.com

IP telephony continues to be the most popular value-added service Source: Point Topic

Bob SnyderEnter the MatrixAV integrators should consistently evaluate their vendors’ performanceif they are to make the most of their relationships and experience

Many of our readers make theeffort to visit ISE, to see newproducts and meet new

manufacturers and suppliers. Yet mostAV system integrators have little or nosystem in place to consistently evaluatethem. Manufacturers, on the otherhand, constantly evaluate theirdistribution partners – benchmarksdriven by evaluation and performance.

At least twice a year, you should takea day to build your Vendor VectorMatrix. ‘Vendor’, in IT lingo, is a termthat AV will adopt more and more.‘Manufacturer’ is insufficient in anindustry where manufacturer, softwarepublisher and service provider becomeimportant. And ‘vendor’ differs from‘supplier’ because a supplier could sellyou staples and office pens.

A vendor refers to any third-partyproduct, software or service that youcontract to re-sell. For a distributorthat could be their ‘product lines’, butmore and more in AV we’ll be sellingservices and software so‘manufacturers’ and ‘product lines’ willyield to a more all-encompassing wordlike ‘vendor’.

Probably many of you evaluate whatpercent of sales and what percent ofprofit your manufacturers and serviceproviders contribute. And that’s great asboth are Key Performance Indicators.Yet these two simple vectors simply arenot enough to capture the wholedynamics of a vendor relationship.

We tend to bump along and pick upopportunities – like hunters takinggame. Instead, we should be more likefarmers, carefully picking our crops,growing them, and always conscious ofcrop rotation and market value. For anyintegrator, including a distributor, the‘vendor’ relationships you have are reallyno different than the hand of cards youmay hold in a card game.

In real life when we pick upsomething, like a product line, we tendto hang onto it because... well, becausewe are hanging on it. In business,particularly a business that integratesproducts and services from differentvendors, you need to know when to hold’em and when to fold ’em; you also needto know when and how to pick ’em.

That’s where your Vendor VectorMatrix comes in. In mathematics, amatrix is a rectangular array ofnumbers, symbols, or expressions. Theindividual items in a matrix would becalled its elements or entries. But inour case we will use ‘vectors’ instead of elements.

‘Elements’ are too two-dimensionaland too static to capture the magnitudeand direction of your vendor partners.

In IT, Gartner Research is famous forits proprietary ‘matrix’ known by itsbrand name: the Magic Quadrant.Gartner defines each industry segmentby using a Magic Quadrant that showswhich vendor has momentum and leadsthe direction of that particular sector.

So if you were to build a matrix ofthe vectors or tendencies that matter ina relationship between you and yoursuppliers, what else would you evaluate?

We mentioned ‘contribution’, that is,how much sales and profit eachvendor brings you. There are otherfactors that affect (and thereforepredict) what will happen in the futurein any given vendor’s contribution insales and profits.

Here are some suggestions:� Innovation: Does the vendorinnovate often and add more reasonsto buy their product? Is it a leader oran also-ran?

� Product line expansion: Where is thevendor’s product range going? Will itbe entering into competition with anyof your other vendors? Will they bedemanding full range loyalty andpenalising you for anything less?

� Partner programme: Does thevendor offer a formal programme of co-operation that clearly marks out yourcommercial interests as well as theirs?

� Logistics: Is the vendor good atgetting you what you want on time?

� Training & certification: Is thevendor offering free training? Do youhave to buy certification?

� Pricing & payments: How stable istheir vendor? How flexible are theirpayment terms?

� Brand: Is it a known name andtherefore easy to sell? Does it add ahalo to your own company reputation?

� Relationship: How easy or difficult isit to work with this vendor? Does thesalesperson working with you changetoo often?

� Commercial status: How is thevendor faring? Most of you don’t keeptrack of your vendors’ business successand that could be a costly mistake. Is

the company profitable? Are its salesgoing up faster than its industrysegment average? Is it a take-over target?

For example, any RADVISIONpartner in videoconferencing wouldhave been able to predict its sale bywatching its quarterly results and newsof a fallen HP deal. If you can predict itearly enough, you can prepare for itsimpact on your business.

Continuing commitmentMany of these points are commonsense. In fact, when a company is youngand its founder has only two or threevendor relationships, the founderprobably keeps track of all these factorswithout even realising it.

Twenty years later and now with 12product lines, circumstances havechanged. You need to install a formalprocess that captures these types ofdetail each six months, a process thatputs it on paper with a ranking scalethat allows you to evaluate from the lastto the newest vendor review.

Each review zeroes in on the detailsthat help you decide on your owncommitment to your vendor, to focusyour energies on the most rewardingrelationships, to consider droppinglines. (Yes, fire your unprofitable orproblematic vendors. It’s for the best.Believe me, they would fire you if theshoe was on the other foot.)

Part and parcel with this exercise, youwill need to consider the context of theindustry segment of each vendor. Forexample, if it’s a video security vendor,how fast is the entire market growing?Where does this vendor fit in to theoverall market? Who are the competitorsand which partners have they chosen tobe your competition?

And that should lead you to anotherimportant question in the vendorevaluation process: what other productsor segments would be compatible andeven desirable to further sales? Forexample, if a rental AV company takeson the distribution of displays shouldyou consider adding a line of displaymounts? It makes no sense to go heavilyafter display sales without makingmoney from the mounting.

You should always want to knowwhere your next step could go, based oneach vendor’s vectors that show youwhere your vendor is headed (not wherethe vendor is today).

Much of this Vendor Vector Matrixcan fit on two sheets of paper and youwon’t have anything more valuable thanthose papers. IE

‘You should alwayswant to know where your nextstep could go’

Opinion: AV and IT


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VISIT US AT

A s we mentioned in lastmonth’s preview of ISE2012, the showfloor

promises to have more space andmore companies (nearly 800 intotal) showing their wares.

There is also a significanteducation programme. CEDIAand InfoComm are presentingcourses under the ISE EducationZone umbrella throughout theshow, for varying levels of ability.For instance, new entrants to theindustry, or those looking todiversify, might be interested inCEDIA’s Introduction toResidential Custom Installation(10:30-13:30, Tuesday 31 January)or InfoComm’s Introduction toAcoustics (11:30-12:30,Wednesday 1 February). Thosewanting to keep up to date withmore recent developments mightconsider CEDIA’s Embracing theCloud (15:45-17:15, Tuesday(repeated Wednesday) orInfoComm president Greg Jeffreys’session on the ANSI/INFOCOMM3M-2011 standard on projectedimage contrast ratio.

Both bodies are also offeringthe opportunity for ISE visitors toacquire qualifications while at theshow. InfoComm has a limitednumber of seats available for theCertified Technology Specialistonline examination at the show.CTS is the only ANSI-accreditedISO/IEC 17024 credential in theAV industry. CEDIA, meanwhile,is hosting its EST2 CertificationExam on the afternoon ofThursday 2 February, preceded in

the morning by a revision session.EST2 is the baseline technicalcertification for anyone workingin residential technology designand installation.

Alongside the CEDIA andInfoComm sessions is a diverseprogramme of manufacturer-presented sessions from exhibitorssuch as AMX, Crestron, Extronand Kramer Electronics. These arefree to attend.

Finally, for those interested inUnified Communications and 3D,the IMCCA Theatre and the ISE3D Theatre have a full programmeof sessions. For full details, checkthe ISE website or, once you arriveat the RAI, pick up a copy of theISE 2012 Official Show Guide.

Now, here are some moreshowfloor highlights for you…

AudioAudac is launching the MTXseries of multizone audio matrixsystems at ISE. The new rangeoffers two different models withsimilar features, except that onecan control up to four stereozones, while the second cancontrol up to eight.

MTX matrix systems containfeatures that, says Audac, werepreviously only available in thetop-range products. Theseinclude: a web interface tocontrol and configure an audio

system from any deviceconnected to a LAN network;iPhone and iPad control apps;the ability to add control panelsand wall audio input units tozones; and the ability to connecta paging console.

Biamp Systems is givinginternational distributors andconsultants their first opportunityto get an up-close look at Tesira,the company’s first DSP-basednetworked media system toemploy AVB (audio-videobridging) as the primary digitalmedia transport.

Tesira is an enterprise-widesolution made up of intelligentnetwork modules designed toshare and boost performance. It isequipped with modular scalableinputs and outputs, DSPs andnetworked end-points, providingsystem design capabilities forunlimited scenarios, includingcentralised, distributed andhybrid-type applications.

Integrators have the option ofcustomising Tesira with up to eightDSP cards (16 DSPs) in a singlechassis and a maximum of 420 x420 audio channels over a scalabledigital media backbone (AVB).

On its stand, d&baudiotechnik will displayspeakers from the xS and xA-Series,part of its White product range.The 4S, 5S and 8S are designed


The industry’s flagship eventWith ISE just around the corner, The ISE Daily team continues its preview of what to look out for

in

Vox PopWe ask: What would you say has been the biggest change in your

area of technology since the first ISE in 2004?

Each year weare seeingmore and moremanufacturersthat arefocusing onworking withweb services for their devices.We have been building webservers in our Audac amplifiersfor over 10 years now, and sawthe huge advantages from thebeginning: no extra cables, nosoftware updates, controllabilityfrom any device with a browser. Tom Van de Sande, marketingmanager, Audac

The biggestchange in ourarea oftechnology hasbeencompetition. Themarket hasopened for new brands that canprovide much higherquality/price ratio in virtually allAV segments. The biggestwinner of this change has beenthe end-user who has got morechoice, not only in the high end ofthe market, but especially in themiddle segment, where wesuccessfully launched our brandAvtek in 2006. Tomasz Kliczkowski, vicepresident, Avtek Vidis

Short-throwprojectiontechnology. Itbrings the mostbenefits to theeducationsector, providinga new learning and teachingexperience. Thanks to the shortprojection distance, thetechnology also opens newpossibilities for interaction oninteractive whiteboards as wellas on interactive tables. Allthese make the learning

process more effective andmore enjoyable for students. Adams Lee, sales & marketingdirector, BenQ Europe

The biggestchange intechnology forus in thecustomintegrationspace is theincreasing dominance of IP(internet protocol), both wiredand wireless, as the preferredmethod of getting data,information, music and videofrom A to B.Renny Vos, marketing &communication manager,BMB Electronics

Core computercomponentshave massivelyimproved inperformance,providing amuch morecapable core hardware platform.The introduction of solid-statedisks and multi-head GPUs hasalso provided an exceptionalprice/performance ratio.Adam Neale, director,7thSense Design

The biggestchange isenterprise-classhigh-definitionvideocommunicationsover IP, whichLifeSize takes a lot of pride in asa pioneer of a marketdevelopment. Today we areseeing further changes throughthe adoption of low-cost high-performance solutions includingIaaS, mobility and Cloud services.Andreas Wienold, vicepresident of salesEMEA, LifeSize

. What? Integrated SystemsEurope 2012

. Where? Halls 1-7 & 9-12,Amsterdam RAI

. When? Tuesday 31 January 09:00-18:00Wednesday 1 February 09:00-18:00Thursday 2 February 09:00-17:00

(DiSCO Conference, DynamicEvents and InfoComm FutureTrends Summit take place onMonday 30 January)


specifically as stand-alone two-wayfull-range loudspeakers for thepermanent installation market andcan be supported by the dedicated12S subwoofer.

In addition d&b has onceagain taken room E103,where it will host a systemintegration presentationseveral times each day anddemo speaker combinationsfrom the two series.

Meyer Sound will beshowing its low-voltageinstallation loudspeakers,which it says provide highSPL, markedly improvedsonic dynamics and clarityand reliable performancewith the time and costsavings of Class 2 wiring.Visitors wishing to learnabout the implementation ofthese 48V audio systems mayattend the InfoCommeducation session entitledLow Voltage Audio Systems:Raising the Bar,presented by Meyer’sEuropean technicalservices manager, MiguelLourtie, on 31 January at 16:00.

Also on the Meyer stand will

be CAL column arrayloudspeakers, which featureproprietary DSP algorithms fordigital beam steering and beam

splitting.Seeburg acoustic line,

which focuses predominantlyon the development andproduction of professionalloudspeaker systems formobile and permanentlyinstalled applications, isunveiling the first model fromits brand new L-Series, theL16j. This is a very slimcolumn loudspeaker designedfor particularly demandingapplications in acousticallyproblematic rooms. Themanufacturer claims that dueto its optimised waveguideand special curving, the L16j isparticularly suited forhomogenous reproduction ofspeech as well as music, atdistances of up to 25m.

The company says thesystem can be easilyextended and adapted bylinking multiple L-Seriesspeakers together. It is

planned that by this summer, sixL-Series models will be available.

VideoChristie will be exhibiting a rangeof projectors from 4,200 to 35,000lumens, from XGA to 4K. Therecently launched J Series will beshowcased on stand, delivering 3Dmapping. Designed from customerfeedback, the J Series enablescustomers to use existingaccessories such as lamps, stackingmounts, projection lenses and MSeries input cards. Alsodemonstrated will be Christie’s‘Reassuringly Inexpensive’ E Series,as well as its extensive LCD rangeof projectors, including the latestLHD700 and LX1200.

Da-Lite is showing its newlydeveloped silver material for frontprojection 2D and passive 3Dprojection. Silver Lite 2.5 is thenewest screen surface in Da-Lite’sline of front projection materials.A multi-purpose front projectionsurface that the manufacturerclaims has been fully optimisedfor passive linear and circular 3Dapplications, it is also said to be anexcellent 2D screen material.

Also on display will be DualVision – a flexible projectionfabric capable of both front andrear projection – which now has a

viewing half-angle of 65°,replacing the previous 50° half-angle fabric.

Projection screen manufacturerDraper Europe will be showingoff its new large-venue projectionscreens during ISE. Its newEuroscreen products use an elasticwhite front fabric, with a gain of1.0, to weld the screen surfaceeither horizontally or vertically,

leaving an almost invisible weldimpossible to detect duringprojection. The large screens aresaid to offer superior surfaceflatness and a projection area ofup to 600cm wide.

Flexible Picture Systems isintroducing the IA-200 EB, thelatest model in its Image AnyPlaceseries of video scalers forimage warping and blending.

Te

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u Pathfinder A/D

Switches analogue & digital signals

Connected by only three cables

Integrated in a table installation module

Engineering made in Germany TLS Communication GmbHEmail: [email protected]: www.tls-gmbh.com

Seeburg will unveilits first L-Seriesmember – the L16j

Draper Europe will show itsEuroscreen products

The company says that the newproduct is dedicated to achievingmaximum cost effectiveness inedge-blending applications thatdo not require geometrycorrection for curved surfaces.

The manufacturer says the IA-200 EB allows pro-AV integratorsto create seamless, invisibleblends with off-axis projectors;and that the included edge-blending utility software enablesfull control of multiple projectorsfor projector wall applications ofany size.

Leurocom will be displayingMediaglass, a newintegratedglass/LED systemfor large areafacade displays.The multilayerlaminated glass hasbuilt-in LED strips withintegrated RGBmultichip LEDs that can be controlledindividually via video signal with48-bit colour depth.

The pixel matrix can beindividually adjusted to theproject and place of installationvia the distance between each

LED and the distance betweeneach of the strips. This patent-pending system can be servicedand maintained withoutchanging the glass.

On its largest-ever ISE booth,Optoma will premiere a numberof products. The ProSceneEH7500, a WUXGA 6,500-lumenprojector, has full motorised lensshift and five interchangeable lensoptions. Two EH7500s will beused on the stand to create anedge-blended image more than6m wide. The ZW210ST is a short-throw model that can display a

60in image from 68cmaway. Its hybrid light

sourcedispenseswith lampsand uses lessthan 0.5W instandby.It can project

photos, videosand

presentations from an SD card orUSB memory stick withoutconversion, and can mirrordesktops from tablets withoutvideo output either wirelessly orvia a USB connection.

projectiondesign is revealingits new F35 AS3D, which it claimsis the world’s highest resolutionactive stereo 3D DLP projector. Itboasts 1,920 x 1,200 pixelresolution at full 120Hz refreshrates, and displays uncompressed3D with more detail than anyprojector in its size, price andperformance category.projectiondesign claims it createsthe best and most lifelike 3Dexperience available anywhere.

The F35 AS3D features a widerange of high-resolutionprojection lenses and incorporatesprojectiondesign’s RealColorcolour management suite for on-site calibration.

On its stand, the Norwegianmanufacturer will major on thetheme of collaborative working.Visitors are promised several livedemonstrations as well ascollaborative working examplesfrom all over the world.

Sony’s F-Series of business andeducation installation projectorsincreases to six models with theintroduction of the VPL-FH35.Designed for larger and moredemanding venues requiringbrighter projections and advanced

features with WUXGA resolution,it delivers long life, lowmaintenance and powerfulperformance.

The VPL-FH35 installationprojector offers a large throw ratiofor replacement business,impressive horizontal and verticallens shift capabilities and side-by-side content from two differentinputs. It incorporates BrightErainorganic TFT 3-LCD panelsdeveloped by Sony to deliverimproved panel light resistance,higher resolution, high brightnessand increased panel reliability.

Vaddio is to launch AutoTrak2.0 – a new automated cameratracking system designed for

educational and corporate trainingfacilities – at the show. Using thissystem, the instructor simply wearsa lanyard beltpack that emitsinfrared light received by an IRPTZ camera. Video is sent from theIR camera to the tracking camera.

The result, says Vaddio, is asmooth, accurate panningmotion that follows the instructoras he/she walks around thepresentation area. The system alsoeliminates the need for a memberof staff to follow the instructor’smovements.

Other products on showinclude the newest member of theClearView family, HD-19 high-definition PTZ camera with


in

Optoma’s ProScene EH7500

New from projectiondesign: the F35 AS3D 3D DLP projector

SmartShottechnology.

SignalmanagementOn displayfrom ABtUSSingapore willbe the OPT-HDX11 series, thecompany’s latest range of fibreoptic extenders. Similar to itsHDMI over Cat5 extenders, thenew products offer a greaterdistance of extension than isgenerally available at present.

The latest series is able to extenda Full HD 1080p source over650m. A Full HD 1080p signalcan be displayed at the destinationwith no delays, while the physicalproperties of the fibre optics alsohelp prevent any EMI/RFIdisturbance, lightning and pressureextremes that would severely affectcopper cables. The ABtUS fibreoptic extenders also come with IR,keyboard, mouse and RS-232control pass-through.

Distributor Syscomtec isembarking on a new businessrelationship with RGB Spectrum,in support of which Syscomtec ishighlighting RGB Spectrum’s newMediaWall 2900/1900 processors.Said to be unique among displaywall processors, the MediaWall2900 and 1900 are based on acustom, high-performancearchitecture rather than a PC,which RGB Spectrum says deliversfaster updates, more displayflexibility, robustness and security.The company claims that real-timedisplay of inputs is guaranteedunder all conditions, withoutdropped frames.

Digital signageNEXCOM will be showing itslatest multimedia computingsolutions for digital signage at ISE.New products making their debutat the show feature Intel or AMDtechnology and are therefore saidto possess superb graphicscapabilities and offer a lower thetotal cost of ownership.

The Intel Atom-based NDiS 126is a compact 1080p media playerwhich supports Full HD contentup to dual independent display.The NDiS 127 uses AMD's newEmbedded G-Series T56N APU toachieve “exceedingly low” powerconsumption. The NDiS OPS-M50, based on a 2.50GHz Inteldual-core processor, complies withIntel’s Open PluggableSpecification (OPS), and isdesigned to simplify installation,upgrade and maintenance of large-scale digital signage applications.

Vukunet, the new digital out-of-home advertising engine from

NEC DisplaySolutions, is beingintroduced toEurope at ISE, andholds the promiseof a simplerbusiness modelwith lower costs. It

is an automated ad deliveryplatform that links screen ownerswith advertisers, and can turn anyinternet-connected screen into anadvertising channel, opening upmany more ways for advertisersto reach their audience, andcreating new revenue streams forscreen owners.

Vukunet is bringing some levelof standardisation to the industry,offering what NEC says is the firstuniversal inventory management,advert delivery, billing andpayment, and reporting system. Itcan drive ads to any DOOHnetwork, regardless of contentmanagement system.

ResidentialImerge will show its new MS1-3Dmedia server – the first hardwarerevision to the MS1 series underPrism Sound’s ownership. Thiscan archive and play 3D DVD andBlu-ray movies in 1080p qualitywithout requiring a mechanicaldisc auto-changer. Described asmuch more than just a 3Dupgrade to the MS1-HD server, theMS1-3D integrates four zones ofanalogue audio, and so combinesa movie server and a multi-roomaudio server in just one box.

Other features include amultiple language user interfaceand an iPhone and tabletcontroller app that allows fullcontrol of the MS1-3D over awireless network.

Movie server manufacturerKaleidescape will show the M700Disc Vault, designed to simplifythe process of adding movies andmusic to a Kaleidescape System.Up to 320 discs can be loaded atonce into the M700 Disc Vault’scarousel, where their contents arequickly copied with no additionalaction on the part of the user.Once copied, a Blu-ray Disc mustremain in the disc vault to enableplayback of the digital copy fromthe server, while DVDs and CDsmay either be ejected or left in thevault.

Other technologiesCrestron will be demonstratingits new Fusion EM software. Thisis described as a complete energymanagement solution fororganisations of any size. FusionEM tracks the organisation'scarbon footprint while enablingtemperature set points, lighting

levels and demand responsesettings to be easily scheduledand controlled. It can also turnoff lights automatically andreduce HVAC use in unoccupiedspaces.

Fusion RV software, whichprovides AV, help desk, meetingscheduling and technologymanagement, is the upgrade pathfrom Crestron RoomView SE,while the all-new Fusion EMprovides energy management andtracking. The two front-endcomponents coexist on the sameserver platform and share thesame architecture.

Mode-AL will be showing itsECS range of soundproofed 19inrack enclosures, designed toenable essential equipment to beused front of house withoutirritating noise from fans andother components. As well asachieving 36dB acousticsuppression across the audiblerange for any installation, theenclosures are said to be attractiveand unobtrusive, while alsoproviding ventilation and cableaccess. They are available in achoice of finishes and featurelockable smoked glass doors frontand rear, with airtight gaskets toprevent sound spill. Suggestedapplication areas includerecording studios, boardroomsand conference centres.

Smart-e is launching a series ofdigital equipment forpresentation/boardroom solutionsand training facilities.

Consisting of a selection of walland floor plates, as well as aboardroom presentation system,the point-to-point audiovisualequipment has been designed toprovide a total digital solution foruse in classrooms, theatres,conference and seminar rooms. Allthe new equipment has HDMIV1.4 features, is HDCP compliant,and can accept RGBHV resolutionsup to 1600x1200, analogue stereoaudio together with remote power.

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Produced by InstallationEurope, The ISE Daily is theofficial newspaper ofIntegrated Systems Europe. Itis put together from an officeon the show floor anddistributed to attendees athotels, on shuttle buses andon arrival at the event.The ISE 2012 exhibition runsfrom 31 January to 2 Februaryat the RAI Centre, Amsterdam;the conference programmebegins on 30 January.

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That climate change is happeningis largely undisputed: there can,for example, be little argument

about the shrinkage of the polar icecaps as a result of the earth warming.Where there is dispute, however, isconcerning the cause of climate change.A vociferous minority claim that it is anatural phenomenon, experienced manytimes over the earth’s 4,578 billion yearhistory and is a result of changes insolar activity, ocean currents, changes inthe earth’s orbit and so on. The majorityopinion is that the change is largelyman-made, a function of thegreenhouse gases emitted by humanactivity over the past 50 years.

According to the UK government, thesource of 65% of greenhouse gases isthe use of fuel to generate energy, and21% are as a result of carbon emissions

from transport. Perhaps moreimportantly, it estimates that about40% of carbon emissions in the UK arethe result of decisions taken directly byindividuals. The implication is thatclimate change is something that eachof us has the ability to significantlyimpact.

It is undeniable that the AV industryruns on energy – the energy used tocreate AV products, to install them, touse them and to maintain them. Sowhat is the industry doing to make acontribution – to make itself greener?

Inevitably, there is an element of‘chicken and egg’ in the situation.Should the ‘greening’ of the AVindustry be led by end-user demand –or should equipment manufacturers beproactive in developing, and integratorsproactive in promoting, greenersolutions?

On the listSampling a few end users reveals asomewhat mixed situation. “Green isone of our specification criteria,” saysOwen Ellis, who is head of multimediaengineering EMEA at Morgan Stanley,“but it could be higher up the list.”

“It’s among our top five criteria,”notes the executive responsible forproductivity and collaborationtechnologies at a global financialinstitution, “and it’s getting higher inthat ranking. Our formal policies arecurrently under development, butagreed principles are being employed.”“We don’t look at green considerationsin any aspect at the moment,” says asenior executive at a $60 billion

multinational organisation.Deborah Jones, who is AV/IT sales

manager for London’s Queen ElizabethII Conference Centre, is more positive.“Green is important in our list of AVrequirements,” she says, “for bothourselves as a venue and for the majorityof our clients.” She cites the centre’srecycling of stage sets, the use of low-voltage LED lighting and recycling ofradio microphone batteries each year asexamples of its commitment to theenvironment.

“Green isn’t really a major issue forour target customers, if I’m honest,”admits Roland Dreesden, managingdirector of integrator Reflex. “Theintention and desire is there, but I feel it

comes to a halt because the availabilityof products and technologies with greencredentials is limited. It can be hard toimplement green and to do the rightthing.”

VR Solutions is an integratorheadquartered in Australia, but withcustomers in the Middle East. “It’s onlybeen in the past two or three monthsthat our customers have really beenasking about this exact topic,” saysmanaging director Mike Bosworth, “andrequesting green rating credentials ofproducts that we supply.”

It would probably be fair to say thatend-user demand for green solutions is,at best, patchy – but it’s equallyapparent that it’s growing.

Markets: Green AV


Power consumption inMitsubishi’s LCD displays has

been reduced by up to 40% as aresult of energy-saving features

such as dual-light sensors andpower scheduling functions

. Green is gradually assuminggreater significance in end-userdecision making

. AV products are using lesspower – and theirmanufacturers are becomingmore environmentally aware

. InfoComm’s STEPprogramme has the potential tomake green AV a science ratherthan an art

. Green isn’t just aboutproducts – it’s about businessprocesses

. Integrators probably have themost significant role to play indriving AV to be more green

Key points

Channelling new energyAs end user demand for more environmentally friendly products grows, integrators can use theirknowledge and knowhow to add significant value to their offerings, writes Ian McMurray

The STEP (Sustainable TechnologyEnvironments Program) Foundationwas formed in June 2011 and has fourSustaining Members: CompTIA,InfoComm International (ICI),Telecommunications IndustryAssociation (TIA) and BuildingIndustry Consulting ServiceInternational, Inc. (BICSI).

The Foundation’s mission is topromote sustainable technologypractices; the vision is to have STEP-rated projects establish the technologyindustry benchmark for sustainableenergy and materials practices.

“The STEP Guide is a 200-pagedocument that lays out thephilosophy, rationale and example ofeach STEP credit. In doing so,InfoComm has, in essence, developedthe AV industry’s definitive work onsustainable AV,” notes Allen Weidman,sustainability officer at InfoCommInternational (pictured).

A number of pilot projects are inhand; these will be used to validateand refine the rating system as well asto provide information and data tostart the educational programmes.

InfoComm’s STEPFoundation

Using a Neets panel that consumes less than0.5W, it is possible to minimise standby power in

any room by programming in exactly when toshut off everything

“Yes, the green issue is becoming anever increasing consideration,” notesMarc Coleman, sales director atintegrator Impact. “Traditionalconsiderations centred aroundefficiencies such as carbon tonnes savedon travel. More often, it is about thecontrol and optimisation of powerconsumption. An increasing trend is tolook at the green credentials of themanufacturers – in other words, to lookat the product provenance in relation tomaterials used, how they are sourcedand the manufacturing process itself.”

Both Coleman and Dreesden note theimportance of manufacturers – that notonly must their products be capable ofhelping to deliver green solutions, butalso those products must be madeaccording to green principles. Certainly,at ISE, there looks to be no shortage ofnew products touting their increased

energy efficiency, with LED-backlitscreens being a prime example. OLEDtechnology promises to reduce screenpower consumption further.

IMCCA is an organisation thatrepresents the videoconferencingindustry. “Green is becoming anincreasingly important issue to IMCCAmembers, both vendor and end-usermembers,” says Carol Zelkin, itsexecutive director. “IMCCA vendormembers help their customers becomemore green by offering products thatsupport green efforts anddemonstrating how, in some cases,minor changes to the way things aredone, or which products are selected,can have a major impact on being moreenvironmentally conscious.” She goeson to note that conferencing andcollaboration technologies areinherently environmentally friendly,

with one financial services firmreporting that its telepresence usage hastaken the equivalent of 600 cars off theroad each year.

Representing the professional audioindustry is PAMA. “Sustainability hasgone from being an issue to being astandard part of doing business formost PAMA manufacturers,” says DuffyWilbert, executive director at theorganisation. “This is driven by thecustomers where sustainability hasgrown from interest to demand.”

“The impact is on two fronts,” hecontinues. “How we make our products,source our materials, dispose of waste isthe manufacturing front; the other isthe retail/selling front, which includespackaging, shipping and collateralsupport.” Actions implemented byPAMA members include looking at howinventory location and its proximity tothe end customer can reducetransportation, and moving moreproduct information online instead ofprinting it. “However,” he points out,“there is still continuing demand forprinted materials at the integrationcompanies.”

Great responsibilityEven if end-user demand is not yetcompelling, it becomes apparent thatmany AV equipment manufacturers aretaking their environmentalresponsibilities increasingly seriously.Taking them equally seriously isInfoComm. “Green is out, sustainabilityis in, and the AV industry has beenunaware of the potential market impactof either one,” says Allen Weidman,sustainability officer at InfoCommInternational. “Sustainability is good forbusiness but only if business is part ofthe process – and we, the AV industry,have not had a seat at the sustainabilitytable in the past. We need one for thefuture of our industry.”

InfoComm has devised STEP (see box,page 21), a programme that is designedto help all industry participants notonly achieve, but measure, moresustainable installations. “STEP isdesigned to fill a void not addressed byother ‘green building’ rating systems,”continues Weidman. “These existingrating systems have not includedaudiovisual, communications,information technology, security orbuilding automation systems. The STEPprogram is intended to engage allstakeholders to accomplish oursustainability goals.

“As important as STEP is to ourmembership, so is the opportunity toserve as a thought leader andknowledge manager for our members,”he goes on. “That is, providing theinformation that will help ourmembers compete in the new greenmarketplace by serving as their eyes andears in areas of codes, standards,regulations, market trends and productinnovations. We will be emailing,blogging and communicating throughnewsletters and social media as a meansto get the information to those whoneed it.”

The programme is, of course, a step inthe right direction… If there can be acriticism, it is only that awareness of itoutside the US does not seem to be high.“I had never heard of it,” says Ellis, “butnow I’ve researched it, I’m amazed thatno integrators or manufacturers havementioned it to us before.” “I’ve justbeen made aware of it,” echoesBosworth. “Where can I find out more?”

Jones is, however, aware of it. “Asmembers of InfoComm International,

we are aware of this programme,” shesays. “As it is fairly new, we haven’t yetlooked at how it could be integratedinto our own systems, but we’rewatching out for the reaction from boththe AV and IT industries.”

The next stepWhile CEDIA does not have anequivalent to InfoComm’s STEPprogramme, that’s not to say that theorganisation hasn’t been proactive inpromoting green not only to its ownmembers, but also to the wider market.

“CEDIA member companies are veryaware of energy conservation issues andwork with a number of other trades toensure that all subsystems can be fullyintegrated within, and controlled by, ahome’s electronic system,” says MattDodd, education chair at CEDIA. “Toreflect this trend and generate a higherprofile for reducing energyconsumption in our homes, we havelaunched a new category within theCEDIA Awards 2012 scheme entitledBest Integrated Energy ManagementSolution.”

“Also,” continues Dodd, “in 2010,CEDIA introduced its RIBA (RoyalInstitute of British Architects) trainingcourse – ‘Using Technology to ManageEnergy in the Home’ – for architects andthe building industry. This customisedCPD course shows how the custominstallation industry can take a proactiveapproach to implementing simpleenergy-efficiency measures inhouseholds across the UK throughsystems controlling heating, lighting,cooling and power in the home.”

End users are starting to want green.Manufacturers are starting to produce

Markets: Green AV


One of Europe’s leading financialinstitutions worked with integratorImpact and distributor PSCo to install astriking videowall into its Londonheadquarters.

A 5 x 5 combination of NEC 46in ultra-narrow bezel videowall screens wasinstalled in the building’s reception,where Impact is the AV managedservices supplier.

The videowall replaced an LED displaythat had been in situ for over 10 years.

“The LED display our client had intheir entrance before was using a hugeamount of power, and the bank’s in-house sustainability team wereconcerned about the environmentalimpact of the technology, in terms ofthe amount of heat it gave off and the

power it consumed,” said Rob Benton,Impact corporate account manager.“The LCD solution is more efficient interms of power and the infrastructurerequired around the installation.”

The videowall is driven at a very highresolution by five DVI feeds, displayingHD content using software from Nexus.Departments across the organisationare able to book the screen for certaintimes to display their own content, andthe bank is currently developing abespoke content application which willdisplay Bloomberg newsfeeds, globalnews, weather and up-to-date traveldetails, along with other usefulinformation. Presentations andphotographs are also displayed duringcorporate events in the atrium area.

Screens chosen to lower power consumption

CASE STUDY

‘It can be hard to implement green and to do theright thing’Roland Dreesden, Reflex

Extron offers a complete family of Energy Star-qualified power amps

green. The link between the two is, ofcourse, the integrator whose job it is tounderstand the customer’s businessgoals and be sufficiently knowledgeableto be able to propose appropriatesolutions.

“There are a number of fairly simplesteps that can allow integrators to addsignificant value in creating greenersystem in terms of technology andsupport,” points out Coleman. “Powerconsumption of every piece ofequipment must be considered andcombined to provide the least overallpower consumption. Control of thesystem is a crucial component whenreducing power consumption. To beable to monitor power and switch offequipment can provide significantfinancial savings to a customer and areduction in environmental impact.”

“As an organisation, we use andpromote the use of remote monitoringand control,” he continues. “It helpsprovide quicker response times andreduces the environmental impact ofdispatching vehicles to site when it’s notnecessary.”

“The devil can lie in the detail,” saysDreesden. “There are obvious things youcan do – and then there are the lessobvious things. Choosing the rightscreen material, for example, can enableyou to propose a less power-hungryprojector – and you can encourage thecustomer to use the projector’s eco mode.Training is vital if the customer is to getthe most benefit from the installed

system’s ability to use the minimumamount of power – so is regularmaintenance. Where you site equipmentcan have an impact on heat dispersion,and thus the amount of energy needed toprovide cooling.”

Dreesden is especially proud of thenumerous actions his company hastaken to achieve ISO 14001accreditation (ISO 14001 provides aframework to assist organisations indeveloping their own managementsystems to reduce their impact on theenvironment). Pairing engineeringteams on the basis of where they liveallows for greater car sharing, whileestablishing a central London facility for

parts and returns minimises travel toand from the company’s headquarters.Engineers – and others – also haveremote access to the company’s systemsto minimise the need for travel.Weekend working has been reduced inorder to minimise energy consumption– and light switches are labelled so thatengineers returning to the office late atnight can turn on only the lights theyneed rather than all of them. Even inReflex’s company kitchens, itscommitment to green practices can beseen in the elimination of disposablecups and plastic spoons, and the regulardefrosting of refrigerators.

The futureThe AV industry is unquestionablymoving towards more sustainable,more environmentally friendlyinstallations. End users are starting toattach more importance to it: whetherfor conscientious or financial reasons isirrelevant. Manufacturers areaddressing those concerns with greenermanufacturing processes and lowerenergy products. The industry seems tobe in agreement, however, that the keyrole lies with integrators. It is up tothem to understand the broad scope ofwhat it takes to create greenerinstallations – and to promote thebenefits of greener AV to the end-usercommunity.

Ellis sums it up. “Our industry alreadydoes a lot when it comes to green,” hesays. “I’m not sure it should do more –but could it do more? Definitely.” IE

Markets: Green AV


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‘The green issue isbecoming an everincreasingconsideration’Marc Coleman, Impact

. Purchasing: buy from suppliers whotake their environmentalresponsibilities seriously

. Providing advice: helping end usersmake better-informed decisions

. Promoting green solutions: makingcustomers aware of what’s possible

. Being green: saving energy in everyaspect of the integrator’s business

. Recycling: it’s often greener not toleave this to the manufacturer

. Remote services: can savesignificantly on travel

. Maintenance: well-maintainedequipment operates more efficiently

. Training: help customers use theirsystems to minimise energyconsumption

With thanks to Roland Dreesden,managing director, Reflex

Eight thingsintegrators shouldbe doing

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Internet protocol television (IPTV) isoften used in the telco and cableTV sectors to deliver TV services to

homes. But IPTV is increasingly beingused in the business, corporate andeducation sectors for a wide range ofapplications, including live andrecorded TV, corporate video, video-on-demand and digital signage.

IPTV can be used to distributeinformation, entertainment andtraining content to a wide range ofdevices, from large-screen stadiumdisplays to televisions, and fromdesktop PCs to tablet computers.Rainer Link, responsible forinternational sales and marketing atTeracue AG – broadcast and IPTVsystems, says: “We are seeing widespreadIPTV applications in a mix of sectorsthat includes corporate, education,government and military installations,broadcast, entertainment, hospitalityand digital signage.”

Philip Dodds, business developmentdirector, Vision2 Group, AMX Europe,agrees that IPTV is being used in manyapplications. “The advent of IPnetworks throughout mostorganisations enables the simple andeffective delivery of video across theLAN [local area network],” he says.“One of the sectors currently evaluatingand implementing IPTV systems is themedical arena, especially in the area ofoperating theatres. Quite often, we willsee several cameras being used in theoperating theatre, and IPTV allows thestreaming and recording of medical

operations in high definition, so thatstudents and doctors can learn fromthe experts.”

Dodds adds that schools anduniversities are using IPTV for distancelearning, such as watching live streamsor accessing video-on-demand content.“We recently implemented a classroomrecording system that helps studentswith learning difficulties understandand copy how to complete a foodpreparation exercise,” he says. “Theteacher performs a task, which isrecorded and made available to thestudents as a video clip.”

Main marketsColin Farquhar, CEO of Exterity, saysthat, for his company, the main IPTVapplications are in corporate television(such as banks and finance houses),education (schools, colleges anduniversities) and the hospitality sector.“We’re also seeing IPTV being deployedin large public spaces, such as airportsand football stadiums,” he adds.

Mike Cuckow, sales director EMEAand Asia-Pacific at Cabletime, observes:“IPTV is being used in theaccommodation sector, such asuniversity blocks, military bases,specialist hospitals and hotels.Stadiums are another sector, and a lotof WAN [wide area network]-basedcorporates are also using IPTV.”

Don Hewitt, customer solutionsmanager at Harris BroadcastCommunications, notes: “From ourperspective, the two main sectors for

IPTV are hotels and sports stadiums,which use it for digital signage. Forhotels, IPTV-based digital signagerepresents an important window tocustomers in the form of highlybranded internal informationchannels. These channels allow hotelsto promote their services to guests in afar more engaging way than thestandard ‘slide show’. As new sportsfacilities and stadiums are constructed,

there is a greater need to engage,inform and entertain fans. IPTVrepresents a very cost-effective methodof distributing content whilemaintaining quality. This is especiallytrue when IPTV and digital signage areintegrated into a media platform.”

Gaining supportThere are a number of drivers behindthe growth of IPTV, including the factthat many networks support theprotocols required for IPTV, includingIGMP (internet group managementprotocol), which is used for multi-casting. Potential cost savings andsimplicity are also strong drivers, saysLink. “Today’s IP-based networks makeit very easy to place video applicationson them, so most of the time it is notnecessary to invest in a dedicatedtechnology, traditional AV distributionor extensive cabling,” he explains.

Farquhar notes: “Traditionally,organisations used an analogue TVdistribution system, modulating TVcontent onto coax, or perhaps someform of digital transmission over coaxor Cat5 cabling. As soon as you putcontent on a network, it’s moreaccessible. Whereas in the past, I mightbring two channels into my buildingand display the content (such as newschannels) on a couple of TV screens,now I can distribute content to everyroom, and potentially every deviceconnected to the network, whether it’s aTV or a PC or some other displaydevice. That’s an exciting development.”

Markets: IPTV


Coming on streamAs the number of sectors utilising IPTV grows, installers must embrace the world of IT if they are tograb a share of this expanding market. George Cole reports

To manage a massive increase in student numbersthe University Hospital Aachen has equipped its

lecture theatres with state-of-the-art videobroadcasting technology from Teracue

. IPTV allows organisations todistribute live and recordedtelevision, video and digitalsignage over an existing IP network

. Corporates, educationalinstitutions and thehospitality industry are majorusers of IPTV, as are publicspaces such as airports and stadiums

. IPTV enables television andvideo to be viewed on a widerange of network-connecteddevices including desktopPCs, televisions, tablets andmulti-screens

. IPTV offers newopportunities for AVinstallers, but it’s vital to have sufficient IT expertise in-house

Key points

IPTV means organisations can geteven more value out of their ITinfrastructure; in the hospitality world,IPTV can be used to deliver combinedservices like TV and internet, andimprove the quality of the deliveredcontent, adds Farquhar. “In manyhotels, the TV signal is degraded bynoise from air-conditioning systemsand appliances,” he says. “IPTV allows

you to deliver a much cleaner signal tothe end-user. Being able to use theexisting infrastructure is veryconvenient for large public spaces, likeairports and stadiums.”

Dodds adds: “We’re seeing all newoffice builds being specified with anIPTV element, as this technology takesadvantage of new IP networkinfrastructures being installed. The

same goes for offices being refitted,updated or refurbished, where anupdated network infrastructure is beingimplemented in place of the oldanalogue UTP cabling. It meanssupport teams need only concernthemselves with one networkinfrastructure, which ensures muchmore cost effectiveness. One of theother main advantages is that an IP

video delivery infrastructure haslimitless scalability.”

“IPTV gives you the ability to take adigital signal from the roof and put itonto your network with no loss inquality,” notes Cuckow. “People canwatch web TV on their PC in theworkspace without consumingadditional internet bandwidth. Thisreduces costs, and gives you the abilityto control what TV is watched over thenetwork and by whom. Factors likethese make IPTV a very attractiveprospect to organisations.”

Some companies are using IPTV toconsolidate their business, addsCuckow, for example, using a singlehead-end to feed video streams to thecompany WAN. If the company laterdecides to close branch offices andgather employees into a singlebuilding, the IPTV system becomes aLAN-based service.

Another IPTV driver is the advent ofCloud-based media, says Cuckow:“People are used to storing a mix ofmedia in the Cloud at home – such asvideos, photographs and music – andthey want the same level of access in theoffice, which IPTV can provide.”

Growth expectationsThose involved in the IPTV businesssee much scope for growth in themarket. “We estimate that the globalIPTV market will grow from around$750 million in 2011 to $1.4 billion in

Markets: IPTV


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Exterity’s ColinFarquhar with the

company’s IPTVreceiver offering

2015,” says Farquhar. “Most videodistribution systems are moving toIPTV. The growing use of iPads andother wireless network devices in thecorporate sector is also creatingadditional demand for IPTV.”

Link says that since 2005, Teracuehas seen a constant growth in IPTV,thanks to its ability to offer flexible,scalable and cost-efficient AVdistribution and transmissiontechnology. “Most market sectors willsee a shift from the old traditionalanalogue implementation to IP-basedvideo delivery,” says Dodds. “There willdefinitely be an expansion of IP videodelivery in all market sectors.Education is likely to carry onexpanding its use of video. Ineducation, it’s not just aboutsupporting Windows PCs any more;the explosion of use of Apple deviceshas led to IT teams having to ensuretheir infrastructures support these as well.”

“There are a few factors driving theIPTV market for digital signage. Notonly is the decoder a low-costalternative, but the infrastructure andcabling of a new build-out are alsocheaper,” says Hewitt. “GigabitEthernet is a common network speed,so there is plenty of bandwidth tomulticast HD video and there’s lots of flexibility.”

With the IPTV market expected toshow significant growth, is there anopportunity for AV installers to moveinto the sector? “It is an excitingopportunity for AV installers,” saysHewitt. Link agrees: “There is a bigopportunity for IPTV with AVinstallers, but AV installers have togrow their knowledge of IT andnetworking technology, otherwise, ITpeople will take over the AV skills.Streaming is based on the network,and whoever controls the networkcontrols the streaming. AV systemintegrators today need to speak andunderstand IT and network languagein order to participate; otherwise theywon’t be able to compete. The AV

installers who have recognised this factand who have invested in training,know-how and staff are way ahead ofthe competition.”

Embracing IT“Many AV installers still shy away fromtoo much involvement with IP,” notesDodds, “so there is a considerableopportunity for those willing to get togrips with understanding andimplementing IPTV solutions todifferentiate themselves from theircompetitors. Even just understandingand being able to articulate the relativebenefits of IPTV will at least openconversations with clients. An IPTVsystem can also be a door opener tomore traditional AV solutions and leadto further opportunities. Many IPTVsystems can be more or less plug-and-play; the critical issue is ensuring thatthe client IP network is ready andconfigured, but there’s plenty ofdocumentation available to help in theplanning and installation.”

Cuckow agrees that there is a bigopportunity for AV installers to moveinto IPTV, but urges caution, not leastwhen it comes to ensuring that a client’sLAN is IPTV-ready. “Anyone can providethe tools and a tick-list to assess LANreadiness [for IPTV], but the big flaw tothis approach is that the client may notfully understand the LAN they’ve got, orit might be owned by a third party, whosimply ticks the boxes without doing

the checks,” he says. “Then the AV VARwalks into a nightmare. The sameproblem can hit an IT VAR, but thedifference is that they will have the in-house resources to fix the problem.”

That’s why, he adds, it’s important forAV installers to employ staff with ITfault-finding skills: “Some AV VARswant a long-term relationship with aclient and will bend over backwards toaccommodate their needs. But this coststhem money while others put a clause intheir contract which states that if the

network is not ready, it will charge theclient. This has the advantage ofconcentrating the mind of the client,and as a result, they are more likely tocheck the readiness of the LAN.”

“There’s definitely an opportunity forAV installers,” says Farquar, “but it’simportant to remember that there aredifferent levels of IPTV deployment. Forexample, we installed a system atHeathrow airport, which involved aclose working relationship betweenintegrator, reseller, installer and the ITdepartment. This type of installationrequires a high degree of IT knowledgeand experience, and it’s unlikely thatany AV installer would want to jumpinto a project like this, unless they werepartnering someone. One way would beto start small, say, delivering a singleIPTV channel to a single end-point, and

from there, you can rapidly move ontolarger and more complex projects.”

Exterity runs the StreamForcetraining programme for IT companiesto gain knowledge of video, and for AVcompanies to learn about IPTV. “Thekey is to walk before you can run,” saysFarquhar. “There are significantopportunities for AV installers but,equally, there’s a need to take theappropriate steps and get the righttraining, support and assistance, so youcan get some successes and grow a setof skills. IPTV isn’t a black art, but assoon as you start putting things onto anetwork, many organisations becomevery sensitive because the networkcarries all their data and they want tobe confident that the people givingthem advice have a good understandingof what they are doing.” IE

Markets: IPTV

IE February 2012 27www.installationeurope.com

German broadcaster RTL II wanted asystem that enabled its employees towatch satellite TV channels at theirdesktop. This would allow staff to keep aneye on competitor channels, keep up withbreaking news stories and watchinternally produced programmes andvideos. The company also wanted todistribute live sporting broadcasts, sothat employees would not miss majorevents, such as the World Cup. Its IPnetwork is used for accessing email, theinternet and business applications.

RTL II had considered using its existingcoax RF ring main TV distribution system,but this would have been expensive toextend and wasn’t scalable. It also wouldhave involved using a separate cablingsystem, and the coax system didn’tintegrate easily with desktop PCs – allworkstations would have required adedicated TV tuner card.

Instead, Exterity installed an end-to-end IPTV system that includes anAvediaStream DVB-S TV gateway, whichtakes the satellite feed and transfers it tothe IP network. Video feeds from camerasor other broadcast equipment can beconnected to an AvediaStream Encoderand watched on the IP network. Eachdesktop PC uses AvediaCentre PC Clientto view live and recorded content. The PCclient software is centrally managed, andso can be remotely installed andconfigured for every PC.

The resulting IPTV system streamsboth SD and HD content to more than200 desktop PCs, and RTL II employeescan access 50 digital satellite andinternal channels alongside their email,web browser and business applications.This scalable setup has greatly reducedthe cost of a desktop TV service, andsimplified network management.

Scalable IPTV setup for German broadcaster

CASE STUDY

� www.amx.com � www.cabletime.com � www.exterity.com� www.broadcast.harris.com � www.teracue.com

. Allen & Overy, London: The international law firm opted to use 20MediaStar Evolution Encoder Units from Cabletime to distribute live TVaround its London office

ONLINE EXTRAS: CASE STUDY

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‘An IP videodeliveryinfrastructure haslimitlessscalability’Philip Dodds, AMX Europe

‘IPTV represents avery cost-effectivemethod ofdistributing contentwhile maintainingquality’Don Hewitt, Harris

Conditions are somewhatchallenging but, all thingsconsidered, they could be

much, much worse. That was theoverriding impression conveyed by thedistributors, consultants and otherindustry observers who spoke to IE forits latest UK market focus.

Indeed, given the prevailing economicmood, there is some sense of surprisethat activity levels have remained fairlybuoyant. A handful of companies evenreported a modest-to-encouragingupturn for full-year 2011.

This robustness on the part ofdistributors appears to have several rootcauses. Firstly, there is a generalrecognition that customers areincreasingly in need of comprehensive,integrated solutions; few would arguewith the suggestion that astraightforward box-shifting operationno longer cuts the mustard. Secondly, agreat many distributors areemphasising the necessity of lookingtowards new, emerging areas oftechnology – from cutting-edge lightingsolutions to interactive displays – andundertaking the research necessary forthem to get up to speed. Thirdly, thegeneral acknowledgement of economicpressures on customers is promptingsome distributors to devise new financepackages capable of making thedifference between a sale and a no-sale.

Customers’ desire to deployeco/energy-sensitive solutions is alsohaving a positive impact on themarket, while a return to morespecialised distribution channels isanother primary strand of what is, onthe whole, a cheeringly upbeat portraitof the UK market.

Commercial vs residentialThe strength of the French CI sectorcompared to some other areas of thebusiness was one of the key themes oflast month’s country report. In the UK,too, it appears to be an especially brightspot in the market as the retail andcommercial spheres continue to evincereduced levels of confidence.

“The custom install market is still avery strong sector, along with theopportunity for professional audio intothe professional AV market,” saysDarren Lewitt, AV director of Midwich,a leading force in UK distributioncomprising eight specialist companies.

Lewitt’s sentiments about CI areechoed by Gordon Innocent, chairmanof RGB Communications, whichworks with brands including Barco,Canon, Kramer and Stardraw.com.Highlighting the strength of “high-endcustom install”, Lewitt partly

attributes RGB’s success in this area tothe popularity of the Savant homeautomation and building controlsystems. Available from RGB as ofApril 2011, Savant appeals to higherechelons of the market “where moneyis still available”.

Conversely, there are signs of strugglein the public and commercial sectors.Retail appears to be particularly badlyhit – an observation that is fully in linewith a glut of gloomy headlines overthe past 12 months. For example,PricewaterhouseCoopers reported that375 UK retailers went intoadministration in Q2 alone – anincrease of 9% on the same period in 2010.

“The commercial market is where weare finding it particularly tough rightnow,” observes Innocent. “Retail isstruggling, the public sector doesn’thave any money, and the City isn’tspending either.”

Not everyone concurs with thissentiment. John Midgley is managingdirector of Polar Audio – distributor ofAviom, beyerdynamic, Biamp andRenkus-Heinz, among other esteemedaudio brands – and observes that “blue-chip companies, including banks”,constitute one of the strongest sectorsat present.

Elsewhere, the renovation/refurbishment of companies’ existingfacilities and associated energy-savingschemes are offering respite in a more

pressurised commercial sector. Thereare also some reports of companiesinvesting in videoconferencingtechnology – a development thatindicates a determination to achievelonger-term cost savings as a result ofreduced travel expenses.

But with many businesses struggling

to access even low levels of credit, it ishardly surprising that large-scaleprojects are fairly few and far betweenat present.

Ringing the changesWhile distributors report reasonablelevels of activity, the more challengingoperating conditions – not to mentionthe fear of what might be around thecorner – are prompting somemanufacturers to review theirdistribution arrangements. Onesymptom of this is an increase in thenumber of companies selling directlyto resellers.

“For us, the biggest changes havebeen AMX going direct to resellers as ofJanuary 2010 and projectiondesign asof January 2011,” says RGB’s Innocent.“Manufacturers will – like us all – dowhatever they think is necessary at thetime to hit their targets.”

James Knight – church relationsmanager, UK, for AV engineeringspecialist Hans Kolberg – also observesa tendency by some brands to cut outtheir distribution partners. It’s clearthat he harbours reservations about the

trend on practical and product-relatedlevels: “There are certain brands in theUK that have stopped going throughdistributors – calling them ‘unnecessarymiddlemen’ – and have tried to ‘go italone’ to take more margin, which hasresulted in the release of new productswhich don’t necessarily fit into theircurrent portfolio, in a desperate bid toattract attention. All the distributors

Markets: Distributor Focus – UK


Steady stateA determination to deliver new technologies and assist customers struggling with the adverseeconomic conditions is helping to keep the UK distribution market relatively buoyant. David Daviesreports on a sector whose prospects remain bright as 2012 gets underway

Hans Kolberg has a regularpreventative maintenance contractwith a large house of worship inHampshire, UK, to ensure its heavyinvestment in ‘intelligent audio’ isfirmly protected

. An increasing number ofmanufacturers are now sellingdirectly to resellers

. Credit terms are frequentlyreviewed on a case-by-casebasis to ensure maximumflexibility

. The residential market ishelping to offset a depressedcommercial sphere

. There is an increased focuson providing completesolutions

Key points

‘We have a veryprogressiveapproach to credit’Sid Stanley, Maverick UK

that we work with do a great, honestjob and support their brands really wellwith marketing, post-sales support andapplication engineering – so it reallymakes us wonder… why do certainbrands with little distributionexperience think they can do better?”

There were also multiple allusions toa longer-term shift away from generaldistribution models. Midwich’s DarrenLewitt pinpoints “a migration backtowards adopting a specialist-only

distribution channel. Hitachi, NEC,Casio and Panasonic have consciouslydecided not to use IT distributors(which includes broadline distributorswith small AV divisions). Over the pasttwo or three years, most of the tier onevendors have walked away from generaldistribution models in favour of a morespecialist channel.”

Lighting and control solutionsdeveloper GDS is among themanufacturers to have embraced a

more specialist approach, and recentlyannounced that a network ofestablished companies – includingHawthorns, Northern Light, StageElectrics and White Light – had beenselected to distribute its product rangein a development that took effect on 1January 2012.

The ability of customers toexperience reduced lead-times andaccess in-house expertise are expected tobe among the benefits of this revisedapproach. In addition, Matthew Lloyd,managing director of GDS, says the UKdealer model will mean the company“can expand more internationally whilemaintaining the UK market”.

Sid Stanley, head of Maverick UK –which works with brands includingDraper, Promethean and Samsung –believes that the “two-tier distributionmodel is becoming increasinglyimportant both to vendors andresellers. We are seeing vendorsgenerally wanting to move from directto in-direct models as they look tomake savings.”

Emerging technologiesThis impression of a distributionsector that is more fluid than at anytime in recent years is furtherunderlined by Mark White,UK/Ireland regional manager forlighting solution provider ETC:“There has been some shifting ofdealer/distributors, usually as a result

of companies going out of business orbeing unable to supply finishedreliable goods in a timely manner.”

For Midwich, the “tougher”conditions have meant an increasedemphasis on “solution selling” andthe targeting of new technologies. Thewhole area of interactivity, says Lewitt,has been particularly rewarding, andhas even prompted the creation of adedicated interactive division. “Thefuture looks bright with an array ofsolutions just arrived, including thenew Microsoft- and Samsung-developed surface table solution, anda number of interactive displays fromSharp, NEC, iiyama and Samsung.”

The desire to offer the latest andgreatest solutions is reflected in manyof the new contract wins of which ourfeatured distributors are most proud.Lewitt, for example, cites Midwich’sUK exclusive with Samsung SUR40 tosell the aforementioned surface tablesolution. “It is a 40in touchscreen thatmakes it possible for people to share,collaborate and explore together. It canprocess more than 50 simultaneoustouches and recognises fingers, handsand other objects placed on the screen.Featuring PixelSense technology,which gives LCD panels the power tosee without the use of cameras, it is farless bulky than its predecessor,”enthuses Lewitt.

In general, however, many peoplewho spoke to IE for this feature



Midwich is the exclusiveUK distributor of the

Samsung SUR40surface table solution

declined to talk about specific recentcontracts or projects on the grounds of confidentiality.

Credit and supportIn another development set to helpkeep business moving, somedistributors are also reviewing theirapproach to finance. Many now offer arange of packages to their customers,while there is also an increasedemphasis on collaborating closely withinstallers to help optimise the deliveryof cost-effective solutions.

“As an independent we have always

been less able to offer the sort ofextended terms that the major brandsappear to offer,” admits Polar Audio’sMidgley. “However, by working closelywith both our suppliers and integratorswe are able to ensure that products areavailable in a just-in-time fashion,thereby ensuring the maximum use ofthe applicable credit terms. We are alsooffering more support to ourintegrators with design, programmingand project support to ensure cost-effective solutions.”

Credit, says Stanley, is “a key offeringfor TD Maverick [Maverick is thespecialist AV division of Computer2000, which is part of Tech Data]. Thisyear, for example, to assist resellers inthe education peak we extended creditterms and raised credit limits to helpresellers fuel the seasonal peak. We havea very progressive approach to credit.”

Midwich also maintains a flexiblephilosophy regarding credit. “We havealways been able to review credit on acase-by-case basis,” says Lewitt.“Offering a range of finance solutionsto help ease pressure, including end-user billing and leasing solutions andbespoke credit facilities, is veryimportant to our customers.”

Simultaneously with the need toensure sufficient credit flexibility,distributors are confronting increasedstress in terms of margins. “Marginpressure has been constant since thestart of the first recession, but more

recently there has been considerablepressure post-contract award to cost-engineer projects,” says Midgley.

“Yes, pressure on margins is agrowing factor,” echoes Stanley, “but inthis market the value you deliver isreflected in the margin you retain. Theinvestments we have made to date havetherefore allowed us to earn the marginwe planned for.”

Investment with regard to resellersupport is also helping to stabilisebusiness in these unpredictable times.Maverick’s Stanley says that a numberof initiatives have contributed to thecompany’s “more than double-digitgrowth” since 2010. “However,” headds, “the area that has really workedfor us is our investment in businessdevelopment heads who spend timewith resellers supporting them andbetter enabling them to sell”.

As client requirements becomeincreasingly specialised anddemanding, the need to guarantee thiskind of 360º support will surely onlybecome more acute.

Looking forwardThe general mood of positivityreflected in this feature doesn’t meanthat there aren’t some concernsabout the way the market isdeveloping. ETC’s White observesthat there are “often too manydealer/distributors in the shrinkingmarket”, but is confident that

“market forces will shake that out inthe time-honoured fashion”.

Gordon Innocent, meanwhile,expresses frustration at “what is, inthe main, a fact of life for usdistributors: if we do a bad job we getreplaced; if we do an average job weget added to; and when we do a greatjob the manufacturer takes all thecredit and takes over.” Hmm – is thereanyone who can envisage thatchanging any time soon?

Such caveats aside, however, themajority of contributors appear to berelatively satisfied with the currentshape of the UK distribution market.Bearing in mind the prevailingeconomic circumstances, there is asense of relief – surprise, even – thattrading conditions remain as positiveas they do. Nonetheless, there is also afeeling that this is no time for restingon laurels, hence the enhanced levelsof support and flexibility beingoffered to customers and resellers.These and other initiatives will helpthe sector to navigate whatever flowsits way in 2012. IE



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‘The custom installmarket is still avery strong sector’Darren Lewitt, Midwich

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Concert Venues


Sound solutionsSimon Duff rounds up some of the best and brightest concert hall audio installations across Europe

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Architectural advances,new delivery mediumsand changes in social

media will all help shape howconcert venues will function inthe coming years. They willneed to be affordable, flexibleand environmentally friendly.For sound, this means thattriple-usage systems covering

PA, VA and networkingtechnology are needed forvisiting touring systems toutilise a house system andreduce touring costs.

Acoustically, buildings willbecome more intelligent. Usersmay have access to surfaces thatcan change between beingabsorbent, then reflective and

maybe controlled electronicallyin a dynamic way. Steeringsound and pinpointingtargeted areas and zones arealso key factors forconsideration, as is the ability,in many cases, to disguiseaudio technology, and beflexible, while still satisfying theaural requirements of a space.

Further innovation maycome in the form of onlinediagnostics for sound systems.So, for example, a digitalconsole could be worked ononline, anywhere in the world,by a manufacturer in theiroffices. Right now it seems tobe an expensive proposition tobe effective but it’s in

everybody’s interest, includingthe manufacturers, that it does.Food for thought indeed.

In the meantime, have a lookat these success stories: we’veasked some big names fromthe world of concert venuetechnology to share theirfavourite recent showcaseinstallations with us.

Demands at The Sage range fromsmall school concerts to largeconferences and orchestral events toworld-class amplified artists. “We firstcame across the Midas PRO seriesalmost three years ago, when we used aPRO6 on a large surround-soundopera, Skellig,” says The SageGateshead’s head of technicaloperations, Chris Durant. “It wasobvious that this was a product thatwould more than meet our needswhen we required an upgrade, andwould reinforce our reputation as one

of the best sounding music venues inthe world.”

The various I/O boxes available aspart of the Midas digital system meanthat Durant’s team have been able tocome up with solutions for all of these,as well as applications that werepreviously impossible. He adds: “Wewere able to justify investing in a PRO9which, offering 88 inputs, means weshould never run out.”

Richard Ferriday, brand developmentmanager at Midas Klark Teknik, says:“When a concert venue at the level of

The Sage Gateshead is installing anaudio system, they need equipmentwhich is going to complement theexceptional acoustic properties of theperformance space. Everything in thesignal path, from capture to delivery,has to be able to provide the audiencewith a world-class audio experience.Anyone who attends a music event atThe Sage will not fail to be impressedby the efforts of everyone, from thebuilding architect to the mix engineer,who strive to create one of the finestlive aural experiences out there.”

THE SAGE GATESHEAD, UK: MULTIPURPOSE VENUE INVESTS IN MIDAS

The 1,700-seat Helsinki Music Hallplays host to the Radio SymphonyOrchestra and the HelsinkiPhilharmonic Orchestra among others.Their music reaches the audience’s earsthrough a KIVA WST line sourcesystem, installed by L-Acoustics’Finnish distributor Starlike.

“The objective was to maintain evenSPL and smooth tonal balance for allsections,” says Starlike’s Pauli Molnár.“An L-Acoustics line source system wasdeemed to be the ideal choice as themodularity of its curvature ensures

excellent homogeneity of coverage,even tonal balance and adequate SPL.”

The system is configured as front,rear and side sound sources located inthe ceiling, flown on the canopy at aheight of 15.5m above ground level.The central cluster provides definitionand clarity for the furthest members ofthe audience. Two hangs of nine KIVAshave been flown from the canopy,providing even coverage for the frontaudience areas until intersecting withthe existing front fills. A further twohangs of eight KIVAs are flown at the

same height to cover rear audienceareas, while two hangs of six KIVAs atthe same height cover the side audience.Two SB18i subwoofers behind the frontline arrays provide 360° directivity forvarious applications while minimisinglow-frequency energy on stage.

Stéphane Ecalle, marketing directorat L-Acoustics, says: “The resultsobtained on this complex projecthighlight the importance of employingthe right combination of sounddesigners, sound design tools andsound system to ensure success.”

HELSINKI MUSIC HALL, FINLAND: KIVA SYSTEM PROVIDES EVEN COVERAGE

� www.midasconsoles.com

� www.l-acoustics.com � www.starlike.fi

Concert Venues


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The culmination of the Hungariancity of Pécs’ 2010 tenure as a EuropeanCapital of Culture was the opening ofthe Kodály Centre, a new concert andconference venue. Budapest-basedInterton Electroacoustics installedYamaha audio equipment throughout.The specification includes PM5D,M7CL-48ES, LS9-32 and DM2000-VCM digital mixing consoles; MG206cand MG166c analogue consoles; fiveSB168-ES stage boxes; HS80M,HS50M and HS10W poweredreference monitors, plus MY16-ES64

and MY16-EX EtherSound interfacecards.

“The PM5D is the main front ofhouse console, while the M7CL-48ESis used primarily for monitors, whereit can be placed in four differentpositions. It can also be used as theFOH mixer,” says Interton designengineer Ferenc Volár. “There is a fullEtherSound network throughout thebuilding, so it’s straightforward tomove the consoles if required, and itmakes the use of the SB168-ES stageboxes very versatile.”

The LS9 is used for smallerconferences in the main hall, while theanalogue consoles are used in theconference and rehearsal rooms.Meanwhile, the studio, which featuresthe DM2000, is mainly used to recordconcerts from the main hall viaEtherSound.

With the Kodály Centre’s soundreceiving praise from eminent Russianviolin virtuoso Maxim Vengerov, whoperformed its first public concert, itprovides a truly lasting legacy fromPécs’ year as a Capital of Culture.

KODÁLY CENTRE, HUNGARY: YAMAHA CONSOLES TAKE CENTRE STAGE

The first concert hall to be built incentral London since the Barbican in1982, Kings Place in Kings Crossopened in October 2008. A concerthall with a 420-capacity auditorium, ithas received many plaudits for theoutstanding acoustic environmentcreated with Arup Acoustics. Thesound system installation was carriedout in collaboration with d&b partnerOrbital Sound.

The main FOH system comprisesd&b Q7, E8 and E0 loudspeakers withB2 and E15X subwoofers, and E12

loudspeakers for monitoring, all drivenby D6 and D12 amplifiers. Steve Jonesfrom the d&b applications supportdepartment comments: “Curiously itwas one of those projects where we hadto convince the client to use fewer boxesthan they envisioned.” For a relativelysmall room the presence of subwoofersmight surprise some, but again therationale is clear.

“The system is augmented in thelow end by a well concealed recess toeach side of the stage where we’vepositioned a B2-SUB and an E15X-

sub,” adds Jones. “The potential powerof something like a B2 is not needed.It’s the extended and musical low enddown to 37Hz that matters. Forsomething like a jazz performance ondouble bass that’s essential.”

Inevitably it’s the room acoustic thatgives voice to any installed PA system.“What’s interesting is that the roomhas a variable acoustic, there arecurtains hidden behind the structuralpillars, and these can be deployed tosuit the needs of a variety of acousticperformance styles,” says Jones.

KINGS PLACE, UK: D&B AUDIOTECHNIK CHOSEN FOR HALL ONE

Nexo GEO S12 line array cabinets havebeen chosen by Théâtre Mac-Nab, basedin the French town of Vierzon, nearOrléans. Installed by rental andinstallation specialist XB Diffusion, thesystem is a perfect example of Nexo’ssound reinforcement solution for a 500-capacity auditorium.

The theatre is named after 19thcentury singer Maurice Mac-Nab, anative of Vierzon. Now in its 12thseason, this dynamic venue puncheswell above its weight, booking well-known artists and hosting an eclecticprogramme of classical music, variety,

drama and more. Technical directorJean Marc Bondeux recentlycommissioned a new sound system,capable of handling such a diverseartistic menu.

XB Diffusion has given Théâtre Mac-Nab a versatile solution, a NexoGEO S12 line array system that livesinside the auditorium for most of theyear, but can be removed and takenoutside for the theatre’s summerfestival. The system deploys Nexo’sNXAMPs and Yamaha stage boxes toexploit the networking functionality ofEtherSound.

For the house system, XB Diffusionverified its design using Nexo’s NS-1prediction and modelling software.The outcome was left and right hangsof GEO S12 (five S1210 plus oneS1230 per side) with two RS15 subs aside. This part of the system is poweredby two NXAMP 4x4s.

Jean Jacques Vias, sales manager atNexo, says: “Many venues of Mac-Nab’ssize are looking for a system like theNexo S12 to service a rich mix ofmusical genres, including the benefitsof networking capability at anaffordable price.”

THÉÂTRE MAC-NAB, FRANCE: NEXO SOUND REINFORCEMENT FOR POPULAR VENUE

� www.interton.hu � www.yamahacommercialaudio.com

� www.dbaudio.com � www.orbitalsound.co.uk

� www.nexo-sa.com � www.xbdiffusion.fr

Concert Venues


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London venue Koko is famous forhosting Madonna’s first-ever gig inthe UK capital. The 1,500-capacityvenue has opened a new chapter in itshistory by substantially upgrading itsexisting Harman audio systemfeaturing JBL Professionalloudspeakers and Crown Audioamplifiers, commissioned by SoundTechnology, Harman’s UK distributor.This included an upgrade from JBLSRX enclosures to six VerTec VT4886sub compact line array elements which

now sit atop eight VerTec VT4880 full-size arrayable subwoofers. Thesesupplement the club’s existing left-right clusters of eight VT4888 midsizeline array elements per side. At thesame time, Crown I-Tech amplifiershave been upgraded to Crown I-TechHD amplifiers.

“Our vision when we opened wasto revolutionise live music in the UKby transforming this into thecapital’s hottest address,” commentsLarry Seymour, nightclub operations

director for Koko. “With huge brandvisibility, JBL became central to thatplan, as part of a Harman familyinstallation.”

Koko’s technical manager, TimHamper, was attracted to theVT4886’s compact footprint andclarity. “This is way superior to whatwe had before and I’m lookingforward to an even higher level ofperformance when we install the newV5 presets. The new amps sound likea studio monitor.”

KOKO, LONDON: HUGE HARMAN UPGRADE FOR ICONIC VENUE

During 2011, Dutch live venueMetropool moved to a new three-storey industrial unit. Covering an areaof 2,862sqm, the concrete shellcontains two concert auditoriums, acafé terrace, rehearsal rooms andoffices.

Utrecht-based TM Audio won thetender for the sound system. Althoughthe specification for the main FOHdesk was analogue, making it possibleto accommodate any visiting engineers

that might still require this option, TMAudio’s Jaap Pronk designed a flexiblesystem, based around DiGiCo SD8s,that ensured the analogue cabling linescatered for touring productions, whileoffering the standard AES-EBU digitalformats via the stage boxes.

With standalone SD8s, each ofwhich sports an Overdrive softwareupgrade to provide dynamic EQ,multiband compressors, 24 graphicEQs and an expanded matrix, in the

monitor positions, and a house SD8with a 48-channel mobile connectorthat can travel between the respectiveFOH positions, Michiel Toenink, thevenue’s head of production, uses anRME MADIface to multitrack theshows if required.

“We wanted a digital desk because ofthe cost advantages. The SD8 was veryintuitive. It also has a logical setup andcontains more I/Os than anything atthe same price point.”

METROPOOL, NETHERLANDS: FLEXIBLE SYSTEM BASED AROUND DIGICO CONSOLES

Oslo’s Operaen is the city’s firstpurpose-built opera house. Internally,its designers’ triumph has been to create a modern venue thatembraces the multipurpose demandsof both classical and contemporarymusic worlds.

The main and rehearsal halls featurea sound reinforcement system basedaround Renkus-Heinz self-powered andexternally powered loudspeakers, withYamaha DME64 digital processors.

It provides a choice of switchableconfigurations to suit the type ofperformance. Signal routing to themain loudspeaker arrays, located in leftand right movable loudspeaker towers,can be configured to effectively createtwo ‘systems within a system’, with theupper loudspeaker cabinets handlingvocals and the lower cabinets handlinginstruments, to maximise separationand clarity. There is also a flown centrecluster to provide an L-C-R sound

image across the stage. The main room,which seats 1,370, has an adjustablereverb time of between 1.2 and twoseconds, and movable curtains areprovided to cover the gallery areaswhen unoccupied.

Two Renkus-Heinz ST4/4-2T full-range cluster cabinets per side, and apair of centrally flown ST4/4-2T, formthe main L-C-R system, plus oneST4/9 per side as front fill, augmentedby four DR18-2 subwoofers.

OSLO OPERA HOUSE, NORWAY: 21ST CENTURY ACOUSTICS BY RENKUS-HEINZ

. Visit the IE website for more, including Soundcraft Studer at the Moscow Conservatory and Meyer Sound at the Danish Mantziusgården Culture Centre

ONLINE EXTRAS: CASE STUDIES


� www.renkus-heinz.com

� www.digico.biz � www.tmaudio.nl

� www.harman.com � www.jbl.com � www.soundtech.co.uk

The IE Interview

How did you first come to beinvolved in the AV industry?There are definitely roots in thefact that I’ve been a musicianall my life – I started out as arecording engineer inuniversity. For eight years afteruniversity I worked as a lightand sound engineer, recordingengineer and producer; andeven have engineering creditsfor a few big artists such asPrince and the Pointer Sisters.

Then I decided it was timefor a change – I wanted to see alittle more sunshine than mostsound engineers normally do!So I started working forElectrosonic, an audiovisualcompany that has offices inMinnesota and California andheadquarters in the UK. I wasthere for four years and held anumber of different roles thatinvolved installation work,videowall programming,training and tradeshows. I thenwent off to graduate school, gotan MBA in InternationalManagement and moved on toAMX holding a position therefor eleven-and a-half yearsbefore moving to Milestone inJanuary of last year.

How does working with Milestonecompare with working for AMX?As you probably already knowthey’re both a part ofDuchossois holding company,and both are fantastic brandsinvolved in industry-leadingtechnology. But while theproducts are very different, thecore values, approach to thecustomer and drive to be theleader in terms of technologyare very much the same.

My role at AMX wasinternational and so is the roleI currently have at Milestone, sooverall it was a relatively easytransition.

To what extent and how doesMilestone compete with low-costlow-value manufacturers?We tend to be industry leaders,and often come up againstwhat we call ‘fast-followers’. Sowhile we do compete withthose types of manufacturers,we are a premium brand,building technology into ourproducts that commands apremium price. We workdiligently to make sure the

customer experience of all ourproducts is very different thansome of the low-costproducers. So, yes, I do thinkwe compete against them, butwhen you look at the marketas a whole, it’s obvious to seewhere industry leaders arecompeting on a different levelto low-cost low-technologyproducers.

We’re doing a great deal toensure our products maintainquality and value, and we’reexperiencing success on aglobal scale even in lessdeveloped countries. Thebusiness is growing: we’regetting new integrators all thetime and we’re adding retailpartners. There are definitelymore competitors out there forus, but we’re still continuingto build on our success in thespace we’ve always been.

How significant do you think thesynergies are between Milestonebrands Chief and Sanus?They are both strong brandsaimed at different segments ofthe market. Chief is focusedon the custom andcommercial install markets,while Sanus is a consumerbrand. We have engineersworking on each brand, butthey’re part of the samecompany so they’re constantlysharing information. The samecan be said for the sales side ofoperations; all our commercialsales personnel know all of ourconsumer sales personnel andthey’re exchanginginformation and opportunitiesall the time. Obviously the twodifferent brands are their corejob, but sharing ideas developsboth brands individually.

Are you optimistic that ISE willcontinue on its growth path?I believe the ISE show is justthe right combination of thecommercial and custom installsegments of the industry. Thecommercial segment of themarket will continue to bringin new exhibitors and newspeakers in what I would callthe developing parts of theindustry – digital signage beingone of those parts. We willcontinue to see more attendeesfrom an even broader range ofcountries and the show will

continue to attractmanufacturers from aroundthe world.

What do you think are the mainreasons for the success of ISE?From a manufacturer’sperspective, the show offers agreat opportunity; people arrivefrom all over the world, and soas a global manufacturer in ourindustry I think it’s the bestshow to attract the greatestvariety of people from differentcountries. As I mentionedbefore, ISE is continuing tolook for emerging segments inthe AV industry and it’screating opportunities formanufacturers and attendeeswho come to the show. Theshow continues to innovate in that way and I think that’svery good.

Overall ISE has a verystrong brand, as well as verywell done tradeshowmarketing both for exhibitorsand attendees. From atradeshow experience – andI’ve been to a lot of them –ISE is still the best tradeshowI attend each year.

Does your position on theAdvisory Board of ISE help withyour current role?It does in the sense that theboard is really focused on theshow, so any time you have thechance to see how somethingis becoming successful – as ISEdid and continues to be – youcan always take some of thoseelements and apply them tocertain parts of your ownbusiness. It was a greatopportunity to be on theAdvisory Board – it’s anopportunity to learn and youshould always take advantageof those opportunities.

What are your plans for 2012?Growth will feature heavily inour plans in 2012. We willcontinue to expand ourinternational presence bylooking for new integrators anddistribution partners fromaround the world to supportthis activity. Milestone acquiredthe Da-Lite company last yearand with that came not onlythe Da-Lite brand, but alsoProjecta and Procolor, both ofwhich are manufactured inEurope. We’re continuing tobring the Milestone and Da-Lite teams more closelytogether working on thingsfrom a sales perspective; we’realso starting to talk about someclever new product ideas thatwill take advantage of both ofour technologies. I think it’sgoing to be an exciting year. IE

Tim Penn, Chief ManufacturingSuccess on a global scaleThe vice president – international of mounting and display solutions manufacturer Chief and ISEAdvisory Board member talks to James McGrath about industry-leading technology

‘The high andlow end of themarkets aredefinitelymoving awayfrom each other’

Tim Penn– abrief biography. Tim Penn has worked inAV for 25 years

. He started his career asa recording engineer andproducer

. He holds anundergraduate degree inBusiness Management, andan MBA in InternationalManagement from TheThunderbird School ofInternational Management

. Prior to joining Chief heworked for AMX in bothDallas and London asmanaging director and vicepresident for internationalmarket development

. He joined Chief in 2011as vice president –international

. Does Tim Penn think the gap between the top andbottom ends of the mounting and racking market willwiden or narrow?

ONLINE EXTRAS


� www.chiefmfg.com� www.milestone.com


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Solutions: Harpa Concert Hall and Conference Centre, Reykjavik


In recent years, Iceland hasattracted internationalmedia coverage for two

main reasons. The first is thecountry’s contribution to themusic world; it certainlypunches above its weight, giventhat its population (just under320,000) is comparable to thatof a single city, or even a largetown. Iceland’s other recentclaim to fame – or perhapsnotoriety – was the role playedby its banks in the globalfinancial crisis in 2008. As ithappens, both are significantin the story of the genesis ofthe Harpa concert hall and

convention centre, whichoverlooks Reykjavik’s harbour.

The venue opened in May2011, and has seenperformances by perhaps thecountry’s best-known musicalexport, Björk, as well as theIceland Symphony Orchestraand the Icelandic Opera, towhich it is now home, andother international attractionssuch as jazz pianist JamieCullum. But when nationalbank Landsbanki crashed atthe end of 2008, when thebuilding was an empty four-storey shell, that might havebeen the end of the Harpa

story. Fortunately the IcelandicState and the City of Reykjavik,which had been partners onthe project since signing thecontract in 2002, agreed thatthe development mustcontinue. Construction startedagain in February 2009 after ahalt of just a few weeks.

Exton, one of Iceland’sleading audiovisual companies,was hired as a consultant on theproject by Portus, the companyin charge of the development.Exton partner SverrirHreidarsson explains: “Our taskwas to make sure that the finalresult was not only consistentwith what was asked for, butalso that it was a viable solutionfor our local market. Wecontinued as consultantsworking with Portus and withArtec Consultants [a New Yorkfirm specialising in performingarts spaces]. Then in 2007 westepped down from consultancyand Harpa started creating thetenders for the job.”

Long-term planIn 2008, Exton successfully bidfor the tenders for sound andcommunication andproduction lighting. It was theonly company that bid forboth, something that Extonfounding partner KristjanMagnusson believes was

crucial: “We put a lot ofemphasis on it – we said, youshould select one contractor towork with not just on thesebids, but for the future,because he will be involved indeveloping the building for thenext 10 years. The system wehave designed is veryintegrated: all the controlsystems are integrated intotouchpanels, for example. It’smuch harder to do this if youhave separate contractors, andyou also have the possibility offinger-pointing [over whosefault something is]. So wemade it financially interestingfor them to have onecontractor for both. And itsaved money for us as well.”

In 2010 the company wonthree additional tenders, for theAV systems, digital signage andadditional production lighting– following the decision tohouse Icelandic Opera in thevenue, alongside the IcelandSymphony Orchestra.

In purely financial terms, theHarpa project is about threetimes the size of Exton’s nextlargest job (the Hof concerthall in Aykureyri in northernIceland). The sheer scale of theproject, and high degree ofsystems integrationthroughout Harpa,necessitated a large amount of

planning to ensure thedifferent systems work togetherproperly, says Exton foundingpartner Gunnar Gunnarson:“For instance, IPTV isdistributed right across thenetwork, but you don’t want aproblem in one hall to takedown the whole system – soyou have to plan for that.”

There are two separate IPnetworks throughout thecomplex: one for sound andcommunication (includingAV), and one for productionlighting. Gunnarson describesthe latter as a “relatively simplesystem connecting dimmers,desks and DMX nodes andhouse lighting control”.Overall, there are 275 IPaddresses within Harpa.

There is a high level ofsystems integration throughoutthe complex, with manydifferent systemscommunicating with eachother, explains Magnusson.Within the main concert hall,for instance, he says: “We let theAteïs voice evacuation systemtalk to the Galileo loudspeakermanagement systems via theAMX control system, and atthe same time the Clear-Comintercom system comes intothe same loop. So for that partof the building those foursystems are all tied together.

Fire and iceA world-class facility opened recently in the Icelandic capital, featuring a wealth of AVand lighting technology and a high degree of integration. Paddy Baker paid a visit

Sound reinforcement in the main Eldborghall is provided by a Meyer Sound linearray system

Audio. Meyer Sound MICA line array. Meyer Sound M’elodie line array. Meyer Sound 600 HP subs. Meyer Sound CQ-1. Meyer Sound UPJunior. Meyer Sound Galileo loudspeakermanagement. Tannoy Q-Flex. Midas PRO9 consoles. Allen & Heath iLive R72 consoles. Allen & Heath iLive T80 console. Clear-Com intercom. Ateïs voice alarm system

Lighting. ETC Congo lighting consoles. ETC Congo jr lighting consoles. ETC Congo Light Servers

. ETC Wireless Focus Remotes

. ETC Remote Video Interfaces

. AMX 19in touchscreens

. ETC Source Fours

. ADB Warps

. Selecon Aurora Cycs

. Selecon Rama fresnels

. Robert Juliat Aramis followspots

. Martin TW1 washlights

. Martin MAC III Performance movingheads

Video. Barco FLM HD20 projectors . Barco RLM-W8 WUXGA projectors. Da-Lite 6m projection screens . Gerriets 10m projection screen. AMX control systems. AMX/SpinetiX digital signage players. Stinova DS scheduling software

Installed

INSTALLOF THEMONTH

There are four Midas PRO9 consoles atHarpa, making it the largest PRO9

installation in the world



“The same goes for thelighting system: the ETCconsoles are talking to thearchitectural lighting controlsystem which is also talking tothe AMX system. It gives youanother control layer on top ofthe control desks, so a noviceoperator can come in andswitch on the lights for thesymphony orchestra withoutthere being a lighting deskoperator on site. It gave us asimple system to install, butvery sophisticated controls.”

This was over and abovewhat was specified in thetender, he adds. “The originaltender was for discrete buttonsfor each circuit of lighting –except for what the lightingconsole controlled. We decidedto follow the idea of having acompletely integrated system.We had to persuade Artec thatthis was the way to go in thefuture. We had to push for it,but in the end I think theywere happy with it.”

Braving the elementsThere are four mainconcert/conference spaces atHarpa – named after the fourelements of earth, air, fire andwater – ranging in capacityfrom 195 to 1,800 people. Themain concert hall is calledEldborg, which means ‘firecastle’ and is the name of avolcanic crater in the west ofIceland. Appropriatelyfurnished in a bright red decor,the hall, which is thepermanent home of theIcelandic Symphony Orchestra,can seat around 1,500 people

on four levels, and (dependingon the production) additionalseats behind and to the sides ofthe stage platform can be usedto raise the capacity to 1,800.

The sound systems weredesigned by Kari Eythorsson, aformer Exton employee whonow works from San Franciscoon a freelance basis, who I talkto by phone subsequent to myvisit to Harpa. I start by askinghim about a sentence onExton’s briefing notes abouthim: “Do not dare ask him touse anything other than MeyerSound.” As one might suspect,it was a tongue-in-cheekcomment, but he generallydoes turn to the Californianmanufacturer’s product first,based on a mixture ofadmiration and practicality. “Iknow Meyer Sound equipmentlike the back of my hand – I’veused it ever since I started withExton [at the end of the1990s],” he explains. “They arean amazing company, with alot to admire – both in termsof people that work there andthe products that they make.They have been a good partnerto Exton. Meyer Sound ismature in the Icelandic market– there is all the knowledgeabout their equipment andgood spare parts inventory.

“Having said that, there are alot of other very admirableloudspeaker manufacturers outthere, and they all deserverespect for having brought newthings to the market. I woulddo shows with other gear thanMeyer Sound!”

Artec had initially specified

point sound sources – basedon the work that Eythorssonand Gunnarsson had doneduring the project’sconsultancy phase.

Eythorsson explains: “Weplaced a bid that was exactlywhat the tender asked for, butwe also did an alternative tothat – we consolidated a lot ofdevices and made thingssimpler so that devices couldbe shared between the hallsand so on. Probably the biggestparts of that pie were thespeaker system and the mixersystem. When we got thetender we said, ‘Let’s see whatelse we can come up with.’ Sowe kicked it around a bit,talked to Meyer Sound, theycame up with a proposal, thatproposal was amended, andeventually accepted.

“We wanted to do somethingthat was a bit different, usingthe latest available tools at ourdisposal,” he says. “Working ina space like this does havesome challenges – of course theroom is primarily designed foran orchestra, so it’s easy tomake the case that a line arraymight not be the perfectsolution. You do not have thehorizontal control that youwould have from a point-and-shoot speaker system – thatwas the main challenge.

“For example, when youhang line arrays in a left andright configuration, if you haveside balconies the arrays arecloser to them than to the backof the hall that you are tryingto cover as well.” How do yousolve that problem? It’s to dowith placement, he explains –placing the line arrays so thatthe balconies are in the areawhere the sound is starting tofall off – and accepting that theSPL at the balconies must be alittle higher than at the back ofthe hall.

The choice of equipment wasrelatively straightforward, hesays: “There was a specifiedSPL goal and a coverage goal:we needed to reach a certainSPL figure in a uniform wayaround the hall, so theequipment basically specifieditself from there.”

The Eldborg hall is the onlyone of the four main spaceswithin Harpa to have apermanently installed speakersystem – and even that iswinched away out of sight foracoustic concerts. The soundreinforcement system inEldborg is built around threeclusters of Meyer Soundloudspeakers. Flown left andright clusters consist of 10Meyer Sound MICA curvilinearspeakers, with five 600-HP

Façade has volcanic inspiration

Harpa’s striking main façadewas designed by Icelandic artistOlafur Eliasson, working withHenning Larsen Architects. Thedistinctive 12-sided shape ofeach of the three-dimensionalsteel and glass modules isinspired by volcanic basalt.

During the day, the variousangles in this south-facingstructure reflect sunlight andimages of the city inkaleidoscopic fashion. At night,

illumination comes from red,green and blue LED modules ineach brick; the colour andintensity of each module can beindividually controlled, providingmoving light effects across theexterior that can be seen fromafar.

The design of the north, westand eastern façades is based onvarious two-dimensional cross-sections of the 12-sidedmodules.

subwoofers flown behindthem; a flown centre cluster,covering the entire hall,comprises eight MICAcabinets, seven CQ-2 speakersfor side- and downfill, oneUPA-1P speaker for downfilland two CQ-1 cabinetscovering the chorus balconiesbehind the stage. SevenUPJunior speakers, recessed inthe stagelip, and another fourin the balconies, provideauxiliary fills, as do anothertwo CQ-2 boxes for stackedleft/right frontfill and imagepull. Loudspeaker processing iscarried out by a Meyer SoundGalileo system.

For acoustic concerts, thespeaker clusters, which hangfrom motorised winches, arepulled up out of sight. Aconcealed announcementsystem, consisting of Tannoy Q-Flex units and recessed ceilingspeakers, is deployed when theline arrays are not in use.

Audio mixing anddistribution is handled by thelargest installed Midas andKlark Teknik digital network inthe world – based around fournetworked Midas PRO9 liveaudio systems. Ingvar Jónsson,technical manager of soundengineering at Harpa, explains:

“We are usually running thePRO9s as front-of-house,monitor and recordingsystems. We often use 60 or 70channels, almost filling up the80 channels available on eachsystem. There are usually twocompanies recording, thenational radio broadcaster andStudio Syrland, a localrecording studio, which isusually multitracking, usingthe Klark Teknik DN9650network bridge from AES50 toMADI. We also have a KlarkTeknik DN9696 high-definition audio recorder, andwe often multitrack the IcelandSymphony Orchestra with that.

“When we have a highchannel count, one of thePRO9s is used as a premixerwith the portable rack, then wehave a FOH, monitor andrecording console.

In a fortunate bout oftiming, Exton was able tospecify the PRO9 before it hadbeen officially launched; itschannel count was sufficientlyhigh for the venue’srequirements. “The originalsystem we looked at wouldhave already been outdatedwhen we opened the house lastspring, so the decision to gowith Midas was a really good

one,” comments Jónsson.”From a user point of view, theMidas system has beencompletely reliable since weopened.”

Chamber musicThe hall’s acoustic design wascarried out by Artec, and uses anumber of techniques to varythe hall’s acoustic behaviour.By far the most significant isthe use of externalreverberation chambers, whichcan almost double the space byoperating the 99 motorisedconcrete doors that connectthe chambers to the main hall.

“We haven’t had as muchtime as we would have liked towork with the chambers, so weare still figuring out how bestto use them,” admits Jónsson.“We are aiming more at low-frequency absorption, ratherthan high-frequency, becausethe curtain will take care ofthat down to about 500Hz.”

Eythorsson says he wassurprised by how thesechambers behaved: “When youthink about using amplifiedsound in these kinds of spaces,your intuition says you wantto have the least amount ofreverberation in the room.These chambers are designed

to increase the volume of theroom and so increase thereverberation. But what wefound was that we did not getthe best results when thedoors were closed. When youlisten to, say, the sound of akick-drum in the room, andthe doors to the chambers areadjusted by increments of onedegree, it’s quite amazing whatit does to the sound. It’s likeyou’re tuning the room

around the PA.“My intuition said that these

things would work either closedor open, but it doesn’t workthat way. If you go from 20º to21º to 22º – suddenly you havea tight kick drum. Then you goto 23º, 24º, 25º – it’s looseagain! It was absolutely mind-boggling to me – it was thebiggest surprise in the project –how powerful a tool thesemechanical controls are.”



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They may not be much to look at, but theacoustic chambers around the sides of theEldborg hall have a major role to play inadjusting the acoustic properties of the space



Other mechanical means ofvarying the hall’s acousticbehaviour are the use ofmotorised banners inside thehall and in the reverberationchambers, whose position canbe adjusted; and a 10-tonnecanopy, in two sections abovethe stage, which can be raisedand lowered.

Gunnarson describes thelighting setup in the halls:“Production lighting is basedon ETC dimmers and sensors.For house lighting control wehave the ETC Paradigm, andan AMX interface for the 19intouchscreens, that’scommunicating on Ethernetbetween the systems. TheParadigm sends feedback intothe AMX that levels have beenchanged, and mimics that onscreen. Then we have thelighting desks on the samenetwork, and they can controlthe house lighting as well.

“The lighting system isbasically as Artec described it,except that we used AMX as auser interface instead ofdedicated buttons. We have theAMX system turn on differentmodes in the halls – to lockout entry stations and thingslike that.” This approachprovides greater versatility inoperation; also, saysGunnarson, it’s easier tochange an AMX user interface(using software) than tochange dedicated buttons.

In the Eldborg there is anETC Congo lighting console,which can handle 6,000channels (with an ETC CongoLight Server for back-up). AnETC Wireless Focus Remotehandheld unit and an ETCRemote Video Interface controlallow control and programmingrespectively to take place awayfrom the console.

For stage lighting, there are480 dimmer channels, plus afurther 168 non-dimmingchannels. Among the 290fixtures are ETC Source Fours,ADB Warps, Selecon Auroracycs and Robert Juliat Aramisfollowspots. In addition, there

are 34 Martin TW1 and 32Martin MAC III Performancemoving heads. There’s also a20,000-lumen Barco FLM HD20 projector – one of three inthe complex.

As might be expected in abuilding of this size, there is adigital signage system mainly inthe public areas, comprisingaround 40 screens. This is usedfor wayfinding and roomidentification, as well as topromote forthcoming events,special offers in restaurants andthe involvement of sponsors.

Each screen has its own AMX-branded SpinetiX player. “Weput in a control layer on top ofthat to handle the scheduling,which uses software fromStinova,” explains Magnusson.

The signage system is insome ways complemented bythe IPTV system. An AMXIPTV system takes streamingvideo from encoders in each ofthe halls and distributes itaround 36 screens, distributedmainly in backstage areas,dressing rooms and offices.Any of five streams can be

selected on each display.During my visit to Harpa,

I’m lucky enough to attend twovery contrasting concerts in theEldborg hall: a Christmasconcert by Icelandic groupFrostrósir (the Frost Roses),featuring orchestra and choir,which shows the Meyer Sound

system off to great effect; and aperformance of Handel’sMessiah, using only the hall’snatural acoustics. Bothsounded great – which justshows how a well-designedauditorium and a well-designedsound reinforcement systemcan be mutually beneficial. IE

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. To read more about the Ateïs PA/VA system installedin the centre visit tinyurl.com/ateisiceland

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The digital signage system usesAMX/SpinetiX players, scheduled withStinova software

Solutions: Palacio de Comunicaciones, Madrid


Madrid’s Palace ofCommunications, built inthe early 20th century, was

originally the headquarters of the city’spostal and telephone services. In theearly 21st, it became the home ofMadrid City Council, which decided toconvert parts of the palace – some forCouncil use, and some to be opened tothe public for cultural activities.

One of the latter areas is the Galeriade Cristal (glass gallery), a large L-shaped space that was originally opento the elements but has recently beenfitted with a modular glass roof.However, before live events could beheld here, there was a serious problemto overcome – it suffers from anenormous reverberation time (over 14seconds), something to which the roofis a contributor. “I was walking alonehere once, and it sounded like someonewas walking behind me,” says SandraSerrano, managing director of DuranAudio Ibéria.

After previous attempts to tackle thisacoustic problem had failed, integratorAudiotel contacted Barcelona-basedconsultancy Audioscan, which in turncalled in Duran Audio.

Initially, the manufacturer carried outtests with two Intellivox-DS1608 high-power beam-shaping loudspeaker arrays

either side of, and just in front of, thestage area, at one end of the L-shape.Each is an array of 16 custom-designed,4in speakers driven by an eight-channelClass D amp. The arrays serve to steerthe sound away from the walls, greatlyimproving clarity and intelligibility.Using its AXYS DDA modellingsoftware, Duran Audio had predicted aSpeech Transmission Index (STI) ofmore than 0.5; during the test, theactual figure was 5.4 over the test area.The success of the test led to these twospeakers being permanently installed.

The arrays use Duran’s DigitalDirectivity Synthesis (DDS)technology, which the manufacturerdescribes as “an advanced, versatilearray control optimisation concept”.Using DDS, the desired direct SPLdistribution in a hall or space is usedto calculate the optimum output filterfor each array channel.

Following this successful outcome,the company was invited back to extendthe speaker system to cover the wholeof the Galeria. This resulted in threemore DS1608 arrays being installed inthe other section of the L: a pair near itscentre, and a single one towards the farend. The system produces a continuousSPL over a distance of about 70m. Asthe columns are slender and white, they

blend in well with the backgro und.Different presets have been created

for the different uses that the area isput to – such as music and speech.

Council chamberHaving established a successfulworking relationship with Audiotel,Duran Audio was invited to suggest asolution for another part of the Palaciocomplex: the newly completed CityCouncil chamber (Salon de Plenos) –previously a postal sorting office. Herethe recommendation was for twoIntellivox-DSX280 units to carry thesound from a Bosch conferencingsystem. Products in the DSX rangehave the same dimensions as their DSequivalents, but include a small hornarray. This extends the frequencyresponse to 18kHz, producing a widercoverage angle at high frequencies and,according to Duran, a more ‘hi-fi’sound. Each DSX280 contains 14 4inloudspeakers and four 1in dometweeters. Once again, the STIpredictions and results provedimpressive – the resulting STI rangingfrom 0.62 to 0.70 around the seatingareas.

That wasn’t the end of the Dutchmanufacturer’s involvement at thePalacio, however. One more room

required sound reinforcement – thenew auditorium. What was requiredhere was a more conventional solution,a small highly efficient line array.

For this, Duran Audio Ibériamodelled the auditorium utilisingthe Axys Target U-16 line array. Theseeach contain a vertical slotdiffraction HF horn coupled to a 1inneodymium compression driver,along with 6.5in low-mid drivers.They also contain the same DDStechnology as the Intellivox range.

In the auditorium, three U-16 boxeshang on each side. Front fill is providedby Axys Flex U12-G2 units. The FlexU12-G2 is a two-way unit consisting ofa 6.5in driver and a soft dome tweeter.

All of the speakers in the Palaciocomplex are on an IP network, sothat they can be managed centrally,or even remotely.

“The Palacio de Comunicaciones is agreat project for us to be involved in,”says Max Lindsay-Johnson, internationalsales and marketing manager at DuranAudio. “Not only is it a high-profilebuilding in the Spanish capital, it alsoprovides a showcase for three differentDuran Audio products.” IE

Shaped sound tackles reverbReverberation in a large covered space was a major acoustic issue until beam-shaping loudspeakersprovided a solution – and opened the way for other work in the same complex. Paddy Baker reports

AudioAll Duran Audio. Intellivox-DS1608 beam-shaping speaker arrays. Intellivox-DSX280 beam-shaping speaker arrays. Axys Target U-16 line array. Axys Flex U12-G2 loudspeakers

Installed

� www.audioscan.es� www.duran-audio.com

(L) The Galeria de Cristal, with one of theIntellivox DS1608 beam-shaping arrays (left ofpicture); (above and R) the Salon de Plenos,featuring the DSX280

Solutions: Evangelische Kirche, Wahrenholz


The Evangelische Kirche(Lutheran ProtestantChurch) in the parish

of Wahrenholz in northernGermany holds a variety ofevents over and abovetraditional services – livemusic and gospel have beenheard alongside spoken-wordsermons – and an audiosystem that could cope withsuch demands was needed.

The previous setup, installedin the mid-1960s as a ‘speech-only’ system, was not designedfor such varying use, so whenthe church had a gospel event,for instance, an external PAsystem had to be rented and setup – a method that was bothcostly and labour intensive.

To solve the problem.installation company Klartextwas called in to specify a newsetup that could cope with allof the requirements of amodern and forward-thinkinghouse of worship.

Due to its woodenconstruction, the room hasgood natural acoustics, with awarm reverb that soundsneutral over the acousticspectrum. Because of this, theinstallation didn’t need beam-steering or line-array speakersto achieve clear speechreproduction, but it stillrequired something thatwould allow for an impressivemusic performance. Needing asolution that would take all ofthis into consideration,Klartext engineers turned toTannoy’s V Series range.

In February 2011, Klartexttravelled to Wahrenholz to setup a testing system for aSunday service, using TannoyV12s as the main speakers,supported by V6 delayspeakers and finished off witha VS15 BP woofer placed nearthe altar. The test system wascontrolled by a TDX1 digitalcontroller, with the V12 instereo operation and the V6delay in mono setup (as thefourth output was used forthe sub). Klartext used bothAKG and Audio-Technicacondenser microphones fordifferent locations, to testtheir aptitude for the room,and they all worked well.

Before and after the servicethere was a thorough testingby the customer usingdifferent types of musicplayed from CD. The resultswere positive – even themusicians among the testingcrew were impressed with thesystem which provided clearaudio throughout the room.

In August, the order wasplaced with Klartext for the V

system installation ‘as testedin February’ – however, by thattime Tannoy had launched itsVX Series, the successor to theV Series range. As the churchdid not want to switch todifferent speaker types thathad not been tested with theroom, Klartext and Tannoylocated two V12 and two V6for the lower nave, andrecommended the use of thenew VX6 for the galleries.Thus, the look of the newsystem was not spoilt bydifferent speaker generationson the same floor. Notwishing to ruin the aesthetics

of the church, Klartextpainted the (originally black)V6 and VX6 speakers so theywould blend with the woodencolumns to which they aremounted.

Volker Gringmuth of

Klartext comments: “Wecompleted the installationwithin two days in late 2011,and since then, manysermons, music performancesand gospel services have beenheld at the EvangelischeKirche, with the combinationof both VX and V Seriesalways performing perfectly tothe customer’s fullestsatisfaction.” IE

Spreading the wordA Protestant church in northern Germany has updated its audio system to meet the demands of amodern congregation, writes James Christopher

Audio. Tannoy V6 and V12 speakers . Tannoy VS15 BP subwoofer. Allen & Heath iDR 8 digital audio matrix. APart Champ One amps. APart Champ 2 amps. AKG gooseneck mic. Audio-Technica AE 5100 mic

Installed

� www.akg.com� www.allen-heath.com� www.apart-audio.com� www.audio-technica.com� www.klartextgruppe.de � www.tannoy.com

About the installer

. Klartext is focused onthe creation of soundsystems for churches,convention centres,schools and more

. The company alsooffers solutions fordigital signage systemsin retail outlets, trafficsigns and billboards

. It employs nine staffand is based inSteinheim

Tannoy V12 and V6 loudspeakers line the nave

Solutions: Autostadt, Wolfsburg


Autostadt in Wolfsburg openedin 2000 and was Germany’sfirst automotive theme park.

It’s constantly being changed andupdated and is now offering a newapplication devoted to theopportunities of online communicationusing social networks.

Socialsphere, a new attraction thatwas opened in June 2011, is aninteractive project on an area of some300sqm within the customer centre –the space where people collect their newcars and have the opportunity to tryout some new experiences whilewaiting. The experience centre itselfoffers entertainment for the wholefamily, but this newly designed zone isparticularly aimed at the youngergeneration. Within the Socialsphere,social networks become accessible.Seven interactive visualisation zonestake visitors on an interactive journey tonew communication methods, allowinga playful and spatial approach to thenew types of communication on theworld wide web.

The Socialsphere consists of sevenstations with titles such as ‘Panoramas’,‘Snapshots’, ‘Quizzes’ and ‘Tag Cloud’,showing graphically designed pageswhich allow easy and playful handlingof new media.

The installation, which was carriedout by Diskowski Marine Electronics,uses seven Christie DS+10K-M 3-chipDLP projectors. The seven 4m x 4mscreens that make up theSocialsphere are arranged like apolygon, and each screen can becontrolled via an interactive ‘Info-terminal’. All control units as well asthe source equipment are installed ina central technical facilities room,and the operation terminals featuretouch monitors via which visitorscan navigate interactively throughthe application. Glass fibre cableswere installed specifically for thisproject to ensure rapid datatransmission.

The technical media department’steam at Autostadt GmbH opted forthe M Series 10,500 ANSI lumenprojector with SXGA+ (1,400 x 1,050)resolution based on the positiveexperiences they had already hadwhen working with Christie products.What turned out to be decisive wasthe relationship between procurementcost and operating costs, as well asoperating security – crucial for devicessuch as these which are in use formore than eight hours on 364 days ayear, logging approximately 4,500annual operating hours.

The projectors were fitted ontopurpose-built wall mounts high abovethe audience with a projection distanceof some 6.6m. In order to achieve therequired image format of 1,050 x 1,050pixels per screen, the image was shiftedextremely. To precisely reproduce thesquare image format, Christie Twisttechnology was used. Now embeddedin the M Series, it can warp and matchimages easily.

To fix the projectors, Christie’s ownstacking frames were used, which madeit easier to configure the whole systemand saved time as it was possible toalign the projectors in all axes.

Three technicians were usually onsite for a period of approximately twomonths in order to install the wholeSocialsphere, including the control andaudio technology. It proved to beuseful that Diskowski has experience ofworking at the Autostadt since 2006.

Apart from projects in theAutostadt, Diskowski MarineElectronics AG predominantly equipsmarine vessels, including major cruiseships. “It is also there that we use

Christie projectors again and again. It’ssimply that they provide a first-classimage,” says André Dohse, boardchairman of Diskowski MarineElectronics, in conclusion. IE

Auto connectGermany’s first automotive theme park is bringing people together with a new project that combinesaudiovisual technology with social networking, writes Tom Bradbury

� www.christiedigital.eu � www.diskowski-marine.de

Installed Video. Christie DS+10K-M projectors

Seven 4 x 4m large square screens arearranged like a polygon in Socialsphere

About theinstaller. Diskowski Marine Electronicsspecialises in equipping shipswith video/audio entertainmentsystems, from cinema systemsand broadcast studios tosecurity and surveillance kit

. The company offers a fullservice from conception anddesign to fabrication, testing andinstallation

. Recent commissions includeprojects for SeaTruck Ferries, theGerman Navy and Disney Cruises

. Aside from marine projects,clients include hotel chains,education establishments andprivate clients

Visitors navigate through the applicationvia ‘Info-terminal' control units


Solutions: Media Centre, St Andrew’s House, Edinburgh

St Andrew’s House, theheadquarters of the Scottishgovernment, is where journalists

are briefed on governmentannouncements via the facilities in theMedia Centre. This being the case, it isessential that the media can acquireclean audio signals, that those in thecentre can hear everything with clarity,and that archive recordings can be made.

It was this need that led to the recentupgrade of some of the key audiovisualcomponents in the centre. Electrosonicwas charged with refreshing essential

presentation equipment in Media 1(which seats 70), Media 2 (a smallbriefing/meeting room), a preparatoryGreen Room supporting Media 1 and 2,a back-projection room, and a controlroom. The centre now has the ability torun presentations, record proceedingsand relay images to an adjacent room.

Refreshing changeMedia 1’s automatic/manual audiosystem has been equipped with twoPolycom C16 SoundStructure units forprincipal routing and mixing, along with

a Soundcraft EPM12 for manualcontrol. Media 1’s stage lighting is LEDbased and controlled by an ArtisticLicence preset control panel.

Each Media 1 speaker position isequipped with an beyerdynamicMPR211 controlled pick-up line arraymicrophone. A Polycom HDX mic array(for overall pick-up) and beyerdynamicOpus 650 radio mics are also on hand.

Media 1’s most important display isthe rear-projection screen which is builtinto the stage setting. The screen is a dnpNew Wide Angle model, used inconjunction with a Barco RLM W8projector behind it. The room is flankedby three Vaddio Wallview 50 remotecontrolled cameras. Other video inputsinclude two Roku Brightsign HD videoplayers. The system also includes anExtron MGP picture-in-picture processorto allow the presentation of multipleimages. The projector receives its imagesas DVI from an Extron DXP84 matrix.

Media 2 contains one Vaddio Wallview50 remote controlled camera, as well asan interactive 70in LCD monitor(SMART Technologies/NEC SB8070i),which can be used to relay proceedingsfrom Media 1. There is also an NEC 46inLCD monitor in the Green Room.

Carolyne Thomson, Scottishgovernment project manager, said ofElectrosonic : “They listened to what wewanted to achieve and they came upwith some very good ideas. They workedhard and we are happy with the results,which exceeded our expectations.” IE

Fulfilling the briefAfter more than a decade of service, the AV set-up in the Scottishgovernment’s media centre was in need of a refresh, writes Tom Bradbury

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Installed Audio. beyerdynamic MPR211 microphone. beyerdynamic Opus 650 radio microphone. Polycom C16 SoundStructure. Polycom HDX mic array. Soundcraft EPM12 mixer

Video. Barco RLM W8 projector. dnp New Wide Angle projection screen. Roku Brightsign HD video player. Vaddio Wallview 50 camera. Extron MGP picture-in-picture processor. Extron DXP84 and CrossPoint 450 matrixes. SMART Technologies/NEC SB8070i display. NEC 46in LCD monitor. AMX NI-4000 controller

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Communications

Dedicated to Europe’slargest display of whatare broadly known in

English as street organs, theMuseum Speelklok wasfounded in 1956 in Utrecht,the Netherlands. In 1984 themuseum acquired a largechurch, whose beautifullyrestored interior houses thestreet organ collection in largeside galleries, with smallerpieces displayed in cabinets ona balcony.

Visitors are given a guidedtour with explanations of eachorgan’s backstory. Some of thepieces – which range fromhand-cranked barrel organs tovast, room-filling,mechanically driven multi-instrument extravaganzas –rate among the world’s firstand finest digital instruments.They are programmed by theequivalent of computer punchtape, a long strip of toughpaper dotted with differentlyshaped holes that the organ’s‘tape reader’ translates intoinstruments, notes, ‘channel’volume and so on.

Says Dirkan Haspels, headof events at the museum:

“During the guided tours, theinstruments are lit up – theystart to play. You could saythat we’re the museum formechanical music. We have avery broad collection ofautomatically playing musicalinstruments. As there are nota lot of museums thatspecialise in this field, we’rethe biggest of our kind in the world.

“All the instruments we haveare real instruments, there’snever a loudspeaker: youalways hear a string or a bell,an organ pipe or whatever.Throughout the history ofthis museum we have verymuch been against all sorts ofamplifiers and loudspeakers,because that is the enemy ofwhat our instruments didbeforehand. When amplifiersand loudspeakers wereinvented, the instruments inour collection sort of lost theirvalue because very smallloudspeakers could make thesame sound and many othersounds as well. So from thebeginning there has neverbeen a loudspeaker in thismuseum.”

However, all that changedrecently as the result of aninspired idea to utilise thevacant nave as a liveperformance space calledMuseum Podium Speelklok.Prior to this these central areaswas rarely used due to theirpoor acoustics and the factthat it proved a prohibitivelyexpensive area to heat. ARenkus-Heinz IC Live PA,installed by TM Audio, is nowhelping to address the manyacoustic issues.

Museum Podium Speelklokwas created to let well-knownDutch artists perform incombination with the magicalself-playing instruments of themuseum’s collection. As thevenue’s website puts it: “Every

performance is unique andnever [to be seen] again. Theseexciting daring crossovers willgive an extra dimension toMuseum Speelklok, on top ofvisiting the exhibition and theRestoration Workshop.”

A few years ago the museumteam hit on the idea ofoffering items from itscollection for livecollaborations with musicians.Continues Haspels: “We foundthat co-operating withmusical artists to create showsusing instruments from thecollection brings a whole newaudience to the museum. Wedid it on stages, in theatresand at festivals – including theLowlands, which is a big onein Holland.

“Because lots of theinstruments we have can beprogrammed by our ownspecialist arrangers, we canmake an organ play what wewant it to play. They can stripmusic to an organ, a barrelorgan, a pianola or a musicalbox or whatever.

“For us the shows were agreat success because lots ofnew audiences came to seeand hear the instruments andsaid ah, an organ doesn’t onlyplay Tulips from Amsterdamor the Amsterdam Canalsor whatever – they can alsoplay new music like hip-hopand jazz. And that openedtheir eyes.”

The next, logical step wasto bring the performances

Solutions: Museum Podium Speelklok, Utrecht


A new tuneA beautifully renovated museum boasting Europe’s largest collection of street organs has transformed itscentral space into a live performance area, attracting top Dutch artists, writes Tom Bradbury

Audio. Renkus-Heinz ICL-R digitally

steerable columns. Renkus-Heinz IC215 subwoofers. Renkus-Heinz CF121M2 monitors. Allen & Heath iDR8 digital mix processor. DBX 1046 quad compressor. Denon DN-C620 CD/MP3 player . XTA GQ-600 graphic equaliser . Yamaha 01V96 console

Installed About the installer. TM Audio imports, supplies and installs professionalaudio systems to a wide range of customers

. Key areas of business are theatres, clubs, festivalsand the rental sector

. Along with sister companies Pixel Source and Lightco,TM Audio recently moved to new offices in the buildingof the Ampco Flashlight Group, Utrecht

The nave area was previously unused due to its poor acousticsPictures: ML Media 2011

CEDIA is the international trade association representing the home electronic systems industry.

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H o m e T e c h n o l o g y , P r o f e s s i o n a l l y I n s t a l l e d

to Museum Speelklok itself.Having secured funding of€1.5 million from the DutchBankGiro Lottery, the firstpractical move was toacoustically treat the space toreduce its huge reverb time.

Technical transformationThat achieved, attentionturned to technical matters.“Then we started totransform this part of thechurch into a concert hall,”continues Haspels. “A lot ofpeople advised me because Ihave no clue how this sort ofthing works, so there wereacoustics people, lightingand, of course sound systempeople. Several sound systemswere put inside the church totest. The system that wechose – I wasn’t the only oneto choose; there weredifferent people who came tolisten – is the one that youcan see right now. In fact it isquite hard to see, whichmakes me happy; just twolittle columns and some subsunderneath. It is only sincethe system has been in herethat it has been possible to beon stage, to have amicrophone and to talk, andto have 500 people listeningwithout any problems. We’vetried that many, many timesbefore with lots of differentsystems and it never worked,so we’re very happy now.”

The IC Live system consistsof four eight-channel Renkus-Heinz ICL-R digitallysteerable columns, configuredas one double stack per side,mounted atop matchingIC215 2 x 15in self-poweredsubwoofers. These take theirsignal via RHAON (Renkus-Heinz Audio OperationsNetwork) from a 16-channelYamaha 01V96 console16in/32m with an Allen &Heath iDR8 digital mixprocessor. The stage is

covered by four Renkus-HeinzCF121M2 12+2in self-powered monitors.

Additional kit includes aDenon DN-C620 CD/MP3player with AES, an XTA GQ-600 2 x 30 band graphicequaliser and a DBX 1046quad compressor. Onoccasions when an organneeds amplifying, multipleoverhead mics are deployed topick up every nuance, and avariety of mostly Shuremicrophones is available formic’ing both performers and,when necessary, themuseum’s collection.

TM Audio project andapplication engineer Olaf

Landzaat comments: “Mic’ingan organ is interesting,because basically what youhave is a complete band in2sqm; you need to amplify itlike a band, only you’remissing the vocals. The bandis inside a small box so it isdifficult to amplify it becauseall your microphones have tobe placed very close together;you have a lot of differentinstruments producing a lotof different frequencies, soyou need a lot of instrumentmics to get it right.”

He adds: “The IC Live dealt

with the remaining acousticalissues – because it is a church,it has a very bad acoustics foramplified performance. Withconventional loudspeakersyou get a lot of reflection soyou can’t hear speech ormusical instruments clearly.With the IC Live you canprogramme them to createyour focus points, and youcan manipulate the beams toreduce reflection. That isbasically the main reason whywe use them, to get as goodspeech intelligence and soundas possible.” IE

Solutions: Museum Podium Speelklok, Utrecht


� www.allen-heath.com � www.dbxpro.com � www.denon.co.uk� www.renkus-heinz.com � www.xta.co.uk � www.tmaudio.nl� www.yamahacommercialaudio.com

Four Renkus-Heinz ICL-R digitallysteerable columns sit atop matchingIC215 2 x 15in self-powered subs

FOR MORE INFORMATION

or Michael Mitchell at +1 631 673 3199, [email protected] further details on how you can promote your business and network with keydecision-makers at this unique TVBEurope event

Who should attend?

Chief Operating Officer; Directors of

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Head of Production; PProduction

Resources Manager; Senior Sound

Supervisor; SSenior Director; Head of

Cameras; CChief Engineer; Programme

Operations Manager; PProducer; Director

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New technologies and workflows behind big live/as-live TV productions

It’s… A new initiative that providesthe framework for a distributedCloud-based control system.

Details: Collaborating with leading

manufacturers of commercial andhome electronics products,Crestron is embedding its controlplatform intelligence in a wideselection of source equipment and

display devices such as Blu-rayDisc players, flatpanel HD TVs, andaudio/video receivers.

Products with CrestronConnected inside can be easilyconnected to any home orenterprise network using standardEthernet cable. They can also bemonitored, managed andcontrolled from any web-enabledlaptop computer or mobile device,with no programming required.

According to the company,Crestron Connected is an easy toimplement out-of-the-boxsolution: users need only open asecure web page and every deviceon the network is instantly

displayed. Crestron Fusion RV isthen used to monitor, manage andcontrol all electronic componentsin any room at any location aroundthe globe. Integrators and ITmanagers can get instant text oremail notifications if, for example,a projector lamp fails or a deviceloses power.

And also: Devices that featureCrestron Connected can connectdirectly to the network from itsEthernet port. With plug-and-playand auto-discovery support, theneed to program a centralprocessor to translate differentlanguages is effectively eliminated.

www.crestron.com

We present our choice of new products for the installation market, many of which will be at ISE 2012

New this month

Crestron

Crestron Connected

Product Choice


It’s… A complete range ofwoofer and mid-woofer driversincorporating traditional ferritemagnet construction.

Details: The Ferrite range offers31 new speakers as a lower-costalternative to FaitalPRO’s existingneodymium models. The12HP1030 (pictured), 15HP1030and 18HP1030 are 12in, 15in and18in woofers with demodulatedferrite motors offering maximumpower handling of between1,000W and 1,200W (nominal). Allincorporate two non-adjacentsymmetrical spiders with variableheight waves for maximum controlon the entire excursion even at thehighest power levels.

The 12HP1010, 15HP1010 and18HP1010 offer slightly lower powerhandling of between 700W and1,000W (nominal). The 12FH510,15FH510 and 18FH510 are loweragain in terms of power handling –at 500-600W – but like othermodels in the Ferrite range offersensitivities up to 98dB.

And also: Ferrite models aredesigned for use in a range ofenclosures including line arrays,entry-level horn systems, front-loaded reflex designs andsubwoofers.

FaitalPRO

Ferrite

It’s… A retractable monitordesigned to be integrated intomeeting, board and conferenceroom tables and reception areadesks.

Details: Dynamic 3 is available intwo versions – manual andmotorised – and provideshorizontal and vertical movementsand a tilt of 180º. It incorporatesan electronic board capable ofdetecting the screen position andflipping the image accordingly. Thesystem can integrate a keyboardand mouse as options as well asmicrophones for audioconferencing applications. The180º motorised rotation functionallows the screen to be seen from

different angles and so enablesinformation to be shared withseveral people. The monitor can bestored with the screen facing up ordown and a motorised tray isincluded to optimise space.

And also: Available in 17in and19in versions, Dynamic 3 can bemanually or remotely controlledvia AH Net.

Arthur Holm

Dynamic 3

Clockaudio

CW-200

www.arthurholm.com www.faitalpro.com

www.clockaudio.com

PRODUCTOF THEMONTH

It’s… A pendant speaker fromCommunity’s Distributed Designrange of ceiling and surface-mounted models.

Details: Using similarcomponents to the D6 ceilingmodel, the DP6 pendant speakeris said to offer superior soundquality and exceptionalintelligibility. A true coaxialloudspeaker with an HFcompression driver, the DP6incorporates Community’sCarbon Ring Cone technologyand a Tru-Phase high-frequencywaveguide for consistent, widedispersion up to 16kHz.

Uniform voicing makes itpossible to combine models fromthe entire Distributed Designrange of ceiling, surface andpendant mount loudspeakers in asingle installation offeringconsistency from zone to zone.

The DP6 is equipped with abuilt-in autoformer, allowing thespeaker to deliver full output andperformance with 70V or 100Vdistribution lines. An easilyaccessible selector switch on theface of the loudspeaker makes itsimple to choose between 8-ohmor 70V/100V operation, while theintegrated rear cover concealswiring and hanging hardware for aclean installation. Two 4.5m tensilegalvanised steel wire ropesuspension cables with integratedspring clips are included.

And also: Available in standardblack and white finishes, theDP6’s contoured, contemporarypendant form factor is said to besuitable for restaurants, bars,hotels, ballrooms, casinos, retailand commercial establishments.

Community

DP6www.communitypro.com

It’s… A plug-and-play dual-channelwireless conferencing system.

Details: The CW-200 is describedas an affordable, easy to deployand operate solution forelementary, occasional or portableconferencing applications. Thesystem comprises two boundarymicrophone transmitter units anda dual-channel UHF receiver. Thereceiver and transmitter areoperable over 32 selectable

frequencies for each channel andfeature auto scan and lock toprovide interference-freetransmission on the availablefrequencies. Adjustable ‘Noise-Lock’ squelch and RFI shieldingtechnology reduce environmentalRF noise and signal interference.The transmitter units incorporatetwo half-cardioid electret capsulesto provide coverage for two tothree delegates at the table.Infrared upload from the

transmitters tothe receiver sync power on/off andfrequency selection settings.

And also: The multi-functionLCD displays on the transmitter

unit enablemonitoring of frequencyselection and signal conditions,and controls on the receiver canbe locked out.

Product Choice


www.teracue.com

It’s… A HDMI oversingle Cat5e/Cat6system comprisingtransmitter (1T-CT-651 – pictured)and receiver (1T-CT-652).

Details: Coupled together, the unitsemploy HDMI v1.4 capability andTV One’s HDBaseT 3Playtechnology to allow transmissionof uncompressed, 1080p high-definition television signals over asingle Cat5e or Cat6 cable.

HDMI v1.4 signals – including3D and 4K x 2K formats – aresupported, and the system willallow DVI signal transmission withappropriate DVI-to-HDMI cableadapters. In addition, embedded

7.1ch LPCM, Dolby TrueHD andDTS-HD Master Audio capability isstandard. The 1T-CT-651/1T-CT-652system can achieve signaldistribution distances of up to100m (325ft) for uncompressed1080p signals without signaldegradation.

And also: Both units feature TVOne-task locking power connectorsto enhance overall systemmechanical security.

www.tvone.com

TV One

1T-CT-651/1T-CT-652

It’s… A DIGIMICcontrol console suitable for smallmicrophone systems formanagement boards, supervisoryboards and discussion sessionswith recording facilities.

Details: The system is designed toaccommodate up to 25microphone stands but can beexpanded using the DExt(extension) power supply tosupport additional stands. Thecontrol console may be used inconfiguration-free mode, making itready for operation ‘out-of-the-box’ without a computer. It offersthree key operation modes –AUT3, Float, VOX – and includes ahighlight with its voice-controlledmicrophone activation feature.

A chairman controls the systemvia the microphone unit and canintervene in the debate via themute key. The system can also beremote-controlled via LAN ordirectly via PC, including bothwireless and tablet-controlledoperation. Together with theDIGIVOTE interactive votingsoftware, DCen mini allowsinteractive opinion polling directlyvia a PowerPoint presentation andprovides for integration of wirelessVD30 DIGIVOTE units.

And also: DMicControl softwareenables individual microphonecontrol via a touchscreenshowing a geographical layout ofthe delegate microphones.

www.digimic.de

Brähler

DCen mini

It’s… A new addition to Canon’shigh-performance XEEDinstallation projector range.

Details: The WUX5000 combines5,000 lumens brightness with arange of Canon lens options andfeatures designed to makeinstallation as easy as possible.

The unit is compatible withthree different lenses: a standardzoom lens for most typicalinstallations, a telephoto zoomlens for larger environments and awide single-focus lens, which canbe used for rear-projectionapplications. All areinterchangeable with theWUX4000 and offer image sizes ofbetween 40in and 600in, amaximum throw distance of 48.5m

and virtually no reduction inbrightness, even when using thelong zoom or single-focus lensoptions.

LCOS panels combined withWUXGA resolution provideseamless images without‘rainbow’ and ‘lattice’ effects.

And also: The WUX5000incorporates a motorised lensshift, allowing the installer toreposition the display using eitherthe projector’s control panel or theremote control handset. Imagescan be adjusted to within 0.5pixels vertically and horizontally.

www.canon-europe.com

Canon

XEED WUX5000

Chief

Raxxess serieswww.chiefmfg.com

It’s… Three new additions toChief’s rack product line.

Details: The G1 Series gangablerack (pictured) and the W1 and W2Series on-wall racks continue theRaxxess series’ aim of offeringextra rack space and easyinstallation. The G1 Seriesgangable rack includes featuressuch as pre-welded ganging nutsand easily accessible hardware,giving installers the ability to gangracks after components areloaded. Other user-friendlyfeatures include adjustable frontand rear rack rails and optionaldoors that are reversible.

The W1 and W2 racks securelyattach to any type of wall. W1Series hinged wall racks swing out from the wall on either sidefor easy access to cabling, whilethe W2 Series is rated to hold upto 150lb.

And also: Complementing thisseries is a full line of accessoriesthat can be used universallyacross all rack solutions. The lineincludes thermal managementaccessories like the new 1U fanpanel and filtered fan to protectequipment from dust.

It’s… A compacthardware encoderfor digital signagestreaming applications.

Details: The ENC-300-Portableoffers MPEG-4 streaming and IPTVencoding of digital signage players,allowing HD content to be sent liveover the IP network or the internet.The H.264 SD/HD video encoderprocesses DVI with analogue audioand HDMI with embedded audiosignals. Streaming of videoresolutions up to Full HD format ispossible.

In digital signage applications,the output of a digital signage PCplayer is captured by the ENC-300encoder, allowing advertising andinfotainment content to be

transmitted tohundreds oftelevision sets or toPC users. In hotelcasinos, for example, selecteddigital signage content from thecasino can be provided as additionaltelevision channels in hotel roomsvia the IPTV system.

And also: Playback of HD signagecontent is possible on cost-effectivestandard IPTV set-top boxes, such asthe Amino 140 series. An individualvideo data stream can be sent to asmany end devices as required byusing multicast stream transmission.

Teracue

ENC-300-Portable

www.iseurope.org

The No.1 show for professional AV and electronic systems integration presented by

ISE 2012 attendees represent every link in the communications business value chain. With manufacturers, distributors, integrators, specifiers and technology managers from over 100 countries walking the show floor, you’re bound to meet new contacts to help you grow your business. If they’re industry people worth knowing, you’ll find them at ISE 2012.

Meet. Greet. Network.

Platinum Sponsors:

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the PeriodicalPublishers Association

. Duffy Wilbert discusses PAMA’sfocus on IP infringement issues

http://tinyurl.com/IEDuffyPAMA

Q&A


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ONLINE EXTRAS

Active Audio 28AKG 9Albiral 40apantac 44ASL 35Ateïs 4Audipack 42Barco 17BenQ 46Black Magic Design 13Bosch 26Braehler 23CEDIA 52Clear-Com 48Crestron Front cover, 37Dexon 3DIS 6Faital 30Fast Turnaround TV 54Fohhn 43Gefen 42Hetec 23HumanTechnik 28InfoComm 50InOut 18Integrated Systems Europe 57Kramer 53Lightware 2, 32-33Meyer Sound 11Mitsubishi Electric 24QSC 5Rane 49RGB Spectrum 10Sennheiser KG 14Sennheiser UK 34SmartMetals 7Sommer Cable 39Soundcraft 20Taiden 59Tannoy 8, 31Televic 45TLS 16TOA 41TV One 19Vision 56Vogel’s Outside back cover

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Installation Europe is published 12 times a year by Intent Media London, 1st Floor, Suncourt House, 18-26 Essex Road, London N1 8LR, EnglandCirculation and subscription enquiries Tel: +44 (0)1858 438786 Fax +44 (0)1858 434958 Intent Media 2012, Tower House, Lathkill Street, MarketHarborough, Leics LE16 9EF, UK Editorial tel +44 (0)20 7226 7246 Sales tel +44 (0)20 7354 6000 Editor Paddy Baker [email protected] Managing editor Joanne Ruddock [email protected] Staff writer James [email protected] Designer Claire Brocklesby [email protected] Sales manager Ian Graham [email protected] executive Les Wood [email protected] US sales representative Michael Mitchell +1 631 673 3199 [email protected] Senior production executive Alistair Taylor [email protected] Production executive Florence Beaumont [email protected] content manager Tim Frost [email protected] Publisher Steve Connolly [email protected] Managing director Stuart DinseyContributors George Cole, David Davies, Simon Duff, Nigel Lord, Ian McMurray, Steve Montgomery, Bob Snyder Special thanks this issueSverrir Hreidarsson, Winnie Leung, Max Lindsay-Johnson, Sandra Serrano © Intent Media 2012. No part of this publication may bereproduced in any form or by any means without prior permission of the copyright owners. Printed by Headley Brothers, UK

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How did you come to be involved withPAMA as its executive director?I am senior vice president of memberservices for InfoComm, and about twoyears ago PAMA approached us andexplained their desire to expand andmove forward. They asked InfoComm toprovide some management services andwe agreed, although PAMA is still acompletely separate organisation with aseparate board and a separate budget.

My own background prior toInfoComm includes 14 years at SonyCorporation, latterly as head of businessoperations for the pro group. Thisexperience means that I have a prettygood understanding of howmanufacturers work!

What can we expect from PAMA’sFuture Trends Summit panel session,‘The Future of Audio Networking:Reality & Potential’, at ISE on 30January?The focus will be on the future andexpansion of networking beyond justaudio networking. While PAMA is anaudio manufacturers’ alliance, issuessurrounding interoperability and

networking go into numerous otherareas. So I think you will hear plenty ofdiscussion about likely developmentsover the next few years and how, forexample, audio and video are going tobe brought together.

We have a great line-up of panellists,namely: Matt Czyzewski, vice presidentbusiness development, Biamp Systems;Richard Zwiebel, vice president systemsstrategy, QSC; Graham Hammel,director system development andintegration group, Harman Pro; KlasDalbjorn, product research manager,Lab.gruppen; and John McMahon,executive director digital products,Meyer Sound.

How do you perceive the emergenceof AVB (audio/video bridging)? Doyou sense an emerging consensusabout its role in the future ofnetworking?Many of our members are proponents ofAVB and have signed on to that, butthere is still some debate both withinPAMA and elsewhere about what form

the platform should take. Don’t forgetthat PAMA represents 15 audiocompanies – very large ones, for sure, butthere are probably at least 500-600 audiocompanies worldwide. Dealing withinteroperability extends far beyond asmall group, and that’s where thechallenge lies.

Aside from networking andinteroperability, what are the mainissues preoccuping PAMA members?There is certainly a lot of discussionabout new standards, like EN54 inEurope and NFPA 72 in the US. Peoplewant to find out how they areproceeding and what impact they arelikely to have. Sustainability is another

major focus with issues such as standbypower consumption on audio amplifiers.

Does PAMA elicit the input ofintegrators during its researchprojects?We recently undertook a survey oninteroperability that went out to over36,000 people, and I would estimate thatabout 50% of those were integrators.Moreover, integrators constituted about90% of the respondents. The projectprovided an opportunity for theiropinions to come through, and it’s clearthat there is a desire to know what thecommon language is going to be thatwill get the audio amplifier to talk to thevideo system, and how we will controlthat. Questions from the survey have fedinto the panel session taking place at theFuture Trends Summit.

Do you expect PAMA to expand furtherin the future?I think the group will continue to growas time goes by. IP issues aren’t likely togo away, while the continuingproliferation of standards will have animpact on how products are made andhow they perform – so there will remaina need for this kind of unified front. Wealso have a proactive approach towardsrecruiting new members. While it’s greatas executive director to go out and talkto companies, the value proposition forPAMA is when someone from companyA goes and talks to company B andexplains the value that they are gettingfrom their involvement. Ultimately, morecompanies equals more strength innumbers, as well as helping to improvethe value of the conversation.

I’ve been impressed by the level of co-operation I’ve witnessed in PAMA.While each company is very protective ofits own business, its own IP, there isundoubtedly a great realisation of theneed to work together to continue topromote pro audio. That has to be goodnews for the industry as a whole. IE

. Duffy Wilbert was speaking to David Davies.

Duffy Wilbert, PAMA/InfoComm

The executive directorof the ProfessionalAudio ManufacturersAlliance discusses thegroup’s evolving roleand its involvement inthe Future TrendsSummit at ISE 2012

‘There is still somedebate about whatform the AVBplatform should take’

Strength in numbers

� www.pamalliance.org� www.iseurope.org

Documents

IE February 2012