When California's Stanford University unveiled its new Computer and Data Science building, known on campus as CoDa, the goal was to reshape how students, professors, and researchers across departments collaborate to create. This 167,000-square-foot hub, located at the crossroads of the schools of Engineering and Humanities and Sciences, is not just another academic building; it was designed to transform how people think and work.

Behind the scenes, this project centered on a complex infrastructure with two four-story buildings connected by bridges at every level, dozens of standardized collaboration rooms, three high-functioning classrooms, and an elaborate digital art installation that was introduced late in the project.

High Expectations, Long Timeline

Audio Visual Design Group (AVDG), a longtime collaborator with Stanford University, was tasked with leading the AV design and integration across classrooms, conference and seminar rooms, collaboration spaces, and more than 60 small, flexible rooms that could be quickly used by students, professors, or researchers for a variety of purposes. Katie Benson, senior key account manager at AVDG, noted that working with an esteemed institution like Stanford also comes with high expectations.

“This is a well-regarded institution of higher learning that provides technology that meets the standards for education and collaboration," she said. "We’ve done many projects on the Stanford campus, but the CoDa project was one of the largest and most unique in scope. A project of this size and diversity of AV spaces was going to require dedicated attention to detail, and we were up to the task.”

When they were invited to lead the AV systems design in 2019, AVDG had to navigate a long timeline that has become common in higher education installations; the project broke ground in 2022 and the building officially opened in February 2025. The project also required an extensive preconstruction phase, during which the integrator had to navigate evolving needs and technology requirements. Early in the process, AVDG shifted its focus to the infrastructure required to support the technology to follow, including structural supports, screen locations, and ceiling coordination to ensure a smooth execution during the install phase.

“During the programming phase in the first year, which included identifying room types, quantities, and the typical technology in each, and approximate cost, we had to be nimble and adapt to the changes and track cost variances accordingly,” Benson recalled. “As the project progressed, we became more engaged with the project team, including the architects, user representatives, and those affected by AV, such as the network team and other trades providing infrastructure for AV.”

Ambitious Audio

Across the two-building complex, AVDG outfitted 36 team rooms, 26 huddle rooms, and six large and eight medium conference rooms, including some with overflow that opens via bifold doors. In addition, AVDG identified three larger classrooms as standouts, including one with the second-largest Meyer Sound Constellation acoustic system in the world.

This ambitious classroom is highlighted by Meyer Sound's variable-acoustics deployment, which reshapes the room’s acoustics in real time using microphones and a distributed loudspeaker network. This is combined with an integration with QSC Seervision Automatic Camera Position Recall (ACPR). The room was also equipped with nearly 100 microphones and 128 loudspeakers, requiring approximately 50,000 feet of cable in the ceiling alone.

“Nobody’s ever done ACPR and Seervision with a Constellation system. It was something that hadn’t been tested before,” said Chris Bubp of AVDG, who served as project manager on the CoDa project and is also the production manager for AVDG on the West Coast.

Given the ambitious scope of the AV installation, some challenges could be expected, but AVDG reported very few issues. “Given the complexity of the largest classroom in the building, there was a lot there that could go wrong, but it ended up working out really well,” added Bubp.

Displays All Around

In the same classroom, AVDG had to install and configure five projectors, facing different directions, mounted 20-25 feet above the floor within a massive oval ceiling. This required careful planning and coordination with other trades to ensure that the projectors were at the correct distance from the custom-sized projection screens. Serviceability of the classroom systems, which was considered throughout the installation, required AVDG to build custom slide-out frames and pulleys to facilitate component access and servicing.

Among the other spaces in CoDa, technology included projectors from Panasonic and Epson, displays from Samsung, conferencing platforms from Cisco, and control systems from Crestron and Cisco, all aligning with Stanford’s standards within each space. Although many of these spaces were standardized, some still required special attention, such as a fourth-floor event space that required AVDG to install a 21-foot-long, 750-pound projection screen. Without a freight elevator, it took a full morning to move it into the space.

Despite intermittent severe weather in California that the team had to work around, the general contractor, Whiting-Turner, and its foreman, Owen Barcelona, kept the install on track. “I called him the Iceman because it didn’t matter what challenge a trade threw at him, he seemed unfazed and ready to find a solution,” said Bubp.

Digital Art Challenges

Early in the construction phase, the university announced a multi-story digital art installation for the stairwell between the two buildings. “We’d been working on this building for a number of years, and we were introduced to this nuanced, specialty art installation that was a new, exciting challenge to the project,” Benson said.

To bring the art display to life, AVDG used four NEC projectors with inverted lenses, cameras to capture live imagery, and a Crestron control system that adjusted for changing daylight in the space. Given that the stairwell is the building's architectural centerpiece, the AV aesthetics were critical, and the projection system with cameras had to be incorporated so it would almost disappear within the space. A major challenge of the project required technicians to work suspended from four floors while installing cameras, cabling, and support hardware.

When integrating the projector, there was little margin for error in achieving exact geometry, so the art was projected as the arts team intended. “One of them was a short-throw reverse image projector that had to point in the opposite direction with a snorkel lens on it,” Bubp explained. “We had to get that as accurate as possible because there are no zoom adjustments or anything on those. So, it was a lot of measuring, a lot of testing, a lot of late nights trying to get the art people exactly what it was that they were looking for.”

More than a year later, students and professors are successfully using the spaces within CoDa. AVDG credits the smooth process to extensive planning, which enabled the team to address any issues that arose.

Benson also highlighted their ability to keep all partners, manufacturers, contractors, and university members connected, which led to the successful execution of this complex installation. “It’s about communication," she said. "It’s about staying aligned with the different trades and understanding where everyone fits within the schedule.”

Architecturally, churches can range from elaborate cathedrals to converted retail spaces. Stylistically, they may strive to deliver professional concert-level musical performances or prefer more traditional, reserved worship. All of this means that when it comes to designing and integrating a solid audio system, there is no cookie cutter approach.

[Singing the Praises of High-End Audio]

While there is plenty of architectural variety, all houses of worship have one thing in common: Their congregants need to hear the message.

Prior to joining Meyer Sound, business development specialist Daniel Rivera spent 10 years as a church technical director. In the house of worship environment, he said speech intelligibility is the highest priority.

“The music is not the main event; the message is the diamond,” Rivera explained. “If you’re hearing your pastor—and hearing every word—you’re more than 80% there. Coverage is so important so that everyone hears the same thing at the same level. It’s the unicorn we chase.”

Part of that chase requires AV designers and integrators to get to know the church they’re serving. CTI's Robert Scott, branch director, and Scott Lopez, technical service director, believe that integrators can assume that houses of worship want to achieve clarity. Beyond that, it’s necessary for them to gain an in-depth understanding of that church’s worship style. How many musicians are on stage? How much does the pastor move around when he’s delivering the message? Is there a choir?

It’s also necessary for integrators to be familiar with different denominations—if they’re not, they need to ask questions and educate themselves if they’re going to make relevant recommendations.

The Universal Challenge

Whether it’s a cathedral, small historic church, or modern structure, acoustics are a primary issue. Josh Maichele, applications project director, house of worship, at L-Acoustics calls it the “universal challenge.” While companies have endeavored to keep energy off surfaces where it’s not wanted, there are a few reasons why the acoustics in many houses of worship are less than ideal—and there is only so much the technology can do to mitigate the problems found in a poor acoustic environment.

For example, in cathedrals featuring vaulted ceilings and marble surfaces, the architecture takes priority over acoustic considerations. “We just put speakers in Notre Dame [de Paris] and obviously, in an iconic and historical venue like that, there is no compromise for the aesthetics when it comes to the acoustics,” Maichele said.

Modern worship centers rely on donations and fundraising campaigns for their audio system deployments, and the expense of hiring a quality acoustician—and implementing the treatments they specify—can seem cost prohibitive. Instead, these facilities choose to invest in gear. “Acoustics is not a tangible thing that they can use," he offered, "so it’s hard for church leadership to understand where they should put their money.”

Zach Brady, business development manager at d&b audiotechnik, noted that even smaller churches can be “acoustically hostile” environments, with ornate features or glass, brick, and polished concrete surfaces. While it’s tempting to “tame” these spaces, it can become difficult to create engagement if you make the space too "dry" or quiet. When people can’t hear their fellow congregants singing along with them, they become self-conscious and tone down their participation. “This means we must strike a balance of a lively enough room to create engagement, but a controlled enough room to give us great direct sound without being drowned out by the reverberant field,” he explained.

Choosing the Right Loudspeakers

Highly reverberant worship spaces where aesthetics are prioritized often don’t require high SPL output. Achieving speech intelligibility is the fundamental goal in these environments; secondarily, they must support a choir and a piano.

In these scenarios, Maichele said column arrays work well because they don’t compromise the décor. “And they provide a bit more precise and direct sound to the listener,” he added.

Line source speakers are popular for their ability to direct the sound where it needs to be. While historically designated for large deployments, Maichele said nowadays there are line arrays that exist for almost any venue size. “All of them, in principle, are doing a similar thing, which is focusing the energy where we want it and keeping it away from where we don’t,” he explained. This applies to large worship centers, as well as shopping centers that have been converted into churches. He added that point source speakers complement line arrays, providing outfill, under-balcony, and front fill audio where wider coverage is required.

[Captivating Congregations]

Many loudspeaker manufacturers offer sound mapping software that lets AV designers and integrators model their speaker configurations prior to installation. The benefits of these tools are obvious, but Maichele warned that they’re only as good as the data they ingest.

“Our ability to verify and validate what we’re doing is crucially important,” he explained. “The accuracy of the room being brought in means a lot. If the room model is inaccurate, ultimately the end result is going to be erratic or not ideal.”

It’s also necessary for integrators to confirm that the drawings they’re working with are up to date, which merits an on-site visit. If an integrator hasn’t been to the church prior to modeling the worship space, they may be surprised to discover elements that weren’t included in the original drawing set during installation. It’s not uncommon for churches to install LED displays or ceiling clouds, for example, long after the initial construction phase and without updating their documentation. When this happens, the integrator is forced to recalibrate their loudspeaker design, which may result in the need for more speakers, fewer units, or even a completely different system.

“There is something to be said for integrators to be on site with their customer,” Maichele said. “There’s the obvious relational aspect of them showing up and showing investment in what’s happening, but then there’s the ability to validate everything that we think we know.”

Affordable Immersive?

At front-of house (FOH), church audio engineers are seeking simplicity. “Nowadays, all the boards sound great and they have all these fun tools inside of them," said Lance Eddleman, application engineer for DiGiCo at Group One Ltd., a New York-based AV technology distributor that represents the U.K.-based audio console manufacturer. "But it’s really the integration side—being able to limit the amount of things you have to touch and bring it down to one simplified ecosystem.”

Another challenge houses of worship face is standardizing systems throughout their facilities (and, for multi-site churches, across all their locations). “Whether it be the main sanctuary, or their aux rooms, or their Sunday school classrooms, having one central ecosystem that they’re working in [is important],” Eddleman said.

While facilities across all markets strive to achieve standardization, it’s especially relevant in churches, which rely heavily on volunteer engineers with varying skill levels. “It makes it easy for their volunteers to learn one workflow and then work all the way through their environment,” he added.

And then there's the added potential wrinkle of immersive audio. When people think of immersive audio, they tend to envision loudspeakers around and above the audience. Maichele believes that this perception is rooted in the sound systems that homeowners install, where the audio surrounds the listener.

However, for the majority of house of worship environments, Maichele argued that immersive audio should focus on connecting the worshippers with the message that’s coming from the stage. Traditionally, church attendees have been accustomed to the disconnect between watching the pastor on stage and hearing his voice coming from somewhere else. A good immersive loudspeaker design can remove this barrier.

[The Integration Guide to House of Worship]

“It doesn’t require speakers all around us and above us,” he explained. “What it requires is the connection between the stage—and between the pastor and the worship pastors, and what’s happening in the room—and the congregation. To me, that’s immersion.”

Most importantly, accomplishing this doesn’t have to be more expensive than a more conventional loudspeaker setup. “And the return [on investment] for the congregation is huge,” Maichele added.

In case you missed it, Meyer Sound had a busy week, making four new strategic personnel moves. The company was just one to announce new hires, deserved promotions, and strategic partnerships.

Here's what you missed.

People News

EAW Hires Mark Posgay as VP of Global Sales

Eastern Acoustic Works has hired Mark Posgay as VP of global sales. In this newly created role, Posgay is responsible for leading and scaling global sales teams, building strategic partnerships, and ensuring the organization’s sales operations are aligned for growth.

Posgay has been a part of the professional audio industry for over 20 years where he has held multiple global sales roles. Most recently he worked at Sennheiser as the global sales VP for professional audio. In this role he directed global oversight of the company’s professional audio business unit’s sales and business development team. Posgay has also previously worked in sales at HARMAN International, Monster Cable and MARS Music.

Follow-Me Appoints Luke Edwards as Designer Relations Liaison U.K.

Follow-Me has appointed Luke Edwards to the role of Designer Relations Liaison U.K. With extensive experience in both the creative and technical sides of the live event industry, Edwards plays a pivotal role in supporting the company’s growth in the U.K. market by bridging any possible gap between designers, technicians, rental companies, and production managers considering using Follow-Me’s performer tracking systems on their shows.

Edwards' journey began in Belgium, where he first worked in sound and lighting rentals. From cleaning cables after festivals to project management, Edwards developed a deep respect for the complexities of production. His career took a turn toward lighting design, leading him to tour globally with artists such as Gary Numan, Kelis, Jessie J, and Jacob Collier. After stepping back from touring due to health reasons, Edwards transitioned into a freelance role and began working with LED video rental and virtual production, before taking on a designer relations role at Vari-Lite.

Listen Technologies Names David Serpa Financial Controller

Listen Technologies has welcomed David Serpa to the organization as its new financial controller. In this role, Serpa manages accounting records, ensures compliance with regulations, analyzes financial data, and oversees accounting operations. He will report to Maile Keone, president and CEO of Listen Technologies and Ampetronic.

Serpa has extensive experience in accounting, finance, and international trade and strategy at manufacturing and high-tech organizations. His expertise includes corporate financial planning and analysis, and deep knowledge of accounting standards, including international financial reporting standards. Serpa is skilled in audits, tax reporting, and implementing internal controls.

Meyer Sound Announces Strategic Organizational Changes

Meyer Sound has announced strategic organizational changes aimed at better aligning the company’s strengths and reinforcing its leadership structure.

In a broadened role, Meyer Sound SVP John McMahon now oversees R&D and operations in addition to sales and marketing, while key Meyer Sound regional leaders will assume expanded responsibilities. This strategic reorganization aims to promote cross-functional collaboration and streamline processes from product conception to manufacturing and distribution as well as reinforce global customer support as Meyer Sound continues to expand its ecosystems of loudspeaker technologies and integrated hardware and software solutions.

Meyer Sound is broadening the responsibilities of principal department heads to harmonize its operations across the Americas; Europe, the Middle East, and Africa (EMEA); and the Asia-Pacific (APAC) regions.

Amy Luley has been named Meyer Sound senior director sales, Americas. In her newly expanded role, she oversees technical services in addition to sales for the Americas.

Wolfgang Leute, Meyer Sound’s managing director, Europe, will now also serve as senior director sales, EMEA/APAC. In his expanded role, he oversees technical services for the EMEA and APAC regions. Roland Morcom is now sales manager, Europe. Morcom oversees Meyer Sound’s distribution networks in the region.

Company News

AtlasIED Partners with Livella Brand Group

AtlasIED has a new partnership with the Livella Brand Group, a manufacturer’s representative based in Lenexa, KS. This collaboration will enable customers across Missouri, Iowa, Nebraska, and Kansas to access AtlasIED’s comprehensive range of audio and security solutions and its training and dedicated customer service.

Livella Brand Group is consistently delivering high-quality solutions through a diverse lineup of AV companies. With a focus on meeting each client's unique needs, Livella brings a broad selection of technology solutions to the region.-

CANAL+ BUSINESS Partners with PPDS

PPDS has a new partnership with French streaming company, CANAL+ BUSINESS. This exclusive collaboration sees CANAL+ BUSINESS extend its reach into the hotel industry for the first time, with the range of Google Cast and Netflix-ready Philips MediaSuite TVs at the heart of its global strategy.

Adding thousands of new live and on-demand entertainment services, this all-inclusive package set is available in all CANAL+ BUSINESS regions. A choice of five packages have been developed, empowering hoteliers with a differentiated entertainment experience with CANAL+ ROOM STREAMING integrated directly onto Philips MediaSuite hotel TVs. Guests can enjoy the full wealth of the CANAL+ offering live and on demand. This includes a wide choice of recently released films, international series, and original creations.

The package also includes coverage of major sporting events, with one hundred per cent of UEFA's European Championships, live and on-demand DTT channels, as well as a selection of foreign channels.

St. Louis-based The Muny, dubbed "America's Oldest and Largest Outdoor Musical Theater, kicked off its 106th season this year. Though the venue is old, the sound system is not: patrons were treated to an enhanced and immersive audio experience featuring brand new Meyer Sound PANTHER large-format linear line array loudspeakers that were provided by Masque Sound for the new season. This PANTHER system was specified by resident co-sound designers John Shivers and David Patridge, bringing their creative visions to life with unprecedented clarity and impact.

“Over the course of 10 years as resident co-sound designers at The Muny, John (Shivers) and I had made all of the possible improvements with the audio package we could think of,” said Patridge. “Thankfully, Masque Sound has been an amazing partner and has allowed us to improve loudspeakers, consoles, radios and infrastructure, year after year. Various stages of new construction on the venue campus have allowed us to go to a 100% AoIP network using a fiber backbone. We were also able to include better rigging for flying the line arrays and this led to being able to enlarge the main arrays for an even wider coverage area.”

[The Grateful Dead’s Enduring Legacy Intertwines with Meyer Sound Systems]

Up until last season, the designers were using Meyer Sound LYON loudspeakers together with LEOPARD compact linear line array loudspeakers for the venue. “We wanted to eliminate relying on two different cabinets, so I approached Scott Kalata at Masque Sound to discuss replacing the LEOPARD part of the system by increasing the count of LYON,” added Patridge. “At the same time, Meyer Sound had been getting rave reviews for PANTHER and it made sense to consider a wholesale change rather than asking Masque to acquire a larger inventory of the LYON, which was nearing end of life.”

Upon discussing the idea of updating the rig, Patridge asked Masque Sound’s Scott Kalata to arrange an in-shop demo at its facility in East Rutherford, NJ. According to Patridge, “Before we asked The Muny to invest in added rental costs, I wanted to hear the LYON and PANTHER side-by-side. Masque Sound was able to coordinate this for us and there was an incredible difference! The improved detail and wider soundstage of PANTHER was immediately evident. The other game changer was the far-field projection. With a 300-plus-foot throw to the rear seating area, that projection made a difference that even non-audio professionals can hear. We have had many compliments on how much better the sound is with the new rig.”

With the PANTHER loudspeakers, the designers can finally provide spectators in the free seats at the very back and the people all along the side coverage area with the same sound quality that is heard in the premium box seats closer to the stage. Shivers and Patridge have also been able to leverage the venue’s AoIP infrastructure to send outputs from the DiGiCo Quantum SD7 console to the Meyer Sound Galileo GALAXY 816 network platforms and onto the arrays via AVB (Audio, Video, Bridging) networking.

[Adele to Enter Guinness Book of World Records with Largest Outdoor Video Wall]

The designers could not have made this season such a success without the hard work of a dedicated team. According to Patridge, “So many people came together to make this happen from our Associate Sound Designer Kevin Kennedy and Josh Hummel, our Production Sound Engineer, to the season mixers, the entire audio crew at The Muny, The Muny technical director Todd Moore, as well as the other Muny departments heads and the entire house crew, whom all deserve a major thanks. I also want to give a shoutout to Bob McCarthy and the team at Meyer Sound’s Technical Services department for the invaluable advice that they offered on the project.”

Patridge also acknowledges his collaboration with Masque Sound. “Masque Sound had the contract for The Muny audio system before we came along and they continue to be a valuable partner,” added Patridge. “Every season their technical team comes through for us. Scott Kalata and our Masque Sound project manager Leslie Stong are by our side year after year in making The Muny a complete success. They are a great company to work with and we rely on them. It may sound cliché, but it really does take a village, and John and I feel supported and welcomed back every year for one of the best gigs that I have ever been involved with.”

There were more partnerships, promotions, and hires that made headlines in Pro AV this past week. Perhaps none was bigger than the AVI-SPL acquisition.

Covered here on SCN, AVI-SPL reached an agreement to acquire Grupo ICAP Global (ICAP Global) of Latin America and Spain which is expected to close in August. The two companies will merge under AVI-SPL, creating a global AV, UC&C, workplace management, and experience technology provider able to serve customers across the globe locally. The merger adds local presence in Latin America and Spain and deepens the company's commitment to serving Spanish-speaking markets.

Read all about the details here. 

People News

Charlie Kowalczyk Appointed Director of Support Services for AtlasIED

AtlasIED has appointed Charlie Kowalczyk as director of support services. Kowalczyk steps into the role, currently held by Dick Snider, general manager of support services, who is retiring on June 1. Snider will continue with AtlasIED part-time as Kowalczyk steps into the new role to ensure a seamless transition and support contract administration.

Kowalczyk currently serves as AtlasIED’s domestic sales and operations manager, a position he has held for ten years. Kowalczyk’s experience at the company, knowledge of the complexities and critical nature of AtlasIED GLOBALCOM deployments, and established relationships with certified transportation resellers and transportation clients make him the ideal candidate to succeed Snider.

Snider has spent 16 years pioneering AtlasIED’s Platinum Assurance Plan and adding value with preventive maintenance, service, and extended warranty programs for the company's complex, mission-critical deployments across airports, hospitals, and transit hubs. 

Meyer Sound Welcomes Mark Mayfield as Director of Cinema Sound Marketing

Meyer Sound welcomed Mark Mayfield as director of cinema marketing. In this newly created role, Mayfield will drive Meyer Sound’s strategic expansion in the cinema market.

Mayfield brings a wealth of leadership experience spanning many aspects of the industry, including sales, marketing, editorial, educational, and product development roles. His extensive background in the cinema, professional audio, and AV sectors includes managerial positions with manufacturers including Bose, JBL Professional, Eastern Acoustic Works, and QSC. While at JBL Professional, he co-developed the first practical three-way screen channel loudspeaker system, which was installed in the Academy of Motion Pictures Arts & Sciences’ Samuel Goldwyn Theatre. 

Mayfield has been an adjunct faculty member at the InfoComm Academy; he served as editorial director of Sound & Video Contractor and Pro AV magazines and was the founding editor and co-creator of AV Technology magazine, focusing on the convergence of AV and IT. 

RTI Elevates Inside Sales Team With New Appointments

RTI appointed of Mattie Lillard and Lee Chavez as inside sales representatives for the East and Central/West regions, respectively. Lillard and Chavez will play instrumental roles in furthering RTI's commitment to supporting new and existing RTI dealers.

Lillard brings a wealth of experience to her new role, having served in various sales capacities, including as an account manager at Snap One and a territory sales manager at Copeland. Coordinating with eastern regional sales director Angel Madrid, Lillard has already made a substantial positive impact for integrators in the region.

Chavez joins RTI with over two decades of experience as a successful operations and sales leader. His background includes roles such as inside sales specialist at Core & Main and acquisition, sales, and lease specialist at Auto Nation Honda. With responsibilities for the Central and West regions.

InGear Appoints Peter Schuyler as New President

INGEAR appointed Peter Schuyler as president. Schuyler was previously vice president and managing partner of the company. Schuyler joined InGear in 2013 as an account manager. Since then, he has grown with the agency with promotions to senior account manager, account director, and most recently, vice president. With a background in live events, performing arts, and publishing, Schuyler brings a unique, multidisciplinary approach to storytelling and PR.

"This is a very exciting time for InGear. I am honored to step into the role of president and build upon the strong foundation laid by Veronica [Esbona]," said Schuyler. "Our team is second to none, and together, we will continue to grow and deliver exceptional results for our clients."

Company News

Four New Partners Join the MAXHUB Partner Ecosystem

The MAXHUB Partner Ecosystem recently got larger, welcoming four new partners: Nureva, Extron, Sennheiser and Inogeni are now part of the alliance.

The MAXHUB-Nureva partnership gives audiovisual conferencing systems simplified setup, streamlined administration and reduce costs. For example, the combination of the Nureva HDL200 soundbar and the MAXHUB V6 series touch display provides an ideal setup for small to medium-sized meeting rooms, while large conference rooms can benefit from the audio power of the Nureva HDL410 and the visual power of the MAXHUB 5K ultra-wide display. Every Nureva system is powered by the company's patented Microphone Mist technology, which fills rooms with virtual microphones, so voices are picked up wherever participants move.

The MAXHUB tabletop touch console and Extron control systems work together to provide one-touch control of entire rooms by automatically starting displays, adjusting lighting, and lowering blinds based on a defined scenario. The partnership provides scalable integration of Extron control systems, audio equipment, and signal switching into MAXHUB room solutions for Microsoft Teams Rooms, Zoom Rooms, and more. MAXHUB device drivers seamlessly integrate with the Extron platform.

When Sennheiser's Teams-certified audio solutions are combined with MAXHUB's innovative display and UC solutions, productive meetings ensue. The Sennheiser TeamConnect Ceiling Medium and TeamConnect Ceiling 2 complement to the MAXHUB kits for Microsoft Teams rooms. These ceiling-mounted microphones ensure perfect intelligibility in areas of up to 80 m² without taking up space on the table. For more than 75 years, Sennheiser has been synonymous with exceptional sound experiences for seamless collaboration in workspaces, auditoriums, conference rooms and hybrid meeting environments.

The versatility of Microsoft Teams Rooms (MTR) is effortlessly enhanced through the collaboration of MAXHUB and INOGENI. These technologies work synergistically to provide a seamless video conferencing experience that keeps everyone happy and productive. MAXHUB's Microsoft Teams Rooms XCore Kit enables the seamless integration of advanced collaboration technology into meeting rooms of various sizes. At the same time, INOGENI's TOGGLE BYOD USB AV Switcher provides universal access to high quality USB peripherals and multiple PCs in the meeting room.

EvertzAV Has Joined the GPA Global Partner Program

EvertzAV has joined the GPA Global Partner Program. With a demand for broadcast technology to better communicate messaging from both small and large-scale events to a hybrid audience and a drive to have the capabilities in-house, GPA and Evertz in partnership are aligned to implement and support broadcast solutions for the hybrid workplace. With service on a global scale, Evertz and GPA together cover more than 50 countries.

“GPA teams have experience and trust in Evertz’ deep broadcast capabilities," said Mike Stead, GPA director global partnerships comment. "AVIXA recognizes Enterprise Broadcast as one of the fastest-growing AV segments, and with this Partnership GPA teams can deliver standardized, scalable and cost-effective solutions to help customers make their AV look like TV.”

Enhanced synergy between Evertz and GPA will provide enterprise and corporate businesses with an expanded range of enterprise broadcast solutions to match. Companies can leverage this global partnership to evolve their own landscape of modern workplace practices and workflows.

Evertz have a deep understanding of broadcast technology, standards, workflows, security needs and use cases. Their global team combined with their products bring this experience and expertise into the enterprise broadcast space, with IP-enabled solutions for today's needs.

Utelogy Expands Its Utelligence Program  with AMETEK SurgeX

 Utelogy Corporation has added AMETEK SurgeX to its Utelligence Alliance Partner Program for AV and UC device integration. Transitioning its expertise to the AV industry in 1995, SurgeX has continued to innovate with its patented Advanced Series Mode technology, offering true surge elimination—unlike traditional surge suppression—and superior EMI/RFI noise filtration.

SurgeX's integration with the Utelogy platform brings numerous benefits to users, enhancing the capability to monitor and manage the power of connected systems seamlessly. With features like real-time monitoring of port status, device temperature, and power consumption, coupled with the ability to power on/off ports and reboot devices. The integrated SurgeX and Utelogy solution supports comprehensive room and device management. By using Utelogy’s U-Automate (automated testing feature) in conjunction with SurgeX’s Power Management solutions, customers can proactively manage and monitor their AV estate remotely and create schedules to turn devices on and off to save energy and help meet sustainability goals.

This partnership not only enriches the capabilities of Utelogy's platform but also significantly broadens the scope for AV system diagnostics, monitoring, and protection, offering a holistic view of system health and ensuring unparalleled reliability.

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.

[Shure Report: What Is the 'Invisible Influencer' in Hybrid Meetings?]

“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.

[The Integration Guide to Distance Learning and Remote Workflows 2023]

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.”

The Fillmore is a San Francisco landmark, renowned for its history in the American rock-and-roll music scene. Now, with a Meyer Sound reinforcement system built around the PANTHER large-format linear line array loudspeaker, The Fillmore will carry its history into the future. The new system was supplied and installed by UltraSound, another company with deep roots in the rich history of San Francisco’s post-1960s music scene.

Operated by Live Nation since 2007, The Fillmore treasures its legendary past while remaining focused on presenting today’s established and emerging artists in an optimum environment supported by world-class technical facilities.

“Our prior Meyer Sound system maintained our reputation for more than fifteen years,” noted Matt Lawsky, on The Fillmore staff since 1999 and principal production manager since 2011. “But it was clearly time to move forward. We had first looked at a LEOPARD solution, but the timing worked out perfectly because, just when Live Nation gave us the green light, PANTHER had come out. UltraSound recommended it, and the cost was a wash because with PANTHER we need only seven boxes per side whereas LEOPARD would require 10 or more. So, we went with the very latest Meyer Sound technology.”

[The Nine 2023: Katie Murphy Khulusi, the Driving Force Behind PANTHER]

The Fillmore went through a brief closure, shutdown for five years due to earthquake damage, and reopened in 1994. It was then that UltraSound installed a Meyer Sound MSL-3 system in the room. UltraSound returned in subsequent years to install MICA line arrays with M3D Subs, culminating in this year’s PANTHER system.

For Lawsky, maintaining the strong ties with Meyer Sound was a no-brainer. “Very few venues have the luxury of being in the neighborhood of a world-class audio manufacturer,” he noted. “In fact, I could stop by the Meyer Sound factory on my way home. It would be madness not to take advantage of that.”

With a capacity just shy of 1,200, The Fillmore is categorized as a club by default as shows are general admission for an open floor with limited seating. As such, The Fillmore now becomes the first club in the world to offer a PANTHER system.

[The Grateful Dead’s Enduring Legacy Intertwines with Meyer Sound Systems]

“PANTHER is amazingly versatile in any environment because of its light weight and compact size,” said UltraSound CEO Derek Featherstone. “I hope young engineers will experience PANTHER in the club environment here and then, when their bands grow to major touring acts, choose to carry it with their production.”

In addition to the seven-each PANTHER arrays, the new system also includes two ULTRA-X40 compact loudspeakers as front corner infills plus a third ULTRA‑X40 for overhead center fill. Interim bass power is supplied by six 1100‑LFC low-frequency control elements, pending replacement by the newly introduced 2100-LFC elements later this year. Artist foldback is courtesy of ten MJF-210 high-power stage monitors.

Contributing to the system renewal alongside Featherstone was UltraSound operations manager Josh Osmond, with Jason Mills serving as the on-site manager.

Michael Bailey, Live Nation senior vice president, has been a fixture at The Fillmore since 1987, working first for the owners at the time, soon afterward for Bill Graham Productions, and eventually for Live Nation. “When the 2100s are in, we will have the ultimate club showcase for Meyer Sound PA technology,” said Bailey. “Bands, and engineers from other clubs, can come here, listen to the system, and be inspired to upgrade the sound at similar venues around the country—or the world.”

After nearly a quarter century at The Fillmore, Lawsky is well aware of the unique nature of the venue, and how its legacy affects production. “This is a relatively small room with a very high-intensity usage,” he noted. “Off-the-shelf solutions don’t work here. We have bespoke demands, and I’m grateful for the way that Meyer Sound, UltraSound, and our crew from IATSE Local 16 have worked hard to tailor this solution to our needs.”

[I Love It Loud: The Evolution of Loudspeakers] 

Lawsky is focused on delivering an amazing experience at every show. “This is not the ‘Fillmore Museum.’ This is here, this is now. We are a working rock’n’roll dive that just happens to be exceptionally famous.”

For Meyer Sound founders John and Helen Meyer, the latest upgrade to the venue continues a long tradition of supporting the arts in the Bay Area. “We came to shows here in the sixties, so this is special,” Helen Meyer recalled at the system’s inauguration ceremonies. “We are Bay Area natives, and this is the kind of thing we love to do. It’s in our DNA. We hope everybody will enjoy the result.”

Among the top-grossing acts since its first tour in 2015, with this year’s outing Dead & Company Final Tour shattered all of their previous totals. Across 28 shows in 19 cities, according to Billboard Box Score, Dead & Company grossed $114.7 million and sold 845,000 tickets. As has been the case since the outset, Dead & Company was again accompanied by a Meyer Sound reinforcement system provided by UltraSound, and for the second year, the core of the system was powered by Meyer Sound PANTHER large-format linear line array loudspeakers.

However, the magnitude of this final leg of “the long, strange trip” must be measured by more than hard numbers. It marked the coda of a resilient cultural and sociological phenomenon—launched by the Grateful Dead—that has spanned nearly six decades and three generations.

As with last year’s tour, the PANTHER-based system adapted to a mix of large venues, in this case, one indoor arena, one college football stadium, nine MLB baseball stadiums, and 14 large outdoor pavilions. Each venue type required significant adaptations of the base system, but fortunately, the relatively light weight and compact size of the PANTHER loudspeakers made the changes quicker and easier.

[The Nine 2023: Katie Murphy Khulusi, the Driving Force Behind Meyer Sound's PANTHER]

“The change from LEO family boxes to PANTHER came in particularly handy for the delay towers,” said Derek Featherstone, tour director/FOH mixer for Dead & Company from the beginning and also CEO of UltraSound. “The audio delay towers are limited in total weight capacity, but with PANTHER we were able to hang more cabinets out there for better coverage in the back rows of stadiums.”

The main system for stadium shows comprised four main PANTHER arrays—two front and two side—each with 14 PANTHER-L long-throw loudspeakers and 4 PANTHER-W wide coverage loudspeakers. 

“This year, we made a change and split the main and side hangs,” noted Featherstone. “In the past, we would keep them relatively close together, but this time we put them offstage of the video wall. This gave us a more consistent level across the floor. Also, we added a six-box LEO array offstage of the side hangs in order to get better coverage in the far extent of stadiums.”

Deep bass power was propelled by dual, flown end-fire arrays of 11—split 5 and 6—1100-LFC low-frequency control elements. On the ground were nine 700‑HP subwoofers and ten LYON-W loudspeakers for front fill. Delay towers for stadium shows were loaded with either PANTHER or LYON loudspeakers, drawn from UltraSound’s own inventory on the West Coast or cross-rented from DBS Audio for East Coast shows. The band’s foldback system included eight MJF‑210 stage monitor loudspeakers plus two each MJF-212 monitors, 1100‑LFC elements, JM-1P, and UPJ-1P loudspeakers.

The stellar audio quality of Dead & Company concerts has helped build the band’s following, and the fan base was exultant for the final tour. Postings on the Relix website include effusive comments like “best sound of any show I’ve ever been to,” “noticeably fantastic sound” and “the sound was perfect at all spots in the stadium I went around to listen.” 

[I Love It Loud: The Evolution of Loudspeakers]

Featherstone shares credit for audience satisfaction with the entire UltraSound crew: system engineer Michal Kacunel, monitor engineers Lonnie Quinn and Ian Dubois, monitor tech Reilly Williamson, PA techs Sean McAdam and Riley Gajewski, and delay tech Erik Swanson. The audio recording tech was Ross Harris.

As the one principally responsible for bringing music out to the audience, Featherstone inherits the mantle of audio/touring legends like Owsley “Bear” Stanley, Dan Healy, and John Cutler. “All of these people kept pushing to make the band sound better and better,” said Featherstone. “The band welcomed this, of course, and in my case, I really appreciate working with a client that genuinely values high-end audio and supports our advancements in that department.”

The Grateful Dead and subsequent iterations of the original band are connected to UltraSound and Meyer Sound in a symbiotic relationship unique in the industry. “Meyer Sound always has listened closely to the needs of the touring band, as well as the packaging and durability needs of UltraSound,” said Featherstone. “The equipment has to sound great yet also reliably withstand the rigors of the road. For years UltraSound has been in the middle of this product development relationship, and Meyer Sound always has been good about addressing any items that would benefit from improvement.”

[Welcome to the AV Renaissance] 

Looking back on his years with Dead & Company, Featherstone has a sense of completion but not of finality. “It has been great to be part of it,” he said. “Certainly, I did not expect this level of success or the duration. It’s hard to speculate what comes next, but I know these guys love to play and are far from done performing as individuals. As for the group…who knows?”  

Company founders John and Helen Meyer, who attended the final shows in San Francisco, celebrated their past relationships but also looked forward to new possibilities. “This final tour closes an important chapter in the story of the Dead in its many forms,” said executive vice president Helen Meyer. “But it’s not the end of the book. There’s still more to come, with the people and the music.”

Cornish College of the Arts, situated in downtown Seattle, was founded in 1914 as a music school. It now also offers programs in fine arts, dance, and drama with several notable alumni including choreographers Merce Cunningham and Robert Joffrey as well as Ann Wilson of the rock band Heart. When the school first proposed expanding into a new performance and learning facility, maximizing the utilization of the space was a top priority. Fortunately, by implementing a Constellation acoustic system by Meyer Sound, the recently opened Raisbeck Auditorium can provide the optimum aural ambiance for lectures, drama, film screenings, and dance recitals as well as concerts spanning all musical genres.

The new venue, seating about 160 for most uses, is housed in a new high-rise, mixed-use development known as The Ivy on Boren, sharing the ground floor with an art gallery.

“When we examined our curriculum about five years ago, one principle that emerged was shifting to a multi-disciplinary arts education,” said Pinky Estell, director of creative services and event spaces for the college. “It followed that this new space had to be multi-functional, and we knew from the outset that a primary challenge was the difference in acoustical requirements. We needed a movie theater, a black box theater, a lecture hall, and a concert hall. And with music, the acoustics ideal for jazz are very different than, for example, taiko drums.”

[I Love It Loud: The Evolution of Loudspeakers] 

The brief for both audio-video system design and acoustical design for the auditorium was handed over to the consulting firm of Jaffe Holden, with associate principal Steven Schlaseman assigned to acoustical design and project management.

“Cornish has a very forward-looking music department, so they didn’t flinch when we proposed a system of active acoustics,” said Schlaseman. “And that was really our only option for changing the acoustics as the room dimensions were absolutely fixed. Although we could dampen sound reflections by adding physical absorption, there was no way we could expand the room volume to extend reverberation as would be optimum for many uses.” 

In the early planning stages, a new Constellation system recently had been completed for Octave 9 at the Seattle Symphony. However, the room configuration and uses there were significantly different. Consequently, Estell and other key decision-makers flew down to Meyer Sound in Berkeley to hear demonstrations in the similar Pearson Theater.

“We were more than impressed,” recalled Estell. “What I heard with Constellation was remarkably cleaner than what I was expecting. It did not sound at all digitized, which was almost a shock in itself.”

The as-installed systems at the Raisbeck Auditorium comprise a total of 110 Meyer Sound loudspeakers, deployed in four sub-systems. The Constellation and Atmos-capable cinema surround system includes 70 small full-range loudspeakers (Ashby-8C, HMS-5, MM-4XP) and 16 MM-10XP subwoofers. Sixty-four miniature condenser microphones are arrayed around the space for ambient acoustical sensing. The primary reinforcement system utilizes six UP-4slim and three ULTRA-X40 loudspeakers augmented by a center-flown cardioid array of three USW-210P subwoofers. Three Acheron 80 cinema loudspeakers carry the screen channels with LFE assigned to a trio of X-800C cinema subwoofers. Six MJF-208 stage monitors are available for artist foldback.

[The Nine 2023: Katie Murphy Khulusi of Meyer Sound]

All Meyer Sound systems, along with video projection and extensive audio recording facilities, were supplied and installed by Morgan Sound of Lynnwood, WA. In addition to a DiGiCo SD-10 console, QLab show control, and Aviom personal monitoring, Morgan Sound also provided an ample selection of premium microphones from Neumann, Royer, Shure, and Sennheiser.

“This is easily the smallest theater with this much technology that I’ve ever been involved with,” remarked Morgan Sound project manager Steven Weeks. “And when we did the initial demo session for faculty and donors, everybody was impressed with what they heard. And not just Constellation. The stellar sound reinforcement system is flat and musical. And when we ran the cinema system with Atmos content, everybody was blown away by how good it sounds.”

Cornish College has been known as an innovative arts institution for decades, notably during the years when iconoclastic composer John Cage was in residence. “We have a tradition of innovation, and we always urge our students to push forward,” Estell said. “It may take some time for students and faculty to become familiar with the technology in this room, but we expect they will use it to stretch the boundaries of creativity in acoustical environments.”

[Welcome to the AV Renaissance]

Classes hosted in the Raisbeck Auditorium include jazz performances and new trends in composition, with concerts to date ranging from punk rock to taiko drumming. In addition to student film showings, talks are underway to form partnerships with local film festivals.

“It’s been a delightful experience working with Meyer Sound and Morgan Sound,” summarizes Estell. “We look forward to pushing the limits of what Constellation can do over the coming years.”

Other key contributors to the Raisbeck Auditorium project include theater consultant Robert Smulling of PLA Designs and overall construction consultant Jen Creighton of Brightpath Consulting. The venue is named in recognition of philanthropists James and Sherry Raisbeck.

Loudspeakers are evolving. Slowly. The technology has mostly stayed the same over the years, but recent improvements in design and materials are helping manufacturers design lighter, smaller products with higher output possibilities and improved sound quality.

[Executive Q&A: Now Hear This]

"It's a broad development scope," said Andy Davies, senior product manager with Meyer Sound. "A new generation of integrated digital amplifiers, digital infrastructure taking audio-over-IP direct to the loudspeaker, improved driver design, and advances in acoustic modeling that all combine to dramatically improve the new generation of products."

Which Way?

Depending on the application, two-way or three-way speakers have distinct advantages that could benefit a system's overall output. Two-way speakers offer a more compact design and are ideal for a more cost-effective solution. Three-way speakers enhance audio performance by splitting the audio signal into three different frequency bands, improving audio clarity and giving a more exact sound reproduction.

The decision on which to choose ultimately depends on the requirements of the install and the audio quality needed for the project. "In addition to two-way and three-way speakers, we often encourage using one-way speakers, such as columns that utilize our unique Pure Array Technology," noted Andrea Torelli, global marketing and communications director with K-array. "This approach offers a significant advantage in phase coherence, as no crossover points exist between the speaker components. The sound is incredibly smooth and natural, making it the best solution when possible."

The Royal Opera House in London and Teatro alla Scala in Milan rely on this system, where the mid-high speakers are Pure Array Technology columns reproducing the same frequency range. "Those who have experienced these systems have witnessed sound that becomes a true extension of the performer on stage, extremely natural and optimally distributed throughout the theater," Torelli said.

Dispersion characteristics are one of the most essential specifications when selecting a loudspeaker. Whether narrow, wide, or adaptive, this specification is often overlooked, impacting an install's ability to offer an evenly dispersed audio landscape. Only a few audience members are on a direct axis with a loudspeaker; with the desire to create an even playing field where the entire audience hears the same thing, it is important that beamwidth characteristics match the specifications leading to a robust loudspeaker deployment.

"Unlike light, sound is a slow medium, with drastically varying wavelengths, which make it a challenge from a design perspective to achieve smooth, even, and predictable dispersion characteristics over the operating range of a loudspeaker," explained Graham Hendry, vice president of loudspeaker strategy for AtlasIED. "A small-time alignment anomaly due to displaced sources will cause directivity changes."

A Delicate Balance

When deciding between column or line array loudspeakers, it's essential to think about the use case. With line array speakers designed for optimal clarity, they are ideal for use in large spaces, such as music venues and large auditoriums. They offer more flexibility than column arrays, with line arrays able to adjust splay angles to better match the projection to the audience area.

However, that flexibility comes with a price in the form of more mechanics and more individual boxes, according to Tom Back, managing director and co-founder of Alcons Audio. "In applications with a flat-audience area and no stringent restrictions on speaker placement, a column speaker could be the efficient, but similarly effective choice," he added.

Finding the balance between a loud and intelligible system is a delicate balance. At certain times, a system must be loud to achieve a certain level of intelligibility, depending on the surrounding.

"Just think of a soccer stadium where a very basic requirement can be to achieve sound pressure levels above crowd noise," offered Marcus Baeumler, product manager for d&b audiotechnik. "Once you have achieved that, intelligibility, of course, is of great importance."

Image is another thing clients are constantly concerned with, leading to manufacturers offering various options to fit a variety of needs. "Look is often very important, which is why we offer custom colors and wood finish loudspeakers, where clients can choose to make their speaker blend into its surroundings," said Lou Mannarino, founder and designer of 1 SOUND. "However, we have found a trend starting with our end clients who are actually embracing the look of a loudspeaker. For example, our Contour with the magnetic grille removed showing the horn—because they are proud of the quality of sound and want to show it off!"

Often, the client is focused on having the latest loudspeaker innovation over what makes the most sense for their venue, finding out after it's too late that the intelligibility of the product does not match their needs. Also, focusing on the visual can leave a venue with a beautiful space but terrible sound and acoustics. It's vital to think of audio quality.

"In install applications, the sheer quantity of audio does not replace quality," said Aki Mäkivirta, R&D director for Genelec. "Even then, it is tough to simplify the system quality this much. There is more to quality than just loudness or intelligibility."

Even if you have the best technology, you must still work with sound system engineers to ensure the system operates optimally. "Too many results are subjectively evaluated with music as a program source and the human hearing system as the only instrument," said Hendry. "This design approach has clouded the division between sound system engineering and music reproduction as an art form. While there's a place for both, we must remember that they are completely different. Anyone can crank up a PA system and make it loud, but it takes a professional to design one that's intelligible."

Current Trends

Advances in digital signal processing (DSP) power and speed allow for increased flexibility and functionality, surpassing analog technologies of the past. These advanced processing technologies boost audio performance while allowing systems to adapt to various applications and environments, taking a much more significant role in a system's overall performance. 

With emerging trends like advanced beam-steering technologies, growing demand for environmentally friendly materials and manufacturing processes, and the increased use of networked audio systems, manufacturers are constantly looking for ways to stay at the forefront of loudspeaker advancements. With a growing need for integrated audio systems, including audio within IT systems, manufactures are looking to innovative software solutions to improve ease of use, control, and performance for its product lines. 

"The trend now for manufacturers is to develop more comprehensive solutions in loudspeakers by investing in deploying systems with better control, immersive systems, and flexible products which fit well into several different scenarios," explained Marco Cantalù, application support engineer with dBTechnologies. "We are continually working on making our products more intelligent, more self-aware of where they are."

Greater use of the software, such as Aurora Net software from dBTechnologies, will also provide more precision in deployment, supporting loudspeaker components as they get smaller, more compact, faster, and louder. "Everything will continue to work better and even more efficiently," said Cantalù, "and that's why we are working on future speakers that are increasingly more power-friendly, more eco-friendly, and with a higher sensitivity which can achieve even more SPL with the minimum possible power consumption."

There are so many Pro AV loudspeakers on the market today, with a variety of form factors and features. Which solution is best for your next project? Here's a handful of models to help start your research.

1 SOUND Contour CT212

Launching at InfoComm 2023, the Countour CT212 is a horn-loaded, three-way passive loudspeaker that delivers full and present sound while sounding delicate when needed at lower volumes. Combining two 12-inch low-frequency drivers with a 4-inch mid-high coaxial and 2-inch compression driver in a horn-loaded point source enclosure ensures that frequencies low to high are delivered dynamically, making it ideal for use in medium to large-scale installations and live production audio.

Alcons VR5

This two-way mini versatile loudspeaker is the ideal solution for near-field applications where fidelity response needs to be projected with wide horizontal and vertical coverage. Built within a small, compact package, it provides the sound of a more extensive system and delivers crystal-clear acoustics and ultra-low distortion for both portable and permanent applications.

AtlasIED ALA Series

The EN54-24 certified ALA20TAW column line array loudspeaker provides maximum pattern control performance, delivering high performance and contemporary styling within a minimum footprint. With excellent speech intelligibility, the design combines 20 tight-packed 3-inch full-range drivers and six 22m high-frequency tweeters in an aluminum housing, making it durable while providing optimal sound reproduction. Plus, its contemporary design allows it to complement any environment.

d&b audiotechnik GSL8

Designed for large-scale sound reinforcement, this line array module can be arranged in vertical columns to produce an 80-degree constant directivity dispersion pattern in the horizontal plane. Flying hardware for the SL-Series includes an integrated tension and compression rigging mode, allowing splay angles between cabinets from 0-7 degrees. The loudspeaker can reach very low frequencies with extended LF response while delivering these with significant headroom.

dBTechnologies VIO L1610

A versatile solution, the VIO L1610 combines VIO technology with an ultra-compact, three-way line array system that delivers a dependable line source system. The acoustic engine is driven by a Digipro G4 Class D amplifier. The VIO L1610 also includes a three-point rigging system for smooth setup, and its weight and form factor allow it to deliver dynamic audio for without being too intrusive.

Genelec 4430A Smart IP Installation Speaker

A staple of the Smart IP networked loudspeaker family, Genelec offers the compact 4430A, which provides power, audio, and loudspeaker management via a single CAT cable. As a result, it delivers flexibility, cost-effectiveness, and simplicity of installation. Powered by PoE and compatible with Dante and AES67 audio streams, the 4430A also integrates tightly with Genelec’s Smart IP Manager software for complete control, even in challenging acoustic environments.

K-array Vyper

Found within a compact and durable 2-inch-deep aluminum frame, the Vyper line offers the flattest speakers in the K-array catalog. It is highlighted by closely-spaced transducers featuring K-array’s Pure Array Technology. The Vyper demonstrates true line array characteristics including phase coherence, low distortion, and focused listening, no matter the distance from the speaker. The technology allows the Vyper to cover venues and provide a long throw evenly.

Meyer Sound PANTHER

With a ground-breaking output of more than 150 dB, PANTHER is a self-powered system that delivers unrivaled linearity in a compact cabinet. With a new ultralight Class D amplifier, PANTHER doesn’t sacrifice power output for a lightweight design. The line array can tackle even the most complex production plans, with internal amplifiers precision-matched to drivers.

Yorkville Audio Synergy Array Series

This active point source system offers flexibility, power, and directivity control. Consisting of the SA153 full-range powered cabinet and SA315S powered subwoofer, the Synergy Array Series is scalable for events of all sizes, including outdoor festivals, arenas, and music venues. With patented Paraline Lens Technology and Synergy Horn Technology, the system operates as a true point source, providing a flexible and powerful advanced system that is easy to use.

Title: Engineering Director, Acoustical and Mechanical

Company: Meyer Sound

Location: Berkeley, CA

Overtime: What doesn’t she do in her free time? Along with snowboarding and backpacking the Sierras with her dad, she is the neighborhood coordinator for the Berkeley Food Pantry, makes candles, and moonlights as a bar trivia host.

Why You Need to Know Her: You would think that being the driving force behind Meyer Sound’s PANTHER loudspeaker system would top the list, but that is just part of Katie Murphy Khulusi’s story. She’s not just part of the youth revolution in Pro AV, she is likely your strongest ally and advocate, using “every platform that is available to me to do that.”

Sometimes a person is destined for a profession. Call it fate or happenstance, but that seems to be exactly the case for Murphy Khulusi. Music was her passion since her youth, and the former oboe player had dreams of being a studio lot musician and working on film scores. As she got older, she decided she was much better at math and went to the University of Southern California for electrical engineering.

It was there, while minoring in music recording, that she became an audio assistant. “And somewhere in there it was kind of like, ‘Okay, there is a general path for electrical engineering that has music in it; this whole technical side of the music industry,’” Murphy Khulusi explained. Luckily for her, she was trained on a Meyer Sound system. Even more fortunate was that the stars aligned when it came time for the job hunt: Meyer Sound was looking for an acoustic test engineer.

Destiny called and Murphy Khulusi obliged, beginning her rise in Meyer Sound until she landed in her current role in February 2022. When asked about her crowning achievement, it was a quick answer: The launch of PANTHER. Facing the duress of pandemic challenges (supply chains, for example), Murphy Khulusi had to execute with little wiggle room. The product launch was Ed Sheeran’s +–=÷x Tour, and the show would go on, PANTHER or not.

Fortunately, it wasn’t only a successful launch, but one of Meyer Sound’s most successful line arrays to date. "I was one of the designers acoustically for it,” she explained. “I made the new horn for it. So that was the first time that I was able to not only say, ‘I designed this major part of it, but I was also the project manager.’ I was the product owner. My whole self was completely tied to that project.”

However, success and glory are not what drives Murphy Khulusi. Being young, female, and now a leader in the industry, she is passionate about the future and making it a better place to work for everyone. “I am a very outwardly presenting, bubbly young female,” she said. “Overall, women in engineering and in Pro AV—there's only a handful, especially as you start to get more towards the top.

“I am not afraid to say what I think. I will take every opportunity that is given to me to talk about how I'm proud of myself and my company, but also to talk about what I see going on in the industry and how kind of this new, younger generation that's now starting to come into these senior management roles can help propel it into the future.”

However, you simply can’t overlook the success Murphy Khulusi has already achieved at such a young age. And then you remember, it all started with a dream.

That is exactly the wisdom she hopes the next generation of AV professionals understands. “Find the line between understanding the way that the current industry works and dreaming about where it could be,” she said. “Sometimes that is not going to be a straight line. It's going to oscillate back and forth, and not everything is always going to go the way that you want it to. And it's really important to keep your composure because at some point through your work, you're going to get an opportunity or you're going to find a way to be able to push the line a little bit more into dreaming about where we can be.”

Meet the rest of The Nine.

The Silva Concert Hall of the Hult Center for the Performing Arts in Eugene, OR is no stranger to Meyer Sound systems. After nearly eight years of regular visits on a rental basis, Meyer Sound LEOPARD compact line array loudspeakers have taken up permanent residence with George Relles Sound, the same integrators that rented the equipment, returning for the permanent installation.

The new resident system made its debut in the 2,447-seat venue with a performance of Missa Gaia (Earth Mass) by the Eugene Concert Choir with composer Paul Winter as the featured soloist. One week later, the system supplied sound for a showing of Star Wars: Return of the Jedi, with a live performance of the John Williams score by the Eugene Symphony.

“Everything is going great with our new system,” said Hult Center general manager Jeff Weinkauf, “but of course, that is hardly a surprise. I’ve heard it many times over the years, and I’m always blown away by the clarity, depth, and consistency. George [Relles] said several times—somewhat jokingly—that we might as well buy one of our own. Finally, we were able to make that happen.”

[Meyer Sound Transforms Intimate Movie Theater to Rocking Music Club]

In addition to “pops” style concerts and movie soundtracks with the Eugene Symphony, a cross-section of past performances supported by the essentially identical LEOPARD system includes Patti Labelle, the Chick Corea Elektric Band, Pink Martini, Bob Weir & the Wolf Bros., B.B. King, and Buddy Guy.

The installed system comprises main left and right hangs of 14-each LEOPARD compact line array loudspeakers, one more than with the typical rental system. Three ULTRA-X40 compact loudspeakers are installed as balcony delays. “For most shows, the delays aren’t critical because the LEOPARDs cover the balcony very well,” said Relles. “But if there’s a lot of level coming off the stage from a loud band, and it’s exciting the room, the delays will help boost the clarity up there.”

The top twelve LEOPARD loudspeakers are the M80 variant, with the narrower 80-degree horizontal pattern limiting reflections off the side walls. The bottom two loudspeakers employ the standard 110-degree waveguide. Front fills are six ULTRA-X20 compact wide coverage loudspeakers, and deep bass is propelled by three-per-side gradient cardioid arrays of 1100-LFC low-frequency control elements.

“Sometimes we would get questions about having only six subs,” said Weinkauf. “People will walk in, take a look, and say, ‘Is that really going to be enough?’” Then we fire it up and they say, ‘That will be fine.’ Of course, we can always have George bring in a few more, if only for the visual effect.”

[Historic NJ Theater Audio Upgrade Leaves Guests and Crew 'Blown Away']

Relles’ long experience with LEOPARD arrays in the room made system tuning a snap. “One TruShaping filter and a couple of parametrics with just a few dB was all it took,” he said. “Since I already had the Compass files from previous visits, I basically had the system ready in less than fifteen minutes.” Relles and Weinkauf had discussed an option for the new PANTHER large‑format linear line array loudspeaker, but soon concluded it would be more than the room needed. The first trials proved the point. “After I tuned the LEOPARDs we played tracks from all genres, ending up with some heavy metal,” recalled Relles. “We still had six to eight dB of headroom, but everybody was screaming ‘Enough!’ at the top of their lungs.”

The system upgrade also included MJF-208 and MJF-210 stage monitors, with more of each model on order. “We still have our old monitors, but after hearing the MJF wedges, the techs in both of our rooms are specifying them for their shows. Artists love the way they sound. They’re lightweight, powerful, and so easy to dial in with very little—if any—corrective EQ needed.”

Having their own premier system available at all times allows the Hult Center more certainty and flexibility in programming, continued Weinkauf. “This gives our programming manager, Vicki Infinito, a new tool for attracting and booking top-rank artists. George is a sought-after provider for our region, so he was not always available to bring in his LEOPARD system. Also, we are seeing more acts touring only with desks, making this upgrade a high priority. We are already booking top-tier acts for the fall that might have passed us by if we didn’t have this system available in-house.”

The Prytania Theatre in New Orleans, noteworthy as the last remaining single-screen commercial theater in the South, harkens back to a bygone era. While the interior décor evokes the mid-20th century heyday of Hollywood, a recent technology upgrade has launched the Prytania Theatre into the future with 4K laser digital projection and Dolby Atmos immersive audio powered by Meyer Sound cinema series loudspeakers.

The Prytania Theatre was purchased in 1995 by Rene Brunet and is currently owned by his son, Robert Brunet. The Brunet family has operated theaters in the New Orleans area for more than 115 years, a tradition that now spans four generations.

Although the family’s deep roots in vintage cinema are reflected in the interior décor and twice-weekly showings of classic films, dedication to offering patrons the very best cinema experience prompted the upgrade to a Barco SP4K 15C 4K laser projector and the Dolby CP950A Dolby Atmos audio system comprising 51 Meyer Sound self-powered loudspeakers. The entire technology renovation was entrusted to Omaha-based Strong Technical Services.

[Welcome to the AV Renaissance] 

“We had put in a new Dolby CP650 7.1 system after hurricane Katrina in 2007 and it worked fine,” said Robert Brunet, “but after the pandemic faded, we really wanted to offer our patrons something special—the best of the best. We knew Atmos was the way to go, and we also wanted a speaker system with the power and punch to take full advantage of the format. I was familiar with Meyer Sound equipment for live performances, and when I found out they had cinema systems I knew that would be the winning combination. It certainly did not disappoint.” The first showing with the new system was Top Gun: Maverick. The sonic improvement was startling, according to Brunet.

“Our post-Katrina system was quite good, but the new Meyer Sound system just blew it away,” he recalled. “What I heard with that movie pushed every button. When the jets flew by, the building literally shook, yet you also heard every detail with clarity and pinpoint positioning. It was very impressive.”

[Running from Fears in Pro AV] 

The clarity and dynamic range also enhanced quieter scenes, said Brunet. “A lot of times a powerful system can be too bright in scenarios with mainly dialogue. But the Meyer Sound system was clear and natural, never fatiguing. When you need it to bang it will do it, but with dialogue, the accuracy and fidelity shine through.” While Top Gun: Maverick showcased special effects, two later showings—Elvis and Whitney Houston: I Wanna Dance with Somebody—shifted the emphasis to musicality. “These days, when we play a movie like Top Gun or Elvis we get a lot more positive comments,” said Brunet. “‘The sound is really great,’ they’ll say. 'What did you do in here?’”

The screen channels for the system employ three Acheron Studio cinema loudspeakers, with four X-800C cinema subwoofers driving the low-frequency effects (LFE) channel. The Atmos surround channels are carried by 32 HMS-10 and two HMS-12 surround loudspeakers, bolstered by two USW-210P subwoofers for bass management. Fill speakers for the balcony, configured in two zones, are eight MM-4XP miniature self-powered loudspeakers. Spearheading the project on behalf of Strong Technical Services was director of sales Travis Henning, who coordinated design and commissioning efforts in consultation with Meyer Sound Program Manager for Cinema and Residential Jay Wyatt. Before taking over the reins of the family cinemas from his father, Robert Brunet was involved extensively in the promotion of live concerts and electronic dance music (EDM) events, and today he continues as a principal partner in the promotion company, Amps Events.  

[9 Large-Venue Projectors and Key Features Experts Recommend as Live Events Return] 

“I’ve been a big fan of Meyer Sound concert systems for decades,” he said. “I was always impressed with the power and fidelity of the sound at venues with Meyer loudspeakers, but I was not familiar with the company’s cinema systems. When I heard about the cinema line, it was an easy decision to go down that road.”

Brunet is confident that the new Meyer Sound system will not only showcase the sounds of today’s cinema but also add new life to past classics. The Prytania Theatre is in the process of restoring 35mm and 70mm film projectors to offer screenings of vintage film masterpieces in their original format. In addition to first-run and classic films, the Prytania Theatre also hosts special events, including regular presentations of the cult phenomenon, The Rocky Horror Picture Show. The Classic Movie series, with daytime screenings every Sunday and Wednesday, hosts features such as Singing in the Rain, Sunset Boulevard, Citizen Kane, and The Searchers. 

Although home to Stanford University and tech giants, the region south of San Francisco had been curiously lacking a first-rate music club for many years. That void has been recently filled, with the opening of Menlo Park’s intimate and elegant Guild Theatre, now attracting a wide array of artists with support from innovative AV technologies that include a powerful Meyer Sound system.

The original Guild Theatre had served as a neighborhood movie theater for more than 90 years before closing in 2019. Purchased by the non-profit Peninsula Arts Guild, the structure was totally gutted and transformed into a modernized venue offering extraordinary technical flexibility for hosting music concerts, film showings, and other special events. The principal focus is on national touring artists, with shows spanning musical genres from acapella Black gospel and neo-bluegrass to punk and EDM.

[Check Out the AV that Rocks Between the Dawn and the Dark of Night] 

The Guild Theatre is on the small side for hosting high-caliber acts—around 200 seated and 500 standing—but intimacy is part of what makes the experience extraordinary. “Rooms of this size just don’t have stages this big, lighting with this level of sophistication, and sound systems this good,” said Drew Dunlevie, president of the Peninsula Arts Guild and the driving force behind creating the venue. “We put together an A-team for this project, with theatrical design by Shalleck Collaborative, acoustic design from Salter, and integration by Legend Theatrical, all working hand-in-glove with the amazing PA from Meyer Sound.” 

Dunlevie emphasized that the core mission of the Peninsula Arts Guild is to offer the public an extraordinary experience of the arts, primarily music and film, and not to turn a profit. “We decided to go for the ultimate,” he said, “and build one of the best small listening rooms anywhere on the planet. We knew that there were many generous and philanthropically oriented donors in Silicon Valley who also wanted world-class music coming to their doorstep, and they stepped forward to make this happen.”

The sound reinforcement system would be the keystone element of the production technologies, and on this point, Dunlevie relied on both his own experience and advice from others operating similar venues in the Bay Area.

[Meyer Sound Teases 'Major Revelation']

“We knew that the Sweetwater Music Hall in the North Bay had a Meyer Sound system, and I’m good friends with David Mayeri who manages the UC Theatre Taube Family Music Hall in Berkeley. That’s a bigger room but it’s also a non-profit with a similar focus, and David also pointed us toward Meyer Sound. Finally, Bobby Weir [a co-founder of the Grateful Dead] was behind us from the early days, and he concurred with the choice. So, Meyer Sound was on board before construction began.”

The design went through several iterations, but as installed the system now comprises main L/R arrays of nine LINA very compact linear line array loudspeakers, with each array flown underneath a 750-LFC very compact low-frequency control element. Visceral low end is buttressed by a center cardioid array of three 1100-LFC low-frequency control elements plus two more 750-LFC elements under the stage. Loudspeakers for front, VIP, and bar fills are, respectively, four ULTRA-X20, two ULTRA-X42, and eight Ashby-8C. The surround system, which supports both 7.1 film showings and Meyer Sound’s Spacemap Go spatial sound design and mixing tool, comprises six HMS-10 loudspeakers on the main level and four HMS-5 for the balcony. For artist foldback, the Guild offers eight MJF-210 low-profile high-power stage monitors and a 750-LFC element as a drum sub.

Guild Theatre manager Tom Bailey came on board after the sound system decision, but he was pleased with the direction based on prior experience with Meyer Sound during his years with the Bill Graham organization. “Meyer Sound was an obvious choice, in part because we had so little space to work with inside the fixed walls of the building. So, it only made sense to have a self-powered system,” he said.

The system’s size and sophistication draw frequent comments, added Bailey. “People come into this little room and assume it’s just another nightclub. Then they see the PA and say, ‘Whoa, what’s going on here?!’”

The sound it produces is even more compelling, he says, and that was the result of holistic design. “The whole building was designed—the wall materials, all the angles—to make the sound as good as possible. It worked. It’s been a slam-dunk success.”

A small sampling of artists already hosted or scheduled, in addition to Bobby Weir (five nights in April with the Wolf Brothers), includes Molly Tuttle, Three Dog Night, Son Volt, Berlin, Macy Gray, Blind Boys of Alabama, Social Distortion, and Nathaniel Rateliff & The Night Sweats.

[Blueprint for Success: Learn from the Past, Shape Your Future] 

“Everybody raves about the sound in here, artists and audiences alike,” said Dunlevie. “For example, I remember walking around during the Social Distortion show, which is a great mix of rockabilly and punk, but the lyrics are also important. The sound had a visceral impact, but you could still hear every word clearly. That’s amazing. Everybody goes out of their way to say how much they like the sound.”

Though music represents the lion’s share of programming, the Guild Theatre has presented a number of film showings as well, including hosting the West Coast screenings of the Chicago-based Doc5 film festival and a premiere of Oliver Stone’s 2022 documentary, Nuclear.

AVT Question: Please share insight into the current state of networked AV and control; what you see as barriers to entry; and what advice can you offer on how AV/IT managers can overcome limited resources or a lack of buy-in.

Thought Leader: Richard Bugg, Digital Products Solutions Architect at Meyer Sound

Adapting to the future never has been easy. The speed at which users adopt new technology depends on more than just “it’s a better solution.” Consider the move from the typewriter to the word processor. Early machines were expensive and required technical knowledge beyond most in the “typing pool.” The full potential was not unlocked until users realized that they no longer had to start again to make one simple change.

Frequently, early adopters are those who have a task that cannot be accomplished easily with existing technology. Unless the cost of the new technology is trivial, deployment is slow until production increases and prices fall. Likewise, the availability of those who can install and use new technology is limited. And sometimes, “bold new things” just don’t work out. How does a responsible manager spot long-term success among all the possibilities?

Cost is key, but it is important to identify all of the acquisition, installation, operation, and lifetime costs. With an existing infrastructure, what will be the repair and replacement costs next year, or five years from now? Aging infrastructure in installations is a place to start. Where are you in the life cycle of your wiring, and can it support existing and emerging technologies? In the past, designing network infrastructure for transporting media was challenging. Simply working out what might be required often led to “over-provisioning” during the design phase. Now the level of traffic required for systems to “just work” has risen so high that over-provisioning becomes impractical and expensive. 

In this context, technologies and systems that provide deterministic, guaranteed, performance provide an advantage that should be sought out.

So the answer is that it’s complicated, but looking at all of the real costs will help determine when a proposed change in technology will provide a significant advantage.

AV Technology's Thought Leader Series on AVoX

Check out what other industry thought leaders have to say about the state of networked AV. A full list with links can be found at the bottom of the On AVoX, the Intro Article

AVT Question: Please share insight into the current state of networked AV and control; what you see as barriers to entry; and what advice can you offer on how AV/IT managers can overcome limited resources or a lack of buy-in.

Thought Leader: Frank Santos, Director of Product Knowledge at Vanco

I’d really love to see the industry get past the idea that AVoIP is expensive. There’s a persistent belief that AVoIP solutions aren’t cost-effective unless you’re operating at a really large scale.

That’s just not true anymore. Once a system is big enough to require an 8x16 matrix, you can deploy an AVoIP solution for an equal or lesser cost, and that’s just the initial outlay. When it comes to maintenance and expansion, AVoIP has a big advantage over traditional AV. You can expand the system easily and keep it cost-effective by just adding more switches, and you don’t have to worry nearly as much about distance limitations; the content can go wherever the network does. There are also hidden savings in terms of labor. With remote monitoring and troubleshooting capabilities, you don’t have to roll trucks every time there’s a problem, and a single skilled technician can manage a sprawling system.

I’m a big believer in buying boxes for today and putting in infrastructure for tomorrow. Maybe you’re not ready for 10-Gig switches now, but you should pull cable like you are. Even legacy gear can benefit from a robust, structured cable plant, using devices that convert and extend the AV signal over CAT cable or fiber. Getting that infrastructure in place is the first step towards a fully networked system, and you benefit immediately.

AV Technology's Thought Leader Series on AVoX

Check out what other industry thought leaders have to say about the state of networked AV. A full list with links can be found at the bottom of the On AVoX, the Intro Article

At this year’s Integrated Systems Europe (ISE) show in Barcelona, Meyer Sound will introduce a new product expected to have a significant impact on portable touring and installed sound industries. Only a year ago, the company debuted the PANTHER large-format linear line array loudspeaker, setting a new standard for the industry and a new direction for Meyer Sound technologies.
 
“At ISE, we will introduce a powerful new Milan-equipped loudspeaker that extends and complements the clear benefits that already have earned global acceptance in PANTHER,” said John McMahon, Meyer Sound senior vice president.

[Feeling Festive: Meyer Sound PANTHER Makes its North American Festival Debut]

Also featured at the Meyer Sound stand (Hall 5, 5F100) will be a single PANTHER cabinet, unattached and available for team lifting to demonstrate its light weight of 150 pounds (68 kg) and compact size. The acoustical performance of PANTHER is already proven in the real world and backed up with the latest technology, including a Milan AVB endpoint as standard.

The Tech Bar has been doubled for ISE 2023. One tech bar will feature the Spacemap Go spatial sound design and mixing tool using a range of compact IntelligentDC loudspeakers. The other Tech Bar will focus on the networked power and flexibility of new ULTRA-X20 loudspeakers and USW-112P subwoofers, also with integrated Milan endpoints. 

Both Tech Bars will demonstrate Meyer Sound’s new Nebra software platform, which provides fast and intuitive connection of Milan-based audio networks along with comprehensive system monitoring over the same network or, for backward compatibility with existing systems, via the RMServer.

[Everything You Need for ISE 2023: The AV Network ISE 2023 News Hub]  

Meyer Sound also will introduce another new Nebra-compatible product that is optimized for installation applications.

“Meyer Sound experienced a record year in 2022 and we will build on that momentum in 2023 starting at ISE,” said McMahon. “Our team looks forward to meeting in person in Barcelona with customers from around the world.”

After relying on a venerable Meyer Sound system since first opening at its current location in 1997, Yoshi’s legendary jazz club in Oakland, CA recently upgraded to a new system incorporating the latest technologies from the same company. Supplied by Advanced Systems Group (ASG) based nearby in Emeryville, the new Meyer Sound installation has earned unstinting praise from management, artists, guest engineers, and patrons alike.

“Every artist that has come in here has been blown away,” said Yoshi’s production manager Marcel Quiroz. “Haley Reinhart’s engineer told me it was the best house system he’d ever heard, and the engineer for Dave Weckl said that hands down we now have the best-sounding room in the Bay Area. After his set, Freddy Jackson came up, gave me a hug, and said, ‘Thank you!’”

The prior system had served Yoshi’s well, reinforcing the music of jazz, R&B, and associated pop luminaries for a quarter century. But a grueling schedule of two shows six or seven nights a week, when combined with some questionable changes in front-end processing, had dulled the luster of the system. These signs of aging, along with demand for stronger bass by contemporary R&B acts, prompted Quiroz and general manager Hal Campos to look at giving the venue a complete audio renovation.

[2022 in Review: Look Back at the SCN Audio Issue]

Preliminary plans were put on hold during the Covid shutdowns, but when business rebounded, Yoshi’s gave the green light to move forward with a new system. Final designs were generated by Joe Mistretta of Meyer Sound Design Services working in collaboration with the ASG Audio Team and key accounts manager Tom Menrath.

The new Yoshi’s system comprises two UPQ-D1 wide coverage and two UPQ‑D2 narrow coverage full-size loudspeakers for the mains, supplemented by three ULTRA-X20 compact wide coverage loudspeakers for downfill and seven UP-4slim ultra-compact installation loudspeakers for front fill. Ample power for contemporary R&B acts is now available through four 900-LFC low-frequency control elements, mounted in pairs on the walls. A Galileo GALAXY 816 Network Platform provides system drive and optimization, while artist foldback has been upgraded with the addition of 10 MJF-208 and two MJF-210 stage monitors.

“Down time is expensive for Yoshi’s as it costs not only the performance venue but their foundational restaurant business,” noted ASG’s Menrath, “so it was vital to get the new system up and running as fast as possible. Working with Brad Katz of Waveworks, we were able to get the old system out, the new one in, tuned, and back in action within nine days.”

 [2022 Rewind: SCN Installation Showcase 2022]

Among the first to hear the new system were two of Yoshi’s founders and owners, namesake Yoshie Akiba and Kaz Kazamura. “When I turned it on, it literally brought tears to their eyes,” recalled Quiroz. “They had never heard this room sound so good.”

As an avid musician, Menrath found this relatively small project nevertheless highly rewarding. “We do a lot of major projects with Meyer Sound, including huge installations for well-known Silicon Valley corporations, but Yoshi’s has been particularly satisfying,” he says. “This new system with the most advanced loudspeaker technologies is a stunning upgrade, and the artists who perform at Yoshi’s certainly deserve nothing but the best the industry can offer.”

Artists who have performed at Yoshi’s since the system upgrade—in addition to Weckl, Reinhart, and Jackson—include Jose Feliciano, Jesse Colin Young, Sheila E, Sergio Mendes, Arturo Sandoval, and Les Claypool.

Now celebrating its golden anniversary, Yoshi’s was first established as an intimate sushi bar by Yoshie Akiba (the “e” on her first name dropped for the restaurant) and her close friends in 1972. Seven years later, Yoshi’s moved to a larger location in Berkeley’s Claremont neighborhood, mainly to accommodate Akiba’s passion for dance and live jazz. In 1997, Yoshi’s moved again, this time to even larger accommodations at Oakland’s Jack London Square, where the expanded restaurant is complemented by the 330-seat music venue.

[SCN Top 50 Systems Integrators 2022]

The original system installed for Jack London Square deployed Meyer Sound CQ‑1 and CQ-2 self-powered loudspeakers for the mains, with UPA-1P and HM-1 loudspeakers for fills and PSW-2 subwoofers for the low end.

Other artists who have graced the stage at Yoshi’s over the years include Van Morrison, Diana Krall, Taj Mahal, Max Roach, Chick Corea, Pat Metheny, Dave Brubeck, and Bonnie Raitt.

The National Hockey League’s Minnesota Wild recently installed a new reinforcement system built around 96 Meyer Sound PANTHER large-format linear line array loudspeakers in their home arena, Xcel Energy Center in Saint Paul. Supplied by Sound Associates of Yonkers, NY, the world’s largest PANTHER installation to date debuted on Nov. 1 when the Wild defeated the Montreal Canadiens 4–1.

“We are highly impressed by the way our new Meyer Sound system delivers clear and uniform sound distribution to fans throughout the Xcel Energy Center,” said Minnesota Wild president Matt Majka. “No matter where you are sitting in the arena, the improvement in audio quality is undeniable. Feedback from event attendees has been tremendous. We are extremely pleased with our decision to install a state-of-the-art system to heighten the experience for our fans.”

[Check Out the AV that Rocks Between the Dawn and the Dark of Night]

The new Meyer Sound system replaces an aging point-source system that was installed when the arena, seating about 18,000 for hockey, was first opened in 2000.

“What we had was a low bid system with old technology,” said Jim Pfitzinger, the IATSE Local 13 engineer who has mixed Wild games since the arena opened and who was a key consultant on the upgrade project. “Top team management had heard systems at newer arenas and noticed the difference. Our old system was still intelligible and serviceable, but it lacked real impact. No matter how hard you flogged it, you could only get so much out of it.”

When funding became available in the spring of 2022, management asked Pfitzinger to fast track a new system that would be equal to or better than any other NHL arena. Pfitzinger quickly consulted with Domonic Sack of Sound Associates on possible options at a time when industry supplies were tight. Some makers could not commit to delivering the preferred products on the tight timeline, but Meyer Sound was able to fit the Wild project into their production schedule. In only 11 days, the entire system was wired, hung, and tuned, just in time for the first Minnesota Wild game with the new system.

[JUST RELEASED: SCN Top 50 Systems Integrators 2022]

“Dom had just heard Meyer Sound’s PANTHER demo in Las Vegas and said he was convinced it was the right solution for this arena,” said Pfitzinger. “We wanted line arrays with a small footprint to stay clear of touring rock shows, plus low power consumption and reduced weight. Powered speakers were high on the list as we had literally tons of amplifiers and copper cables in the ceiling and we couldn’t take them out until the new system was up and running. Also, everything had to go up and down on the motors. On all counts, PANTHER fit the bill—and Meyer Sound could deliver.”

Regarding performance, Domonic Sack sketched out the goals. “The idea was to minimize reflections, increase intelligibility, extend effective frequency response from 40 Hz up to 16 kHz, and with headroom to keep the system running at 20 percent—maybe 40% maximum at peak impact.”

Using the MAPP 3D system design and prediction tool, the design particulars were worked out by Sack in consultation with Meyer Sound director of system optimization Bob McCarthy and design services supervisor Alex Harbaugh. As installed, the system comprises eight hangs of 12 each PANTHER loudspeakers, all with the 80-degree L horn. Potent bass power is projected uniformly throughout the space from dual hangs of nine each 1100-LFC low-frequency control elements in cardioid configurations. The entire system is networked for control, monitoring, and audio signal using the Milan AVB protocol, with redundant analog backup.

Two other key members of the project team were Metropolitan Interactive, responsible for rigging design under the guidance of Jeff Mele; and Geiger Engineering, responsible for assuring the structural integrity of all rigging points. Members of IATSE Local 13 were charged with the final rigging and flying of the system. 

“The response to the new system has been overwhelmingly positive,” said Pfitzinger. “I now have no problem lifting announcer Adam Abrams over the crowd noise when before he was often buried. Now it’s effortless. Nothing ever sounds pushed or distorted. It has clarity and impact, yet even when the music is up you still can carry on a conversation. And there is an incredible difference in the voice quality and clarity of the referee microphones.”

[SCN Installation Showcase 2022]

The fan experience in Wild games was the overriding consideration in specifying a PANTHER line array solution, but the system will be used for dozens of other events throughout the year, including high school and collegiate sports tournaments, an annual rodeo and skating shows, plus special events and large-scale meetings associated with conventions in the adjoining convention center. Although the system is not hung effectively for end-stage rock conferences, portions of it could function as delays or B-stage systems, according to Pfitzinger.

Meyer Sound has introduced Nebra, a new software platform that brings together multiple tools for specific tasks into a single integrated solution. The initial release is focused on fast and intuitive connectivity for endpoints in Milan AVB networks, including Meyer Sound’s PANTHER large-format linear line array loudspeaker, three ULTRA-X series point source loudspeakers, and the USW-112P compact subwoofer. Nebra also provides comprehensive system monitoring directly via the AVB network or, for other Meyer Sound products, through the existing RMS network via the RMServer. Nebra also will provide connectivity for Meyer Sound’s Galileo GALAXY Network Platform and for third-party network devices using the Milan protocol.

Nebra’s connectivity tools are designed for fast, trouble-free configuration and connection of complex Milan-based audio systems. “Many current audio-over-IP solutions are heavily text-based,” noted Andy Davies, Meyer Sound’s senior product manager. “Here, by displaying connections and monitoring in a clear visual layout, the system overview is much easier to understand. Connections are shown as graphical wires offering a clear picture of the system, while device icons change color to quickly identify any potential points of failure.”

[How Meyer Sound Empowers Transparency, Power, and Flexibility at Polish Theater]

Nebra leverages the latest in sensor fusion technology to simplify the task of monitoring large and highly complex networked audio systems. Disparate system health information is collected from all connected devices, with sensor data combined from multiple sources and displayed in one simple summary. 

“A ‘traffic light’ indicator in the corner of the screen constantly displays overall system status,” Davies continued, “so all the user needs to see is that one green box to know everything is fine. In addition, critical system messages are brought to the user’s attention via banner alerts, so there is no need to constantly review the status of every device. If there is a warning, Nebra directs the user swiftly to the source of the problem.”

Nebra is a stand-alone solution for all Milan-based devices. For Meyer Sound loudspeakers using RMS technology, Nebra functions in parallel with Compass control software.

[Check Out the AV that Rocks Between the Dawn and the Dark of Night]

Nebra is now available as a free download from the Meyer Sound website. Versions will be available for both Windows and Mac operating systems.

Nebra will immediately enable comprehensive connectivity and monitoring functions for Meyer Sound Milan equipped loudspeakers, the GALAXY Network Platform, Milan-certified AVB switches, and other Milan-certified devices. Nebra is conceived as a comprehensive software platform, and other functions will be incorporated into future releases.

In addition to the PANTHER linear line array loudspeaker, Nebra is compatible with the newly introduced Milan endpoint versions of the ULTRA-X20, ULTRA‑X22, and ULTRA-X23 loudspeakers and the USW-112P subwoofer.

“Nebra is unique in the way it applies software tools to groups and identifies large numbers of Milan endpoint devices, presenting an intuitive workflow when making a large number of connections, such as with PANTHER deployments," Davies said. "Touring sound users will benefit from the ability to quickly reconfigure systems for different venues, while installed sound users will benefit from a clear, easy-to-understand monitoring screen that operators can grasp with minimal training.”

 [AV Network's top stories, product news, and expert insights]

The first use of the Nebra software platform was by rental company Major Tom on the massive, in-the-round Ed Sheeran +-= ÷x (“Mathematics”) Tour, underway since early 2022.

Milan is a standards-based deterministic network protocol for real-time audio and video media. Certification by the Avnu Alliance assures that devices will work together for maximum convenience, reliability, and functionality.

With a heritage of cultural leadership extending back to 1945, the Jan Kochanowski Theatre in the southern Polish city of Opole is a multi-stage complex known for a variety of productions ranging from a classic theater festival to cutting‑edge contemporary drama. To keep one step ahead of the most rigorous demands for sound design, the theater recently upgraded its complement of Meyer Sound loudspeakers with the addition of new LINA very compact linear line array loudspeakers and the newest point source systems, the ULTRA-X40 and ULTRA-X20. A total of 44 loudspeakers are now permanently installed in the 575-seat main stage, with 26 additional systems available as needed for reconfigurable systems in the smaller stages.

“Our new Meyer Sound systems offer a precise and transparent representation of the processed audio signal,” said Robert Kondziela, who was the principal consultant on the project. “At the same time, the self-powered concept allows you to easily adjust the system elements to the needs of the current production as you can control each element separately. And you can forget about problems related to the length of loudspeaker cables, which has a direct impact on the quality of the sound.”

[Nearly 300 Meyer Sound Loudspeakers Power the Return of the Montreux Jazz Festival]

The main stage system is powered by left and right arrays of 11 each LINA loudspeakers, with deep bass buttressed by four 900-LFC low-frequency control elements. Fill and effects systems comprise two UPQ-1D and four ULTRA-X40 loudspeakers, with a pair of Galileo GALAXY 816 network platforms supplying system drive and optimization.

Kondziela was particularly impressed by the 12 ULTRA-X20 loudspeakers deployed as a surround and effects system in the main theater, with immersive effects supplied via the free Spacemap Go spatial sound design and mixing tool. “The ULTRA-X20s fulfill their function perfectly. This was noticed by directors working in the space as they have been used by practically every production since installation, including for “Rhotko,” a co-production with the Dailies Theatre in Riga that was nominated for 11 Latvian Theater Awards.”

The theater also maintains an in-house inventory of Meyer Sound loudspeakers that can be freely reconfigured as needed for the smaller stages in the theater complex. Sound designers can choose from a total complement of 14 point-source loudspeakers (ULTRA-X40, UPA-1P, UPA-2P, UPJ-1P, and UPM-1P), eight low-frequency control elements (900-LFC and 750-LFC) and four MJF-208 compact stage monitors, with one each Galileo GALAXY 408 and Galileo GALAXY 816 processors available for signal distribution.

[Meyer Sound's New PANTHER Loudspeaker Makes Global Debut]

The complete renewal of audio systems in the theater complex also included the addition of new DiGiCo digital mixing consoles (one SD10-24T and three SD11), a flexible Optocore fiber optic signal distribution network, and Shure Axient Digital wireless microphone systems with 16 channels for the main stage and 12, eight and four channels respectively for the smaller stages. The new audio systems were installed by the Wroclaw-based integration firm of M. Ostrowski, with design assistance from Krzysztof Polesinski and logistical coordination by Pawel Daszkiewicz of Polsound.

“The presentation of the Meyer Sound, DiGiCo, and Shure systems in our theaters made an impression on me comparable to hearing a Compact Disc for the first time,” said Norbert Rakowski, general and artistic director of the Jan Kochanowski Theatre. “It’s not so much about comparing media but rather about sensory impressions and a qualitative leap. The scale of capabilities of these devices is incredible. The number of advantages, such as the precision of the sound and the scale of configuration possibilities, convinced me immediately that it would be an excellent and, above all, future-proof investment for our theater.”

[AV Network's top stories, product news, and expert insights]

Named after the noted Polish Renaissance poet, the Jan Kochanowski Theatre in Opole has operated under this name and in its current location since 1975, with predecessor organizations extending back to the immediate post-WWII era. It was the first theater in Poland to officially join the prestigious European Theatre Convention.

What new products have sparked the interest of Pro AV professionals this year? We reviewed the product announcements published on avnetwork.com since January 2022. The following group includes products from articles that earned the most clicks from curious readers. In other words, we’re not picking favorites—we’re picking your favorites!

Barix Paging Gateway M400

The Paging Gateway M400 hardware enables paging from smartphones into almost any existing analog public address system. Users can easily send announcements through a web browser (no app needed) from Android, iOS mobile phones, or and computer on the local network. The hardware can also be used to extend Barix’s advanced IC complete, IP-based paging and two-way intercom platform in schools, businesses, and public facilities. This enables mobile phones and computers to be used as zone-capable paging stations in new or existing IC paging deployments. The user simply selects the zones to page into, and IC paging automatically routes the announcements to the right speakers or zone amplifiers. Access protection ensures only authorized personnel can use the system.

ClearOne DIALOG 10 USB Wireless Mic

Plug-and-play simplicity and wireless convenience come together in this single-channel wireless microphone. Ideal for webcasting and cloud-based collaboration through Microsoft Teams, Zoom, WebEx, GoToMeeting, and other apps, the DIALOG 10 is also ideal for public events, live streaming, classroom presentations, and conferences. An included USB-C cable connects to any PC for audio, power, and control. Wide audio bandwidth provides superior speech clarity, and ultra-low audio latency significantly enhances the audio experience. Offering a robust frequency-hopping, spread-spectrum technology, with no frequency license restrictions worldwide, the auto-scan feature finds open channels for optimal reception, and standards-based FIPS 197 AES-128 encryption ensures a secure link for wireless audio. 

Crestron VC-4 Virtual Control Enhancements

Crestron's enhanced software platform enables enterprise IT managers to deploy and scale room configurations quickly without sacrificing functionality. Crestron VC-4 allows IT specialists to design and configure a room’s UC, AV, and control solutions, save those configurations, and then automate them in a fraction of the time, significantly cutting down labor costs for common applications by streamlining the custom configuration experience. Since it is integrated with standard programming languages, including C# for IT and SIMPL for AV professionals, it does not require any new training to execute. VC-4 also comes equipped with the XiO Cloud Technology Operations Management platform, providing device lifecycles management, control, and remote support to maintain operational standards and maximize room uptime efficiently at scale, while providing enhanced data insights from a single dashboard.

HuddleCamHD SimplTrack Lite

This zero-setup, plug-and-play auto-tracking camera features flexible options for nearly any setting, as well as built-in compatibility for a range of system configurations. Users can simply unbox the camera, plug it into a USB 2.0 connection, and start recording or streaming with motion tracking—no software setup required. Thanks to its 20x optical zoom, the 1080p camera can be positioned up to 50 feet away from the subject. With a 59.5-degree field of view and 270 degrees of rotation, those being recorded are free to move about the tracking area. Fully compatible with most videoconferencing, lecture capture, and learning management systems, it can be easily integrated with practically any existing hardware due to its NDI|HX, USB, IP, SDI and HDMI output options.

HYPERVSN SmartV

The HYPERVSN SmartV Platform opens the possibility of interactive holographic content, as the platform is built on Android, which enables customers to develop custom widgets for their brand. In 2022, a larger but lighter 3000-nit HYPERVSN SmartV high-bright model launched, which can be connected to camera, voice, and tablet controls. Other external triggers, such as motion sensors or Internet data sources, can be used to trigger the HYPERVSN SmartV display, providing the user with a completely interactive experience. Committed to sustainability, the enhanced SmartV uses fewer pixels to create the same high-resolution imaging, with the new HYPERVSN SmartV devices having a power consumption rate below 50W on average. 

JBL Professional SRX900 Series

The SRX900 Series offers a complete system solution—including speakers, subwoofers, and accessories—that support a range of configurations and simplify storage, transport, and rigging. The latest family from JBL Professional includes dual 6.5-inch and dual 10-inch powered line array elements and 18-inch and dual 18-inch powered subwoofers, making it ideal for rental companies, fixed installations, and musicians seeking the combination of performance and portability. SBX900 Series speakers showcase acoustic innovations like JBL’s patented Radiation Boundary Integrator (RBI), which mounts both the high and low-frequency transducers on a single horn, improving horizontal dispersion while minimizing cabinet size. SRX900 models feature built-in DSP that provides everything users need to optimize and tune their systems, including 24-band parametric EQ, 2,000ms of delay, and gain control.

LG 136-inch All-in-One dvLED

The new 136-inch All-in-One DVLED display from LG Business Solutions USA combines a 1080p screen, on-board webOS controller, and built-in speakers to offer immediate operation in virtually any environment. With the new model, technology integrators can say goodbye to complicated installation procedures and wiring. The display can be installed in one day and includes every component necessary to serve a variety of needs and installation locations. Operating at up to 500 nits of brightness and featuring a 4.6mm bezel, 1.56mm pixel pitch, and total resolution of 1920x1080, the display has a rated lifespan of 100,000 hours to half-brightness. LG designed the cable-free LED modules to literally snap in using a magnetic tool, making the process virtually foolproof for integrators, and enabling much faster installation than other dvLED display options.

Meyer Sound Panther Line Array Loudspeakers

The Panther family consists of three cabinets with different horizontal coverage patterns: the Panther-M (95 degrees), Panther-W (110 degrees), and Panther-L (featuring an all-new long throw horn with a tightly defined 80-degree horizontal pattern). Panther also features new, longer-excursion, 12-inch low-frequency cone drivers and new 3-inch compression drivers. Each incorporates advanced magnet structures using new materials for higher flux density despite substantial weight reduction. Combined with a new LF port design, Panther has a maximum peak output of more than 150 dB SPL. Weighing only 150 pounds, Panther is a significantly lighter box than anything in its class. Reduced weight means more Panther loudspeakers can be flown on a single motor, and larger arrays can share the same truss and hang points with extensive video and lighting gear. 

QSC Q-SYS NM Series

The NM Series tabletop network microphone and loudspeakers—powered by the Q-SYS OS—have joined the Q-SYS NC Series conference cameras and Q-SYS TSC Series Gen 3 network touchscreen controllers as a complete suite of native, IP-based collaboration products for designers, consultants, integrators, and IT end users. The NM-T1 is a tabletop PoE network microphone that features advanced beamforming technology with four software-configurable zones and up to 360-degree coverage, allowing designers to minimize noise and refine intelligibility for optimal collaboration experiences. The NL Series loudspeakers offer three enclosure types, all delivering optimal speech and music reproduction to any modern collaboration space. As native Q-SYS products designed to work seamlessly together, the NM Series microphone, NL Series soundbar, and TSC Series Gen 3 touchscreen controllers benefit from the new Q-SYS Call Sync technology.

Shure MXA920 Ceiling Mic

With Automatic Coverage technology, MXA920 provides pre-configured audio capture with minimal setup required, reducing the time and cost of deployments for integrators. The MXA920 also employs next-generation array architecture for enhanced directional pickup and more natural speech. The onboard IntelliMix DSP delivers noise and echo-free performance as well as audio clarity and intelligibility for AV conferencing across room types—executive boardrooms, higher education hybrid classrooms, corporate, and government meeting spaces. Two form factors (square and round) support design integration into even the most sophisticated facilities and meeting spaces. The MXA920 is also certified for Microsoft Teams and has versatile mounting options for in-ceiling, on-ceiling, pole, or wire rope installations.

Introducing the new Milan input versions of the ULTRA-X20, ULTRA‑X22, and ULTRA-X23 full-range loudspeakers and the USW-112P compact subwoofer. Meyer Sound unveiled the immediate availability of four more loudspeaker products that are now certified as stand-alone endpoints for direct connection to any AVB network compliant with the Milan interoperability protocol. 

[Nearly 300 Meyer Sound Loudspeakers Power the Return of the Montreux Jazz Festival]

Already proven in the field with Meyer Sound’s PANTHER linear line array, the Milan input modules accept audio signals from any Milan-certified source via a certified switch. A single RJ45 connector carries high-resolution digital audio along with telemetry data for remote monitoring, resulting in simplified installation and reduced costs.

“The debut of these four Milan-certified loudspeakers marks a major milestone in the evolution of networked AV systems built around a user-driven protocol based on IEEE open standards,” said Andy Davies, senior product manager at Meyer Sound. “Designers of installed systems for new construction can save on cabling and installation labor costs, while system renewals can utilize cabling already installed for existing Gigabit Ethernet networks—all with the inherent routing flexibility of digital networks.”

[Feeling Festive: Meyer Sound PANTHER Makes its North American Festival Debut]

The availability of Milan-certified loudspeaker systems enables complete network AV solutions which not only offer simplified management and control but also are more cost-effective to deploy using IT industry infrastructures. Network solutions also maintain a fully digital workflow all the way to the end point, eliminating conversion stages that add latency and degrade performance.

“Milan is rapidly becoming the preferred digital transport solution because of its reserved bandwidth as well as guaranteed latency and presentation time,” added Davies. “Indeed, for many applications, it is the only digital transport solution that meets the technical requirements. In addition, as an open standard, it will be supported for the life of the product. Meyer Sound products last for decades, and the network technology must do the same.”

Meyer Sound Milan-certified loudspeakers now offer the advantages of end-to-end networked solutions across a full range of applications, including but not limited to corporate and hospitality installations, theme parks and themed spectaculars, houses of worship, and retail spaces.

“The Milan-based network ecosystem is expanding rapidly,” explained Davies. “One major console manufacturer is now shipping Milan-certified products, and we also are seeing new endpoints and an increasing selection of certified switches. Alongside this, we can already see the benefits from Avnu Alliance’s new membership and testing initiatives. We are excited by the number of new products and manufacturers we expect to see added to the Milan world in the next few years.”

Aside from the input module, loudspeakers with Meyer Sound’s Milan-certified endpoint module are identical to those with the standard analog input. Although each of the loudspeakers in the ULTRA-X20 family offers a lightweight (27 pounds / 12.3 kg) and compact form factor, they all have high SPL to size capabilities. The ULTRA-X22, for example, produces 128.5 dB (M-Noise) over an operating range of 60 Hz to 18 kHz. The USW-112P compact subwoofer (47 pounds / 21.4 kg) also is a powerful performer, producing 123 dB over a 35-140 Hz range

[AV Network's top stories, product news, and expert insights]

When these models are ordered with Milan-certified input modules, the user panel includes the new Neutrik etherCON TOP network connector and powerCON TOP AC line connector for weather resistant connections. Remote monitoring capability is also included and utilizes the common network connection rather than separate wiring. A weather protected option provides full IP54-rated protection for outdoor installations with no rain hood required.

The ULTRA-X20 family offers three coverage pattern options, coupled with rotatable horns and a wide selection of accessories. The result is a flexible range of systems equally at home in rental or permanent installs. Bringing this family into the Milan ecosystem, along with the powerful USW-112P, further enhances the flexibility and range of deployments possible with Meyer Sound solutions. 

Meyer Sound’s new Milan-certified loudspeakers will debut at the 153rd AES Convention in New York on October 19 and 20 in rooms 2D06 and 2D07 of the Jacob Javits Center. At AES in New York, Meyer Sound also will be previewing new software for connection management and monitoring, and members of the Meyer Sound technical team will be presenting on panels throughout the convention.

The Montréal International Jazz Festival roared back to life in 2022, reinforcing its distinction as the largest jazz festival in the world. With 350 concerts scheduled over 10 days—two-thirds of them free—the festival once again drew audiences numbering in the hundreds of thousands to downtown Montréal, where AVL supplier Solotech had equipped eight indoor and outdoor stages—including the Scène TD main stage—with Meyer Sound reinforcement systems. 

Launched in 1980, the Montréal International Jazz Festival is the premier event of its kind in North America, and with the strong resurgence in 2022, the festival can reassert its claim to the title of “world’s largest jazz festival” as previously awarded by the Guinness Book of World Records. With annual attendance of over 2 million, the festival is not only the largest jazz festival but one of the largest music festivals in the world.

Having the right sound system for its triumphant return was imperative and Meyer Sound delivered to rave press reviews, in particular for the closing act, The Roots, at Scène TD.

“The Roots demonstrated why they continue to be known as one of the best live acts on the planet,” wrote the Montréal Gazette, also noting that “the tens upon tens of thousands that swarmed an absurdly packed Place des Festivals…were in for a heckuva show.” Canadian Beats concurred, noting “The Roots delivered a true masterclass in hip-hop, funk, soul, and jazz, a cluster of genres perfect to close the festival.”

[Nearly 300 Meyer Sound Loudspeakers Power the Return of the Montreux Jazz Festival]

The resounding success of audio at this year’s Montréal International Jazz Festival can be credited to the work of Festival technical coordinator Dan Meier and his team from L’Equipe Spectra. Meyer Sound and Solotech worked closely with Meier and his team to develop and deploy the sonic experiences at the festival.

The enthusiastic response came as no surprise to director of R&D and technological solutions David Brazeau, who was responsible for overall supervision of AVL systems on behalf of Solotech. “We’ve heard only great reviews on the performances from people who were there and from the media. There was no particular mention of the sound, but then the whole idea is to make the reinforcement transparent, so it’s not noticed. When the sound is perfect you don’t hear anything about it!”

The Scène TD stage system comprised main front arrays of nine per side LEO linear line array loudspeakers, with focused low end from end-fire arrays of six per side 1100-LFC low-frequency control elements. Front fills were MICA line array loudspeakers, with MSL-4 loudspeakers as out fills. First delay was two arrays of six MICA loudspeakers augmented by six 900-LFC elements in cardioid configuration, with pairs of CAL 64 and CAL 32 beam-steering column array loudspeakers supplying highly directional sound for the second and third delays. The VIP section was covered by four M1D line array loudspeakers.

[Feeling Festive: Meyer Sound PANTHER Makes its North American Festival Debut]

Other acts energizing the overflow crowds at Scène TD included Lee Fields, Bran Van 3000, and Clay & Friends.

Meyer Sound systems also supplied reinforcement at several indoor venues hosting well-known performers. A MINA line array system was deployed at Maisonneuve Theatre for, among others, Al Di Meola, Manhattan Transfer, and Pat Metheny. At Montréal Symphony House, Meyer Sound JM-1P, UPA-1P, and UPQ‑1P loudspeakers supported Gregory Porter, Ludovico Einaudi, and Ravi Coltrane, while at Monument-National Tommy Emmanuel, Christian McBride, Dee Dee Bridgewater, and Bill Charlap were heard through UPQ-1P, UPA-1P, and veteran UPA-1C loudspeakers coupled with 700-HP subwoofers.

Other outdoor stages equipped with Meyer Sound systems were Rio Tinto, Club Montréal, Stage Loto-Quebec, and Pub La Traversée Molson Export.

Solotech has been an integral part of the Montréal International Jazz Festival for as far back as Brazeau can remember. “I’ve been with Solotech for 25 years and we were supplying systems back then,” he said. “We are much more than a rental house, but really a full partner, one part of a team that for many years has included our key trusted suppliers, including Meyer Sound.

[AV Network's top stories, product news, and expert insights]

“Meyer Sound always has been a go-to partner for the festival,” Brazeau continued. “Whenever we have an issue of any kind, they jump right on it and give us full support. David Vincent of Meyer Sound tech support here in Canada helps us out every year, collaborating with our team on system designs.”

This year, Vincent and the Solotech team made full use of Meyer Sound’s MAPP 3D™ prediction software, which proved an essential tool in shaping coverage to fit the venues without excessive bleed into adjacent part of the city center. “They worked hard to focus the energy down on the crowds, and they have been very successful in doing that thanks to MAPP 3D and our deep inventory of Meyer Sound loudspeakers,” noted Brazeau.

During the first two weeks of July, legions of music lovers again descended on the shores of Lake Geneva for the Montreux Jazz Festival, which returned this summer as an iconic musical event with a packed schedule of concerts, club DJ sets, films, and workshops. Meyer Sound also returned to Montreux at full force for its 36th year as a strategic partner and official sound provider, supporting the festival with nearly 300 loudspeakers deployed across 12 venues, indoors and out, large and small.

Most of the festival’s headliner concerts are presented in the 4,000-seat Auditorium Stravinski, and this year the venue also had the distinction of hosting the first indoor concerts to be reinforced by Meyer Sound’s new system, the PANTHER large-format linear line array loudspeaker. PANTHER quickly earned praise for its inherent sonics as well as the way it paired with the impeccable acoustics of the hall.

“It was pure joy to mix on PANTHER,” said the festival sound coordinator Martin Reich of audioconsulting ag, who also served as FOH engineer for Westerman and Gregory Porter. “The system is extremely precise, consistent and coherent, especially in the upper midrange. It is also exceptionally linear, which is the best thing for me. It behaves exactly the same whether you are mixing loud or at a low level.”

[Feeling Festive: Meyer Sound PANTHER Makes its North American Festival Debut]

“What an amazing system,” exclaimed Bob Coke, who mixed Jeff Beck with special guest Johnny Depp. “With PANTHER, it’s like mixing on near-field monitors in the studio. I could hear everything on them, including all the corrective EQ saved on the console channels from my last gig. Kudos to Martin and José [Gaudin] for their extremely coherent install—front to back, top to bottom, and left to right, the venue sounded the same everywhere.”

Festival production manager Marco Güntensperger appreciated the upgrade even before the system was fired up. “What impressed me most at first sight were the ‘festival friendly’ cabinet dimensions. In a setting like the Auditorium Stravinski, this is key, and PANTHER is a great example of how to maximize main PA units these days.”

For Reich, the reduced weight of PANTHER, when compared to prior systems, paid immediate dividends. “The weight reduction on the main arrays allowed us to increase the number of subs flown behind them, which helped us have even better control over the low frequencies,” he noted.

[Meyer Sound's New PANTHER Loudspeaker Makes Global Debut]

The two main front arrays at Auditorium Stravinksi each comprised 12 PANTHER loudspeakers, with eight of the “L” long-throw horn cabinets over four of the “W” wide-dispersion versions. Also deployed were 14 1100-LFC low-frequency control elements, six 900-LFC elements, four ULTRA-X40 and four ULTRA‑X20 compact loudspeakers, and eight LINA very compact linear line array loudspeakers.

Artists also featured at Auditorium Stravinski included A-ha, Nick Cave and the Bad Seeds, Bjork (with Sinfonetta de Lausanne), Diana Ross, Dutronc and Dutronc, Van Morrison, and Herbie Hancock.

Montreux Jazz Lab, the other paid-ticket venue, presented a diverse range of innovative and imaginative new artists, including Stormzy, Loyle Carner, Phoebe Bridgers, Girl in Red, and Mitski. The reinforcement system here was anchored by 20 LEOPARD compact linear line array loudspeakers.

[Playing in the Band: Meyer Sound's PANTHER Powers Dead & Company's U.S. Tour]

The remaining 10 Meyer Sound systems were deployed at a variety of indoor and outdoor stages, clubs, and specialized event sites. The system configurations encompassed a total of 25 different Meyer Sound models, both current product and still in-demand legacy loudspeakers. The main stages offered artist foldback systems based around a total of 40 MJF series stage monitors, with the “MJF” designation reflecting Montreux Jazz Festival’s past consulting role in the loudspeaker’s development.

Most of the free venues presented live music or DJ sets using appropriately scaled line array or point source reinforcement systems, though other sites involved unique applications that highlight Meyer Sound’s cutting-edge audio technologies.

[AV Network's top stories, product news, and expert insights]

La Bibliothèque (The Library), for example, housed a special vinyl playback room equipped with Meyer Sound’s Bluehorn System studio monitors. Using advanced digital processing and proprietary algorithms, Bluehorn System is uniquely capable of flat, full bandwidth reproduction at high playback levels with absolute phase accuracy.

Le Cinema, which hosted screenings of past festival concerts as well as cinema tributes to David Bowie, Nick Cave, and festival founder Claude Nobs, employed an 11-loudspeaker system configured with ULTRA-X40 and ULTRA-X20 loudspeakers and 900-LFC low-frequency control elements. Meyer Sound’s Spacemap Go spatial sound design and mixing tool was implemented on a GALAXY 816 Network Platform for any needed dynamic spatial or immersive effects.

[9 Large-Venue Projectors and Key Features Experts Recommend as Live Events Return]

Principal audio supplier for the festival was Skynight SA, based near Geneva, with on-site project managers Goran Pajic and Yvan Baronne working under the overall direction of Nicolas Walser. Eddy Broquet of Meyer Sound’s Swiss distributor, Tonspur, coordinated distribution and technical support. Meyer Sound’s José Gaudin served as company liaison with the festival, and doubled as FOH mixer at Montreux Jazz Lab.

“Once again I would like to thank Meyer Sound for their many years of support,” said Reich, “because that support makes Montreux one of the best-sounding festivals in the world.”

“We are all looking forward to working with Meyer Sound on the 2023 edition,” added Güntensperger.

A mecca for jam band devotees, the Peach Music Festival at Montage Mountain in Scranton, PA, is known for presenting a diverse, multi-genre array of artists most known for their free-flowing improvisation and danceable rhythms. Launched in 2012 by Live Nation and the Allman Brothers Band, the Peach Music Festival has been an annual event drawing enthusiastic music fans to the Montage Mountain Resorts. Headliners for 2022 included Billy Strings, Joe Russo’s Almost Dead, Trey Anastasio Band, and The Black Crowes, with more than 70 bands total on the bill. From an audio standpoint, the 2022 Peach Music Festival was notable as the North American major festival debut of Meyer Sound’s new PANTHER large-format linear line array loudspeaker. 

This year’s Peach Music Festival was also the first for Coatesville, PA-based DBS Audio Systems as the principal audio provider. Company president Dave Brotman was elated with the PANTHER system’s performance at the Pavilion at Montage Mountain for the main Peach Stage.

“Amphitheaters with tent roofs can generate a vast amount of reflections,” noted Brotman, who served as system engineer at the main stage. “FOH engineers come in here expecting to be fighting the room acoustics all night. But the PANTHER boxes with the new ‘L’ horn can focus the coverage pattern with knife-edge precision. At 120 feet from the stage, vocals were sharp and articulate. Most engineers were thrilled with what they heard, saying it was the best experience they’ve ever had in a tent like this.”

[Meyer Sound's New PANTHER Loudspeaker Makes Global Debut]

“I couldn’t have been more excited going into the Peach Music Festival knowing I was going to be one of the first sound engineers in the states to get my ears on the new PANTHER rig,” commented Andy Lytle, FOH engineer for Billy Strings. “Dave from DBS could not have tuned the PA better and I was completely blown away by the experience. The clarity that the PANTHER provides while paired with the 1100-LFC met my expectations and I was very pleased. I can’t wait to use PANTHER again.”

“I was absolutely delighted to mix on the PANTHER system,” concurred Erich Miller, FOH engineer for Pigeons Playing Ping Pong. “That pavilion can definitely be a bit of a bear to mix in, but I felt as much in control as I could have hoped for. It was smooth and responsive, a truly quality sound system. What more could I ask for?”

Sam Bardani, who mixes for the Connecticut-based rising rock band Goose, recalled his “great experience” with the new PANTHER system. “When you come into a set without any kind of sound check, and with a quick change-over, having a PA you can trust makes all the difference. I was ecstatic with the results right off the bat. These boxes pack a serious punch without compromising top-end clarity. PANTHER made the set a breeze.”

[Playing in the Band: Meyer Sound's PANTHER Powers Dead & Company's U.S. Tour]

Nathan Gilberg, after mixing an acoustic set for Duane Betts, said he was “blown away by the control and clarity. In reverberant situations like amphitheaters and arenas, this rig really shines.”

The two main hangs at the Peach Stage each comprised 12 PANTHER line array loudspeakers, with eight “L” horn long-throw cabinets over four “W” horn wide coverage versions. A horizontal 6x2 ground array of 1100-LFC low-frequency control elements pumped out deep bass, six MINA line array loudspeakers supplied front fill, a single ULTRA-X40 compact loudspeaker per side served as corner fill, and six GALAXY 816 Network Platforms handled system drive and optimization. The foldback system included 15 MJF-210 stage monitors, twin drum monitors each comprising one ULTRA-X42 compact loudspeaker over one 900-LFC low-frequency control element, and MSL-4 loudspeakers as flown side fills.

“The way that PANTHER integrates seamlessly with all the other Meyer Sound speakers really helps where we are coming from as a rental company,” said DBS Audio vice president Mike Shoulson. “When you add to that the reduced size and weight, which saves on trucking and labor, it means we can bring more to the equation regardless of the event type.”

“To me, a one box solution that can scale from a theater up to a stadium is a no brainer for a rental company,” added Brotman. “Just keep adding PANTHER and scale up to meet the application. We expect to be adding more to our inventory very soon.”

[Check Out the AV that Rocks Between the Dawn and the Dark of Night]

At the Peach Music Festival’s smaller Mushroom Stage, reinforcement was supplied by a complete Meyer Sound system based around a total of 24 Meyer Sound LEOPARD compact line array loudspeakers with bass augmented by six 1100-LFC elements. “LEOPARD is one of the easiest rigs to mix on that I have ever used,” observed the stage’s resident engineer, Ted Fletman. “Whatever you put into it is exactly what you get out of it. You can’t hide behind it, but you hear exactly what is going on, something I enjoy.”

Here are eight of your peers’ favorite articles (most viewed) that go behind the scenes at concerts and other events to uncover the microphones, line array loudspeaker systems, amplifiers, headphones and cameras that help fine-tune performances and deliver a spectacular listening experience.

Playing in the Band: Meyer Sound's PANTHER Powers Dead & Company's U.S. Tour Dead & Company is back on the road for its 2022 Summer Tour which kicked off in mid-June at Dodger Stadium in Los Angeles. As they carry on the Grateful Dead tradition of using the latest innovations in sound reinforcement, the tour is powered by a system featuring Meyer Sound’s new PANTHER large-format linear line array loudspeaker. 

A Microphone (or Four) Fit for a King—The Vintage Mics Used by Elvis Presley Baz Luhrmann's biopic 'Elvis' turned to Shure for consultation on the Shure mics used by the King. Here are four of Elvis' favorites. a sampling of the different types of Shure microphones Elvis used throughout his career.

Shure Axient Digital Wireless Technology Powers Billboard Music Awards Artists such as Machine Gun Kelly, Miranda Lambert, and Becky G trusted Shure's array of wireless mics for their performances. Commanding the stage, Silk Sonic sang into an AD2/Beta 58A mic, Machine Gun Kelly rocked out with a custom white ADX2/KSM9, Miranda Lambert and Elle King sported AD2 Axient Digital transmitters, and Megan Thee Stallion used her own custom black metallic finish ADX2FD/K9B mic as a statement piece. 

Foo Fighters’ Studio 606 Upgrades Recording Experience with AKG Headphones A state-of-the-art recording space and headquarters to the Grammy Award-winning band Foo Fighters, Studio 606 is a treasure trove for audiophiles and rock music fans alike. 

Long-standing Metallica-Meyer Sound Relationship in Full Sonic Force at 40th Anniversary Concerts Meyer Sound's massive 286 loudspeaker in-the-round configuration propelled Metallica's music with undiminished clarity and dynamics. Bob McCarthy's design comprises 10 Sonicmain arrays interspersed with the video screens, with long throw arrays of mixed LEO and LYON line array loudspeakers and short throw with LYON only. 

Panasonic PTZ Cams Provide Stage Footage for Metallica Concert Film Trafalgar Releasing recently premiered S&M2, a celebration of the 20th anniversary of Metallica’s S&M (“Symphony and Metallica”) concerts and album recorded with the San Francisco Symphony. The broadcast will be seen in more than 3,000 theaters in more than 80 countries. 

d&b Brings the Dance Floor to Life at Oakland's Crybaby Music Venue It’s the little differences that make the hairs stand up on your arms. All of these tweaks and the technical aspects come together to provide an experience that is beyond words, making you feel truly alive.

Inside Scoop on Snoop Dogg's Gold-Plated Microphone During Super Bowl LVI Halftime Show We've got the inside scoop on the microphones that delivered the sounds of Super Bowl LVI weekend: From Budweiser’s Music Fest, to the National Anthem to the referee mics, to Snoop Dogg, and more.

Dead & Company is back on the road for its 2022 Summer Tour which kicked off in mid-June at Dodger Stadium in Los Angeles. As they carry on the Grateful Dead tradition of using the latest innovations in sound reinforcement, the tour is powered by a system featuring Meyer Sound’s new PANTHER large-format linear line array loudspeaker. The band further augmented its seemingly limitless repertoire of tunes while UltraSound—decades-long audio provider for the Grateful Dead and successor ensembles—assembled the largest system of PANTHER loudspeakers in North America, and the first to roll out on a USA tour.

To cover expansive audience areas in a mix of sports stadiums and larger sheds, UltraSound is carrying a PANTHER inventory that allows reconfiguration for venue size. For stadiums, a typical deployment is four identical arrays — two main front and two side—each comprising fourteen PANTHER loudspeakers, with four PANTHER-W wide coverage versions flown under 12 PANTHER-L long-throw versions.

Mixing the band for PANTHER’s North American touring debut is FOH Engineer Derek Featherstone, who also serves as tour director and UltraSound CEO.

[Meyer Sound Resumes the Long Strange Trip with Dead & Company on Tour]

“PANTHER is a very responsive system and reacts quickly to change,” said Featherstone. “The vocals tend to lead nicely, staying up front in the mix better than with last year’s system. I’ve altered some vocal compression to take advantage of this. Also, the general consensus so far is that PANTHER needs less EQ, so optimizing the system is quicker. We don’t need as much high frequency boost in stadiums, and the detail is more transparent.”

Weighing in at 150 pounds (68 kg), the PANTHER loudspeaker nevertheless produces greater than 150 dB peak SPL. The compact size and reduced weight save on transportation costs while the new Class D amplifier dramatically reduces power consumption. PANTHER is the first line array system to offer AVB Milan protocol network connection directly to the loudspeaker cabinet.

As tour director, Featherstone appreciates the added flexibility afforded by PANTHER’s power-to-size/weight ratio.

“We’re using the same count of PANTHER as we had for LEO last year, but the reduced size and weight allowed us to carry more subs and deploy them more effectively," he explained. "Recovered truck space allowed us to bring the VLFCs, while PANTHER’s reduced weight makes it easier to do more end-fire sub arrays in stadiums within the same total weight limits.”

For larger venue deployments, PANTHER arrays are bolstered in the bass registers by 18 flown 1100-LFC low-frequency control elements plus 12 700-HP high-power subwoofers on the ground. Ten VLFC very low-frequency control elements extend response down to a subsonic 13 Hz. A dozen LEOPARD compact line array loudspeakers are deployed singly for front fill, and a total of eight GALAXY Network Platforms provide system drive and optimization. The stage foldback system comprises 10 MJF-210 and two MJF-212A stage monitors along with two JM-1P loudspeakers for side fill and two 1100-LFC elements as drum subs.

“We invested in PANTHER for three reasons,” said Featherstone. “We needed additional inventory, we were confident that the fidelity would be as expected from Meyer Sound, and we would benefit from the added versatility. We are already getting a good deal of interest from other tours and events after Dead & Company wrap up next month.”

[Captain's Log: FlexGlass Projection Screen Powers Starship Console in ‘Star Trek: Picard’]

In addition to Featherstone, the Dead & Company tour is supported by Michał Kacunel (system engineer), Ross Harris (recording engineer and ground PA tech), Lonnie Quinn and Ian Dubois (monitor engineers), along with crew members Sean McAdam, Aaron Lauzier, and Reilly Williamson.

The band’s 2022 tour proceeds eastward with 20 shows scheduled in 16 cities, wrapping up at Citi Field in New York on July 16. Of the tour venues, four are Major League Baseball stadiums, one an NFL stadium, and one college football stadium, with the balance at larger sheds.

Dead & Company was formed in 2015 when the Grateful Dead’s Mickey Hart, Bill Kreutzmann, and Bob Weir joined forces with artist and musician John Mayer, Allman Brothers’ bassist Oteil Burbridge, and Fare Thee Well and RatDog keyboardist Jeff Chimenti, and has quickly become one of the most successful touring bands year over year. Since its formation, the band has completed six tours playing to millions of fans and became a record-breaking stadium act when it broke Wrigley Field’s all-time concert attendance record, which still holds to this day. Having toured consistently since its 2015 debut, the band has grossed $300 million and has sold more than three million tickets across 172 reported shows.

Situated on the campus of the University of Illinois at Urbana-Champaign, the Krannert Center for the Performing Arts serves not only as a world-class venue for visiting artists and student ensembles but also as a hands-on learning facility for the school’s sound design programs. Last summer, the center took a major leap ahead in furthering both missions with installation of a multi-faceted Meyer Sound solution that encompasses Constellation active acoustics, surround sound systems with Spacemap control, and a main reinforcement system based on LINA line array loudspeakers.

The new systems, supplied by Chicago-area integrator TC Furlong were installed in the 674-seat Colwell Playhouse, one of four venues in the expansive Krannert Center.

The 2021 project is the first in a series of upgrades planned by Rick Scholwin, who doubles as both the Center’s director of audio services and chair of the university’s sound design program.

[Meyer Sound's New PANTHER Loudspeaker Makes Global Debut]

“When I accepted this position, my goal was to support artists with technology that is the best available in the world,” said Scholwin, “while also giving students hands-on experience with systems that are on the cutting edge and will be current long into the future.”

At the foundation of the complete audio makeover is a Constellation acoustic system comprising 99 distributed loudspeakers, 27 microphones for sensing ambient acoustics, and 21 D-Mitri digital audio modules. Three processors are devoted to hosting the patented VRAS algorithm for generating natural acoustical environments across the hall’s three discrete zones.

The self-powered loudspeaker complement for Constellation and immersive systems includes Meyer Sound Ashby-8C, UPM-1X, UPJunior-XP, and UPJ‑1XP full-range models along with UMS-1XP subwoofers.

“Everybody on campus is excited about the new acoustical flexibility and rightfully so,” commented Scholwin. “The Colwell was designed principally for theater and spoken word events, with a reverberation time of a little over one second. But now we can, for example, emulate the acoustics of Krannert’s Great Hall, with a 2.8 second RT for orchestral music, we can extend that even further for choral works. Now we are blowing the doors off the programming possibilities. We can do opera in here, or host a bluegrass band with one microphone and let the active acoustics fill the room as if it were the Ryman Auditorium.”

For advanced theatrical sound design, the self-powered loudspeaker systems can be instantly configured to work with the Spacemap sound design software, enabling both immersive effects and dynamic panning of discrete sounds across any and all locations. “If we want to fly a bumblebee around the room, we can do that easily,” said Scholwin.

The Colwell Playhouse’s new direct reinforcement system, which functions separately from Constellation, is anchored by twin arrays of eight each LINA line array loudspeakers, with each array flown under two 750-LFC low-frequency control elements. Two ULTRA-X40 compact loudspeakers serve as the center cluster, and three additional 750-LFC elements on the floor augment the low-frequency thrust.

The new systems made their debut at the post-pandemic return of the Krannert Center’s highly regarded Ellnora Guitar Festival. Artists supported by the new systems included The Punch Brothers (neo-bluegrass), Katie Pruitt (Americana), Adam del Monte with Sonia Olla and Ismael Fernández (flamenco), Isaiah Sharkey (multi-genre), and Cedric Burnside (blues). Other performances hosted by the venue include drama (The Neverland), dance (Tango Argentina), and Afro-Cuban Jazz (Jane Bunnett and Maqueque).

In addition to supporting a diversity of performance genres, the new systems afford extraordinary learning opportunities for the school’s BFA and MFA sound design students, said Scholwin. “This is a merging of professional arts technologies and education at the highest level. They will leave here with an in-depth, theoretical, and practical knowledge of large-scale immersive systems. They can master all they need to know to step into high-level positions.”

Krannert Center director Mike Ross played a pivotal role in securing funding for the new systems, and he is elated with the outcome. “What I’ve experienced in the Colwell Playhouse has been utterly inspiring. In addition to greatly enhancing live performances in support of our public engagement mission, the new systems will be a tremendous asset in support of our educational mission, vis-à-vis training students pursuing sound-related career paths in the performing arts.”

Other key contributors to the project on behalf of the Krannert Center were assistant audio director/video director Alec LaBau (also on the university’s sound design faculty) and theater audio and media specialist Keith Norton. Handling logistics and technical coordination for TC Furlong were general manager Jeff Cech and president TC Furlong.

AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Jessica Lange, Marketing Director at Guntermann & Drunck GmbH (G&D)

For more than 35 years, we have developed our expertise as a KVM manufacturer and are looking forward to showcasing our latest KVM solutions at InfoComm 2022. We use our experience to create the best possible working conditions for control room staff and technicians, which we achieve with our broad, interoperable KVM portfolio. KVM makes it possible to operate multiple physically separated computers from different workstations, thus optimizing the IT infrastructure. Therefore, we place great value on ensuring that users can always rely on the technology running in the background and that focused and intuitive work is possible in control rooms. At InfoComm, visitors will be able to see the latest product highlights from G&D in real-world applications and experience the usability of the products.

The new, high-performance KVM-over-IP extender VisionXS utilizes standard Ethernet networks with up to 10-Gbit bandwidth and therefore requires much less compression at higher display resolutions. G&D's proprietary lossless video compression bluedec transmits pixel-perfect resolutions up to 4K60 and improves the user experience. As a special highlight, the integrated IP-MUX function lets a console device manage multiple target IP addresses from up to 20 computer sources without additional hardware. For simpler applications, the on-screen display can be used to switch between different sources.

To enable employees in control rooms to keep an eye on all content, various screens can be displayed on one large monitor. Particularly exciting for this purpose is the PersonalWorkplace-Controller, a multi-viewing tool that allows up to 26 video sources to be displayed and operated on a single screen depending on the application. AV professionals benefit from a flexible layout, with image quality up to 4K60. The PWC optimizes workflows, where multiple signals need to be monitored. Combining a KVM system with the PWC ensures secure, high-performance, and flexible access to all relevant computer systems. It is also possible to use the PersonalWorkplace-Controller to display the sources on a large video wall.

InfoComm Booth: W1255

Roadmaps to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Steve Trunkett, Director, Global Sales at SurgeX

It’s been quite a while since SurgeX last hit the InfoComm show floor, but despite how technologies (and everything else) have evolved over the past couple years, one thing remains consistent: Power anomalies are a risk to electronics all over—from the home office to the corporate boardroom to the dealer showroom. A strong power foundation must be in place to keep things up and running. Homes and commercial spaces both rely on more technology than ever, and for InfoComm 2022, SurgeX is excited to bring forth a portfolio of trusted power protection solutions that safeguard AV equipment, ensure performance continuity, and enable remote monitoring. 

The award-winning SQUID power management system will be on display at the SurgeX booth. Providing AC/DC power protection, boxed network control, and analytical software in one compact chassis, SQUID streamlines installation of the most highly sought-after and critical power management and monitoring tools for electronics and AV systems. Integrators no longer have to install a product for AC, another for DC, and yet another to monitor and control the power environment. It is the perfect solution for collaborative flex environments, huddle spaces, and other tight-spaced AV settings.

SurgeX will also display its new line of UPS solutions with built-in isolation transformers. Available in three models, the line-interactive, cost-effective UPS + Isolation Transformer line safeguards sensitive connected equipment by eliminating neutral-ground voltage, reducing lockups, and mitigating downtime by completely isolating connected equipment from the grid and other electronic loads that can pollute the branch circuit. They feature a true sine wave interactive UPS to filter, condition, and stabilize power while simultaneously providing all the benefits of low-impedance isolation transformer technology at the rack level. The SurgeX UPS + Isolation Transformer solutions are virtually silent, making them an ideal match for showrooms, audio systems, and other sound-reliant installations.

InfoComm Booth: W1373

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56 AV/IT Company Roadmaps 2022 

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Tomer Mann, CRO at 22Miles

While the past couple of years have been tumultuous to say the least, the evolution of technology has been incredible. We’ve entered the golden age of visual communications, and our team has been hard at work to deliver on integrators’ every demand to best serve their businesses, employees, and customers. Visual communications have gotten more flexible, effective, and easier to deploy. Solutions including digital signage, wayfinding, and space management are taking hold, from venues and hotels to universities and corporate campuses, and they’re getting better with age. 

For InfoComm 2022, we’re thrilled to show off everything we’ve worked to master—and there’s so much to share that we’ll be all over the place. As the content software solution for the Las Vegas Convention Center’s video wall solutions, wayfinding, space management, and more—attendees will be using 22Miles systems to explore the entire show. You’ll be fully immersed in what 22Miles can do from the moment you walk in the door, greeted by massive displays powered by our content management software. You can find our technology everywhere—from the Tesla loop to booths on the show floor—using our interactive wayfinding on the official LVCC app. 

In partnership with leading hardware brands, including Mimo Tablets (N2223), Crestron (W603), Brightsign (N735), Peerless-AV (N2831), Sharp/NEC (N2305), Philips (N2021), and more—22Miles will be present in several booths across the show floor. Swing by to learn and see how the integrated visual communication, 3D wayfinding, Carry2Mobile, room booking, and directory experiences can take your business to the next level.

InfoComm Booths: N2223, N735, N2305, N2021, W603, N2831

Roadmaps to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

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56 AV/IT Company Roadmaps 2022 

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Christian Young, Pro AV Product Manager for ATEN Technology

ATEN has been working hard to help our partners meet the new needs for AV and will showcase these solutions at InfoComm 2022. Our company is focused on providing connectivity and control solutions that foster emerging AV environments that enable the amount of interactivity and flexibility required to build a new, better normal. We work with our partners to meet the demands of these new requirements and challenges and to find the best solutions.

We have been working to enable hybrid and remote environments in a variety of industries. Education has new requirements to support remote and in person classrooms and lecture halls. Entertainment has been revolutionized, with new immersive and mixed reality experiences. Office spaces and meeting rooms have transformed to support the hybrid work environment and focus on creating new collaboration spaces.

We are also working with partners to develop immersive environments with our HDBaseT video extenders that meet their needs for long-range AV transmission and quick, responsive equipment. Our video presentation switches, control boxes, and content creation products are being used to transform offices and classrooms into collaborative experiences for both remote and local participants.

I am eagerly looking forward to supporting new AV experiences as the application of collaborative and immersive AV technology is applied in new and unpredictable ways to delight and excite everyone. I believe AV technology is just on the cusp of supporting a new collaborative and immersive world.

InfoComm Booth: N635

Roadmaps to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

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56 AV/IT Company Roadmaps 2022 

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Kenneth Mau, Product and Channel Marketing Director at ViewSonic

As we continue to move forward and transition our lives to blend the remote, physical, and virtual into hybrid environments at work and school, the efforts to find suitable collaboration solutions will be ongoing. 

Hybrid environments are an amalgam of fluidity. There is no fixed plan or one-size-fits-all strategy anymore. Just how does a solution provider or manufacturer operate in these new environments? Basically, we work together and offer products and services that meet the demands of these hybrid settings, both in the workspace and in the classroom. We need to deliver products that can be smart and connect employees, teachers, and students. We also need to support our AV partners by designing products that continue to evolve with the changing needs of their customers.

At InfoComm 2022, I believe that we’ll see products and services that accommodate the fluidity of the hybrid environment and fusion of flexible solutions—more interactive and larger screens, products to facilitate collaboration and communication, and products that support a hybrid life. ViewSonic, for example, will be introducing the next generation of ViewBoard interactive displays with the IFP62 and IFP52 series. They are ideal collaboration products that allow businesses and schools to create connected spaces and help teams collaborate. Other products will include portable monitors for added convenience. 

ViewSonic has developed display solutions that can fit in with ever-changing environments. Our AV partners need to have products that are adaptable to their customers’ needs, from seamless connectivity and interactive tools to collaborative technologies and software that allow people to participate in the office, classroom, home, or on the road.

InfoComm Booth: N2612

Roadmaps to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

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56 AV/IT Company Roadmaps 2022 

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Sean Sheridan, Regional Technical Manager, Americas at Brompton Technology

Brompton Technology is a specialty manufacturer of LED processors based in London, UK. Since 2012, we’ve been delivering world-class products, with a heavy focus on customers in live events and concert touring. The road-worthiness proven in these areas have helped us make a name for ourselves as the most dependable option LED processing. We also bring a feature set and ease of use that is truly second to none. This is born out in the fact that the very first processors we delivered, 10 years ago, can still be found in working rental inventories today. Those early products are still capable of being updated, as well! 

At InfoComm 2022, we’ll be showing our full range of processors, from the HD-compatible S4 and T1, to our 4K S8 and flagship SX40 units. 

At Brompton, we never stop improving and innovating. One recent example is our Hydra camera measurement system, a product we created due to the lack of capabilities found in off-the-shelf calibration systems for LED. Hydra turns the legacy calibration process on its head, and by truly understanding what each LED on a panel is capable of, our processors are able to achieve a very high level of performance, especially when dealing with HDR sources. We call this process Dynamic Calibration. 

In addition to hardware developments, we’re constantly pushing new feature updates (always free of charge!) in our Tessera software. Over the past couple of years, we’ve found our products being used heavily in broadcast, XR, and virtual production for film. So, our most recently added features have been quality-of-life improvements for using LED in-camera. Some of these latest features are Frame Remapping, ShutterSync, 3D LUT, and camera tracking implementations. Please stop by our booth to say hello and check out the latest developments!

InfoComm Booth: N529

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Bill Hensley, Head of Global Marketing at RTI

Elevating performance and efficiency for integrators will be front and center at the RTI and Blustream booths, which are right next to each other at InfoComm 2022. For RTI, the focus will be on control solutions for a variety of installations, from collaboration spaces to hospitality, with programming made faster by our newly released Integration Designer 11 and its rich, innovative tools that make it easier for integrators to deliver exceptional solutions for every need. It features the all-new "Coral" template, with pre-configured home pages, swappable backgrounds, customizable scroll bars across the touchscreens, and new fonts—all with auto-programming and a built-in driver store that adds efficiency to every project. We’ll illustrate the breadth of control opportunities RTI provides integrators, including new integrations ideal for office environments, 4K UHD Video over IP controlled natively within the RTI environment, plus RTI Music with our new Music Streamers and partnership with SoundMachine streaming music service that can create recurring revenue for integrators. 

Our partner Blustream will showcase award-winning AV distribution solutions, including its lineup of HDBaseT, video over IP, and HDMI distribution products that integrate effortlessly with all the major control platforms, including RTI. From matrixes to multi-format presentation switchers and more, the Blustream philosophy is to make advanced features standard, such as enabling 4K 18Gbps 4:4:4 resolutions across primary Blustream HDMI and HDBaseT products sold in the US. The Blustream Multicast UHD video over IP platform uses lossless compression technology to deliver virtually latency-free HDMI video up to 328 feet over a 1Gb network switch. Innovative new products include the multi-format HEX70HDUK-KIT extender set—an HDMI 2.0 4K 60Hz 4:4:4 (18Gbps) HDCP2.2 HDBaseT solution using CSC technology to deliver HDMI, USB-C, and DisplayPort over a single Cat cable. Audio solutions on display include the new Dante-enabled networked power amplifier—the NPA100DA. For collaboration, the Blustream AMF41W enables a BYOD solution that eliminates the complexity of setting up guest networks.

InfoComm Booths: RTI (W2860), Blustream (W2761)

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Brian Cockrell, Product Owner and Co-Founder of the Intel Unite solution

The concept of the workplace is changing. It is no longer all about work (in the sense of routine tasks) or about place. Instead, organizations are beginning to embrace the concept of a more flexible approach, where employees’ homes are the place to get things done and the office is the place to figure things out. We are seeing this happen at Intel, where many employees have been given the opportunity to continue to base themselves at home—returning to the office for those activities that benefit from face-to-face interaction, such as collaboration. To keep talented employees, organizations will need to evolve, and the more quickly and seamlessly they can adapt, the more successful they will be. A big part of this evolution will involve the rethinking, and the adding, of collaboration spaces.

The philosophy behind the Intel Unite solution is based on the recognition that evolution is constant, and to meet customers’ needs for fast, frictionless adaptation, a product must not only be able to evolve, but it must be designed to evolve. That’s why our software-based, cloud-delivered collaboration solution uses an open and extensible architecture that allows the seamless integration of a growing library of collaboration-enhancing apps, some developed by Intel, some by our partners, and some—like the new Bose VB1 video bar app—developed jointly. It’s why we offer a publicly available SDK that gives IT and solution partners the freedom to develop custom solutions. 

At InfoComm, we’ll demonstrate not only app integrations like the newly released Google Meet app, but also the many other features that make the Intel Unite solution uniquely adaptable. We’ll also show why it is well positioned for a BYOM world where collaborators must switch seamlessly between in-room, remote, and hybrid scenarios, and where collaboration spaces can vary from touchdown spaces to boardrooms.

InfoComm Booth: W2423

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Sam Recine, Chair, Pro AV Working Group, AIMS

At InfoComm, AIMS will host its first live interoperability demonstration of Internet Protocol Media Experience (IPMX)—a set of standards-based protocols designed to ensure interoperability for AV over IP. This first-of-a-kind demo will feature networking equipment and hardware and software nodes running both IPMX and SMPTE ST 2110, the standards suite on which IPMX is based. The demo will also highlight gateways between IPMX and other protocols, developer kits, and elements of IPMX-enabled AV-over-IP workflows. 

With this demo at InfoComm 2022, we're passing a critical milestone on the AIMS roadmap for open-standards-based media over IP. We're demonstrating the technical viability of IPMX in terms of multivendor interoperability, and that is pretty exciting! 

Also significant is the high level of industry support the demo signals. Leading manufacturers are building IPMX support into their products, and more companies are continually joining those ranks as we move toward a more flexible, dynamic, IP-based future for pro AV.

Demo partners include Arista Networks, Cisco Systems, intoPix SA, Macnica, Matrox, Ross Video Limited, STAGETEC GmbH, and many others.

IPMX implements a standards-based approach based on SMPTE ST 2110, with features and capabilities that target the specific needs of the pro AV industry. In addition to simplifying implementation of SMPTE ST 2110 and ensuring interoperability for AV-over-IP systems, IPMX incorporates other features tailored to pro AV installations. These features include AMWA NMOS IS-04 and IS-05 for discovery, registration, and connection management, as well as specifications for copy protection and security.

InfoComm Booth: W1067

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Taft Stricklin, Sales Team Manager at Just Add Power

We’re celebrating our 30th anniversary in 2022, with most of those years spent delivering AV-over-IP distribution solutions. Our design philosophy is to respect the investment that customers make in their AV systems with products that last and systems that can be upgraded or modified as new features arrive. Scalability and flexibility are key, as Just Add Power systems can be expanded as needed and have the features and abilities to solve system design problems that arise from facility layout, zone requirements, and the desire to wow. Those themes continue to guide the formation of our products, services, and partnerships, which attendees will see and experience at InfoComm. 

First up is our new, award-winning MaxColor 4K60 Series. It natively supports 4K60 in and out to allow end users to play Ultra HD video from the growing number of 4K sources and devices on the market. We released this product last year and people couldn’t wait for it to ship!

Our Warp Engine transmitter took home the best of show award at InfoComm 2021 in Orlando, and we’re excited to have it displayed in Las Vegas for anyone who didn’t have the opportunity to experience it. The latest specialized product in our 3G Ultra line, the Warp Engine can rotate video in 0.1-degree increments, to single screens or video walls, to allow screens to be mounted at any angle. The eye-catching displays that can be created with this product are limited only by the installer’s imagination.

Finally, we have the ST1 sound transceiver, an audio-only device that can serve as an input or an output. Integrators can add a stereo audio source to any Just Add Power system or extract stereo audio from an existing transmitter. With this one device, integrators can manipulate the audio signal in a multitude of ways to suit customer’s desires.

InfoComm Booth: N2473

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AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Tzahi Madgar, President of HDBaseT Alliance

As professional AV’s largest interoperable ecosystem, the HDBaseT Alliance has long been committed to fostering an environment of greater flexibility and inclusiveness among our industry’s community. This has never been clearer than in recent years, as global supply-chain challenges have effectively brought into focus, especially for integrators and installers, the importance of access to brand-agnostic solutions that work together seamlessly. With an ecosystem of over 200 members, and thousands of products in the market supporting the HDBaseT standard, I am proud to say that each day HDBaseT is helping them skirt some of these obstacles, and all without sacrificing a single pixel on quality or reliability.

At the heart of our efforts to spearhead the ongoing advancement of this truly interoperable ecosystem is our Spec 3.0 of the HDBaseT standard. This latest generation supports the extension of fully uncompressed 4K@60Hz 4:4:4, audio, USB 2.0, 1Gb Ethernet, controls, and up to 100 watts of power—all over a single, standard, Category 6a cable—up to 100m/328ft. In just over 6 months since the first wave of HDBaseT 3.0 products made their debut on our booth’s signature Power Wall at InfoComm 2021, the number that will be displayed there at this year’s show has grown by over 200 percent—a true testament to the technology’s game-changing potential. Clearly, we are only scratching the surface of the market’s demand for the high-bandwidth, uncompressed, multimedia signal distribution with zero latency that only HDBaseT 3.0 can provide.

Heading into the second half of 2022, we are excited to continue providing our members with more opportunities for innovation, expanding the number of interoperable products for integrators and installers to choose from, and widening the array of real-world applications for professional AV, with greater capabilities than ever before.

InfoComm Booth: W1337

Roadmaps to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

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>> Yamaha Unified Communications Roadmap 2022

>> Zoom Roadmap 2022

AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Anna Kozel, Director of Marketing at VuWall

VuWall is dedicated to helping customers in control rooms and corporate workspaces increase productivity and enhance visualization experiences with innovative video wall technology. VuWall’s goal remains the same: To continue developing powerful, interoperable tools that facilitate the installation and operation of all IP devices and applications from one easy-to-use, centralized platform. 

VuWall’s latest TRx 3.2 release brings enhanced performance, usability and interoperability. This version also features a new plug-in to the Genetec Security Center for a seamlessly integrated solution that allows operators to visualize IP cameras on video walls with other content sources from a single easy-to-use platform. Looking forward, VuWall continues to focus on facilitating interoperability in the AV industry, already supporting SDVoE, IHSE, Matrox and NDI-compatible devices. Organizations expect to be able to grow their pool of IP equipment as their needs evolve while controlling their AV infrastructure from a single software platform. TRx is the only software platform that brings such flexibility to control a multi-brand environment with seamless compatibility.

The demand for multi-source, multi-video wall deployments is at an all-time high and continues to accelerate. The progress of the AV-over-IP transition; the convergence of AV and IT; the affordability of networks, displays; and the market demand for more flexibility and interoperability have created a unique need for a distributed video wall solution. VuWall addresses and solves these challenges and limitations with the introduction of the PAK video wall node, which is used to deploy and manage modular video walls in AV-over-IP environments. PAK eliminates complicated wiring, a single point of failure, and past challenges by creating the most efficient networked video wall solution. In line with VuWall’s vision to simplify video wall integration and operation, PAK brings the added value that VuWall customers demand: versatility, scalability and security.

InfoComm Booth: N1569

Roadmap to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

Check back often as this list will be updated through InfoComm 2022. 

Absen's Roadmap to IC22 

Aurora Multimedia's Roadmap to IC22 

Covid, Inc.'s Roadmap to IC22 

Epiphan Video's Roadmap to IC22 

Hall Technologies Roadmap to IC22 

Legrand | AV's Roadmap to IC22 

Neutrik Americas' Roadmap to IC22 

Peerless-AV's Roadmap to IC22 

Poly's Roadmap to IC22 

PTZOptics' Roadmap to IC22 

Samsung's Roadmap to IC22 

Sennheiser's Roadmap to IC22 

Shure's Roadmap to IC22 

Sony Electronics' Roadmap to IC22 

tvONE's Roadmap to IC22 

Utelogy's Roadmap to IC22 

Yamaha UC's Roadmap to IC22

Logitech's Roadmap to IC22

56 AV/IT Company Roadmaps 2022 

>> 22Miles Roadmap 2022

>> Absen Roadmap 2022

>> AMX Roadmap 2022 

>> ATEN Technologies Roadmap 2022

>> AtlasIED Roadmap 2022

>> Atlona Roadmap 2022

>> Auton Motorized Systems Roadmap 2022

>> Avnu Alliance Roadmap 2022

>> Barix Roadmap 2022 

>> Barco Roadmap 2022 

>> BenQ America Roadmap 2022

>> Biamp Roadmap 2022 

>> Black Box Roadmap 2022 

>> BlueJeans by Verizon Roadmap 2022

>> BrightSign Roadmap 2022

>> C2G Roadmap 2022

>> Chief Roadmap 2022

>> ClearOne Roadmap 2022

>> Crestron Roadmap 2022 

>> Daktronics Roadmap 2022

>> Datapath Roadmap 2022

>> EPOS Audio Roadmap 2022 

>> Hall Technologies Roadmap 2022

>> IHSE USA Roadmap 2022 

>> Intel Roadmap 2022 

>> Just Add Power Roadmap 2022

>> Kramer Roadmap 2022

>> Legrand|AV Roadmap 2022 

>> Listen Technologies Roadmap 2022

>> Logitech Roadmap 2022

>> LynTec Roadmap 2022

>> Macnica Roadmap 2022

>> Matrox Roadmap 2022 

>> Meyer Sound Roadmap 2022

>> NETGEAR Roadmap 2022

>> Nureva Roadmap 2022

>> Optoma Roadmap 2022 

>> Planar Roadmap 2022

>> Poly Roadmap 2022

>> Prysm Systems Roadmap 2022 

>> PTZOptics Roadmap 2022

>> QSC Roadmap 2022

>> Red Dot Digital Media Roadmap 2022

>> RTI Roadmap 2022

>> Samsung Roadmap 2022 

>> SAVI Controls Roadmap 2022 

>> Sennheiser Roadmap 2022

>> Shure Roadmap 2022

>> Sonic Foundry Roadmap 2022

>> Sony Roadmap 2022

>> Utelogy Roadmap 2022

>> Vanco International Roadmap 2022

>> ViewSonic Roadmap 2022

>> VuWall Roadmap 2022

>> Xilica Roadmap 2022

>> Yamaha Unified Communications Roadmap 2022

>> Zoom Roadmap 2022

AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Mark Roslon, Director of Product Management, Commercial Displays at Epson America

At Epson, we are committed to building large, spectacular, and immersive displays that can efficiently and cost effectively deliver transformative experiences across a wide range of markets, including live events, experiential, art, signage, corporate, house of worship, and education.

After two years of being away, Epson is eager to be back at InfoComm to demonstrate our latest projection technology in person. Epson’s booth will showcase its premium projection solutions that integrate seamlessly into virtually any environment and transform spaces into unique experiences unbound by a frame. 

Epson engineers listen to customers and continue to innovate with smaller, lighter, and brighter solutions. Epson will showcase the world’s smallest and lightest 20,000-lumen and 10,000-lumen projectors; along with its ultra-wide, extra-big display solutions; flexible signage technology; and its impressive projector management and installation tools. 

Shown for the first time in the U.S., Epson will highlight its new 13,000-, 16,000-, and 20,000-lumen projectors, including the EB-PU2220B and EB-PU2120W, which are 60 percent smaller and 50 percent lighter than predecessors. Epson will also show the new PixAlign ELPEC01 camera that attaches to select Epson projectors and lenses. PixAlign is a powerful tool that makes advanced projection installations, such as edge blending and stacking, easier than ever before. 

Addressing today’s education and corporate display needs, Epson will also demonstrate hybrid collaboration and learning solutions that enable all participants to see, be seen, and participate equally, whether they are in person or remote. Epson’s booth will also include digital signage solutions that enable creative minds to deliver immersive, experiential moments to be remembered.

From compact and portable to powerful, permanent-install projectors, Epson, the market leader, offers an extensive selection of advanced three-chip display technology options, engineered for reliability, extraordinary image quality, and incredible brightness in virtually any environment.

InfoComm Booth: N2331

Roadmap to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

Check back often as this list will be updated through InfoComm 2022. 

Absen's Roadmap to IC22 

Aurora Multimedia's Roadmap to IC22 

Covid, Inc.'s Roadmap to IC22 

Epiphan Video's Roadmap to IC22 

Hall Technologies Roadmap to IC22 

Legrand | AV's Roadmap to IC22 

Neutrik Americas' Roadmap to IC22 

Peerless-AV's Roadmap to IC22 

Poly's Roadmap to IC22 

PTZOptics' Roadmap to IC22 

Samsung's Roadmap to IC22 

Sennheiser's Roadmap to IC22 

Shure's Roadmap to IC22 

Sony Electronics' Roadmap to IC22 

tvONE's Roadmap to IC22 

Utelogy's Roadmap to IC22 

Yamaha UC's Roadmap to IC22

Logitech's Roadmap to IC22

56 AV/IT Company Roadmaps 2022 

>> 22Miles Roadmap 2022

>> Absen Roadmap 2022

>> AMX Roadmap 2022 

>> ATEN Technologies Roadmap 2022

>> AtlasIED Roadmap 2022

>> Atlona Roadmap 2022

>> Auton Motorized Systems Roadmap 2022

>> Avnu Alliance Roadmap 2022

>> Barix Roadmap 2022 

>> Barco Roadmap 2022 

>> BenQ America Roadmap 2022

>> Biamp Roadmap 2022 

>> Black Box Roadmap 2022 

>> BlueJeans by Verizon Roadmap 2022

>> BrightSign Roadmap 2022

>> C2G Roadmap 2022

>> Chief Roadmap 2022

>> ClearOne Roadmap 2022

>> Crestron Roadmap 2022 

>> Daktronics Roadmap 2022

>> Datapath Roadmap 2022

>> EPOS Audio Roadmap 2022 

>> Hall Technologies Roadmap 2022

>> IHSE USA Roadmap 2022 

>> Intel Roadmap 2022 

>> Just Add Power Roadmap 2022

>> Kramer Roadmap 2022

>> Legrand|AV Roadmap 2022 

>> Listen Technologies Roadmap 2022

>> Logitech Roadmap 2022

>> LynTec Roadmap 2022

>> Macnica Roadmap 2022

>> Matrox Roadmap 2022 

>> Meyer Sound Roadmap 2022

>> NETGEAR Roadmap 2022

>> Nureva Roadmap 2022

>> Optoma Roadmap 2022 

>> Planar Roadmap 2022

>> Poly Roadmap 2022

>> Prysm Systems Roadmap 2022 

>> PTZOptics Roadmap 2022

>> QSC Roadmap 2022

>> Red Dot Digital Media Roadmap 2022

>> RTI Roadmap 2022

>> Samsung Roadmap 2022 

>> SAVI Controls Roadmap 2022 

>> Sennheiser Roadmap 2022

>> Shure Roadmap 2022

>> Sonic Foundry Roadmap 2022

>> Sony Roadmap 2022

>> Utelogy Roadmap 2022

>> Vanco International Roadmap 2022

>> ViewSonic Roadmap 2022

>> VuWall Roadmap 2022

>> Xilica Roadmap 2022

>> Yamaha Unified Communications Roadmap 2022

>> Zoom Roadmap 2022

AVT Question: Please share your company's philosophy, vision, and product roadmap heading into InfoComm 2022. [June 2022]

Thought Leader: Jan Sandri, President of FSR

FSR was established in 1981, the same year IBM launched the PC, and we’ve never wavered in our mission to provide quality and cost-effective products to an industry in constant motion. The company now manufactures hundreds of infrastructure, signal management, and control solutions, including floor, wall, table, and ceiling connectivity boxes, as well as a full line of interfaces, distribution amplifiers, matrix switchers, seamless switchers, and HDBaseT and CAT-X signal delivery products.

This year our engineering team has been exceptionally busy designing products that address current requirements, but—as always—will feature forward-thinking functionalities to keep our customers ahead of the technology curve. And while we didn’t predict the severe supply chain shortages, we were ready! All our products are made in the U.S., our shelves are stocked, and there is ample inventory available.

Our product roadmap includes a cost-effective and clear path to power, data, and AV transport across a room to where it is needed. We launched our award-winning and extremely popular Smart-Way Raceway a few years ago, and we are constantly adding to the platform. At InfoComm we are introducing Smart-Way Wall Raceway that allows the transition from a floor to ceiling system. We are also extending our Modular Link System (MLS) with the Smart-Way MLS Stick—a quick way to extend the MLS across the floor to another work surface.

On the infrastructure side, we are debuting the industry’s first dedicated flat panel TV project box engineered for 8-inch block walls full of features and options available in a variety of configurations.

And come see our hinged “tool-less” U-Access cover that will simplify and shorten installation timelines. 

Other innovations include a pre-wired ceiling box that minimizes job site visits, a high-end performance 3.1 Gen 2 Digital Ribbon USB cable, an internal charger bracket designed to contain AC power, plus a USB Type-A and Type-C charger, new DA, switcher, and extender. Really too much to mention here!

InfoComm Booth: W1415

Roadmap to IC22: InfoComm 2022 Exhibitors Share Insider's Perspective

Check back often as this list will be updated through InfoComm 2022. 

Absen's Roadmap to IC22 

Aurora Multimedia's Roadmap to IC22 

Covid, Inc.'s Roadmap to IC22 

Epiphan Video's Roadmap to IC22 

Hall Technologies Roadmap to IC22 

Legrand | AV's Roadmap to IC22 

Neutrik Americas' Roadmap to IC22 

Peerless-AV's Roadmap to IC22 

Poly's Roadmap to IC22 

PTZOptics' Roadmap to IC22 

Samsung's Roadmap to IC22 

Sennheiser's Roadmap to IC22 

Shure's Roadmap to IC22 

Sony Electronics' Roadmap to IC22 

tvONE's Roadmap to IC22 

Utelogy's Roadmap to IC22 

Yamaha UC's Roadmap to IC22

Logitech's Roadmap to IC22

56 AV/IT Company Roadmaps 2022 

>> 22Miles Roadmap 2022

>> Absen Roadmap 2022

>> AMX Roadmap 2022 

>> ATEN Technologies Roadmap 2022

>> AtlasIED Roadmap 2022

>> Atlona Roadmap 2022

>> Auton Motorized Systems Roadmap 2022

>> Avnu Alliance Roadmap 2022

>> Barix Roadmap 2022 

>> Barco Roadmap 2022 

>> BenQ America Roadmap 2022

>> Biamp Roadmap 2022 

>> Black Box Roadmap 2022 

>> BlueJeans by Verizon Roadmap 2022

>> BrightSign Roadmap 2022

>> C2G Roadmap 2022

>> Chief Roadmap 2022

>> ClearOne Roadmap 2022

>> Crestron Roadmap 2022 

>> Daktronics Roadmap 2022

>> Datapath Roadmap 2022

>> EPOS Audio Roadmap 2022 

>> Hall Technologies Roadmap 2022

>> IHSE USA Roadmap 2022 

>> Intel Roadmap 2022 

>> Just Add Power Roadmap 2022

>> Kramer Roadmap 2022

>> Legrand|AV Roadmap 2022 

>> Listen Technologies Roadmap 2022

>> Logitech Roadmap 2022

>> LynTec Roadmap 2022

>> Macnica Roadmap 2022

>> Matrox Roadmap 2022 

>> Meyer Sound Roadmap 2022

>> NETGEAR Roadmap 2022

>> Nureva Roadmap 2022

>> Optoma Roadmap 2022 

>> Planar Roadmap 2022