What to know:

• Bondi Icebergs has transformed its newly rebranded venue, The Bergs, with JBL Professional, Crown, and BSS solutions, creating a flexible, multi-zone AV experience for live entertainment, dining and private events.
• At the core of the installation is a distributed, multi-zone audio architecture built around BSS BLU signal processors, providing centralized control and flexible routing across all zones.
• JBL Control Series loudspeakers are deployed throughout the property to match the acoustic requirements of each space, with amplification provided by a combination of Crown CDi and CSA Series amplifiers.

Bondi Icebergs Reimagines Its Club and Function Spaces with a Flexible, Future Ready AV Upgrade

Australia’s Bondi Icebergs has completed a major multi‑stage renovation of its club and function spaces, relaunching them under a new identity: The Bergs. Designed to support a broader mix of hospitality, events, and live entertainment, the revitalized venue pairs upgraded interiors with a highly flexible audiovisual system—delivered through close collaboration between Showtime Production Services and MadisonAV, and rooted in JBL Professional, Crown, and BSS solutions by HARMAN Professional.

The Bergs was conceived as a venue capable of rapid changeovers and parallel programming, often hosting several events with entirely different technical requirements year‑round. The upgrade introduces new bars, expanded dining areas, upgraded amenities, and dedicated function rooms, all supported by an AV infrastructure designed to adapt as programming demands evolve.

“On a typical Friday or Saturday, we’re turning over spaces every couple of hours while running multiple functions,” said Cassie O’Brien, general manager of Bondi Icebergs. “One area might be general trade with sport and background music, another a private function with images streamed to screens, and elsewhere a live band performing. The upgrade allows us to create very different experiences within one venue.”

Showtime Production Services led system integration, working closely with MadisonAV from early specification through to final commissioning. The brief prioritized future‑proofing, operational simplicity and long‑term reliability. “The AV system needed to be flexible, intuitive for staff, and designed so the venue can expand or adapt without major rework," explained Scott Masters, Director at Showtime Production Services. "MadisonAV played a key role in helping us align the right technology to that goal.”

At the core of the installation is a distributed, multi-zone audio architecture built around BSS BLU signal processors, providing centralized control and flexible routing across all zones. This allows staff to isolate or combine spaces as needed, supporting frequent changeovers and parallel programming throughout the venue.

JBL Control Series loudspeakers are deployed throughout the property to match the acoustic requirements of each space. Reception and dining areas feature JBL Control 424 in-ceiling loudspeakers for consistent, low-profile coverage, while JBL Control 25AV surface-mount loudspeakers provide balanced audio across general zones. In higher-energy areas, JBL Control 29AV loudspeakers deliver increased output, supported by a JBL ABS6112B subwoofer used in DJ and live performance settings to reinforce low-frequency response.

Amplification is provided by a combination of Crown CDi and CSA Series amplifiers, ensuring reliable power delivery and scalable performance across the multi-zone system. Local audio inputs are routed through the BSS BLU-100 signal processor, allowing simple connections for background music, DJ setups or live sources without adding operational complexity.

“Modern hospitality venues need systems that deliver consistent sound quality across multiple zones while remaining easy to operate and robust enough for constant use,” said Nick Screen, VP and GM of HARMAN Professional Solutions, APAC. “The JBL, Crown, and BSS ecosystem used at Bondi Icebergs supports that balance, allowing venues to shift seamlessly between use cases without compromising the guest experience.”

Crowne Plaza Adelaide Mawson Lakes officially opened as northern Adelaide’s first premium full-service hotel. Anchored by a dramatic 46-foot-high atrium, the hotel offers four purpose‑built conference and event spaces totaling 4,758 square feet, including the Shoalhaven Ballroom and pre-function areas, supporting up to 250 guests. Integration firm Corporate Initiatives designed and deployed a venue-wide audiovisual system centered on JBL Professional loudspeakers and Crown amplifiers.

[4 Opportunities in 2026 for Pro AV Integrators in Hospitality]

Combining contemporary hospitality spaces with integrated event infrastructure, the hotel was built to support a wide range of corporate meetings, functions, and social gatherings while allowing staff to manage the majority of AV requirements internally without dedicated on-site technicians. The installation spans more than 80 loudspeakers across reception, lobby spaces, restaurants, bars, conference facilities, public amenities and recreational areas, creating a consistent audio experience throughout the property while maintaining operational simplicity for hotel staff.

“Music creates an emotional connection,” said Faisal Sayed, general manager of Corporate Initiatives. “It sets the tone, energy and mood in every space. It supports the brand experience, activates areas commercially and helps deliver seamless conferencing. A good sound system is fundamental.”

A venue‑wide JBL Professional audio solution, powered by Crown amplifiers, were deployed throughout the reception, lobby, bar, restaurant, atrium, balcony, gymnasium, elevators and function spaces. 14 JBL Control 16 ceiling loudspeakers installed throughout reception, lobby and amenities areas, while 25 JBL Control 18C/T loudspeakers support ballroom spaces, the gymnasium and additional high-traffic zones. Three JBL Control 24CT loudspeakers provide coverage within elevator areas, and 20 JBL Control 65 pendant speakers selected for the hotel’s bar, restaurant and reception environments. 20 JBL SLP14 surface mount loudspeakers deployed throughout the balcony and the venue’s 14-meter-high atrium space, while four JBL 8128 in-ceiling loudspeakers support select gym and reception areas. The system is powered throughout by Crown amplifiers, providing centralized control, reliable operation and scalable zone management.

“We’re working closely with IHG on standardizing audiovisual platforms across its hotels,” said Gayan Dias, strategic relationships manager at Corporate Initiatives. “JBL offers the versatility we need, from indoor to outdoor applications, and when paired with Crown amplifiers, it provides the zoning sophistication and reliability hotels require.”

One of the hotel’s primary goals was to create conference and function spaces that could operate independently without requiring extensive external AV support. The integrated system allows guests to host presentations, meetings and events using built-in microphones, displays and sound reinforcement already configured within the venue.

“Most clients only need a microphone, a lectern, and a screen,” said Amy Davies, director of marketing and sales at Crowne Plaza Adelaide Mawson Lakes. “What sets our spaces apart is that all the technology is already there. Guests can host professional events without bringing in external AV or additional equipment.”

The project also emphasized the role of background music in shaping guest experience across hospitality environments. Different playlists, voicing profiles and volume levels were configured for specific spaces throughout the hotel, allowing audio to adapt naturally between dining, conferencing and social settings.

According to Nick Screen, VP and GM, HARMAN Professional Solutions, APAC, hospitality venues increasingly require systems that balance audio performance with operational simplicity. “Hotels today need AV systems that are powerful and flexible, but also intuitive for non-technical staff,” said Screen. “A unified ecosystem like JBL and Crown allows venues such as Crowne Plaza Adelaide Mawson Lakes to move seamlessly between conferencing, events and social settings while maintaining a consistent guest experience.”

More than a year after opening, Crowne Plaza Adelaide Mawson Lakes continues to expand its appeal beyond business travelers, attracting sports groups, leisure guests and private events. With integrated JBL Professional loudspeakers and Crown amplifiers supporting conferencing, hospitality and public spaces throughout the property, the hotel has established a flexible AV foundation capable of adapting to evolving operational and guest demands.

Wellington International is "Where Champions Are Made." Located in Wellington, FL, the equestrian facility hosts competitive events 42 weeks a year, including the 13-week Winter Equestrian Festival that begins in January, and attracts more than 350,000 attendees as well as some of the world's top riders annually.

For a long time, management was not "tech forward," admitted Patrick McKenney, director of technology at Wellington International. But those days are gone, as Murray Kessler, who took over as CEO in late 2024, understands the role technology plays in modern sports production. Now, McKenney is leading the facility through a phased upgrade that includes audio and video elements.

Indiana-based Dodd Technologies has served as the integrator partner for Wellington International for about two years, helping with new LED video walls and production lighting elements. Upcoming plans include replacing an aging display with a new dvLED display for the International Arena, the premier competition space at the facility. Dodd will also assist with new PA systems for a new stadium and grass derby fields on the south grounds, McKenney said.

An on-site mobile production unit handles the video production for events. According to Kevin Reilly, video production director, production is split, with broadcast production for ESPN channels on one side of the trailer and stadium production on the other. The production side is built around a Ross Carbonite production switcher, Ross XPression graphics, and Evertz DreamCatcher replay system. Reilly said both productions usually share five Sony HD camcorders and two Sony PTZ cameras, though the mobile unit can support up to 16 cameras.

There are 18 competition rings at Wellington International, which are used for practice, competition, and instruction. Every ring has an announcer booth that is wired for sound, as well as Showgrounds Live, its proprietary software for managing entries, prize payouts, stabling, and more. Video services are also available through Showgrounds Live, so riders can get replays almost instantly on their phones, along with AI analytics about their "trip" in the ring.

More than 400 channels of Dante audio are used across the 200-acre campus. Wellington International upgraded to Dante Domain Manager last year, which provided a unified clock across campus and simplified operations. McKenney said Dante has "really allowed us a great deal of flexibility in audio distribution."

For example, the facility can direct music to each ring (or a combination of rings) across the facility without running additional cable. Plus, while there are usually announcers at every ring, Dante allows them to "share" an announcer between several rings on slower days. Networked audio even reaches hundreds of permanent equine stalls. "We have a very robust network infrastructure of single-mode fiber," he added, "and with Dante, it's just as easy as plugging in a couple of devices on each end, route it in the control room, and you're gone."

Another part of the audio upgrade has been the introduction of LEA Professional amplifiers. Three seasons ago, Florida-based Peerson Audio handled an audio upgrade for the International Arena, which included new JBL loudspeakers and LEA amps. McKenney said he tried a couple of LEA Connect Series 704s because he was intrigued by the idea of a 1 RU amplifier providing four channels of 700 watts per channel at 70 volts. (The 70-volt option was important because of the long cable runs across the campus.)

Since then, Wellington International has purchased more than a dozen LEA amplifiers, and there are plans to purchase more than a dozen more in the next year to replace aging equipment. "LEA amplifiers have really allowed us to up our production quality, our production level, our ease of maintenance," he said. "Their ability to … have the level of flexibility, of adjustability, the network control, and the built-in Dante, it's just been absolutely incredible."

When Dobyns-Bennett High School’s Buck Van Huss Dome reopened after a comprehensive renovation, fans and students were greeted not only by new seating, flooring, lighting, and a center-hung Daktronics video board, but also a new professional-grade sound system anchored by JBL Professional loudspeakers and Crown amplifiers.

[SCN Installation Showcase 2025]

Originally constructed in 1967 alongside the new Dobyns-Bennett High School, the Buck Van Huss Dome is the largest indoor venue in Kingsport, TN. Its defining architectural feature, the Lamella dome ceiling, spans nearly an acre of unobstructed floor space, hosting everything from high school basketball games and physical education classes to community athletic events.

As part of a roof replacement project in 2022, structural testing revealed the need for additional ceiling support. School leaders seized the opportunity to modernize the aging 50-year-old gym, investing in upgrades that included HVAC, locker rooms, scoreboards, lighting and a long-overdue sound system replacement.

“The new audio system was a necessary component to match the quality of the other renovations,” said Dr. Andy True, assistant superintendent of schools, Kingsport City Schools. “Feedback has been universally positive. The sound complements the four-sided video board perfectly and delivers clear, high-impact audio throughout the Dome.”

To design and deliver the system, the school partnered with Music Doctors, a Kingsport-based integrator with decades of experience. With support from JBL engineers from HARMAN Professional and regional rep James Willis, the team specified a solution centered on JBL PD6322/66 loudspeakers powered by Crown DCi 4|2400N amplifiers.

“The PD6322s were the right choice for their long throw and high-volume performance,” said Rob Kendrick, systems integrator, Music Doctors. “Combined with the Crown DCi amplifiers, which gave us bi-amping capability and precise tunings, we were able to achieve the coverage and clarity the Dome demanded. The amps’ versatility allowed us to get optimum performance out of the speakers.”

To cover the court and ensure players, referees and the audience on the floor had the same audio experience, JBL AWC159 all-weather loudspeakers were added as downfills. Their compact footprint and included U-brackets made for an easy installation inside the tapered base of the scoreboard structure without obstructing sightlines.

In addition to the installed system, Music Doctors supplied JBL PRX912 portable stage monitors for events requiring live sound reinforcement.

“The new system has already made a major impact,” Dr. True added. “From daily instruction to athletic events, the clarity and quality are exceptional, ensuring that every fan and student shares the same experience no matter where they sit.”

The project not only modernized a beloved community facility but also demonstrated the power of combining JBL Professional loudspeakers with Crown amplification for reliable, high-performance sound in complex architectural environments.

Inspire Brands, the global multi-brand restaurant company whose portfolio includes Arby’s, Baskin-Robbins, Buffalo Wild Wings, Dunkin’, Jimmy John’s, and SONIC, recently completed a major audio upgrade at its Atlanta Global Support Center with JBL Professional loudspeakers and Crown amplifiers. At the heart of the renovation is an auditorium used for internal communications, live presentations, executive briefings, and high-profile brand events.

[Knowledge is (Audio) Power]

To ensure every event had the proper clarity, coverage, and impact, Inspire’s AV team partnered with Vision2 Marketing and AV Tech Media Solutions to install a HARMAN Professional audio system, anchored by the SRX900 Series loudspeakers and DCi Networked Amplifiers.

“We chose the JBL SRX900 Series for its combination of tour-grade sound, scalable deployment, and streamlined integration,” said Rick Couch, senior AV support technician at Inspire. “Its compact form factor paired with powerful output made it the ideal choice for the auditorium's size and acoustic demands.”

Beyond aesthetics, the auditorium upgrade was driven by the need for professional-grade performance in a corporate setting. The room’s tall ceilings, hard surfaces, and wide layout posed coverage and intelligibility challenges, particularly in the rear seating areas and corners. The JBL SRX900 Series, featuring compact SRX906LA line array elements, delivered focused coverage and full-spectrum clarity without overwhelming the space visually. The arrays were paired with VRX918SP powered subwoofers, strategically placed to reinforce low-frequency content during high-impact video and multimedia presentations.

“Hard reflections and inconsistent coverage were some of the biggest challenges,” said Couch. “The SRX900’s focused dispersion pattern helped eliminate problem areas and brought speech intelligibility to every seat.” To complement the main system and address front fills coverage, JBL AC16 compact loudspeakers were deployed as fills, ensuring a consistent listening experience across every seat.

Power and control came from Crown DCi Network Amplifiers, purpose-built for integration with the JBL ecosystem. “The advanced DSP features, power efficiency, and remote monitoring capabilities made them a perfect match for managing the SRX900 system. Additionally, the combination ensured consistent performance and peace of mind for the AV support team,” added Couch. Using JBL Performance software and data imported from JBL Venue Synthesis, the system was tuned and commissioned with precision, enabling real-time monitoring and effortless scalability for any event format.

Inspire’s auditorium is one of the most popular spots in the facility. “Users have commented on the clarity of speech during presentations, the evenness of sound across the room, and the system’s professional quality. The auditorium is a preferred venue for internal events, thanks in large part to the upgraded audio experience.”

JBL Professional, in partnership with Spectrum Sound and Athey Creek Church, delivered concert-quality sound for the first-ever PDX Crusade at Portland’s Moda Center. The large-scale worship and evangelism event drew thousands of attendees and featured performances on Saturday by Cain, Taya, Kari Jobe and Cody Carnes, with Anne Wilson, Chris Tomlin, and Zach Williams closing the event on Sunday.

[A Waterfront View with a Total Rockin' Sound]

Planning for the PDX Crusade began nearly 18 months ago, with Athey Creek Church envisioning a two-day gathering to share a message of hope with the Portland community. Athey Creek’s congregation has grown into the tens of thousands, and hosting an evangelistic outreach event for the community required a much larger venue. With a capacity of nearly 20,000, the Moda Center was an ideal choice but also raised production demands to the level of a major arena tour. Meeting those expectations required the expertise of Spectrum Sound and a JBL VTX system powerful enough to perform on par with touring rigs used by today’s top artists.

Spectrum Sound designed and deployed a JBL VTX A Series system tailored to the needs of the venue and the touring artists. The system included 14 VTX A12 out fills per side, 18 VTX A12 front hangs per side, 30 VTX B28 subwoofers flown and ground-stacked, 16 VTX A8 cabinets per side for 270-degree coverage, 12 VTX A8 cabinets per side for backfill, and VTX A8 front fills, powered by Crown I-Tech 4x3500HD amplifiers.

Bobby George, business director at Spectrum Sound, noted that the strong relationships with both the church and the performing artists allowed for a custom audio experience. “We duplicated what the artists typically tour with, so when they arrived, everything was ready to go,” he said. “The system design, the placement, and especially the sub configuration exceeded expectations. Every engineer left impressed.”

Throughout the weekend, front-of-house engineers praised the JBL system’s balance, clarity, and powerful low-end performance. Anne Wilson’s front-of-house engineer, Aaron Padilla, noted that the VTX A12 and B28 combination provided the precision and impact needed for a worship event of this scale, while Chris Tomlin’s front-of-house engineer, Stephen Bailey, pointed out the system’s smooth, non-fatiguing high-frequency output allowed for higher overall levels without listener fatigue. “The A Series is very well balanced with a remarkably smooth and non-fatiguing HF output - so much so that I find myself consistently running 3-5 dB louder on these systems,” said Bailey.

“The JBL VTX A12/B28 line delivers impressive performance at a highly competitive price point, with surprisingly consistent results across every deployment I’ve mixed on this year,” said Shea Taylor, front-of-house engineer for Zach Williams. “Combining box performance with the ongoing improvements to its Venue Synthesis software - JBL is clearly listening - the platform is becoming an increasingly compelling solution.”

September opened with a flurry of Pro AV moves. There were a lot of new people in new places, partnerships, and road shows announced. As always, let's start with a couple of acquisitions.

Just weeks after announcing the completion of the 26North Partners acquisition of AVI-SPL, the company has now acquired CCS Presentation Systems Southwest (CCS Southwest), an audiovisual design and systems integration firm headquartered in Mesa, AZ. CCS has a 34-year history of serving customers in the Arizona market with a focus on continuously optimizing communications and collaboration solutions for the modern workplace and campus. While CCS has capabilities and locations across the United States, AVI-SPL has only acquired CCS Southwest, the operating entity serving Arizona. Read the full details in our coverage here.

Following the sale of CCS Southwest and the retirement of founder John Godbout, the CCS Presentation Systems headquarters is moving to Houston, TX, and will be led by the new owners of the CCS brand, Ben and Elizabeth Pickrel.

One day later, Ross Video made headlines, acquiring LAMA, a developer of audio production software known for its innovative live mixing solutions. You can find out what you need to know in our coverage here.

Now, on with the show.

People Movers

People News

AVIXA Welcomes José Aragón as Chief Financial Officer

AVIXA appointed José Aragón as the chief financial officer. In this role, he will lead the association’s financial growth strategy.

Aragón most recently held the position of VP of finance, networks, and studios at A+E Global Media, a multinational media company. During his tenure, he led several transformative initiatives, including serving as a key finance partner for the company's digital growth strategy. Prior to his role at A+E Global Media, Aragón was the VP of finance for Sony Pictures Entertainment, TV Production. He has also held executive finance positions at Univision and NBCUniversal.

Christie Appoints Jim Hallas as VP, Product Management

Christie has appointed Jim Hallas as VP, product management. Hallas will lead the company’s display product strategy and display product lines while aligning customers’ needs with the company’s innovation and capabilities to support the company’s long-term strategic vision to maintain its position as a trusted partner worldwide.

Most recently, Hallas served as business and engineering manager for the DLP Cinema, Pro AV, and Industrial Group at TI, where his team pioneered the HEP pixel technology and holds five patents for various technology innovations.

DMF Lighting Appoints Charlie Derk as Senior Director of Product Strategy 

DMF Lighting has appointed Charlie Derk as senior director of product strategy. In this new role, Derk will lead DMF’s product roadmap and innovation strategy, driving the continued development of lighting solutions designed to elevate performance, aesthetics.

With more than 25 years of experience in the luxury residential and architectural lighting industries, Derk brings a blend of engineering expertise, market insight, and customer-driven innovation. He has held leadership positions at Legrand (where he was most recently VP of strategy for Legrand’s Building Control Systems division), Crestron Electronics, Doherty Design Group, and Lutron Electronics, where he was instrumental in shaping product portfolios and introducing advanced lighting control and automated shading solutions.

Telos Alliance Welcomes Jeff Williams as Director of Western US Sales

Telos Alliance welcomed Jeff Williams to the position of director of Western U.S. sales. Williams brings four decades of radio and broadcast experience, plus a family legacy in broadcast and pro audio, to support customers across the Western United States.

Williams began his career in broadcasting at age 16, working with Shotgun Tom Kelly, and followed with roles at San Diego’s KFMB, Boston’s WRKO, and leadership positions with Gannett, Jacor, Clear Channel, and Knight Broadcasting. Since 2015, he has been general manager and owner of Yellowtec USA.

Dante Partners

Dante Is Everywhere

There were several partnerships made with Audinate's Dante platform last week. Here is a quick rundown of who is now Dante-enabled.

AVer's Pro AV cameras will come with Dante Ready licensing. Dante Ready is a licensing program that allows manufacturers to ship their Pro AV products with Dante installed but not activated, so that Dante functionality, such as a channel of Dante AV-H video, can be activated on site whenever it’s needed, offering flexibility and scalability for AV over IP systems. With this integration, AVer’s professional AV cameras offer customers the ability to access Dante AV-H, which is a powerful technology that delivers smooth, high-quality, low-latency video over standard networks. Users simply enter a license key to unlock the functionality, with no hardware change required.

The Freedman Group, parent company of renowned professional audio brands RØDE, Mackie, and newly acquired Lectrosonics, has announced a new partnership with fellow Sydney-based technology leader Audinate. The agreement will see the integration of Audinate’s powerful Dante platform integrated into a suite of next-generation products across The Freedman Group’s portfolio, unlocking advanced networking capabilities for creators and professionals worldwide.

Grass Valley announced a new partnership with Audinate that brings native Dante audio integration into AMPP. With this update, production teams can manage Dante audio streams directly within AMPP without additional hardware. The integration supports up to 128x128 bidirectional channels with latency as low as 1ms, making it easier to scale professional IP audio across cloud, on-prem, or hybrid workflows. The move also introduces a flexible licensing model for Dante I/O, available hourly or monthly, giving broadcasters and event producers a cost-effective way to deploy professional audio networking for anything from short-term projects to enterprise-scale operations.

New Partnerships

Partnerships

Gotham Audio Custom Cables and Cable Stock Now Available in North and South America

Gotham Audio is now available throughout North and South America distributed by Audio Collective Group. Built for professional recording studios, live performance venues, broadcast facilities, post-production houses, and high-end home audio, Gotham Audio offers one of the most comprehensive ranges of premium cabling in the industry—spanning microphone, instrument, studio, digital audio, speaker, video, hybrid, and custom solutions.

Known for Swiss engineering and built upon Reussen Shielding Technology, Gotham cables are built for noise rejection, clarity, and signal transmission in every commercial and residential install.

PlayBox Neo U.S. Partners with AI-Media

PlayBox Neo has partnered with AI-Media to integrate advanced automated captioning, translation, and voice translation solutions directly into the PlayBox Neo broadcast playout ecosystem. Broadcasters, government organizations, universities, and corporate AV facilities now have access to cost-effective, broadcast-quality captioning and multi-lingual voice services, which expands their audience reach while staying compliant with accessibility regulations. They can easily deploy professional-grade captions and multilingual translation at broadcast quality without incurring additional staffing or infrastructure costs.

Through the U.S.-based partnership, PlayBox Neo customers gain access to AI-Media’s ALTA 2110 IP broadcast encoder and LEXI Text, an automated captioning solution that delivers same-language and translated captions with broadcast-grade accuracy and ultra-low latency. The solution also includes LEXI Recorded for pre-recorded content, enabling captions to be produced in less than half the program’s runtime. To ensure high accuracy, AI-Media applies its customized Topic Models, which recognize speakers’ names, industry terminology, and brand-specific language.

In addition to captioning, AI-Media’s new LEXI Voice adds real-time translated voice output. With LEXI Voice, PlayBox Neo customers can provide multilingual viewing experiences across both live and on-demand content. These solutions integrate seamlessly with all PlayBox Neo products, making them accessible to every organization using PlayBox Neo technology.

Pro AV Around the Globe

Pro AV Around the Globe

HARMAN Professional Solutions announced the appointment of Freevox as the distributor of its AMX video and control solutions in France. This new agreement builds on Freevox’s existing role distributing HARMAN Professional’s audio brands, including JBL Professional, BSS, Crown, Soundcraft, Lexicon, and dbx.

PPDS announced a new strategic distribution partnership with FVC, expanding its reach and strengthening its presence across the Middle East and parts of North Africa. Under this new agreement, FVC will represent and distribute the full PPDS portfolio of Philips Professional Displays, including the latest digital signage, direct view LED displays, and professional TVs, delivering world class AV solutions to customers across a wide range of verticals.

New Locations

New Digs

AV Stumpfl celebrated the opening of its new production hall at its headquarters in Wallern an der Trattnach, Austria, together with its entire team during this year’s summer family festival. The new facility adds 23,680 square feet (2,200 square meters) of production space, effectively doubling the company’s production capacity. Last year, AV Stumpfl invested in new equipment for a second production line and welcomed 20 new team members. Until now, this team was spread across various parts of the company building, which proved inefficient. With the new production hall, workflows can now be organized much more effectively.

USSI Global opened a new repair and logistics complex in Suntree, FL. The new facility is allowing the company to expand beyond its warranty business and add broadcast headend and production equipment to its catalog of repair services. Located about 15 miles north of the company’s Melbourne headquarters, the new repair complex is allowing USSI Global to consolidate three logistics centers into one. Anthony Morelli, president and CEO, USSI Global, said the company is already seeing improved operational efficiencies.

Road Shows

Hit the Road, Pro AV Style

JBL Professional launched its 2025 Installed Audio Roadshow, a coast-to-coast tour showcasing the brand’s most trusted commercial audio solutions in real-world environments. From September through November 2025, the roadshow will make 30 stops nationwide, offering AV integrators, consultants, system designers, and facility managers an opportunity to experience JBL sound in the region where they work with their customers. The JBL Installed Audio Roadshow will kick off in Los Angeles and visit major markets including San Francisco, Denver, Dallas, Chicago, Washington D.C., and Miami, among many others.

The JBL Installed Audio Roadshow delivers application-specific demonstrations that highlight clarity, coverage, and control across hospitality venues, retail spaces, schools, houses of worship, and entertainment environments. Each stop will feature the latest solutions, along with insights into system design best practices, guided walkthroughs, hands-on product exploration, and networking with industry professionals.

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Sennheiser announced the remaining dates for its 2025 Connect & Collaborate Roadshow, including events this fall and early winter. Following a spring and summer of successful stops, Sennheiser will continue its North American tour with visits to Washington, D.C. on September 9, Toronto, Ontario on September 16, and New York City on October 21.

The roadshow is designed for end users, distributors, consultants, integrators, and resellers, providing hands-on training for designing and deploying business communications solutions in meeting spaces and lecture halls. The events will feature live demonstrations of Sennheiser’s TeamConnect (TC) family of products, such as the TC Bars and the TC Ceiling Medium microphone with beamforming technology and TruVoiceLift. Sennheiser technical experts will be on hand to offer practical advice, while partners including Q-SYS, NETGEAR, Lightware, Planar, and Audinate will participate in select locations to highlight seamless integration. Attendees may also earn up to 5.5 AVIXA CTS RU credits by engaging in qualifying sessions.

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Sony Electronics’ Professional Display Solutions group is once again embarking on an interactive technology road show across North America from September 2025 through March 2026. Attendees to the AV Tech Expo will be immersed in the company’s range of Pro AV offerings, including professional BRAVIA displays, the direct view Crystal LED display, AI-enabled PTZ cameras, and device provisioning and management solutions. They will also get a first-hand glimpse at upcoming technology, before it comes to market. Additionally, the company’s knowledgeable product experts will be available to answer questions and demonstrate the latest innovations for a number of professional verticals and applications.

You can catch the show here:

• New York, NY | Sept. 24-25, 2025
• Boston, MA | Oct. 21, 2025
• Los Angeles, CA | Oct. 28 & 29, 2025 
• Fort Lauderdale, FL| Nov. 12, 2025
• Chicagoland Area, IL | Jan. 14, 2026
• Plano, TX | Jan. 21, 2026 
• Toronto, ON | Feb. 2026
• San Diego, CA | Mar. 2026

Welcome to the Alliance

Join the Club

Stage Precision has joined the OpenAV Cloud. The OpenAV Cloud fosters interoperability through open APIs and shared protocols, ensuring that AV systems, tools and platforms can communicate seamlessly across brands, disciplines and geographies. By becoming part of the OpenAV Cloud community, Stage Precision is reinforcing its long-standing mission of delivering customers true freedom of choice, flexibility and system integration without lock-in.

Telos Alliance, Jünger Audio, and TVU Networks unveiled a new collaboration to integrate Telos Alliance’s portfolio of cloud‑enabled audio solutions directly into TVU Networks’ MediaMesh platform, delivering next‑generation audio capabilities for broadcasters and content creators worldwide. In today’s ever-evolving broadcast landscape, audience expectations are rising, and cloud production is quickly becoming the new standard. With the integration of the Telos Alliance and Jünger Audio audio-handling tools with MediaMesh, TVU Network’s clients will gain the direct ability to automate complex audio workflows, ensure consistent, high‑quality audio, and leverage AI to ease manual workloads.

Hitomi Broadcast joined the Grass Valley Alliance, delivering native MatchBox Software solutions for the AMPP ecosystem. This strategic partnership addresses one of broadcasters' primary concerns about migrating to software-based production: maintaining precise timing and synchronization throughout complex virtualized workflows.

The integration brings Hitomi's trusted timing measurement capabilities directly into AMPP environments through MatchBox Software Analyser, MatchBox Probe, and MatchBox Renderer applications. MatchBox Software solutions operate entirely within AMPP's virtualized infrastructure, enabling engineers to position timing measurement probes throughout their broadcast chain without signal conversion or external routing. This provides true end-to-end visibility, allowing broadcasters to monitor timing at multiple points from a centralized web interface whilst maintaining the same millisecond-accurate measurements that broadcast professionals rely on worldwide.

The Carolina Theatre, located in Charlotte, recently underwent an eight-year restoration project to reopen the historic venue. Quince Imaging—known for its immersive productions that bring fans into the action, like we covered with the Anaheim Ducks—took this restoration to a whole new level, that we believe has never been seen before.

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The theater originally closed in 1978, but in 2012 Foundation For The Carolinas began its push to reopen the historic site, and by March 2025, it was finally ready to open its doors.

Those doors opened to what Quince Imaging calls, "the world's first blended remote-head projection mapping installation... featuring a one-of-a-kind projection mapping system that sets a new industry standard." That projection mapping system doesn't appear to be in the background on LED screens, but brings the entire theater to life—stage, walls, and all.

The projection mapping system—which includes projectors from Christie—contains six lasers that projects images and content across the audience's sightline. “This system merges proscenium mapping technology comparable with the legacy system at Radio City Music Hall and the interactive real-time rendering seen in modern Location Based Entertainment (LBE),” said Eric Gazzillo, VP, Quince Imaging on the company's website. “The result is a system that can immerse the audience in visual imagery while adding the real-time interactivity for participatory shows and events.”

Additionally, a new JBL sound system was added, as well as Digital Projection and Q-SYS solutions along with NETGEAR switches were all involved in bringing the site back to life. We'll continue to bring more details as we find them out, but for now, enjoy the video above.

The Maxwell C. King Center has served the Brevard County community for 37 years, hosting everything from Broadway tours to rock icons. Located in Central Florida, the King Center is equipped to accommodate national touring productions, making it an essential cultural hub for the region. Thus, keeping up-to-date technologically is imperative, and JBL Professional solutions helped achieve just that.

The heart of the multi-venue facility, the 2,016-seat L3 Harris Technologies Theatre, is an acoustically live space with a wide fan shape and a spacious mezzanine level, designed to host a wide variety of events. By 2024, the previous JBL Professional sound system, now 20 years old, had served its time. Recognizing the need to stay ahead in delivering unparalleled experiences for audiences, the decision was made to upgrade the sound system.

The variety of events, including Broadway shows, rock concerts, ballets, and more, demands a system capable of delivering pristine sound for anything. The King Center turned to trusted partner APAV Solutions for the upgrade. This three-year project, overseen by Rob Adams, director of facilities, and the venue's dedicated technicians, including Ed Guilbeau, house audio technician at the King Center, involved upgrading amplifiers and engineering a new steel beam to support the load of the cutting-edge JBL VTX Series loudspeakers. Their tireless efforts ensured the installation met the venue's exacting standards for excellence.

[Giants-Sized Audio Makeover]

Craig Beyrooti, CEO of APAV Solutions, led the design process. “I designed the system in JBL’s Venue Synthesis software only a few days after it had come out. I added a few boxes more than had been in the previous system, just for coverage, not power. There’s way enough power there,” Beyrooti explained. “Then, of course, I spoke with the team at JBL Professional, had them review the design, and we did a little more tweaking. For instance, we ended up flying some subs in the center.” The project benefited from the collaborative approach. “APAV was great to work with. It was a group effort, and we were able to work through each idea for the best solution all around” Guilbeau commented.

The main system consists of two flown arrays, each constituted of eight VTX A12 Dual 12-inch Line Array Loudspeakers and two VTX A12W 120-Degree Dispersion Dual 12-inch Line Array Loudspeakers. Six VTX B28 Arrayable Dual-18-inch Subwoofers are flown in a center array that has two cabinets reversed in order to produce a cardioid dispersion pattern. The system is powered by 28 Crown I-Tech 12000HD amplifiers, plus four Crown I-Tech 4x3500HD amps. The addition of more high-power amplifiers necessitated adding some capacity to the electrical service.

The installation process was collaborative and smooth, though not without its challenges. “The theater has a full orchestra shell made of metal, and the whole space is designed to reinforce acoustical sound coming out of the shell,” Beyrooti noted. “With the last system, I moved the speakers further on stage and away from the corner where there would be really horrible reflections. This time, I had them move the speakers a bit further in and remove two of the reflector panels that were directly above the arrays to avoid a bounce from above.”

The width of the room had previously been addressed by situating three VTX A8 Dual 8-inch Compact Line Array Loudspeakers with 110-degree Dispersion stacked on top of a B18 Arrayable Single 18-inch Subwoofer on each side of the stage. The addition of the VTX A12W cabinets provided much greater wide coverage than had been previously delivered, but the A8 cabinets were kept to ensure the best possible coverage out to the sides.

[Welcome to the New Era of Live Events]

The A12 arrays provided plenty of power and coverage all the way to the back of the room, including the mezzanine. The previous system had four AM4212/95 Two-Way Loudspeakers for the last few rows, but since their role was minimal, removing or replacing them seemed more trouble than it was worth. Instead, they were left in place and remained in use. “They’re barely working. Honestly, if they were turned off, the people sitting back there would still think it sounded pretty amazing given how far back they are,” stated Beyrooti.

Beyrooti received more support from JBL Professional to get the new system properly tuned, in the form of Applications Engineer Raul Gonzalez, who had helped Beyrooti tune the last system he’d installed years before and now rejoined Beyrooti to finalize the upgrade installation.

With the upgrade complete, the King Center is ready to deliver an unmatched audio experience for its audiences. “It's all about coverage here, and this system just nails it down,” Guilbeau said. “When we host things like a ballet with an open orchestra pit, we used to have problems with the upfront coverage; the sound would go right over the heads of the first three rows past the pit. Now we're covered almost overlapping into the pit. Everyone that's come in since the install has commented that the coverage is exquisite. The system really fits the room; it’s nice.”

“It's a great system; it really is,” concurred shop steward Mark Brasel. “I notice the difference with coverage so much better now from the back of the balcony all the way down to those first couple seats. It's really even across the board.”

As an aside, Beyrooti admitted to being particularly pleased at how well things turned out because he has a personal stake in it, as well as APAV’s interests. “I live 10 minutes from the King Center, and that’s where I go fairly regularly to check out concerts and other events. I wanted it to sound good because, you know, I’d be one of the punters in the scene.

The University of Nebraska has a storied history when it comes to college football. What it didn't have was a centralized location for its current Big 10 football operations. Take SCN Top 50 systems integrator ECC—and a $165 million construction budget for the new Osborne Legacy Complex—and that is no longer the case. Based in Lincoln, NE, ECC has a longstanding 30-year relationship with its hometown college and was the easy choice for the latest addition to campus.

[The Integration Guide to Digital Signage 2024]

The Osborne Legacy Complex dons the name of College Football Hall of Fame coach Tom Osborne, who was a big part of that storied history, leading Big Red to three national championships from 1994-97. Now, the 315,000-square-foot facility is home to Huskers football's entire football operations. This includes a wide array of football offices, meeting rooms, and walkthrough areas, as well as the Ndamukong Suh Strength and Conditioning Center, main student-athlete dining and academic center for all 22 sports, and the Hall of Champions curated experience.

“We will point back to the completion of this facility as a landmark event in everything that happens going forward,” Nebraska athletics director Troy Dannen posted on X to commemorate the official opening of the complex last September.

Less Complex Operations

The complex was a necessity to make things, well, less complex. Prior to the Osborne Legacy Complex, football operations were housed throughout the Huskers football venue, Memorial Stadium, and made simple tasks like coaches' meetings an ordeal that sometimes required walking from one of the interconnected complexes to another.

"The Osborne Legacy Complex was built to invest into one of the most comprehensive student-athlete experiences in the country and bring the Nebraska football program operations under one single, accessible facility," explained Mark Allen, account manager for ECC.

[Diamond Days and Displays]

To make the Osborne Legacy Complex come to life, ECC installed a smorgasbord of Pro AV. However, per Allen, one of the earliest challenges was "meeting the stringent project schedule required to complete such a large-scale project and coordinating the system implementation with the various construction teams’ schedules that directly affected the implementation process."

Construction began in January 2021 and ECC received its project order for the AV systems in July 2022, with the installations process beginning later that fall. All systems were go for this past college football season.

Big AV for Big Red

There is AV aplenty throughout the complex, ranging from high-tech audio, visually stunning displays (like the wall-to-ceiling video wall in the primary locker room), and digital signage systems primarily showing off Husker football promotional content from both current day and historical programs and players.

The video walls were one of the more challenging pieces of the equation. There are a variety of Samsung displays throughout the complex, like the massive 85-inch 4K display in the football equipment rooms and the 98-inch commercial 4K display in the offense and defense staff conference rooms selected by engineering and technical services firm Salas O'Brien.

"The biggest driving piece behind the selection process for the complex’s video walls and displays was due to the product availability in alignment with the project’s timeline," Allen said. "As the project was extremely complex with multiple moving parts, the availability of products began to change based on the timeline at hand, which required strategically changing to some other manufacturers that still achieved the desired high-end quality."

As Allen explained, the audio systems were also a bit tricky as there is not one unified system throughout the complex. Like the displays and projectors, the audio systems were designed and selected by Salas O'Brien and include loudspeakers from Fulcrum Acoustics, subwoofers from JBL, a Holosonics audio spotlight system, and a variety of products from Shure, just to name a few. The systems encompass the entirety of the complex in the Hall of Champions, Ndamukong Suh Strength and Conditioning Center, Hawks Outdoor Practice Field, Athletic Medicine Area, Howard and Rhonda Hawks Gaming Theatre, Brook Berringer Players’ Lounge, Frank Solich Locker Room, Walkthrough Room, Team and Position Meeting Rooms, Bruce Grewcock Family Head Coach’s Office and Lounge Area, and Ricketts Family Football Team Auditorium.

"The bigger systems have interconnection through the QSC Q-SYS Core processors that they operate on—and as such can be interconnected—but these usually run as standalone systems in typical use cases," Allen explained. "The smaller audio systems run exclusively as standalone systems. If there’s a need to, audio can be pushed from the Memorial Stadium core audio system into the core Osborne Legacy Complex audio system utilizing networked QSC Q-SYS Core processors."

Each space has QSC touchscreen displays while Mersive's Solstice wireless sharing allows for content sharing via BYOD devices. Each touchpanel controls AV settings like volume as well as gear, such as Panasonic PTZ cameras.

A prime example of where all the technology comes together is the Brook Berringer Players’ Lounge. Here a Samsung 2x4 video wall and JBL loudspeakers are used by players for entertainment. A theater, located inside, employs a single-display video wall and Fulcrum Acoustic loudspeakers that are powered by a Dolby Atmos and DTS:X home theater processor and QSC power amplifiers.

Now, how about those projectors? Both Christie and Barco projectors were used in different spaces. The Walkthrough Room, for example, uses five 25,500-lumen Barco laser video projectors that are "blended together across a 99.6-foot-long Da-Lite video projection wall to create an interactive space for coaches and players to walk through game plans and simulate real game situations at a 1-to-1 scale," Allen said.

ECC turned to Crestron NVX AV-over-IP technology as the Pro AV control system infrastructure behind the complex's systems. Barco video wall processors power both the Experience Lobby video wall and the locker room’s ceiling video wall to deliver engaging 3D, high-performance content. Multiple Extron switchers were also being used behind the scenes to bring the AV experience altogether.

Sign(age) of the Times

With all these massive video walls and 3D displays, digital signage is found throughout the complex. As Allen explained, digital signage drives the overall experience at the Osborne Legacy Complex.

"Some of the digital signage for this content is tailored to the specific space," Allen explained. "For example, the Hall of Champions serves as the front door to Husker football using interactive displays to tell the story of Husker football."

Another shining example is in the Ndamukong Suh Strength and Conditioning Center, where digital signage details the weekly workout leaders to help the team push each other to excel. A built-in Nutrition Station includes digital signage to communicate the nutritional offerings available to the athletes.

"Outside of this area, there’s a blended projection wall marked the 'ONE PERCENT' that details historical performance and workout statistics to help drive top-tier performance," Allen added. "The Jackson Family Recovery Center features two 1x5 SkyVue outdoor-rated video wall systems that communicate detailed recovery information."

Behind the signage, a Four Winds Interactive CMS, which was already familiar to the in-house technical teams, is used for the more interactive and demanding content. For content that’s more informational, Allen explained, Triple Play serves as the CMS, while doubling as the IPTV system throughout the complex.

"The digital signage and AV systems are operated by an in-house, professional team for Husker football that solely manages and creates content for the facility, with additional management and content creation done by Husker Vision, which is the in-house technology team for all of Husker athletics," Allen said. "The technology is primarily utilized by coaches, student athletes, and in some cases by the student-athlete tutors."

ECC and Nebraska hope that they are both revolutionaries in what has been created on campus. But ECC is not done just yet: Several "add-on options" were proposed. And now that the dust has settled, ECC will help implement them to enhance the already strong core systems and make them more efficient.

[SCN Exclusive: Signage Ahoy!]

"ECC always designs and engineers our solutions with future-growth in mind, and the AV systems at the UNL Osborne Legacy Complex are no different," Allen concluded. "The Pro AV and audio systems are built on Crestron NVX and QSC Q-SYS control systems, which are inherently scalable and will both allow for easy scalability in expanding on these systems."

Willie Mays. Juan Marcial. Barry Bonds. The San Francisco Giants have had some of the brightest and best to step on a major league baseball field.

Oracle Park, home of the Giants, has continuously aimed to have the technology to match.

The Giants played their first game at Oracle Park on April 11, 2000, in a victory over the San Diego Padres. After a decade of playing in the venue, they celebrated the dawn of the 2010s with three World Series titles in five years (2010, 2012, and 2014).

[Diamond Days and Displays]

Welcome to 2024, where bigger is better. Bigger hot dogs, bigger home runs, and certainly bigger, louder, and more immersive sound. To celebrate the 25th anniversary of the ballpark, Giants Enterprises turned to Diversified to amp up the fan experience.

Opening Day Jitters

The Giants organization had a huge advantage in quickly installing a new sound system, having partnered with Diversified on many projects since Oracle Park opened its doors. When it was time for the new sound system, they knew exactly where to look.

“[Diversified] brought meticulous attention to detail from the onset of this project,” said Bill Schlough, chief information officer, San Francisco Giants. “When it came to providing manufacturer options, exploring system design improvements, and communication throughout the bidding process, Diversified was unbeatable. Our confidence in the Diversified team during the design and planning process only grew as we proceeded with the implementation, as they stayed on top of every detail, ultimately delivering a transformational audio experience to our fans at Oracle Park—ahead of schedule and under budget.”

[What to Know about the Grass Valley, Diversified Strategic Partnership]

Ahead of schedule was the key. Oracle Park isn't simply the home of the Giants, but other events—from concerts to the San Francisco Giant Race—take place there as well. Simply put, it wasn't just MLB Opening Day in April Diversified had to be ready for, but several events in early 2024 that could wreak havoc on an install in such a large venue. Diversified stepped up to the plate and hit one out of the park, finishing the project three months ahead of schedule.

“Our on-site crews were incentivized to finish the biggest sections before full stadium events scheduled for early in 2024,” explained Jeff Dykhouse, solutions architect, large venue sound at Diversified. “If we could finish before those events, we wouldn’t need to tear down the scaffolding for the event weekends and then put it back up again. So, the teams put in the extra planning and effort to make this happen.”

Everything seemingly fell right into place—but while it may have seemed relatively simple, it didn't come without adversity. Though Dykhouse pointed out the longstanding relationship with Oracle Park made the two a dream team, he also reminded that any project would have its challenges.

[Check Out the New LED Look for Penn State]

"In this case,” he explained, “one [challenge] was the many events planned throughout the year that required a functioning sound system. To support weekend events, we created a few one-off setups composed of replaced sections blended with existing sections. Another challenge was access. Many speakers were not reachable by boom lifts, so we deployed significant scaffolding, which had to move around the bowl with the demolition and installation teams.”

Batter Up

The original distributed sound system was ahead of the game in 2000; however, its focus was on intelligibility and spoken word. Both are still important 25 years later, but new systems simply need to do more. The Giants wanted a more "theatrical experience" for its fans, which means not only a highly intelligible sound system, but one that delivers high-fidelity music for a more immersive experience.

Thus, the new system provided a much wider frequency range and "dynamic headroom for modern music and game production audio,” Dykhouse explained. “This was accomplished by using high-performance, long-throw speakers, eliminating most 70-volt speakers and adding 21-inch subwoofers around the bowl."

Although the loudspeakers from the original sound system impressively still worked, they were near end of life. But that original successful installation gave Diversified ideas and opportunities. "The previous installation did a nice job covering most of the seating areas," said Dykhouse. “In addition to upping overall system performance, we took advantage of the opportunity to rethink areas that previously experienced reduced intelligibility or had weak output. We also brought up the outfield experience to match the main bowl.”

The upgrade focused on the acoustic experience throughout Oracle Park and included all public area sound systems as well as the Gotham Club, executive meeting rooms, and other private spaces. Dykhouse and his team turned to the Yamaha CL5 for its audio console as well as Shure Axient microphones. A QSC Q-SYS Core 5200 provides the digital signal processing, while Powersoft Quattrocanali 8804 and 4804 DSP+D and various QSC CX-Q models amplify the sound throughout Oracle Park. During an event or a game, the production team triggers presets in Q-SYS—which include batting practice, pre-game show, the National Anthem, and others—to configure each zone and subsystem.

There was a bevy of Fulcrum loudspeakers and subwoofers were used around the different stadium zones, while JBL CBT Series column speakers were used on concourses and compact Fulcrum Acoustic RX Series speakers were placed at the entrances. "Oracle Park has three types of concourses,” Dykhouse explained. “Open to the bowl, enclosed behind glass, and open but so far away that bowl sound doesn’t reach them. Each of those zones required a different approach. Dynamics processing in Q-SYS creates these zone-specific mixes automatically from console feeds."

[Evolution of a Sports Network]

It's clear the Giants are committed to providing a technologically enhanced game-day experience to its fans, one that continues to reinvent itself through its partnership with Diversified. And thus far, the results seem to be paying off.

"In a recent survey of fans, 87% of respondents were 'Highly Satisfied' or 'Somewhat Satisfied' regarding the sound quality and volume throughout the game,” reported Alex Gannon, AV engineer, San Francisco Giants. “While it’s impossible to please everyone, fans and staff alike have been extremely impressed with the improved dynamic range and clarity that we are now able to deliver throughout the ballpark.”

Stamford, CT, may be known as "The City That Works," but the downtown headquarters for Charter Communications and its new 250-seat auditorium space may just be known as "The HQ That Connects." Part of the latest phase of developing its innovative campus, which opened in 2022, the auditorium is positioned to be the next evolution of a campus centered around collaboration, flexibility, and innovation.

[Strategies and Solutions for Corporate Campus Displays]

Addressing the changing landscape of hybrid work while offering multi-use spaces for events, town hall meetings, and companywide presentations, the auditorium is predicated on ease of use and consistency. What sets it apart is its high-caliber broadcasting for remote capabilities, a feature that is sure to impress. With a build and integration that took about eight months from the start of construction through completion, Charter collaborated with architecture firm HLW and technology integrator Diversified to deliver a highly utilized space with high-level broadcast capabilities.

Independent Infrastructures

Integrating advanced technology within a sophisticated design, the larger scope of the project included typical AV and broadcast production components while dealing with specialty components, including an auditorium wrapper and an interactive fountain in the adjacent courtyard. “Each of these systems had independent infrastructure requirements and phasing needs which had to be resolved within tight assemblies and minimal footprints,” said Jeremiah Hancock, associate principal, studio director CT, media & entertainment lead, HLW.

Central to the visual capabilities of the space is a 12x20-foot Planar video wall that delivers HD video presentations and offers adequate viewing no matter where you are seated within the auditorium space. “While typical conference rooms incorporate architectural detailing to accommodate the inevitable change in screen sizes over the life of the fit-out, the auditorium design strived for a more integrated and refined aesthetic aligning with its more prominent use case,” said Hancock.

The JBL audio system was designed to deliver clear and impactful audio for various events. The network includes JBL PSB-1 soundbars placed on each side of the video wall and connected to the HDMI matrix for high-quality audio output. Custom-configured amplifiers are integrated to provide adequate power and control for the speakers. Advanced audio processors ensure optimal sound quality and distribution, and provide the flexibility to meet a wide range of event requirements while supporting multiple audio formats.

The entire system is housed and organized in a rack system that allows all necessary components for signal distribution and control to be housed in one optimal location. It was ensured that the auditorium would be located away from the perimeter glass of the building due to its proximity to the local train station, helping the team limit any acoustical challenges that may have been caused.

Lights and Mics

The space includes a combination of architectural and theatrical lighting on the interior, while dynamic, decorative lighting is incorporated into the "wrapper" that encloses the suite of spaces, along with soft glowing details within the stairs and walls for greater visibility. The lowest portion of the wrapper is clad in marble and includes seamless detailing of the infographic displays near the auditorium entrance, along with a mesh ceiling stretching down to meet the floor.

[Money Talks]

"The lighting design includes a complex open cell ceiling system with over 1,900 LED nodes and 20-foot vertical RGB LED strips integrated into the auditorium's architectural wrapper," added Hancock. "This setup allows for dynamic lighting effects that can be synchronized with media content for a fully immersive experience."

The architectural lighting features continuous linear pendants designed to follow the curve of the ceiling openings. The theatrical stage lighting comprises two rows of alternating ETC Source 4 key, ETC Desire wash lights, and an ETC ColorSource Linear backlight row on the stage, enhancing visibility for performers.

Martin VC-Strip LED video strips with a 15mm pixel pitch were used for the lighting system, and Color Kinetic FlexElite IntelliHue fixtures were integrated for the ceiling nodes. P3 system controllers manage the LED and lighting fixtures, delivering synchronized operation and real-time control. The system also allows for the integration of video and lighting controls through a unified platform, supporting both DMX and Art-Net protocols.

With a wide range of speaking and presentation scenarios planned for the auditorium space, the microphone system included wireless mics for mobility as well as handheld and lavalier mics to accommodate all speaking preferences, ensuring a clear audio presentation no matter where the presenter was located. The microphone network is managed through an integrated control system, including signal processing and feedback prevention, ensuring seamless integration with the room's more extensive audio setup.

Versatile audio options, combined with simplified docking and content sharing, make the spaces more universally accessible. “These components together create a comprehensive audio system that supports high-quality sound reinforcement for any event held in the auditorium,” said Michael Branca, project manager with Diversified.

Local and Remote Control

After careful consideration with internal subject matter experts across the Spectrum team, Charter identified the need for an on-site production studio and control room to enhance the auditorium space's production capabilities, helping to record and deliver company-wide messages and announcements along with other Spectrum branded content. “While the facility does not have the redundancy typical of a television broadcast studio, it packs all of the capabilities into a creatively packaged suite of spaces, set within a larger pre-function and event space at the ground floor of their campus,” Hancock explained.

Due to their complexity, a specialty team manages the auditorium and studio control systems. Still, presets are available to the end user to facilitate the use of basic WebEx and content sharing capabilities. The internal, on-site team manages any needs for planned large-scale events.

The Crestron CP3N control system manages the auditorium, 50 conference rooms across 15 floors, and a conference center on the plaza level. Charter’s internal IT services department can operate the system locally through touchpanels at the AV equipment racks and within the auditorium, while having the ability to manage remotely via web interfaces. Supported by a private, isolated IP network, it can issue alerts and failover commands, and the backend hardware is protected by a UPS system, ensuring reliability and high availability during all events.

['Tough Tech' on Display]

“This system provides a dedicated Control Subnet, allowing for seamless control and management of all connected devices. It supports a variety of communication protocols, including Ethernet, Cresnet, and USB, and allows for real-time multitasking and modular programming,” said Travis Heitchew, enterprise program manager with Diversified.

Even though the partners said the new auditorium space is open to continuous evolution, especially concerning lighting, the space as currently outfitted has accomplished everything Charter hoped for, fitting in seamlessly within other work areas within its headquarters. “The auditorium space has been successfully received and is highly utilized by many teams across the headquarters population,” added Hancock.

AV/IT TEAM: Lauren Turin, director; Todd Hughes, AV project manager; Andy Beasom, senior classroom technologist; Brendan Kepple, classroom technologist

GOALS: Allocation of space within Bayer Hall was designated for the creation of two instructional areas for the newly established Duquesne University College of Osteopathic Medicine. The renovation comprised three main facets: enhance an existing lecture hall, transform four classrooms into a single breakout area capable of accommodating 180 students, and, in alignment with university standards, maintain uniformity in AV technology across the learning spaces.

CHALLENGES: During the course of the project, we were able to overcome a number of challenges. We established a collaborative breakout space for 180 students within a flat room by tiering the tables, ensuring each two rows are the same height to facilitate collaboration among students. 

We ensured the visibility of content screens from all areas of the breakout space by adding two large projection screens at the front of the room and replacing the two mid-room, ceiling-mounted, initially specified 50-inch flat panels with 75-inch flat panels. We were also able to economically equip both the breakout space and the lecture hall (theater seating) with microphones at each seat by adding crowd mics and the Catchbox throwable microphone in lieu of individual gooseneck microphones. 

We optimized the viewing comfort of the projection screen for students seated in the front rows of the lecture hall by securing a 65-inch flat panel to the front face of the lab table/podium setup. Additionally, we facilitated content annotation visible to all participants by adding a writable monitor and a document camera to address different teaching styles and incorporated Mediasite lecture recording with instructor control when recording schedules are pre-programmed by introducing pause button functionality to the in-room Mediasite recorder.

And finally, we were able to accommodate live hybrid teaching in conjunction with Mediasite by including the standard University Zoom setup: a webcam mounted on a movable microphone stand and a Nureva microphone. 

FINAL INSTALL/USER BENEFITS:  Consistent technology and intuitive push-button classroom control systems provide ease of use for all instructors. Epson laser projectors deliver crisp images. JBL array speakers offer exceptional audio quality, especially when used in conjunction with the Catchbox Clip Mic. The integrated pause button for Mediasite recordings affords faculty control of their lecture recordings. The Nureva microphone captures both Zoom and Mediasite audio streams. The implementation of the throwable Catchbox microphone fosters student engagement. The tiered seating layouts ensure an unobstructed line of sight for both students and instructors and the breakout room provides the added benefit of a height-adjustable podium. Additionally, since the technology is aligned with university standards, the AV team can remotely monitor the classroom equipment through Extron’s GVE solution.

Rochester Institute of Technology (RIT) is known for its multi-disciplinary blend of technology, the arts, and design. Its latest development, a Student Hall for Exploration and Development (SHED), takes audience-centered design to new heights.

[An Immersive Education]

Despite the humble acronym, the SHED is a vast creative hub at the heart of RIT’s campus that caters to all students, including the deaf and hard of hearing. The facility is made up of a grand, four-story atrium that forms the epicenter and branches out into various flexible spaces, from theaters to makerspaces, and classrooms. The 200,000-square-foot project is still ongoing and has been five years in the making.

“We wanted the SHED to be a place where all students can accelerate their concepts and innovations through collaboration and exploration. To allow students to think laterally, be creative, and apply what they've learned in the classroom," said David Munson, president, RIT. "This facility will help our students change the world."

Having worked with Kinly on a cybersecurity build in 2019, RIT assigned the integrator to design its most ambitious project yet. “RIT has a large community of deaf and hard-of-hearing students," explained Chico Dominguez, SVP service delivery at Kinly. "Previously, students would sit together in the same area of a lecture room to better engage with content. Working closely alongside RIT’s Theater Projects team and Contacta, we wanted to enhance the assisted learning systems already in place, deliver the capability to have sign language interpreters via video in classes, and allow students to learn wherever they are most comfortable. Ultimately, the aim was to do a significant technology upgrade that provides an enjoyable, integrated, and inclusive environment for all students to learn and thrive in.”

The development involved two parts—roughly 120,000 square feet of new construction and more than 83,000 square feet of renovations. Highlights of the facility include a huge continuous makerspace at the heart of the SHED, housing multiple shops for paint, metal and woodworking, and CNC machining, as well as a giant open workspace. There's also an American Sign Language and Deaf Studies Community Center, plus an adaptable 180-seat Glass Box Theater for performances and exhibits.

Wall of Light

An important visual detail of the development is an enormous Planar LED marquee in the atrium. The video wall is a 12x14 array of Planar Luminate Pro Series 1.9mm indoor high bright DirectView LED displays and measures roughly 23 feet tall and 20 feet wide, with an overall resolution of 3,072x3,584. 

“The Planar Luminate Pro Series indoor 1.9mm has a calibrated brightness of 3000 nits, which enables comfortable viewing of the screen under the brightest ambient conditions,” said Tom Petershack, director of media and special projects at Planar. “Given the high ambient brightness of the space due to a large amount of natural light, a high-brightness product was required to comfortably view the LED video wall during the day. The Planar Luminate Pro Series indoor provided that high brightness, but also allowed for a fine pixel pitch for a high-resolution screen.”

An AV Stumpfl PIXERA Four was selected for production feeds into the video wall to support the LED content playout setup. In addition to being a versatile playout system, RIT hopes to extend students the chance to get some hands-on experience with the high-end media server platform through its various film, engineering, and design courses.

“The PIXERA Four is perfect for these type of highly demanding, real-time graphics applications and XR/broadcast setups. It not only offers an intuitive UI combined with a powerful render engine but is also an increasingly popular tool in the world of virtual productions,” noted Mikael Ritter, AV Stumpfl’s sales operations specialist.

Future-Proof Classrooms

A significant part of the project was the learning spaces, including 27 classrooms, all of which feature video technology to increase accessibility, large-format projection screens, and flexible furniture, creating endless configurations for collaborative learning. There’s a definitive blueprint when it comes to AV classrooms, according to Dominguez.

“We developed a standard user interface with RIT staff, which is utilized across all the standard classrooms, active classrooms, and lecture halls," he said. "This is based on speakers, amplifiers, microphones, cameras, control equipment, RIT wiring standards, faceplates, LED displays, screens, and projectors to deliver optimal audio, visual, control, and mobilization.”

The majority of the larger classrooms and lecture halls were based on multiple presentation systems. “Each one has seven Panasonic laser projectors recessed from the ceiling, which was an extremely challenging integration," Dominguez added. "Incorporated into these systems are Crestron UC engines with Zoom videoconferencing leveraging Crestron DM NVX encoders and decoders for dynamic content sharing throughout the facility and wider campus within every classroom. They also incorporate Shure microphones on all tables as well as wireless handhelds for lecturers. The smaller classrooms feature Panasonic and Samsung LED displays and Crestron DM NVX technology for content sharing and distribution.”

[Clancy: Crestron Answering Hybrid Workforce Needs]

The makerspaces use laser projection as well as Crestron DM NVX integrated video and audio for campus broadcasting. This allows students to collaborate internally in the spaces as well as throughout the entire campus. The maker showcase area, where engineering students demonstrate their projects, features laser projectors, digital mobile carts for collaboration on-the-move, and large glass doors that open the entire space into the atrium to facilitate presentations.

The project also involved the renovation of RIT’s Wallace Library, including classrooms as well as recording studios. "All these incorporated Samsung LED display technology, Crestron UC engines, DM NVX multicast technology, Zoom videoconferencing, and integrated audio and control to support distance learning," Dominguez said. "This was further supported by sign language interpretation capabilities and Zoom’s transcription service for distance and assisted listening. Additional areas included a dance studio featuring a Samsung LED display, Shure WL185 microphones, JBL CONTROL 64P/T pendant speakers, Martin Audio ACS-55T-W ceiling loudspeakers, and Creston DM NVX technology, as well as a music room with a fully-integrated Crestron system, laser projection, and a Meyer Sound ULTRA-X40 loudspeaker."

Challenging Integration

Understanding the needs of instructors was paramount. The integration had to be designed in a way that was consistent and easy to use.

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“Several of the classrooms in the Wallace Library were fitted with Crestron UC engines for Zoom videoconferencing and standard configurations for display technology and lectern podium positioning to allow professors consistent content sharing," Dominguez explained. "We also integrated Mersive Solstice technology for wireless content sharing for students and instructors from various device types to include tablets, phones, and of course laptops.”

A project of this scale is no easy feat, especially when working around a pandemic. “This was a large-scale project with many intricacies on several different levels, which was further complicated by the global pandemic. The SHED was delayed significantly due to lead times of as much as 13 months owing to supply chain shortages, which made hitting deadlines extremely challenging,” Dominguez recalled.

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And it wasn’t just technology shortages. “We even had problems sourcing construction equipment such as steel for I-beams, fire doors, glass, and sensors," added Dominguez. "It also caused complications on site with health and safety considerations including wearing masks, regularly testing for COVID-19, and resultant staff absences.”

It took some tinkering, too—there were 68 change orders in the bill of materials to tackle external forces as they arose. But the results speak for themselves. “There is no other university that has this type of integrated facility that’s not just a set of machine tools and shop equipment," added Munson. "It’s way more than that.”

According to Bloomberg, the esports industry is bigger in revenue terms worldwide than the film and television industries combined. That’s put pressure on academia—and those who hold their purse strings—to address the issue, especially when film and television curricula are found at many colleges and universities.

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While the University of North Carolina at Greensboro (UNCG) had a gaming and esports club, state legislators realized that esports was more than a game; it's a career path for which students need training. On that note, UNCG received $2.4 million in state funds for “the operating, equipment, technology, marketing and programming costs associated with establishing an esports facility on the campus.”

Horizon AVL designed the 3,300-square-foot UNCG Esports Arena, which opened in April 2022, with a high-level learning/gaming environment to engage students academically and socially, as well as for participating in league competitions. Students can now take a variety of esports digital certificate programs, those pursuing a bachelor’s degree in hospitality and tourism management can add an esports management concentration.

“Over two years ago, due to COVID—these installations typically take 6-8 months—we were brought in to develop the esports process and program,” said Joshua Kell, CEO at Horizon AVL. “UNCG knew they needed an esports space, but not how to get there. They reached out to the University of Delaware to find out who their esports integrator was. That was us, and that’s how we got the job.”

Under Control

For Horizon, collegiate esports is not like any other AV project. It could be a major, a minor, or another part of the curriculum, so the process is much broader than a standard AV system. What games are needed, what leagues, what are the industry standards?

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To control the esports arena, Horizon turned to Crestron Electronics with its DM NVX 4K60 HDR platform for AV-over-IP. “As an AV integrator, we can sell Crestron’s equipment,” Kell explained. “But the important thing is that Crestron wants us to be the ones to touch and program the system because we understand it, including the benefits of AV-over-IP and the almost zero latency that you get from Crestron’s DM NVX platform.”

It’s a sentiment echoed by John Hulen, director of channel marketing, education at Crestron Electronics, who finds Gigabit Ethernet to be the “sweet spot” for its flexibility, latency, cost, and point-to-multipoint ability. “DM NVX gives users less than a frame of latency with Gigabit Ethernet,” he said. “There’s 10 Gigabit Ethernet, and it’s got the best feature set of a ‘standard’ high-speed backbone. But you won’t see any perceptible difference, even when shoutcasting [commentating] and streaming. What you will see is a much more expensive pipe.”

At the UNCG Esports Arena, nothing comes between the gamer and their PC. Each PC, whether for competition or not, is directly connected with its peripherals.

“No AV manufacturer should interrupt the direct command for signals between devices, so everything we do is after that to avoid adding latency,” said Hulen. “We take it to the shoutcasters, the spectators, and coaches with almost zero latency.”

Gamers and Observers

Each of the 48 Esports Arena gaming stations (including 12 on the competition platform) can operate simultaneously, and are equipped with an Acer Predator PC with an AMD Ryzen 7 3700X CPU, 16GB of RAM, and an NVIDIA GeForce RTX 2060 Super GPU. Supporting the PCs are Acer Predator XB3 24.5-inch 144Hz HDR monitors, Acer Predator Aethon 100 wired keyboards, Acer Predator Cestus 310 wired mice, and Logitech G935 wireless headsets with team-specific audio channels on Discord. Plus, each of the 12 competition PCs has a Marshall CV380-CS compact camera mounted at the top of the monitor to capture the gamers during competition.

At the heart of the Esports Arena is the Crestron DM NVX 4K60 4:4:4 HDR platform for video routing and control, including DM-NVX-363C AV encoder/decoder cards with downmixing and Dante audio, DM-NVX-E30 AV encoder cards, and DM-NVX-D30 AV decoder cards. The "brains" of the platform is the CP4N 4-Series control system featuring an isolated control subnet that provides a Gigabit Ethernet LAN dedicated to Crestron devices. There’s also the TSW-1070 10.1-inch touch screen that provides a convenient way to control all aspects of the CP4N, including signal routing, audio volume, and lighting presets.

According to Larry Darling, classroom technology manager at UNCG, other support equipment includes displays that were specified to suit specific needs. Those range from a Sharp 86-inch monitor behind the shout (commentator) desk, LG 86-inch extended wide format monitors used to wrap the columns in the arena, and Sharp 60-inch monitors used in the console areas. Audio is routed through a BSS audio DSP and projected in the room through four JBL CBT 70JE-1 speakers and two PRX418S subwoofers. The production side uses a Blackmagic Design ATEM Constellation 8K to capture the cameras and competitors' PCs for live streaming.

“For the observation area outside the arena, we have four Vanguard Tungsten direct-view LED displays,” said Darling. “Each display measures roughly 6.5x6.5 feet and can be used for promotional purposes during the week, and as a means to expand the space for additional spectators during live events.”

Positive Impact on Campus

What does all that technology provide UNCG? The academic and competitive benefits are obvious, but Mike Ackerman, associate director, UNCG Department of Recreation and Wellness, adds another aspect, as his department has the role of managing the space.

“I had been following collegiate esports and more and more universities were taking on the initiative,” he said. “I was enthusiastic that UNCG would benefit by creating a physical space and academic connection for this really large field that is developing across the world.”

The Esports Arena has proven to have a positive impact on the socialization of students, moving them from isolated gaming in their room to a much more appropriate gaming experience. “This space allowed us to have a physical location to build a community, a place to compete, and allow us to engage the casual gamer with top-of-the-line equipment that they might not be able to afford. It’s all about social wellbeing,” Ackerman added, “a sense of belonging in higher education. We see the demographics in the arena mirroring the institution.”

The numbers speak to Ackerman’s point. Through GGLeagues software, students must swipe in to use the arena, with a monthly hourly usage cap. GGLeagues counted approximately 15,000 non-unique swipes in the arena’s best month. With a student enrollment of approximately 17,900, that’s impressive. Typically, GGLeagues records 220-240 swipes per day.

“It's just our first year, we don’t know what the future of streaming will look like," said Ackerman. "But Horizon really gave us what we needed and is designed for expansion. Plus, the Crestron platform is very user friendly, so the students who supervise the arena can’t get themselves into much trouble.”

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Perhaps Hulen put it best: “Esports is indicative of the kind of experience the 21st century student is looking for. The educational experience has changed so much more in the past decade than over the past few decades. It’s a brand-new learning curve for students that we never expected—they don’t want to go to class, but meet together online.”

If you are an AV engineer who first worked at T-Mobile Arena—home of the NHL’s Vegas Golden Knights—and then got an AV gig at the new 5,567-seat Dollar Loan Center in Henderson, NV, you could be forgiven for doing a double take after entering its Technical Operations Center (TOC). The reason?

“Our AV system was designed to be a miniature version of T-Mobile Arena’s,” said Steve Carl, director of audio visual and production, Dollar Loan Center. “We’re kind of the little sibling of that facility, in the sense that we have the same AV DNA as they do.”

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The reason for the resemblance has everything to do with Golden Knights owner Bill Foley. He also owns the Henderson Silver Knights of the American Hockey League (AHL), who call the Dollar Loan Center home. Foley also co-owns the Dollar Loan Center, which opened its doors in March. “Mr. Foley is very happy with the T-Mobile Arena and how AV production is facilitated there,” Carl explained. “So he just basically used its AV operation as a template to be copied here.”

Not only does this decision mean the Dollar Loan Center has an NHL-quality AV system, but it also ensures a source of highly qualified personnel for this stadium. “This is because we use AV technicians from the T-Mobile Arena,” said Davin Gaddy, The Dollar Loan Center’s AV engineer. “By copying their AV system and recreating it here, it is very easy to move people back and forth as needed. There is no learning curve to move from one TOC to the other.”

Monitors Everywhere

Super-sized video scoreboards dominate modern arenas, and the Dollar Loan Center is no exception. Suspended over the center of the stadium is a Daktronics video scoreboard LED display with four faces, each one approximately 11.5 feet high by 20 feet wide with 3.9mm pixel spacing for high-resolution imagery. Each screen can be used to show one large image or multiple zones of live video, instant replays, player statistics, graphics, animations, and advertising.

The Dollar Loan Center also has a Daktronics 360-degree indoor LED ribbon display (23,616x72 total resolution) running around the stadium’s upper perimeter, as well as an 11x19-foot Daktronics outdoor marquee display at 960x540 resolution. Plus, there is a NovaStar exterior pylon LED sign in the property, offering messaging at 256x384 resolution.

“We have 147 HDTVs that are running on an IPTV system throughout the facility,” Gaddy said. “Their content is sure to catch your eye wherever you are, because we have complete control over all that digital signage and can tailor it to whatever event is coming through.”

To supply its screens with video, the Dollar Loan Center has a full complement of broadcast-quality HD cameras. There are five Hitachi SK-HD1800 cameras with Fujinon lenses wired via SMPTE hybrid optical cables, as well as an additional SK-HD1800 connected using a Waves Central bi-directional RF interface. Six Marshall POV cameras are equipped with Thor bi-directional fiber transceivers, and two Sony BRC-X1000 4K PTZ cameras connected by fiber. The TOC’s camera control suite has six Hitachi RU-1500JY remote camera controls, one Marshall remote CCU station, and one Sony RM-IP500 PTZ camera remote controller.

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The cameras connect back to the TOC on the event level through multiple junction boxes, installed at key areas around the facility, via single-mode fiber optic and analog cables. “We've got fiber runs that go everywhere you would expect fiber to run, with the exception of the restrooms,” Carl said with a laugh. “Seriously, we've got connectivity through our junction boxes located throughout the facility. Basically, we can setup cameras anywhere we want to, and send their video to anywhere in the building.”

Top Shelf Equipment

Modelled after the T-Mobile Arena’s TOC, the Dollar Loan Center’s TOC definitely punches above its weight. The star of the operation is a Ross Carbonite video switcher with TouchDrive control surface, with a Ross Xpression CG Suite included to support real-time motion graphics and clips playout. The TOC also features a CharacterWorks CG system for ancillary score bug/graphics applications, which is integrated with the Daktronics All Sport scoring system and the four video scoreboards. “We’ve got more options on this system than most of our operators ever need,” said Carl.

To manage its video, the TOC has an Evertz DreamCatcher DC-Playout four-output system, Evertz Dreamcatcher DC-ONE six-input replay system, four FOR-A FA-505 multi-channel signal processors, and a NewTek TriCaster Mini for video streaming applications. Signal transport and processing is handled by an Evertz EQX hybrid router, configured to 164x164 SDI channels with fully routable audio capabilities. Other Evertz gear includes a MAGNUM system control server, SCORPION SDI-to-Dante bridge, and 5700MSC-IP master clock.

On the audio side of the house, this TOC has a DiGiCo S31 FOH mixing console, Fulcrum Acoustic main P.A. with Powersoft amplifiers, JBL facility-wide P.A. with QSC amplifiers, QSC Q-SYS processing with Extron zone controllers, and a TASCAM analog/Dante converter.

A Dante infrastructure serves as the stadium’s primary audio transport method, with a main P.A. analog backup available. This is topped off by a Riedel intercom system with multiple base stations and 20 wireless Bolero belt packs with facility wide antenna distribution and connectivity, plus Clear-Com analog partyline system capabilities.

[Major League AV at Toronto's Rogers Centre]

The Dollar Loan Center’s lighting system keeps pace with its stellar AV setup. "Our lighting was created by designer Sean Guarino of Sexy Lights, who has done Olympic figure ice skating lighting,” Carl said. “He's also done lots of sporting events, including the lighting design at the T-Mobile Arena.”

General lighting in The Dollar Loan Center is provided by Musco DMX addressable LED fixtures, with both adjustable color temperature and RGBW fixtures installed, and a Musco lighting control system. Facility lighting employs LED systems that have Eaton DMX external control capabilities, as well as software timing and control systems, while lighting for specific events varies depending on their needs.

Finally, to aid TV production, the stadium has two television truck remote locations with full interconnectivity and power, plus multiple show power system tie-in locations around the facility.

Given the top quality and flexibility of its AV, lighting, and infrastructure, it’s not surprising that Carl describes the Dollar Loan Center as being a “very cool” place to work. He and Gaddy love the fact that it can support everything from basketball, AHL hockey, and IFL indoor football, as well as a full range of other sports, entertainment, corporate, and trade show events.

“Davin and I both come from Cirque du Soleil, where you basically do the same show twice a day, five days a week,” Carl explained. “Now Cirque is wonderful in itself, and that's not an experience to shake a stick at, but having the absolute variety of events that come up in this facility is just thrilling for us as users of AV technology, especially because we have the right equipment to serve them all.”

To ensure maximum impact and immersive stereo sound across the many dance floors at Detroit’s Movement Festival, event producer Paxahau and Thunder Audio selected and deployed highly versatile JBL VTX Series line array sound reinforcement systems.

Held in the city considered to be the birthplace of techno, Movement Festival is an annual three-day electronic music festival that brings thousands of fervent audiences to Detroit every Memorial Day weekend. After being postponed in 2020 and 2021 due to the COVID-19 pandemic, 2022 marked Movement’s highly anticipated return to form and a chance for the close-knit electronic music community to finally gather in person once again.

“Detroit techno was always a dark room and a huge PA—it didn't matter what kind of lights you had or whatever; if you wanted the visceral experience in regard to clarity and a loud sound system, you came to Detroit in the nineties,” explained Sam Fotias, director of operations, Paxahau. “Since we all came up in that paradigm, that's what we bring to the table for the festival. We don't have a decibel cap, and all of our systems are designed five times more than what is needed for the coverage at each stage”

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Working within the gear, personnel, and budget constraints of a still-recovering live music industry, Movement organizers Paxahau required a live audio system that upheld the festival’s well-known reputation for unrivaled, immersive sound at every performance area. To meet these goals, Thunder Audio designed and deployed dynamic, streamlined rigs featuring JBL VTX A12 loudspeakers and B28 and S28 subwoofers for several of Movement’s stages. 

“We have a reputation that when you come to Detroit to the Movement Festival, that the audio experience is going to be spectacular,” said Mike Fotias, production manager, Paxahau. “Thunder Audio, being our partner for almost all of the years that we've been doing the festival, has worked very closely with us in always making sure that not only do we have the latest technology deployed in our sound systems, but also that there is very solid engineering and design that goes into each one of those sound systems”.

“One of their key goals is, as Mike Fotias always says, ‘the stereo,’” added Greg Snyder, senior vice president of sales and engineering, Thunder Audio. “The stereo has to be second to none. If you don't remember anything about Movement other than that the audio was amazing, then we did our job. Therefore, the involvement of JBL has become part of our routine.”

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Equipped on the Stargate, Red Bull, and Pyramid stages, the JBL VTX A12 is a line array speaker designed from the ground up to best serve the needs of festivals and touring productions, from its next-generation speaker components to its innovative and streamlined rigging system. Crucially, the A12’s redesigned Radiation Boundary Integrator (RDI) and advanced HF and LF sections delivered distortion-free audio across a wide area of coverage, which aligns perfectly with Movement's ultimate goal: to equally deliver massive, impactful sound to every person on the dance floor.

“We’ve always loved the crowd power from JBL products, but now the A12 adds so much more dimension,” said Snyder. “The clarity of the speakers is, I think, second to none. There's a different acoustical quality than you might find from other manufacturers; you may call it the JBL sound, but the truth is the clarity on the A12 is pristine in any application that you use in, including in corporate.”

Alongside the A12 at the Stargate, Red Bull and Pyramid stages—as well as the semi-indoor Underground stage—the JBL VTX B28 subwoofers delivered a deep, immersive bass response as low as 25 Hz—a must-have for bass-heavy music genres like techno and electronic. Equipped with Differential Drive woofers and a specially designed double-flared port for reduced turbulence and a clear bass response, the B28 also sports the same quick-rigging system found on the A12 for maximum sound with minimal setup. The Underground stage, a low-ceiling space intended for more aggressive and high-energy artists, most prominently featured the B28 alongside JBL VTX V25 and VT4888 speakers.

“We were able to take the VTX product and model it in our acoustic environments and come up with some designs that ended up being very impactful, not only from the standpoint of max SPL, but also in fidelity and getting the smaller equipment footprints in relation to the space that we had for the dance floor areas,” said Mike Fotias. “One of the things that I like about JBL, especially the VTX Series, is how each product is a complete engineered solution to the application. It's not just speakers, it's a turnkey scenario with amplified controllers and speakers right down to the way that the rigging works. It's not just about a good sounding speaker; it's the sum of an engineered system.

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Throughout each stage, the VTX speakers performed at the level that artists and audiences expect from Movement, providing unmatched sound, wide coverage, and high-but-clear output throughout the weekend. Snyder praised the speakers for their effective coverage and versatility, which proved crucial for the seamless transitions between artists with widely varied setups at each stage.

“We wanted to make sure that we knew where people were going to be and how to control the audio,” said Snyder. “JBL gave us that ability, with their aiming software and onsite support, to be able to confine audio, reach limits, and then to drop off so that each zone had its own coverage versus the audio all meeting in the middle and being chaotic.”

“The one moment that we look forward to every year when we do this festival is when we turn the sound systems on and start sound checking them because it's like, this is it,” said Sam Fotias. “And when you're in the sweet spot at each stage, you are completely enveloped. I got to really hand it to my brother and the team at Thunder for doing an incredible job with the amount of thought and engineering put into all of it.”

HARMAN Professional Solutions introduced the newest members of JBL Professional’s flagship VTX line array series, the VTX A6 subcompact dual 6.5-inch passive line array element and the B15 compact, arrayable 15-inch subwoofer.

With the addition of the A6 and the B15, the JBL VTX Series offers a complete ecosystem for delivering sound reinforcement at any scale, in any venue, anywhere in the world.

The A6 and B15 bring JBL’s top acoustic technologies to compact form factors for small to medium-size touring and fixed installations, providing versatile solutions for production companies, touring acts, rental houses, theaters, houses of worship, and anyone who requires superior sonic performance in space-critical applications.

“When you choose the JBL VTX A Series, you’re building a complete ecosystem, with common acoustic profiles and rigging systems, consistent voicing and standardized system design and operational tools,” said George Georgallis, director, product management–performance audio at HARMAN Professional Solutions. “And, by accessing VTX technologies in a new ultra-compact package, you’re able to maximize your system investment and deliver VTX quality and performance in any scale application.”

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The A6 6.5-inch passive two-way line array element is engineered from the ground up for stunning sonic performance and ease of integration and deployment, as a standalone system or as a supplement to larger VTX systems. It houses two custom 6.5-inch woofers and a 3-inch annular-diaphragm compression driver and features acoustic innovations pioneered in JBL’s VTX line, including JBL’s patented Radiation Boundary Integrator (RBI) and Differential Drive dual-voicecoil, dual-magnet woofer. It all adds up to big-system performance in a low-profile loudspeaker, with low-frequency extension to 67 Hz and 134 dB max SPL.

Extend the low-end range of VTX full-range systems with the VTX B15 15-inch subwoofer

The B15 features acoustic advancements such as SlipStream double-flared exponential ports and Differential Drive dual-voicecoil design and is based on JBL’s new 2285H 15-inch woofer, which is engineered for linearity, efficiency and excursion that rival 18-inch models. Two B15 versions are available: The arrayable B15 and the B15G, which is designed without rigging hardware for ground-stacked applications.

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Both the A6 and B15 are designed for versatile rigging and effortless system integration. The A6 uses the VTX A Series’ patented rigging system for accurate, easy deployment. Set splay angles while components are on the ground; once the system is suspended, a locking mechanism automatically secures cabinets in designated positions. The B15 has the same cabinet width and suspension hardware as the A6, allowing the two products to be used together in flown and ground-stacked configurations; the B15 supports cardioid array configurations.

Users can streamline system operation and share information with teams in real time using JBL’s suite of software tools, including the LAC-3 design application, the Array Link deployment tool and the Performance Manager configuration and control application. Simple, intuitive user interfaces let users design systems in minutes and manage functions from anywhere.

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JBL VTX A Series products are constructed from premium materials that withstand the harsh conditions of touring and outdoor installations. Enclosures are built from exterior-grade birch plywood with black Duraflex finish and feature powder-coated, hex-perforated stainless-steel grilles with acoustically transparent cloth backing. Units are IP55-rated and metal parts are made from high-grade steel with anti-corrosion coating.

For more than fifty years, the Harlem School of the Arts (HSA) has been a crucial community hub of arts education and activity within the historic neighborhood. In 2020, the school received a generous donation from the Herb Alpert foundation and undertook an ambitious renovation dubbed "The Renaissance Project" as a way to revitalize the facility’s main  performance spaces, and key infrastructure. To ensure that the space would continue to inspire and serve Harlem's next generation of artists and performers, the HSA design team retained the services of AV design and integration firm AVN|SYS to implement the crucial sound reinforcement and lighting upgrades using JBL Professional solutions.

A rich history poised to enter the future

Key to the redesign of HSA was the transformation of its signature lobby into a multi-faceted performance space in order to accommodate the wide range of musical, dance, and performing arts disciplines that the school champions. Doing so would increase the school’s capacity of supporting these programs as well as ensure its long-term usefulness as a community gathering place within the community. “Having a space that can speak to multiple implementations is what will allow us to continue to evolve alongside the needs of our community and be at the forefront of arts and music education in the city,” said an HSA spokesperson. “We needed maximum flexibility in how we could use the performance space and how we could ‘dial’ the sound in.”

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Acoustic architectural consulting and design firm Walters-Storyk Design Group (WSDG) led the acoustic overhaul of the space with a bold vision that emphasized versatility and ease of use. In order bring this vision to life, WSDG turned to regular partners AVN|SYS for the design and install of the spaces’ AV and lighting technology. “We put a lot of thought into different use scenarios when designing the space to provide HSA with the flexibility to present an extremely wide range of performances without requiring a large production support team," said WSDG partner/COO Joshua Morris. “AVN | SYS has been a frequent collaborator of ours in systems design and we were thrilled to bring their expertise to this project.”

“HSA has a rich history of supporting up-and-coming performers in the Harlem community and tristate area for half a century, and with this upgrade they can continue to serve that community indefinitely,” said AVN | SYS founder PK Pandey. “We were very proud to be included in this project and bring our integration expertise to the elegant system designs that WSDG created.” 

Inspiring tools for the next generation of talent

HSA’s main lobby and performance space features an integrated system of sound reinforcement operated from a centrally located Crestron Control System. The integration team at AVN | SYS utilized JBL ATX A8 Line Arrays custom mounted into the ceiling for excellent coverage and B18 Subwoofers for low-end, giving HSA complete control over a powerful system capable of handling the largest, or smallest, of ensemble performances. “We devised a custom-engineered solution for HSA when it came to mounting the line arrays, ensuring that they will work perfectly with the new acoustics of the space for any performance event,” said AVN | SYS project manager Steven Horwitz. “The whole system is designed to be easily operated by HSA’s staff for seamless, breathtaking sound every time.”

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In addition to installing the AV equipment of the space, AVN | SYS also collaborated with lighting company Elation for custom, controllable lighting of the space, allowing HSA’s event managers to create an endless variation of moods and lighting schemes to suit its myriad of performing arts programs. “Versatile lighting scheme designs can truly elevate a space and open up the possibilities for what manner of events and performances that can be held there,” explained Pandey. “We worked closely with Elation to design a custom solution for HSA that not only performed to specs but would also inspire them to reimagine what they can do in space.”

The new performance spaces enable the organization to showcase performances of many sizes and styles without any compromises in what they want to achieve.  HSA Board Chair Charles Hamilton expressed his appreciation at what has been accomplished and believes these upgrades will have a significantly positive effect on the next generation of artists and performers.

“The impact that HSA has had on the Harlem arts community is beyond calculation, so being involved in this upgrade of their facilities was an honor for us,” concluded Pandey.

No matter the colors used or brightness levels set, lighting is an ideal way to evoke a variety of emotions and provide a more immersive experience within larger AV installs and projects. Everyone is looking for ways to bring foot traffic back to their locations—and the Nashville Zoo at Grassmere and the Mariners’ Museum and Park in Newport News, VA, are using innovative lighting projects to bring new life to their attractions.

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Klip Collective, a visual art firm that specializes in hyperreal projection, lighting, and audio design, collaborated with the Nashville Zoo on a concept to increase visitation at night, creating a unique opportunity for engagement while most of the animals were asleep. The concept quickly became known as “Night Visions—A Wild Display of Light and Sound,” an immersive celebration of art and nature through the use of vibrant imagery, projection mapping, and immersive audio.

Nashville-based event technology provider DWP Live was brought on board to take the idea from concept to reality, helping to manage the install process, selecting the best technology, and providing ongoing support. The program will continue to run Thursday-Sunday nights through mid-July.

Sights and Sounds

As the sun sets and the animals settle into sleep, a combination of light and sound create a breathtaking spectacle. As visitors make their way through the different areas of the zoo—including the Entry Village, Festival Field, Expedition Peru: Trek of the Andean Bear, and the Jungle Gym Playground—pathways, trees, and bodies of water are transformed through the imaginative use of projection and audio for an experience that seamlessly bridges technology and storytelling. Using an upgraded audio system consisting of outdoor rated Crown amplifiers and QSC and JBL speakers, a musical score created specifically for the project adds an extra element of immersive engagement amongst the animal-themed imagery. 

Epson Pro Series laser projectors, including four EB-PU2010B, three Pro L1755UNL, and six Pro L20000U, use 3LCD technology to create lifelike images with outstanding brightness and vivid color depth. The projectors were selected for the project due to their size, which allows them to be hidden better during the day and are unintrusive to the visitors and animals, as well as their lower maintenance costs.

“One of the biggest challenges with these kinds of installations historically is budget for maintenance,” said Danny Whetstone, founder, DWP Live. “Lamps are expensive, and you run a projector for 800-900 hours and then you have to replace the lamp. With the new laser technology, you have got a 25,000-hour laser lifetime on the light engine, and that’s really allowed more opportunities to develop for these kinds of projects from a budget perspective and not have those incredible maintenance costs.”

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To protect them from the elements, the projectors are installed in IP65-rated housings that are waterproof and weatherproof. All control elements, including audio, media servers, networking, and video distribution, were also housed within their own AV system racks in an environmental enclosure. None of the enclosures are located within animal exhibits, but are still able to be hidden in a way that allow them to go unnoticed by visitors.

Klip Collective was also responsible for all elements of the projection mapping, including the creation of content, renderings, and warping and blending of content. The firm spent eight days on site using its own custom warping and projection software through TouchDesigner to design content ranging from small creatures emerging on rock walls to beautiful, colorful projections appearing through a waterfall.

This is the first big integration at home for DWP Live, and Whetstone was thrilled to have the opportunity for their friends and families to be able to experience this unique install alongside them. “It is a real joy for us to have this opportunity to support Nashville directly as a Nashville-based company, and to be able to do something right here at home that supports our local community,” he said.

Spotlight on the Sea

Home to one of North America’s largest maritime history collections, the Mariners’ Museum and Park recently upgraded its lighting control system to the Strand NEO CONSOLE from Signify, helping to enhance overall storytelling capabilities through the use of dynamic colors and visual effects within its theaters and exhibits.

Throughout the exhibition areas, the museum can tailor individualized lighting settings based on the emotions and feelings the exhibition team is hoping to evoke for the visitors. For example, dynamic and somber lighting is used within the theater spaces, which helps create the sense that visitors are experiencing the action for themselves.

Eventually, the center will also use the lighting system to highlight artifacts from the USS Monitor wreck. The USS Monitor Center, which was added to the museum 15 years ago, is one of the largest conservation projects of its type, with more than 3,000 artifacts actively being conserved by the museum. Currently, the museum is replacing all the LED lighting within its exhibition spaces in an effort to conserve and highlight the items.

One of the main reasons the museum selected the Strand NEO CONSOLE was its ability to transfer show files from their old system with ease. Tim Kines, audiovisual expert technician for the Mariners’ Museum and Park, was worried he would have to rebuild all their old show files when moving over to a new system—and was relieved to learn the NEO system would act as more of a plug-and-play option.

“We needed to upgrade our control console to add dynamics and effects via a simple-to-use interface, and the NEO fit perfectly,” said Kines. Its ease of use also allows for museum IT and security staff to learn basic settings for turning the lights on and off, helping them perform those functions on those early mornings or late evenings when the AV staff isn’t present.

The timing of the project sadly coincided directly with the pandemic, with the initial site visit with contracted lighting design firm Available Light taking place right before the shutdown. With Available Light unable to be on site, Kines was left to do a lot more of the work than he was expecting, including installing the hardware himself.

Available Light assisted him remotely with the transferring of files and adjusting of levels until the firm was eventually allowed to return to the museum. Kines operated as the eyes and ears on the ground for the contractors and even worked with Strand directly to figure out issues concerning timing of lighting within the theaters.

[Extron Enhances Capabilities at the Dallas Holocaust and Human Rights Museum]

While the user experience is as close as possible to the old system, Kines is excited for what lies ahead. “The future possibilities are there—and the ability to change light intensity and cues in real time will be very useful,” said Kines. “The level of control we now have with the NEO is impressive. We are in the process of training people to become power users of the software, and then the sky's the limit for creativity. As we change our exhibits and get ready to display additional USS Monitor artifacts as they are fully conserved, we will most likely change the lighting schematic in a radical way.”

When Chukchansi Park, home of Minor League Baseball’s Fresno Grizzlies, opened 20 years ago, it was the beginning of the Fresno revitalization. Hopes were high that the stadium would be the cornerstone to the downtown district. In the 20 years since, the Fresno renaissance has seen a brewery district, shopping experiences, and more develop, which has brought more fans to the stadium.

Although there had been physical renovations to the ballpark—a new splashpad and kid zone as well as a standing-room bar area were added—the technology in the park was lagging. Although Chukchansi Park is one of the largest in the minors, it was operating with an outdated scoreboard, one old, single-source speaker in centerfield, and the original lights from 2002.

[Major League AV at Toronto's Rogers Centre]

In 2020, the minors reorganized, and the Grizzlies went from a Triple-A club to the home of the Colorado Rockies Single-A affiliate. This enormous ballpark, which seats north of 10,000 fans, suddenly became the largest Single-A stadium in MiLB.

 “Our thought process was every single night we want to be able to provide a Triple-A experience for our fans, and that’s where the new sound system, the new video board, the new lights really come into play,” said Jonathan Bravo, director of marketing and communications for the Fresno Grizzlies.

One-for-Two

The transformation began with the centerpiece of the upgrade. The past saw two videoboards: a main board that displayed headshots, promotional graphics, and lesser-quality live shots, as well as an auxiliary board featuring additional sponsor messaging, players stats, and content.

 “You had to think of it in two pieces,” Bravo explained. “You had to think what was going on the main board and then the smaller auxiliary board. With this new board, the ability to partition things is pretty much endless on our side. We’re able to have player headshots, lineups, and the line score—but also upcoming promotions and different sponsors. We used to have six or seven static signage abilities for partners, but now theoretically we can have as many partners as we want.”

The Grizzlies turned to Visua to install the 2,000-square-foot VisuaLED videoboard as well as three BirdDog A200 PTZ cameras (one in centerfield and one in each dugout) and a pair of JVC GY-HM850 wireless cameras. Also installed were a Teradek 4K Max wireless receiver and transceiver, NewTek TriCaster TC1 production system, and NewTek 3Play 3P2 replay solution.

“One of the other cool things we implemented was using the cellphone as a wireless camera,” explained Matt Baker, general manager of Visua/VirtCh. “With the new NDI technology, we are able to take any of their cellphones, scan a QR code, and we can turn that into a wireless camera that we can bring into the TriCaster, basically adding a third wireless camera to their show.”

Visua’s virtual producer service VirtCh helped install MotionRocket, a content and graphics solution for the scoreboard. Fresno now has a strong partnership to create the content needed to bring the videoboard to life.

“We are lucky with Visua and VirtCh. If we need a motion graphic for home runs, that’s something they can brand for us and pump out,” Bravo added. “A lot of the specific content, like most recently the Jackie Robinson Day graphic, is in house. It’s working hand-in-hand with VirtCh. It’s a great partnership where we really treat them as members of our front office.”

Built to Last

Weather—particularly the intense heat of the Central Valley—was a strong consideration for the equipment installed. “It’s great peace of mind,” Bravo said. “Our Fourth of July game is the biggest game of the year. To know that videoboard will turn on and will function as it’s supposed to is a huge weight off our shoulders.”

However, Virtch’s help extends well beyond the videoboard. “They are also remotely producing games for us Sunday through Thursday,” Bravo explained. “Our upstairs control room looked like 1960s NASA, and now to have all modern flat screen TVs, a brand new TriCaster, and the fact that they are able to remote in is great for us because we get directors that produce games for a living. That kind of experience is invaluable.”

Visua also brought digital signage to the concession stands. Using SAVI controls and 18 new LG TVs, Fresno has control of sending new content to its menus and the live in-house feed directly to the screens for a completely immersive experience anywhere in the park.

Gone is the big old speaker; Visua replaced it with 125 all-weather JBL Professional AWC Series speakers. Whether they are in one of the more than 30 suites, in a row along the second and third decks, or the concourse itself, the new sound system brings a completely new auditory experience to the fans, and employees alike.

The audio upgrade required all-new cabling and a BSS networked audio system that controls the zones, inputs, and outputs. The Grizzlies production team has full control and can partition sound throughout the ballpark. For example, they can play kids music at the splash pad while simultaneously having game audio in the concourse.

The lights hadn’t been updated since the original 2002 ballpark construction, and brought an unnatural, orange tinge to the field. The Grizzlies installed 172 Musco fixtures with its Total Light Control (TLC for LED) technology for a simplified, true daylight look for the games. The lights are managed via Musco’s Control-Link Central control and monitoring system.

Now, the production team simply flips a switch—whether it is on one of the two tablets or cellphones deployed throughout the park—and the all-LED system is up and running. There is no more warming up or cooling of the outdated ballpark lights, and Bravo and his team can create light shows that chase each other around or shoot up the foul poles in the entire gauntlet of colors.

For the Fans

Despite ongoing congestion issues from the pandemic, the install was ready just in time for Opening Day 2022. “We got there literally the week before opening, so we hustled to install,” Baker recalled. “But we had it up and running and it looked beautiful that opening night.”

Having the Visua team on hand for that opening weekend made sure that fan experience went smoothly. “Any time you bring in a new system you expect there is going to be a learning curve,” Bravo said. “We’re extremely fortunate to have a great production crew, but also we had the production team from Visua and Virtch out here for opening weekend so they could troubleshoot things in real time.”

[Daktronics Delivers Home Run for Arkansas Travelers Outfield Video Display]

Chukchansi Park has become the centerpiece in the heart of Fresno. Concerts are frequently held at the venue, as is “Taco Truck Throwdown,” a food competition that consists of 30-plus taco trucks. Most of the bands bring their own equipment that easily connects to Fresno’s new system, and the videoboard is used for promotions and sponsors during the Taco Truck Throwdown.

In the end the more than $2-million upgrade—made possible by the city of Fresno and naming rights group Chukchansi Gold Resort and Casino—is all about the unique experience that is minor-league baseball. “To see the videoboard, see the lights, hear the sound system for the first time on opening weekend, it was instantly clear how much this impacts the fans enjoyment,” Bravo added. “So much about minor-league baseball is the entertainment, family fun aspect. For us to be able to completely skyrocket our production value and bring this experience to the fans has us very excited for what we can accomplish for the rest of this year.”

As Black Friday 2021 finished with Thanksgiving leftovers, retailers began stoking the cyber coffers with deals on everything from Paw Patrol to $1,700 off an 8K QLED TV. But we’re going to focus on the latter — the electronics that some of us coveted throughout the year. 

Following are some of my personal favorites from this Cyber Monday, and I’ve also curated some that are sure to pique the interest of AV Technology and SCN readers. More Apple products would be on my list, but I’ve never seen them offer a significant price cut.  

I looked to our sister publications, Tom’s Guide and TechRadar, for the best deals on electronics and accessories for our hybrid workplaces, and smart homes.

P.S. Prices and availability are subject to change.

Cindy’s Top 10 Cyber Monday Deals

Samsung 65-inch QN900A Neo QLED 8K Smart TV (2021)

Was $4,999.99 now $3,297.99 at Amazon
Save $1,700 - One of the best Cyber Monday TV deals we've spotted so far is this 65-inch QLED 8K TV from Samsung that's on sale for $3,299.99. That's a massive $1,700 discount and the lowest price we've seen for the stunning Samsung display. The Samsung QN900A is one of the best TVs you can buy, thanks to its exceptional picture quality and state-of-the-art design.

Bose QuietComfort 45

Was $329 now $279 @ Amazon
First time on sale! The Bose QuietComfort 45 offer enhanced active noise cancellation, better sound, and longer battery life than its predecessor. In our [Tom’s Guide] review, we called them a no brainer for Bose fans who want to swap out their older QC headphones for something more modern, or shoppers who want first-class Bose noise cancellation at a cheaper price than the premium Bose 700. 

Panasonic Lumix S5

Was $1,997 now $1,697 @ Amazon
Get $300 off the full-frame Panasonic Lumix S5 mirrorless camera this Black Friday in one of the best deals we've seen yet. The S5 makes it into our list of the best cameras for vloggers, on account of its advanced video features, while its 5-axis image stabilization will be great for both filming and stills shooting.

LG 83-inch C1 OLED

Was $5,999 now $4,996 @ Walmart
Go big for less with the 83-inch LG C1 OLED, selling now for $1,000 off the regular price. Sure, that's still a pricey 5 grand, but premium OLED displays aren't known for being cheap, especially at this giant size. Packed with features, like HDR, HDMI 2.1 and both Google Assistant and Amazon Alexa, it's a fantastic TV, now at a slightly more reasonable price.

iRobot Roomba 692 Robot Vacuum

Was $299.9 now $174.99 at Amazon
Save $125 - Roomba robot vacuums are one of the most popular Cyber Monday deals, and Amazon has just dropped a further $25 discount on the best-selling iRobot Roomba 692. That brings the price down to just $174.99, which is a fantastic deal for a robot vacuum and the lowest price we've ever seen.

Sennheiser Momentum True Wireless 2

Was $299 now $174 at Amazon
With excellent active noise cancelling, superb sound quality, and a rather neat design, the Sennheiser Momentum True Wireless 2 are well worth your time. And with $122 off their original price, they are a bit of a bargain. 

Harmati Electric Standing Desk

Was $299 now $199 @ Amazon
For under $200, this is a brilliant option for anyone looking for a standing desk. It comes in three different colorways and has a quiet, motorized system for raising and lowering the desk. The wood desktop measures 47 inches by 24 inches, and reviewers loved how neatly it fits into most home offices. The best part? You can currently save big on this desk. 

Jabra Elite Active 75t

Was $209 now $149 @ Amazon
This deal takes 29% off the original price, saving you $60 in total on the Jabra Elite Active 75t, one of the best wireless earbuds on the market. 

Razer Iskur Fabric Gaming Chair

Was $499 now $349 at Amazon
Save $149 - Razer is known for making top-shelf gaming peripherals, but it only got into the gaming chair scene last year with the Razer Iskur. This year's follow-up, the Razer Iskur Fabric, improves on the original with a more breathable fabric construction while keeping all the features that makes the Razer Iskur one of the best gaming chairs around.

Ring Video Doorbell Wired Bundle with Echo Show 5

Was $144 now $61 @ Amazon
This deal bundles Ring's least-expensive video doorbell with its smallest smart display. When someone presses the button, you'll be able to see them on the Echo Show 5 and talk to them, too. We also recommend you pick up a Ring Chime, as the Ring Video Doorbell Wired doesn't work with existing chimes.

TECHRADAR EXCLUSIVES on VPNs!

PureVPN

5-year plan |  Was $6.65 now $1.13 a month | code 'TECH15'
Save 88% - It may not be the best quality VPN on the market, but PureVPN is without doubt the winner of this year's VPN deals race - especially for TechRadar readers who get to benefit from an extra 15% off with code TECH15. That brings the monthly rate down to an effective $1.13, paying a one-off $67.96 five years of VPN coverage.

NordVPN

2-year plan |  Was $11.95 now $3.29 a month
Save 72% - One of the biggest names in VPN has one of the best savings. This is the lowest we've seen NordVPN for a while now, and is a terrific price on a service that sits in at #2 in our overall chart of the best VPNs.

Surfshark VPN

2-year + 3 months FREE | Was $12.95 now $2.21/pm
Save 83% - The best cheap VPN just got a whole lot cheaper. It's throwing in three free months to its 24-month plan, so you get a whole 27 months of boosted cyber security with loads of great features for only $2.21 a month.

MORE CYBER MONDAY DEALS

MacBook Air (M1)

Was $999 now $899 @ Amazon
The M1 MacBook Air offers fantastic performance thanks to its new Apple Silicon. The new M1 CPU also helped it reach over 14 hours in our battery test. In our [Tom’s Guide] review, we found it offered amazing MacBook Pro-like power at a lesser cost. It features a 13.3-inch Retina display, Apple M1 CPU, 8GB of RAM, and a 256GB SSD. If you want an even bigger bargain, the 512GB model is also on sale for $1,099 ($100 off). 

Amazon Fire HD 8 Kids Tablet

Was $139 now $69 @ Amazon
Amazon's Fire HD Kids tablets are great for youngsters, thanks to their combination of chunky rubber bumper, Fire for Kids software and a a no-questions-asked two-year replacement guarantee. They're available in 7, 8 and 10-inch varieties, and all are super-cheap at Amazon right now.

EPOS H3 Gaming Headset

Was $99.99 now $86 at Amazon
Save nearly $23 on the EPOS H3 Gaming headset, which proudly sits on our list of the best Xbox Series X headsets. But this comfortable and sleek all-rounder headset doesn't just work on XSX, it's also compatible with PS5, Switch, PS4 and Xbox One.

JBL Tune 120TWS

Was $120 now $59 @ Amazon
This deal takes 50% off the original price. JBL's wireless earbuds pack a punch with a 5.8mm driver for solid bass performance. With 16 hours of battery life shared between the headphones and their charging case, you'll be able to rock out all day long.

GoPro Hero10 Black + Accessories + Subscription

Was $549 now $349 @ GoPro
The Hero10 Black is GoPro's new action camera, adding a new processor, higher resolution and improved image stabilization into an already compelling package. We awarded it 4.5 stars in our review, and it's even better value right now. This deal direct from GoPro is not only $100 cheaper than we've seen it elsewhere, but also throws in a 1-year GoPro subscription and accessories pack. 

Marshall Emberton

Was $150 now $129.99 at Amazon
Save $20 - Whether it's the IPX7 water-resistant rating, over 20 hours of use, or light weight, this portable speaker from Marshall has a lot going for it. And, this Cyber Monday, it's cheaper than we've seen it this year, now at 13% off. Of course, that wouldn’t matter if it didn’t sound good, which it does. In fact, its multi-directional sound means that you can hear the music clearly no matter where you’re sitting in relation to it.

Hulu

Was $6.99 per month now $0.99 per month
With a ton of original series and movies, plus the latest TV shows, Hulu has a lot to watch. Normally, this ad-supported tier costs $6.99 per month, so you'll be saving $6 per month (for up to 12 months) with this offer. The deal expires on Monday (Nov. 29) at 11:59 p.m. PT so there's no time to lose.

Ring Video Doorbell Wired + Echo Dot

Was $99 now $41 @ Amazon
Ring's cheapest video doorbell is even cheaper in this deal that takes $18 off its regular price and throws in a free Amazon Echo Dot (3rd gen) to go with it. You get a 1080p camera and two-way talk, while the Echo Dot can act as your doorbell chime.

Samsung HW-S50A

Was $249 now $147 @ Amazon
This Samsung soundbar not only looks great, thanks to its premium fabric finish, but also sounds great on account of its five internal speakers and Dolby Atmos support. Not only does it have Bluetooth, but it's also packing a Music Mode so you can stream your favorite Spotify tunes to it. Amazon has currently knocked $102 off the usual price, bringing it to its lowest level.

Cleer Audio Crescent

Was $699 now $599 @ Best Buy
It's by no means a cheap option, but the Cleer Audio Crescent not only upgrades your audio but also adds a statement product to your living room. It offers 8 front-facing, full-range drivers and 2 large woofers. It's a 3D soundbar that can really fill out a room. Plus, it offers built-in Google Assistant support which is a nice touch. We awarded it 4 stars in our [Tom’s Guide] review. 

Google Chromecast (3rd Gen) Streamer

Was $29.98 now $19.98 at Walmart
Save $10 - The Google Chromecast is a brilliantly functional streaming dongle. There's plenty of app support, Google Assistant voice commands, and a great Android TV interface holding things together. Note you won't get 4K streaming, or a remote.

Belkin Power Strip Surge Protector

Was $24.99 now $19.99 at Amazon
Save $5 - This Belkin power strip has over 65,000 positive reviews and is on sale for the cheapest price we've ever seen at just $19.99 at Amazon. It boasts several AC outlets, an 8-foot long cable that comes in handy when your outlet feels like it's located in a faraway desert outpost, and a 3,940-Joule energy rating. With 12 outlets, you'll have room to keep all your smart and mobile devices charged.

Apple MagSafe Charger

Was $39 now $31.99 at Amazon
A nice little 18% discount on this Apple accessory, the Apple MagSafe charger can be used to charge iPhone 12 models onwards, as well as AirPods with a wireless charging case. As a ubiquitous Apple accessory, this is one of those essential bits of kit always worth snatching up in an Amazon Cyber Monday deal as a cheap stocking filler or gift. 

Fire TV Cube

Was $119.99 now $79.99 at Amazon
Save $40 - Today's Cyber Monday deal from Amazon includes the powerful Fire TV Cube on sale for $79.99. That's a $40 discount and the lowest price we've found for the hands-free 4K streaming player that's Alexa compatible.

Philips Hue White and Color Lightstrip Plus 2M Starter Kit

Was $109.99 now $68.99 at Best Buy
Save $41 – There's a significant $41 saving on this starter set for the Philips Hue Lightstrip. Use it to jazz up the ambiance in any room around your home. Be that adding a customizable glow effect behind the TV, fitting strip lights in the kitchen, or whatever your imagination decides.

Ring Alarm 8-piece Set

Was $424.98 now $229.98 at Amazon
Save $195 - Buying all your smart home devices in one bundle is a good way to save cash, and this package is much cheaper than buying everything separately. This package has received two discounts over Cyber Monday and is now the cheapest it's ever been. Note, these devices are now shipping for a mid-December delivery date.

Thank you to our sister publications, Tom’s Guide and TechRadar for keeping an eye on the best deals. Be sure to check out each site for hundreds of Cyber Monday deals.

Under embargo, JBL Professional invited us to a special launch event happening on November 16, 2021. They said we could extend the invitation to our readers, and we thought you might enjoy learning about this new product line (oops) first-hand. 

We can tell you that they are announcing a new JBL Pro speaker! We're excited, but they would have to kill us if we told you more before the event!

YOUR invitation is below. 

JBL Professional Product Launch Event

We are delighted to invite you to attend our next JBL PROFESSIONAL PRODUCT LAUNCH EVENT. We can’t reveal much until the launch, but we can say that singer/songwriters, event DJs, corporate AV providers and houses of worship will all love the remarkable versatility and incredible acoustic capabilities that this powerful pro audio solution offers.

Two sessions are available and both will be presented by JBL’s Brandon Knudsen and Craig Lambrecht, David Glaubke and Andy Flint. We look forward to having you join the event!

Register below for one of the two global sessions:
Session 1  North America, South America, EMEA and Russia

Session 2 India, China and APAC

See you there!

Serving more than 71,000 students, Texas A&M University is one of the largest college campuses in the country. In response to increasing enrollment and population growth in the state, Texas A&M University recently launched a large-scale campus expansion project, which included a new state-of-the-art Innovative Learning Classroom Building (ILCB). The new facility houses 10 unique learning spaces suited for different applications, with capacities ranging from 72 to 605 students. The spaces include small, medium, and large in-the-round arena-style lecture halls, a fan-shaped lecture hall, an egg-shaped classroom, three tiered learning spaces and two smaller learning studios.

[How NYU Equipped Campus for HyFlex Education]

To facilitate student engagement and cross-discipline collaboration while maximizing technological flexibility and simplifying operation for instructors, the ILCB required a sophisticated, facility-wide networked AV system. To meet these needs, Avinext and Shalleck Collaborative outfitted the new learning spaces with AMX encoders, decoders, controllers and touchpanels for control, as well as JBL Control Series loudspeakers and a Soundcraft Vi3000 console for high-quality sound reinforcement. Additionally, Datacom provided infrastructure design and cabling for the AV, IT and security systems.

“We engaged with faculty from various disciplines to design a building that allowed us to maximize the pedagogical approaches needed for different types of classes,” said Dr. Juan Garza, associate vice president of IT-Academic Services, Texas A&M University. “Teaching can occur in the interchange of ideas and the dialogue between students, not just what the instructor is saying. The technology that we've put in the new facilities was specifically designed to allow and augment that, not to overshadow it.”

To ensure maximum media connectivity throughout the ILCB, Avinext and Shalleck selected AMX SVSI N2400 Series encoders and decoders, which allow users to send high-quality audio and 4K video from any type of source to any destination in the building. AMX NetLinx NX integrated controllers provide comprehensive control over the facility-wide system with low-latency Ethernet switching, security features, and nearly unlimited scalability. AMX Hydraport HPX table modules installed in shared tables allow students to send media from their devices to be displayed on projectors and piped through the speakers in the room. 

“AMX encoders and decoders provide us the flexibility to expand one classroom into nine others with the simple press of a button in the building video matrix,” said Carlos Lucio, assistant director, Instructional Media Services, Texas A&M University. “The computer in our largest arena can easily be pushed to all other classrooms. The encoder and decoder sets also include the AES67 audio feature set, which allows us to stream audio in the same manner to one classroom or all. AMX controllers give us ultimate granular control to and from devices, allowing our programmers to create simple yet robust control concepts for each classroom.”

[The Technology Manager's Guide to Collaboration in the Post-COVID World]

To simplify end-user operation for instructors and speakers, Avinext and Shalleck outfitted all 10 learning spaces with AMX Modero G5 touchpanels. Texas A&M staff designed a custom graphical user interface (GUI) to enable easy and flexible control of audio, video, and lighting. Standardizing on Modero touchpanels allowed Texas A&M University to expand classroom functionality while streamlining the end-user experience. 

“We know the products and we know we can make it work,” said Regina Greenwood, director of Instructional Media Services, Texas A&M University. “The AMX user interface has helped us know how far we can push the envelope, how far we can expand.”

To provide consistent, balanced audio coverage in a variety of spaces, Avinext and Shalleck installed a range of JBL Control Series speakers throughout the ILCB. JBL Control 29AV-1 wall-mounted loudspeakers positioned at the front of the rooms provide broad, 110-degree coverage for media sources, while Control 67 HC/T pendant speakers and Control Series 47HC high-ceiling speakers provide focused overhead coverage with excellent speech intelligibility. In combination, the JBL loudspeakers overcome the acoustical challenges of large spaces to enhance the learning experience with premium sound.

“We used JBL loudspeakers throughout,” said Ian Hunter, principal and AV consultant, Shalleck Collaborative. “JBL’s wide range of form factors and coverage patterns gave us flexibility in placement, and the speakers’ Radiation Boundary Integrator technology delivers a very even sound field. As always, we enjoyed great design assistance from the Harman team, including design review, advice, specialty configurations, and a fast turnaround.”

To provide highly flexible audio routing throughout the entire ILCB complex, Avinext and Shalleck installed a Soundcraft Vi3000 console in the facility’s broadcast studio. With 96 inputs, 24 stereo busses, and expandable I/O options, the Vi3000 is capable of receiving audio from any source on the network, mixing and processing with onboard DSP, and distributing multiple outputs to any endpoint in the facility. This enables the university to facilitate a variety of use cases, such as broadcasting a lecture to the entire campus and allowing students in separate spaces to participate in real-time discussion.

The ILCB is only the beginning of Texas A&M University’s expansion plans, which involve adding 10 buildings throughout the decade in a program called “10 in 10.” University leadership has already begun planning the ILCB’s sister building, which will feature more active learning spaces, biology and chemistry labs, and a makerspace.

“The ILCB is a state-of-the-art building with a focus on collaborative spaces for students, faculty, and staff,” said Brandy Cobbs, facilities coordinator III, Innovative Learning Classroom Building. “This building will create a lasting impression on prospective students from all over the world. Texas A&M is known for its tradition, but the ILCB represents an evolution that will allow us to keep up with the ever-changing world around us.”

No matter the industry, when looking for ways to operate safely during the pandemic, flexibility is key. Whether it’s a restaurant adapting to outdoor dining by bringing its background audio system out to the sidewalk, a house of worship accommodating its socially distanced congregation in an overflow space, or a bar hosting stand-up comedy in its backyard, having the flexibility to modify plans or pivot to new methods is more important than it’s ever been.

For contractors, that might mean considering portable P.A.s in situations where they’d only specified installed solutions previously. Thankfully, manufacturers have beefed up their approach to portable systems, so contractors can specify one without sacrificing sound quality. 

“We can see ways to move something that typically was installed into something that wasn’t even thought of as a solution years ago,” said Craig Lambrecht, director for portable P.A.s at Harman.

[The Integration Guide to AV in a Post-COVID-19 World]

So the timing isn’t all bad, he said, when you consider features that have improved in recent years. Take battery life, for instance—even as speaker sizes have decreased, the runtime users can expect has increased significantly. 

“A lot of portable P.A. systems were even originally designed to be very flexible and moved around very easily—and it’s even easier now, as we have more and more solutions with improved battery life, so you can take your system completely off the grid if you want,” said Lambrecht. “You can have a nice P.A. system that’s pro quality and fills a gap as we try to figure out this new world we’re in.”

Harman recently released the JBL EON ONE Compact portable P.A. system, which checks both size and battery boxes: it weighs just under 18 pounds and features a swappable, rechargeable battery that can last up to 12 hours. As well, it includes a four-channel mixer loaded with dbx and Lexicon-inspired effects including 4-band EQ, reverb, chorus, and delay. Bluetooth connectivity makes it easy to stream audio from mobile devices or link up to four speakers via the JBL Compact Control app. 

“It’s a jack-of-all-trades,” Lambrecht said. “We put a lot of time into thinking about how this product fits for hospitality, into houses of worship, into corporate, education, government. It gives pro output, but it also gives you a bunch of features for whatever you want to run into it.”

[The Integration Guide to Houses of Worship]

Though social distancing has meant smaller crowd sizes, a system isn’t selected based on the number of people in a room; it’s the size of the space that counts, so those farthest from the source still get clear vocals. While ensuring even coverage, one complaint such spaces have struggled with is noise control, said David Fuller, senior director, product management – live sound at QSC. “Many live venues, bars, and clubs are located in areas of high residential or commercial density and must comply with local code or city noise ordinances,” he explained. “The main offender is the low-frequency energy from subwoofers, which is typically omnidirectional in nature and more easily transmitted between neighboring spaces.”

QSC’s KS Series cardioid subwoofers corral that low-frequency energy, “keeping bass in its place.” “The cardioid radiation pattern is designed to keep LF energy off the stage and from leaking back into stage mics,” Fuller said. “However, in many other foreground music applications, cardioid technology can also direct LF energy away from neighboring boundaries.”

To achieve this, he explained, a single KS212C could be the answer for a plug-and-play solution. In situations where excessive sound in specific areas is undesirable, the low-frequency cardioid radiation of the KS212C can be useful. Powered by a 3,600-watt Class D amplifier and featuring dual 12-inch excursion drivers each arranged in a 6th order bandpass chamber, the cardioid subwoofer produces 15 dB more output at the front of the cabinet than at the rear. It features aluminum handles and four rear-mounted casters for ease of transport, while two M20 sockets accept a 35mm loudspeaker pole in either horizontal or vertical orientation.

Another recent improvement comes thanks to portable P.A.s’ larger-bodied cousins. Technology has increasingly been imported from higher-end products targeted to more demanding environments. This means you’re less likely to have to sacrifice sound for size and flexibility.

“Technology that is proven at the highest end of the industry, it’ll be adapted to something you might buy for a few hundred dollars,” said Andrew Cho, senior product manager for portable speakers at Bosch, pointing to more sophisticated DSP modules that are making their way into their portable products. “We’re always making incremental engineering advancements through our touring sound and our commercial portfolio, and those trickle down into portable.”

The Electro-Voice PXM-12MP from Bosch is one such example. A dedicated portable loudspeaker system that provides convenient, powerful monitoring and playback functionality, its DSP offers four EQ presets, high and low shelving, parametric midrange EQs, adjustable low-cut filters, a tunable feedback notch filter, and recallable user settings. An integrated pole mount at the front allows for additional applications, and with a dedicated subwoofer and the adjustable subwoofer matching LPFs of the PXM-12MP, a full 3-way system can be configured to create a compact main P.A.

“In terms of its form factor, it looks like a stage wedge,” Cho said, “but it has points on it. If you want to put it up, get it off the ground and install it, you can. Flexibility is key.”

Flexibility—and, unsurprisingly, portability—are ultimately what end users who are in the market for portable P.A.s are looking for.

“End users really care most about portability, but then it still has to have good performance, it still has to have the right feature set,” said Craig Jackson, product manager for portable P.A. at Bose. “But if you have great performance and a great feature set, but it weighs 100 pounds and isn’t portable, then it can’t be useful.”

That’s where he says the Bose S1 Pro comes in. “It’s our smallest P.A. system, but it’s got a balance of portability to performance,” he explained. “It plays louder and goes lower than you would expect it to, given the size of the product.”

The S1 clocks in at 13 inches high, 9.5 inches wide, and 11.2 inches deep, and it weighs about 16 pounds, yet it produces horizontal coverage comparable to that of Bose’s larger L1 portable line array systems. It features a rechargeable lithium-ion battery that can provide up to 11 hours of play time, plus an onboard 3-channel mixer with independent ToneMatch, reverb, and EQ controls on two channels, and a dedicated channel for either wired or wireless music sources. Wireless Bluetooth streaming is available through one-touch pairing, and multiple positions are supported by Auto EQ to ensure everything sounds great, regardless of placement orientation.

Looking ahead, it appears that sophisticated audio technologies will continue to trickle down into portable products—possibly even faster than before. General changes to design technology play an important role in that process and will continue to influence the rate at which product innovations enter the portable P.A. market.

“Improvements in the speed of industrial design lets us be much more nimble and get feedback from a greater set of users,” said Harman’s Lambrecht. “Now we can prototype something, get it in the hands of users in all of our markets, and we have the ability to get more feedback and incorporate it back into the product.”

New features inspired by direct user experience might increase the number of situations where specifying portable P.A.s make sense. And when it comes down to it, portable P.A.s’ lower price points are just as important—particularly during a period where budgets might be tightening.

“A lot of businesses are seeing budget restraints, but fortunately, portable P.A. fits the budget while still providing professional audio quality,” concluded Bosch’s Cho. “We’re seeing a lot more contractors take a look at that price point and start thinking about installing portable P.A.s in certain applications that could also be used for mobile applications, where they might have to go outdoors, so it makes sense to take a look at the portable range.”  

2020 has been a tough year for pro AV installations, with integrators forced to work around COVID-19 restrictions while crafting personalized experiences for their clients. This year, SCN once again celebrates the firms that went above and beyond to create ultimate user experiences.

Watch the video below to see all of SCN's 2020 Installs of the Year.

Thrivent Financial Corporate HQ

Minneapolis, MN

AVI Systems partnered with Thrivent Financial on its eight-story, 264,000-square-foot headquarters in Minneapolis. With a capacity for more than 1,000 employees, the new building includes a café and bank, over 200 meeting rooms, and several common areas, boardrooms, and presentation rooms. AVI helped Thrivent transform its approach to audiovisual equipment, particularly for its collaboration spaces and meeting rooms. With a focus on enabling workflows, both remote and on-site, AVI aligned technology with employees’ expectations and use cases. AVI used products by Crestron, Logitech, Shure and others. 

911 Emergency Operations Center

Peoria, IL

IAS Technology was called in to upgrade the failing AV system and related technology at a 911 Emergency Operations Center in Peoria. The IAS team installed two Barco 4K Laser projectors with edge-blending driven by a tvONE CORIOmaster2 in a process that resulted in less than one hour of downtime for the center’s operations over a two-day period. The upgrade allows employees to see GPS mapping/tracking, call data, and other critical information at each individual workstation and on the high-resolution video wall.

Read more: https://www.avnetwork.com/news/tvone-coriomaster2-makes-us-debut-in-critical-display-application

Dubai International Airport

Dubai, United Arab Emirates

Dubai International’s new Airport Operations Control Centre (AOCC) houses several teams managing airport operations 24/7. Integrator Aesthetix was appointed to design and integrate a state-of-the-art audiovisual solution for the AOCC control room. The objective was to provide a user-friendly, flexible video wall solution for operators to view live visuals and data for monitoring and collaborative decision-making. Aesthetix selected RGB Spectrum’s MediaWall V 4K display processor to power the AOCC’s 55-screen video wall. The AOCC MediaWall-based video wall centralizes an extensive volume of visuals and data to enhance situational awareness. Operators can collaboratively view information for daily management and planning.

Read more: https://www.avnetwork.com/news/dubai-international-airport-manages-operations-with-rgb-spectrum-mediawall-v

Henry Ford Detroit Pistons Performance Center

Detroit, MI

Seeking to encourage a community-oriented space as part of the City of Detroit’s revitalization efforts, the Detroit Pistons moved their training facility and headquarters to downtown Detroit and selected New Era Technology as the AV integrator for the project. The 185,000-square-foot, four-story facility houses indoor and outdoor spaces for public and private events. New Era ensured state-of-the-art systems that fit within budget constraints and a limited timeline. New Era’s contributions included audiovisual solutions for spaces including the draft room, practice gym, team room, locker room, hydrotherapy space, conference rooms, executive and administrative offices, and a broadcast media studio. The solutions help contribute to pre-season, mid-season, playoffs, and post-season, and further the city’s mission of bringing the Detroit community together.

Wells Fargo, Hudson Yards

New York, NY

HB helped Wells Fargo develop and install an engaging video wall experience at its new Hudson Yards office that brings beauty, peace, and a sense of calm to those who work there. Working together with the Wells Fargo team and architects, the integration firm set out to bring nature and serenity into the workplace with the video installation. HB installed a 30-foot-tall by 6-foot-wide Planar DirectLight X LED video wall with a 1.5mm pixel pitch and sent a video production team to picturesque locales in New York, San Francisco, Yosemite State Park, California’s Big Sur, and several other locations to capture custom 8K content that would suit the unique size and aspect ratio of the wall. The end result exceeded expectations and truly brought the magnificence of our world into Wells Fargo’s office.

University of Pennsylvania - Law School/Silverman Hall

Philadelphia, PA

Penn Law’s premier building, Lewis Hall (now Silverman Hall), opened in February of 1900. The building initially had formal “reading rooms” at opposite ends of its second floor where generations of Penn Law students studied. Over time, the students contributed to the growing collection of reading materials—an undertaking that eventually resulted in the creation of the Biddle Law Library. The library was moved in 1994, and the reading rooms were repurposed as large classrooms (renovations completed in 1998). Twenty-two years later, these classrooms have been renovated again. AV integrator Solutionz and AV consultancy firm KMK Technologies brought new life to these spaces through a balance of restored architectural elements and innovative audio-video technologies from companies including Audio-Technica, Christie Digital, Extron, JBL Pro, and Mersive.

Madame Tussauds Hollywood

Hollywood, CA

Designed by OpenEye Global, the Jimmy Kimmel Experience at Madame Tussauds is a fully immersive film set that transports guests to Jimmy Kimmel Live to become part of the magic of television. Kimmel stands front and center to greet guests, who usually stop to get a selfie with him. As fans move through the experience, they are able to participate in a taped “Pedestrian Question” interview, and then it’s showtime! Each guest becomes the star of the show, enjoying 15 seconds of fame as their interview is broadcast on the big screen for all to see. Following their on-screen debut, guests make their way through the set for more interactive photo opportunities, including taking a seat in the coveted director’s chair, getting a feel for what it’s like behind the scenes as they head backstage, and more.

Akamai Technologies World Headquarters

Cambridge, MA

The largest cybersecurity company in Massachusetts has consolidated multiple campus locations into a 19-story, 453,000-square-foot headquarters bursting with audiovisual technology integrated by McCann Systems. Opened in late 2019, Akamai’s headquarters features architectural details such as high ceilings and an abundance of natural light. McCann Systems was the perfect AV partner in its willingness to echo these details in the integration of the unified communication systems for Akamai. In addition to building, installing, and commissioning the audiovisual systems, McCann Systems offered on-site managed services. The conference room technology and digital signage were designed through a partnership between ACT Associates and the AV team at 145 Broadway, with help from McCann Systems.

Helios Education Foundation

Phoenix, AZ

Helios Education Foundation, an organization that helps foster advanced student preparedness and academic advancement, recently built a 30,000-square-foot headquarters in Phoenix with the goal of enhancing community involvement and education by outfitting the facility with advanced technologies. Teaming with The Sextant Group, now called NV5, Spinitar worked with Helios to build a modern architectural space with integrated cutting-edge technologies. The AV infrastructure was built using various products from key manufacturers including Crestron and NEC Display. Sextant created a culturally relevant architectural technology design that encourages collaboration, information sharing, and educational growth. Using technology as the highway between building and community, Helios has established an educational presence in the community to help pave the way for future generations.

Globe Life Field – Home of the Texas Rangers

Arlington, TX

Diversified partnered with the Texas Rangers to outfit their new stadium, Globe Life Field, and deliver an enhanced fan experience. The stadium’s seating bowl features the first surround sound system installed in a ballpark, which delivers an energizing concert-level sound experience. Twenty-two AV closets throughout the massive stadium support several hundred AV devices and IPTV endpoints in the concourses and suites, keeping fans engaged in the excitement no matter where they are in the stadium. To transport the action on the field to fans, Diversified installed a comprehensive broadcast system complete with a SMPTE ST 2110 video production control room. The install features loudspeakers from JBL, Fulcrum, Community Loudspeakers, and Electro-Voice; a DSP from QSC; control by Crestron, QSC, and Apple iPads; and an audio console by Yamaha.

Foreign Affairs Security Training Center

Virginia

The State Department’s Foreign Affairs Security Training Center, built to integrate 11 disparate facilities, is a multipurpose complex dedicated to the ongoing training of 2,000 special agents—plus 10,000 additional State Department and U.S. foreign service community engineers, technicians, and security professionals. The construction phase lasted three years, during which time Bridges SI engineered and implemented an enterprise IP system for the entire facility. The install included hundreds of networked audio and camera distribution components mounted throughout multiple areas, all connected via a secure fiber infrastructure. Types of spaces included a smokehouse, rappelling wall, live-fire shoot house, explosives range, tactical maze, and mock urban environment. Innovations from AtlasIED, Middle Atlantic, QSC, and Samsung were used in the installation.

Color Trail at 44 Montgomery Street

San Francisco, CA

In this San Francisco office tower, Color Trail—a reactive light installation by ESI Design, an NBBJ studio—turns the lobby into a canvas, with passersby serving as the paintbrushes. Spanning the length of the lobby, the installation reacts to the movement of people, filling the space with watercolor-esque light. As people walk through the lobby, they become digital paintbrushes, trailing a colored path across the display. As more people enter the lobby, the media surface fills with brushstrokes, becoming more colorful and dynamic. When two people cross paths, the colors mix and swirl around each other, creating new colors and unexpected patterns. The media supports two different “brush” types: a soft-edged, fluid Organic Brush and a hard-edged, tightly bound Geometric Brush.

The Cove @ UCI

Irvine, CA

The Cove @ UCI, home to UCI Beall Applied Innovation, is a 100,000-plus-square-foot facility in UCI Research Park. The university teamed up with Digital Networks Group, an Avidex Company, for the design-build audiovisual integration project. Every aspect of the facility was constructed with technology, collaboration, and innovation in mind. The cornerstone of the integration project is the 180-degree, 134-foot-long Planar/Leyard dvLED video wall that provides high-impact, seamless content driven by Hiperwall. The Beach is a purpose-built event space complemented by cutting-edge audio systems, confidence monitors, cameras, and systems for recording and live event streaming, videoconferencing, and room controls.

Ron Clark Academy

Atlanta, GA

The Middle Ages meets Harry Potter with a 52-foot-diameter, circular NanoLumens LED screen installed on the ceiling at the Ron Clark Academy by Baker Audio Visual. The system is a performance and educational aid for the school’s students and educators, who come from all over the world to participate in events and trainings. When not being used as an educational tool, the screen displays scenes of dragons flying overhead and landing on the rim and looking down into the room. A robust QSC sound system is hidden discreetly within the space’s Gothic columns to supply voice and program audio reinforcement. The backbone of the system consists of a Show Stage 4x4k display processor, Crestron Control processor, QSC amplifiers/DSP, Datapath server, and more.

Sound Frame recently outfitted Lord of the Drinks’ Kolkata location with a complete Harman Professional audio system to provide exceptional audio quality and coverage for patrons.

With 12 outlets across India, Lord of the Drinks is one of the most highly rated nightclubs in the country. Located in the South City Mall, Lord of the Drinks Kolkata is a new dining lounge and bar that becomes a high-energy nightclub in the evenings. With ceilings stretching over 24 feet above its patrons, it’s the tallest bar in Kolkata. Lord of the Drinks hired Sound Frame to install a state-of-the-art sound system that wouldn’t distract from the aesthetics of the elegant design.

[The Integration Guide to AVoIP]

It was imperative that Sound Frame worked around the height of the space as well as an elevated DJ booth and bar seating. They also had to ensure that the sound system would not obstruct important decorative elements on the walls, a request from the designer of the space. To accomplish this, Sound Frame worked within the space restrictions and negotiated with the Lord of the Drinks’ designer to situate the sound system. They were able to carve out space in the smoke lounge for the main front of house subwoofers and loudspeakers were set in place via a steel-rope suspension method rather than traditional wall mounts. 

“The client requested a versatile solution that could deliver superior sound through the venue,” said Milind Raorane, electro-acoustic design consultant, Sound Frame. “The JBL Professional networked audio system we installed ensures class-leading tonal quality, power response and sustainability. This dynamic setup provides the clarity and volume required in full-house scenarios.”

Sound Frame installed four AM7215/95 loudspeakers to provide even, balanced coverage throughout the main dining area. Two ASB6128 subwoofers provide additional low-end support for powerful bass. Two EON615/230 PA speakers were selected for their portable size and Bluetooth control. A Crown-DCI Amplification system consisting of two GDCI4X1250N-U-IN power amplifiers and one GDCI2X2400N-U-IN DriveCore series amplifier, chosen for their versatility and compact size, was also installed. These were tuned with a BSS-BLU100 DSP 12x8 signal processor with BLU link and a DBX260V Drive Rack loudspeaker management system. 

“We were initially going to have another solution,” said Amit Bajoria, owner, Lord of the Drinks Kolkata. “However, we then met the team from Harman Professional Solutions who suggested the new JBL Professional AE Series speakers, which we ultimately chose. I am very happy with the sound system and its performance. We get loud and clear output from the speakers, and the subwoofers are amazing."

The What: Harman Professional Solutions has launched the JBL VTX B28 subwoofer, the company's next-generation dual 18-inch subwoofer. It is designed to complement Harman's flagship VTX full-range sound reinforcement systems, and capable of delivering uncompromised low-frequency performance, according to the company.

The What Else: The VTX B28 houses a new, Integrated rigging system that follows in the footsteps of the innovative and well-received A8 and A12 rigging designs, and allows the B28 to be suspended in omnidirectional or cardioid arrays of up to 16 enclosures. The rigging and a comprehensive collection of tour-tough accessories make the B28 a flexible solution for both mobile and installed sound system applications. The B28 integrates seamlessly with HiQNet Performance Manager and Line Array Calculator (LAC) software, and features the same industrial design as A- and B-Series loudspeakers, giving the entire system a cohesive look.

“The VTX B28 is our new premium subwoofer, and a perfect addition to VTX Series line array systems,” said Harman Professional product manager George Georgallis. “As with the B18 subwoofer, we started by taking the best aspects of the previous-generation S28 and G28 and improving performance. Then we optimized the design for a dual 18-inch system, and the result was the B28. We worked very hard to ensure the B28 could meet the most demanding applications, but also focused on configurability, a full suite of accessories, and software applications to make the B28 a solid investment and an outstanding performer for tour sound providers and rental companies.”

The Bottom Line: At the core of the B28 is two JBL Differential Drive 2288H-M 18-inch woofers, engineered for improved linearity, efficiency, and extra-long excursion. The combination of the 2288H-M drivers and the large, central, flared port deliver superior low-frequency output without distortion or artifacts—even at elevated SPL. FEA-optimized integral bracing eliminates inter-cabinet standing waves, improves rigidity, and simplifies the structural design to create the a light, yet strong, product.

The Office of the Permanent Secretary for Defense recently upgraded its headquarters with new Harman Professional Solutions AV, lighting, and control systems.

[Harman to Offer Free Training]

Part of Thailand’s Ministry of Defense, the Office of the Permanent Secretary is responsible for determining strategic goals, executing plans, drafting policy, and the inspection and monitoring of the Royal Thai Armed Forces. Occupying a nine-story building with multiple wings outside Bangkok, the organization’s headquarters includes a multipurpose hall that can seat 1,500 and be divided into two separate spaces on demand. To ensure high-quality sound, video, lighting, and control for presentations and events, the Office of the Permanent Secretary deployed a range of solutions from JBL Professional, Crown, Soundcraft, BSS, Martin Professional, and AMX.

"The client needed cutting-edge AV and stage lighting systems for the multipurpose hall that seats 1,500 people,” said Pongsakorn Kanchanachayphoom, director of project, Mahajak Development Co. Ltd. “A robust and flexible solution was necessary to facilitate different types of events. Evaluating these requirements, we designed a system with Harman's industry-leading networked AV and lighting solutions, providing the client with the required flexibility and allowing them to upgrade the platform in the future."

To achieve clear sound reinforcement in multiple room configurations, the Office of the Permanent Secretary installed a range of JBL loudspeakers in the main hall. When the hall is divided, 15-inch JBL AM7215 speakers serve the larger half, while 12-inch AM7212 models serve the smaller half. The speakers can be combined for maximum coverage across the entire hall, and the entire system is augmented by STX828S dual 18-inch bass reflex subwoofers. JBL PRX800-Series monitors provide clear sound for speakers and guests onstage. JBL Control 328CT 8-inch coaxial ceiling loudspeakers provide additional coverage outside the hall.

Crown amplifiers power the sound system, including the advanced XTi 2 Series and the CDi 1000. Two Soundcraft Si Expression 3 digital mixing consoles were installed, which provide a flexible, streamlined solution with a color-coded FaderGlow interface for ease of use. Networked together via a BSS Soundweb London BLU-100 signal processor, the two consoles can be configured to function independently or together, depending on the room configuration.

To illuminate the stage efficiently, the Office of the Permanent Secretary deployed energy-saving Martin MAC Quantum Series LED lighting fixtures. The MAC Quantum Profile serves as a main spotlight, while the MAC Quantum Wash provides washes of color. Both fixtures feature Precise CMY color mixing and a variety of effects controlled by DMX. The hall also features 350- and 300-inch screens as well as 4K HMDI projectors equipped with projector lifts for accurate positioning and stowing when not in use. To control the integrated AV and lighting systems effectively, the facility is equipped with AMX touchpanels. The control room, located next to the stage, features a 4.3-inch AMX wall-mount touchpanel, while the facility’s main meeting room features a 9.7-inch panel.

"We wanted a system that would enliven the atmosphere of the multipurpose hall during seminars, performances and other events for our guests,” said a spokesperson for Office of the Permanent Secretary for Defense. “Harman's diverse portfolio of products are easy to learn and manageable to support. They fulfilled every criterion of our request."

"Harman is honored to be associated with the Office of the Permanent Secretary for Defence, and to be able to extend customized, multifaceted solutions through a unified platform," said Ramesh Jayaraman, VP & GM Harman Professional Solutions, APAC. "We thank Mahajak for providing exceptional audiovisual and lighting solutions, and for creating an exceptional space that heightens the audience experience while encouraging participation."

The What: JBL Professional has announced the JBL DSi 2.0 Series cinema amplifiers, offering high power output, DSP, and networking capabilities for the entire range of JBL cinema loudspeakers.

The What Else: The first ever JBL-branded cinema amplifiers, DSi 2.0 Series combines the DSP of Crown’s CDi DriveCore Series amps with a new high-power design to deliver improved efficiency, reliability, and audio fidelity. The DSi 2.0 Series includes three power configurations—350W, 700W, and 1,200W—available in analog and analog-plus-digital versions with Dante/AES67 and SNMP connectivity.

DSi 2.0 Series amplifiers provide four channels of clean, efficient, amplification with bridgeable outputs in a compact 2RU footprint, and are efficiently PowerMatched for JBL Cinema loudspeakers to deliver greater power density in the same rack space. DSi 2.0 Series amps can power up to four JBL surround speakers with a single channel in high-power-density 2-ohm mode, which both speeds deployment and makes DSi 2.0 a cost-efficient solution since less amps are required to power a cinema audio system. 

With 96kHz/32-bit floating-point DSP, DSi 2.0 Series amplifiers offer an array of versatile signal processors, including parametric EQ, FIR processing, LevelMAX limiting, and more. Crown’s proprietary DriveCore technology eliminates hundreds of components within each DSi Series amplifier, reducing the variability of component values to deliver greater efficiency, reliability, and performance. Built-in presets for JBL cinema speaker tunings manage voltage levels, crossover settings, and more, maximizing system efficiency and optimizing audio fidelity. 

Analog-plus-digital DSi 2.0 Series amplifiers offer AES67 connectivity, which enables networked audio distribution from any AES67 or Dante-compatible device and direct interfacing with Dolby ATMOS Connect without the need for additional processing hardware, further simplifying system configuration.

Dual network audio ports allow for primary and secondary networks configured as switched (daisy chain) or redundant (star) topologies. Analog-plus-digital DSi 2.0 Series amps also feature SNMP (Simple Network Management Protocol) connectivity for interfacing with third-party theater-management systems and Cinema Control (NOC) systems for remote status and fault monitoring. A HiQnet port provides access to Harman Audio Architect software, for controlling, configuring and monitoring amplifier operation through a standard TCP/IQ network.

“As cinema audio systems continue to grow larger and more complex with 5.1, 7.1, and immersive audio formats, venue owners require more efficient ways of powering, controlling, and managing networked audio systems,” said Karam Kaul, vice president of audio, Harman Professional Solutions. “The JBL DSi 2.0 Series combines cutting-edge technology from Crown DSi and CDi Series amps with a new high-output design for superior sound quality. Cinema managers and integrators looking to maximize their power investment and future-proof their systems can count on the DSi 2.0 Series to deliver robust, reliable performance in a compact and cost-efficient package.”

The Bottom Line: The DSi 2.0 Series consists of six amplifier models, ideal for cinemas, theaters, and premium large-format rooms. The LA4 and LA4-D deliver 1,200 watts at 8 ohms, the MA4 and MA4-D deliver 700 watts at 8 ohms, and the SA4 and SA4-D deliver 350 watts at 8 ohms.

The What: Harman Professional Solutions has announced new JBL Professional One Series 104-BT and 104-BTW desktop reference monitors with Bluetooth. 

The What Else: JBL One Series 104-BT reference monitors are designed to enable content creators and audio professionals to stream accurate, studio-quality audio via Bluetooth or play back audio using a standard wired connection. Drawing from more than seven decades of JBL Professional engineering, JBL One Series 104-BT monitors deliver clear, detailed sound while mixing and editing. With an array of easily accessible input options, smart features, and a sleek, compact design, JBL 104-BT monitors provide great sound in every listening scenario, with the added flexibility of wireless streaming. Black (104-BT) and white (104-BTW) finish options are available. 

“Music production has evolved beyond the recording studio, and today’s creative professionals and music lovers need reference monitors that deliver neutral, accurate sound to create mixes that translate well in a variety of listening environments,” said Chris Hansen, director, recording and content creation, Harman Professional Solutions. “With class-leading sound quality, impressive output, and high-bandwidth Bluetooth 5.0 streaming capabilities, JBL 104-BT monitors provide an accurate, reliable sonic reference and a truly enjoyable listening experience. They’re perfect for musicians, producers, podcasters, and professional audio engineers who want a compact reference monitor with the added benefit of Bluetooth at an accessible price.”

The JBL 104-BT reference monitor features a coaxial driver that pairs a contoured low-frequency woofer with a soft-dome tweeter, for accurate frequency response, superior imaging, crisp detail, and a wide sweet spot. The cabinet’s low-frequency port works with the driver to deliver low frequency performance down to 60Hz. A 60-watt Class D power amplifier distributes 30 watts per speaker for undistorted output. And One Series’ acoustic design, optimized for desktop use, ensures accuracy without the need for additional EQ.

High-bandwidth Bluetooth 5.0 streaming, beyond offering the convenience of audio playback from mobile devices, provides audio professionals the ability to reference mixes over Bluetooth using a professional monitor, rather than a consumer portable device. 

JBL 104-BT reference monitors integrate smoothly into any production workspace, thanks to smart features like a front-panel input control that selects Bluetooth, Aux, RCA, TRS or combines all inputs. Front-panel volume control allows convenient level adjustments without straying from the sweet spot, and a front-panel headphone jack conveniently mutes the speakers when you switch to headphones. Dual 1/4-inch balanced, dual RCA and single 1/8-inch inputs, along with Bluetooth accommodate a wide range of signal sources. 

The Bottom Line: JBL One Series reference monitors were created with the modern production lifestyle in mind. With an elegant look and a compact form factor, creators can get JBL sound while conserving valuable workspace. An optional protective carrying case will also be available for production on the go.

You’re sitting in class and you ask a question. The instructor turns and looks at you, and delivers the answer. But you’re not in the same room; you’re sitting on your couch, 1,000 miles away.

This is what group education is like at the Coca-Cola University Digital Classroom, located at the company’s world headquarters in Atlanta, GA. Developed in partnership with McCann System and X2O media, this cutting-edge lecture hall brings distance learning and in-person education together in one room that blurs the lines between the physical and digital.

Like the typical classroom, it features rows of desks and chairs. But behind them, at the back of the room, is a wall of displays, each with its own camera and soundbar. Each one shows two remote participants in portrait orientation.

“If you’re a facilitator and you have a standard videoconferencing system, you’re only looking in one direction,” said Hampton Whatley, technology program manager for the Coca-Cola Company. “But the speakers that are underneath the monitors, that’s coming from that person talking. Your human interaction is to turn your head when someone is talking to you; you’re turning your head to look at that student. It gives the student a more in-room feel instead of someone just blindly talking. The facilitator can have a one-on-one conversation with the student like he or she is in the room.”

THE DRAWING BOARD

According to Whatley, the Digital Classroom was inspired by a similar room at Harvard University. “My job was to take the idea that our Coca-Cola University team had, and the concept that they saw at Harvard, and manage the whole thing and make it become a reality,” he said. “I was given this thesis statement: ‘Make it happen.’

“The Harvard one was an inspiration, but we didn’t want to just lift and shift,” Whatley pointed out. “We wanted to make it our own.” Working with McCann, Whatley went through a needs-use analysis, including visioning sessions with the primary end users of the space—the facilitators who instruct the company’s onboarding and professional development courses. “We were focusing a lot on the UI, because McCann partnered with X2O to handle the software end,” Whatley said. “It was three companies as a whole, and X2O worked through McCann in this situation.”

The setup they arrived at features 14 Planar 58-inch displays in a 7-by-2 arrangement. Each features a Marshall Electronics point-of-view camera with 125-degree field of view lens mounted at the top, and a JBL soundbar below. “The bottom row has its own perspective views; the top row has its own perspective views,” Whatley said. “If you’re on the far-right-corner monitor, you’re looking out like you’re in the far-right corner of the room in a stadium seating scenario. And if you’re below, it looks like you’re a couple seats below them.”

In addition, there is a large digital whiteboard at the front of the room that doubles as a monitor in situations where a remote participant is speaking, so those in the classroom don’t have to be constantly turning around in their seats.

EXECUTING THE PLAN

As Whatley pointed out, the UI was an important consideration. The room runs on a Crestron control system, and the conferencing system is operated using a Crestron touchpanel with a custom interface, which McCann developed and Whatley helped direct.

“One thing I really wanted from them was to show me the monitors,” Whatley said. “Because I have to allow for someone who is running this who might be a layman or needs to make a quick decision to operate it. So, when you’re looking at the UI, you’re looking at the entire video wall. The UI shows the room in a very 2D fashion, but it shows you exactly what you’re looking at. If I want to mute a particular person’s monitor, I can just look up, look at the UI, and just hit a button. I don’t have to be technologically inclined.”

In addition, the PTZ cameras at the front of the classroom are also operated through the custom control interface, and presets for typical movement scenarios are programmed in.

One particular challenge Whatley noted was that this installation was only temporary, a proof-of-concept system—so he had to devise a solution that delivered the desired functionality without negatively affecting the room. “That was a big part of what I was doing: how can I value engineer this where it’s still 100-percent functional, but when we’re all done and we find our permanent space, we’re able to move it out?” Whatley said.

Apart from that aspect, Whatley said that the installation was fairly typical. “I managed all of the infrastructure that was needed, we had our standard teams; I worked to make sure we got the appropriate furniture, made sure we worked with internal teams, made sure we had the appropriate network satisfied,” he said. “After it was a go, it went to a standard AV installation place.”

Overall, the system took around six months to complete, largely due to time spent making decisions on whether or not to wait for a permanent space to open up. It went into operation in December of 2018.

CLASS IN SESSION

According to Whatley, using the system is as easy as joining a typical videoconference. Remote participants log into the X2O server, and then go through a series of custom-created tests to make sure their video, audio, and network are up to the task. “We tell individuals who are logging in that if they’re able to stream Netflix, they’re able to log in,” Whatley said.”

On the classroom side, the system only requires bandwidth of 60Mbps up, 60Mbps down. Still, the room uses gigabit switches and has the capability of 320 up and 80 down, just to be safe. Speaking of safe, security was also an important factor—lest the AV system open any backdoors to Coke’s legendary secret ingredients. “Coca-Cola is a very secure enterprise system,” Whatley said. “This particular piece is going through a lot of the X2O firewalls. And this system is clean from some of the standard data networks; it’s completely separated from a VLAN perspective.”

In addition to the facilitator who guides the lessons, the room has a technology operator who is able to assist participants with logging in, and can troubleshoot any technical issues that may arise. “Once [the participants] log in, there’ll be a class they see from an assigned perspective, and they will log into the class,” Whatley said. “On the wall itself, you’ll see the individual start to log in, their avatar will appear, and then their camera will appear, and at that point you’ll see and hear them.”

While some organizations allow remote employees to participate in videoconferences with their cameras disabled, such practice is strictly forbidden in the Coca-Cola University Digital Classroom. “In this room there are certain rules we have because we want participation,” Whatley said. “One, cameras have to be on. If your camera’s not on, you’re not in class. Number two, we’re not recording, either. Participation is key, and you not being there is like you not being in class. It’s not a situation of ‘Oh, just record it and send it to me.’ No.”

A frequent criticism of modern meeting rooms is that their technology can stand in the way of things getting started on time. This is not the case with the Digital Classroom. “If everyone’s on time, you’re on time,” Whatley said. “And we open up the class earlier on, so there’s a 15-minute buffer. You’re really just talking about corporate American individuals coming to a meeting on time.”

LESSONS LEARNED

Overall, Whatley reported that this innovative proof of concept has been exceedingly successful, and the permanent installation at the headquarters is scheduled to go live by July of this year.

“Everyone is really enjoying it,” Whatley said. “If there’s a technical issue, we utilize the technical support that we have.” Things have gone smoothly for the instructors, as well. “It’s always a transition, but the facilitators and the presenters are doing a great job acclimating to this environment. We have some really amazing facilitators and they do a great job of picking up what’s been thrown at them, and I believe they’re enjoying this idea of how we can better move into this digital space.”

Bag & Baggage Productions (B&B) could write the book on flexibility. After all, the Hillsboro, OR-based theater company started touring the town in 2005 with nothing more than a van, mobile sets, and a handful of actors. By 2008, they had grown to become a popular fixture of the community and leased the historical converted Venetian Theater in the heart of the city’s Main Street. However, B&B required a new home when it was slated to be sold in 2016.

Nimble as ever, the company set its sights on its own permanent residence and found a 5,000-square-foot bank building just two blocks away. B&B aptly named the new home The Vault, as a nod to the building’s history as well as a signifier of the company’s permanence in the city and within the theater scene.

Unlike the Venetian—which was a large, 386-seat proscenium theater that was originally a movie theater—The Vault was built out as a small, black-box-style theater. This style is known for being simple. There’s no stage, just a flat floor and unadorned walls. Guests are situated around the four walls with the actors taking “the stage” in the middle of the floor. This change in setup was just one of the ways the company was reinventing itself.

“We had been at the Venetian for eight years, so we had gotten used to doing things a certain way,” said Jim Ricks-White, technical director for Bag & Baggage. “The Vault was a refreshing departure from that. When we started this process of looking for a new space, we started recalling our early years of operating out of a van. Everything had to be flexible. We wanted this space to reflect that humble beginning and not only function as theater but as a multipurpose event space that we could rent out to the community. To be that flexible, we had to be really selective of what technology we used and optimize the space for it.”

Technology has been the driving force for achieving that vision. Due to the size of the space, larger physical sets weren’t possible and something the company wanted to move away from anyway. Therefore, B&B decided to rely heavily on lighting and projection technology to set the scene, which, from a technology viewpoint, would make what was happening behind the scenes in the control booth just as important as what was happening on stage.

With that in mind, the executive team at B&B and Opsis Architecture created a facility that could host any kind of event, from corporate meetings to wedding receptions and film festivals, and specified technology that would allow them to carry that off. That included a BenQ 4K BlueCore laser projector, eight Mitsubishi projectors, a full JBL surround sound system with Lutron control, a Da-Lite projection screen, and a Crestron controlled digital lighting rig in the theater and in the control booth all manner of behind the scenes support such as a video camera and monitor to visualize the theater from the booth, an audio mixer, a wireless video distribution system, a patch bay panel, and a control system.

Because space was at a premium, B&B needed a rack that can handle many inputs while at the same time being incredibly accessible. Opsis Architecture selected Middle Atlantic Products SR Series Wall Mount Pivoting rack. Designed to address the need for space-saving solutions to house system distribution points, the SR Series’ innovative design allows the rack to be mounted on a wall and pivot open 90 degrees on a floor base to provide quick access to rear equipment connections without having to leaving room behind it. The rack also incorporates Middle Atlantic's built-in cable management and tool-free QuickMount system to integrate technology to best-practice standards.

“Having the ability to control and plug and play all of the technology to the show or event specifications has afforded us an incredible amount of freedom,” Ricks-White said. “Though we’re operating from a smaller space now compared to the Venetian, everything is right there in the rack—our camera input and monitor, all our HDMI connections, and our entire sound system. Access to the back of the rack has been incredibly useful in getting to our HDMI ports, which are in the back of the rack. For the first couple of shows, I was in the back of rack two or three times a show. Being able to swing open the rack and quickly plug into my next inputs was critical. It’s fast and simple.”

From a stage and technology management point of view, the consolidation of all that tech in one space has been a benefit for the crew, giving them something they didn’t have at the Venetian: better access and control of the technology. Previously, the sound booth and the lighting booth were in separate locations in the balcony. This required two operators for every show because if something went wrong in one place during a show, the other person couldn't get up and go fix it. Now everything is right where it’s needed.

“For example, if I suddenly lose signal on something at the mixer, I literally take three steps, look at the rack, and see if I'm getting signal at the switcher,” Ricks-White said. “There’s no digging around. It gives me three points that I can look at before I have to come down to the floor and figure out what's going on. It makes troubleshooting so much faster. It’s also key to our future as an organization. With everything we do, we keep asking ourselves how we, as a theater company, can move into the 22nd century. We will by staying flexible through technology and investing it in.”

To that end, The Vault was recently awarded a $50,000 technology grant to fund the purchase of the 4K projector. With the projector, the company has created a state-of-the-art digital projection laboratory that allows area artists, students, animators, innovators, and digital content producers to experiment with 4K technology. The projector also allows them to screen film festivals with 4K HD movies in the space as well as serve any presentation requirements for banquet, corporate, and event clients.

“We’re already doing 4K projection mapping for scenes, and we’re going to keep pushing the technology envelope and evolving,” Ricks-White said. “Our system will change down the road to naturally keep pace with what’s available. With a rack like this, we’re ready for that. It’s the brains of our operation.”