Welcome to the

JUNE 2020
issue of

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 JUNE 2020 // VOLUME 38 // ISSUE 6 svconline.com

SOUND&VIDEO
CONTRACTOR
R E V I E W S | T E C H N O LO GY | A P P L I C AT I O N S

PRODUCT-AT-WORK
SIGNAL
DISTRIBUTION

REMOTE RESILIENCE
EVERYTHING IS A VIDEOCONFERENCE
TECH SHOWCASES
*  ACOUSTICS AND SOUND MASKING
*  MIXING CONSOLES AND AUDIO
PROCESSORS
 contents JUNE 2020 // VOLUME 38 // ISSUE 6

34

6 | O n the Circuit
FEATURES By Chief Editor Cynthia Wisehart

Tech Showcases

32 | R emote Resilience: Everything 12 | Acoustics and Soundmasking

is a videoconference By Bennett Liles

Pro AV tools —from soundbars to

production switchers—are powering our
professional and personal lives.
41 20 | Mixing Consoles and Audio
Processors
By Mary Bakija

The SVC Interview Audio Expertise

34 | F rontline Communication 30 | Z oom(ing) Better Audio with
With Bennet Liles
Greater Baltimore Medical Center
32 Pro Hacks
By Steve La Cerra
depends on livestreaming to communicate
with employees and the public Supplements
41 | Supplement: Signal Distribution
Sound & Video Contractor, Volume 38 Issue 6, (ISSN 0741-1715) is published monthly by Future US, Inc., 11 West 42nd Street, 15th floor, New York, NY 10036.
Periodical Postage Paid at New York, NY, and at additional mailing offices. Postmaster: Send address changes to Sound & Video Contractor, PO Box 8608, Lowell,
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40612608. Canada return address: Pitney Bowes International, P.O. Box 25542, London, ON N6C 6B2. ©2020 Future US, Inc.

4 SVC | J UNE 2 0 20 | SVCONLINE . CO M

 on the circuit
N
ecessity is the mother of the videoconference.
AV has always been there. Much of what we
are doing now to survive—both professionally
and personally-we could have done before.
In some cases remote and virtual
experiences are a poor substitute, so we naturally preferred
the bricks and mortar. But other things will suit some of us
better. My high schooler likes remote school and wishes it had
always been a part of her scene—not all remote, but some. My
yoga studio has realized they’ve invented a solution to their
continually sold out studio classes; they’re looking forward to
keeping the new revenue stream. I may never go to the grocery
store again. Instacart was always there. How did I miss that?
AV has always had to deal with some form of reluctance to
By Cynthia Wisehart adopt. We can explain the benefits of AV to people, but we can’t
understand it for them. That’s just a reality and part of natural
reluctance to change--being too busy to change, or being paid
to do things a certain way and not wanting to rock the boat.
Now the boat is pitching and yawing. We have had to change.
So in the last two months—has it only been two months?—AV
is a lifeline for so many, even as our own lifelines—live sound,
theme parks, museums, theaters, restaurants, and stadiums
are painfully, temporarily, out of reach--and much missed by
the entire world.
I look everyday for projects that can still go forward—
SoFi Stadium in my hometown will soon be one of the most
impressive venues of any kind in the world, and one of the
biggest digital communication platforms ever built. Dodger
Stadium, which I can see from my house on a clear day (we’ve
had a lot of those), will reopen reimagined. The plan to support
its role as a live sound venue looks pretty spectacular.
It’s a strange time of so much pain and so much potential.
Sorrow and gratitude, optimism and frustration. The pain in live
sound is extra real in my family due to my brother in law being
Live Nation. And if I think about it, I can become desperate
for things I love, things that are still awhile from coming back.
Sometimes I just binge watch old concerts on YouTube and have
a cry (and sometimes a laugh).
Find me
I hope everyone’s balance is bearable, and if it’s not, I hope
it will become so. I hope we will all have the strength we need
online
to hang on, to be of service as possible, and to get to the
opportunity and potential to come--in world that really, really
needs what we do.
cynthia.wisehart@
futurenet.com
www.svconline.com/proav-
today and
www.rebelmouse.com/
SVC_Online
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6 SVC | J UNE 2 0 20 | SVCONLINE . CO M
Vol. 38 No. 6 June 2020
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CONTENT
VP/Content Creation Anthony Savona
Content Director Cynthia Wisehart,
cynthia.wisehart@futurenet.com
Contributors Bennett Liles
Managing Design Director Nicole Cobban
Production Managers Nicole Schilling, Heather Tatrow
ADVERTISING SALES
VP/Market Expert, AV/Consumer
Electronics & Pro Audio
Adam Goldstein, adam.goldstein@futurenet.com,
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307-222-6950
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845-414-6791
Debbie Rosenthal, debbie.rosenthal@futurenet.com,
212-378-0465
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845-678-3752
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 the buzz
CASE STUDY / AIRPORT OPERATIONS
VISUAL OPS
Dubai International (DXB) in the United
Arab Emirates is the world’s busiest airport
for international passenger traffic, handling
more than 88 million passengers a year. It is
the third-busiest airport in the world by pas-
senger traffic. The airport is the home base
of Dubai’s international airlines, Emirates air-
line and flydubai. There are over 7700 weekly
flights operated by 80 airlines to over 240 des-
tinations across all inhabited continents.
Dubai Airport’s new Airport Opera-
tions Control Centre (AOCC) houses sev-
eral teams managing airport operations 24/7.
Dubai audio-visual integrator Aesthetix was
appointed to design and integrate a state-
of-the-art audio-visual solution for the new
AOCC control room. The objective was to pro-
vide a user-friendly, flexible video wall
solution for operators to view live visu-
als and data for monitoring and col-
from the wire laborative decision-making.
For more case studies, visit
svconline.com/the-wire.
The AOCC MediaWall-based
8 SVC | J U NE 2 0 20 | SVCONLINE . CO M
video wall centralizes an extensive
volume of visuals and data to enhance
situational awareness. Operators can
collaboratively view information for
daily management and planning.
The MediaWall V processor receives input
from surveillance cameras, and computer sys-
tem displays covering dynamic flight informa-
tion, passenger and baggage status, check-in
and boarding information, weather, access
control and other data. The MediaWall V pro-
cessor consolidates these diverse sources and
displays them in windows of any size, any-
where on the video wall array. The processor’s
advanced features include overlapping images,
window borders and titles, and pan and zoom,
allowing an operator to view items of particu-
lar interest.
Aesthetix selected RGB Spectrum’s Medi-
aWall V 4K display processor to power the
AOCC’s massive 55 screen video wall with an
eye to image quality, real-time responsiveness
and embedded architecture, which reduces the
vulnerabilities of hacking and tampering of
PC-based processors.
The processor is controlled by RGB Spec-
trum’s VIEW Controller, which simplifies
the video wall operation. The VIEW Control-
ler’s intuitive graphical user interface (GUI)
provides easy “drag and drop” selection and
routing of any source. Live thumbnails of
all sources provide visual aids for managing
workflow. Sources can even be previewed prior
to routing. Operators can choose from up to 60
preset window layouts. VIEW Controller does
not require custom programming, so it is both
quick to implement and cost-effective. It pro-
vides access based on user privileges that allow
or restrict access to features, supporting mul-
tiple users with configurable levels of access.
 the buzz
CASE STUDY / STREAMING
WORK FROM HOME
RealmSmith.tv is a popular Toronto, ON
based live streaming and tabletop gaming
company, and “Into the Mist” features impro-
vised live play of Dungeons & Dragons’
“Curse of Strahd” campaign setting. Jason
Azevedo, founder and president of Realm-
Smith.tv, acts as Dungeon Master alongside
weekly players gathered around an immer-
sive table setup, where players and viewers
are made to feel they are part of the game
experience. Joel Augé, co owner of Realm-
Smith.tv, manages all aspects of the stream’s
production and workflow.
When RealmSmith.tv embarked on “Into
the Mist,” they decided to produce the show
as a multi-camera live stream to keep view-
ers entertained throughout the episodes. They
invested in an ATEM Television Studio HD
live production switcher, two Blackmagic
Micro Cinema Cameras, and two
Blackmagic Pocket Cinema Camera
from the wire 4Ks to achieve a more cinematic feel.
For more case studies, visit
svconline.com/the-wire.
They later incorporated two addi-
10 SVC | J UNE 2 0 20 | SVCO NLINE . COM
tional Pocket Cinema Camera 4Ks for more
camera angles.
“A lot of live streams are based on a single,
frontal view where players call in from their own
homes with webcams; we wanted ‘Into the Mist’
to show everyone in the same room with mul-
tiple camera angles and proper lighting,” said
Azevedo. “That’s how we separate ourselves.”
Two of the Pocket Cinema Camera 4Ks cap-
ture front shots, one pointing at the Dungeon
Master and the other for the entire table of six
players. The other two Pocket Cinema Camera
4Ks look across and over players’ shoulders.
Additionally, RealmSmith.tv uses an ATEM
Television Studio HD to switch between the
cameras and to map out sequences of camera
changes and animations.
When the team has to stream remotely, Augé
uses a Blackmagic Web Presenter to power his
workflow from home. “It’s been a workhorse,
helping us deliver a high quality stream even
when battling lower bandwidth situations,”
said Augé.
Following each week’s three hour Twitch
live streams, RealmSmith.tv uses DaVinci
Resolve Studio’s cut page to create a recap
for the beginning of each show on their
YouTube channels.
“We go through the full stream the day after
a show goes live and highlight markers and
times in the episode that we want to emphasize
in the recar,” said Augé. “The editor takes the
live stream files and brings them into DaVinci
Resolve Studio’s timeline, using the cut page to
edit together the recap.”
RealmSmith.tv also used DaVinci Resolve
Studio’s to create the popular intro to the “Into
the Mist” series, an animated sequence that
reveals each player, blending together their
real life selves with their characters. The team
relied on the edit page’s Retime Curve tool
to create the dramatic effect of smoke going
through the characters during the intro. They
then modified the video’s speed by mapping
out different segments of audio with markers
and then timed the video clips to the music.
 TECH SHOWCASE

ACOUSTICS AND SOUND

MASKING
By Bennett Liles

The art and science of

acoustics and sound masking
has made huge strides in the
past decade. The advances in Acoustic
aesthetics, ease of installation Geometry Pro
and active applications Room Pack 12
have gone beyond what was
previously considered the fringe of practical possibility. New materials and active components now
provide the imagination with real world tools to let creativity fly. Passive absorption panels, bass traps and
ceiling clouds are being combined into active systems that can reproduce the sound character of a wide range
of showplaces all within the same venue. In the office world,
sound masking systems have boosted productivity by reducing
fatigue and enhancing privacy.

Available in any of the company’s Basic able in sizes up to 4x12ft. and

fabrics, Acoustic Geometry’s Pro Room Pack
12 includes eight 2x4ft. wall panels, six fab-
ric wrapped 2x4ft. ceiling clouds, twelve
medium curve diffusers and four CornerSorb-
ers. These provide phase-coherent diffusion,
low frequency mode mitigation and broad-
band sound absorption. Fabric options include
a wide range of colors and decorative patterns.
Hardware packs are included to assist in
mounting the components to walls and ceil-
ings. Acoustic Geometry also offers acoustic
insulating materials, adhesives and pipe wrap
as well as acoustic wall art.
The FulFill Acoustical Panel from Acous-
tical Fulfillment is designed to control flutter
echo, room reflections, slap back and overall
reverberation time in rooms fitted with them.
Applications can extend from recording stu-
dios to videoconferencing facilities with
absorption corresponding to panel size and
thickness which can range from ½ inch to 4
inches. The fabric wrapped panels are avail-
they can be purchased in custom
shapes for mounting on walls,
ceilings and in corners for bass Acoustical
trapping. Mounting hardware Fulfillment
FulFill Acoustical
options include impaling clips for
Panel
walls, Rotorfast Snap-on anchors
and corner impaling clips. Panel
edges may be square, beveled or
reverse mitered. All components
have a Class A rating per ASTM E84 and the
fabrics may be cleaned with all conventional
upholstery cleaning systems.
Available in standard or custom sizes up
to 4x10 feet and thicknesses of 1 or 2inches,
Acoustical Solutions AlphaSorb FR701
Acoustic Panels provide sound reduction and
reverberation control. These are made to order
for broadcast studios, theaters, churches
and other facilities requiring acous-
tics treatment and improvements in Acoustical
Solutions
speech intelligibility. Thicknesses
AlphaSorb
of 1 and 2in. are standard and cus-

12 SVC | J UNE 2 0 20 | SVCONLINE . CO M

 TECH SHOWCASE
Acoustical
Surfaces Echo
Eliminator
ASI
Architectural
StrandTec
Panel
tom thicknesses can range from 1/2in. to 4in.
Fabric colors cover the entire Guilford fabric
FR701 Style 2100 series line with dozens of
colors from which to choose. These panels are
constructed from a 6-7 pound per cubic foot
acoustical fiberglass substrate and their edges
can be square, beveled, radius, or mitered.
Acoustical Surfaces has the Echo Elimina-
tor, a unit composed of bonded acoustical cot-
ton that can be surface attached or used as a
hanging baffle. Class A fire rated and 100%
recyclable, the Echo Eliminator is a low cost
solution that is lightweight, simple to install
and relocatable, allowing them to be used
again after room renovation or remodeling.
There are six standard color options and the
standard size is 2ft. x 4ft. but custom sizes
include 12in. x 12in., 2ft. x 2ft., 4ft. x 4ft., and
4ft. x 8ft. The panels weigh 2lb. per cubic foot
in 1in. thickness and 6lb. per cubic foot in 2in.
thickness.
14 SVC | J U NE 2 0 20 | SVCO NLINE . COM
Acoustics First designed their Cut-
ting Wedge Classic Acoustic Foam Panels
to reduce reflections and create seamless
absorptive walls. Each panel is created with
open cell Polyurethane foam with a density of
2lb. per cubic foot and can be installed with
construction adhesive approved for foam. The
flammability rating meets UL94HF-1, the
smoke density is 340 and the tensile strength
is 20psi. The panels are available in 1ft. x
1ft. and 2ft. x 4ft. sizes, charcoal color and in
thicknesses of 2in., 3in., and 4in.
StrandTec panels from ASI Architectural
are composed of Cementitious wood fiber to
provide both sound absorption and thermal
insulation. The fire resistant panels can be
directly attached to walls using mechanical
fasteners, they can be laid into support as
ceiling panels or freely hung as sound baffles.
They can be purchased in a variety of colors
and shapes to add style to their acoustic prop-
Acoustics
First Cutting
Wedge Classic
Acoustic Foam
Panel
AtlasIED
Z2-B
erties. Each panel is rated Class A per ASTM
E-84 and weighs from 2lb. to 4lb. depending
on panel thickness. There are a wide range of
edge styles.
AtlasIED has a small business sound mask-
ing system in the Z2-B 2-Zone High Defini-
tion Acoustical System. At the lighter end of
the company’s Z Series, the Z2-B also handles
paging and background music. With two
zones at 70V output, the system can operate in
any of several modes. One provides two-zone
indirect field sound masking for spaces up
to 7000 square feet. Another provides single
zone sound masking while in third mode one
zone can be used for indirect sound mask-
ing and the other for paging and background
music.
The Auralex Acoustics ProPanel ProKit-2
acoustical treatment package is composed of
ASTM-E84 Class A fire-rated, fabric wrapped,
fiberglass ProPanels. Each kit includes twelve
 TECH SHOWCASE
Auralex
Acoustics
ProPanel
ProKit-2
d&b
audiotehnik
DS100
2in. x 2ft. x 4ft. beveled edge wall
panels and six reverse mitered cor-
ner bass traps. For addressing the particular
needs of specific rooms, additional ProPanel
Cloud and monitor isolation solutions can be
used. Panels are available with fabric cov-
erings in Obsidian, Sandstone, SonoSuede
Black, SonoSuede Red, SonoSuede Brown
and SonoSuede Tan. The kit is designed to
treat rooms up to 15ft. x 18ft.
The Biamp Cambridge DynasoundPRO
sound masking system can address each speaker
16 SVC | J U NE 2 0 20 | SVCO NLINE . COM
d&b Soundscape from d&b audiotechnik
combines d&b loudspeaker systems with
processing power, object-based mixing and
sophisticated room emulation. At the cen-
ter of the system is the DS100 signal engine
with Dante networking and a 64 by 64 level
and delay matrix. This can operate with two
optional software modules - En-Scene for
precise object placement and movement for
up to 64 sound objects, and En-Space for
room emulation, which can create and modify
reverberation signatures. These reverbera-
tion signatures are emulations derived from
acoustic measurements of seven internation-
ally renowned performance venues and con-
volved within the audio processor to provide a
variety of acoustic space choices.
The GeerFab
Acoustics Multi-
Biamp Zorber OC703DR
Cambridge can be used as a
DynasoundPro wall panel, a ceiling-
mounted cloud or as a
corner bass trap. Com-
posed of 2in. thick
Owens Corning 703
fiberglass substrate,
enclosed in a bag
made of acoustically
transparent Guilford
FR701 fabric on the
front and nylon sail-
cloth on the back. The
D-ring mounting sys-
tem on the rear surface
simplifies installation
in any of the panel’s GeerFab
three positioning MultiZorber
OC703DR
options. Available in
Guilford FR701 Bone,
individually on a network for remote tuning Coin and Black, the 2in. thick items
and setup. Equipped with eight audio network can be purchased in either 24in. x 48in. or
channels and four internal sound masking 24in. x 24in. size. Each is Class A rated and
generators, the system allows the user to send weighs under 6lbs.
paging and music to a selected zone, speaker or The 2A Alpha Pro Series panel Diffuser/
over the entire system. Configuration is done Absorber from GIK Acoustics is made of rigid
through the Privacy Manager software and PoE fiberglass absorption material that can be
substantially simplifies installation. The sys- wrapped in a wide variety of fabric coverings
tem includes speakers, the DS8000 loudspeaker and these are overlaid with an exterior plate
controller, DSPoE24 network switch and a pag- which has a mathematical sequence of slots
ing and music interface as well as other units for either one-dimensional scattering/diffu-
for customized space configuration. sion or two-dimensional scattering/diffusion.
 MULTI- TECH SHOWCASE

OUTPUT
GIK
Acoustics 2A and monitored with a Graphic DC POWER
DISTRIBUTION
Alpha Pro Series User Interface (GUI) and it is
Panel Diffuser/ capable of responding to local,
Absorber remote or infrared control. It is
also UL 2572 standard compliant with universal mounting brackets
to interface with the Fire Alarm
Control Panel (FACP) and shut
down or mute the sound masking
in the event of a fire emergency.
Its open source design allows easy
integration with building-wide
systems and the zone control has Made in USA with glob
al components
overlap capability. The Music Page
Interface (MPI.) can make zone
additions, modifications, deletions
and other changes to the paging
system on the fly.
Streamline rack installations
The LogiSon Acoustic Network by replacing bulky external power supplies
provides sound masking with fine (wall warts)
control over volume and frequency WITH A SPACE SAVING PDU.
by using small adjustment zones
of one to three speakers. This
allows the system to operate in a #DCP-55
much more subtle and unobtru- (5VDC + 5VDC)

sive manner. The TARGET tuning #DCP-512

process automatically tunes each (5VDC + 12VDC)

zone to the desired sound mask-

#DCP-1212
ing spectrum and it generates a (12VDC + 12VDC)

detailed report for performance

#DCP-524
verification. Run from a panel or (5VDC + 24VDC)
from a PC equipped with the
#DCP-1224
LogiSon Sound Acoustic Network Manager (12VDC + 24VDC)
Masking System software, the system can also
#DCP-2424
use programmable keypads (24VDC + 24VDC)
and remotes to allow individual
Panels can be selected in square, narrow or local room control. Paging and
• Compact chassis has 2 banks of
rectangle shapes and there are six panels music are operated independently from sound
5V, 12V, or 24V outputs (16 total)
to each box. They are designed to provide masking setup.
absorption and an even decay time between The SMGA-25 Sound Masking Generator • Each output is protected by a PTC fuse
low and high frequencies and the panels are from Lowell Manufacturing uses a Pre-EQ with auto reset for overload protection
free of formaldehyde or urea formaldehyde. and Post-EQ line level (~500mV) pink noise
Lencore designed their i.Net Networked signal from either an 8ohm or 70V output. • Detachable voltage output terminals have
Sound Masking System to handle the needs Local EQ controls allow signal adjustment in quick-install screw terminal connectors
of sound masking, paging and audio bass, mid and treble ranges. Paging and back-
in multiple zones. The system ground music can be added through the high • LED status indicators (active/inactive)
Lencore can be centrally accessed impedance auxiliary input with its own level
i.Net Sound
• Universal input (100-240VAC, 50/60Hz)
Masking
C14 power inlet and 6-ft. power cord
Headend

Lowellmfg.com | 800-325-9660

Distributed Audio, Power & Rack Solutions

SV C ON©2020
L I N E.C OMManufacturing
Lowell | JU N E 20 20 | S VC 17
Company
 TECH SHOWCASE

Prosocoustic
BAT Series

Primacoustic
London 16
Room Kit

Meyer
Sound Con-
stellation
control. The unit includes a power supply wrapped Broadway panels and all required four grommets for mount-
with universal input and 24VDC 2.5A output mounting hardware. This includes 48 surface ing. Depending on the needs
and the SMGA-25 is housed in a tough steel impalers and 16 corner impalers along with of specific rooms, units can be
chassis with a black powder epoxy finish and drywall anchors and screws. Made of 6lb. purchased in either 1in. or 2in. thickness and
mounting brackets. per cubic foot fiberglass, the panels exhibit they can be special ordered without internal
Meyer Sound introduced the Constellation superior absorption. Each set is composed bracing. The BAT Series panels are available
system several years back and in that time it of twenty-four 12in. x 12in. square scatter in a wide range of decorative colors to match
has seen wide adoption in a huge variety of blocks, twelve 12in. x 48in. control columns any room décor. Prosocoustic produces a
venues worldwide. It uses an array of care- and six 24in. x 48in. broadband panels. All number of room kits, bass traps and acoustic
fully placed microphones and an immersive panels have beveled edges for an attractive treatment accessories.
pattern of speakers. The microphones’ pickup 3-D look when mounted. Revolution Acoustics makes ceiling
is digitally processed and fed to the speak- Prosocoustic produces their BAT Series speaker installation easy for background
ers in any number of delay configurations baffles in extruded polyester multi-density music, paging and sound masking systems
to completely tailor the venue’s apparent acoustic fabric and rock wool insulation with the Ubiqui-T360 Ceiling Tile Adaptor
acoustics and take the acoustic adjust- for both performance and durability. panel. After it has been attached to an exist-
ments far beyond what is available The panels have sewn edges and ing ceiling tile, the adaptor can house one
Lowell
by moving stage shells, bass traps they can be supplied with two or SSP6 Multiducer. The SSP6 can be used with
Manufacturing
and physical absorption panels. the RevNet 2140 amplifier
SMGA-25
The user can simply select the which includes a customiz-
acoustic characteristic desired able sound masking generator.
and push the appropriate button The Ubiqui-T360 allows the
on a touch panel control screen. Multiducer to be mounted into
For rooms up to 200 sq. ft. an existing ceiling tile so that
Primacoustic can provide the matching the color and style of
London 16 Room Kit with the ceiling tiles is not a prob-
its high performance fabric lem. No tools are required for

18 SVC | J UNE 2 0 20 | SVCO NLINE . COM


Revolution
Acoustics
Ubiqui-T360
Snowsound
Pli Oversize
panel
Yamaha
AFC4
the installation of the panel.
For the maximum in sound absorp-
tion and arrangement flexibility, Snowsound
offers the Pli Oversize system of double-sided
freestanding acoustic panels. Each panel has
polyester internal padding and an outer cover-
ing of Trevira CS fabric. The panels provide
Class A sound absorption with NRC 1.0 (ISO
354/ASTM C423/ISO 11654) and absorb 97%
Soft dB RL96
of human speech frequencies. The
tackable 1/4in. thick units are held
by a durable powder coated steel
base and can be easily moved and
rearranged to suit a changing office
layout. Pli Oversize panels can be
purchased in 47in. square or 47in.
x 63in. sizes and they are available
in an assortment of colors.
A recent addition to the Soft
dB SmartSMS-NET sound mask-
ing products line, the single rack
space RL96 Masking Controller
has eight independently equalized
output channels and each of them
can drive up to 12 sound masking
speakers. Combined on a network,
the units can support much larger
systems. The output channels use
Soft dB’s proprietary technology
to provide active volume control
of the masking sound in each zone
while also supporting background
music and paging. When connect-
ing the RL96 to the high power
SMS-STR sound masking speak-
ers, they produce up to 7dB sound
output per speaker while being
controlled through the SmartSMS-
NET Project Manager software.
Complete with upgraded proces-
sor sampling rate, fixed FIR taps,
FIR presets and configurable FIR
tap settings, Yamaha has intro-
duced its new Active Field Control
(AFC) acoustic conditioning sys-
tem AFC4. The new system has
replaced the previous AFC3’s parametric EQ
with FIR EQ and it has expanded connectiv-
ity options with 32 mic inputs and 96 output
channels. Active Field Control systems can use
their multi-channel inputs, outputs and pro-
cessing power to make an acoustic fingerprint
of any venue and the tailor the sound of another
hall to match the original space’s sound.
CUSTOMER &
SERVICE
TECH SHOWCASE
INTERFACE
PANELS
An easy connectivity solution for technicians
or FOH customers, the Service Interface Panel
provides a quick way to access networks
from the front of the rack with RJ45/USB
pass-through ports.
Made in USA with global components
QUICK-CONNECT
PASS-THROUGH PORTS
Plug your device in front
and it's connected through
to the rear interface.
• RJ45 (front) to RJ45 (rear)
• USB-A (front) to USB-B (rear)
HIGH SPEED CHARGING
PORTS FOR DEVICES:
Five connectors for
convenient powering
of devices.
• AC Input 100V-240V 50/60Hz 1A
• QC3.0 Output (1)
• USB-C PD Output (1)
• Smart Output 5VDC (3)
NEMA 5-15R OUTLETS
PLUS SURGE PROTECTION:
AC outlets in front and rear.
Surge suppressor protects
against surges up to 40,000A.
• LED status indicator
• ETL Listed (UL 60065)
Model # ACR-1507-SSI-FC Features FRONT charging ports
Model # ACR-1505-SSI-RC Features REAR charging ports
Lowellmfg.com | 800-325-9660
Distributed Audio, Power & Rack Solutions
SV C ON©2020
L I N E.C OMManufacturing
Lowell | JU N E 20 20 | S VC 19
Company
 TECH SHOWCASE
MIXING CONSOLES AND
AUDIO PROCESSORS
By Mary Bakija
Whether for the return of live sound, or the
needs of installed sound applications, mixers
and audio continue to be the heart of a range
of systems and the glue. Here’s a look at some
of the current options out there for selected
consoles, mic mixers, and audio processors.
Allen & Heath’s 96kHz digital mixer, Avan-
tis, is the third to be based on the company’s
XCVI FPGA engine. Avantis is a 64-chan-
nel/42 configurable bus console, with twin
Full HD touchscreens, extensive I/O options
and processing from the company’s flagship
dLive mixing system. The console’s Continu-
ity UI supports gains and pans on the rotaries;
a softkey switches to EQ or dynamics across
the whole strip; and a configurable EasyGrab
tab on each screen allows easy access control
of aux sends, EQ, compressor and FX. While
many users will choose to pair Avantis with
the 48 in / 16 out GX4816 audio expander,
Avantis is part of Allen & Heath’s Every-
thing I/O ecosystem, which means it can be
connected to a wide range of audio expander
hardware, as well as the company’s ME Per-
sonal Mixers and IP hardware remote control-
20 SVC | J U NE 2 0 20 | SVCO NLINE . COM
lers. For local
I/O, Avantis has
12 XLR analogue inputs, 12 XLR analogue
outputs, plus AES (Stereo In, 2x Stereo Out).
Two additional I/O Ports allow Avantis to use
the full range of dLive option cards, includ-
ing Dante (64×64 and 128×128), Waves,
gigaACE, MADI and more.
The AMX Alero ALR-AEC-8 is a dedicated
microphone mixer for up to eight microphones
used for conferencing apps such as Lync or
Skype in medium to large meeting rooms.
It also supports VTC and audio conferenc-
ing systems. A USB audio output enables
the Alero ALR-AEC-8 to be a microphone
expansion unit for Enzo or PC-Based web
conferencing applications, while an onboard
web configuration tool allows for simple
setup and configuration for users of any expe-
Ashly Audio
mXa-1502
Allen & Heath
Avantis
rience level, with no PC software required.
The active adjustment of audio levels and
settings means great audio quality without
users having to make manual adjustments.
Additionally, acoustic echo cancellation helps
eliminate echo feedback during web and
audio conferences.
Ashly Audio’s mXa-1502 Mixer Amp MVP
simplfies multi-zone audio. It provides four
zones of mixing and DSP, plus 2 x 150W of
power and programmable mic preamplifiers.
The new mXa-1502 also incorporates DSP
functions on all input and output channels
and can be accessed and controlled via any
browser-enabled device as well as the net-
work using intuitive Ashly software. It also
provides multi-zone music distribution, pag-
ing, sound-masking and automatic mixing for
a wide range of environments including house
of worship, education, business, and live per-
formance. Its GUI doesn’t require extensive
tutorials or workshops to master,
allowing both integrators
and end users to navigate
AMX Alero using any browser-enabled
ALR-AEC-8 device. Further, trouble-
shooting and reconfigur-
ing can take place over the

Biamp Tesira-
CONNECT
Bose T8S and
T4S
ClearOne
network, delivering a reduction CONVERGE In February, Biamp announced
in onsite technical support and a Pro 2 48VTD the expansion of the TesiraCON-
quicker return to functionality. NECT line to include the TesiraCON-
The Audio-Technica ATDM-0604 is NECT TC-5D. The new dual network
a six-channel automatic mixer ideal for meet- device allows designers to incorporate both
ings, conferences, courtroom proceedings, AVB and Dante into their AV solutions.Tes-
and other applications involving the use of iraCONNECT TC-5D features the same plug
multiple microphones or other media inputs. and play simplicity of the recently introduced
AudioTechnica’s SmartMixer technology TC-5 connectivity appliance and adds the
allows channels to be mixed automatically interoperability of Dante. With the TC-5D,
in gate or gain sharing mode, ensuring con- designers and integrators can easily connect
sistent, high-quality audio output from all and power via PoE+ both Dante and Biamp
inputs in a setup. Controls and LED indica- AVB devices in the same system with no con-
tors on the mixer’s front panel allow users to figuration required.
easily adjust input/output and gain levels; set The new appliance allows connected Dante
and recall presets; turn on/off phantom power, devices to be managed using Dante Domain
low-cut filter, automatic mixing and acoustic Manager as well as configured in Dante Con-
echo cancellation; change IP configuration; troller. Once installed, the TC-5D can be mon-
and more. A full complement of digital signal itored and maintained using Biamp’s SageVue
processing is available for inputs and outputs, management platform like other Biamp
including parametric EQ, compressor, limiter, products. Both TC-5D and the existing TC-5
and feedback control. Control and monitoring model come with five network connections,
tools are accessible locally on the front panel four of which are PoE+-powered RJ-45 ports
or via the Web Remote interface, which allows that support single-cable connectivity. An
users to handle the adjustments from a Win- additional unpowered RJ-45 port is included
dows-based PC, Mac, iOS or Android device, to easily pass all signals back to a Tesira DSP
plus make additional changes to settings. such as the TesiraFORTÉ. For more complex
installations requiring greater port capacity,
TECH SHOWCASE
Audio-
Technica
ATDM-0604
integrators can daisy-chain up to four
TesiraCONNECT devices. Both the TC-5
and TC-5D can mount under a table, in a
cabinet, or behind a monitor The TesiraCON-
NECT TC-5D will be available in the third
quarter of 2020.
The latest additions to Bose’s ToneMatch
audio engine series, the eight-channel T8S
ToneMatch mixer and the four-channel T4S
ToneMatch mixer, are compact and portable.
Their enclosures have a protective, magneti-
cally-coupled cover to protect controls and
connectors. A chassis-bottom insert allows
the use of standard mounting accessories
to keep the mixers in reach during perfor-
mances. The T8S is intuitive to operate, with
illuminated, stage-friendly tactile controls,
an easy-to-read display, and scene recall.
ToneMatch processing provides presets with
the DSP engine, including effects and Bose
zEQ equalization. The T4S offers most of the
same features as the T8S, but also includes
dual ToneMatch links, designed to send digi-
tal audio to L1 Model 1S/II systems while
receiving power on the same provided Tone-
Match cable. Last fall, the company debuted
a carrying case for the T4S and T8S Tone-
Match mixers compatible with the T4S and
T8S ToneMatch mixers. Each case features
an integrated storage compartment, with the
ability to carry the power supply, ToneMatch
cable and additional equipment. The mXA-
1502 began shipping in later April.
The ClearOne CONVERGE Pro 2 48VTD
includes VoIP, Telco, and Dante interfaces in
a single CONVERGE Pro 2 unit. The 48VTD
pairs well with ClearOne’s BMA CT and
allows integrators to simplify system designs,
increasing installation flexibility and reduc-
ing costs. The four-input CONVERGE Pro 2
48VTD can also lower costs when paired with
our new P-Link-based BMA CT, allowing
integrators to bring a low-cost Dante inter-
face to the BMA CT. It functions the same
as ClearOne’s existing V and T offerings pro-
viding a 10-Watt amplifier, four configurable
SV C ON L I N E.C OM | JU N E 20 20 | S VC 21
 TECH SHOWCASE
Crest Audio
XD-16 and
XD-28
mic/line audio inputs, and 8 configurable mic/
line outputs. Additionally, all models are
Avaya, Cisco, and ShoreTel compliant, and
support built-in USB audio, and built-
in Skype for Business along with
interfaces for VoIP, Telco, and
Dante. The VTD series works with
all existing CONVERGE Pro 2 units
and all existing P-Link peripheral products.
In April, ClearOne announced CONVER-
GENCE AV Network Manager, a unified AV
network management platform to remotely
monitor, control, audit and update ClearOne
Pro products and services. A beta version was
available to AV practitioners for their evalu-
ation prior to this release. The new release
provides efficient batch firmware updates
on multiple audio and video devices at once.
Including simultaneous support for multiple
CONVERGE Pro 2 and CONVERGE Huddle
systems.
The XD-16 and XD-28 digital mixers from
Crest Audio are small format, 2U rackmount
mixers available in either 16- or 28-chan-
nel frames. XD Series digital mixers offer
optional Dante networking as well as real-
time remote control and monitoring from any
Android, Windows, or iOS device. The range
of configurations available enables use as a
simple FoH mixer, a monitor mixer, a personal
monitor mixer, or a combination of all three.
An integrated WiFi module enables real-time
control and monitoring of the mixer process-
ing functions, either by acting as a WiFi router
for direct connection of up to four external
devices for remote control, or alternatively by
connecting to an external WiFi network. The
optional 4x4 Dante network module allows up
to eight channels (4-in/4-out) of audio stream-
ing over a Dante network, and also extends the
physical inputs of the XD-16/XD-28 by four
22 SVC | J U NE 2 0 20 | SVCONLINE . CO M
DiGiCo
Quantum 5
last year for the Quantum 7, are also
standard on the Quantum 338.
Previewed at NAMM for delivery
later this year, DiGiCo Quantum 5 fol-
aux chan- lows on from the flagship Quantum
nels, and also DiGiCo 7. As with Quantum 7, the Quantum
adds four outputs. Quantum 338 5 engine slots neatly into the exist-
Control is provided via the ing SD5 frame and, with its 37 fad-
Dante Controller application. ers and three 15-inch full-color TFT
At NAMM, DiGiCo revealed its new gen- touchscreens, provides Quantum processing
eration of Quantum consoles, including the features, power, and connectivity in both new
all-new Quantum 338. Quantum 338 claims and existing hardware. Quantum 5 expands
a dramatic leap forward in power and connec- the SD5 to over 450 channels of processing
tivity in a smaller format console. Quantum at 96kHz. It includes up to 256 input channels
338 is based on seventh-generation FPGAs with up to 128 busses and a 36 x 36 matrix.
and includes 128 input channels with 64 bus- The engine is also equipped with four redun-
ses and a 24 x 24 matrix, all with full chan- dant, or eight individual, MADI ports and two
nel processing. There is a new Dark Mode DMI slots (DiGiCo Multi-Channel Interface)
application and three 17-inch 1000 nit, high for AoIP and other connectivity options from
brightness, multitouch screens, allowing both the complete family of DMI card options, plus
the meter bridge and soft quick-select but- a built-in Waves port and up to two Optocore
tons to be displayed on each screen. There loops. The popular Nodal Processing and
are also 70 individual TFT channel displays True Solo features, are included, as well as 48
and the floating Quantum chassis features 38 channels of Mustard processing and 12 Spice
x 100mm touch-sensitive faders laid out in Rack processing slots, including Chili 6. Like
three blocks of 12 fader banks, plus two dedi- everything in the Quantum range, Quantum 5
cated user-assignable faders, each complete is developed with seventh generation FPGA
with high-resolution metering. “Ultimate devices.
Stadius” 32-bit ADC and DAC conversion are The Electro-Voice N8000 NetMax 300
built into Quantum 338 as standard, along- MIPS digital matrix controller delivers full
side six single or three redundant MADI con- IRIS-Net supervision, control, and schedul-
nections, dual DMI slots, and a built-in UB ing along with up to 32 input channels, exten-
MADI USB recording interface. Mustard Pro- sive DSP, and CobraNet audio and control
cessing channel strips, Spice Rack plugin-tyle connections. It offers support for ethernet,
native FPGA processing options, plus Nodal RS-232, USB, and CAN, and Dante audio net-
Processing and True Solo, which all launched working options are available. Four slots with

Electro-Voice
N8000
8-channel audio modules form the foundation
for flexible customization, and each slot can
house input or output cards. It includes inter-
nal 48-bit processing, and the auto-compiling
DSP engine has ultra-low fixed latency. One
time or regularly scheduled events can be
arranged and reactions to certain events or
system states can be configured. Any system
problems can be detected automatically and
can be displayed on the PC screen or trans-
mitted to external sites.
Extron has released firmware version 1.02
Sennheiser IT Solutions
IT optimized workflows
for higher education and
corporate.
Extron
Electronics
DMP 128 Plus
for the DMP 128 Plus digital matrix pro-
cessors. With this free firmware update, the
four DMP 128 Plus C models support up to
12 independent channels of high performance
AEC, up from 8 channels, with no hardware
changes. The three DMP 128 Plus AT mod-
els now also support Dante Domain Manager,
network management software, from Audi-
nate. DDM enables user authentication, role-
based security, and seamless expansion of
Dante systems over any network infrastruc-
ture. This firmware update adds compatibility
TECH SHOWCASE
with the VoIP MS cloud-based VoIP system
for the DMP 128 Plus V models, continuing
our commitment to the widest possible VoIP
compatibility. Finally, the ability to convert
project files between DMP 128 Plus types has
been added with this firmware and DSP Con-
figurator Software version 2.20.
Focusrite has released RedNet Control
2.3, a free update that unifies RedNet Control
with configuration, status monitoring, meter-
ing, and extended operational control of the
Red 4Pre, Red 8Pre, and Red 16Line, Focus-
Sennheiser has succeeded in developing an
unique portfolio of IT-supporting solutions to
equip and control campus environments for
corporate and higher education.
Talk
SpeechLine Digital Wireless microphone
systems and TeamConnect Ceiling 2 in addition
to the new Multi-Channel Receiver for perfect
integration into the IT network.
Listen
MobileConnect for hearing assistance and true
inclusion on the university campus.
Control
Sennheiser Control Cockpit offers a complete
overview and full management of your campus-
wide setup.
www.sennheiser.com/business
 TECH SHOWCASE

Focusrite L-Acoustics
RedNet LA-RAK II
Control 2.3 AVB

rite’s range of audio interfaces offering

up to 64-in/64-out Thunderbolt I/O
with Pro Tools HD and Dante net- Lawo mc²36
work audio connectivity. Focusrite
RedNet Control’s “Device View”
features a graphical representation
of each device on the local network, giv-
ing critical feedback such as signal metering,
clock status, power supply state, and primary/ tions worldwide and facilitates tour logistics inputs and outputs, offering a total capacity
secondary network connection state. RedNet and cross-rental among L-Acoustics rental of 496 physical inputs and outputs. It can ship
Control is customizable, which allows for partners. LA-RAK II AVB is mechanically pre-configured or custom-configured.
several users on the same network to have and electronically compatible with the legacy Lectrosonics had versatility in mind when
completely different views. RedNet Control LA-RAK II and LA-RAK standards. An LA- it developed the Aspen SPN2412, with its 24
now also provides parameter control, which RAK II AVB upgrade kit will be available for inputs and 12 outputs, which can be expanded
includes clock source selection, sample rate existing LA-RAK II owners for upgrade to to many more. The Proportional Gain Algo-
converter configuration, and reference level AVB. rithm allows it to work seamlessly with other
setup. The Lawo mc²36 is natively equipped sound gear, while data, audio, and control sig-
In January, L-Acoustics announced the with RAVENNA/AES67 to integrate into nals are carried through a single Cat-6 cable.
LA-RAK II AVB flyable touring rack, com- IP infrastructure. With an internal 512x512 Setup is aided by automatic master/slave
prising twelve channels of amplification in a port audio matrix and integrated IO, it was detection and its automatic mixing param-
9U frame. Also included are three Milan-cer- designed to be a truly “universal” console, eters and presets are extensive including mul-
tified LA12X amplified controllers, two LS10 with its focus on space efficiency and ease-of- tizone mix minus configuration. The Phantom
AVB switches, and power and signal distri- use. Its 21.5-inch full HD touchscreens work Mix mode lets the mixing come from multiple
bution panels that are internally prewired to with touch-sensitive color-illuminated rotary zones and fed back into only those zones that
offer a plug-and-play, reliable and redundant encoders to provide intuitive operation. In are selected for the feed. And with TCP/IP
networked audio. Two LS10 AVB switches in terms of connectivity, the console’s interfaces addressability for control through ethernet, it
a 1U space within the rack allow for seamless include 32 mic/line inputs, 32 line outputs, can be part of your network.
dual network redundancy and a full AVB eco- eight digital AES3 inputs, eight digital AES3 In January, Mackie announced a complete
system from the P1 processor at FOH down outputs, eight GPIO ports, one MADI (SFP) redesign of its analog mixer series, ProFXv3
to the Milan-certified amplified controllers. If port, three RAVENNA/AES67 channels, and Professional Effects Mixers with USB. The
any failure occurs on the primary audio net- a headphone jack. In addition to the onboard series now includes Mackie’s Onyx mic
work, the redundant AVB network automati- I/O, a MADI tie-line connection and preamps, GigFX Effects Engine, 2×4
cally switches over with zero audio loss. Up three RAVENNA/AES67 Audio- 24-bit / 192kHz USB recording and
to eight channels in one AVB stream can be over-IP ports provide future-proof Lectrosonics a new look. ProFXv3 Series mix-
passed over a single cable. As with its prede- connectivity for up to 384 external Aspen SPN2412 ers carry Mackie’s flagship Onyx
cessors, LA-RAK II AVB is rug- mic preamps, sample rates up
ged, featuring a shock-absorbing to 192kHz, and up to 60dB of
inner frame, protective, and han- gain. The all-new GigFX High-
dling elements to facilitate trans- Resolution Effects Engine has
port. Compatible with any voltage 24 effects, including reverbs and
standard, LA-RAK II AVB func- delays. The built-in USB interface

24 SVC | J UNE 2 0 20 | SVCO NLINE . COM


in ProFX mixers has been a popular feature in
the series; the ProFXv3 offers a professional
upgrade in recording quality. Mackie’s new
partnership with Avid gives ProFXv3 users
benefit and value. Pro Tools | First is now
included, plus the exclusive Musician Collec-
tion bundle with 23 Avid plug-ins, including
the 304C Compressor and 304E Equalizer.
Users also get the Waveform OEM DAW soft-
ware with their DAW Essentials Collection of
Mackie
ProFXv3
16 plug-ins.
At NAMM 2020, PreSonus released three
new mixers as part of its StudioLive ARc
series. The new mixers combine a multi-
channel 24-bit/92kHz, USB-C compatible,
USB 2.0 audio interface with an analogue
mixer front-end. PreSonus’s goal with the
hybrid mixer is to simplify the recording and
mixing process within a single console. The
StudioLive Arc Mixers have newly designed
TECH SHOWCASE
PreSonus
ARc
high-headroom analogue circuits, the compa-
ny’s high-gain XMAX Class A mic preamps,
plus Bluetooth connectivity. RCA inputs,
and a 1/8inch stereo input. The onboard SD
recorder allows recording without the need of
a computer or DAW. StudioLive AR8c is the
most compact model in the series, offering
four XMAX mic preamps and six balanced
line inputs for 8×4 recording and playback,
with three-band EQ and an onboard effects
 TECH SHOWCASE
QSC Touch-
Mix-30 Pro
processor. The effects include reverb, delay,
chorus and more, with the option to record the
main mix and capture the applied effects. Stu-
dioLive AR12c offers 8 XMAX mic preamps
and 12 balanced line inputs for 14×4 record-
ing and playback, plus the effects processing
and features that are present on the AR8c. The
StudioLive AR16c delivers 12 XMAX mic
preamps and 16 balanced line inputs for 18×4
recording and playback. Each of the StudioL-
ive Arc mixers come with PreSonus Capture
live-recording software, and PreSonus’ Stu-
dio One DAW for both Mac and Windows.
The Studio Magic Plug-in Suite, rounds out
the all-in-one product.
QSC added Automatic Microphone Mixing
(Auto Mix) to its TouchMix-30 Pro digital
mixer. Providing two independent processors
available to all of the mixer’s 24 Mic/Line
inputs, the easy-to-configure and use Auto
Mix function delivers advanced gain sharing
capabilities for applications such as confer-
ences, presentations, panel discussions, and
theatrical sound reinforcement. The Touch-
Mix-30 Pro Automatic Microphone Mixing
feature is a component of the latest
firmware upgrade, Version 1.3,
available as a free download at
QSC.com.
In April, QSC announces it
26 SVC | J U NE 2 0 20 | SVCO NLINE . COM
is now shipping two new Axon AES67 net-
worked audio I/O endpoints, from Attero Tech
by QSC. The A8Mio (8-channel) and A4Mio
(4-channel) are interoperable, flexible and
cost-effective solutions that easily integrate
analog mic/line sources into a wide range
of network audio applications, including the
Q-SYS Ecosystem. These Axon endpoints are
Power over Ethernet (PoE) capable offering a
single-cable installation in a 1/2-RU (A8Mio)
or 1/3-RU (A4Mio) form factor with surface-
mount or rack-mount capabilities.
The RCF MZ 8060 is a versatile 8x6 digi-
tal audio matrix mixer built on the founda-
tion of RCF’s RDNet DSP platform. RDNet
is a proprietary protocol for RCF loudspeaker
products that provides dedicated network-
ing software that makes is possible to con-
trol and monitor all system components and
parameters. The DSP allows for configurable
system programming including room com-
bining, automatic level control, along with all
audio input and output criteria including EQs,
gates, compressors, limiters, delays, priori-
ties, and levels. The MX8060 features eight
universal mic/ line inputs with six balanced
outputs along with 10 programmable logic
inputs and six programmable logic outputs. It
features eights universal mic/ line inputs with
48V phantom power and full audio process-
ing, six hi-level routable balanced outputs
Shure
IntelliMix
P300
Roland
M-5000
Series
RCF MZ 8060
with full audio processing,
10 programmable logic inputs
(GPI), and six programmable logic
outputs (GPO).
The M-5000 Series mixing consoles from
Roland apply its OHRCA (Open High Reso-
lution Configurable Architecture) to provide
128 freely definable audio paths. The mixers
have expansion modules for Dante, MADI,
Waves Soundgrid, REAC, XI-SDI, XI- SFP,
and XI-DVI. Its patchbays can accommodate
hundreds of input/output channels enabling
any input to be routed to a range of outputs
without using a mixing channel. The M-5000
has 24 plus 4 faders while the slightly smaller
M-5000C uses 16 plus 4 faders. The operation
is focused on a bright 12in. touchscreen with
16 encoders having rings that change color
according to their assigned functions.
The Shure IntelliMix P300 conferencing
connects up to 10 Dante audio inputs, two
analog inputs, a USB soft codec, and mobile
device. Each input channel can be auto-mixed
and provides acoustic echo cancellation, noise
reduction, automatic gain control, matrix
mixing, delay, compressor, and PEQ. An addi-
tional 3.5mm connection enables attendees to
join by tablet or phone, and all this fits into a
half-rack space package. It connects to room
systems through two input and two output
terminal blocks while its ethernet connection
can use PoE to eliminate a sepa-
rate power supply. Additionally, a
predefined matrix and presets can
simplify the setup process.
Soundcraft by HARMAN offers
the Vi1000 digital mixing console,

Soundcraft
by HARMAN
Vi1000
a 34in. x 32in.
compliment to its two larger
siblings, the Vi2000 and 3000. The Vi1000
employs Soundcraft’s Vistonics II channel
strip user interface, as well as SpiderCore,
a built-in DSP and I/O engine based on
STUDER technology, offering 40-bit float-
ing point processing. The Vi1000 features an
additional remote-control surface for any of
the larger consoles in the range, using their
Mirroring feature. The Vi1000 comes with
rear panel local I/O featuring 16 HQ mic/line
inputs, 16 line outputs, and two 64-channel
expansion slots that allow up to two MADI-
based Stageboxes to be connected, or alterna-
tively the slots provide access to an extensive
range of D21m I/O option cards, that address
all industry standard audio formats. Four
channels of AES/EBU I/O plus USB
and MIDI connec-
tions complete
the back panel.
The total I/O
count of the console
is 212 in x 212 out.
The SoundTube IPD Hub 2
amplifier from MSE Audio is a two-
channel Dante amp with DSP built-in,
designed for small- to medium-sized applica-
tions. The amp is AES67-compatible and pow-
ered by PoE, PoE+ or 40W PoE. It includes
an RJ45 Ethernet connection and can be used
with Radio Design Labs Format A (RDL)
or Attero Tech Axiom line level, mic level,
balanced XLR or Bluetooth input devices
— stereo or mono, virtually any input. Inte-
grators can create a complete Dante-enabled
audio system with SoundTube RVC-1 con-
trols without using a traditional DSP. Using
a decentralized DSP amplifier in each zone
rather than a centralized DSP greatly reduces
hardware costs making an IPD-HUB 2 net-
worked audio system about the same price as
a conventional 70/100V distributed audio sys-
tem.The IPD HUB 2 Amplifier can be linked
Studer
Vista 5 Black
Edition
Stage Tec
AVATUS
TECH SHOWCASE
together to distribute audio over large spaces
or set up to operate in up to eight zones
Stage Tec’s IP-based mixing console AVA-
TUS is a theatre console with detachable
screens. In many theaters, due to structural
conditions, control rooms are built such that
the sound engineers cannot see over their
mixing console to the stage. AVATUS offers
a solution to this problem. The theatre ver-
sion of AVATUS is designed so that the upper
screens are removable. Since the IP console
is connected via standard TCP/IP interfaces,
each module has its own IP address. This
enables the screens to be installed anywhere
within the NEXUS network. AVATUS IP-
based connections offer new possibilities for
development of infrastructures. The AVATUS
audio console does not have a center section
and will consist of only three different mod-
ules. The console will be available in sizes
between 12 and 96 faders.
Harman’s Studer Vista 5 Black Edition
consol is a “budget friendly” addition to its
Vista 5 line. The desk is designed to be a
scalable mixing system with full processing
redundancy. Based on the Vista 5 M3 mix-
ing console, the new Vista 5 Black Edition
features the Studer Infinity Core processing
engine. The Studer Vista 5 Black Edition is
available in 22-, 32-, and 44-fader sizes, and
supports an optional TFT meter bridge. The
console’s features include Studer’s Vistronics
interface and FaderGlow technology, as well
as the Infinity Core’s advanced capabilities
such as Dynamic EQ plug-ins and full Core
redundancy with up to 1,000 MEQs (Mono
Equivalent Channels). The Vista 5 Black Edi-
tion supports any of Studer’s range of Infinity
Core products, as well as the Studer Infinity
Core Commercial off the Shelf (COTS) solu-
tion. This IT-based solution allows customers
SoundTube
IPD Hub 2
SV C ON L I N E.C OM | JU N E 20 20 | S VC 27
 TECH SHOWCASE
Studiologic
SL MIXFACE
to run Studer’s real-time audio processing on
their own server hardware by adding a stan-
dard PCIe Infinity CoreLink card.
The Studiologic SL MIXFACE is a com-
plete MIDI and DAW Controller device, fully
programmable for software and hardware
instruments. Designed for mobility, the unit
can be battery powered or bus-powered via
USB. The SL MIXFACE is able to host any
compatible keyboard to transform it into a
full four zones MIDI controller and its con-
nectivity ports enable it to communicate with
the computer and other devices by using Blue-
tooth and USB simultaneously. The surface of
the SL MIXFACE features nine faders, eight
tracks, and one master, with dedicated, per-
track knobs and buttons. The usability of the
controller is further enhanced by the DAW/
CTRL button, which allows users to switch
the control from the DAW environment to
their instrument and vice versa, all reflected
on the onboard OLED screen.
The Symetrix SymVue software, for its
Control Server hardware, is a server-based
28 SVC | J U NE 2 0 20 | SVCO NLINE . COM
Symetrix
SymVue
software
TASCAM
Model 12
enabled device — laptops, desktops, tablets,
and mobile phones. SymVue’s WYSIWYG
designs render in all popular web browsers
and adapt to screens of different sizes, reso-
lutions, and orientations. Parameter changes
remain in sync across all networked devices
including Composer, ARC Wall Panels and
ARC-WEB, third-party controllers, and Sym-
Vue clients on Windows PCs.
TASCAM’s Model 12 is a downsized
counterpart to last year’s Model 16 and 24
devices. It is a 10-input mixer with integrated
12-track digital recorder and 12-in, 10-out
audio interface. There are six mono channels,
each equipped with one of TASCAM’s Ultra-
application designed to control Symetrix HDDA preamps, plus two stereo channels, the
DSPs. SymVue enables custom GUIs authored latter of which includes both mini-jack and
using Symetrix’ Composer running on the Bluetooth inputs for the connection of smart-
Symetrix Control Server hardware. Applica- phones or tablets. Each channel is equipped
tion-specific control screens can be designed with a three-band EQ, low-cut filter and
and tested in minutes, without writing any one-knob compressor. There is also a digital
code. With SymVue deployed on Symetrix effects processor offering a range of reverb,
Control Server hardware, Symetrix DSPs delay and modulation effects, plus two aux
can respond to commands from any browser- outputs with individual send level controls.
The Model 12 can capture 12 tracks – the
ten channels plus stereo main out – in WAV
format up-to 48kHz/24-bit, directly to SD,
SDHC and SDXC cards. The mixer interface
can also be used as a basic DAW controller
too, using the MCU/HUI protocol. Additional
features include MIDI in and out, a footswitch
input for triggering the recorder, a stereo sub
mix output, and two headphone outs with
individual level controls.
TASCAM TASCAM’s Dante Compact Proces-
Dante sor series comprises seven half-rack
Compact Dante audio converters featuring
Processor onboard digital matrix mixers with
 TECH SHOWCASE

Yamaha TF
Series Digital
Mixers V4.0
signal processing. These Xilica Solaro
Dante-enabled input/output QR1
endpoints deliver up to 24-bit,
96 kHz audio conversion. Dante
Compact Processors can be freely
combined to create custom systems and are applications. Support for DZR-D and DXS- supports ProVisionaire Control/Touch, the
easily installed under desks or on walls with XLF-D Series speakers has been expanded latest Version 3.6.0 enabling complete control
the included surface rack-mount angles or with speaker amp mute control directly from over the entire network chain, from mixers
rack-mounted with the optional AK-RS1 rack the mixer display. In January, Yamaha also through to amplifiers (including Yamaha’s
shelf. All models offer the flexible routing released V5.5 firmware (now V5.51) for the PC Series and the NEXO NXAMP4X4MK2),
of Audinate’s Dante controller, and are com- CL/QL series digital mixers. This firmware processors and speakers.
patible with Dante AES67 mode and Dante
Domain Manager. They offer remote control
via GPI, Dante, and either of two free TAS-
CAM control software applications, one for

We Make PoE EZ
integrators and one for end users.
The Xilica Solaro QR1 is a quarter-rack
Linux-based DSP processor has eight modu-
lar card slots that accept 2-channel audio input
and output cards and 4-channel GPIO cards The most advanced
selectable as input or output. The ability to use
any card type, in any combination, in any card
design in pass-through
slot maximizes I/O flexibility, and allows style RJ45 connectors
designers to specifically customize I/O with-
out waste. A 4x4 Dante card is built-in. Sup-
ported by Xilica’s drag-and-drop Designer,
it is compatible with various Xilica control
interfaces as well as any third-party control
system. External power supply included;
also PoE. Optional AEC mic inputs up to
8-channels@250ms and 16channels@100ms.
The Yamaha TF Series Digital Mixers
with touch-panel operation gained enhanced
control and versatility with firmware update
version 4.0. Firmware update V4.0 adds a
Selected Channel View that provides access to
the main parameters for the currently selected
input channel in a single display. Combined • Available in shielded and unshielded
with the mixer’s Touch & Turn Knob, this For PoE
and PoE+ versions in 3 sizes to fit most cables
new view provides even more intuitive, effi-
cient operation. V4.0 also adds a scene fade installations • EXO® Crimp Tool creates flush trim
time function that offers new flexibility for
scene management, particularly in theatrical
Makers of the original EZ-RJ45®
805.384.2777 • platinumtools.com
SV CO N L INE .C O M | J UNE 2 02 0 | SVC 29
 AUDIO EXPERTISE
ZOOMING HIGH(ER)-QUALITY
AUDIO WITH PRO HACKS
ZoomAudioDevice and Pro Tools can
help you keep your dignity
orking online from home and trying
W
to route decent-quality audio in real
time to my students is proving quite the
challenge. I’ve been meeting with them
using either Blackboard Collaborate or
Zoom. Blackboard Collaborate provides a
secure means of meeting, though the audio is
pretty rough. Using Zoom, the audio is better,
but neither of the systems is going to win any
awards.
So we figure out workarounds…
One way of improving the audio quality is by using two sep-
arate audio interfaces: one for Pro Tools and another for the
Creating an aggregate audio device in Audio MIDI Setup.
30 SVC | J UNE 2 0 20 | SVCO NLINE . COM
By Steve La Cerra
Mac OS. Outputs from the Pro Tools interface are physically
patched into the Mac OS interface, enabling a Pro Tools session
to route into the Mac’s audio system, which then feeds Black-
board Collaborate.
I then create a “voiceover microphone” for the audio stream
by adding an aux track in Pro Tools and assigning a live micro-
phone to the input of that aux track. This gives me the ability to
comment on, or explain, something that I’m demonstrating in
Pro Tools. It’s convoluted but it works. That same signal path
works with Zoom, as well.
The second solution via Zoom requires more prep, also works
well, and sounds a little bit better (though far from great).
The problem with Zoom is that there’s no way of changing its
default sample rate of 48 kHz —which is fine if your session
happens to be at 48 kHz and sucks if it’s not.
One of my colleagues shared a docu-
ment from Final Final V2 describing
how to route Pro Tools into Zoom using a
single interface. The key to getting Zoom
to run at other sample rates is in creating
an aggregate audio device for the Mac OS
that will enable Pro Tools to route audio
to multiple destinations at the same time.
The document describes the process in
detail, but there are a couple of important
points. You’ll need to ensure that ZoomAu-
dioDevice is installed on your Mac (this is
the software audio path into Zoom). You
then use Apple’s Audio MIDI Setup util-
ity to create an aggregate audio device
that includes your interface and ZoomAu-
dioDevice. The aggregate device will be
recognized by the Mac OS and Pro Tools.
The caveat here is to make sure that when
you create this new aggregate device, you
add your audio interface to it first so that
 it becomes the clock source.
Once that’s established, you
can add ZoomAudioDevice,
and the sample rate in Zoom
will follow the sample rate for
the Pro Tools session —so you
won’t need to hear a 44.1 kHz
session played back at 48 kHz.
In Pro Tools, set the Playback Pro Tools I/O Setup shows the default outputs for a Focusrite Scarlett 2i2 interface
Engine to the aggregate device
(not to ZoomAudioDevice), then default the I/O settings while small “+” sign next to the PT output label, indi-
making note of the last available output. This is the output that cating that the track has been assigned to multiple This Pro
Tools track
will feed audio to Zoom. In the example below, those are Outs 3-4. outputs. You’ll be able to hear your outgoing Pro is assigned
Normally, your Pro Tools tracks would be assigned to the Tools session via headphones or speakers while to multiple
outputs.
outputs called “Out 1-2” (or something similar) so you can also feeding the Pro Tools audio to the participants
hear them through the interface. A trick that some people don’t of the meeting.
know is that if you hold down the Control key while clicking on Besides spending many weekends on the road at front of house,
the PT output menu, you can assign a track to multiple outputs Steve La Cerra is an audio educator; over the the last month
simultaneously. he has been figuring out ways to get higher-quality audio into
When you have done that successfully, you will notice a Zoom sessions and incorporate Blackboard Collaborate.

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with each other - just as they would in normal conversation.
• For impromptu meetings, a smartphone can be quickly
paired with LENUBIO via bluetooth connectivity for
exceptionally clear communication.
www.toaelectronics.com
 REMOTE RESILIENCE
Everything is a videoconference
ive events, worship,
L
education, business,
healthcare, and
government have
all been rocked,
and so have the
lives of people who use those
spaces. Adaptation has been swift
and challenging. The need to
communicate and connect, and
the need to fight for our lives and
economy has depended on AV and
IT as never before. Here are just
two of so many examples—from
the professional to the personal—
that crossed my desk.
–Cynthia Wisehart
32 SVC | J UNE 2 0 20 | SVCONLINE . CO M
For years, Custom Media Solutions, a live event video production company based in Cum-
ming, Ga., has provided streaming coverage of The Orange Conference, an annual event in
Atlanta for Christian family ministry teams, with an online presence for people who could
not attend.
When the COVID-19 pandemic forced Orange Conference 2020 to convert from a live,
arena-sized event to a three-day streaming program that began on April 29, CMS relied on its
HVS-2000 video switcher from FOR-A Corporation of America to deliver a high-end produc-
tion to a much larger online audience.
“We automated as much as possible using the features from the switcher,” said Marc Shroyer,
president of CMS. “We had a couple of still stores with user flags and a lot of lower-thirds from
the ProPresenter presentation system. We used DVEs for picture-in-picture looks that we could
display on the multi-view at all times, so we could decide when to use them on the fly.”
Most of the content was prerecorded, but live hosts connected the short segments together.
Orange converted its local retail store, which was closed due to COVID-19, into three studio
sets. Client cameras were used as studio cameras for the two main sets, and robotic cameras
were positioned above the two sets to provide wide transition shots and a bird’s-eye view for
the production crew. The third set, located upstairs and equipped with CMS’s Hitachi produc-
tion cameras, hosted two live keynote presentations.
 Due to social distancing requirements,
CMS had to produce the event using less than
half of its usual crew in its production trailer.
The coverage required 16 inputs, 10 keyers, 11
DVEs, and at least four AUX buses, Shroyer
notes.
One challenge the production faced was
integrating a Zoom-based game show into
the live program. During the game, the video
switcher received two separate computer
feeds, so the TD had the option of taking the
Zoom gallery display of the four players or
the full-screen speaker display. The host inter-
acted with all four players through a monitor
on the set (populated by one of the HVS-2000
AUX buses), which showed the Zoom gallery
display as a picture-in-picture inside the game
graphics and allowed the players to the see the
game board. To avoid audio feedback, a USB
interface sent the mix/minus from the digital
mixer to the participants.
The ProPresenter system was used for play-
back of the recorded content, and two keys
were used to show the timers from the Pro-
Presenter’s second display on the confidence
monitors. A backup system rolled the videos
on a slight time delay. Each of the two main
sets had a confidence monitor, which received
feeds from the HVS-2000’s AUX bus.
AV/IT SUMMIT GOES VIRTUAL
Here at Future, we’re doing it too. The AV/IT Summit, which will still be
held on August 6, will take place virtually on a highly visual platform that
translates the experience of attending a conference to your computer
screen. The virtual event will feature most of the same benefits as the in-
person AV/IT Summit, including a digital conference lobby complete with
exhibitor booths. There will be interactive, engaging panels with subject
matter experts, as well as plenty of networking. “We firmly believe that
August will be too soon for a gathering of 200-plus people in New York
City, and we want to ensure the safety of our attendees, speakers, and staff,” said organizer Megan
A. Dutta, content director, Systems Contractor News (a sister publication of Sound & Video Con-
tractor). “On the bright side, having a virtual event will allow us to expand our reach and we invite
integrators, consultants, technology managers, and the like from around the country to join us for
a full day of education and networking.” For more info or to register, visit www.avitsummit.com.
Using the HVS-2000’s internal GPI system Live because of potential music copyright
called user flags, the AUX bus feeding the issues.
confidence monitor would switch automati- In anticipation of that interruption, Shroyer
cally to the second display from the backup created a GPI interface between the HVS-
system when necessary, so the hosts and crew 2000 and a Clear-Com intercom system to
always knew when the recorded content would allow switcher commands to be fired from
end. The user flag would also make it switch communication panels at several stations in
it back to the primary stage display graphics the production truck. From his location in
when any other source was selected. engineering, Shroyer switched the AUX feed
There were two streaming feeds; the main with transition to a graphic (without sound)
feed provided all programming to the Orange and keyed a countdown timer from the Pro-
website, while a second feed only shared the Presenter system using the HVS-2000’s key
two-hour main session to Facebook Live on over AUX function to let the Facebook Live
April 29. At one point, the production had audience know when programming would
to cut the Thursday night feed to Facebook resume.
Staying connected
After Cornerstone Assisted Living in Milford, MA
had to close its doors to visitors due to COVID-19,
the senior community naturally turned to FaceTime,
Zoom, and Skype calls via iPhones and iPads to con-
nect residents with their loved ones. However, many
of the residents had to hold the device close to their
face in order to clearly hear the conversation and
see their families. As a result, their families couldn’t
see or hear them well. Yamaha UC’s director of
global marketing and communications Meghan Ken-
nelly, whose 93-year-old grandmother is a resident
of the facility, reached out to see if Yamaha could
help by donating a CS-700 all-in-one collaboration
system.
“Our residents are really enjoying seeing and
hearing their loved ones more clearly on the big
screen,” said Michelle Hamilton, director of commu-
nity relations, at Cornerstone. “We are so apprecia-
tive of Yamaha’s generosity to help enhance their
virtual visits with their friends and families.”
SV C ON L I N E.C OM | JU N E 20 20 | S VC 33
 SVC
AV/IT
INTERVIEW
EXPERTISE

FRONTLINE COMMUNICATION
Medical center depends on livestreaming to
communicate to employees and the public
With Bennett Liles

he Covid-19 pandemic has hit the

T
medical community hard and real
time information exchange is vital.
Focal Point Productions put their
expertise in videoconferencing and
livestreaming to work for Greater
Baltimore Medical Center with hospital town
hall meetings and live Facebook streaming with
real time Q&A. Focal Company president Marty
Jenoff has the story on how it came together.

SVC: Before we get into your projects for Greater Baltimore

Medical Center, tell us about Focal Point Productions.
Marty Jenoff: I got my start in video production at the age of 13
when I started doing it for fun at some friends’ parties and weddings.
My passion for video continued through high school and college, and
when I graduated from college in 2000 I started Focal Point Produc-
tions with three other friends. Over the first couple of months they
kind of got out of the business and pretty quickly it was just me. In
the beginning, it was mostly weddings, social events, not too many
corporate events. And then in 2008 when the economy tanked, the
first thing to get cut from every wedding or party was video. But
lucky for me that’s around the time when Facebook and YouTube
started to come out and when customers wanted video for their web-
sites. So I started doing corporate work in 2008 and in 2011 I started
dabbling in livestreaming and webcasting. Now all I do is corporate
events and livestreaming is a huge chunk of my business.
And how would you have known way back then that we would
be in the situation we have now and suddenly people have few
other ways to connect? What has Focal Point’s response to the
coronavirus outbreak been?
Just before the coronavirus hit work was really busy for us. We
had a lot of livestreaming jobs and corporate jobs for the rest of
March, April was booked, May was really busy. We were going to
have a great couple of months. But once the coronavirus hit, every-
thing got canceled. All of our jobs got immediately cancelled, but
I got an enormous amount of enquiries about livestreaming. I got
more phone calls and more emails about livestreaming in four
days than in the last six months.
Yes, that’s incredible.
Yeah. I mean, like you said livestreaming is now the only way
for people to be in contact whether it’s using Zoom or Skype or
WebEx or Facebook Live. That’s really the only way for meet-
ings, for businesses to talk to their customers or their clients in a
quick, time-efficient manner. So we’ve done several livestreams
for one of our clients, which is Greater Baltimore Medical Cen-
ter, GBMC, which is in Baltimore County. They’ve been one of
our clients for a long time and we’ve done livestreams for them
before. They reached out to us pretty quickly about helping them
to communicate with the community and to communicate with
their employees as well.
Certainly, there can’t be a higher calling than that right now
because they’re the people on the front lines. What have you
been doing to help their people communicate?

34 SVC | J U NE 2 0 20 | SVCONLINE . CO M
 One of the first livestreams that they wanted our help with was
to do a leadership town hall with the president of the hospital,
the Chief Medical Officer, head of Human Resources, and their
Infectious Control Disease Manager. To allow those people to
talk directly to the nurses, the doctors, all of the staff of the hos-
pital. They wanted to do a Q&A to kind of tell them where are
we now? This is what’s happening. This is where we think it’s
going to go. And then answering all of their questions. We did this
first one right as things started and this hospital system has 4,000
employees. With very little notice our livestream had more than
600 viewers. So about 15-20 percent of their workforce tuned in
to watch. We did our third one and had over 1,000 people watch.
More than a quarter of the employee workforce tuned in to watch
live to hear what was happening.
Since it’s live, you can get them up-to-the-minute information
and listen to their reactions and get the give and take between
those providing the information and the medical workers making
use of it. No substitute for live interaction at a time like this.
Yeah. Our client decided to use Cisco’s Webex for this. They
have a great chat feature. We probably received dozens and doz-
ens of questions and comments from employees watching and
the moderator was able to follow along and was able to direct
those questions to the proper person immediately. We were able
to answer so many people’s questions right then on the spot only
because we were doing it live.
Well, you’ve been in this at the professional level for a while.
What do you think when you see so many people trying to get
into videoconferencing almost overnight?
Like you said I’ve seen tons of examples of people trying to do their
own livestreams, whether it’s you seeing it on the nightly news inter-
viewing experts or even hosts or reporters in their homes using their
own setups, or more professional setups like we did for GBMC. But
more often than not a lot of what I’m seeing is people doing it wrong.
And a lot of the things you can do to make livestreaming look good,
they can be pretty easy and they can be pretty inexpensive, but I’m
not seeing people do it mostly because they just don’t know any better.
SV C ON L I N E.C OM | JU N E 20 20 | S VC 35
 For audio, usually there’s no way for them
to hear how they really sound and a lot of
things they do that are really distracting,
they don’t even notice. At least not unless
they eventually get to see the recorded
video.
Yeah. Audio is a really big thing where
people are using the built-in microphone on
their laptop computer, which is probably 12 to
18 inches away from their mouth so it sounds
really bad. They’re using their laptop’s built-
in camera, which is a tiny, tiny little thing
which doesn’t do really well and so the image
is bad. And then when you add the fact in that
the camera is below their nose, so the camera
is looking up and all you can see is people’s
nose hairs and you can see their chins and you
can see the ceiling of wherever they are. The
lighting is bad. I’ve seen so many bad exam-
ples, but it only takes a couple of simple tips to
improve that quality.

So what did you learn on the initial town hall

event that was particularly useful in doing
the rest of them?
We did the first one at the hospital’s confer-
ence center and they have a computer set up in
their podium, which they use for doing all of
their PowerPoint presentations in the confer-
ence center. And also they use the same com-
puter for doing their own Webex broadcasts.
They have your typical small pan-tilt-zoom
camera mounted into the ceiling and these
microphones that drop down from the ceiling
that they use when doing their own livestream-
ing. So we were able to use the Blackmagic
web presenter to get our video and our audio
into their computer to do the Webex and we
changed over the correct inputs for the audio
and the video. But one thing the staff forgot to
do was to adjust the audio levels. So they had
the audio levels in Webex set to their internal
system and didn’t adjust it to our audio levels.
So for the first 15 minutes our audio was dis-
torted until people watching online were able
to let us know through the chat that there was
audio issues. We were able to troubleshoot it to
figure out what the problem was to then make
that adjustment. So now we know to really
double and triple check our settings in Webex.
Everything was great on our end, it was the
Webex computer that had some switches that
had to be configured to work well with what
we were providing it. And then something
else that is happening with Webex, and this
is probably happening with virtual meetings
all over the place is participants and viewers
forget to mute their microphones and turn off
their video cameras. So we had a lot of people
with open microphones talking and we will go
in and we would mute them and then for some
reason they would just go back and unmute
themselves. So that just creates a lot of back-
ground noise for all the other participants.
Yes, I was watching just the other night
and how often do you get to see a network
newscast interrupted by a dog barking in the
background?
Oh, wow, yeah. I was a viewer on a
livestream today and there were constantly
open microphones. And you would hear, like
you said, a dog barking, a parrot screaming
in the background, kids yelling while the pre-
senter is trying to talk and it just is so distract-
ing to them and everyone else watching. So
that happens everywhere.
What’s been the response from the hospital
leaders to the town hall meetings?
The leadership has really loved what we’re
doing. They love the ability to talk in real time
to the constituents, to their employees. We’ve
done three of these so far. We’ve done one a
week for the last three weeks. After we did
our last one they came to us and they said they
want to continue to do one of these every week
for the entire month of April. So by the end of
April we will have done six or seven weekly

36 SVC | J UNE 2 0 20 | SVCONLINE . CO M

town hall livestreams for GBMC. They’re
finding that their employees want to know
what’s happening and the leadership finds this
is the best and easiest way to get their mes-
saging across as quickly as possible. They’ve
also asked us to kind of up our game and up
the production quality of it, so we’re going to
be working with them to improve lighting,
improve the camera angles, improve the ambi-
ance to give it a better look.
So in some cases, non-tech people. How do
you get your clients ready to participate
in one of these internal GBMC town hall
meetings?
Yeah. So when a client comes to us about
doing any live stream, and in specific these
town halls, we really want to go over with
them and find out who is involved, who’s
going to be there, how many people are talk-
ing? We find out that there’s going to be a
moderator and four panelists so we needed
to think about camera angles, audio, micro-
phones, audio mixer, lighting. And then we
wanted to find out what distributing platform
will we use. In this case, as I mentioned, they
wanted to use Cisco’s Webex. And then we
also want to find out how are they going to
work with the questions that come in? We
had over a thousand people watching our last
livestream, and as you can imagine we had
a lot of questions and comments coming in.
So really talking with the client to figure out
how would that work? What is the flow going
to be for questions coming in? And then how
is the moderator going to go through them
and then to decide which panelist to ask each
question to.
Of course, at this critical time, they want to
be able to concentrate on the subject matter
without the tech side getting in the way. How
do they communicate on these events? Are
there other ways that you can get questions
from viewers?
For the livestreams, we receive ques-
tions in two different ways. The first was
employees were able to submit their ques-
tions ahead of time via email or a web form
that they would take to then give to the
moderator. And then we also received a lot
of questions live and in real time through
the chatroom. For Facebook Live, same
kind of thing. People were able to email in
their questions ahead of time if they weren’t
going to be able to watch it live, and then
we also did get questions through Facebook
in the comments section. And then again,
the moderator would kind of take those and
give them to the host in the order that they
wanted them to be presented.
Right so let’s talk about the Facebook Live
component you did for them.
We did several Facebook Live broadcasts.
In two days we did five Facebook Lives for
the hospital and for the community on differ-
ent topics around Covid-19. We did one about
anxiety and depression. We did one on heart
health. We did one on diabetes. We did one
on just answering common questions related
to the disease – to the virus; how you can pro-
tect yourself and things like that. And then we
did one on the hospital’s obesity weight loss
program. We did four of them at the hospital
in their conference center and then we did one
of them in our studio, which is about 20 or 30
minutes away from the hospital. So—to clar-
ify--we did the town halls, which were just for
internal employees and then we did the Face-
book Lives, which were for the community in
the whole.
And those are two different animals.
We did use a very similar setup for both.
We use multiple cameras. We use any-
where from two to four cameras. We use
SV C ON L I N E.C OM | JU N E 20 20 | S VC 37
 our Blackmagic ATEM television studio as
our switcher and hub. The audio mixer and
microphones – so the setup for both of them,
the town hall and the Facebook Live, had a
lot of similarities.
Are there specific features on the
Blackmagic Design ATEM Television Studio
HD that work especially well for this? What
made you choose that one?
For these broadcasts, town hall and Face-
book Live, we knew that we wanted to use
multiple cameras. We knew that we wanted
to have a wide shot, a tight shot on the mod-
erator, a tight shot on whoever on the panel
is speaking and we knew
that we also wanted to use
some PowerPoint slides.
So one of the great things
about the ATEM Televi-
sion Studio HD is it has
multiple inputs. It gives us
four HDMI connections
and four SDI connections
so it was really easier for
us to connect all of those
cameras and computers to
the ATEM to switch back
and forth. We could add
in lower third titles. We
could add in an opening
and closing title screen
for the broadcasts. It has
a program output, which
is our main output, which
we would send to our Teradek livestreaming
encoder. And then it also has an auxiliary
output, a secondary output, that we can use
to send a signal to a confidence monitor or
another screen or monitor for the presenters
or moderators or panelists to be able to see
while we’re livestreaming.
OK with what you can carry in one hand, you
have much of the capability of a whole TV
control room.
Yeah. I have a great rackmount case which
is maybe the size of a small suitcase and in
there I have the Blackmagic ATEM TV studio,
I have two Blackmagic recording decks so I
can record a primary and a backup, and then I
also have the Blackmagic Multiview monitor.
So in one case I have these four Blackmagic
38 SVC | J UNE 2 0 20 | SVCO NLINE . COM
devices, which gives me a whole TV studio in
one traveling case.
It was interesting hearing before about how
you interface their conferencing system
with yours because they do have some in-
house conferencing capability.
Yeah. So they do livestream some of their
own events from there. It’s using a ceiling-
mounted static camera. They have micro-
phones that drop down from the ceiling, so
typically when they do things there the audio
and video isn’t really great. That’s why they
wanted to have us come in to do these town
halls for them because it’s that important. So
the good thing for us was we did these town
halls and the Facebook Lives all in the same
room. We knew the room well. We know
the lighting concerns. Where are the power
outlets; how many power outlets are there?
Where is the Internet connection? Where do
we park and unload the van from? All those
things that we usually put into our site sur-
veys, it was really easy because we’re in the
same room for multiple days doing these dif-
ferent live broadcasts.
I noticed that you used Blackmagic Web
Presenter at the output of your stream. How
did you use that?
So our client wanted to use Cisco Webex
for the town halls and what we use the Black-
magic Web Presenter to do is to get the HD
signal out of our Blackmagic video switcher.
We need to get that into the client’s com-
puter and so that Webex will recognize it
to do the livestream. Normally when we’re
doing a livestream we’re going to use one of
our Blackmagic capture cards to get into our
laptop to do a livestream. But because we’re
at the hospital we’re unable to connect our
computers to their network so we have to use
their computer to do the livestream. And their
computers are your typical corporate laptops
or desktop computers. They don’t have Thun-
derbolt connections. They can’t accept one of
the high-quality Blackmagic UltraStudio 4K
signals. So we have to use the Blackmagic
Web Presenter, which takes, again,
our SDI HD signal and converts
it into USB and really tricks their
computer into thinking that it’s a
web camera. So Webex will then
recognize that USB signal and
that web camera and we’re able to
use our video switcher as the input
into Webex. That’s how we use the
Blackmagic Web Presenter for the
town halls and then we also used
the Blackmagic Web Presenter
when we did one of our Facebook
Lives. We used that to get the video
signal into one of our laptops, which
we used to have our host via Skype.
So that just gets your signal into a
friendlier format for them.
Exactly. So the Blackmagic Web
Presenter is great because it works with any
computer as long as it has a USB 2.0 connec-
tion. You can get professional video into any
computer, Mac or PC. No drivers are needed.
It’s plug-and-play and it works. So when we’re
using someone else’s computer that we can’t
install programs on it’s great because it just
makes life so much easier.
And it’s your responsibility to make sure all
their graphics look right and are in the right
format for the information they want to
display visually.
Exactly. I’ll work with them to make sure,
you know, if they want PowerPoint slides I’ll
work to get that – to get a laptop to get that into
the system. Like you said, lower thirds, full
screens. If we’re doing Facebook Live getting
 the stream key and information and scheduling
and setting up the Facebook Live and doing all
that so that they don’t have to worry about it.
Based on your experience in professional
situations, what advice would you have for
anyone trying to make virtual connections?
A couple of tips that I always give people are
find a quiet room in your house. You don’t have
a lot of background noise. You also don’t want
to have a very busy background. You don’t
want to have kids running behind you. You
don’t want a bright window behind you. So pick
your room wisely. If possible don’t use Wi-Fi.
Try to use a plug-in hardwired Internet connec-
tion. Try to use an external microphone. Don’t
use your laptop’s built-in microphone. Use ear-
buds or headphones so that the speakers in your
computer don’t echo back and get picked back
up again by your microphone. And lastly, try
to lift up your computer a couple inches so that
the camera in the laptop is eye level so that the
camera and the viewers aren’t looking up your
Distance learning from home, office, or classroom
nose counting your nose hairs or admiring your
double chin or the ceiling in your bedroom. Lift
up the camera so it’s eye level so that you’re
looking straight out, not down.
The current situation is unprecedented and I
would think that it is going to have a profound
long-term effect on the market. What’s your
take on that? What so you see coming for
videoconferencing and livestreaming now?
I think the market is going to explode. I think
you’re already seeing that. We’re already see-
ing a big jump in people using Zoom, Skype,
Google Meet; all those platforms. But I think
in the weeks and months ahead when things
get back to normal, I think people are going to
find that they really liked having these virtual
meetings. I think people may still be hesitant
to get out in public. People will be hesitant to
go to large meetings and conferences. And I
think organizers and employers are going to
look to live streaming to help them reach their
audiences easily and effectively for a long
time. I think livestreaming is going to see a
huge jump in demand.
Especially as people get more comfortable
with it and the apps get even more user
friendly. People don’t want to be seen
struggling with it, but as it becomes more
trendy perhaps that will really open the gates.
I think you’d be really hard-pressed to
find someone in the U.S. that hasn’t used one
of those livestreaming platforms in the last
month or so. Everyone has used one of those
platforms for personal or work reasons lately.
Yes, that’s a big sudden breakthrough in
uptake, and in people sort of breaking
through their barriers with this out of
necessity. That has very interesting
prospects over the long term. Thank you,
Marty Jenoff, president of Focal Point
Productions for talking with us.
Thank you so much for having me. I hope it
helps someone.
HDVS-CAM-USB
OME-MS42-KIT
atlona.com
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IMAG AND STREAMING BRING A PHYSICALLY

DISTANCED CONGREGATION TOGETHER

* INCLUDING DVIGEAR

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The SVC Interview

CONNECTED CONGREGATION
A video expansion turns into a lockdown lifeline
race Polaris Church in Columbus, OH

G
had outgrown the worship space and the
team was setting up an all-new facility.
The original plan did not center on
streaming video but it was included in
the build-out when some savings freed up from other
parts of the project. Now that capability is getting the
congregation through a very tough time. Phil Hagood,
General Manager at InteRise and Brent Dye at Grace
Polaris Church are here to give us the story on how
they’re doing it.

SVC: Philip and Brent, thanks to both of you for joining us today. Philip
coming to us from Nashville, Tennessee at InteRise.
Philip Hagood: Yes, sir.

And Brent is joining us from the Columbus, Ohio area at Grace Polaris
Church.
Brent Dye: That’s correct.

Alright, good to have you both on with us. We’re talking about a
major renovation, a new worship space for Grace Polaris Church.
As I understand it, something very fortunate happened that wasn’t
fully planned. Before we dig into the details there, Phil tell us about
InteRise and Morris Light and Sound.
Philip: Yes. InteRise is a new brand name for Morris Integration,
which in turn grew out of Morris Light and Sound-- a rental company
that has been around for about 25 years. In the last decade, we’ve taken
a new approach in how we do business. As Morris Integration we started
to focus on fixed installs for AVL systems, primarily for the house of
worship market. What we found is as both the brands grew--the rental
side of the company, and the install side of the company--it made sense
to create some differentiation in our name. So we’ve rebranded, as of the
first of this year, as InteRise. We’re excited about the new opportunities
that that gives us but we still continue to be the same team, the same core
group and we continue to have a specific and really exciting focus on the
house of worship market both in renovations and in new construction
for AV systems.

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This was a very big project at Grace Polaris Church. Brent, you’re
right in the middle of this, being the audio guy there so what sort of
worship style do they have at Grace Polaris Church?
Brent: The worship style is very eclectic. We come from a long his-
tory of traditional music as well as contemporary Christian music. We
have two services and the biggest difference is just in the styles of music
for those two services. The first service is more traditional, so we’ve got
the full choir, orchestra; we do a lot of hymns, big orchestral numbers.
And then in the second service it’s a bit more contemporary; a worship
band, worship singers. Sometimes we will have the orchestra back us
up a little bit on some of those worship songs. Sometimes we just have
the worship band and we may bring in a few members of the brass sec-
tion just to kind of spice things up and make it fun for everybody. We’re
really trying to involve as many people as possible in the worship pro-
cess and we’ve got such a pool of talented people from which to draw it’s
really been a blessing. We’ve been in need of a worship center renova-
tion for a long time. The building was originally built in 1983 and we
still had a lot of the same AV components. We contacted Morris because
we needed something more than what just the local tech group could do
for us. As we talked, they understood exactly what we needed and came
up with several different options that would meet our budget and have
the desired outcome for all of the equipment, sound, video, and lighting.
I think we started that process a little over two years ago in the planning
stages and things are finally all in place.

Nobody could have foreseen a global pandemic with churches having

to shut their doors to live attendance. The worship experience is a
very social thing with a lot of physical interaction. While installing live
streaming capability wasn’t the main objective, it seems now to have
been a very fortunate addition.
Brent: Yes. Yes, it definitely is. It’s been a real Godsend. Before
we really didn’t have proper facilities and equipment to do a quality
livestream. We were still analog-based. A lot of the cameras were still 4
x 3. And so having all new equipment has been a real game-changer for
us to be able to do this. What we’re doing at the moment is not actually
a livestream. We are actually recording on Thursday evenings and then
we do necessarily editing and post it to the web site. And then at 9:00
a.m. on Sunday it’s ready to go.

That’s a very smart thing to do because you can clean up in editing any
problems with the mix or the cameras or any other technical glitches.
Phil, what was your plan for the online video component, and how
did you manage to get more resources into that component before it
became so essential?
Philip: Yeah, it’s an interesting question for this project and honestly
many of the projects that we do in the house of worship market. It’s always
that balance between the online cloud audience and the in-person audi-
ence when it comes to a worship experience. Having that engagement and
having that personal connection with each other is a huge part of the cor-
porate worship and the corporate church environment. That’s what makes

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it so powerful and so important to day-to-day faith and Christianity. So
in the case of Grace Polaris they’re not a church that has 30 other satellite
campuses like some of the more modern churches that we see nowadays.
But they want to focus on having a really quality product inside the room.
Part of that is making sure video, IMAG, those kind of things, are done in
a way that’s clear and not distracting--in a way that’s engaging. Because
when you talk about a larger space, having that connection to somebody’s
face and eyes in an expanded, magnified image is so important. So that
was the focus to start out with. But through budget revisions and going
through the typical process of a large renovation or construction project,
we made sure to maintain the infrastructure and the bones, but we cut
back to a very small number of cameras. We cut back to some limited
functionality. Then when we got into the latter stages of the project we
were able to find some cost savings inside the AV system, specifically the
PA system. Also the construction project as a whole was able to find some
savings. So the church pushed resources back into upgraded cameras and
really making sure to utilize more of that video infrastructure that was
going in. So that’s allowed us to be where we are now. And once churches
are meeting back in person they’ll have a fantastic product in the space.
In the meantime, they have everything that’s needed to really push out a
great product so the people can sit in their living room and connect. We’re
all so used to watching Netflix or HD cable--high quality content. So
when we put worship—or even work or meetings--into that home setting,
the expectation can be really high. The video infrastructure allows Grace
Church to push up to that quality level. If they hadn’t done this upgrade,
it would have been really challenging to have good, clear communication
and connection via technology.
Of course when people do eventually get back into the church they’re
going to hear all of those familiar acoustics which is another kind of
quality experience. Brent, at Grace Polaris how does the place actually
sound? What’s the general sound system design there?
Brent: In a word the acoustics are great now. It’s so much different
than what we’ve been used to. We used to have a lot of slap echo and
things coming back to the performers on the stage that were delayed
by oh, probably a good second and a half. And with all of the room
treatments now it’s great. You can go anywhere in the room and you
don’t have the flutter echoes in the corners that we used to have. It’s a
quiet-sounding room, but it’s very well-balanced and it just has a very
nice feel to it. I told somebody that when we first fired up the PA it felt
like I was sitting in a large studio listening to very large studio moni-
tors. And it’s really translated very well in the mixes that we’ve been
getting out of there. We haven’t had a chance to get a full choir and
orchestra up there so I can’t really compare with what we had before
because there was an awful lot of acoustic energy coming from the
stage. But right now, the stuff that we’re getting and the things that
I’ve been able to record just as a reference mix have been excellent.
And we do have the Pro Tools rig hooked up to it so we can multi-track
everything that comes into the console and then play that back to do
virtual sound checks.
44 SVC | J U NE 2 0 20 | SVCO NLINE . COM
I notice you have an Avid S6L-32D console. Why was that particular
one chosen?
Brent: Well, back in 2006 we installed what was then Digidesign
Venue D-Show. We’ve been using that for many, many years and just
really grew to love that console. And all of our volunteers were trained
on that and were very comfortable with it. I was interested in main-
taining that familiarity with the software so we looked into the S6L
and they’ve taken that whole Venue system to the next level and it is
just a very nice console. Very powerful, great-sounding mic pres, excel-
lent converters and it’s very user-friendly. You can walk up to it and in
very short time you can be comfortable to do just about anything on
that board that you need to do. There’s nothing that’s any more than two
clicks away.
And how does the Ableton Live software work? How do you use that?
Brent: Well, the worship band has been using that for a number of years
just giving them a click and cues in their ears. But they would send a loop
to the PA so that we could just supplement what they were doing. We’re
actually going to expand that a little bit and use orchestration stems with
our orchestra. So if we wanted to add a little bit more to the string section
we can do that. If we wanted to supplement some extra guitars or some
extra percussion instruments we’ll be able to do that via Ableton. Every-
thing is run via Dante and we have Dante Virtual Sound Card loaded on
the computer that is running Ableton. Therefore we can just select what
tracks we want to send to the console and we’re good to go.
OK and you have separate mixes, I assume, for the streaming and for
the local house mix?
It’s somewhat separate but somewhat the same. What we’ve done is
taken the stem mixes off of the subgroups of the FOH console. So we’ll
have a group output for strings, brass, woodwinds, drums, bass, etc. And
someone will be back in the video room on the broadcast console and
they’ll rebalance what we’re sending them from FOH to help better fit
the audio that’s required for the video. As you probably know, when
working in the room with a lot of live instruments you may not neces-
sarily need to push the brass that hard in the room to get it to balance
with everything else. But in the video world, where they’re getting no
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acoustic energy from the room, they may need to boost the brass in order
to make it fit in with everything else. So that’s the kind of thing we’ve
done and so far it’s worked out very well.

Phil, on the installation end of this, what changes have you had to
make to be sure that you can work as safely as possible during this
pretty weird time?
Philip: Right. It’s a good question right now. It’s been challenging
and tricky– that could probably be said for every person in every busi-
ness across the world right now. But we’ve actually had our entire team
grounded for about the last six weeks just in an abundance of caution
to make sure that we’re prudent and not making too quick or too slow a
decision. But when it comes to our team and their interaction with our
clients that is the number one focus of my role and responsibility and the
number one focus of our team leadership. So we’ve tried to make sure
that we took adequate time to figure out the landscape of the changing
world around us. Just this week some of the install crews have headed
back out to continue moving forward on some of these projects, moving
to some new projects around the country that are video-focused for this
time. We’ve developed a protocol in line with what the CDC has put
together to make sure that workers are protected or adequately monitor-
ing and we’re giving everybody the opportunity and the equipment to
make sure that they’re safe. If something does come up in the way of
illness, whether it’s just a cold, the flu, or anything more serious, we’re
allowing for a lot of flexibility. We can make sure people are treated if
they are sick, but prevention being our number one goal right now. But
yeah, making sure people have masks and hand sanitizer and they keep
their workspace clean. So it’s definitely been tricky, though, to balance
all that and make sure we can still serve the people we need to serve
while still being safe and wise.
And Brent, I know you’re taking precautions on the production end as
well.
Brent: Yes. There’s been a whole lot of Clorox wipes and Purell hand
sanitizer being used. In the production booth for video, I think the guys
are stationed in separate corners of the room and they’re working with
a skeleton crew so they’re trying to use as few people as possible to get
the job done. Back at FOH it’s not so bad. It’s a rather large booth and
it’s only me and the lighting person in the booth and we’re a good 10 feet
apart. So not a problem there. Musicians on stage are staying roughly six
to eight feet apart and so far it’s been working very well.
How large a production crew do you have on site for streaming the
services?
Brent: For the time being, because we are working with a skeleton
crew, I believe there are four people in the video production booth and
two people in the auditorium on manned cameras. For the audio side
there is one person in video production who is doing the broadcast mix,
and then I am out at FOH doing the house mix.
Phil, let’s come back to video gear for a moment. You put in the Sony
HXC-FB80 cameras and the Ross PIVOTCams. Was that decision
driven by cost or features?
Philip: Yeah. Like with so many things a combination of both. The way
the project started out we wanted the ability to have infrastructure for four
manned cameras inside the room but also have the ability to add addi-
tional cameras in the lobby or ancillary spaces for remote connectivity
in the future. So as the project went through value engineering and as we
adjusted the budget we actually ended up changing back to a PTZ-focused
system, the Ross PIVOTCams. We left the infrastructure for the manned
cameras, but there were’nt a lot of resources put into manned cameras. As
the project went on, and with the cost savings I mentioned, they were able
to expand into two of the four Sony FB80 cameras as well as three or four
PIVOTCams around the space to pick up some ancillary shots. The feature
set of both of those cameras and the way that they work together inside of
the switcher is really great and something that has been a really effective
combo for us. The PIVOTCams allow direct integration with the Ross
switcher and Ross Dashboard Control software, which makes it easy to
operate a lot of their products together in a unified IP-based platform. And
then the Sony FB80 cameras are fantastic. It’s a relatively new product
for Sony, so it provides a really great 1080 image. It allows us to have that
Sony kind of quality look, even at a more entry-level price point. You’re
able to get a lot of the feature set of the $100,000 camera and not have to
spend $100,000 for that higher tier broadcast camera platform. And then
we’ve been able to make these cameras look really good together because
the Ross Carbonite switcher at the central hub of the whole video system
has color correctors and some of those other things as part of the software.
So we can tweak and paint the cameras. Then also on the switcher side,
we make some final adjustments to really make sure you have consistent
image as you cut through the cameras. So it’s really exciting how they’ve
all worked together and it gives them six or eight angles to be able to

46 SVC | J UNE 2 0 20 | SVCO NLINE . COM


cut through, both in remote broadcast right now and then once they have
people back in the room.
How did you set up the AV network?
Philip: There are a couple of different protocols we’re working with.
Most of our designs are focused on a concept of simplicity but robust-
ness. It’s really easy for all of us that are technical people and engineers
to come up with these really intricate systems and gear that can do 45
things. I would rather have one piece of gear that does one or two things
really, really well. So we have a lot of interconnection between these
systems that allow you to move a lot of things around, while focusing on
video distribution via SDI around the facility. So that’s both inside the
room, with just basic connectivity to cameras and displays, and then also
outside the room to ancillary rooms, cry rooms, choir rooms, the lobby,
things like that, it’s all SDI distribution with audio embedded on the
SDI. The actual audio side the system is driven by a QSC Q-SYS proces-
sor. So Q-SYS has a Q-LAN protocol that allows us to also push audio
around the facility by IP. We have that capability, but we’re relying
more on the Dante side that’s connected directly to the console system,
with Ableton and some of those connectivity pieces where we have a lot
of CAT5, CAT6 infrastructure. Then lastly on the lighting side, we’re
using streaming ACM through Pathway. Pathway is a manufacturer that
makes a lot of different lighting infrastructure components. So that also
allows distribution by IP. Basically, as long as we have fiber and CAT
and network switches in the places that we need them we can get vir-
tually anything that’s audio, video, or lighting-related connected and
controlled in those different locations. However we also keep it sepa-
rated enough so the number of failure points are broad. So if, God for-
bid, something were to fail we don’t take down the entire building, the
entire system, because we put everything on one protocol. We still keep
it separated enough so that it’s easy and flexible, but also really robust.
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DISTRIBUTION
Brent, we’ve talked about how you do the services. Are there other
events that are streamed in there as well or do you just concentrate
on the two services for Sunday?
Brent: In the past we haven’t really done any streaming just because
of the low quality, the cameras that we had. So this is really new territory
for us and so far we’re very pleased with the results we’re getting. We
look forward to doing some more.
Does it appear to you that the younger members of the congregation
tend to take to the streaming more than the traditional members?
How has the reaction from the congregation been to this?
Brent: You know, I don’t have the hard numbers in front of me but I
had heard the first week we had quite a few people that had tuned into
the stream. We’ve tried to make it as simple as possible for everybody
by sending out an email with a link so all they have to do is click on
the link and it will take them right to the video that’s online. We’ve
had a lot of people watching on their phones, others on their iPads,
some on their computers and there are some that will stream it to their
TV. So everybody is getting involved. I know several of the older
folks are more comfortable with the computer. My parents are sitting
there watching it on the computer, so yeah it seems to be working out
for everybody.
Churches will be watching each other to see what ideas there are. Both
installation and production will be facing some creative challenges.
Great having you both here to talk about this. Lots of questions up in
the air right now. Congratulations to you both on a great job in a weird
situation we have. Thanks for being with us.
Brent: Thank you very much for having us.
Philip: Yeah, thank you. We’re really grateful to be featured and
really grateful for the partnership with Grace Polaris.
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dedicated units. New for this year are the DN-225 transmitters and receiv- the cables to be installed in sensitive applications with strict security
ers, which offer both fiber and copper connectivity in the same compact, requirements. HyperLight cables are ideally suited for applications that
fanless form-factor as previous DN-200 Series devices. DN-225 transmit- require ultra-high resolution signals to be extended over long runs with
ters and receivers are available now for immediate delivery. flawless image quality.
HyperLight cables
DVIGEAR HYPERLIGHT ACTIVE OPTICAL CABLES are available in DVI,
DVIGear will also have a dedicated showcase for their expanded range HDMI (4K/60), and
of HyperLight Active Optical Cables. This showcase will host dem- DisplayPort 1.4 variet-
onstrations of HyperLight products, including a live demonstration of ies. DVIGear will be
8K/60 DisplayPort signal extension. introducing a prototype
Unlike traditional active extenders, HyperLight cables are capable of for a new 8K-capable
lengths up to 100 meters (328 ft.) with no external wiring, mid-cable HyperLight HDMI
powered extension, or fiber termination required. All HyperLight cable at ISE 2020.

#AVITSUMMIT

Aug 6, 2020
For the first time, the AV/IT Summit is going virtual!
You’ll receive all the same benefits—killer discussions
on the future of technology, manufacturer demos,
AVIXA RUs—all from the convenience of your home.

Learn more and register for free today at:

avitsummit.com
48 SVC | J UNE 2 0 20 | SVCO NLINE . COM
 OPEN MIC
REMOTE WORK
INFRASTRUCTURE
By Lauren Simmen, AMETEK Electronic Systems Protection
echnology has enabled the rise of
T
the home office. More businesses
have taken on remote workers than
ever before, as they offer flexible
work schedules as a perk to acquire
top talent around the country. Now,
the world is staying in as we work together to
prevent the spread of COVID-19, accelerating
remote work sharply.
While the work-from-home-boom caused by the virus is
expected to be temporary, it’s pushed businesses to become ready
to support remote working. After the travel bans and self-quaran-
tines finally subside, businesses may be more receptive to remote
working after this test-run. A recent piece in The Atlantic dis-
cussed how remote work could be viewed as the future: “People
predicted that our jobs would eventually be emancipated from the
office, and home would be the thrilling future of work.” For inte-
grators, remote working as the future can become an opportunity.
The remote work boom in response to coronavirus was
impromptu, but it makes us consider what a more balanced in-
office and remote work setup might look like. When we all return
to work, will we have the technology foundation to support it?
Businesses need the right technology in-office to support remote
work, so that teams can collaborate seamlessly from anywhere.
Multi-room conference systems or huddle spaces with interactive
display and communication systems must be designed to suit the
business’s needs, number of remote employees, and the space.
Integrators can seize this opportunity to expand their client
base or offer new systems to existing clients; but where there’s
opportunity, integrators must be cautious and must also consider
how to scale and support more systems. With the right technology
choices, they can set up for successful growth. Remote monitoring
and a power foundation can equip integrators for success, keeping
installations running smoothly. Setting up a foundation is a best
practice for office installations big and small. It starts with the
network, which is especially necessary today, as most systems for
remote work include cloud platforms that require a strong Wi-Fi
network. Other than the network, installations also need a power
foundation to stay running at peak performance.
50 SVC | J U NE 2 0 20 | SVCONLINE . CO M
Many clients may not realize that their power conditions can
affect the performance of an AV installation. Other equipment like
HVAC systems, appliances, and lighting can create power anoma-
lies like spikes, sags, surges, and electrical noise. These anomalies
occur daily in most installation environments, and if not resolved,
can cause device downtime, system “ghosts,” and reduce equip-
ment lifespan. For an integrator, this can turn into extra service
calls, equipment requiring premature replacement, and loss of trust
from clients. To ensure smooth installations and successful growth,
integrators can establish a power foundation to protect against these
anomalies. The equipment of a power foundation can vary depend-
ing on the installation size and conditions, but should include a
power conditioner and multi-stage surge elimination technology.
In addition to the power foundation, analytics and remote
monitoring tools can help integrators. Integrators can analyze the
power conditions of the installation site before going in, to ensure
that the system wouldn’t be compromised by these anomalies. For
example, the SurgeX enVision unit can be plugged into any site,
and will report back if there are spikes, sags, surges, and other
anomalies that need to be addressed. Once integrators identify
the problem, they can select a mix of power equipment to protect
the conference systems, huddle spaces, interactive displays, and
more. A power foundation is created to suit the size of the installa-
tion; where some systems may require backup power from a UPS,
others may only need surge suppression technology. Devices like
PDUs also offer integrators the ability to manage equipment in
an installation with remote monitoring and reboots. For example,
a power foundation for the average huddle room or flex space
may comprise a SurgeX enVision unit to assess the site, and then
a power protection device, whether a branch circuit or SurgeX
Squid—a device that provides power protection, filtration, and
surge suppression—combined with management, monitoring, and
control features.
Without a solid foundation in place, remote workers could be
virtually locked out of the office and important meetings. Inte-
grators can take advantage of the changing workplace landscape,
using monitoring tools and the right foundation to create a reliable
and serviceable system to support the changing work culture.
Lauren Simmen is Director of Marketing for AMETEK Electronic
Systems Protection
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