Sound & Communications April 2008 issue

Vol. 54 No. 4 April 21, 2008 

AV FOR SYSTEMS INTEGRATORS, CONTRACTORS AND CONSULTANTS 

WEB OF WORSHIP 

NORTHLAND’S MEDIA CATERS TO THE CHILDREN. 

TRADITIONAL 

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TECH-ENHANCED WORSHIP. 

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Exchange Server directly from any Crestron touchpanel or any remote PC, and the ability to 

monitor and control all devices in all rooms throughout the enterprise. 

Crestron and Microsoft ® , two technology leaders, are working together to develop future digital 

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Volume 54 Number 4 April 21, 2008 

FEATURES 

30 FROM OFFICE SUPPLIES TO GLOBAL MINISTRY 

AV and architecture transform retail space for worship use. 

By Dawn Allcot 

40 OLD TIME RELIGION, MODERN AV 

Lake Grove Church delivers high-energy, tech-enhanced worship. 

By Shonan Noronha, EdD 

82 

52 

50 WEB OF WORSHIP 

Northland’s media caters to the children. 

By Dawn Allcot 

64 FAITH STREAMS 

Where AV and IT meet in the House of Worship segment. 

By Shonan Noronha, EdD 

72 WIDENING OUR VIEW 

How 16:9 can enhance a church’s experience. 

By Anthony D. Coppedge 

64 

78 CONTROL YOUR SOUND 

Top 10 House of Worship tips. 

By Gavin Haverstick 

82 ADOPTING EXCELLENCE 

Standards may be the path to maximizing industry quality. 

By R. David Read 

40 

40 

DEPARTMENTS 

9 NEWSLETTER 

20 HOUSE OF WORSHIP: TECHNOLOGY 

East To West: Blackhawk Church’s huge 

campus boasts two worship auditoriums. 

By Dan Ferrisi 

26 HOUSE OF WORSHIP: BUSINESS 

My Top Five Things To See At NAB!: A short 

list of house of worship interests. 

By David Lee Jr., PhD 

28 ARCHITECTURAL PERSPECTIVES 

Striking A Balance: Design, integration and 

technology management must work together 

60 

in today’s churches. 

By Tony Warner, CTS-D 

86 THE INDUSTRY NEEDS EQUIPMENT INTERFACE STANDARDS 

Addressing the standards issue from the hardware side. 

By John Lopinto 

90 DIGITAL SIGNAGE WINS BIG 

Digital Signage Expo showcases exploding market opportunity. 

By R. David Read 

96 DIGITAL SIGNAGE EXPO 2008 NEW PRODUCT WRAP-UP 

Additional products introduced in Las Vegas. 

104 MARKET BRIEF 

Worship Centers: A contemporary spin on traditional values. 


106 NEWS 

106 CALENDAR 

109 PEOPLE 

110 PRODUCTS 

112 LITERATURE & MEDIA 

113 CENTERSTAGE 

116 MARKETPLACE 

122 DATA SCAN 


COLUMNS 

6 WAVELENGTH 

By David A. Silverman 

14 SIGHT LINES 

By Gary Kayye, CTS 

16 SOUND ADVICE 

By Peter Mapp, FASA 

18 DOWN TO BUSINESS 

By David McNutt 

4 Sound & Communications 

www.soundandcommunications.com

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April 2008 5

Our theme this month is Houses 

of Worship. Based on responses to 

our annual Commercial Systems 

Integration Survey (published each 

July), HOW is the largest venue 

market segment. Although our 2007 

survey showed a drop for the first 

time, it remains at the top; we’ll see 

if this was an anomaly or a trend in 

this year’s survey. Our installation 

features, plus Dan Ferrisi’s “House 

of Worship: Technology” piece, 

comprise a good cross section of 

what this segment represents in 

terms of breadth and opportunity for 

systems integrators. 

I don’t often use this space for 

personal reasons, but a couple of 

people I worked with in my “previous 

life” in the photo industry have left 

us, and I must acknowledge them. 

Edward Wagner, co-founder of 

PTN Publishing Corp. (now Cygnus 

Business Media), died last month at 

the age of 87; he (and his partner 

Rudolf Maschke) gave me my first 

job, right out of college/US Army. 

Without that opportunity, I don’t 

know where I would be now. He and 

Rudy put my feet to the fire, providing 

me the opportunity to learn 

every aspect of trade publishing 

(and a lot about photography, too!). 

Under his tutelage, we published the 

first trade-show dailies (including 

one in 1978 for NAVA, now 

InfoComm International). I thank 

you, Ed...rest easy. 

Also, although I never worked 

directly with him, Herbert “Burt” 

Keppler, first at the helm of Modern 

Photography and then Popular 

Photography, among other publications, 

died in January at age 83. Burt 

was around for 

the 30 years I 

was involved in 

the photo 

industry—and 

then some. He worked with Japanese 

camera manufacturers when 

their exports were not considered of 

high quality, helping guide them in 

their marketing programs. There 

are those who say that Burt’s 

communications during those times 

changed the way Japanese products 

overall were perceived, opening up 

opportunities across the board, for 

products of many types from that 

country, even to this day. 

I know both Ed and Burt will be 

missed.... 

■ 

Barry Tanenbaum 

This photo of Ed Wagner (anyone 

recognize the bearded fellow behind 

him) requires explanation: Ed seemed 

grumpy at Christmastime (more so than 

usual). When asked why, he said, 

“When I was a little boy, I always 

wanted a little red tricycle. I never got 

one....” Well, Barry Tanenbaum 

(another PTN editor) and I bought him 

one that year. You can see the result. 

Editor 

David A. Silverman 

dsilverman@testa.com 

Associate Editor 

Dan Ferrisi 

dferrisi@testa.com 

Editorial Assistant 

Michelle Loeb 

mloeb@testa.com 

Contributing Editors 

R. David Read 

Jim Stokes 

Contributors 

Dawn Allcot; Anthony D. Coppedge; Gavin 

Haverstick; Gary Kayye, CTS; David Lee Jr., 

PhD; John Lopinto; Peter Mapp, FASA; David 

McNutt; Shonan Noronha, EdD; R. David 

Read; Tony Warner, CTS-D 

Technical Council 

Gary Kayye, CTS, Kayye Consulting, Inc. 

David Lee Jr., PhD, Lee Communication Inc. 

Joel Lewitz, PE, Lewitz and Associates, Inc. 

David E. Marsh, FASA, 

Pelton Marsh Kinsella, LLC 

David McNutt, Consultant 

Thomas C. Rauscher, Archi-Technology 

Tony Warner, CTS-D, CSI CDT, RTKL 

Graphic Designer/Artist 

Janice Pupelis 

Web Designer 

Phillip Taylor 

Production Manager 

Steve Thorakos 

Sales Assistant/Ad Traffic 

Sam Mitrani 

smitrani@testa.com 

Advertising Manager 

Bob Beucler 

bbeucler@testa.com 

Classified Sales 

Linda Inglima 

linglima@testa.com 

Circulation 

Linda Emanuele 

circulation@testa.com 

Operations Manager 

Robin Hazan 

rhazan@testa.com 

Associate Publisher 

John Carr 

jcarr@testa.com 

President/Publisher 

Vincent P. Testa 

Editorial and Sales Office 

Sound & Communications 

25 Willowdale Avenue 

Port Washington, New York 11050-3779 

(516) 767-2500 

FAX: (516) 767-9335 

SOUNDCOM@TESTA.COM 

Sound & Communications (ISSN 0038-1845) (USPS 943-140) is published monthly plus a special thirteenth issue 

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Publications, Inc., 25 Willowdale Ave., Port Washington, NY 11050-3779. Periodicals postage paid at Port Washington, 

NY, and additional mailing offices. 

Copyright © 2008 SOUND & COMMUNICATIONS PUBLISHING, INC. Reprint of any part of contents without permission 

forbidden. Titles Registered in the U.S. Patent Office. 

POSTMASTER: Send U.S. address changes to Sound & Communications, PO Box 1767, Lowell, MA 01853-1767. 

Canada Post: Publications Mail Agreement #40612608. Canada Returns to be sent to Bleuchip International, P.O. Box 

25542, London, ON N6C 6B2. 

Sound & Communications • DJ Times 

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Convention TV @ NAMM • InfoCommTV News • VTTV Studios 



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NEWSLETTER 

ANSI/ISO ACCREDITS INFOCOMM CERTIFICATION 

The International Organization for Standardization’s (ISO, Geneva, Switzerland; www.iso.org) United 

States representative, the American National Standards Institute (ANSI, Washington DC; 

www.ansi.org), has accredited InfoComm International’s (Fairfax VA; www.infocomm.org) Certified 

Technology Specialist (CTS) and Certified Technology Specialist-Installation (CTS-I) credentials under 

ISO/IEC 17024. ISO/IEC 17024 establishes a global benchmark for the certification of personnel; 

ANSI accredits standards developers, certification bodies and technical advisory groups to both the 

ISO and the International Electrotechnical Commission (IEC). 

Sound & Communications spoke with InfoComm International executive director Randal A. Lemke, 

PhD, about how this accreditation will affect commercial AV practitioners. Lemke expressed his 

confidence that ANSI-accredited certification will enhance the AV industry’s public standing, saying, 

“This demonstrates ANSI/ISO seeing us as a distinct industry.” It also opens doors in the government 

sector; the accreditation meets the requirements of the US DoD (Department of Defense) Directive 

8570.1, which mandates that its information assurance workers obtain an ANSI (or equivalent) 

commercial certification under the global ISO/IEC 17024 standard. 

Lemke explained that three driving forces pushed InfoComm to seek the recognition. “The first,” he 

said, “is that the ANSI/ISO accreditation represents a stamp of excellence on our program. It confirms 

that the CTS program—and how we manage and run it—is in accordance with international 

standards.” Secondly, ANSI standards led InfoComm to enhance its tests. “Going through this process 

really honed our ability to have the certification exam meet up with the actual job,” Lemke confirmed. 

Thirdly, ANSI/ISO represents fairness and equity in testing, qualities in which InfoComm 

strongly believes. Individuals already certified enjoy a fully ANSI-underwritten credential. 

InfoComm also offers a Certified Technology Specialist-Design (CTS-D) credential; that program is 

being revised. InfoComm and its independent certification committee are in the process of applying to 

ANSI for accreditation of this certification. Additional details, and more exclusive comments from Dr. 

Lemke, will appear in our May issue as part of our InfoComm exposition preview. 

HOSA TECHNOLOGY, DA-CAPPO MICRO MICROPHONES FORGE DISTRIBUTION PACT 

Hosa Technology (Buena Park CA; www.hosatech.com) is the exclusive distributor, throughout the 

Americas, of Da-Cappo Micro Microphones (Sydney, Australia; www.da-cappo.com), which offers 

microphones suited for theatrical, presentation and broadcast applications where the ability to visually 

conceal the microphone is important. Jonathan Pusey, Hosa Technology’s national marketing 

manager, noted, “We are delighted to be able to offer Da-Cappo microphones. Not only does this 

product group add to our company’s already diverse portfolio, it also presents sales opportunities in 

a number of new market segments.” 

NORTEL, TANDBERG TO DELIVER FULLY MANAGED TELEPRESENCE SERVICES 

Through a non-exclusive global agreement announced at VoiceCon Orlando 2008 last month, Nortel 

(Toronto, Ontario, Canada; www.nortel.com) and Tandberg (New York NY; www.tandberg.com) jointly 

will deliver fully managed telepresence and high-definition videoconferencing solutions to enterprises 

worldwide. These solutions will be offered through service providers or direct from Nortel. According 

to the companies, Nortel Telepresence Services with Tandberg’s enterprise-wide telepresence portfolio 

including Experia can help businesses decrease travel costs and carbon emissions. 

The joint Nortel-Tandberg offering provides life-size, full motion, natural communication experiences that 

are simple to set up and, according to the companies, as effective as in-person meetings. It includes 

performance guarantees and service-level agreements for “always on” convenience and reliability. 

Receive NEWSLETTER earlier, with hot links and info via email! Click on “Join Our Email 

NEWSLETTER” at www.soundandcommunications.com. 

April 2008 

9

NEWSLETTER 

Tandberg video solutions are open and interoperable with other standards-based solutions, allowing 

enterprises to maximize existing videoconferencing investments. They are tightly integrated with 

Nortel’s unified communications platforms and Agile Communication Environment, which means 

enterprises can incorporate telepresence into a complete unified communications solution. These 

platforms include Microsoft Office Communications Server 2007, IBM Lotus Sametime, Nortel Multimedia 

Communication Server 5100 and Nortel Communication Server 1000. Nortel’s Agile Communication 

Environment leverages Service Oriented Architecture (SOA) and web services standards for 

development of new communications- and video-enabled applications and business processes. 

HITACHI, CANON FORMALIZE LCD PANEL BUSINESS ALLIANCE 

Hitachi, Ltd. (Tokyo, Japan; www.hitachi.com), and Canon Inc. (Tokyo, Japan; www.canon.com) have 

finalized a formal contract related to a comprehensive LCD panel business alliance. This follows the 

December 25, 2007, signing of a basic agreement among Hitachi, Canon and Matsushita Electric Industrial 

Co., Ltd. (Osaka, Japan; www.panasonic.net), regarding this alliance. Hitachi and Matsushita 

announced a formal contract on February 15 concerning the same comprehensive alliance. 

Under the terms of this agreement, Canon was scheduled to acquire a 24.9% stake in Hitachi Displays, 

Ltd., a wholly owned Hitachi subsidiary that makes small and medium-sized LCD panels, from Hitachi 

by March 31, for approximately 43.2 billion yen (roughly $443 million), pending required regulatory 

approvals. The acquisition price was agreed upon based on an evaluation of Hitachi Displays’ value, 

including a 50% shareholders equity stake in IPS Alpha Technology, Ltd. (Chiba, Japan; www.ips-alpha. 

co.jp/en/index.html), owned by Hitachi Displays. As the next step, Canon plans to acquire Hitachi 

Displays’ shares owned by Hitachi and Matsushita and to make Hitachi Displays a Canon subsidiary. 

Meanwhile, Hitachi will consider the continued holding of up to 10% of Hitachi Displays’ shares. 

SONIC FOUNDRY RECEIVES NASDAQ DEFICIENCY NOTICE 

On March 10, Sonic Foundry, Inc. (Madison WI; www.sonicfoundry.com), received notice from the 

NASDAQ Listing Qualifications Department stating that, for 30 consecutive business days, the bid 

price for the company’s common stock has closed below the minimum $1.00 per share requirement 

for continued inclusion under Marketplace Rule 4450(a)(5). In accordance with Marketplace Rule 

4450(e)(2), the company will be provided 180 calendar days (until September 8) to regain compliance 

with the rule. The company may regain compliance if, at any time before September 8, the bid 

price of the company’s common stock closes at $1.00 per share or above for a minimum of 10 consecutive 

trading days. In that case, Sonic Foundry will have achieved compliance with the rule. 

If compliance cannot be demonstrated by the deadline, the company may consider applying to transfer 

its securities to The NASDAQ Capital Market, provided that Sonic Foundry meets the initial listing 

criteria as set forth in Marketplace Rule 4310(c), except for the bid price requirement. If it elects to 

transfer its securities and meets the initial listing criteria, the company will be granted an additional 

180-calendar-day compliance period. If the company is not eligible for an additional compliance period 

or if it elects not to transfer its securities to The NASDAQ Capital Market, the company’s securities 

will be delisted. At that time, Sonic Foundry may appeal the delisting determination. 

ELECTROGRAPH ADDS JBL PROFESSIONAL LOUDSPEAKER SYSTEMS 

Electrograph Systems, Inc. (Hauppauge NY; www.electrograph.com), a national distributor of display 

technology solutions, has added JBL Professional (Northridge CA; www.jblpro.com) loudspeakers. 

Electrograph and JBL Professional have completed a distribution agreement by which the Control 

Series of speaker systems is available directly through Electrograph. According to Randall 

Rosenbaum, senior product manager, Electrograph Systems, “The JBL Professional line gives our 

resellers a dependable and profitable add-on audio option.” 

COMPILED BY DAN FERRISI AND DAVID A. SILVERMAN 

10 



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Are You Selling All Your Services 

Intellectual property counts, too! 

By Gary Kayye, CTS 

I’ve written “Sight Lines” in the 

past decreeing (more like begging) 

the virtues of selling services over 

selling gear. 

There was one on selling design 

services, sort of like design consultants 

do for big clients and big 

systems out there. There was one 

on selling integration services, 

basically installing other people’s 

systems whether they bought the 

AV stuff from you or not. And, there 

has been more than one on selling 

what I’ve coined as proactive service 

contracts, the preventative maintenance 

contract for which you not 

only perform reactive service when 

something goes wrong, but you also 

continuously perform onsite maintenance 

to keep things from going 

wrong in the first place. 

And, over the years, I’ve received 

all sorts of calls and emails asking 

me a plethora of questions about 

selling services. But, there’s one 

question that is most constant: What 

do I charge 

It’s amusing that, of all questions 

for salespeople to ask, this is the one 

that is asked most often. Good 

salespeople are artists when it 

comes to selling, and can sell stuff 

for almost anything they want, to 

clients who see them as valuable 

resources of information as well as 

One question 

that is most constant: 

What do I charge 

partners in their project. In fact, just 

recently, I was teaching a class for 

CEDIA (the high-end home AV 

association), where one of the 

attendees (who also owns a wellknown 

commercial AV firm) said 

that, when it comes to selling gear, 

he aims to sell it for 20% over list. 

Yes, you read that right. He said 

20% over list price. 

Bravo! He gets it! 

What the heck am I talking about 

Well, it’s clear to me that he’s 

selling his expertise as part of his 

art of selling AV gear. He’s not 

simply a vendor/supplier to his 

clients; he’s selling the expertise of 

knowing what to do and how to 

design systems by putting together 

the perfect AV solution. 

He’s selling intellectual property: 

the most valuable thing he has! 

What’s he charging In his case, 

it’s a 20% service fee or, in some 

cases, you could actually see it as a 

30% or even 40% service fee (or tip) 

because I’m sure there are a lot of 

you out there who are selling AV 

gear for as much as 10 to 20% below 

list. Figure it out. 

No, I’m not oversimplifying this at 

all. It’s as simple as you just read. 

He’s charging an intellectual property 

fee, or a systems design fee, 

with each and every product he 

sells. But, you can package it any 

way you wish. If you want to start it 

all out by selling systems designs as 

a separate fee, that’s fine, too. What 

should you charge Well, start with 

10% (of the total system price) and 

go up from there. You can (and 

should) get more. 

What about for integration services 

400%. That’s the number you 

should shoot for at minimum. If your 

cost is $2500, charge $10,000: a 

400% margin. 

Your expertise is valuable—a heck 

of a lot more valuable than your 

competitors’—don’t you believe 

that 

If you don’t, send your competition 

your résumé, because they’re better 

than the company you work for; you 

just said so…. 

And, what about proactive service 

contracts Well, in the commercial 

AV market, I’d start with at least 8% 

of the serviceable products in the 

system—but that’s as low as I would 

go. We have many, many clients 

who are charging way more than 

that and regularly start their first 

year’s service contract at 15%. 

Look, I can’t get more specific 

than that. I’ve given you percentages. 

You do the math. But, no 

matter what you do, stop giving away 

intellectual property...it’s all you 

have left. 

But, the good news is, each and 

every day, you get more. 

Didn’t you read this column ■ 

Gary Kayye, a member of Sound & Communications’ Technical Council, is principal of Kayye 

Consulting. He was InfoComm International’s 2003 Educator of the Year, and NSCA named 

him 2007 Instructor of the Year. Send comments to him at gkayye@testa.com. 



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Reverberation: Is It A Good Or Bad Thing Part 2 

Reverberation time and intelligibility. 

By Peter Mapp, FASA 

Last month, I noted that Reverberation Time 

(RT) is not a particularly good indicator of speech 

intelligibility, though there is a general trend 

suggesting that the longer the RT, the worse the 

potential intelligibility—unless specific steps are 

taken to overcome this. I gave the example that a 

one-second space should not really pose a problem 

from an intelligibility point of view. (Indeed, it 

takes considerable innate skill to screw up a sound 

system in a one-second space, though, from my 

workload, it appears that there are many out there 

with this ability!). 

The table on page 17 sets out a rough guide to 

reverberation and sound system design when it 

comes to achieving intelligibility. This is not a 

theoretically based hypothesis, but one based on 

the knowledge acquired from designing and 

balancing more than 400 sound systems in all 

types of acoustic environments, ranging from 11- 

second cathedrals to one-second theaters and 0.25 

to 0.5 second domestic rooms and home theaters. 

Table 1 should be used only as a guide because 

many other parameters/variables also play a part. 

(The volume of the space is also a critical parameter, 

for example). I should, perhaps, also explain my Low, 

Medium and High Q categories. Roughly speaking, I 

term Q values in the range 1 to 7 as Low Q, 10 to 20 

as Medium Q and 20 to 50 as High Q. These days, 

we could also, perhaps, introduce an Ultra or Super 

Q range to deal with long line arrays, where Q 

values of 60 to 100 can be achieved. 

It might also be useful at this stage to have an idea 

of some typical spaces and their reverberation times. 

Again, these are purely guide numbers and can vary 

greatly, depending on the amount of absorption or 

acoustic treatment applied. Some of the values are 

the generally regarded 

ideal RTs, others are 

what you get in 

practice. See the table 

at right. ■ 

Type of Space 

Domestic Living 

Rooms 

Classrooms 

Offices 

Lecture Theaters 

Theaters, Courts, Council 

Chambers, Cinemas 

Concert Halls 

Churches (modern) 

Churches (traditional/Catholic) 

Cathedrals 

Stadiums 

Arenas 

Ice Rinks 

Railway Stations 

(enclosed and 

untreated) 

Shopping Malls 

Atria & Lobbies 

Airport & Transportation 

Concourses 

Indoor Swimming 

Pools 

Aircraft Hangars 

Typical Reverb 

Time (Sec) 

0.4-0.6 

0.6-0.8 

0.5-1.2 

0.8 (max 1 sec) 

0.8-1.2 

1.7-2.2 

0.8-1.5 

1.4-4 

3.5-10 

1.8-3.5 

2-8 

2.5-6 

2-9 

1.5-5 

2-5 

1.5-2.5 

2-5 

4-8 

Comment 

Assumes reasonably well furnished. rooms with 

polished floors and hard walls may have longer RT. 

Normally should be 0.6 sec or lower. Larger 

rooms, e.g., general teaching areas and open plan 

areas, can be 0.8 sec. 

Some offices can be surprisingly reverberant. 

Intelligibility becomes volume dependent. 

Small rooms < 50 people < 0.8 

Size/volume dependent. 

Concert halls can be remarkably difficult. High 

intelligibility is required. Modern line arrays usually 

are the best solution. 

A range of options available. Not particularly 

problematic. NB Feedback and gain requirements. 

This is a large range and requires a range of 

different approaches (see Table 1). 

Great care required. Distributed line arrays usually 

required. 

Vary greatly, depending on size and roof shape/ 

structure. RT decreases markedly with occupancy. 

Acoustic treatment essential. RT is occupancydependent. 

Difficult spaces: Acoustic treatment essential for 

good quality sound. 

Acoustic treatment required for reasonable 

intelligibility/VA standards in relatively small 

spaces, dependent on volume and height. 

Acoustic treatment generally required for good 

intelligibility, and to meet VA standards. 

Acoustic treatment or line arrays/High Q devices. 

Distributed systems. Speaker type will depend on 

volume/ceiling height of the space. 

Acoustic treatment should be provided to reduce 

RT/noise. 

Extremely difficult to get good coverage/adequate 

intelligibility. 

United Kingdom-based Peter Mapp, FASA, is principal of Peter Mapp Associates. A chartered 

engineer and physicist, he also is a Fellow of the Acoustical Society of America. Send 

comments to him at pmapp@testa.com. 



Rule of Thumb Guide for RT and Sound System Design/Intelligibility 

RT Value Sound System 

Comment 

< 0.6 Sec 

0.6-1 Sec 

1-1.2 Sec 

1.2–1.5 Sec 

> 1.5 Sec 

1.7 Sec 

> 2.0 Sec 

> 2.5 Sec 

> 4 Sec 

> 10 Sec 

Excellent Intelligibility should be attainable. 

Excellent Intelligibility should be attainable (Low Q devices 

OK). 

Good to Excellent intelligibility should be attainable (Low Q 

devices should be OK). 

Good intelligibility. Speaker type and location become 

important (Low(ish)—Medium Q devices required). 

Careful design required. (Medium Q devices probably 

required). 

Limit for good intelligibility in large spaces—using Low / 

Medium Q devices in distributed systems, e.g., shopping 

malls and concourses. 

Careful design required. Directional speakers (Medium Q to 

High Q or Medium-to-long line arrays required). 

Intelligibility will have limitations. High Q devices or long 

line arrays required. 

Highly directional (High Q) speakers or long line arrays 

required. 

Long, very directional line arrays only. 

Classrooms should be 0.6 sec or less. 

Some of the room will be heard. Good intelligibility for natural speech. 

Trained natural voices only. Room reverberation and “feel” will be obvious. 

Upper RT values can catch the unwary. 

Computer modelling is good idea/essential for this length of RT and above. 

Practical limit between reasonable simple and specialist approach. Accurate 

computer modelling required*. 

Room reverberation will be very obvious. Good intelligibility is still achievable 

with untrained talkers, provided high quality equipment with smooth response is 

employed. Computer modelling essential*. 

Room reverberation will be very obvious. Intelligibility will have limitations, but 

good intelligibility is achievable with the right speaker format. Computer 

modelling essential*. 

Intelligibility will have limitations. Careful talker diction and slower than normal 

rate of delivery required. Computer modelling essential*. 

For masochists and those with high risk indemnity insurance only, but 

remarkably good intelligibility can be achieved with good talker. Computer 

modelling essential*. 

* If the building or space already exists, a trial system could also be tested, but it is essential that either an accurate simulation is undertaken or allowances made to 

compensate for the full system. (i.e., effect of additional speakers /coverage). 

TM 

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Overcoming Irrational Pessimism 

An alternative economic outlook. 

By David McNutt 

I often wonder about what really 

makes our businesses operate: What 

economic factors greatly favor our 

success What market conditions 

help us to thrive What news should 

make us more cautious What 

alarms should tell us to run 

There is no single reason that 

causes some of us to succeed and 

others not. Success and failure 

depend on many factors. But, no 

matter what we think our hurdles 

are, they can be overcome. 

There is a cruise ship builder 

located, of all places, 60 kilometers 

inland in Germany. A river runs 

from the shipyard to the North Sea, 

which opens to the North Atlantic. 

All of the bridges across the river 

had to be replaced with tunnels to 

accommodate getting the new tallerthan-bridges 

cruise ships to their 

customers. From a distance, not 

knowing there is a river, the ships 

look as if they are sailing through 

open farmland. The company has an 

order backlog through 2012. 

If you owned modular construction 

cranes in the US several years ago, 

you might have been woefully 

worried about revenue because the 

construction industry in the US was 

slowing dramatically. Then came 

Dubai. Dubai now has a huge share 

of all the world’s construction cranes 

No matter what we think 

our hurdles are, 

they can be overcome. 

in operation within the city. If you 

need one in the US, get in line. 

Construction crane companies are 

reaping windfall revenues from the 

high demand. 

You don’t have to be an economist 

to get the point. However, normal 

business cycles coupled with seemingly 

new economic forces have 

many economists and CEOs worried 

about 2008 results. It’s hard to say if 

those worries apply directly to our 

industry because there are no 

analysts following this little industry 

of ours. 

Every manufacturer in our industry 

is facing some challenge. Some 

US manufacturers are faltering in 

Europe because they misread 

market needs and the market has 

rejected their entry. European 

manufacturers are fighting the 

extraordinarily high exchange rates 

that are pricing their products out of 

the market because of the weakening 

dollar. Everyone’s sales appear 

to be sluggish in the first quarter, if 

not declining. 

In contrast, many contractors and 

systems integrators, the customers 

of these manufacturers, report that 

they have large backlogs and are at 

full tilt. Consulting firms are seeing 

increases in size, scale and scope of 

projects, and are working at capacity. 

A few firms are laying off 

workers; but most are still cautiously 

fully staffed. 

Alan Greenspan is a brilliant 

person who advised presidents and 

controlled the single most influential 

lever to affect our economy: the 

Federal Reserve. He is an intelligent 

student of the world economy. In 

“The Age of Turbulence,” Greenspan 

outlined a new economic world 

containing forces that we have yet to 

fully understand. For instance: Why 

are prices rising while interest rates 

are falling Why does the price of oil 

continue to rise when there is 

evidence of rising inventories and 

falling demand Why are manufacturing 

sales soft and contractors and 

consultants robust Why do reforms 

in the mortgage industry not bring 

back the housing market How do 

we interpret these breaks from 

traditional economics into an outlook 

for our industry 

On the surface, it seems that 

capitalist economic theory is being 

challenged. The levers of interest 

rates and money supply don’t seem 

to have the same effect as in the 

past, and regulators are hesitant to 

nudge the economy too hard. Even a 

huge kick to the economy, such as 

tax rebates, may not move the 

(continued on page 115) 

A member of Sound & Communications’ Technical Council, David McNutt has more than 

35 years of experience, covering live sound engineering, marketing for well-known manufacturers, 

audio system design and consultation, and fixed installation contracting. McNutt holds 

a Masters in Telecommunications and an MBA in Marketing and Strategy. He can be reached 

at dmcnutt@testa.com. 




East To West 

Blackhawk Church’s huge campus boasts two worship auditoriums. 


One of the most dominant House 

of Worship trends has been the 

emergence of mega-churches, 

facilities that cater to thousands of 

congregants and offer not merely a 

sanctuary but, rather, a full campus 

for worship. Blackhawk Church, 

Verona WI, with a nearly 4000- 

person Sunday attendance, definitely 

falls into this category: Its newly 

completed two-story facility encompasses 

approximately 110,000 

square feet. Construction proper 

was completed in August 2007 and, 

on November 4, the first worship 

services were held; thousands of 

locals converged to worship at 

Blackhawk, which had been outfitted 

with $830,000 worth of audiovisual 

technology. 

Curt Taipale, president, Taipale 

Media Systems (Allen TX), who 

handled the design portion of the 

project, outlined the rooms: “The 

main room is the Eastside Auditorium, 

which seats around 900. A lot 

of churches have gotten involved 

with having a ‘video venue’ or offsite 

campuses; this church’s video venue 

is literally across the hall. The 

second worship room, Westside 

Auditorium, which seats about 500, 

has its own worship team and 

everything that goes along with it. 

Everything, that is, except for the 

pastor’s message, which is either a 

The view from the front-of-house position at the 900-seat Eastside 

Auditorium, Blackhawk Church’s main sanctuary, photographed 

during the first Sunday service. 

recorded or live video feed from the 

main worship room.” There is a 

gymnasium, which is used for 

overflow, also; eventually, 

Blackhawk plans to introduce a third 

worship service, which would run 

parallel with the others. 

The upper level features a huge 

Welcome Center, into which all 

worship services empty. This second 

level central corridor is 300 feet 

long, about 40 feet wide and 25 feet 

high. According to Chris Rayburn, 

owner, Summit Integrated Systems 

(Broomfield CO), the systems 

integrator, the Welcome Center is 

evocative of an airplane hangar. 

“There’s arched steel up above, 

stained concrete and some light 

entering from above,” he remarked. 

“It’s just beautiful.” The lower level 

primarily comprises children’s 

spaces, conference rooms and all 

the church’s offices. AV outfitting is 

variable. 

To avoid skimming over every 

room while delving into detail about 

none, we will focus our attention on 

the main worship spaces. According 

to Rayburn, although the church as 

a whole is rather contemporary, 

services in the larger auditorium 

(Eastside) tend to be more traditional 

as compared to the more 

intimate, edgy Westside space. In 

Blackhawk’s old facility, the gym 

was used as an overflow room. It 

ended up being more casual and 

relaxed, with coffee being served 

and people coming and going as 

they wished. When the new facility 

was erected, the church wanted to 

keep that sort of feel in one of its 

rooms. Both auditoriums, however, 

had to handle acoustic guitar-driven 

services as well as the brand of rock 

prevalent in worship spaces. 

Before proceeding with our usual 

exploration of audio and video 

componentry, credit must be given 

to those without whom this project 

could not have been completed. Neil 

Thompson Shade, of Acoustical 

Design Collaborative (Ruxton MD), 

drove the design vis-à-vis room 

acoustics, mechanical noise and 

Dan Ferrisi is Sound & Communications’ Associate Editor. 



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sound isolation. The architect for 

Blackhawk was Plunkett-Raysich 

Architects (Madison WI), represented 

by project manager Paul 

Schmidt. 

According to Taipale, the Danley 

Sound Labs speakers that outfit both 

auditoriums were not part of the 

initial plan. However, because he is 

enthusiastic about the company’s 

designs, when he got word it was 

bowing the SH-50, he proposed a 

“test drive.” 

“I arranged to fly Mark Wyse 

[director of technical arts with 

Blackhawk Church] to Dallas so he 

and I could both audition those 

loudspeakers firsthand in a large 

room. That demo convinced both of 

us that this was the right loudspeaker 

to use for this project and, 

although it meant a roughly $15,000 

increase to the overall budget for 

the sound systems, we both considered 

it the right thing to do.” 

Eastside uses five SH-50 units as 

mains and six as delays. According 

to Rayburn, the mains are an ex- 

ploded array around the front edge 

of the stage. The six delay boxes 

comprise a typical array delay ring 

throughout the back of the room. 

Five Renkus-Heinz TRX81/9 boxes 

cover downfill needs, whereas five 

Bag End TA6000-S boxes serve as 

front fills. There are 13 Crown amps 

supplying the room, including three 

CTs-2000 mains amps, three CTs- 

2000 delays amps, two CTs-1200 

downfill amps and one Xti-1000 front 

fill amp. 

Four Danley TH115 subwoofers 

are flown in Eastside because, if 

they had been grounded, sound 

seepage would have made the 

children’s rooms below unusable 

during services. According to 

Taipale, his firm engaged the help of 

low-frequency steering expert Dale 

Shirk to assist in the design of a 

proper cardioid subwoofer array. 

“Our concern,” he remarked, “was 

that the very wide audience seating 

area would be tough to cover at subbass 

frequencies by simply using the 

cardioid arrangement, but Dale 

helped us arrange the four subs in a 

way that covered the room well and 

yet kept that energy off the platform.” 

Rayburn explained how CobraNet 

factors into the space, saying the 

Eastside is outfitted with a BSS 

London BLU80 and BLU32, and it is 

all CobraNet integrated. “There’s a 

Yamaha M7CL at front of house with 

a CobraNet card in it. The CobraNet 

card goes to a network switch and 

the two Londons go to a network 

switch, and all of the audio is passed 

via CobraNet.” In fact, there are four 

Yamaha consoles (two M7CLs, two 

LS9s) and five DSPs throughout the 

building, all connected on the 

CobraNet network. 

For the unique needs presented by 

Blackhawk, CobraNet was an 

important investment. Considering 

the size of the building, both Taipale 

and Rayburn recognized the benefit 

in being able to connect all the 

rooms from an audio standpoint and 

send signals bidirectionally between 

rooms. But, additionally, there is a 

large radio/television tower less 



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Blackhawk’s second floor lobby area boasts a huge Welcome Center, 

which offers a place for church members to gather and chat before 

and after services. 

than a mile away and there was 

some concern about picking up RF 

in the wiring. “And, of course,” 

added Rayburn, “nowadays, many 

DSPs have CobraNet onboard as a 

protocol between boxes. So, that 

made sense.” 

The Eastside Auditorium is fully 

outfitted with video, as well. Two 

Da-Lite PermWall 94½"x168" Cinema 

Vision angled side screens 

complement a Da-Lite Cosmopolitan 

Electrol 94½"x168" Cinema Vision 

center motorized screen. They are 

illuminated by three Sanyo PLC- 

XP100L projectors, which deliver 

6500 lumens and 2000:1 contrast 

ratio. Video functionality is supported 

by a TV One C2-7100 video 

switcher and FSR Pathfinder 8x8 

RGB Matrix. Little did the integrator 

expect, though, that a last-minute 

video challenge would have to be 

overcome. 

According to Rayburn, “Because 

of the way the electrician had run 

the conduit to the video projectors 

[he didn’t quite follow Taipale’s 

spec], the video image was not 

optimal. The run lengths of the 

video lines were just too long.” In 

the last two days before first use, a 

Magenta Research Cat5 system was 

overnighted to the facility and 

implemented to handle the video 

feeds to the projectors. “It was just 

night and day,” Rayburn enthused. 

“The difference between the 350-foot 

runs that our install guys had pulled 

and the Cat5 Magenta feeds was 

unbelievable. It was a big transformation.” 

Eastside employs three 

Magenta Research MultiView UTx 

video transmitters and three 

MultiView MV250A video receivers. 

Technologically speaking, 

Westside Auditorium is essentially a 

mirror image of Eastside, just a 

scaled-down version thereof. It 

relies upon Danley, Renkus-Heinz, 

Bag End, Crown, Yamaha and BSS 

Audio for its audio functionality. It 

has an identical center projection 

screen, flanked by two slightly 

smaller Da-Lite PermWall 78"x139" 

Cinema Vision screens. A single 

Sanyo PLC-XP100L projector is 

complemented by two Sanyo PLC- 

XP57L models, which provide 5500 

lumens and 1000:1 contrast ratio. 

Westside also has a Grass Valley 

Turbo iDDR hard disc recorder. 

Taipale explained, “The church 

prefers to record the video message 

[from senior pastor Chris Dolson] 

rather than deliver it live to the 

video venue, so [Wyse] brought his 

Grass Valley Turbo iDDR digital 

disk recorder over from the old 

building to use in this new facility. 

Admittedly, timing two services, 

with two separate worship teams, so 

the pastor’s message hits at a very 

specific moment in time is something 

of a challenge, adding stress to 

the service each week that maybe 

isn’t so important.” But he noted the 

digital delivery of the message 

works well. 

According to Taipale, the congregation 

has embraced its new digs 

enthusiastically. “I was there for the 

first worship service and I think 

everybody was really blessed,” he 

declared. “They had two morning 

services in each of the main rooms. 

The very first service on November 

4 was filled to overflowing, with 

extra chairs set out in both the 

Eastside and Westside Auditoriums. 

Another 400 chairs were set up and 

filled in the gymnasium. And I heard 

that there were cars still backed up 

two miles on the highway trying to 

get into the parking lot.” It should 

be observed that, as magnificent as 

Blackhawk’s new space is, it must 

present values exceeding its environs 

to draw such an alacritous 

response. 

Everybody associated with the 

project characterized the collaboration 

as fruitful: the type for which 

professionals always hope but 

seldom get. According to Rayburn, 

“We have a long history with 

[Taipale] of working as a team for 

the customer. On this particular 

project, because we had a very 

technical customer involved, he was 

integral to the decision-making 

process, as well. Mark Wyse would 

discuss his needs with [Taipale] and 

[Taipale] would implement and get 

things done. There was just a great 

trust relationship there between all 

three parties.” Taipale agreed, 

adding, “The church was phenomenally 

supportive.” 

Teeming with auditory and visual 

componentry and extensively wired 

to allow future expansion, Blackhawk 

is a prime example of a megachurch 

that sits on the cutting edge 

of worship…and technology. ■ 




My Top Five Things To See At NAB! 

A short list of house of worship interests. 

Let’s play word association. Here 

goes: Enlightening, Mysterious, 

Miraculous, Inspirational. What 

event comes to your mind I’m 

thinking, a wonderful worship 

experience 

Or, how about NAB The National 

Association of Broadcasters convention 

is here again! In fact, you may 

be reading this while attending one 

of the most enlightening events held 

for our industry. Although we do not 

specifically address broadcasting in 

Sound & Communications, many 

NAB exhibitors display products and 

disseminate information that is vital 

for our success as systems integrators, 

including those of us who focus 

on the House of Worship segment. 

This month, I am going to give 

you my Top Five things to see at 

NAB. My short list represents items 

that are currently hot in Houses of 

Worship. Here we go! 

• The first items I will see are 

visual display systems of every 

available type. Visual presentation 

technologies remain high on the 

wanted list for mega, large, medium 

and small facilities. Projection 

systems continue to be hot-ticket 

items for first-time installations and 

for worship facilities that desire to 

upgrade from 4:3 to 16:9 or to HD. 

In addition, HD flat screen displays 

are desired for use inside 

NAB exhibitors display 

products and disseminate 

information that is vital 

for our success. 

sanctuaries as additional eye candy 

and for use as digital signage in 

lobbies, hallways, classrooms and 

other locations. 

• Number two on my list are 

technologies that generate, edit, 

manage and deliver the content that 

will be presented on visual display 

systems. Included are video cameras, 

presentation switchers and 

presentation software. 

Presentation software is a hot 

topic today. In my view, to date, 

“mysterious” has been the term 

associated with presentation software. 

Rarely have products delivered 

what they advertised, although 

you should be able to find some to 

round out your NAB experience. 

• Third on my list are audio and 

video distribution technologies. In 

particular, I will check out the latest 

CD and DVD recording units that 

can create multiple units in one 

pass. I also plan to gander at printers 

that print directly onto CDs and 

DVDs. And, of course, systems that 

record and print using automation. 

• Fourth is to check out everything 

possible regarding HDTV. Although 

there seems to be a sense of stability 

emerging in the HDTV debate (at 

least in the Blu-ray/HD-DVD war), 

much remains that must be sorted 

out. For example, HDTV 

uncompressed, HDV compressed 

and many tricky issues tied to 

HDTV content and distribution that 

surely will be addressed at NAB. I 

doubt there will be many conclusions, 

though. 

However, we can hope for a 

miracle. We should be able to walk 

away from NAB with a sense of the 

trends in HDTV and information 

that we can pass on to our clients in 

the house of worship market who 

are frantically trying to make sense 

of HDTV and how to use it effectively. 

• Fifth on my list is wireless audio 

technologies, in particular, wireless 

microphones. The reason this is 

important is that wireless microphone 

use will continue to be 

affected in numerous markets as 

more stations begin broadcasting in 

HDTV. There is more data than ever 

to help us determine where and how 

HDTV broadcasts will alter certain 

microphone/frequency use. But 

there are many questions yet to be 

answered by the wireless companies 

and the future frequency paths they 

are pursuing. The overarching issue 

in this debate is wireless compatibility 

among all the new and emerging 

audio and video wireless technologies. 

We must understand wireless 

issues holistically so we can effectively 

consult and serve the house of 

worship sector. 


David Lee Jr., PhD, CEO of Lee Communication Inc., Orlando FL, is a licensed minister 

and has more than 25 years of experience as a systems integrator. He is a member of Sound 

& Communications’ Technical Council. Send comments to dlee@testa.com. 




Striking A Balance 

Design, integration and technology management must work together in today’s churches. 

The new contemporary church 

model characterized by the heavy 

use of technology and multimedia 

has provoked profound changes to 

such things as facility design, multimedia 

systems design and staffing 

requirements, to name just a few. 

Church attendees have come to 

expect the same level of multimedia 

and quality on Sundays as they’re 

accustomed to throughout the week 

at home, school and work. This has 

resulted in technologies never 

before dreamed of in today’s worship 

centers. With synchronized 

media servers, in-ear monitoring, 

satellite uplink, high-definition 

IMAG and broadcast production, 

and complex digital signage, many 

of today’s progressive worship 

facilities now rival some of the most 

elaborate performing arts, broadcast 

and sports complexes. 

This new requirement for versatility 

and functionality has brought 

with it the need for full-time staff 

member(s) maintaining those 

systems on a regular basis. A new 

breed of worship facilities technology 

managers has evolved in response. 

On the surface, one might 

question the need for such a position 

after the initial learning curve 

has subsided. But, upon closer 

inspection, one finds that these 

individuals often find themselves 

Many of today’s progressive 

worship facilities now rival 

some of the most elaborate 

performing arts, broadcast and 

sports complexes. 

responsible for video post-production, 

stage preparation, slide production, 

digital mixer preparation, 

preparation of lighting scenes, 

technology support for events 

throughout the week, and maintenance 

of the complex systems 

throughout the facility. The nature 

of these responsibilities dictates 

individuals highly skilled in widereaching 

technologies. 

Unfortunately, many churches view 

these staff members as free resources 

and a way to realize huge 

cost savings when new technology 

projects arise. Most churches, even 

after moving into a brand new 

facility, continue to expand and refine 

their use of technology, trying to 

keep step with the rapid developments 

in society. At times, these 

modifications are minor and make 

sense to be handled in-house. Other 

times, however, they can be extensive, 

and handling them in-house 

without involvement from outside 

professionals can be a costly misstep. 

The appeal of saving money upfront 

all too frequently overshadows any 

consideration of the drawbacks. 

Many times, the in-house technology 

managers formerly worked in 

the professional integration industry 

and are highly capable individuals. 

In spite of this, they often lack the 

resources available to professional 

design and installation firms. These 

limited resources can include such 

things as manpower available for 

proper and safe installation, documentation 

capabilities, insurance to 

cover liability for installation and the 

knowledge of other building systems 

that may be impacted by modifications 

to the multimedia systems. 

All too frequently, using the inhouse 

approach results in systems 

designed and installed outside of 

industry best practices. Because the 

systems often perform at an acceptable 

level, the process is viewed as a 

success by the church’s decision 

makers, and the process is used 

again in the future. In reality, the 

financial gains generally are short 

term, with often-overlooked longterm 

consequences. 

For instance, because the technology 

manager is the person who will 

be maintaining these systems after 

the installation, often less priority is 

given to proper cable management, 

cable labeling, future flexibility and 

system documentation. Because 

these elements don’t directly impact 

initial system performance, they are 

seen as nice to have—but unnecessary—expenses, 

and often go 

overlooked. 


Tony Warner, CTS-D, is director of the Audio-Visual Design group for RTKL, a 60-yearold 

worldwide planning, architecture, design and creative services organization. He has 

worked on projects for such clients as the US State Department, the US House of Representatives, 

the National Institutes of Health and the US Naval Academy. Send comments to 

him at twarner@testa.com. 



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The T.L. Lowery Global Ministry Center in Cleveland TN. 

All photos: Johnny Hughes 

FROM OFFICE SUPPLIES 

TO GLOBAL MINISTRY 

AV and architecture transform retail space for worship use. 

BY DAWN ALLCOT 

The building that houses the T.L. 

Lowery Global Ministry Center in 

Cleveland TN is a converted Office- 

Max retail store, but you can’t tell by 

looking at it. The classic American 

architecture of the white building is 

defined by a rounded portico; pillars 

supporting the portico flank the tall 

front door. Floor-to-ceiling glass panels 

have been replaced by two smaller 

rows of windows. “Imagine it without 

the columns and the portico,” said Bill 

George, secretary of the T.L. Lowery 

Global Foundation, “and you have an 

OfficeMax!” 

It takes quite a bit of imagination, 

however, to picture this distinguished 

building as a bustling retail space. 

Even inside, the structure reveals no 

hints of its former life. Visitors to the 

ministry center enter a circular lobby, 

where they are greeted by a 

Panasonic 42-inch plasma screen for 

digital signage, which displays news 

about upcoming events and information 

about the center. Glass display 

cases on either side of the lobby 

showcase pieces of history from T.L. 

Lowery’s 60-year career as a Pentecostal 

evangelist, pastor and denominational 

executive. 

The 24,800-foot, $4.5 million ministry 

center also houses an 850-seat 

sanctuary/auditorium with state-ofthe-art 

AV systems, media studios for 

recording and broadcast, a boardroom, 

bookstore, prayer room and 

office space. 

‘Not A Church’ 

The T.L. Lowery Center is not a 

church, representatives are quick to 

point out. The home of the T.L. 

Lowery Global Foundation, the center 

exists as an educational venue for 

evangelistic pastors. “Prior to building 

the center,” said Ministries director 

Greg Casto, “Dr. Lowery worked out 

Dawn Allcot is a freelance writer specializing in the audiovisual and health and fitness industries. 



of an office and toured the world. 

Building a central location is a vision 

he’s had for many years. The Lord 

spoke to him about having a place 

where he could bring people together 

to mentor and teach them, a place 

where he could be a leader to church 

leaders.” 

While high-profile guests in the Pentecostal/Charismatic 

community offer 

high-energy worship services during 

the Friday Night Fire series, the ministry 

center’s purpose is teaching and 

ministry development as modeled by 

T.L. Lowery. Upcoming events include 

an Evangelism Certification 

course and the International Conference 

on Spiritual Impartation, a fourday 

event featuring T.L. Lowery, 

Perry Stone and Greg Casto, and 

hosted by Pastors Ron and Alice Scott. 

Situated next door to the Bradley 

Square Mall in Cleveland’s main retail 

center, the ministry center is located 

in a bustling section of the 

modest city. Dr. Lowery’s son discovered 

the building while driving 

through town one day. When he 

pointed it out to his father, the senior 

Lowery knew the Lord had led him 

there to fulfill his vision of creating 

a gathering place where evangelists 

could learn. 

“It’s in a high-traffic area…a very 

desirable location,” said George. “It’s 

in an area with a lot of hotels and restaurants, 

which is important for the 

type of training we do, where we 

bring people in from other places.” 

He added that renovating an existing 

building was much more economical 

and sensible than starting from 

scratch with new construction. 

From Shopping 

To Worship 

Transforming a former big box retail 

store, with its high ceilings and 

parallel wall surfaces, into an acoustically 

superior sanctuary capable of 

hosting musical acts of all sizes, Friday 

night high-energy worship services 

and classroom instruction for 

large groups of evangelists posed 

several challenges, according to 

acoustical consultant James S. 

Conversion of this former retail space created an attractive, inviting facility, as is 

seen in this entrance area. 

Brawley, president of James S. 

Brawley & Associates, Inc. 

Clemson SC-based Brawley, who 

completed the sound design for the 

space, worked closely with Sam 

Arnold of Southern Digital Products, 

Inc., the project’s Huntsville AL-based 

audiovisual installer. 

“It’s an educational auditorium with 

live music performance and evangelical 

instruction,” Brawley said. “So the 

criteria was to have a robust music 

amplification sound system with 

enough inputs and outputs to handle 

typical worship music bands normally 

found in a Pentecostal church, including 

several voices, praise team, horns, 

string, keyboards, organ, drums, guitars 

and basses.” 

Arnold added, “They run a very 

high level of live sound in the sanctuary. 

I expected it to be a high level of 

sound, but it turned out even higher 

than I expected.” 

The high ceilings and parallel wall 

surfaces created acoustical challenges 

when it came to achieving the desired 

sound quality. Brawley specified 

acoustical treatments on the back 

wall; additional sidewall treatment was 

recommended, and may be installed at 

a later date. 

High Ambient Noise 

Another challenge was the high 

ambient noise levels created by the 

HVAC system, much of which was 

reused from the venue’s OfficeMax 

days. The contractors installed a layin 

ceiling with acoustical panels to 

block some of the noise, and Brawley 

worked with the HVAC contractors to 

route ductwork in such a way that it 

created less ambient noise in critical 

areas of the auditorium. 

Brawley specified that Yamaha 

IF2115 two-way full-range loudspeakers 

with 15-inch woofers be placed in 

an arc to cover the entire sanctuary. 

The speakers are placed in a semicircle 

around an eight-foot extension 

off the front of the 20'x15' stage. 

Brawley determined optimal speaker 

placement using modeling software. 

The speakers are powered by a collection 

of Yamaha PC-3301N and PC- 

6501N power amps. Two Yamaha 

IS1218 subwoofers were added, along 

with four Yamaha IF2112/AS floor 

monitors. Four IF2108 speakers can 

be configured as compact floor monitors 

or front fill floor speakers. 

“One of the requirements was to 

have sufficient stage monitor mixes 

and loudspeakers to give them a lot of 


flexibility in the way they might set up 

the performance platform for different 

musical groups,” Brawley said. “It’s 

different from a church in that they 

don’t have the same band for every 

service.” 

The floor monitors complement an 

Aviom A in-ear monitoring system, 

which Brawley said has been well received 

by touring performers. The 

system includes six Aviom A 1611 

personal mixers, an A-16D Pro A-Net 

distributor and a 16/0 Y1 Yamaha A- 

Net Card to connect it to the FOH 

mixer, a Yamaha LS9 digital console, 

expanded from 32 channels to 40. 

“Most musicians are able to home 

right in on the system,” Brawley said. 

Preconfigured System 

The monitoring system is preconfigured 

because most instruments tend to 

show up in the same position regardless 

of what band is performing. The 

mixing console makes it easy to make 

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minor adjustments to the system, as 

well. Brawley said, “In addition to 

feeding each instrument to the musicians 

so they can mix themselves, I 

feed two of the channels as a left and 

right PA mix. If anyone gets confused, 

he can dial those in and hear the 

same mix that is coming out of the PA 

on his Aviom station.” 

Two Marantz CDR510 dual CD 

player/recorders play background 

music. One recorder can receive a 

direct digital output from the mixer 

for live audio recording. “Having the 

output available directly from the digital 

console into the CD player both on 

record and playback is one of the ad- 

Southern Digital 

Products, Inc. 

Huntsville AL-based Southern Digital 

Products, Inc., with offices in Birmingham 

AL and Nashville TN, is a manufacturers’ 

representative, value-added reseller 

and systems integrator. Founded 

more than 13 years ago by husband and 

wife team Terri and Walter Bridges, this 

family-owned company is one of the few 

in the audiovisual industry with a female 

CEO. Owned and operated by Terri 

Bridges, the company now has 10 fulltime 

employees. 

Specializing in broadcast video installations 

at television stations, and 

audiovisual installations in the government, 

educational, corporate and 

religious markets, Southern Digital 

remains “committed to the digital 

transition” through an expanding line of 

digital broadcast products, used sideby-side 

with analog solutions, when 

appropriate. 

The company recently hosted the Rocket 

City Digital Showcase in the Von Braun 

Center in Huntsville AL, which brought 

together 60 manufacturers displaying 

products for broadcast television, 

government R&D and analysis, 

command and control applications, 

conference and boardroom presentations, 

house of worship applications and 

more. 

Recent projects include audiovisual 

systems in the control room at Cape 

Canaveral in Florida and several large 

government security contractor AV 

installations. 

For more information, go to 

www.sdpi.net. 



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© 2008 Shure Incorporated 


Equipment 

Video 

2 AJA D10AD A/D converters 

2 AJA D10C2 D/A converters 

Bittree patch panels, patch cords 

Canon 13X, 20X lenses w/no extender 

1 Canon 19X lens w/extender 

1 Clear-Com SB-440 4-channel switchboard main station 

2 Clear-Com GM-18 18" gooseneck mics 

1 Clear-Com IF4-B4 4-channel 4-wire interface 

2 Clear-Com RM-220 2-channel remote stations 

3 Clear-Com RS-602 2-channel belt packs 

3 Clear-Com CC-260 double-ear headsets 

3 Clear-Com CC-95 single-ear headsets 

1 Evertz X1201S 12X1 SDI switcher w/control panel 

2 FEC RKMV5 rackmounts 

1 FEC RKSPAJ250 dual rackmount 

1 FEC RKSPAJ75 rackmount 

1 Grass Valley 8900FFN high-power GeckoFlex modular 

universal frame 

2 Grass Valley 8901 Gecko distribution amps 

2 Hitachi RM-Z3 dual rackmounts 

4 Hitachi Z4000W cameras 

1 JVC SR-DVM70US DVD recorder 

2 JVC SRMV50US VHS multi-standard VCRs 

2 JVC SRMV50US, combo DVD-R recorder/S-VHS decks 

2 Link 812-OP/A black burst modules 

1 Link SPG-812/SD master sync generator w/frame 

2 Marco ER7030-01 30" deep 40RU 70" equipment racks, 

w/accessories 

5 Marshall VR-63P triple 5.8" widescreen LCD monitors 

1 Marshall V-R84DP-2C 8.4" LCD monitor 

12 Middle Atlantic PD-815R-PL 8-outlet power conditioners 

4 Mohawk M80646 300' triax cables 

1 Panasonic AJ-SD93 DVC Pro 50/25 switchable VTR w/SDI input 

1 Panasonic AJ-SD930B DVC Pro 50/25 switchable VTR w/edit 

1 Ross S100-001SL Synergy 100 digital production switcher 

4 TVLogic LVM-170W 17" LCD monitors w/rackmount 

1 Videotek VTM-OPT. 1 audio level, phase measurement option 

1 Videotek VTM-200 serial digital/analog multi-format 

onscreen monitor 

2 Vinten 3525-3S Vision 250 systems 

1 Vinten Vision 100 head, dual pan bars, two stage 

3 Vuetech VF2 R2P remote panels 

1 Vuetech VF2 R4S remote panel 

1 Wohler AMP2A-10S 20 input analog audio monitor 

2 Yamaha HS50M-CA powered active speakers, monitor 

1 Yamaha MV12/6-CA audio mixer 

House Sound 

4 AKG C451B orchestra mics, choral mic 

1 AKG C477WR-L/P earset mic 

2 AKG CK77WR-WL lav mics 

4 AKG D22XLR instrument mics 

3 AKG PS 4000 wireless antenna splitters, multi-couplers 

3 AKG PT400 body pack transmitters 

12 AKG WMS receivers 

8 AKG WMS 400/880 handheld transmitter receivers 

4 AKG WMS 400/C400 handheld transmitter receivers 

6 Aviom A-1611 personal mixers 

1 Aviom A-16D Pro A-Net distributor 

1 Aviom Aviom16/0 Y1 Yamaha A-Net Card 

6 Aviom L50 layflat cables 

1 BTX DP-C0518 8 port Ethernet switch 

1 BTX PD-PP110C5E24 rackmount Cat5 patch bay 

BTX YD-PC6GRY5 3', 5' Cat5 patch cables 

3 FSR FL500 series floor box assemblies 

8 Lowell RPC-1 sequenced 

power strips 

2 Lowell RPSW-MR rackmount 

power switches 

1 Lowell SCS8 8 step sequencer 

2 Marantz CDR510 dual CD 

player/recorders 

2 Marco C-3-8 caster base for 

ED3472 

1 Marco ED3472 edit desk 

1 Marco ER7030-01 70" equipment 

rack, 30" depth, 40RU 

3 Middle Atlantic PD-815R-PL 8 

outlet power conditioners 

14 Pro Co Sound AQ-25 25' 

mic cables 

4 Pro Co Sound DB-1 direct boxes 

Pro Co Sound custom plates, 

panels 

1 Tripp Lite 500RT 1RU Smart 500VA rackmount w/6 outlets 

1 Yamaha DME-24N audio processor w/crossover network 

4 Yamaha IF2108 fold back speakers 

4 Yamaha IF2112/AS floor monitors 

4 Yamaha IF2115 2-way full-range speakers w/15" woofers 

2 Yamaha IS1218 subwoofers 

1 Yamaha LS9-32 32-channel mixer 

1 Yamaha MY8AD24 8-line input expander 

2 Yamaha PC-3301N power amps 

3 Yamaha PC-6501N power amps 

AV 

2 Chief CMA-0305 extension columns 

2 Chief CMA-115 flat ceiling plates 

2 Chief CMA-347 vibration damper mounts 

1 Chief MTR-XXXX 37" plasma panel mount 

1 Chief PRO 2051 lockable tilt wall mount 

2 Chief RPA-440 inverted ceiling mounts 

2 Draper 253037 72"x96" screens 

1 Key West MX-A single-channel media server w/NTSC 

1 Key West MX-A/XVP2 MX-A w/EDITOR, (MC) MediaCreator 

4 Magenta MultiView UTx universal transmitters 

4 Magenta MultiView AK500 receivers 

1 Marshall V-R1042DP-XGA dual 10.4' XGA/DVI 

LCD rackmounted monitor 

3 Middle Atlantic 8-outlet power conditioners 

1 Middle Atlantic shelf keyboard, LCD monitor, mouse 

2 Panasonic PT-D5600U 5000 lumen projectors 

1 Panasonic TH42PH9UK 42" plasma display w/speaker kit 

1 Pesa PR128V5A2-P 12X8 RGBHV, stereo audio, local panel 

4 QSC AD-S52 speakers 

2 Sharp LC32D40U 32" LCD monitors 

2 TV One 1T-V1280HD video to PC/HD scalers 

1 TV One A2-2000 analog audio switcher 

1 TV One C2-5200 dual-channel video processor 

Control 

1 Crestron CP2E control processor 

1 Crestron TPS 4000 10" touchpanel 

5 Crestron ST-Com dual com interfaces 

1 Crestron CN2-Hblock interconnect block 

List is edited from information supplied by Southern Digital Products, Inc. 



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View of the 

auditorium 

from the 

console 

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vantages of the LS9,” Brawley said. 

A selection of AKG microphones, 

including orchestra, choral, earset, 

instrument and lav mics, plus 14 channels 

of wireless capabilities, rounds 

out the audio segment of the project. 

Video Capabilities 

Arnold described the installation as 

a three-part process, comprised of live 

sound, AV (which included the digital 

signage in the lobby and video 

screens in the sanctuary) and broadcast 

television equipment. 

The sanctuary/auditorium features 

two 72"x96" Draper screens, placed 

about 10 feet to the left and right of 

the stage. These screens receive images 

from a pair of Panasonic PT- 

D5600U projectors. Arnold noted that 

the drop ceiling, in addition to the 

surface ceiling lighting system and 

television lighting, posed some challenges 

to proper video system placement. 

“We had to get them to make 

some modifications to the lighting systems 

to accommodate the screens and 

projectors,” he said. 

The projectors receive inputs from 

a JVC VCR/DVD/SVHS combo recorder, 

a JVC DVD recorder and four 

Hitachi Z4000W cameras for image 

magnification. A TV One switcher converts 

the various video formats to 

RGBHV. An Extron RGBHV router 

feeds the video screens and the 

plasma monitor in the lobby, permitting 

each screen to receive an independent 

feed from the media server, 

cameras or another source. 

The sanctuary/auditorium also includes 

a 32-inch Sharp LC32D40U 

LCD monitor, placed on the stage as 

a confidence monitor for the guest 

speaker. Originally, this piece of 

equipment was slated to go in the 

lobby display case as part of the digital 

signage package; another Sharp 

LCD monitor was purchased for the 

same purpose, but has not yet found 

a home in the facility. 

Plasma Feeds 

The plasma screen in the lobby receives 

content from a Key West MX- 

A single-channel media server w/ 

NTSC, as do the projectors. In addi- 




Visitors enter a circular lobby featuring a plasma that displays 

news about upcoming events and information about the center. 

James S. Brawley & Associates, Inc. 

James S. Brawley has been an independent audio systems design 

consultant since 1981. Prior to launching JSB&A, he was the applications 

engineer for JBL Professional Products. During his time with 

JBL, he was fortunate enough to work with world-renowned experts in 

the field of acoustics and loudspeaker system design, including John 

Eargle, D.B. Keele, Mark Gander and George Augspurger. 

Clemson SC-based JSB&A is a full-service acoustical and sound 

system design firm that has provided acoustic and sound system 

designs for 1000- to 4000-seat auditoriums, theaters, athletic and 

concert venues, educational facilities, and worship spaces. The 

company’s services include sound system and acoustic design as well 

as AV presentation consultation. In conjunction with JSB&A professional 

associates, the company also offers consultation in the areas of 

HVAC systems noise, stage equipment, theatrical and entertainment 

lighting, and video production. 

Brawley’s recent house of worship projects include extensive audio 

systems for Thomas Road Baptist Church, former home of the late Dr. 

Jerry Falwell, in Lynchburg VA, and Roswell United Methodist Church 

in Roswell GA. He also completed sound design at Millbrook Baptist 

Church in Aiken SC. 

“A lot of worship spaces are moving to a concert format, where it’s not 

just traditional choral and organ music, and musicians in an ensemble,” 

Brawley said. “There’s a big trend in worship facilities, where 

churches are including a performance stage with a proscenium and the 

musicians perform in a concert-type setting.” To accommodate his 

customers seeking this high level of sound quality in a worship venue, 

Brawley specifies what he calls a “worship concert system.” 

In addition, the sound designer said he sees more and more churches 

building multi-purpose spaces for their youth congregation. It’s not 

unusual to see multi-purpose youth centers with athletic activities, 

video games and high-energy worship, complete with a worship 

concert sound system, all under one roof. 

This type of multi-purpose facility allows a church to get more use out 

of a space, perhaps seeing it in use seven days a week, instead of one 

or two, and provides more value to its congregation while staying 

within a limited budget. Not unlike the multifunctional sanctuary/ 

auditorium in the T.L. Lowery Ministry Center, these multi-purpose 

facilities continue to stretch the boundaries of audiovisual technology 

capabilities, as systems are designed to fill varying needs without 

compromising performance quality. 

For more information, go to www.jimbrawley.com. 

tion to showing pre-programmed material, the plasma 

can receive a feed from the sanctuary cameras to show 

the services or classes taking place in the sanctuary. 

The server allows ministry center tech staff to mix live 

or recorded video with pre-designed graphics for a compelling 

digital signage presentation. 

All video is controlled by a Crestron CP2E control processor, 

through a TPS 4000 10-inch touchpanel located 

in the broadcast studio. 

The broadcast control room sits about 15 feet from 

the left of the stage, directly behind the front wall of 

the auditorium. Through streaming video on the web 

and broadcast television shows, this room and its contents 

further permit T.L. Lowery to fulfill his vision of 

teaching evangelism across the world. 

Through four Hitachi cameras located in the main 

sanctuary/auditorium, operators can capture classes 

and services in the auditorium for streaming over the 

web or for projection into the lobby. Services and 

classes can be recorded and sent out for editing; inhouse 

editing capabilities are in future plans for ministry 

center. Four TVLogic LVM-170W 17-inch rackmounted 

LCD monitors receive feeds from the four 

camera sources. 

A Clear-Com intercom system permits communication 

among those in the broadcast control room and the auditorium. 

The system consists of an SB-440 four-channel 

switchboard main station, a four-channel, four-wire 

interface, three CC-260 double-ear headsets, three CC- 

95 single-ear headsets, dual GM-18 18-inch gooseneck 

mics located in the broadcast studio, two RM-220 remote 

stations with two channels each and three RS-602 

belt packs. 

FOH Mixer 

The LS9 FOH mixer also functions as a broadcast 

mixer. According to Brawley, this was not the ideal solution 

but, with help from Yamaha staff, it was turned 

it into an effective, cost-saving alternative not having independent 

mixing consoles for broadcast and PA. The 

LS9 was configured so the first layer of faders operates 

the PA and the second layer handles the broadcast mix. 

“With the instant recall, you can actually send two different 

mixes to those two places easily, with only one 

operator,” Brawley explained. 

“If we didn’t have the technology available,” said George, 

“we would be limited only to the impact we could make on 

the city of Cleveland TN, which is a small town of about 

38,000. Having this state-of-the-art broadcast technology 

enables Dr. Lowery to reach out to a much larger audience.” 

He continued, “More important than just the worship experience 

is the training that takes place here. By having 

the technology available, we’re able to make Dr. Lowery’s 

classes available to a much wider audience. It extends the 

ministry and teaching opportunities exponentially.” ■ 



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OLD TIME RELIGION, 

MODERN AV 

Lake Grove Church delivers high-energy, tech-enhanced worship. 

BY SHONAN NORONHA, EdD 

A passionate preacher, six musicians, 

87 choral singers and more 

than 1500 parishioners raise their 

hands and voices in worship every 

Sunday at the newly constructed Lake 

Grove Missionary Baptist Church in 

downtown Memphis TN. The $5.2 

million Corinthian-style building sits 

on the 25,000-square-foot parking lot 

of the old church, and its interiors feature 

classical architectural detail and 

the latest sound and visual systems. 

Powered portable line arrays, programmable 

DSPs, laser pendulums 

and GPS are just a few of the high-tech 

tools that Sound Hill Technologies 

(Holden LA), a turnkey system design 

and integration firm, used to bring the 

best possible AV systems to the new 

home of this old community church. 

The new construction features a 

chapel with a sanctuary, a choir loft 

and a balcony or production area. At 

the back of the church are the Fellowship 

Hall, six offices and 12 classrooms. 

Achieving Clarity 

According to Pastor Revered Sam 

Henry Mickens, speech clarity and a 

clear tone in all areas of the church 

were top priority. “The couple of mics 

we had in the old church screeched, 

groaned and produced static when we 

moved them around,” he said. 

The audio system for the sanctuary, 

Lake Grove Missionary Baptist Church, Memphis TN. 

which is about 130 feet across and 115 

feet deep, with ceiling coffers 48 feet 

from the floor, presented some special 

challenges. Discussing the uses of the 

sound system in light of the unique 

characteristics of the interior design 

of the chapel, Tim Hill, Sound Hill coowner, 

noted, “Our primary goal was 

to design a speech and music system 

capable of outputting high decibel levels 

with clarity and no distortion.” 

Gerald Kennedy, a principal at G&A 

Architects in Little Rock AR, who designed 

the interiors of the chapel and 

served as project manager for Lake 

Grove Missionary Baptist Church, 

reported that the arched ceiling features 

4'x4' custom-built coffers. 

Shonan Noronha, EdD, is an independent writer, producer, training consultant, and author of several books and numerous 

articles about television, AV, multimedia and music. Send comments to her at shonan@optonline.net. 

40 



“These square panels are unique not 

only as a decorative element in the 

overall design, but also serve the insulation 

requirements (R-factors) and 

help to prevent high frequencies from 

bouncing off the ceiling and causing 

echo,” explained Kennedy. 

Sound Hill carefully specified audio 

components, such as JBL line array 

speakers and a dbx 481 DriveRack audio 

processor that would provide clear 

tones without reflections. Because the 

walls do not have acoustic panels, Hill 

noticed that the sound tended to 

bounce around, causing certain frequencies 

to ring. “We used a dbx 

DriveRack for digital signal processing 

and calibrated the system with 

EAW’s SMAART measurement software 

to optimize the sound,” he said. 

Managing The Sound 

To ensure good audio coverage in all 

areas, Sound Hill specified the new powered 

VRX portable line arrays from JBL. 

Two arrays, each containing two 

VRX932LAP loudspeakers and one 

VRX918SP subwoofer, are set up above 

in order to prevent inadvertent or intentional 

messing up of the settings,” 

explained Hill. “Discreet passwords enable 

authorized users to access the 

control application, and we train them 

on how to make adjustments.” 

Audio Configuration 

The audio configuration also includes 

six JBL SRX712M stage monitors, 

Crown amplifiers to drive the 

stage monitors, a Soundcraft 32-channel 

mixing console and Furman Sound 

sequential powering. 

Pastor Mickens had wanted the microphones 

to be easy to set up and use 

because volunteers would operate 

them. Sound Hill selected a range of 

AKG wireless and wired mics, including 

the AKG WMS 40 Pro Vocals 

handheld, for high-quality, reliability 

and ease of use. 

Because the distance from the pulpit 

to the back wall of the chancel is 

about 50 feet deep and 100 feet wide, 

Hill ruled out traditional horn-loaded 

loudspeakers and specified JBL powered 

VRX line arrays. “We do our own 

design/build and, in previous jobs, I 

had put in some of the first, non-powered 

JBL VRX loudspeakers. I like the 

VRX system, and for a mid-sized 

church, it is excellent,” Hill said. 

“When I found out that JBL was going 

to introduce powered ones, we 

used them for this church; that was 

the very first installation nationwide.” 

Hill explained that his decision to 

use powered VRXs instead of the nonpowered 

ones was related to the long 

wiring runs from the speakers to the 

amps. “With non-powered speakers, 

that could have resulted in difference 

in impedance and signal loss. In addition, 

we would have had to run a 

multi-pair speaker-line because there 

are three speakers in each array. By 

using powered VRXs, we were able to 

run a microphone line to supply our 

signal; to accomplish this, we ran a 

four-line audio snake,” he said. 

Arrays In The Air 

Flying the line arrays from an 

arched ceiling 48 feet high required 

skill and experience. Sound Hill had 

both, as well as welding and fabrication 

capability. Describing the process, 

Hill said: “We took 2"x2"x¼"- 

The powered line array pendulum, hung with 

additional subs behind a cloth mesh under the stage, 

gives maximum sound disbursement. 

the main stage in the sanctuary, in a leftright 

configuration. “The JBL line array 

characteristics allow for advanced control 

of the sound, keeping it off the 

walls, while providing adequate power 

for the services,” noted Hill. 

A dbx 481 DriveRack provides equalization 

and loudspeaker management. 

Sound Hill used dbx’s DriveWare application 

to set up the controls. “We decided 

not to have any controls on the 

DSP unit, but to provide management 

of the controls via a Toshiba computer, 


square tubing and made mounts that 

we bolted on to the pendulum-hang, 

and then attached them to the array 

frame mounts that were provided by 

JBL in the VRX fly-kit package. We 

then welded those to the 10-inch 

beams in the ceiling. Only then were 

we able to fly the arrays down and do 

a pendulum-hang. It’s a yoke with a 

bolt system to it.” 

The arrays are dropped 20 feet from 

the ceiling, and they still fly at 28 feet 

from the floor. “It’s a tall building, so 

we really had to set it up right. And 

Lake Grove 

Missionary 

Baptist 

Church drew 

a large 

crowd to its 

new facility 

for the 

dedication 

service. 

the ceiling was coffered with acoustical 

material to keep sound bouncing 

off the ceiling. We couldn’t have 

cables or mounts coming out of anywhere, 

so we had to work in between 

the coffers and had to use structural 

steel,” Hill said. 

Space Age Tools 

Sound Hill used some innovative 

techniques, including a combination of 

GPS and pendulum lasers, to assure 

proper positioning of the line arrays. 

Hill was concerned about getting the 

angles just right in order not to hit the 

back walls with too much sound, and 

yet to get good coverage under the 

balcony. He also wanted to let more of 

the sound be directed toward, and absorbed 

by, the congregation. 

“The GPS lets us know exactly 

where the hang points are going to be 

in the building,” Hill explained. 

“For instance, no two buildings are 

always the same in terms of where the 

steel is running; the beams may be 

higher or lower, or a little further back 

on the left or right.” 

Using AutoCAD, acoustic modeling 

and the architect’s drawings, Sound 

Hill was able to identify the optimum 

location for the arrays, and then make 

adjustments based on various realworld 

factors. “With a GPS and the 

pendulum laser, we find one location, 

and then are able to check on the 

other side for a parallel location. The 

lasers shooting from the floor straight 

up enable us to see if there are airconditioning 

vents, piping or anything 

else in our way. And if there are any 

obstacles, we can relocate our hangs 



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to another location easily. 

“We used pendulum lasers that we set 

up on the floor and, even if the floor is 

not level, the pendulum levels the lasers 

to shoot straight up. We can check the 

marks on the floor, move around and 

find a new location, and then with the 

GPS we find new coordinates, and shoot 

the laser to see if it works.” 

Subs By The Numbers 

From that point on, the installation 

process was relatively simple for Hill 

and his experienced crew. To provide 

full sound in all areas of the sanctuary, 

they fine-tuned the location and 

setup for a variety of subwoofers to 

complement the JBL arrays. “We cut 

out space under the stage and fitted 

in the small, powered EON subs. So 

we’re running the two tops and two 

subs, and we have a delay on the bottom 

subs under the stage, which we 

time-aligned,” reported Hill. 

The EON subs match up with the 

JBL line arrays so they all hit at the 

Sound Hill Technologies, Inc. 

Tim Hill took his passion for music to new heights in the early ’70s, when he served as 

minister of music and choir director for churches in Louisiana. In 1987, with his wife Julie, 

he established Sound Hill Music in Holden LA. During the past two decades, the company 

has designed and installed elaborate sound systems for churches and entertainment venues. 

“Together with an excellent team of engineering, technical and administrative employees, we 

have worked on more than a thousand church projects across the United States and 

overseas,” he reported. 

Sound Hill Technologies offers a full array of AV services, from AutoCAD and customized 

system design, to installation and integration. Among its recent projects is the 3000-seat 

Rosa Hart Theatre at Lake Charles Civic Center, in Lake Charles LA. “It features a five-way 

ISP line array system, the first of its kind in the US,” Hill said with pride. “We built and 

installed a custom audio stage panel with 64 inputs, four com ports, 18 outputs, and several 

mass connections for amp racks, monitor sends and recording.” 

Julie Hill reported that the company has its sights set on doing more government projects. 

“With our certified welders, electricians, cabinet builders, engineers and technical support 

teams, there is almost no part of a job we cannot work through,” she said. 

For more information, go to www.soundhilltechnologies.com. 

same time. According to Hill, this provided 

much smoother coverage of the 

lower frequencies. “That way, it 

makes a seamless transition, so the 

subs don’t all come out of the top. The 

subs from the top cover a big blanket 

area in the balcony and the subs down 

on the floor fill in the sanctuary.” 

Thorough preparation helped avoid 

common problems. “We did not have 

any phase cancellation problems because 

we had already worked those 

types of issues out,” said Hill. “We got 

the specifications from JBL and dbx, 

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and the engineers gave us the points 

and instructions on how we cross 

them over. Because we knew exactly 

how far back the speakers were, we 

were able to match them up easily on 

the time-delay system. 

The sound booth, with roll top desk that 

gives easy access for the sound engineer, is 

located in the balcony overlooking the 

chancel, just behind one of the projectors. 

“You can work these systems right 

out of the box only if you know exactly 

where everything is,” Hill explained. 

“We were running everything on 

AutoCAD, so we knew where everything 

would be to start with. We then 

assigned fixed positions on the spectrum, 

measured and checked everything, 

and adjusted it out.” 

Let Them See 

During worship services, the text of 

scriptures and verses of hymns (from 

a Toshiba laptop running MediaShout 

software) are displayed on a 12'x12' 

electric Da-Lite Cinema Vision screen 

that hangs between Corinthian columns 

in the chancel area. “We wanted 

the projector and screen to display 

text clearly,” Mickens said. 

A Hitachi CP-X1250 projector 

throws bright 4500 lumen images on 

the screen. The projector is equipped 

with interchangeable, bayonet-style 

lenses for different throw distances. 

The long-throw lens is typically used 

during worship services. 

A Sony EVI-D100 pan/tilt/zoom camera 

mounted on a Vaddio EZCamera 

Cable Shoe was installed as an additional 

video source for live events. 

The Fellowship Hall located at the 

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VP-727 In-CTRL Seamless Switcher 

VP-727T T-Bar Remote Controller

The projection 

screen is easy 

to see from 

the entire 

sanctuary. 

ongoing fundraising efforts. Pastor 

Mickens had no doubts that spending 

$5.2 million on a new church for the 

community was the right thing to do. 

He had a vision of the church in his 

dreams more than a decade ago and 

said he was guided by the spirit in 

recent years to move ahead on it. 

Skeptics frequently would ask the pastor 

why he planned to build a new 

church in a rundown, ghetto-like area 

when other churches were moving to the 

suburbs. “I would simply tell them that 

this is where God is needed most, and 

that I have a firm belief that God can 

back of the church is about 70 feet 

wide by 52 feet deep. It features a 

stage flanked by two columns and, 

centered above the stage, a 10'x10' 

Da-Lite Cosmopolitan screen. A 3200 

lumen Hitachi CP-X400 projector is 

mounted on the ceiling about 20 feet 

from the screen. 

Decorative wooden molding on the 

wall below the screen made it necessary 

to build out from the wall to provide 

enough clearance so the screen 

would not hit the molding when it was 

lowered. “The projector itself was fairly 

easy to install, but the location had one 

minor wrinkle,” Hill said. “Because the 

height of the projector is about 25 feet 

and a custom floor tile with an imprinted 

logo had already been installed, 

we had to cover the area with carpeting 

in order to drive a lift over it without 

damaging the tile.” 

The projector gets its primary signal 

from the switcher in the sanctuary 

sound booth. This is transmitted over 

Plenum Cat to the Fellowship Hall 

using an Extron VTT/VTR system. 

“To give the church some more flexibility, 

we installed another VGA cable 

to the second input of the projector, 

so they could send an alternate signal 

to the projector from an input located 

on stage in the Fellowship Hall,” explained 

Hill. 

New Construction Blues 

Both Kennedy and Hill said that 

there were no major challenges for 

the architect and AV integration 

teams, except possibly the elastic construction 

timeline due to the need for 

Equipment 

2 AKG C680BL cardioid boundary mics 

4 AKG GN155 SET gooseneck modules 

7 AKG CK80 capsules 

3 AKG GN50ESP lecturn mics 

1 AKG WMS 40 Pro presenter lapel 

3 AKG WMS 40 Pro Vocals handhelds 

1 AKG WMS 40 Pro Sports headset 

8 AKG D5 vocal mics 

1 AKG Drum Set II live/tour sound package 

3 Crown XLS 802 amps 

1 Crown XLS 202 amp 

1 Da-Lite Cinema Vision 12'x12' electric screen 

1 Da-Lite Cosmopolitan 10'x12' electric screen 

1 dbx 481 DriveRack equalization and loudspeaker management system 

1 Extron SW2 VGA DA2switcher 

1 Extron VTT001 twisted pair transmitter 

1 Extron VTR001 twisted pair receiver 

Extron cables 

1 EZ Dupe 7-disc CD/DVD duplicator 

1 Furman RS-1 remote system control panel 

7 Furman MP-20relays 

1 Furman powerLink remote sequencer 

1 Furman sequential power conditioning model PM-PROII 

1 Hear Technologies Hearback 8-channel hub master 

8 Hear Technologies Hearback personal monitor mixers 

1 Hear Technologies DA-88 analog snake conversion cable 

Hear Technologies 25', 50' Cat5e mixer cables 

1 Hitachi CP-X1250 projector (Sanctuary) 

1 Hitachi CP-X400 projector (Fellowship Hall) 

8 Horizon 4x1 floor boxes 

4 Horizon 110V duplex floor boxes 

4 Horizon Straightline direct boxes 

4 JBL VRX932LAP powered speakers 

2 JBL VRX918SP powered subs 

2 JBL VRX-AF array frames 

6 JBL SRX71M floor monitors 

2 JBL EON powered stage subs 

10 JBL 24C/CT speakers 

1 MediaShout software 

1 Sony EVI-100 robotic video camera 

1 Soundcraft LX7ii 32 mixing console 

2 Superlux ECO-86A organ mics 

1 TASCAM CDA-500 CD/cassette play deck 

1 TASCAM CC-222 MKII CD/cassette recorder 

List is edited from information supplied by Sound Hill Technologies. 



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THINK OUTSIDE 


Pastor 

Reverend 

Sam 

Henry 

Mickens 

is 

pleased 

with the 

new 

facility. 

bless a ghetto if you want a ghetto to be 

blessed,” Mickens said emphatically. 

Delays in securing funds also resulted 

in increased construction costs 

due to inflation. “I also had to help the 

congregation maintain a high level of 

courage and hope during this time,” 

noted Mickens. 

All Praise 

Pastor Mickens said that he implicitly 

and totally trusted that the architects 

and AV system designers would 

do an excellent job. “Gerald Kennedy 

has designed many beautiful churches 

in this area,” Mickens said. 

Mickens is impressed with the 

sound and video quality of the AV system 

and commended Sound Hill for 

putting in first-rate technology that 

could be operated by volunteers from 

the congregation. 

Kennedy expressed delight that the 

system did not negatively impact the 

interior design. “In the past, to get the 

quality of sound we have here, you 

had to hang big objects in the ceiling 

that would ruin the appearance of the 

entire area. With this newer technology, 

we were very impressed with the 

small size of the hanging speaker clusters 

and how the sound can penetrate. 

We are astounded with the even coverage 

of this new type of audio system 

and the multiple angles that the sound 

can be thrown.” 

Kennedy also praised the work of 

Sound Hill, “They have put audiovisual 

systems in several different churches, 

with a range of architectural styles that 

I have designed and built, and I’ve 

never had any concern about the AV 

systems. They have always fulfilled our 

requirements and needs with appropriate 

and complete systems.” 

A jubilant crowd gathered at the 

Lake Grove Missionary Baptist 

Church when it held its inaugural service 

in the new building. Founded in 

1935, this once-vibrant congregation 

had dwindled to only 64 parishioners 

at the start of the new millennium. 

Today, more than 1500 parishioners 

unite for Sunday services, Bible study 

and a variety of activities each week 

in this high-energy house of 

worship. 

■ 



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WEB OF WORSHIP 

Northland’s media caters to the children. 

BY DAWN ALLCOT 

The future of any organization is its 

younger members. Churches of every 

denomination are realizing this, leading 

to increased spending, expansion 

and building projects focused on 

children’s wings, youth sanctuaries 

and classrooms. In many cases, these 

youth spaces include the same quality 

of audiovisual systems found in the 

church’s main sanctuary. 

Northland, A Church Distributed, 

recently underwent a $42 million, 

multi-phase building project that 

placed the church in a new 160,000- 

square-foot, purpose-built location 

next door to its original facility in 

Longwood FL. Included in the new 

facility is a 3000-seat sanctuary sporting 

state-of-the-art AV, including a 

Meyer Constellation Variable Room 

Acoustics System, a broadcast studio 

to supply streaming audio and video 

to the church’s satellite locations, office 

space, classrooms and a children’s 

wing that Bill Platt, president and 

chief designer of Platt Design Group, 

said was “an extension of all the creative 

thoughts we had going on for the 

vision of the main church.” 

He added, “The children’s church, 

which includes a gathering room for 

children’s services, is designed with the 

same technical direction and expertise 

we designed in the main sanctuary.” 

Randy Sherwood, senior sound designer 

for Platt Design Group, led the 

design and the audio systems in the 

children’s wing, while Neil Morrison, 

a member of the church, completed 

the video system design, which was 

installed by Media Visions, Inc., of 

Birmingham AL. Steve Arnold, the 

church’s lighting designer at the time, 

acted as project design lead over the 

children’s wing installation. 

A World, Connected 

Northland, A Church Distributed, 

has a main campus located in Longwood 

FL, with satellite churches, or 

multi-sites, in Mount Dora, Oviedo 

and West Oaks FL. Senior pastor Joel 

Hunter launched the multi-sites after 

September 2001, when the church’s 

existing sanctuary in a converted skating 

rink became too small to hold the 

growing number of congregation 

Dawn Allcot is a freelance writer specializing in the audiovisual and health and fitness industries. 

50 



The purpose-built Longwood FL campus of Northland, A Church 

Distributed, includes a 2000-seat sanctuary, classrooms, office 

space and a spacious children’s wing. 

members. Hunter had a vision of a 

church “unrestricted by geographical 

boundaries,” and technology helped 

make that happen. In 2007, the church 

moved to its new facility to begin the 

next stage of its growth. 

The children’s sanctuary also connects 

to the multi-sites, an aspect of 

the project that video systems installer 

Jayson Fuhlbruck spotlighted as one 

of the key challenges. “How do you let 

children look at a screen and understand 

that their brothers and sisters 

in Christ are worshipping with them 

simultaneously somewhere else 

From a video side, it was crucial to 

make it so that children who may not 

understand the concept understand 

that these people are here with you, 

in real time.” 

Visitors to the children’s wing first 

step into a 40-foot-diameter glasswalled 

atrium. A 10-foot high-resolution 

spinning globe hangs down from 

the ceiling. Project manager Steve 

Arnold noted that the Earth in the 

center of the room hammers home 

the message that worship can take 

place anywhere. “We wanted to make 

the kids understand this is a worldwide 

concept,” he said, “to make them 

comfortable with the idea that we will 

connect with places across the world.” 

The church has connected with communities 

in Africa via satellite for concurrent 

children’s worship. 

‘Across the Ages’ 

Across the top edge of the atrium, 

going three-quarters of the way 

around the room, is a Bible-derived 

timeline of Earth’s creation. On either 

side of the atrium sit two 50-inch 

plasma screens. These display digital 

signage messages through a 360 Systems 

media server, or receive a feed 

directly from the children’s sanctuary 

or main sanctuary to broadcast services. 

Dual UPM-1Ps face into the 

main circle of the atrium to provide 

sound to go with the imagery. 

Leaving the atrium, visitors encounter 

the first gathering area, a 30'x50' corridor 

designed to prepare children for the 

worship experience in the children’s 

sanctuary. Meyer UPM-1Ps sit on the 

front and back walls of this room in a 

surround sound configuration, with a 

650-P subwoofer to cover the low end. 

A Da-Lite screen and Christie ceiling-mounted 

projector were installed 

in this room to supplement storytelling 

by the children’s pastor. Often, 

services from the main sanctuary or 

the children’s sanctuary will be broadcast 

on this screen, receiving a feed 

from a 360 Systems video server in 

the children’s control booth located 

adjacent to the children’s sanctuary. 

Children sit on the carpeted floor in 

this room to enjoy the stunning technological 

presentation as they prepare 

for the day’s worship service. 

Children’s Sanctuary 

The children’s sanctuary, which accommodates 

about 450 children on 

the floor, resembles a black box theater 

experience, with three different 

sets erected around the room. The 

sets, designed by Wacky World of 


Oldsmar FL, are semi-permanent; they 

can be changed in the future as the 

children’s ministry needs change. The 

sets and accompanying wall murals 

represent a town, complete with a gas 

station, church and hardware store, a 

rural setting with a baptismal pond, 

and a national park setting with a freestanding 

tower. 

The new sanctuary replaces a venue 

called the 400 Room, a series of converted 

classrooms with the walls removed 

to create a larger space. “Looking 

at how we used that room, we realized, 

in the new space, we wanted to 

do a different look and feel in almost 

every corner,” Arnold said. “The technical 

systems are designed for proper 

lighting, proper sightlines for the 

video screens and videotaping capabilities, 

and proper audio coverage no 

matter which corner of the room you 

work in. We didn’t want to limit ministry 

by limited technology.” 

The audio systems designers used 

the main sanctuary’s sound systems 

as a model for the children’s sanctuary, 

which alleviated most of the technical 

challenges in the project. “We 

had already gone through the process 

of high-end technical design for the 

main sanctuary,” Platt said. 

Minimal Reverb 

The carpeting and extensive set designs 

minimize acoustic reverberations 

in the two-story, high-ceilinged 

room. Platt selected eight self-powered 

Meyer UPA-1Ps for the sanctuary, 

rigged from the ceiling in a surround 

sound configuration, with two 

Platt Design Group 

Platt Design Group is based in Sierra 

Madre CA, with a branch in Orlando 

FL. Since opening its doors in 2001, 

the company has amassed an 

extensive list of credits in the pro 

audio, video, lighting, scenic design 

and installation arenas, including 

churches, theme parks, theaters, the 

corporate world and select government 

contract work. The projects 

range from the award-winning audio 

design for Dream, the new Shamu 

show at SeaWorld, San Diego, to a 

custom-designed communication 

system for use by the truck drivers at 

US port facilities. 

The president of Platt Design, twotime 

Emmy award winner Bill Platt, 

founded the company as the culmination 

of a lifetime career in the audio, 

video, lighting and scenic design 

industry. Starting out his professional 

career as a musician, he spent 15 

years as director of audio and show 

development for all of Walt Disney’s 

theme parks worldwide, which 

includes the audio design for Beauty 

and the Beast on Broadway. 

According to Platt, he especially enjoys 

completing design/build work for 

churches. “We work with our clients to 

guarantee they get what they expect 

from the audio, video and lighting 

systems,” he said. “Lately, we’ve been 

doing a lot of interior concept design 

for sanctuaries, too, where we work 

with architects to lay out the rooms.” 

The company’s groundbreaking 

designs include the concurrent 

worship service systems at Northland, 

and a video system featuring a multiprojector 

display for the 2000-seat 

sanctuary in the First Christian Church 

in Canton OH. 

For more information, visit 

www.plattdesign.com. 



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Equipment 

Video, Children’s Wing 

Cameras 

4 Hitachi Z400w studio cameras 

2 Sony BRC-3000 robotic cameras 

Projection 

2 Christie LX66A XGA 6500 lumen LCD projectors 

1 Christie LW25U WXGA 2500 lumen LCD projector 

1 Christie LW40U WXGA LCD 4000 lumen projector 

Da-Lite 78"x139" front-projection screen 

Da-Lite 58"x104" front-projection screen 

Production 

Echolab Classic 9 Series switcher panel 

Harris Inscriber CG 

Playback/Routing/Storage 

360 Systems V20000-MF-120 120 Gig drive server 

Ross NK-Series 32x32 SDI router, audio router 

Communication 

1 Clear-Com Digital Eclipse 32 system base station 

4 Clear-Com i1430 digital control panels 

5 Clear-Com ICS1016 digital control panels 

Video, Children’s Sanctuary 

1 360 Systems Shortcut Editor 

20 Ace Backstage 102BBX backboxes 

4 Ace Backstage 102DDBBX backboxes 

1 AJA D5CE SDI to component 

2 Aphex 120A audio distribution amps 

7 Aphex 1788 preamps 

1 Aphex 1788RC preamp remote 

9 Aphex Dominator limiters 

1 Apoge DA16X converter 

APW 4', 8' rack enclosures 

1 Asante FM2009MMC network switch w/MM fiber interface 

2 ATI SUM100-RCA audio summing amps 

1 Audio Accessories AES/EBU 110 ohm to 75 ohm batam patchbay 

2 AudioRail Technologies AudioRail Cat5 digital audio snake 

4 Barco Encore 3 ME video processors 

2 Barco Screen Pro ll video processors 

1 Barco Encore LC video console 

4 Bittree video patch bays 

13 Bittree Audio Bantam (TT) 969 Series patchbays 

Bittree BPC2400-110 audio patchcord 

2 BSS SW3088 Soundweb Lite programmable digital audio systems 

2 Canon ½", 2/3" zoom lenses 

2 Channel Plus DA-8200 1x8 distribution amps 

1 Channel Vision C-0204 1x4 passive RF splitter 

13 Channel Vision C-0202 1x2 passive RF splitters 

1 Chief PST-2045 LCD mount for NEC 

7 Christie DS+8K 8500 lumen SXGA+ DLP digital projectors 

w/zoom lens 

18 Clarity Margay 50" DLP cubes w/Big Picture Module 

1 ClearOne Mobile Video Conference Rack, Titan plasma 

monitor carts 

14 Clear-Com 2-channel interface modules 

4 Clear-Com 8-station fiber interface modules 

3 Clear-Com 10-key rackmount matrix stations 

1 Clear-Com TEL-14 Telephone Interface 

6 Clear-Com FL-1 call signal flashers 

1 Clear-Com single-channel frequency-agile UHF wireless 

intercom base station 

3 Clear-Com i1430 4-display key modules w/keypad 

5 Clear-Com ICS-1016 32-key pushbutton stations 

1 Clear-Com FIM-102 fiber transceiver 

1 Clear-Com EF-1M matrix to analog conversion interface 

1 Clear-Com EF-1M interface 

19 Clear-Com HS-6 handsets 

5 Clear-Com KB-212 2-channel wall stations 

1 Contemporary Research 232-MTA mono TV tuner 

24 Countryman Isomax II-0 omni-directional super-miniature mics 

1 Crest 4801 amp 

1 Crest 7001 amp 

1 Da-Lite ceiling mount “manual” 4:3 10'x7½' pulldown 

Deluxe screen w/DayMatt 

1 dbx 900 Series rack 

4 dbx compressors 

1 Denon DN-770R dual cassette player 

5 Digidesign HD192 Pro Tools breakout boxes 

1 Digidesign Command 8 control surface 

1 Digidesign Sync sync generator 

1 Digidesign D002 Protools interface 

1 DNF Controls GTP-32 GPI tally processor 

1 EAW subwoofer 

1 Elmo P10 XGA visual presenter 

1 Euphonix DF64 digital frame 

1 Euphonix MA703 for monitor feeds 

1 Euphonix PC253IX digital pilot 

1 Euphonix PC253DX digital pilot 

2 Euphonix MA703 analog to MADI converters 

1 Euphonix MC524 monitor controller 

3 Euphonix AM713 converters 

1 Euphonix FC727 Pro Tools format converter 

1 Euphonix 404 surface module 

2 Euphonix 416 surface modules 

1 Euphonix SC216 system computer 

1 Euphonix SH612 studio hub 

1 Euphonix FC631 frame controller 

11 Euphonix SP661 DSP processing cards 

1 Euphonix MM641 MADI interface 

Gefen Cat-5 extenders, splitters, accessories 

2 Grass Valley 8950ADC component video to SDI converters 

2 Grass Valley 8950DAC SDI to component video converters 

4 Grass Valley 8900 Trinix Series signal processing chassis 

21 Grass Valley 8941 monitor DA processing cards 

5 Grass Valley 8960ENC composite encoder processing cards 

1 Grass Valley 8950ADC ADC processing card 

1 Grass Valley 8990ARC ARC processing card 

1 Grass Valley 8960DEC DEC processing card 

3 Grass Valley 8981 FS processing cards 

4 Grass Valley 8501/8801 output DA processing cards 

1 Grass Valley 64x64 controller/router panel 

1 Harris Inscriber INCAST-2U-1 Inca Studio-premium 

character generator, graphics solution, w/active texture option 

1 Ikegami HC-D57WCAS portable camera 

4 Ikegami HC-400 video cameras 

1 Ikegami MA-400 long-range multicore base station w/SDI option 

2 Mackie HR824 self-powered studio monitors 

3 Magenta Research MultiView AK500 PC TX/RV KVM, serial 

Cat5 extenders w/PSU 

7 Magenta Research MultiView UTX universal transmitters 

7 Magenta Research MultiView AH500 receivers 

1 Magenta Research MultiView 9D 1x9 distribution amp 

1 Marshall V-R72P-2SD dual 7" mega-pixel widescreen LCD monitor 

Meyer Constellation electroacoustic architecture 

1 Meyer CueConsole modular control surface 

18 Meyer MILO LCR main speaker clusters w/VEAM connection 

5 Meyer MG-3D/M top grid, for 5 speaker clusters 

6 Meyer M3D-Sub subwoofers w/VEAM connection 

2 Meyer Galileo processors for cluster, front fill, delay speakers 

2 Meyer CQ-1 delay speakers (upper balcony) 

52 Meyer UPM-1P VariO self-powered compact speakers 

18 Meyer UPJ-1P self-powered ultra-compact narrow 

coverage speakers 



26 Meyer MM-4 ceiling speaker cabinets 

2 Meyer MM-4CUE processors for MM-4 speakers 

24 Middle Atlantic racks 

2 MOXA TCC-08i RS232 to RS422 converters 

1 Miranda Kaleido-K2 video processor 

8 Miranda SDM 874p signal converter HD-SDI/SDI to DVI-D w/PSU 

1 NEC LCD4000 40" 1280x768 LCD display w/SP-3040 speakers 

1 NVision routing system 

2 Panasonic TH-42PWD8UK 42" 852x480 SD plasma displays 

w/SDI, video terminal boards 

1 Panasonic TH-50PHD8UK 50" HD 1366x768 plasma display 

1 Peerless ST650 mobile video conference rack, plasma mount 

3 Peerless ST650 wall mounts for 1038, 1056, 1019 

1 Polycom VTX1000 audio expander, 2 mics, sub, cable 

1 Polycom VSX7800e VTC 

ProCo cables 

6 QSC CX 108V 8-channel 70V amps (100w/ch.) 

2 QSC CX 404 4-channel 8 ohm amps (200w/ch.) 

1 QSC CX 204V 4-channel 70V amp (200w/ch.) 

4 QSC RMX-2450 2-channel amps 

1 Radial Engineering cable, connectors 

2 RDL RU-LA2D audio interfaces 

3 RME OCTAMIC D 8-channel mic pre amp w/ADAT light 

pipe outputs 

2 RME MADI bridges 

3 RME ADI 648 ADAT to MADI converters 

8 Sennheiser EW 300 IEM G2 wireless monitor systems 

2 Sennheiser EM550G2 dual-channel true diversity receivers 

w/active antenna splitter 

2 Sennheiser SKM535G2 handheld transmitters w/Neumen 

105 capsule 

2 Sennheiser ME105/HS1 combo headworn mic kits 

3 Sennheiser SKG500G2 bodypack transmitters 

8 Sennheiser G2-300 wireless in-ear sets for stage 

1 Sharp PN455P 45" 1920x1080 HD plasma display 

4 Sharp LL-191A-B 19" LCD monitors 

6 Shure SLX wireless receivers 

1 Sony RDRVX515 DVD/VCR player VHS record 

2 Sony SLV-370P DVD/VCR player VHS record 

2 SoundScape iBox MADI-OptiCoax MADI optical to coax converters 

25 Toshiba MW24F51 DVD/VCR 24" TV combos 

4 Yamaha LMY4-DA analog I/O cards 

1 Yamaha O1V 96 V2 rackmount digital mixer 

1 Zenview Atlas 17S 17"x8 LCD multi-monitor 

1 Zenview Quad 17S 17"x8 LCD multi-monitor 

List is edited from information supplied by Media Visions, Inc. 

Audio, Children’s Wing 

Console and Processing 

1 Yamaha DM2000 FOH digital mixing console 

2 Yamaha AD8HR mic preamps 

2 Yamaha 01V96 V2 monitor digital mixing consoles 

Speakers, Amplification 

64 JBL 24CT Micro Plus 4" 2-way in-ceiling speakers 

3 Meyer UPJ-1P compact VariO speakers 

4 Meyer UPM-1P ultra-compact wide coverage speakers 

2 Meyer 650-P high-power subwoofers 

4 Meyer MUB-UPM UPM-1P wall mounts 

3 QSC CX108v 8 channel 70V amps 

VRAS System 

1 Meyer WTX-2HD36RM Wild Track hard drive w/software 

1 Meyer CC2-TP CueConsole transporter module 

Racks 

2 Middle Atlantic 44-space racks w/accessories 

Control 

1 Alesis AI3 optical interface 

1 AMX NXC-ME260/64 NetLinx Master 260/24 card 

1 AMX NXI NetLinx integrated controller 

20 AMX MIO-ELITE Elite Series keypads 

IEM System, Mics 

4 Sennheiser EW300IEM-G2 wireless in-ear monitor systems 

4 Shure Beta 87A supercardioid condenser handheld mics 

1 Shure Beta 98S supercardioid condenser mic 

2 Shure Beta 58 supercardioid dynamic mics 

2 Shure SM57 cardioid dynamic handheld mics 

2 Shure SM58 cardioid dynamic handheld mics 

Misc 

Whirlwind cables, accessories. 

List is edited from information supplied by Platt Design Group. 

Offices, Classrooms 

56 AMX MIO-Classic-S-WH Mio Modero keypads Classic Series S 

2 AMX NI-700 NetLinx integrated controllers 

1 AMX NXD-CV7 7" Modero wall/flush mount touchpanel 

1 AMX NI-2000 NetLinx integrated controller 

1 AMX NI-4000NetLinx integrated controller 

179 JBL Control 24CT 70V ceiling speakers 

18 JBL Control 26C 8 ohm ceiling speakers 

7 JBL Control 25AV 70V surface mount speakers 

1 MediaMatrix by Peavey NION N6 network digital signal processor 

1 MediaMatrix by Peavey NION N3 network digital signal processor 

2 MediaMatrix by Peavey NIO-8ml mic/line input modules 

4 MediaMatrix by Peavey NIO-8O 8-output cards 

2 MediaMatrix by Peavey CAB 16i CobraNet 16 input module 

3 MediaMatrix by Peavey CAB 16o CobraNet 16 output module 

1 MediaMatrix by Peavey PageMatrix Command Center 

(up to 16 page stations, 99 paging zones) 

3 MediaMatrix by Peavey PageMatrix Station Ten Desktop 

10-button 99-zone paging station w/gooseneck mic 

1 MediaMatrix by Peavey telephone hybrid telephone 

interface module 

List is edited from information supplied by Electrosonics. 


Media Visions, Inc. 

Media Visions, Inc., is a design and 

integration company specializing in 

production, touring, audio, video and 

broadcast solutions. Privately owned by 

president Michael K. Cruce, the company 

has been in business for nearly 20 years 

and has offices in Houston TX, Nashville 

TN and Orlando FL, with its corporate 

office in Birmingham AL. The Nashville 

office specializes in production and 

touring. 

The company’s extensive client list 

includes government, corporate and 

entertainment organizations, along with 

houses of worship. Its most recent focus 

is in connectivity, particularly multi-site 

worship solutions such as those used in 

Northland. 

Media Visions has 20 full-time employees 

but, over the course of a year, 

employs nearly 100 sound and video 

professionals. 


www.mediavisions.com. 

speakers on each wall. 

Depending on which set is being 

used, the sound engineer can turn on 

just two speakers for a stereo image 

or all eight for a true surround sound 

experience. “Each speaker is configured 

to be the left or right to any 

other,” Platt explained. “We have 

enough power that any of the speakers 

will cover the entire room.” 

Northland’s 

technical 

producer 

Sarah 

Petelle 

controls the 

video feeds 

to three 

large 

screens 

during 

services. 

The church can also present a 320- 

degree show, directing children’s attention 

to one area or the other by 

shifting the sound image to a specific 

corner of the room. The Meyer system 

gives users up to 24 tracks of 

sound effects playback, so the sound 

engineer can add crickets, birds or 

even the roar of a racecar to the show. 

By using sound imaging and shifting 



Electrosonic, Inc. 

Founded in 1964, Electrosonic is a worldwide 

AV systems integrator and product 

manufacturer specializing in corporate 

communications, command and control 

rooms, museums, retail displays and theme 

parks. The company, which does more than 

$75 million in business each year, employs 

more than 300 people. 

Headquartered in Minneapolis MN, 

Electrosonic has offices in Edinburgh, 

Scotland; Los Angeles CA; New York NY; 

Orlando FL; London; Hong Kong; Shanghai; 

Stockholm; and Dubai. 

According to Tim Wilson of the Orlando FL 

office, “We just finished refurbishing 

Disaster Studios at Universal Studios in 

Orlando, and are in the process of an 

installation for Universal Studios in Florida 

and Hollywood, where we are converting the 

Back to the Future exhibit to the new 

Simpsons ride.” 

The company is also in the midst of 

completing sound system design and 

installation for the rides at the Hard Rock 

Park in Myrtle Beach SC, set to open later 

this year. 


www.electrosonic.com. 

the special effects to one speaker after 

another, they can simulate the 

sound of a racecar driving around the 

room, for instance. The Meyer system 

is controlled by means of a 

CueConsole CC2-TP digital mixing 

control service. 

The subwoofers can be moved 

around the room as needed, connected 

to the system by means of 

The 

broadcast 

control 

center, 

where 

Northland 

truly 

becomes “A 

Church, 

Distributed.” 

Whirlwind custom input panels strategically 

placed on all four walls of the 

room. 

Musicians and performers use a 

Sennheiser EW300IEM-G2 wireless 

in-ear monitor system. A selection of 

Shure and AKG microphones round 

out the audio equipment in the space. 

Adjacent to the sanctuary, a twostory 

control room houses the Meyer 

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Image magnification is a large part of the 

video display during Northland services. 

Here, Pastor Joel Hunter preaches to the 

congregation. 

system and a Yamaha DM2000 digital 

mixer. The control room is open to 

the main room on the first floor, with 

an enclosed equipment rack room 

behind it. The upper control room 

contains the video server. 

Video In The 

Gathering Room 

Video components in the worship 

center include four Hitachi Z4000w 

professional-quality video cameras on 

tripods. “The cameras are robust and 

provide a great signal at a good price 

point,” Fuhlbruck said. “Because they 

are in the children’s sanctuary, replacement 

cost was a concern.” Two 

Da-Lite front projection screens with 

Christie projectors mounted on a circular 

truss near the ceiling in the center 

of the room display image magnification, 

background graphics, song 

lyrics, or feeds from the main sanctuary 

or the multi-sites. 

“Using front projection gave us 

easier access to the projectors for 

maintenance and repair, and it worked 

better from an aesthetic standpoint, as 

well, to have them tucked up in the 

ceiling,” Fuhlbruck said. 

In most cases, signals from the 

multi-sites are video-delayed, rather 

than the real-time concurrent worship 

featured in the main sanctuary. “Doing 

multi-site for children is difficult,” 

Fuhlbruck said, “because nothing is 

predictable.” 

Signals are transmitted via fiberoptic 

runs from the main sanctuary cameras 

to the children’s wing and vice versa. 

The projectors in the sanctuary and 

hallway, and the plasmas in the 

Northland’s main sanctuary. 

atrium, all receive their feed from a 

V20K video server from 360 Systems, 

a 120 gig server that provides enough 

inputs and outputs to meet all the 

video needs in the children’s sanctuary. 

“Everything is SD-SDI,” Fuhlbruck 

said. “That was the format on 

which Northland decided; we weren’t 

going to do HD upgrades at this time.” 

Classroom Space 

This phase of the project also included 

children’s classrooms connected 

to the main sanctuary and 

children’s sanctuary by means of 

fiberoptic runs. JBL 24CT Micro Plus 

two-way ceiling speakers were specified 

in the classrooms, powered by 

QSC CX108v eight-channel, 70-volt 

amplifiers. 

Each classroom is divided into its 

own zone through a BSS Soundweb 

system. AMX Elite series keypads in 

each classroom give instructors control 

over the audio and video in the 

space. Some of the classrooms have 

combination television/DVD/VCR 

units that can be rolled in, as needed. 

Main Sanctuary 

Platt Design Group designed the AV 

systems in the main sanctuary and 

adjacent broadcast studio, which were 

installed by the southeast offices of 

Electrosonic in Orlando FL. The 

Electrosonic team, headed by Chris 

Conte; project manager Tim Wilson; 

design team lead Jane Hall; and 

project engineer Carl Hartzler, also 

designed and installed AV systems in 

the offices and additional classroom 

space. During the latter phase of the 

project, which included the main sanctuary 

and broadcast studio, Clermont 

FL-based Wow!Works, headed by 

CEO Bettina Buckley, acted as project 

manager. 

Although the children’s space may 

feature performances in every corner 

of the room, the main sanctuary required 

tremendous flexibility to host 

a variety of performing groups, from 

praise teams to touring acts. The nondenominational 

Christian church focuses 

on contemporary Christian music 

as well as popular tunes from the 

1960s and later. “Each week, we may 

have a significantly different environment 

that we’re trying to create,” said 

Tim Tracey, Northland’s executive 

director of worship. 

The Meyer Sound Constellation 

Variable Room Acoustics System, 

specified by Platt Design Group and 

installed by Electrosonic, filled this 

role. “It gives them the capability to 

electronically alter the room characteristics,” 

Electrosonic’s Wilson explained. 

“You can make the room 

sound different depending on the type 

of environment you want to create.” 

Additional Benefits 

The system also allows the congregation 

members to hear each other 

sing, an effect that adds to the atmosphere 

during services. Often, because 

of the room acoustics in a sanctuary, 

which are designed so performers 

can be heard without too much 

reverberation, singers in the congregation 

fail to hear the full effect of 



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It’s a full house in Northland’s main sanctuary during this service, with 

three video screens in use. 

their own voices resonating through 

the church. Especially in a venue like 

Northland, where “togetherness” and 

“connectivity” are keys to the church’s 

mission, this effect enhances the worship 

experience. 

The Constellation system employs a 

series of 16 microphones to capture 

sound and process it through a Galileo 

processing unit. The Constellation, 

based on the same technology as the 

system in the children’s sanctuary, 

uses a collection of Meyer UPM-1P, 

UPJ-1P and MM-4 speakers spaced 

across the sanctuary, located on the 

left and right walls, and across the 

back of the room. 

Decorative Bridge 

A decorative bridge spans the width 

of the sanctuary above the stage, a 

key design element in the space. This 

bridge also provides a mounting point 

for 16 Meyer MILO cabinets. These 

are arranged in arrays across the 

bridge. Booming low end is accomplished 

through six M3D subwoofers 

placed on the floor near the stage. 

HD1 monitors round out the package. 

“Meyer was on hand to do the initial 

set up and balancing,” Wilson said. 

“They had a major hand in the design 

work in the sanctuary.” 

A Euphonix Max Air 106-channel console 

was selected for FOH mixing, while 

a Yamaha PM1D handles monitor 

mixes. Sennheiser 5000 wireless mics 

were selected for the application, along 

with a Sennheiser EW300IEM system. 

Again, the concurrent worship aspects 

of the church played a key role 

in determining what AV systems would 

best fit the church’s needs. “Multiple 

video sources and surfaces became 

critical,” Tracey said. “To be able to 

connect to other sites under the 

Northland name, as well as churches 

all over the world, was crucial.” 

A huge, 75-foot rear-projection video 

screen, powered by five Christie Digital 

DS+8K projectors, dominates the 

3000-seat sanctuary. “We didn’t set out 

to do a 75-foot-wide projection surface,” 

Tracey admitted. “But once we designed 

the congregational seating, it fit.” 

Dual dropdown Da-Lite front projection 

screens at mid-stage flank the large 

screen, and are often used for image 

magnification. Images are captured 

through Ikegami HR4000W cameras. 

The 120-degree, pie-shaped room 

created some line-of-sight challenges 

with the video installation, according 

to Wilson, but the problem was solved 

by careful selection of the equipment 

and careful placement. Sources, including 

Ikegami cameras and a Harris 

Inscriber G3 character generator, 

are fed into a Barco/Folsom Encore 

LC HD video control board located in 

the broadcast control room upstairs 

and behind the main sanctuary. 

Broadcast Control Room 

“The church does a tremendous 

amount of video broadcast, so extensive 

AV technology helps them accomplish 

everything they want to do,” 



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Wilson said, commenting on the vast 

array of components present in the 

broadcast control room. The technology 

in this room permits the church 

to broadcast, by means of Streambox 

AV encoders and decoders, to any of 

Northland’s three multi-sites. 

An SD-SDI video signal and six 

channels of AES audio travel to the 

multi-sites via six RME ADI-648 digital 

snakes and two RME MADI 

bridges. The signal is controlled by a 

Pinnacle PDS-9000i SD Broadcast 

3ME production switcher. An additional 

Euphonix Max Air console 

handles the mix for broadcast sound. 

To send a signal from the children’s 

sanctuary to one of the multi-sites, the 

signal is first routed via fiberoptics to 

the broadcast control room. “It’s not 

just about what’s happening within the 

four walls of the church,” said Bettina 

Buckley of Wow!Works, who was the 

project manager for the theatrical 

technical systems. “It’s also about the 

broadcast and distribution that goes to 

The 

children’s 

sanctuary 

incorporates 

a gas station, 

church and 

hardware 

store, a rural 

setting with 

a baptismal 

pond, and a 

national park 

setting with 

a freestanding 

tower. The 

gas station is 

pictured 

here. 

their multi-sites, along with web 

streaming and television broadcast.” 

Offices, Additional 

Classrooms 

In addition to the extensive children’s 

wing, the new construction included 

office space located on the second 

floor, off the narthex, and 56 additional 

classrooms. Connectivity 

across campus was as important as 

connectivity to satellite locations and, 

once again, flexibility was integral. The 

church leadership specified a need for 

background music and paging capabilities 

in the offices and classrooms, 

along with a choice of local inputs. 

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Wilson noted that the primary challenge 

in this space was programming 

the AMX system to split the rooms as 

necessary. Each of the classrooms can 

be split into three smaller rooms, with 

each section being treated as an independent 

space or combined. “You can 

have a local input at the front of the 

room, but have it playing in all three 

of the combined rooms,” Wilson said, 

noting that AMX programmers had to 

designate a master room. 

Paging, background music and even 

church services from the main sanctuary 

can be routed to some of the 

classrooms and offices, all of the 

spaces or only one through three 

Peavey MediaMatrix NION systems 

using PageMatrix software. Each 

classroom has individual control of its 

audio sources and volume through a 

wall-mounted AMX control panel. 

JBL ceiling speakers were installed 

in the classrooms and office space. No 

projection systems were added, but 

several classrooms utilize combination 

television/DVD/VCR units on rolling 

racks. 

After most of construction was done, 

the church decided to add an additional 

15 classrooms located beyond the back 

wall of the sanctuary. Wilson said this 

posed a challenge, because the NION 

processors were “reaching the end of 

their processing horsepower.” He said, 

“If they want to put in more rooms at 

a future date, they’ll have to add more 

equipment. We were getting really 

close to the edge when we added the 

last equipment.” 

Future Growth 

With five services a week at the 

main campus and young congregation 

members already being groomed for 

a lifetime of worship at Northland, future 

growth is a strong possibility. For 

now, the AV systems in Northland’s 

new home provide all the flexibility 

and capabilities the church ministry 

and technical staffs need. 

As Northland continues to fulfill its 

mission as A Church Distributed, 

growth may very well take place outside 

the four walls of the Longwood 

campus long before the congregation 

outgrows the current space. ■ 

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North Point uses multiple HD 

cameras for distributing 

uncompressed video to its 

overflow site. In postproduction, 

the signal is 

compressed for on-demand 

streaming. 

FAITH STREAMS 

Where AV and IT meet in the HOW segment. 

BY SHONAN NORONHA, EdD 

New streaming media technology 

and content delivery networks are enabling 

Houses of Worship to expand 

their outreach through online live and 

on-demand services. Video production, 

capture and editing systems, signal 

encoders and servers, and networks 

for hosting websites and streaming 

media are all part of the mix. 

AV integrators can expand their 

presence in the house of worship 

(HOW) market and enhance their relationship 

with existing customers by 

developing their expertise in networking 

and multi-platform delivery systems, 

and by partnering with streaming 

media service providers. We’ll provides 

a brief overview of HOW video 

production and streaming applications, 

the technologies and some of 

the key players in this field. 

Bring In The Experts 

The demand for high-quality audio 

and video capture, post-production 

and signal routing systems continues 

to expand as ministries enhance their 

worship services with media-rich content 

onsite and to overflow areas on 

campus, broadcast these services and 

events via satellite or cable, and make 

them available on DVD. 

Because AV system design and integration 

are often seen as a different 

discipline than networking, worship 

centers rarely call on AV integrators 

to help them with streaming solutions 

and services. For instance, Grace 

Chapel in Franklin TN engaged Clair 

Brothers Systems out of Nashville to 

deploy its video system, but handled 

its streaming initiative in-house. 

“We knew we would have to increase 

our production value, so we 

called Clair Brothers, with whom we 

had worked in the past. The company 

has an impeccable reputation,” reported 

John Cox, technical supervisor. 

“We learned of UpStream Networks 

from the internet. We knew we 

needed some kind of streaming service 

provider that could handle very 

large amounts of bandwidth, and Upstream 

impressed us with its CDN 

[Content Delivery Network] and 

price,” explained Cox. 

Commenting on the state of video 

streaming, Michael Sheehan, technology 

evangelist for ServePath and 

UpStream Networks, said, “Streaming 

video capability is no longer limited to 

those with tremendous amounts of 

hardware or AV experience. The entry 

point actually can be fairly inexpen- 

Shonan Noronha, EdD, is an independent writer, producer, training consultant, and the author of books and articles about 

television, AV, instructional technology, multimedia and music. She has designed and produced online multimedia training 

for the financial services industry. Send comments to her at shonan@optonline.net. 



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Joyce Meyer in Mumbai was shot in HD for DVD and broadcast. The signal was later 

compressed for on-demand streaming. 

sive and with minimal technology requirements. 

Using USN, for example, 

one simply needs to download the free 

Windows Media Encoder and plug in 

the URL provided by USN. Then, all 

that is needed is embedding the 

HTML for the stream on a webpage.” 

In The Beginning 

Audio is still used to reach large 

numbers of potential listeners via radio 

and the internet. Content delivery 

The demand for high-quality audio and video 

capture, post-production and signal routing 

systems continues to expand 

networks offer scalable levels of hosting, 

so a worship center can get its 

feet wet by subscribing to a CDN that 

provides a limited number of streams 

for a small fee, and then scale up quality 

and audience capacity as its ministry 

and outreach grows. 

Pastor Philip Trent at the Wesleyan 

Church of Fairfield IL has done just 

that. He uses ChurchWebsiteBuilder. 

net for website software and hosting 

($39 a month for unlimited pages), 

and its sister company, US Church 

Stream, for audio streaming his sermons 

($4 per audio file, available ondemand 

and archived for a year). “I 

know of a gentleman who lives a state 

away, who heard of our site from 

someone in the church, listened in, 

and then gave his heart to Christ,” 

said Trent. “This is another way the 

site is used. It is more about building 

the kingdom of God than it is building 

our church.” 

This attitude is typical of the dedicated 

people working in ministries; 

integrators who wish to expand their 

HOW business need to understand 

and appreciate this serious level of 

commitment. 

Recorded 

audio of worship 

services 

is often the 

first content 

chosen to be 

streamed, because 

this is a 

simple, quick 

and logical extension of existing activities. 

“At our church [Wesleyan 

Church of Fairfield], the recorded 

sermon is first ripped to MP3 format 

and stored on the PC,” said Karen 

Bryant, a parishioner who updates the 

website with information and photographs. 

“This way, if someone asks for 

a copy, we can give them a CD.” A 

disc of the original recording is 

handed to Randy Olson, director of 

communications and marketing for US 

Church Stream, who encodes the audio 

and uploads it to the church 

website. 

Building a total environment with 

video production and streaming capability 

can be exciting and challenging. 

Production Capability 

Calvary Chapel in Costa Mesa CA 

has video production capability onsite, 

and established its own streaming facility 

in Irvine CA. With about 20 servers 

that include storage arrays, database 

management, hosting, streaming 

and email, the facility streams services 

held at Costa Mesa live and on-demand, 

as well as streams for 65 of its 

1300 fellowship centers worldwide. 

“Nearly 18,000 unique IP addresses 

are accessing the live and continuous 

webcasts per month,” reported Heath 

Thomas at Calvary Chapel’s Internet 

Services. “But setting up the technical 

infrastructure and running a data/ 

colocation center is a demanding task. 

We are blessed to have Jim Shewmaker 

as our system administrator 

and USDN as consultants; both are at 

the forefront of administration and 

network security.” 

With a fully staffed media department, 

North Point Community Church 

in Alpharetta GA creates a memorable 

worship experience for its onsite worship 

services and special events. The 

services, which are held in its East 

auditorium, are captured using multiple 

Panasonic AK-HC931B HD studio 

cameras, and mixed live through 

a switcher. The uncompressed HD- 

SDI video is displayed simultaneously 

on large screens in its West auditorium, 

thereby providing a real-time 

experience for additional participants. 

The church’s cutting-edge staging, 

lighting, and audio and video production 

and postproduction systems were 

all designed and installed in-house. 

The recorded and edited video is 

then compressed using Sorenson 

Squeeze and prepared for streaming 

at 300kbps. North Point Ministries 

contracted directly with Akamai to 

deliver on-demand streaming for its 

community of 17,000, which includes 

Buckhead Church in Atlanta and 

Browns Bridge Community Church in 

Cumming. 

Serving The Multitudes 

Satellite and cable broadcaster of 

Gospel content Joyce Meyer Ministries, 

in Fenton MO, partnered with 

Multicast Media Technologies, a prod- 



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Grace Chapel in 

Franklin TN 

offers live and ondemand 

video 

streaming. 

Wesleyan Church 

of Fairfield IL 

audio streams 

sermons for ondemand 

listening. 

uct and service provider in Atlanta, to 

develop and design its on-demand 

streaming media solution, which features 

Multicast’s Digital Media Management 

System and several other 

applications on the Akamai CDN. 

Joyce Meyer Ministries’ online initiative, 

which started in 2002, has 

grown rapidly over the past six years. 

“Currently, we are seeing 1.5 million 

visitors per month,” reported Ginger 

Stache, chief media officer for Joyce 

Meyer Ministries. “Our goal is to see 

these numbers continue to increase 

and, through the web and every other 

means available to us, to eventually 

Creating and delivering an enriching experience for 

congregants is the goal of every ministry. 

reach every city, every nation, every 

day.” 

With that goal at the forefront, Joyce 

Meyer, in collaboration with Multicast, 

has moved its on-demand streaming 

directly to Akamai. “With the huge 

growth we are experiencing in video 

and podcast requests, we were unable 

to serve enough streams to meet the 

demand,” explained Robert Sanabria, 

CIO, Joyce Meyer Ministries. “They 

are many benefits that Akamai can 

provide. There is the reporting, the 

ease of use and many other aspects 

that make it a desirable platform for 

us. However, the number one reason 

is to create the best user experience 

and not deny people’s requests to view 

our content.” 

Creating A Cyber World 

Creating and delivering an enriching 

experience for congregants is the 

goal of every ministry. “Technology is 

one of the components in designing a 

total environment and planning a 

growth strategy,” said Chance Mason, 

executive vice president of Multicast 

Media and president of its vertical 

market subsidiaries, Streaming Faith 

and 316 Networks. According to Mason, 

there are four major components 

to distributing 

video 

over the web: 

“Encoding, 

network capability 

and reliability, 

reporting 

and 

analytics, and 

enabling the viewer to interact with 

the content—all need to be addressed.” 

Eighty-five percent of Streaming 

Faith’s more than 500 clients stream 

video. “You have to choose the format 

and codec based on how you want to 

distribute your content,” explained 

Mason. “Ministries that distribute programming 

via satellite or cable are 

now producing 16:9 HD content and 

compress at high bit-rates for broadcast, 

and then scale down for online 

on-demand downloads or our 24-hour 

linear broadcast channel.” Multicast 

has developed technology that simu- 

lates traditional cable in a master control 

environment but delivers video 

over IP instead of originating at cable 

or satellite head-ends. 

Free Chapel of Gainesville GA and 

Irvine CA produces standard definition 

4:3 video using six Sony D-50 

cameras in the sanctuary in 

Gainesville, and Apple Final Cut Pro 

for editing. “Streaming live is as 

simple as scheduling a live event with 

Streaming Faith, and then directing 

the event as I would for video capture,” 

reported Brian Smith, director 

of media. “We use SF’s encoders and 

routers, so I don’t have to think about 

that. It’s a turnkey solution. Our virtual 

audience experiences all the 

graphics, video roll-in and imagery we 

can produce, and experiences the 

event as if they were in the sanctuary 

with us. The 24/7 is handled through 

a separate export of our broadcast, 

simply removing certain graphics and 

adding other relevant content for the 

streaming audience. Then we have 

both files uploaded to an ftp site for 

SF to encode and distribute.” 

Encoding Mysteries 

Encoding church services for transmission 

using a PC or Mac can be 

cost-effective, but presents significant 

challenges in terms of quality and/or 

the high level of technical expertise 

required. 

Many houses of worship use standard 

4:3 format and prepare their 

online content as Flash and Windows 

Media Video files. At Calvary Chapel, 

a video signal of a live service or event 



is fed into a computer with ViewCast’s 

Osprey capture card and then encoded 

using Windows Media Encoder 

9. “The encoded audio stream at 

32kbps and video stream at 200kbps 

is sent via a T-1 line to a Windows 

Media Streaming server at our 

datacenter,” reported Thomas of 

CCIS. 

Video distributed over the internet 

is frequently delivered at 300kbps, 

with CIF (352x288 pixels) resolution. 

How much the signal should be compressed 

is determined by the bandwidth 

available for streaming. The 

chosen content delivery network or 

ISP can provide an ideal upload/download 

rating for their service. Internet 

connection bandwidth generally 

should exceed the minimum required 

for the quality desired. “The live event 

venue requires an internet connection 

20% larger than the encoding bit-rate. 

This means that, if the encoding bitrate 

is 300kbps, the internet upstream 

connection [for uploading to the 

internet] must be at least 360kbps,” 

explained UpStream Networks’ 

Sheehan. 

Multicast Media offers its clients the 

ability to choose bit-rates for streaming 

their content; the highest bit-rate 

its current clients are streaming live 

over its network is 750kpbs. “However, 

as bandwidth to the home increases, 

we will increase our bitrates,” 

said Multicast Media’s Mason. 

“For Flash files, the latency can be as 

low as 10 seconds, but for Windows 

Media Video, it can be anywhere from 

three to five minutes. Audio and video 

signals are ported separately into encoders 

that handle lip sync well, so 

the viewer does not perceive the delay.” 

Some newer MPEG4 hardware 

encoders offer lower latency, typically 

several seconds or less. 

For content creation, Joyce Meyer 

Ministries uses a variety of Sony cameras 

for video capture onto Sony IMX 

standard definition tape, and edits on 

Avid workstations or Apple-based 

motion design workstations. “Web 

encoding begins with master IMX 

tapes being ingested into our encoding 

workstation, uncompressed 

through AJA Xena hardware to the 

Windows-based Anystream software. 

Anystream generates our final encoded 

files for web-based streaming, 

downloads and podcasts, which we 

upload to our website,” explained 

Stache. 

Dedicated Encoders 

Typically, external encoders provide 

a simple user interface and software 

that is more stable than PC-based systems. 

Compact units from VBrick, 

ViewCast, Sony and other manufacturers 

are being used in HOW environments. 

The Brooklyn Tabernacle church in 

Brooklyn NY reportedly uses a VBrick 

encoder to transmit a compressed signal 

of its services from its main sanctuary 

to its overflow site across the 

street, over wireless Ethernet. VBrick 


appliances include several models for 

encoding, recording and serving, both 

Windows Media and MPEG4 audio/ 

video over the internet or a campus 

LAN at data rates from 8kbps to 

2Mbps. A useful calculator for estimating 

reflector “transmission” costs for 

a variety of streaming applications is 

available at VBrick’s website 

(www.vbrick.com). 

ViewCast’s Niagara GoStream and 

GoStream Plus feature three buttons, 

Many ministries are finding that interactivity 

and online commerce are key to better serving 

their congregations. 

which allow users to select from predefined 

encoding profiles. The portable 

appliance is available with 30GB 

storage, and wireless and battery options. 

Video encoding formats that are 

supported include Microsoft Windows 

Media, RealVideo, Adobe Flash and 

MPEG4 (for podcasts). 

Sony’s Anycast Station was used at 

Calvary Chapel Costa Mesa during the 

church’s renovation. “It’s a compact 

unit, so we were able to take it outdoors 

and simply plug in the audio 

and video, and upload the signal to our 

datacenter in Irvine,” said video maven 

Tim Hathaway, who is responsible 

for content production. The self-contained 

unit features a character generator 

and a six-input video switcher, 

six-channel audio mixer, and provides 

integrated audio mixing and low bitrate 

TCP/IP digital video streaming. 

Ministries that require the highest 

Reporting 

and analytics 

can provide 

ministries 

with 

information 

on how 

many are 

“tuning in.” 

level of encoding quality approaching 

digital broadcast or HD-quality, and 

multipoint video transport and control, 

have a number of excellent choices of 

encoder. Deploying broadcast-quality 

solutions from Envivio, Streambox, 

Tandberg and other manufacturers 

usually requires substantial in-house 

or outsourced integration and technical 

support. Some major religious institutions 

even have separate facilities 

dedicated to creating the best possible 

content for 

their webcasts. 

The 

broadcast 

level facility 

at Trinity 

Church in 

New York 

City, for example, includes a special 

streaming media control room, complete 

with Ross switcher, Mackie 

mixer and Pinnacle StreamFactory 2. 

Building Interactivity 

Producing engaging content for web 

distribution is an important way to 

build an online community, but designing 

a robust interactive environment 

for the viewer requires both 

skills and supporting technology. 

Many ministries are finding that 

interactivity and online commerce are 

key to better serving their congregations. 

“We offer our HOW clients a unique 

self-updating broadcast page that they 

can place within their website that 

provides visitors with quick and easy 

access to upcoming broadcasts,” said 

Olson at US Church Stream. 

Providing viewers with the ability to 

ask questions, respond to fundraising 

pledges and purchase products enriches 

a ministry in many ways. 

Multicast Media has developed an 

application that makes it easier for 

viewers to interact with the content. 

“For example, viewers can browse 

through a virtual Bible while they are 

watching the content, as well as take 

notes inside the environment to print 

or email to themselves for later reference,” 

explained Mason. “They can 

also visit chat rooms, respond to any 

of the calls to action and have the ability 

to learn more about partnerships.” 

The most common advice for both 

HOW and AV integrators, from the 

people at the ministries presented 

here, is to get experts onboard. “Surround 

yourself with the right people 

and allow them to do what they do 

best, do your research, and stretch 

beyond the typical,” suggested Joyce 

Meyer Ministries’ Stache. 

Grace Chapel’s Cox said, “The best 

advice I could give another church 

that is thinking about getting into 

streaming media is, hire a consultant 

or a design/build firm that you trust 

to help with the design and install of 

your system.” 

US Church Stream’s Olson reported 

that he provides interested clients 

with a link to download the company’s 

software for free and encourages them 

to do a free trial broadcast. “I also 

provide them with a link to a training 

video so they can understand any 

questions they have regarding equipment 

set-up.” 

Thomas at Calvary Church advises 

AV integrators to keep things simple. 

“Most churches use volunteers for 

their media departments. Designing 

and implementing a well-thought-out 

workflow with a few key pieces of 

equipment or software will ensure 

success,” he explained. 

Building sustainable streaming applications 

for houses of worship requires 

an effective combination of 

many disparate technologies and areas 

of expertise. Integrators who wish 

to partake in the rapid expansion of 

this market need to have a clear and 

realistic idea of the ways in which they 

can best contribute to this growth. ■ 




WIDENING OUR VIEW 

How 16:9 can enhance a church’s experience. 

BY ANTHONY D. COPPEDGE 

Widescreen flat panels and projectors continue to make huge inroads as the technology 

becomes less expensive and more prevalent. But do you know why the majority 

of these units are in those wide formats 

Two reasons: 

• Our eye has a very wide field of view, so widescreen is more “natural” and compelling 

to view. 

• HDTV (high definition television) is here, and will be the standard soon, according 

to the US FCC (Federal Communications Commission). 

That square-ish TV you have now will be a relic in the not-too-distant future. 

But there’s another reason—a more important reason—that churches should use 

widescreen, which we’ll discuss in a few moments. However, it’s important to know 

where we’ve come from to see where we’re going. 

Anthony D. Coppedge is the principal technology evangelist for Church Media Group, a 

full-service creative agency in Southlake TX. His frequent work with churches, helping them 

with holistic communications and technology strategies, provides him with a real-time pulse 

on the challenges of growing churches. Contact him at anthony@anthonycoppedge.com. 




een years in the making, with the 

FCC declaring in the mid 1990s the 

intention of mandating a change to 

digital video early within the new millennium. 

As a church develops and grows its technical 

arts, its leaders must make 

sure a clear upgrade path to 

16:9 widescreen technology 

exists before investing in 

any new equipment. 

Access 

via 

PDA 

The Past Paved The Way 

Widescreen movies weren’t always 

widescreen. The aspect ratio, which is 

the relationship between the width of 

a film image and its height, used to 

look like old-fashioned TVs. From the 

early days of film (starting in the late 

1890s) until the early 1950s, almost all 

films had a standard aspect ratio of 

1.33:1, better known as 4:3. This eventually 

became known as Academy 

Standard when it was recognized formally 

by the Academy of Motion Picture 

Arts and Sciences in the 1930s. 

Once television began capturing the 

imagination of American consumers, 

the Hollywood film industry was faced 

with a problem: So many people were 

buying TVs and staying at home to 

watch them that theater attendance 

began to decline dramatically. The 

studios began making changes to the 

look of their movies so there would be 

a greater distinction between cinema 

and television. 

Today, two “standardized” ratios that 

are by far the most common are Academy 

Flat (1.85:1) and Anamorphic 

Scope (2.35:1). You’ve no doubt seen 

these two formats in movie theaters 

where the curtains on the side move 

further to the side in the interim between 

the trailers and the actual movie. 

Over time, the industry began to embrace 

widescreen formats as a preferred 

display, which has been evidenced in 

both commercial flat-panel plasma and 

LCD usage and in widescreen flat-panel 

computer monitors. 

Yet, the most important change has 

What This Means 

The big question is, “How will 

HDTV affect churches in the near future” 

The answer: It won’t, unless the 

church is considering an HD videoenabled 

video venue, which is simply 

another venue where (at least) the 

sermon is delivered via video or the 

church has both a broadcast television 

ministry and a broadcast market that 

supports HDTV of either 1080i or 

720p via the broadcast station. 

So, for now, church video equipment 

is safe before there is a “need” 

to go HD. 

But even without HD as a consideration, 

this writer is a huge advocate 

of adding 16:9 projection systems into 

even the smallest of churches...NOW. 

Why It has nothing to do with HDTV. 

Sure, it’s a bonus that, when HDTV 

does hit in a big way and the 

changeover is finally gaining momentum, 

the 16:9-enabled church is poised 

for an ultra-smooth transition. But the 

reason I say go to 16:9 NOW is 

simple: 16:9 is ideal for song lyrics and 

sermon support graphics! 

Why Widescreen Now 

Probably the most often-used function 

of a projector in church auditoriums 

today is for song lyrics. This 



writer has been to hundreds of 

churches and I have seen a common 

problem with the 4:3 aspect ratio for 

these song lyrics: It doesn’t read the 

way it sings. 

Although the type of songs and the 

style of music may be widely different, 

the basic verse and chorus structure 

remains about the same, often resulting 

in line breaks that are inconsistent 

with the singing of the song. This can 

confuse both visitors and members 

alike, causing a distraction and discouraging 

people from singing, for 

fear of singing at the wrong time! 

However, the same song in 16:9 not 

only fits on fewer slides (for presentation 

software or character generator) 

per screen, but the breaks at the 

end of the sentences are typed the 

same as they are sung. 

With 16:9, songs “sing” the way 

they “read” on the screen, thereby 

allowing someone who doesn’t know 

a song to join right in with the longtime 

members in singing along. 

Another easy upgrade is in the 

changeover and/or addition of digital 

signage for communicating targeted 

information to various portions of a 

church campus. 

With the plethora of solutions for 

distributing content over Cat5 and creating 

“zones” via IP-addressable displays, 

it’s never been easier to extol 

the benefits of developing a distributed 

digital signage network on every 

church campus. 

16:9 Costs More, 

But Not Much 

The screens cost a few bucks more, 

and a higher resolution projector is 

ideal for the bigger picture area, but 

those are the “big” expenses. For perhaps 

15% more, and that’s due mostly 

to the better projector, churches can 

use 16:9 quite effectively. 

In fact, if a church uses PowerPoint 

or any of the many worship software 

packages on the market today, it’s 

probably a great candidate to upgrade 

to 16:9. Why Because the main content 

is computer-based. This means 

it’s easy to set many of the newer 

video cards to a 16:9 resolution, 

matching the screen size and shape 

with the church’s software! 

Although it is possible to use an 

existing projector and “fake” 16:9 by 

projecting “black” at the top and bottom 

of the screen, that’s really not the 

way to do it: That’s letterboxing. 

What’s wrong with letterboxing 

song lyrics and other text Simple: Up 

to 25% less viewable screen height 

means that those farther away from 

the screen will have a much harder 

time reading the text! It’s best to actually 

project the same height as is 

needed for a 4:3 screen. When you 

transition from 4:3 to 16:9, the only 

thing that changes is the width, not 

the height. 

Help Churches 

Upgrade Now 

Selling the concept to church leadership 

includes helping them define 

their needs and helping them decide 

if they’re going to retrofit technology 


American Television Standards Committee Guidelines 

In 1995, the American Television Standards Committee produced a table with guidelines for a strategy of providing 

DTV on a scalable basis. The Advanced Television Systems Committee (ATSC) was formed to establish voluntary 

technical standards for advanced television systems, including digital high-definition television (HDTV). 

“The ATSC Data Broadcast Standard defines protocols for data transmission compatible with digital multiplex bit 

streams constructed in accordance with ISO/IEC 13818-1 (MPEG2 Systems). The standard supports data services 

that are both TV program related and non-program related. Applications may include enhanced television, webcasting 

and streaming video services. Data broadcasting receivers may include PCs, televisions, set-top boxes or other 

devices. The standard provides mechanisms for download of data, delivery of datagrams and streaming data.” 

DTV Standards 

into an existing space or plan for upgrades 

with a new facility. The simple 

truth is that it’s easier to design technology 

into a new facility than it is to 

make it work in an existing space, but 

it can (and should) be done, especially 

if a building program is not imminent. 

If a church is not video-intensive in 

production, the decision is simple: 

Help its leaders plan for the 16:9 for- 

mat ASAP. The advantages for song 

lyrics, sermon points and scripture are 

obvious because the format is easier 

to follow than the old 4:3 aspect ratio. 

Help the church put a plan in place to 

make these changes this year. Why 

put off something that’s so ready-made 

for churches Easing the pain threshold 

of pastors and worship leaders is 

an easy and viable strategy for integrators 

to position to their church clients. 

As a church develops and grows its 

technical arts, its leaders must make 

sure a clear upgrade path to 16:9 exists 

before investing in any new equipment. 

Assisting churches with a multiphase 

approach that includes new 

equipment, additional training and a 

strong service plan helps both the 

church leadership and the systems 

integrator create a working partnership 

and repeat business. ■ 

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During its recent 

sanctuary 

renovation, 

Castleview Baptist, 

located in 

Indianapolis IN, 

used acoustical 

treatment to 

provide the highest 

level of acoustic 

control to the 

space. 

CONTROL YOUR SOUND 

Top 10 House of Worship tips. 

BY GAVIN HAVERSTICK 

When it comes to a church conveying 

its message and mission to its parishioners, 

having an acoustically balanced 

space is an essential part of 

spreading the word. However, not every 

church is created alike, and many 

face a number of acoustical challenges 

that can lead to sound system failure. 

Upgrading the sound system will 

not alter or fix acoustical problems, 

but will further mask the issue. There 

is no magic formula for acoustical 

treatments, because each space is 

unique and should be treated as such. 

Just because a solution works for one 

room does not mean it will work for 

another. 

With that said, there are several factors 

that systems integrators can consider 

that will significantly improve a 

room’s sound quality. I have broken 

these tips down into the Top 10 House 

of Worship Tips for Acoustics…. 

1 

LOCATION, LOCATION, LOCATION 

It is important to consider where 

the building is situated in relation to 

its surroundings. Areas that have a 

high concentration of nearby loud 

noise sources, such as airports, train 

tracks, busy highways, etc., require a 

considerable amount of sound isolation. 

This works both ways: Noise levels 

vary depending on the particular 

worship style, some having a greater 

potential to disturb areas outside of 

the building than others do. If the 

building is located in a residential 

area, additional isolation will also be 

required. 

2 

LAYOUT AND SPACE PLANNING 

It is important to consider the 

size, shape and geometry of the space, 

because these all factor into the sound 

quality of the room and the type of 

treatment required to correct any 

acoustical anomalies. Surface materials 

chosen will be a significant factor 

in determining how the space sounds. 

A sanctuary largely constructed of 

acoustically hard materials, such as 

marble, concrete, glass and drywall, 

tend to have undesirable acoustical 

properties and require additional 

acoustical treatments versus those 

with carpeting and padded furniture. 

The integrator must identify which 

spaces are noise sensitive, because 

adjoining walls between noise-sensitive 

areas and those that produce a 

Gavin Haverstick is the lead acoustical engineer for Auralex Acoustics, manufacturer of acoustical treatment products 

that focus on sound isolation and sound quality improvements for houses of worship, recording studios, home theaters 

and numerous other spaces. 



Gym, cafeteria, theater, worship space, auditorium… 

a multi-use space can easily be all of those and more in 

the course of a week. Your clients need an AV system 

that makes re-configuring the room easy. 

Give them one-knob control and navigation with SR 

Smart Remotes: small as a light switch, powerful as a 

panel. Large custom illuminated bitmap images make it 

easy to choose the right preset with a push of the knob: 

turning it will adjust levels. 

Behind the SR Remote’s display, RPM Programmable 

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Grace Presbyterian, in 

Kernersville NC, recently 

installed acoustic wall 

treatment as part of its 

sanctuary’s acoustical 

renovation. 

considerable amount of noise presents 

an interesting acoustical obstacle. If 

altering the function of the room is not 

feasible, which in most cases it is not, 

the integrator must inform the facility 

director that there are no surface 

treatments that can adequately prevent 

sound transmission from one 

room to the next. If rooms cannot be 

moved or repurposed, it will be necessary 

to use a construction approach 

to improve the sound transmission 

class (STC) of the joining walls. 

3 

HVAC AND MECHANICAL NOISE 

HVAC systems and other mechanical 

systems can create noise that 

is detrimental to a quality listening environment. 

Ideally, the air-handling 

unit should be located away from the 

sanctuary and not on the roof directly 

above it. Unfortunately, relocating the 

mechanical room or HVAC runs typically 

is not possible and renovations 

must be made to the existing system. 

Inserting flexible ductwork where 

metal ductwork currently resides can 

reduce the amount of sound that is 

transferred from one area to another. 

The only way to significantly reduce 

the amount of sound transmission 

through a wall, ceiling or floor surface 

is to add mass (in the form of additional 

layers of dense materials) or to 

eliminate vibrations by implementing 

decoupling devices (springs, z-channel 

strips, suspension isolators, etc.). 

4 

SOUND LEVELS 

As more and more houses of worship 

move toward a contemporary 

worship style with live bands and/or 

backing music, it is important to consider 

the sound level exposure of the 

“audience.” Excessive exposure to 

high sound pressure levels (90dB(A) 

and higher) can lead to hearing damage. 

Sound levels can be controlled by 

properly outfitting the room with 

acoustical treatments and monitoring 

the levels at which the sound system 

is operated. 

5 

STAGE VOLUME 

Stage volume is a common problem 

when a live band has been implemented 

into a space that was designed 

originally for speech applications (i.e., 

it was not designed for live music). 

There have been many advances in 

technology that help reduce the number 

of sound sources on stage. With 

the advent of in-ear monitoring systems, 

the need for stage monitors, 

guitar amplifiers and bass cabinets firing 

on stage has been greatly reduced. 

In some applications, live drum kits 

have been substituted with electronic 

drum kits. If live drum kits are preferred, 

there are commercially available 

baffles and dividers that will reduce 

the amount of direct sound that 

reaches the audience. 

When in-ear monitoring systems are 

not used—and amps, monitors, drum 

kits and subwoofers are used—during 

live performances, care must be taken 

to decouple these instruments from 

the surface on which they rest. Most 

stages are hollow and will resonate 

with the vibration component of 

speaker cabinets and drum kits. 

This can result in a “muddy” or 

“boomy” low-frequency response, and 

feedback issues. Isolation risers are 

used to float an amp or loudspeaker. 

These products are also used to reduce 

coloration from floor resonance 

by decoupling a drum kit from the 

structure. This results in a tighter, 

more pure sound while reducing the 

vibration between these instruments 

and the stage. 

The musicians will be able to hear 

themselves and each other more accurately, 

reducing stage volume due to 

the fact that they do not feel the need 

to turn up their amps to overcome the 

acoustical environment. Adding acoustical 

treatment to the stage walls and/ 

or ceiling will minimize the amount of 

sound reflected back into the audience, 

and will improve the sound quality for 

the musicians. 

6 

ACOUSTICAL BALANCE 

A long reverberation time in a 

space can be detrimental to speech intelligibility, 

but may be desirable for certain 

musical applications. A short reverberation 

time can be great for speech, 

but not desirable for music. A balance 

is necessary in order to satisfy both 

speech and music applications. A proper 

acoustical design, such as absorption 

and diffusion treatments, is required to 

ensure that the message is heard during 

the sermon while, at the same time, 



the audience feels enveloped by the 

musical portion of the worship service 

(further explanation in #7). 

7 

ABSORPTION VS. DIFFUSION 

A combination of absorption and 

diffusion treatments is required to 

obtain acoustical balance discussed in 

#6. Absorption treatment reduces 

acoustical energy while diffusion scatters 

it evenly. Absorption treatment is 

beneficial in areas where you want to 

reduce the amount of sound reflected 

from a surface. Common areas for 

absorption are the rear wall or balcony 

face (see #8), side walls and around 

the stage area. 

Diffusion helps to retain a “lively” 

character to the room by redirecting 

the energy to another location. Harsh 

reflections are eliminated without 

making the room sound “too dry.” 

Typically, diffusion is beneficial on the 

ceiling above the musicians and the 

audience. Diffusion will help redirect 

the sound back to the audience, thus 

improving speech intelligibility and 

providing reinforcement for choral 

participation. 

8 

BALCONY FACE AND REAR WALL 

Slapback issues are common in 

rooms that have a large reflective balcony 

face and/or rear wall. Slapback is 

a reflection that occurs when sound 

waves hit these surfaces and are reflected 

back to the audience and the 

stage. These reflections have a negative 

impact on speech intelligibility and 

musical quality. Treating the balcony 

face and rear wall (typically with absorption) 

reduces this problem and is 

a good place to start when looking into 

acoustical treatments for your space. 

9 

LOCATION OF MIXING CONSOLE 

It is important to have the mixing 

console in an area of the sanctuary 

that allows the front-of-house engineer 

to hear an accurate representation of 

what the audience is hearing, so the 

adjustments the engineer makes have 

relevance to the listener in the audience. 

For this reason, it is recommended 

that the mixing console be 

located in the sanctuary—not in a 

separate room. 

Other areas to avoid are the balcony 

or the corners of the church. These 

locations do not offer a good picture 

of what the majority of the audience 

is hearing and, therefore, decisions 

could be made that improve the sound 

at the console but degrade the sound 

the audience is hearing. 

10 

GET PROFESSIONAL HELP 

The task of improving the 

acoustics of your client’s space is a 

challenging one. There are professionals 

who specialize in the science of 

acoustics and they should be called 

upon to assist with your project, if 

needed. 

You can locate an acoustical consultant 

at www.ncac.com, the website 

for the National Council of Acoustical 

Consultants. 

■ 


Quality performance 

and safety issues 

necessitate a high 

degree of competency 

on the part of 

technicians and 

installers. 

ADOPTING EXCELLENCE 

Standards may be the path to maximizing industry quality. 

BY R. DAVID READ 

Editor’s Note: The term “standards” means different things to different people. We’ve heard this term bandied about 

many times over the years in the commercial systems integration community. How do you address these questions Here, 

we present arguments from two industry members. Contributing Editor R. David Read talks a bit about “physical” standards, 

while concentrating on the value of standardizing practices. We also offer a manufacturer’s viewpoint, primarily 

addressing those same “physical” standards, from Communications Specialties’ John Lopinto. 

There seems to be a never-ending a 10mm bolt is precisely 10mm (per 

debate in AV circles concerning the prevailing tolerances). Metric versus 

proper resolution of conditions pertaining 

to system installation standarderally 

can agree on what constitutes 

English measurement aside, we genization 

and the necessary means to accomplish 

and test such conditions to When a baker measures out two 

an acceptable measurement. 

ensure compliance. 

cups (.473165 liters, or .5 liters for 

Standards confront us at every turn. practical purposes) of flour to bake a 

In the US (unlike the rest of the cake or a rack panel is described as 

world) 1 , it is accepted that a 9/16 th - being 1¾ inches (1RU) 2 , we are, more 

inch nut measures exactly 9/16 th of an or less, in general agreement. And, 

inch, subject, of course, to the precision 

of manufacturing tolerances per- 

of the Flat-Earth Society, the stan- 

unless you are a dues-paying member 

mitted by the standard. In the rest of dards implied by degrees of latitude 

the world, it is an accepted fact that and longitude are the basic means of 

Contributing Editor R. David Read has been actively involved in the AV industry for 40 years. 

charting navigational issues. 3 Incidentally, 

to the best of this writer’s knowledge, 

these standards are recognized 

and adhered to without some government 

official breathing down our neck 

and waving a law book in our face. 

Consequently, even in the most contentious 

AV circles, standards for various 

components and measurements 

are reasonably well established. Few 

would challenge Georg Ohm’s contention 

that 1 volt EMF, impressed on 1 

ohm of resistance, will yield 1 ampere 

of current (E=I/R). That is a basic law 

of physics, right As with most things 



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ased on solid physics, certain 

standards are accepted as 

unquestionable facts. The 

speed of sound (at sea level it 

is 340.29 m/s) and the speed 

of light (299,792,458 m/s) are 

recognized as absolute. However, 

when it comes to standardization 

for AV/IT system 

configurations, the waters become 

considerably murkier. 

ONE EXAMPLE 

OF THE BENEFIT 

OF STANDARDS 

IS THE 

ORDERLY 

PURSUIT OF 

COMMERCE 

NECESSITATED, 

WITH RARE 

EXCEPTIONS, 

BY ADOPTION 

OF STANDARD 

GAUGES FOR 

RAILWAY LINES. 

Existing 

System Standards 

The NEC (National Electrical 

Code), although it might 

be rife with contradictions and subject 

to various interpretations, is, nevertheless, 

a guiding force relative to electrical 

installations. If adopted by a local 

jurisdiction as part of its building 

code, the NEC becomes a de facto rule 

of law. 

Testing of components as evidenced 

by UL (Underwriters Laboratories) or 

an equivalent third-party testing 

agency is considered to be a reliable 

indicator of compliance with safety 

issues relative to employment of that 

particular component. 

In the highly codified world of fire 

alarm/life safety, the NFPA (National 

Fire Protection Association) 4 recommends 

standards for installation, and 

testing of such systems generally (in 

the US) is accepted as the standard in 

that field. And, again, if adopted by 

local ordinance, NFPA standards become 

part and parcel 

of the building 

code as enforced 

by the agency having 

jurisdiction. 

ANSI (American 

National Standards 

Institute), TAP (Telephone 

Association 

Procedures) and a 

host of others seek 

to create standards 

for the proper design 

and installation 

of AV/IT systems. 

Few, if any, 

of these standardizing 

conditions have been adopted by 

regulatory bodies. 

In Europe, EU regulators have created 

standards that apply to some aspects 

of AV installations, the definition 

of STI (Speech Intelligibility Index) 

being one of many. Again, the definition 

of means for testing to comply 

with the established standards too often 

is open to interpretation and too 

often applied without due consideration 

to prevailing situations. 

Adoption Of Standards 

Since its inception in 1948, the Audio 

Engineering Society (AES), 

through that body’s Standards Committee, 

has promulgated any number 

of standards applicable to the fabrication, 

installation and testing of audio 

systems. Nevermind that it took AES 

30 years to agree on which pin of an 

XLR connector would be designated 

as “ground”. 

Prior to the AES activities, the Society 

of Motion Picture Engineers 

(SMPE) 5 , at the urging (some might 

say insistence) of the Academy of Motion 

Pictures, developed standards for 

the development and screening of cinema 

offerings. Standards governing 

those activities began in the early 

1930s and remain as a guiding force 

for the motion picture and TV broadcasting 

industries. 

Other than those standards imposed 

by the broadcast industry, the FCC 

(US) and equivalent bodies in other 

countries, there is no viable standards 

committee related to the video industry. 

And, certainly, thus far, none addresses 

itself to control systems technology, 

other than standard safety issues. 

Current State Of Affairs 

There have been, and continue to 

be, suggestions by various AV/IT industry 

groups to establish standards 

that would be applicable in defining 

practices and testing procedures that 

would create a better sense of order 

within the industry. Trade associations, 

by themselves, cannot establish 

standardized rules that are universally 

accepted. Certainly, it is well within 

the prerogative of such groups to recommend 

the adoption of standards. 

However, to be meaningful, such 

suggestions and recommendations 

should, and must, be recognized by an 

impartial third-party entity. In the 

United States, ANSI certainly seems 

like the logical entity wherein such 

standards would have some significance. 

Once standards have been debated 

adequately and consensuses exist for 

their adoption, then and only then, are 

they worthy of serious consideration. 

The introduction of recommended 

“best practices,” however well intended, 

lack the stature of established 

standards. And, there must be a standing 

body with adequate authority to 

regulate the standards and it must be 

prepared to review and modify such 

standards as conditions evolve and 

changes become necessary. 



Whether such standards have to be 

codified and established as laws subject 

to enforcement by regulatory bodies 

is certainly open for debate. Unless, 

of course, such laws are required 

to protect and/or enhance the wellbeing 

of the populace. 

Certification Procedures 

Certification implies that the individual 

thus recognized has displayed 

sufficient understanding of practices 

to perform the tasks presented. In 

earlier days, when apprenticeship was 

a more common form of instruction, 

an individual was considered competent 

when his mentor, by means of 

observation or testing, adjudged the 

individual capable of performing the 

tasks assigned. Today, that form of 

instruction is sadly lacking. In today’s 

world, a high school education or college 

degree is no assurance that the 

individual possesses the necessary 

common sense or basic understanding 

of principles to perform tasks in a 

competent manner. We, all too often, 

hear tales about college graduates 

who lack the ability to read at a fifth 

grade level, and whose mathematical 

skills border on the state of a poorly 

educated orangutan. 

Certainly, programs and procedures 

provided by industry trade groups are 

commendable. No one would deny 

that a more astute and better trained 

workforce is anything other than a 

step in a positive direction. However, 

certification awarded without consideration 

of defined and established 

benchmarks has to be suspect. 

Unfortunately, the public’s perception 

of competency is sometimes directly 

keyed to a string of abbreviations 

affixed to one’s name. This 

writer has known a fair share of PhDs 

whose lack of common sense and 

practical ability is astounding. 

The point being: Unless there is 

some form of established standard(s) 

to which the individual can be tested, 

then no string of letters behind the 

given name is any assurance that the 

“certified” individual is even close to 

being competent. Moreover, unless 

some reasonable form of recertification 

is put in place, there is a danger 

that, once individuals receive their 

degree or are awarded a certification, 

their educational process ceases. 

Again, lamentably, this writer has 

known far too many PEs who haven’t 

cracked a textbook since they were 

graduated. 

Third-Party-Recognized 

Standards 

Seemingly, industry groups such as 

InfoComm are embarking on efforts to 

create standards that will be adopted 

by third-party recognized standardization 

organizations. This certainly 

shows promise of being a worthwhile 

endeavor. Once such standards are 

adopted, then testing for certification 

can be based on one’s comprehension 

and understanding of the benchmark 

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THE INDUSTRY NEEDS EQUIPMENT INTERFACE STANDARDS 

BY JOHN LOPINTO 

The issue of standards in our commercial AV industry 

is certainly an all-encompassing one. Systems performance 

and best practices standards, along with certification 

standards, are a big step forward for the industry. 

Unfortunately, however, they do not address an 

equally important need for simple equipment interface 

standards and recommended practices that are all but 

non-existent in our industry. 

The lack of standards for how products should interface 

with each other at a basic mechanical and electrical 

interface level costs our industry a significant amount 

of money and time at all business levels. What’s worse 

is that there seems to be a pervasive attitude, or at least 

complacency, not to make any effort to address the issue. 

It is evident that the reasons 

for this have less to do with technology 

and more to do with pro- 

It all starts 

tecting the self-serving business with the 

interests of a few. 

To fully understand and appreciate 

the benefits of an industry 

integrators 

and end 

driven by standards, let’s briefly 

review the current state of affairs, 

users. 

what standards compliance 

means to the manufacturers and Ultimately, 

what benefits the systems integrators 

and end users enjoy as a 

manufacturers 

result. 

deliver what 

you ask for. 

Our Industry Today 

It is true that the industry is utilizing 

most all of the available 

standards. Ironically, that is exactly 

the problem: We employ all of them with little or 

no guidance or reason as to which one should be used 

and when. 

Should a video connector be a BNC or an RCA jack 

Should an S-video connector be a four-pin Mini-DIN or 

two BNCs or two RCAs Should an audio connector be 

a screw terminal (removable or fixed) or an XLR or an 

RCA connector Under what circumstances should one 

or the other be used Look at what is happening now 

with new technologies such as fiberoptics. No less than 

four different optical connector types are now considered 

“standard” on equipment manufactured and offered to 

the AV industry. Are there true performance differences 

between them, or was their choice more arbitrary and 

parochial 

Electrical interfaces are another matter altogether. 

Data interfaces such as RS232 and RS485 should be 

specified as to their data rates, handshaking and connector 

types. And, of course, the manufacturer should comply 

with strict adherence to electrical levels and timings 

defined by those standards. Too often, we are faced with 

interfaces that are “similar to, but not exactly like” the 

standard, resulting in interfacing nightmares or impossibilities. 

Other Interfaces, Too 

Of course, this is not a problem unique to data interfaces. 

Video and audio interfaces are equally ill defined 

and adhered to. What exactly should the nominal level 

of “line level” audio be, and is this level defined when terminated 

or unterminated, and with what load and source 

impedances Well, you get the idea. 

Inevitably, end users are forced to purchase additional 

products to deal with the constant mechanical and electrical 

interface issues as a result of arbitrary choices made 

by various equipment designs. Systems integrators have 

increased costs in purchases and labor to make systems 

work when they must deal with various undocumented, 

ambiguous or misleading interfaces. Shouldn’t an integrator 

have the freedom to choose a product based on its 

true merit: functionality, features, quality, value, etc. 

And it’s no less daunting for manufacturers, which are 

forced to offer many versions of the same product just 

to address interface issues that add no value or differences 

to function or performance of that product. This 

makes it all the more difficult to make intelligent product 

selections when there are countless versions of a 

single product, each with its own unique nuances. 

In short, money is wasted, precious time is expended 

and profits are eroded or erased by all parties in the chain 

of sales. Ultimately, this distracts from true product and 

technology innovation and satisfied customers. 

And these are just a few of the issues facing the standards-less 

world of commercial AV today. 

What Standards 

Mean To Manufacturers 

There are those in the manufacturing community who 

believe that, by not having a set of defined standards for 

electrical and mechanical interfaces in our industry, they 

are able to keep confidential the proprietary aspects of 

their products and maintain their competitiveness. Others 

believe that the lack of any standards in this area, and 

the confusion by the end user that results, is at the core 

of their business model. 

One just has to look at the broadcast and IT industries 

to realize how counterproductive and ill-fated this philosophy 

in our segment is. Manufacturers in these industries 



develop products around a common set of standards, yet 

they continue to be profitable—arguably, more profitable 

than manufacturers in our industry. The array of standards 

that are followed routinely and developed by them has allowed 

those companies to innovate new products and technologies 

more quickly and with a lower cost-to-market. 

When standards define and solve common issues, manufacturers 

can invest more in the core of their product, its 

feature set and usability. In other words, manufacturers 

become successful because of what is in the box. 

Benefits From Standards 

Clearly, the impact the lack of standards has on the industry, 

at all levels, is quite significant. When we embrace 

and implement standards, integrators can accurately design 

projects with confidence and implement them more 

efficiently, lowering labor costs and installation times. 

When proven and documented standards dictate an 

interface’s implementation, integrators no longer have to 

solve the complex interfacing issues that can arise when 

interconnecting various pieces of hardware. Instead, they 

can invest in products based on their functionality, quality, 

features and the value the product offers to their customers. 

In short, when an integrator can accurately predict product 

requirements based on well-defined standards, they can 

accurately project equipment costs, installation times and 

labor costs. They can be more competitive when bidding 

on projects, complete these projects on time and on budget, 

and maximize their profitability. 

Of course, the plethora of benefits we can receive in a 

standards-driven commercial AV market extends well beyond 

the short example discussed here. 

Where Do We Begin 

I am not suggesting that the industry re-invent the wheel 

and develop new ways to communicate video, audio and 

data across equipment interfaces. Rather, let us decide 

what is best for our industry and our unique applications 

and choose from the plethora of well-established and 

proven electrical and mechanical interface standards that 

are well documented and field tested. 

It is hoped that our industry will recognize the importance 

and beneficial impact of promulgating equipment 

interface standards and recommended practices and take 

a tip from our friends in the broadcast and IT industries. 

Embarking on a concerted and meaningful program to 

develop these standards and practices will serve all members 

of our industry well, and ensure our survival and 

competitiveness for the future. 

It all starts with the integrators and end users. Ultimately, 

manufacturers deliver what you ask for. Demand 

the interoperability, based on proven and documented industry 

standards and practices, that our sister broadcast 

and IT industries have been enjoying successfully for decades. 

We’re listening. 

John Lopinto, president/CEO/co-founder of Communications 

Specialties, Inc., has a Bachelor of Electrical Engineering 

degree. His professional affiliations include the Society of 

Motion Picture and Television Engineers, the Institute of 

Electrical and Electronic Engineers and InfoComm International, 

where he is a member of its Academy’s Adjunct 

Faculty. He has taught seminars on fiberoptic technology 

throughout the US, Europe and Asia. 


principles. 

Along these lines, in 2007, Info- 

Comm issued the following call for 

volunteers to participate in a standards 

development body: 

Volunteers Needed for Standards 

and Commissioning Working 

Groups 

InfoComm’s initiatives to create audiovisual 

systems performance standards 

are moving forward, with two 

active committees. 

The Project Commissioning 

Working Group is detailing 

three documents related 

to the “best practices” in designing, 

building and testing 

audiovisual systems. The 

System Performance Standards 

Committee is preparing 

to create ANSI/ISO 

standards to define the details 

of these best practices. 

Both committees are currently 

creating subcommittees 

and working groups. 

Of course, standardization 

is a double-edged sword. 

Unless initially well thought 

out and adopted as the best 

available consensus of opinions, 

with no room for politically infighting, 

standards bear no weight. 

And, as revisions to the NEC testify, 

there must be a process of modifying 

standards as future conditions might 

dictate. Overruling of the laws of physics 

is not permitted. 

TESTING BY 

INDEPENDENT, 

THIRD-PARTY 

LABS 

PROVIDES 

REASONABLE 

ASSURANCE 

THAT THE 

PRODUCTS SO 

LABELED ARE 

IN 

COMPLIANCE 

RELATED TO 

SAFETY 

ISSUES. 

Licensing 

Some would advocate establishment 

of licensing as a means to control the 

process of design and installation. 

This raises the issue of government 

regulation and the codifying of standards. 

Advocates would argue that 

such codification would further enforcement 

and result in better installations; 

dissenters argue that rigid 

codes stifle creativity and, once 

adopted, are difficult to modify. 

When it comes to certification versus 

licensing, there are valid arguments 

for the adoption of one form 

over the other, and considerable justification 

for the adoption of both. 

Obviously, no private party or association 

has the necessary 

“clout” to police its 

members adequately. Licensing 

by a public 

agency, on the other 

hand, gives rise to the 

prospect of disenfranchising 

individuals 

whose performance is 

proven to be inadequate 

or inferior. 

Fortunately for the 

AV/IT industry, the 

various trade groups 

promoting certification 

have been quite zealous 

in their efforts to weed 

out and refuse certification to unqualified 

applicants, thus avoiding the 

“country club” membership aspect 

whereby dues-paying supersedes ability 

or the “diploma mill” situation in 

which tuition means everything. 

More Political 

In the past, licensing has proven to 

be more of a political tool to promote 

employment of one fraction of an industry 

while restricting others from 

performing work within a certain sector 

of that industry. Trade unions have 

been particularly active in their efforts 

to disenfranchise companies and individuals 

for the betterment of their own 

members. In the final analysis, this 

works to no one’s benefit. 

There are inept practitioners in any 

field of endeavor one wants to examine. 

Licensing is not the sole solution. 

And, the inept eventually will be found 

out and the market will deal with them 

in due course. As the old “adage” 

cited, “The road to Hell is lined with 

cold-iron blacksmiths.” 

After some thrashing about, it appears 

that the AV/IT community is 

embarking on a realistic avenue toward 

establishment of meaningful 

standards. Where public safety or lifesafety 

is an issue, this is long overdue. 

Overzealous marketing types who promote 

unsafe or questionable products 

should to be severely chastised and, 

in due time, the market will quickly 

send their questionable products to 

the trash bin. 

So, the program appears to be 

headed in the direction of: 

• establishment of working groups 

and committees within the industry to 

debate and adopt meaningful standards 

• having these standards adopted by 

third-party, impartial standard governing 

agencies (not necessarily government 

mandated) 

• establishing training programs 

that will educate and inform AV designers 

and installers toward implementation 

and testing of AV systems 

that are in compliance with existing 

standards 

• certifying that persons passing an 

impartial, job-specific examination are 

duly qualified to perform the work 

assigned 

• licensing firms and/or individuals 

involved in design or implementation 

of systems dealing with public safety 

to the extent necessary to protect the 

public interest. 

Standards are necessary; certification 

is a measure of competency; licensing, 

without due consideration of 

the individual’s ability, is a questionable 

and dubious pursuit. ■ 

References 

1 

The United States and Burma are the only 

remaining countries that still use the nonmetric, 

archaic English measurement system. 

2 

It would be interesting to research just 

how 1¾-inch became the standard for 1RU. 

I suspect the answer lays in some earlier, 

now obscure, WE (Bell Lab) documents. 

3 

However, I would like to lay (with dire 

consequences) my hands on the individual 

who decided a 2x4 stud should measure 

3½"x1½". 

4 

In Europe, ECO standards take precedent 

in the field of AV Life-Safety systems. 

5 

When television came along, this group 

became SMPTE. 



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Call today or visit our website: 

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DIGITAL SIGNAGE WINS BIG 

DSE showcases exploding market opportunity. 

Crowds surged onto the exhibit floor on opening day. 

All photos courtesy ExpoNation, LLC 

BY R. DAVID READ 

In a city renowned for its flashy 

signage, the Digital Signage Expo 

(DSE 2008), held at the Las Vegas 

Convention Center in late February, 

staked its mark. In its fifth year, DSE 

once again demonstrated that digital 

signage is one of the fastest-growing 

segments of the IT/AV industry. As 

the charts on page 93 illustrate, this 

show has grown extensively. 

Not only has DSE increased in size 

as a function of the number of attendees, 

booth space has grown, as well. 

For a show of this nature to be financially 

successful, it must attract exhibitors 

that are willing to pay in dollars 

per square foot to display their wares. 

This vital statistic is also a reasonably 

good indicator of the health of any 

given industry. If trade show booth 

space is increasing, it’s reasonable to 

project confidence of growth in sales 

on the part of exhibitors. The accompanying 

chart puts this aspect into 

perspective. 

Already Up For ’09 

According to Chris Gibbs, executive 

VP of ExpoNation, LLC, which runs 

the show, DSE 2009 already exceeded 

the total floor space at this year’s 

event by the end of the exposition. He 

commented, “We anticipate that DSE 

2009 will be 56% larger; we had a 

dozen new companies sign up in Las 

Vegas for next year.” 

Another significant statistic is how 

wide a geographical base is attracted 

to the show. Based on conversations 

and observation of attendee badges, 

DSE 2008 has transcended the definition 

of a “regional” show and, indeed, 

has become international in scope. 

(Figures related to the precise percentage 

of attendees by region/country 

were not available at press time.) 

Thus, the Digital Signage Expo is, 

in all respects, a growth mode concern. 

It has been cited as one of the 

top 50 fastest-growing trade shows in 

the country. 

Venue Considerations 

For most people in the electronic 

technology industry, the Las Vegas 

Convention Center is a familiar destination. 

For any number of reasons— 

not just loose slots—this venue is 

given favorable consideration for the 

hosting of major trade events. The city 

is easily accessible, the climate (even 

in February) is pleasant and hotel 

rooms are available. The convention 

Contributing Editor R. David Read covers major industry events for Sound & Communications. 



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Attentive crowds heard presentations regarding different aspects of digital signage 

technology. 

center is well staffed, orderly, convenient 

and devoid of noxious union 

regulations. On the downside, Las 

Vegas is not a pedestrian-friendly city 

and taxi rates are exorbitant. However, 

this is changing rapidly as more 

public transit comes on-line. 

Although the DSE is growing significantly, 

it in no way is approaching the 

size of, let’s say, an NAB or InfoComm 

annual event. This year’s show was 

held in one of the smaller-sized halls 

in the North complex of the sprawling 

convention center. This, in itself, is not 

bad; it just makes for some interesting 

neighbors. 

For example, at this year’s DSE, one 

had to navigate carefully to avoid winding 

up in the Bartenders & Night-Club 

Show and the International Catering/ 

Hosting Convention. But then, on the 

other hand…. 

One of my frequently expressed 

gripes about trade shows is their attention 

to directional signage (or lack 

thereof). On a scale of one to 10, DSE 

2008 scored at least an eight when it 

came to digital signage; would you 

have expected anything less However, 

once on the floor, booth identification 

was dismal. Where is booth 

547 Beats me! I guess it is in row 500, 

but where is booth 547 They might 

try emulating InfoComm’s procedure 

of marking the numbers on the carpets 

in front of the booth. (I know… 

picky, picky. End of rant.) 

Observations 

Considering the fact that many of 

the exhibitors at DSE are also participants 

at ISE and InfoComm, it was 

interesting to note the booth exposure 

shown at DSE in comparison to the 

other two, larger, shows. In terms of 

net square feet, DSE still trails the 

more ambitious (bigger budgeted) 

and grandiose booth displays of these 

larger shows. However, DSE’s focused 

approach allows visitors to concentrate 

on subjects of principal interest. 

In response to the question, “Are 

you seeing the people you want to see 

at this show” exhibitors responded 

with rampant enthusiasm. Many reported 

being approached on the floor 

by prospective clients with requests 

for immediate proposals. This bodes 

well for DSE’s continued growth. 

Given the relative newness of digital 

signage as a standalone entity, it is 

apparent that many exhibitors are still 

trying to define their prospective customer 

base clearly. A few players in 

the market can present themselves as 

“one-stop shops” for the design and 

implementation of such systems from 

concept to completion. However, they 

constitute a small portion of what is 

still a very fragmented industry. 

Consequently, it was readily apparent 

that many exhibitors are still “trolling” 

for partners to round out their 

offerings. Will a handful of major 

houses become the dominant players 

That remains to be seen. 

It was apparent that the decision by 

DSE show management to change the 

show’s name from Digital Retailing 

Expo, and exert efforts to attract potential 

users beyond the retail marketplace, 

was beneficial. Random conversations 

with attendees revealed a wide 

variety of end users outside of the retail 

market. Although firm figures for 

the 2008 event in this regard were not 

available at this writing, estimates 

would indicate that maybe half of the 

visitors were affiliated with retailing. 

The other half of the end-user visitors 

was drawn from academic, transit, 

medical and corporate entities. This is 

a good indication that digital signage 

is reaching wider audiences. 

Learning Environment 

Another harbinger of expanded interest 

in digital signage was the wellattended 

series of seminars and forums 

presented. The concurrent sixtrack 

series of one-hour presentations 

addressed the various attributes of 

digital signage from both an implementation 

viewpoint and the technological 

aspects of the subject. In addition, 

a separate set of more extensive 

workshops delved even deeper into 

technology as it applies to this subject. 

Add in a couple of highly informative 

presentations by keynote speakers 

and “Lunch and Learn” sessions 

(always a popular format) and people 

interested in the current status and 

future developments could find a session 

that met their particular interests. 

A few sessions that I found especially 

interesting and relevant to 

Sound & Communications’ core readership 

will be detailed. 

Defining The 

Owner’s Objectives 

From an owner (client) perspective, 

the objectives vary widely and are 

very industry specific. Obviously, the 

goals and viewpoint of a retailer will 



180 

Exhibitor Booth Spaces 

Subscribed 2004-2008 

Exhibitor Booth Space 

(net sq. ft.) 

5-year Attendee Chart 

160 

140 

120 

100 

80 

60 

40 

20 

0 

2004 2005 2006 2007 2008 

41 81 97 109 158 

be tailored quite differently from those 

considered primary by a transit system 

planner, academic environment or 

corporate/medical implementer. Accordingly, 

a “one size fits all” approach 

to digital signage is likely to 

become an exercise in frustration, and 

possibly a doomed enterprise. 

This particular sessions highlighted 

some of the steps that a client should 

consider when embarking on a digital 

signage program: 

• What is the problem we are trying 

to solve 

• Is there a consensus as to what is 

being considered 

• What are the in-house capabilities 

to implement the program 

• Who within the organization will 

be assigned overall responsibility 

• Has a realistic timeframe/cost 

analysis been made 

• Are there hardware and software 

security issues that must be addressed 

• Is there a commitment by management 

to the program 

• What procedure will be used in 

vendor selection 

• How will the effectiveness of the 

end product be evaluated 

• What will be ongoing costs (both 

time and money) for maintenance and 

upgrades 

Preparing An RFQ 

Unlike the rest of the electronic 

technology sector of the building industry, 

digital signage is the new kid 

on the block. Traditional steps to construct 

a new building or system are 

well defined, and the checklist of participants 

is quite familiar: architect, 

consulting engineers, general contractor 

and subcontractors. Implementing 

a digital signage program has not yet 

approached any semblance of order 

akin to what is evident in more traditional 

projects. Consequently, every 

digital signage endeavor becomes a 

“build it from scratch” exercise. 

At present, there are few, if any, 

recognized, impartial consultants that 

a potential digital signage implementer 

(client) can engage to assist 

in navigating the maze. Hence, new 

implementers are left to their own 

devices to craft a workable and effective 

program. The current state of affairs 

necessitates that the client, without 

the benefit of any impartial, experienced 

advice, deal with a myriad of 

potential vendors, within a very fragmented 

industry. 

Alternative 

The alternative is to select a single, 

sole-source vendor that can develop a 

program to address and coordinate 

the various aspects for which the vendor 

will be responsible: content production; 

network provision; system 

scheduling/monitoring; cabling; physical 

device installation; measuring results; 

and providing ongoing maintenance 

and upgrades. Few firms have 

this concept-to-completion capability. 

Others must partner with outside specific 

suppliers, a situation that might 

not always be crafted in the owner’s 

overall best interests. 

Added to the dilemma is the need 

to consider site-specific conditions involving 

scope of the project, building 

codes, code compliance, local labor 

availability, shipping logistics, technology 

issues, timeframe compliance, 

system performance measurements 

and project acceptance. 

Consequently, an owner-generated 

RFQ will necessarily address all these 

issues and be quite specific as to the 

objectives and how the plan will be 

implemented. If the RFQ is going to 

be circulated to more than one vendor, 

the specifications must be project 

specific to ensure that competitive 

quotations are fully responsive to the 

owner’s requirements. 

The Integrator’s Role 

With a few exceptions, the electronic 

technology systems integrator 

is unlikely to be a prime player in ex- 


The Digital Signage/Interactive Technology Award program recognized efforts in 

several categories. ExpoNation executive vice president Chris Gibbs (far left) 

presented the award for best Environmental Design Integration to Carrie Rigsby 

and Chris Fuller of Yum Brands/KFC, and Scot Sinnon of nominating firm Wireless 

Ronin. 

contract law in this regard is poorly 

defined and default in payment might 

provide scant measures for recourse. 

Awards Presentations 

In a lighter vein, a well-attended 

awards presentation was held the first 

evening during the Expo. This took 

the form of recognizing firms (clients) 

that had invested in the production 

and implementation of noteworthy 

digital signage programs. In contrast 

to competitions that single out vendors’ 

efforts, the Digital Signage/Interactive 

Technology Awards program 

took note of the commitment by clients 

that, with their time and money, 

funded the production of such programs. 

This took into consideration the production/content 

aspects, the overall 

Digital Signage/Interactive Technology Award Winners 

CATEGORY AWARD WINNER NOMINATED BY PROJECT SCOPE 

Environmental Design Integration Yum Brands/KFC Wireless Ronin Technologies Digital menu displays 

Corporate Interactive Innovation Ford Motor Company Wireless Ronin Technologies In-vehicle entertainment technologies 

Retail Innovations AT&T Mobility Stratacache Kiosks for consumer product selection 

Public Spaces Red Rock Leisure GestureTek Multi-user touch access for data 

Hospitality Spaces Carnival Cruise Lines Wireless Ronin Technologies Casino display effects 

Financial/Banking Pinnacle Bank Nanonation Lobby informational program 

ecuting the described scenarios. The 

first, and perhaps foremost, question 

has to be, “Do I want to be a player 

at all” This is a high-stakes game and 

not one to be dabbled in without a 

serious commitment. 

Unless your company is prepared to 

invest time and money in acquiring 

networking skills, product content 

production capabilities and system 

performance monitoring, you must 

consider your current capabilities and 

seek to carve out a niche commensurate 

with your abilities and resources. 

If invited to be a partner in such 

scenarios, you should scrutinize your 

role and your exposure/responsibilities. 

Many of us have learned, sometimes 

the hard way, that the general 

conditions to a specification can bear 

some onerous provisions. Likewise, 

implementation of the program and 

whether the results met the stated 

objectives. 

The award winners were nominated 

by service providers and judged by a 

small group of impartial judges. 

(Sound & Communications Editor 

David A. Silverman was on the panel.) 

The winners in the six categories are 

specified in the chart above. 

Future Events 

Show management announced that 

a Fall event is planned, to be held at 

the Pennsylvania Convention Center 

in Philadelphia PA, September 17 and 

18, 2008. DSE 2009 will return to the 

Las Vegas Convention Center February 

25 to 26. 

For more information, go to 

www.digitalsignageexpo.net. ■ 



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Since 1955, Sound & Communications has provided 

the commercial systems integration marketplace with the 

news and technology relevant to this dynamic area. Each 

month, Sound & Communications delivers insightful 

features on the market, including… 

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Professionals rely on Sound & Communications 

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DIGITAL SIGNAGE EXPO 2008 NEW PRODUCT WRAP-UP 

NEC Display Solutions of America’s 52" MultiSync LCD5220 Display 

Display Devices’ Pump Topper 

COMPILED BY DAN FERRISI 

Sound & Communications’ Digital Signage Expo New Product Wrap-Up 2008 presents descriptions of products that manufacturers report were introduced 

to our industry at the Digital Signage Expo in Las Vegas in February (see related story, “Digital Signage Wins Big,” beginning on page 90). Product information 

received after our production deadline will be featured in Products in future issues. (All specifications are supplied by manufacturers or distributors.) 

TTUFF Technologies’ 

Interactive Panel PC 

TTUFF Technologies’ MPE-4250 is 

an all-in-one 42" interactive panel PC. 

The display system combines a 

1920x1080 HD LCD panel with 

TTUFF’s 2.13GHz Core 2 Dual CPU, 

2MB RAM, 160GB HDD, PCI-e drive 

system, plus an integrated IR 

touchscreen, into a commercial-grade 

enclosure. With easy access to the 

drive system, plus optional wireless 

and PCI-e video expansion, the MPE- 

4250 can be configured to address 

most digital signage requirements. 

TTUFF Technologies 

(519) 880-9497 

www.ttufftech.com 

Display Devices’ Flat 

Panel Enclosures 

Display Devices’ Pump Topper and 

Fountain Vision flat panel enclosures 

offer dynamic digital signage for gas 

stations and convenience stores. These 

enclosures have been deployed above 

soda fountains in indoor applications, 

and outfitted with integrated HVAC systems 

for use above gas pumps in outdoor 

environments. All are vandal/theft 

resistant, built with all-aluminum construction, 

and come with bullet-, impact-, 

abrasion- and chemical-resistant 

½" clear polycarbonate windows. 

Hinged doors provide access to cable 

dressing and flat panel maintenance. 

Portrait and landscape orientations are 

available, along with optional touchscreen 

functionality. 

Display Devices, Inc. 

(303) 412-0399 

www.displaydevices.com 

Planar’s Digital 

Signage Software 

Planar Systems’ CoolSign 4.0 is 

the next generation of its CoolSign 

software. For corporate, retail, hospitality 

and banking applications, 

CoolSign allows customers to display, 

distribute and control networked 

digital media from a single central 

location. V4.0 offers more enterprise 

scalability, due to a distributed architecture 

using CoolSign Transfer Servers. 

This enables organizations to 

make a smooth transition from running 

only a few players to running 

thousands, without any impact to 

content delivery. It integrates with 

Google Calendar and Google Docs 

applications, which allows casual, 

non-technical users to update key 

signage content, including calendars, 

agendas and schedules. 

Planar Systems 

(866) 475-2627 

www.planardigitalsignage.com 

X2O Media’s Digital 

Signage Platform 

X2O Media’s Xpresenter Suite V2.1 

is an end-to-end digital signage platform 

that includes content authoring, 

scheduling, distribution and remote 

management applications. It features 

the Xpresenter Template Maker, 

which allows PowerPoint users to 

produce broadcast-quality graphics 

incorporating animations, clip art 

galleries, video clips and real-time 

data sources, without leaving the 

PowerPoint interface. Xpresenter includes 

a gallery of graphics templates, 

video clip previewing and 

tools for resizing presentations to fit 

the varying dimensions of output displays 

and broadcast monitors. 

Xpresenter Multi-Channel is a new 

configuration allowing multiple instances 

of the Xpresenter Player on 

a single PC, enabling multiple, simultaneous 

channel playback from the 

same PC hardware. 

X2O Media 

(514) 987-7557 

www.x2omedia.com 

Barix’s IP Audio Decoder 

Barix’s Exstreamer 110, a new version 

of the Exstreamer IP audio decoder, 

is for in-store media and hospitality 

markets. It retains features of 

previous generations but adds a 

backlit 2x16 character LCD to display 

stream metadata or file information. 

It has a relay and a built-in remote 

control receiver to enable channel 

selection from a variety of music 

streams, for use in clubs, restaurants 

and hotel rooms. In a typical Barix instore 

media configuration, the audio 

is encoded into a compressed audio 

stream at the central office, using an 

Instreamer IP audio encoder, and 

then streamed over IP to branch 

Readers may see older products included due to inaccurate information supplied by manufacturers or suppliers. Although we try 



Peerless Mounts’ Video Wall Flat Screen Mount 

Matrox’s Veos Master 

X2O Media’s Xpresenter Suite V2.1 

Barix’s Exstreamer 110 IP Audio Decoder 

TTUFF Technologies’ MPE-4250 Display System 

stores, where a single Exstreamer receives 

and decodes the stream for 

playback over the store PA systems. 

Barix Technology Inc. 

(866) 815-0866 

www.barix.com 

NEC’s 

Widescreen Display 

NEC Display Solutions of 

America’s 52" MultiSync LCD5220 is 

a full hi-def, widescreen display for 

digital signage, corporate boardrooms 

and education venues. It has 

improved contrast, color and brightness 

to overcome sunlit and bright 

environments, and supports the 

1080p HD standard. Its SpectraViewII 

color calibration kit delivers color 

uniformity and fidelity across individual 

and multiple screens, creating 

a well-matched image in tiled environments. 

The ultra-thin bezel 

(19mm/0.7") allows a more seamless 

picture when used in multiple-display, 

videowall implementations. The 

LCD5220 includes NEC’s Digital 

Signage Technology Suite (DSTS), 

making it easier to deploy and manage 

multi-screen networks. The suite 

includes nearly 30 features that improve 

screen performance and enhance 

display management. It employs 

a U-shaped backlight system, 

leveraging fluorescent bulbs for even 

heat distribution and uniform brightness. 

NEC Display Solutions of America 

(630) 467-3000 

www.necdisplay.com 

Real Digital Media’s 

Media Player 

Real Digital Media’s NEOCAST 

Media Player GS serves as the standard 

digital signage media player for 

the NEOCAST platform, complementing 

the NEOCAST Media Player Z. The 

modular design of the Media Player 

GS firmware allows the firmware to 

port to other Windows-based hardware 

platforms, allowing these devices 

to become NEOCAST-ready and 

available as part of a digital signage 

network operated by the NEOCAST 

Media Server. The Media Players, together 

with the Media Server software, 

enable displays to become networked 

digital advertising, promotional 

and corporate communication 

networks. Customized content and 

programming can target individual 

displays or scale across entire 

narrowcast networks, permitting customers 

to be reached with targeted 

messaging. 

Real Digital Media 

(941) 951-0130 

www.realdigitalmedia.com 

Peerless Mounts’ 

Flat Screen Mount 

Peerless Mounts’ Video Wall Flat 

Screen Mount (VWP-4050-B) is for 

40"-50" screens It enables an unlimited 

number of matrices to be created 

and is easy to use with its “scissorstyle” 

arm design that provides access 

to any screen in the matrix without 

requiring surrounding screens to 

be dismantled. 

Peerless Mounts 

(708) 865-2110 

www.peerlessmounts.com 

Matrox’s Digital 

Extension Solution 

Matrox Graphics’ Matrox Veos, a 

multi-channel digital extension solution, 

can carry multiple channels of 

content along a single copper-based 

cable with more than 100 meters of 

extension per component across an 

unlimited number of iterations, with 

zero loss to image quality. Display 

more content at a greater distance. 

Using a building block approach, 

Veos is comprised of 3 components. 

Master unit connects to the computer 

and digitally extends graphics and 

display control data. Repeater/ 

Replicator unit adds more than 100 

meters of digital extension for each of 

2 outputs. Display unit has 2 independent 

display outputs, a display 

control output and also adds digital 

extension. Supporting numerous 

resolutions, including full 1080p HD, 

Veos includes RS232 functionality for 

display control. 

Matrox Graphics 

(514) 822-6000 

www.matrox.com 

to check every product, a few may have slipped through due to the volume of information. We apologize in advance for any errors. 


DIGITAL SIGNAGE EXPO 2008 

LG’s M4210N Display 

Make Acoustics Part of Your Scope 

Become an authorized RPG contractor 

Diffusion, Absorption, Optimized Canopies & Towers 

RPG Diffusor Systems, Inc. 

www.rpginc.com 301-249-0044 

LG’s Visual Offerings 

LG’s prototype “Triple View” 47" LCD panel is suitable for advertising 

and engaging multiple consumers at one time. Customers view 3 different 

images or ads based on their angle of view to the monitor. The monitor 

is “Full HD” capable with 1080x1920 (in portrait orientation) display 

resolution. LG’s True3D monitor offers an interactive 3Dl viewing experience 

without having to use special glasses. Model M4210D-B21 uses stereopsis 

to provide an alternative to traditional digital signage. The 3D 

monitor has interactive elements and a 42" screen with full HD 1920x1080 

display resolution. Additionally, LG’s 29" and 38" “stretch screens” offer 

slim display technology (models M3800S and M2900S). For space-conscious 

retailers, they are roughly half the height of a traditional HD display. 

LG Electronics 

(847) 941-8000 

www.lgcommercial.com 

Neptune Digital’s Media Player 

Neptune Digital’s Larissa media player, powered by a 1.2GHz Intel 

Celeron chipset and supported by 1GB of DDR II RAM, is aimed at the 

digital signage market. Larissa is a combination of reliable hardware and 

multi-functional content management and server software suites. Its hardware 

is connected to the LAN via an RJ45 cable and, through its VGA interface, 

is compatible with most TFT and LCD displays. Features 2 USB 

ports, 1 of which is used to support internal storage, and an RS232 connection, 

which can be used for the optional add-ons, such as wireless or 

Bluetooth connectivity, or touchscreen support, which will be phased in 

over the coming months. Software suite allows users to design the layout 

of each screen in their network around their precise requirements. 

Neptune Digital 

+386 5 393 2477 

www.neptune-digital.com 



Barix’s Exstreamer IP Audio Decoder 

Kramer Electronics’ TP-551 HDMI Line Transmitter 

StreamGuys, Barix, 

MOH Technologies’ 

Ad Insertion Solution 

Barix AG, StreamGuys and MOH Technologies 

AG offer a customizable, IP-based platform for localized 

ad insertion in point-to-multipoint audio 

streaming networks. The scalable solution allows 

retailers, restaurant chains and others to localize 

in-store advertising within a high-quality audio 

stream. Using simple, standard pull down menus, 

customers can upload their ad libraries and assign 

destination sites using the server interface developed 

by StreamGuys. The uploaded ads are scheduled 

via the same interface and assigned to any 

number of locations. Software from MOH Technologies, 

hosted by StreamGuys, receives the various 

ad triggers and inserts the relevant ad over the 

main music stream for playback at the assigned 

locations. A Barix Exstreamer IP audio decoder at 

each site receives and decodes the music stream 

for local playback. 

Barix AG 

(866) 815-0866 

www.barix.com 

Kramer’s Twisted Pair 

Transmitter, Receiver 

Kramer Electronics’ TP-551 and TP-552 twisted 

pair transmitter and receiver can transmit HDMI 

signals directly over 2 Cat5e cables to up to 200' 

at 1080i without the use of intermediary reclocking 

devices such as signal repeaters. They offer a solution 

for HDMI signal transmission over long distances 

and are suitable for presentation and multimedia 

applications, as well as rental and staging. 

The transmitter/receiver system moves signals 

to up to 200', depending on the resolution 

of the signal being transmitted and quality of the 

cable being used. The TP-551 converts an 

HDMI signal into a twisted pair signal that can 

be run over shielded or unshielded twisted pair 

cables such as Cat5e. The TP-552 unit then 

converts the signal back to HDMI. 

Kramer Electronics 

(908) 735-0018 

www.kramerus.com 

C-nario’s Media Selling Platform 

C-nario’s updated Advertiser 4.1 softwarebased 

distribution, display, control and management 

system for advertising in targeted environments 

platform, enables media selling companies 

to implement sales-driven media campaigns 

in the digital signage networks environment. 

Featuring multiple authorization levels, a 

coordinated approval process, a high level of 

reporting and proof-of-play, and the ability to 

be integrated into customers’ IT infrastructure, 

Advertiser 4.1 offers web-based asset management, 

allowing advertisers and customers to 

manage content directly on the web anywhere, 

anytime. A smart scheduling engine automatically 

generates unlimited numbers of explicit 

playlists, assigning each list to its selected sites 

directly from advertisers’ purchase orders. 

C-nario Inc. 

(646) 330-4501 

www.c-nario.com 

HDTT-5000 

Digital Music Turntable 

April 2008 99 

Learn more at Cortex-Pro.com


ET Media’s Middleware WDA1000 

NEC’s Lobby Signage Solution 

Fairfield Displays & Lighting’s Osprey Series 

NEC’s Lobby 

Signage Solution 

The NEC Lobby Signage Solution 

has all the components to create a 

communications tool: the 40" NEC 

AccuSync PV40 display, mounting 

hardware, PC hardware, content 

management software and power 

suppression. This all-in-one turnkey 

solution is flexible and easy to edit. 

The pre-configured solution is suitable 

for standalone, one-off applications 

versus traditional networkdriven 

offerings. Small- to-mediumsized 

businesses, corporate and hospitality 

markets benefit from the 

bundle’s content design voucher, 

provided by EscapeWire Solutions, 

which can be redeemed for development 

of custom templates using a 

company’s logos and images. The 

system is suitable for employee messaging, 

VIP welcoming, wayfinding, 

event listing, trade shows and more. 

NEC Display Solutions of America 

(630) 467-3000 

www.necdisplay.com 

Fairfield Displays & 

Lighting’s Displays 

Fairfield Displays & Lighting’s 

Osprey series comprises a metal 

panel PC with an eye-catching, ultraslim 

metal enclosure. This series includes 

12", 15", 17" and 19" options, 

all equipped with a bright TFT panel 

and SAW touchscreen technology. 

The robust dust- and waterproof display 

front is suitable for even the 

heaviest industrial areas. The Osprey 

units are appropriate for digital 

signage, information points, interior 

video systems, industrial automation, 

retail displays and other applications. 

Fairfield Displays & Lighting 

(215) 997-5510 

www.fairfielddisplays.com 

I.C.G.’s Wireless 

DS Offering 

I.C.G. offers an end-to-end wireless 

digital signage solution, combining 

its wireless MobileMedia System and 

ViFi Adapter (video over WiFi). 

I.C.G.’s self-contained, turnkey 

MobileMedia System eliminates the 

need for 2, 3 or more unique and disparate 

components by bundling a 3G/ 

4G wireless network module, WiFi 

router, integrated media player and 

hard drive. It enables cached content 

to be streamed over wireless links. 

The ViFi Adapter receives the audio 

and video content over WiFi from the 

MobileMedia System and connects 

via a variety of video outputs to virtually 

any type of display. Supporting 

all media and content formats, as well 

as any Windows or Linux-based content 

management software, this solution 

allows digital information to be 

multicast to numerous displays simultaneously. 

I.C.G. Inc. 

(888) 849-4207 

www.internetconnectivitygroup.com 

Hall Research’s 

Switching Scaler 

Hall Research’s TVB-400 video to 

PC/HDTV switching scaler up-converts 

PC, composite, S-video or component 

(YcbCr) inputs to hi-res PC or 

HDTV output. The VGA output resolution 

can be selected to be VGA, 

SVGA, XGA or SXGA. It can be set to 

output HDTV resolutions of 480P, 

576P, 720P and 1080i. The output 

signal under HDTV mode is YPbPr 

(HD15 to RCA adapter is included). 

The TVB400 is suitable for use with 

LCD projectors, CRT/LCD monitors 

and plasma or HDTV displays with 

improved picture quality. 

Hall Research Technologies 

(800) 959-6439 

www.hallresearch.com 

Radical Computing’s 

Signage Platform 

Radical Computing’s Adaptive 

Signage platform identifies several 

dimensions of 1-to-1 marketing. Real 

Time Inventory Count means being 

able to tap into current real-time inventory 

levels and expected shipments 

to devise real-time price modifications, 

specials and inventory announcements 

for purposes of inventory 

divestitures based on pre-established 

mechanisms for maximizing 

profitability. The Consumer’s Transaction 

Inventory means using historical 

data about a specific consumer’s 

online and offline spending patterns, 

aligning acquired information with 

inventory lifecycle management information 

and creating automatic realtime 

responses to consumers on a 

retail walkthrough path through a 

given retail location. Wireless Communication 

and Tracking Platform allows 

for identifying the consumer, 

permitting full access to his transaction 

history, tracking his retail path 

walkthrough and monitoring key 

transactions on his path. 

Radical Computing Corp. 

(860) 838-2230 

www.radicalcomputing.com 



Hall Research’s TVB-400 Switching Scaler 

Display 

Devices’ Ultra 

Bright Display 

Display Devices’ Outdoor Displays 

Display Devices’ Ultra Bright display technology features 

brightness levels suited for sunny outdoor environments, 

providing 1400cd/m2 of light output: more 

than twice the brightness of a standard display. This 

technology makes them suitable for amusement parks, 

outdoor shopping centers and locations where dynamic 

outdoor digital signage is required. 40" and 46" displays 

are available, with more sizes coming. Both models have 

auto-dimming capabilities for nighttime viewing and 

optionally can be installed in the company’s NEMA-rated 

environmental enclosures. 

Display Devices, Inc. 

(303) 412-0399 

www.displaydevices.com 

Magenta Research’s 

Distributive Transmitter 

Magenta Research’s Octet UTP/CatX distributive 

transmitter is optimized to deliver the display control and 

metrics required in dynamic signage or “narrowcasting” 

applications. Combined with MultiView XR-2000 UTP/ 

CatX receivers, WUXGA video, stereo audio and displayaddressable 

control signals are distributed within a 

2000' radius from the source, with no repeaters or 

booster units. Multiple shorter-range receiver models are 

available, so the user only pays for the distance required. 

Octet features a UTP/CatX transmitter that supports DDC 

and the Vista operating system, 8 UTP outputs for signal 

distribution and loop-through outputs for video, 

audio and EIA-232. These enable the units to be “cascaded” 

or connected in series, to provide additional outputs 

and flexibility. Companion receivers can be daisychained, 

while maintaining full display addressability. 

Magenta Research 

(860) 210-0546 

www.magenta-research.com 



Truknox Technologies’ Tru-i Suite 

LG’s 32" M3201T LCD Display 

Peerless Mounts’ Flat Panel Cart 

Truknox 

Technologies’ DS Software 

Truknox Technologies’ Tru-i Suite, designed 

on a WPF (Windows Vista, compatible 

with Windows XP) platform, comprises 

a dynamic software solution for digital 

signage. It delivers hi-def presentations for 

a narrowcasting network, enabling single or 

global deployment using smart content 

scheduler. The Tru-i Suite has 5 modules: 

TruDesigner, TruScheduler, TruPlayer, 

TruBooking Agent and TruBilling Agent; 

TruBooking Agent and TruBilling Agent are 

upcoming, as add-ons. Its architecture enables 

the user to create a dynamic experience 

for the audience. This is a plug-inbased 

software where client-specific customized 

plug-ins can be incorporated easily. 

Delivers high-quality graphics, full-motion 

video and sound with kiosk mode 

(user control) capabilities. 

Truknox Technologies 

+91-11-2921 3196 

www.truknox.com 

Peerless Mounts’ 

Flat Panel Cart 

Peerless Mounts’ Flat Panel Cart (PANA- 

103C) supports Panasonic’s 103" flat panel 

screen for use in AV applications where the 

screen has to be moved to various locations. 

Its sturdy construction delivers a 

strong base, and cord management features 

built into the mount enable wires to 

be hidden from sight. 

Peerless Mounts 

(708) 865-2110 

www.peerlessmounts.com 

LG’s LCD Touchscreens 

LG’s latest LCD touchscreens are the 32" 

M3201T and the 42" M4210T. Interactive 

technology offerings provide access to programming 

for customers such as real-time 

weather reports and point-of-purchase 

transactions, online customer service and 

support. Highly scratch-resistant screens 

support dispersive signal touch technology 

(DST). Both touchscreens incorporate Super 

IPS panels offering a viewing angle of 

178° and 1366x768 (WXGA) display resolution 

that enable content to be viewed at 

almost any angle. Complementing these 

touchscreens is an LG concept product 

featuring “no-touch” technology from 

Solaris Labs, which is optimized for navigation 

through music, movies and animation 

content as well as wayfinding—with 

a wave of the hand. 


(847) 941-8000 

www.lgcommercial.com 

Roku’s Networked 

DS Solution 

Roku’s BrightSign PnP networked digital 

sign solution is for mid-range signage 

deployments. The BrightSign HD2000 hidef 

solid-state media player drives highimpact 

digital signs and kiosk displays in 

both standalone and networked environments. 

Although individual BrightSign solutions 

require manual content updates via 

removable flash memory, networked units 

support remote updates using an internet 

connection. In networked mode, Bright- 

Sign supports remote updates as well as 

2-way communication. By connecting 

units to a network, targeted content such 

as media files, playlists and software updates 

can be delivered to installed units 

without leaving the office. Supports the 

creation of multiple networking groups to 

deliver updates to specific sets of installed 

units. The usage tracking data from a networked 

interactive kiosk can be uploaded 

to a central database for analysis. 

Roku 

(888) 600-7658 

www.rokulabs.com 

■ 



In the April edition of VIEWpoint, Todd Hutchins, CTS-D, with Verrex 

Corp., and T. Lee Trimble, AIA, from Mancini•Duffy, discuss “Dealing With 

The Enemy”: the relationship between integrators and architects in the 

commercial AV space. In addition to discussing potential areas of conflict, 

our presenters turn the topic on its head, focusing on how to maximize the 

synergy of the relationship in order to achieve clients’ goals. 

See them at: www.soundandcommunications.com/viewpoint. 

…the industry’s first on-line Video Talk Show for the 

systems integrator, contractor and consultant. 

… brings you lively discussions with industry leaders in 

the business and technology areas that are essential and 

often controversial for everyone in the 

Sound & Communications and IT/AV market. 

The broadcasts are emailed twice monthly directly to more than 15,000 already-opted-in Sound & 

Communications readers’ desktops. Broadcasts are streamed in the popular FLASH Video format with downloads 

available for Apple iPod (H.263) and 3G video-enabled mobile devices (carrier restrictions apply). 

 

For more information, contact Vinny Testa (x505), John Carr (x509), Bob Beucler (x508) or Sam Mitrani (x514) at April 516-767-2500. 

2008 103

Worship Centers 

A contemporary spin on ‘traditional values.’ 


No matter the specific belief 

system, worship and its physical 

environs have changed over the 

years. For decades, nay, centuries, 

the traditionalism that informs 

religious messages has carried over 

into the presentation thereof. In the 

last several years, however, this 

trend has changed. Whether one 

wishes to attribute it to the rise of 

mega-churches, such as that of Joel 

Osteen, or to the tech-centric nature 

of modern life, this evolution remains 

undeniable. Also indisputable 

is the speed with which new worship 

centers are being erected—again, 

irrespective of the faith in question. 

Review this month’s survey of 

construction activity and recognize 

the breadth of opportunity available 

to AV integrators willing to make an 

investment in the worship market. 

Plans Solidified 

In Wellfleet MA, the Fall River 

Diocese has broken ground on the 

new Our Lady of Lourdes Catholic 

Church, which will accommodate 

516 parishioners. Plans were solidified 

last November, when a contract 

was inked authorizing the more than 

$5 million construction. Our Lady of 

Lourdes is the concluding step in a 

plan to have three churches within 

the three towns area of Orleans, 

Wellfleet and Provincetown. The 

church and parish center will be 

about 20,000 square feet. If project 

schedules are kept, the new house 

of worship will be completed in time 

for Christmas services. 

In Overland Park KS, Overland 

Park Church of Christ is undergoing 

a building expansion to enhance its 

youth and children’s ministries. The 

two-story addition will boost the 

current 65,431-square-foot main 

building by nearly 15,000 square 

feet. On the main floor, the expansion 

will provide classroom space 

for elementary-aged children. A 

multipurpose area, encompassing 

2000 square feet, will feature a stage 

for dramas. Security will be impressive: 

An advanced system of monitors 

and automatic locks can set 

parents’ minds at ease that their 

children are safe. 

The addition’s lower level will 

feature classroom space for as many 

as 175 teens, either together or 

separated into individual rooms. A 

café, conference room, small kitchen 

and multi-function common area 

offer space for youth activities. 

Expected to be completed in late 

June, the overall cost is $2.5 million. 

In Valparaiso IN, members of the 

Calvary Church are celebrating the 

commencement of construction on 

an addition to the church. At this 

writing, preliminary site work had 

begun and actual construction was 

scheduled for March on this project, 

which carries a $2.2 million price 

tag and represents a huge increase 

in overall size. Construction should 

be wrapped up in November on what 

will be a roughly 60,000-square-foot 

church; currently, it is 35,000 square 

feet. The project involves transforming 

a multipurpose room into a fullscale 

gym and adding a youth 

center. Other developments include 

two new entrances, more ministry 

staff office space, Sunday school 

classrooms, an outdoor patio area, a 

recreation room, a bookshop and 

more. 

Property Purchase 

In Quincy IL, the Cathedral of 

Worship is planning a $3 million 

construction project that involves 

purchasing a nearly 28-acre property. 

The site will house a 1000-seat 

sanctuary, Christian education and 

literacy facility, Bible college, conference 

facility and gym. The project 

also encompasses the development of 

a 20-lot subdivision. A name change 

is planned; when the church occupies 

the space, it will be dubbed the 

Cathedral of Worship Family Life and 

Conference Center. The plan entails 

having the property paid for by the 

end of 2009, with groundbreaking 

occurring early in 2010. If everything 

proceeds on time, the building could 

be occupied by late Summer or early 

Fall of that year. 

Dedication services have been 

held for the biggest church in the 

Roman Catholic Diocese of Lubbock 

TX. Holy Spirit Catholic Church 

boasts a $5 million sanctuary, 

encompassing about 23,000 square 

feet, that seats 1400 parishioners 

and includes a 100-seat chapel, 

sacristy and offices. The rate of 

growth has been phenomenal, 

ballooning from 30 families in 1998 

to nearly 800 families today. Plans 



call for additional religious education 

space as well as constructing an 

assisted-care facility for seniors. 

Jewish Worship Centers 

Near Cleveland OH, two synagogues 

have traveled a long road 

toward building new homes for their 

congregants; however, at the end of 

the tunnel, there is light. In June, 

more than 250 people participated in 

Temple Emanu El’s new building’s 

groundbreaking. The celebration 

was mostly ceremonial; site work 

had been ongoing for the Reform 

synagogue’s 40,000-square-foot 

facility. The second phase of the 

three-stage project has been finished. 

The building’s exterior steel 

and masonry work has been 

wrapped up; the concluding stage 

encompasses completing the roof 

and adding plumbing and other 

interior features. The project, which 

costs $11 to $12 million, will be 

finished by August. 

In Lyndhurst, construction of 

Cedar Road Synagogue’s new 18,200- 

square-foot facility has taken longer 

than expected. Following two years 

of construction, the Orthodox 

congregation’s new synagogue was 

scheduled, at press time, for a March 

opening. The $5 million structure is 

built with Jerusalem stone and has a 

45-foot-tall sanctuary. 

In Monroe NY, Congregation Eitz 

Chaim members reacted emotionally 

during the dedication of their new 

16,000-square-foot temple. Previously, 

the 35-year-old conservative 

congregation’s approximately 140 

families worshipped at a 5000- 

square-foot facility adjacent to the 

village of Kiryas Joel. The congregation 

began laying the groundwork 

for a new temple in 2004 in response 

to membership growth. The temple 

took pains to be environmentally 

friendly and energy-efficient in its 

construction. The building committee 

is investigating plans to add 

solar panels for heat or electricity. 

First Synagogue 

In Aspen CO, the city’s first 

synagogue is about to be constructed. 

This Spring, the L’Auberge 

d’Aspen Lodge will be demolished 

and, in its place, the Jewish Community 

Center Chabad of Aspen will 

rise. The 34,000-square-foot community 

center will occupy half a city 

block. Construction will take about 

18 months and about half of the $16 

to $17 million needed to build the 

facility already has been secured. 

The synagogue will offer childcare, 

accommodating as many as 50 

children. A 3000-square-foot community 

ballroom, teen game room, 

library and lecture hall are among 

other amenities. Organizers view the 

facility as a shared community space. 

Each year, Sound & Communications’ 

annual Commercial Systems 

Integration Survey reveals that the 

house of worship market is the 

single biggest segment for respondent 

integrators. This can be attributed 

to worship centers’ financial 

resources, desire to pass along their 

message vibrantly and sheer physical 

ubiquity. There is no sign of this 

trend abating, which is welcome 

news for anybody working in the 

commercial AV business. ■ 

ARCHITECTURAL PERSPECTIVES 

(Continued from 28) 

This creates multiple problems 

going forward. There is a fair amount 

of fluidity with church technology 

managers. When the time comes for 

turnover, the understanding of the 

system’s configuration and intentions 

leave with that technology manager. 

The next manager is forced to guess 

at the original design intent and 

configuration. 

When the next system modification 

is required, many hours are 

spent tracing signal paths and 

sorting through cobwebs of cables. 

Having splices at hidden and unpredictable 

places, and using unconventional 

approaches to splitting, 

summing and balancing, can cause 

problems requiring days, if not 

weeks, to diagnose. 

At first glance, these deficiencies 

may seem to indicate a poor understanding 

of design and installation 

by the technology manager but, 

more commonly, they simply are the 

result of being overworked and 

forced to find the quickest and 

easiest solution to a problem. If, 

however, they can serve simply in 

the capacity of the client working 

with outside firms, it alleviates their 

burden and allows the work to be 

done by firms with the available 

resources, manufacturer relationships 

and familiarity with industry 

best practices. 

Too often, there is a perception 

that the use of outside resources 

indicates an inability on the part of 

the technology manager, but that is 

not the case at all. Rather, it is 

recognition of their limited bandwidth 

and allows the work to be 

done by others who have the time 

and resources to perform the work 

at the level best practices require. 

Conversely, good design and 

installation firms will recognize the 

product knowledge, hands-on 

experience and understanding of the 

everyday workflow that the technology 

manager provides, and will 

respect that at all times during the 

process. 

The technology manager often has 

a good understanding of what is 

required and has done extensive 

product research. 

The experienced design firm will 

respect this insight and will serve in 

a capacity that vets, coordinates and 

documents the technology manager’s 

wishes in a partnership fashion. 

When the technology manager, 

systems designer and systems 

integrator are all able to do what 

each does best, the resultant product 

will be both cost effective and of 

sustaining quality and flexibility. ■ 



messaging services for the past several years. 

Tim Van Grove, Antex Electronics director of sales, commented, 

“PlayNetwork and Antex have enjoyed a mutually beneficial business 

relationship for quite some time now, and the inclusion of our XM-100 

receiver represents a logical step as the company moves forward with 

the new XM for Business program.” 

Village Baptist Upgrades To Sennheiser/Neumann 

With a 1400-seat worship center, Village Baptist Church in Destin FL 

schedules an ambitious calendar of dramatic productions, multimedia 

activities and services that span traditional to contemporary. Unfortunately, 

its wireless microphone collection, which didn’t work well even 

when it was new, reached the end of its useful life and began distracting 

the focus of their services. Annoying crosstalk between microphone 

channels and, worse, periodic interference from nearby Eglin Air Force 

Base diverted the attention of church members. Against this backdrop 

of wireless frustration, the church used six wired Neumann KMS 105 live 

vocal condensers and a handful of Neumann TLM 103 large diaphragm 

studio condensers. 

Village Baptist received a host of new microphones to fit the various needs 

of its services and productions. Eleven Sennheiser HSP 2 ultra-lightweight 

head-worn microphones combined with eight SK 500 G2 and three SK 

5212 belt-worn transmitters serve for inconspicuous reinforcement of vocalists. 

Seven handheld SKM 5200 transmitters with Neumann KK 105 

capsules deliver the same good sound that the church had come to appreciate 

in its KMS 105s for vocals and speech. A rack of Sennheiser 

EM 3532 and EM 550 G2 dual-channel, true diversity receivers ties all 

18 of the Sennheiser wireless channels down to the rest of Village 

Baptist’s existing sound system. 

In addition to microphones, the church upgraded to 12 Sennheiser ew 

300 IEM G2 wireless personal monitors capable of supplying four separate 

stereo mixes via a pair of SR 3256 transmitters. Aviom A-16 series 

rackmounted monitor mixers and remote control units feed the systems 

and ensure that everyone has a good monitor mix. 

PlayNetwork Selects Antex 

PlayNetwork, a provider of integrated media experiences for business, 

has selected Antex Electronics to provide its XM-100 satellite receiver 

as part of a larger strategic relationship recently announced with XM 

Satellite Radio. Under terms of the PlayNetwork-XM Satellite Radio agreement, 

the new XM for Business service, available to business customers 

across the country, will enable businesses to experience XM and 

benefit from PlayNetwork’s industry expertise and specialized direct-sales 

workforce. 

As part of the ongoing relationship, PlayNetwork’s XM for Business unit 

has chosen Antex to provide the XM-100 commercial satellite radio receiver 

to customers. PlayNetwork has used Antex’s media playback device, 

the C400 Combo, exclusively for its custom business music and 

SurgeX, Leviton Achieve 

RoHS Compliance 

SurgeX has brought its product 

line into RoHS (Restriction of 

Hazardous Substances in electrical 

and electronic equipment) 

compliance. The RoHS Directive 

2002/95/EC was adopted in February 

2003 by the European 

Union and took effect on July 1, 

2006. It restricts the use of lead, 

cadmium, mercury, polybrominated 

biphenyls, polybrominated 

diphenyl ethers and hexavalent chromium. 

CALENDAR 

May 

AIA 2008 National Convention and 

Design Exposition 

May 15-17 

Boston MA 

The American Institute 

of Architects 

(202) 626-7300 

www.aiaconvention.com 

124 th AES Convention 

May 17-20 

Amsterdam, The Netherlands 

Audio Engineering Society 

(212) 661-8528 

www.aes.org/events/124/ 

June 

InfoComm ’08 

June 14-20 

Las Vegas NV 

InfoComm International 

(703) 273-7200 

www.infocommshow.org 

Leviton’s core connectivity products 

are lead-free and RoHS compliant. 

Additionally, Leviton Network Solutions has made its core connectivity 

products lead-free and RoHS compliant. Leviton’s manufacturing processes 

were updated with lead-free solder technologies to ensure that 

all Cat6 and Cat5e jacks, patch panels and patch cords meet all the requirements 

for RoHS compliance. 

2008 Summer NAMM 

June 20-22 

Nashville TN 

International Music Products 

Association 

(760) 438-8001 

summernamm.namm.org 

155 th Meeting of the Acoustical 

Society of America 

June 29-July 4 

Paris, France 

Acoustical Society of America 

(516) 576-2360 

asa.aip.org 

July 

ACUTA 37 th Annual Conference 

& Exhibition 

July 13-17 

Las Vegas NV 

ACUTA 

(859) 278-3338 

www.acuta.org 

106 Sound & CommunicationsFor more information about these companies, go to www.bluebookonline.net www.soundandcommunications.com

Community Begins Its 40 th Celebration 

Marking the beginning of a year-long celebration of its 40 th anniversary, 

Community Professional Loudspeakers hosted a gala reception at the 2008 

NAMM Show in Anaheim CA in January. Founded four decades ago by 

Bruce Howze, Community has grown to become a well known designer 

and manufacturer of professional loudspeakers. The company hasn’t 

strayed from Howze’s original philosophy of innovation in loudspeaker 

design, offering high-performance horns, detailed performance documentation, 

signal-aligned loudspeaker systems and Ferrofluid-cooled drivers. 

Soundcraft Lands FOH In Aspen Venue 

The Wheeler Opera House, a theater located at the epicenter of downtown 

Aspen, has installed a digital Soundcraft Vi6 console at front-ofhouse. 

Built in the 1880s, the Wheeler is a Victorian proscenium-style 

theater restored most recently by the city of Aspen in the early ’80s. 

The Wheeler offers a unique show-going experience as an intimate 500- 

seat house with acclaimed natural acoustics and picturesque setting at 

the base of Aspen Mountain. 

The Wheeler’s production co-manager, Gordon Wilder, contacted Audio 

Analysts of Colorado Springs last year to discuss a new console 

for the venue. Ken Toal, executive director of Audio Analysts’ commercial 

division and account manager on the sale to Wheeler, explained, 

“They were interested in the benefits of a digital console: programmability, 

scene recall, etc. We got a Vi6 demo unit in and invited Gordon 

down to take a look.” Wilder noted, “The sound quality of the Vi6 has 

the width, depth and transparency we were looking for in a digital console.” 

The Vi6 made its debut October 10 with a John Denver tribute concert, 

featuring members of Denver’s band, and has since worked numerous 

shows, including performances by Suzanne Vega, Burt Bacharach, Linda 

Eder, Richie Havens, Asleep At The Wheel and Robert Earl Keen. 

Coleman Cable Plans Distribution Facility 

Coleman Cable plans to expand its distribution capabilities by securing 

a new 500,000-square-foot distribution center in Pleasant Prairie WI. The 

leased facility is located on approximately 28 acres of land and contains 

roughly 490,000 square feet of warehouse space, 12,000 square feet of 

office space and 56 exterior truck docks. The company’s plan is to have 

the facility in operation by April 1. In addition to providing added capacity 

to accommodate the company’s growth plans, the new distribution facility 

will allow consolidation of existing distribution facilities currently 

located in Indianapolis IN, Gurnee IL and Waukegan IL. The transition 

of the other centers will take place over the next several months. 

Infrared Wireless Sound Field System 


St. Mary Magdalen Church Installs Yamaha 

When the time came to retire an increasingly unreliable analog console 

at St. Mary Magdalen Catholic Church in Altamonte Springs FL, the introduction 

of the Yamaha LS9 digital audio console was well timed to 

be an alternative. With five diverse choirs and no full-time sound engineers 

on staff, the different requirements of the traditional and contemporary 

choirs and the increasing expectation for high audio quality 

spurred the decision makers to consider how well the Yamaha LS9 would 

be suited to the role of primary mixer at the church. Craig Beyrooti, Atlantic 

Professional Audio, Inc., installed the system. 

Compressors and gates are used extensively to help the volunteer operators 

keep things under control. The recently remodeled church has 

lively acoustics and some restrictions with respect to speaker placement. 

“The all-in-one control that the Yamaha LS9 offers with delay and 

EQ on the outputs is beneficial,” noted Beyrooti. “Another key feature 

is that one can recall a scene and get out of any trouble that may arise 

from service to service and operator to operator.” 

Atlantic Professional Audio also installed three Raxxess ERT-WT-Walnut 

Elite roll top racks, two Furman PL PLUS II enhanced power/light 

modules, a TASCAM CD-A700 CD/cassette player, custom Link eightchannel 

XLR cables and Link mic cables. 

Mt. Zion Baptist Church Chooses Electro-Voice 

Mt. Zion Baptist Church in Greensboro NC saw standing-room-only attendance 

of 3000 for its Martin Luther King Jr. Day service on January 

21, part of a citywide celebration of the life and achievements of the 

civil rights leader. A new Electro-Voice XLCi sound system installed by 

local integrator CareySound ensured every word was heard. 

The service at Mt. Zion Church was the culmination of a full day of community 

activities celebrating Dr. King’s life. Greensboro played an important 

role in the ’60s civil rights movement, as the site of some of 

the first mass “sit in” lunch counter protests. The event at Mt. Zion Baptist 

featured special guest artists Phillip Bryant, Lil’ Mo and Dewayne Woods, 

a multiple 2008 Stellar Award winner, backed by a 100-member community 

mass choir. Dr. John Guns of St. Paul Missionary Baptist Church 

in Jacksonville FL was the featured guest speaker. 

The event marked the debut of Mt. Zion’s new EV sound system to the 

community at large. CareySound owner Ken Carey, along with VP of 

sales Tommy Martin, and John Carey, HE, were on hand to handle the 

engineering duties for the evening. 

The solution to the venue’s unique combination of issues was the installation 

of a precisely focusable Electro-Voice XLCi loudspeaker line 

array. Dual 13-element line arrays, each consisting of eight XLCi127DVX 

boxes hung under four XLCi215 subs, flank the stage, powered by eight 

EV P3000RL remote-supervised Precision Series amplifiers. In addition 

to the main EV house system, a spread of VariLine loudspeakers from 

Dynacord serve as stage monitors. The wireless microphone system is 

the EV REV UHF System with RE410 mic capsules. 

Community Delivers On The Ice 

Adrian College in Adrian MI is recognized for its competitive athletics 

teams, and the private, liberal arts college’s sprawling athletic grounds 

have continued to expand with the recent opening of the Arrington Ice 

Arena. The venue boasts a regulation-size hockey rink with spectator 

seating and standing capacity for more than 1000, and hosts the school’s 

men’s and women’s Bulldogs hockey teams, as well as synchronized 

skating and open public skating for the local Adrian community. 

As with most ice arenas, acoustics are not among the venue’s stronger 

features, and with the 28-foot ceiling exacerbating reflectivity issues, intelligibility 

for the announcements was a significant challenge at the outset. 

“Particularly for synchronized skating events, the sound had to be 

distributed evenly and without a delay pattern,” remarked Joe Jenkins of 

Adrian-based Vision Performance Group. The company designed a sound 

system using 14 Community iBOX IHP 1264 two-way loudspeakers. 

“The system is set up into two zones,” Jenkins stated. “The first zone 

is for audience information: announcements and music playback. The 

second zone covers the ice surface, with music playback for synchronized 

skating as well as announcements.” Seven loudspeaker enclosures 

cover each of the two zones, with each enclosure powered by 600 watts 

of Crown amplification. System processing is by dbx. 



Pinstrikes Uses Vista Systems’ Spyder 

Vista Systems’ Spyder is at the heart of the AV display spanning the 

lanes at Pinstrikes, the bowling component of the first IPic Entertainment 

complex at the Bayshore Mall in Milwaukee WI. IPic Entertainment, 

headquartered in Fort Lauderdale FL, is a new entertainment complex 

offering luxury movie theaters, casual elegant dining, stylish bowling 

and a high-energy bar to neighborhoods across the US. Pinstrikes 

in Bayshore features 11 bowling lanes. 

“Live cameras pick up people bowling and Spyder combines that footage 

with stock graphics and other stock imagery for display on the giant, 

high-resolution screen stretching across the lanes,” noted Paul Bell, 

VP at Miami’s Audio Reinforcement Technology (ART), the sound, lighting 

and video integrator for the project. “The system also displays music 

videos and text messages.” 

Several Focus Enhancements video servers, HD DIRECTV, DVDs, and 

inputs from computers and the live cameras feed the Vista Spyder that, 

in turn, feeds four Sanyo XPN 46 10,000 lumen projectors. They display 

the images on a 67'x16½' screen spanning the lanes in the highceilinged 

bowling alley. 

Bell anticipates IPic Entertainment developing four or five more venues 

like Bayshore’s in the next two years, all suitable for Spyders. ■ 

Sound & Communications’ 

The commercial systems integration industry’s first and only streaming 

video webcast. 

This month: “Dealing With The Enemy,” examines the relationship between 

commercial systems integrators and architects. Todd Hutchins, CTS-D, with 

Verrex Corp., interacts with T. Lee Trimble, AIA, from Mancini•Duffy. In 

addition to discussing potential areas of conflict, our presenters focus on 

how to maximize the effectiveness of the relationship in order to achieve 

clients’ goals. 

Next month: Show subject to be announced. Please monitor 

www.soundandcommunications.com for details. 

To view these broadcasts, visit www.soundandcommunications.com and 

click on the VIEWpoint link. New shows are uploaded twice monthly. 

M. Shafer 

R. Neely 

M. Palmer 

L. Faretty 

M. Franklin 

A. Bagnall 

G. Giachetti 

T. Schaeffer 

S. Houston 

D. Shepherd 

G. Massey 

J. Bowie 

M. Bridwell 

A. Farbo 

R. Adajar 

J. Powell 

For more information about these companies, go to www.bluebookonline.net 

The Sextant Group has appointed Michael 

L. Shafer as senior consultant…Appointed 

to associate product manager, professional 

products, in August 2006, Sennheiser 

Electronic’s Scott Houston is now also 

managing the MKE microphone series and 

broadcast boomsets…Community Professional 

Loudspeakers has appointed 

Ron Neely as development manager… 

Cabletime has appointed David Shepherd 

as VP sales for the US… American Music 

& Sound has appointed Michael 

Palmer as national sales manager for Allen 

& Heath products in the US…George 

Massey has joined Verrex as international 

business director…EAW has appointed 

Leslie Faretty as inventory manager…Jim 

Bowie has been appointed president of 

Electrosonic Group…Euphonix has 

named Mike Franklin VP of sales for North 

America…Digital Projection International 

has appointed Michael Bridwell as 

marketing communications manager… 

Cavanaugh Tocci Associates has added 

two consultants to its staff: Alex Bagnall and 

Aaron Farbo…Gina Giachetti has joined 

Meyer Sound as manager of public relations. 

Additionally, the company has appointed 

Reinel Adajar to public relations 

associate…Alcorn McBride has hired Jeremy 

Scheinberg as COO…Listen Technologies 

has appointed Tim Schaeffer as 

VP of strategic development …Michael T. 

Rabb, RCDD, PMP, has joined D.L. 

Adams Associates as a senior consultant 

and project manager…Jon Powell has 

joined 360 Systems as Midwest regional 

sales manager, Broadcast and Pro AV Products…Theodore 

“Ted” Turczyn has been 

appointed American Fibertek’s director of 

distribution sales…Scott Morrison has 

joined Leightronix as national accounts 

manager. Additionally, Bruce Morrison has 

been named national sales manager… 

David Wiener Ventures has appointed 

Robin Sibucao as managing partner…Premier 

Mounts has appointed Dennis 

Dillinger and Nathan Armstrong as district 

sales managers…Bretford has appointed 

Stewart Long to director of operations… 

Shure has appointed Robin Hamerlinck VP 

of global information systems and chief information 

officer. Paul Applebaum leads the 

Human Resources Division…Neil McGowan 

has joined C-Nario as president and 

COO Americas…Sharp’s Colin Regina 

has been promoted to associate VP-Media 

Services Group…Pro Co has appointed 

Craig Sibley as house of worship 

market manager…. 

■ 



All specifications supplied by manufacturers and/or distributors. 

EAW Commercial’s CAM160 Integrated Mixer-Amp 

Lowell Manufacturing’s Sequencer Model SCS8R-ASM 

IDEAL’s OmniCONN RCA Compression Connectors 

Peavey’s XR 1220 Powered Mixer 

Grundorf’s XT Series Speakers 

RGB’s Graphics Recording, 

Streaming Systems 

RGB Spectrum’s DGy 201x and 

301x models record, transmit and 

stream high scan rate images at up 

to 1600x1200 pixel resolution with 

good quality. Both offer multicast 

streaming with bandwidth-efficient 

interframe compression. The 

codecs support computer, radar, 

sonar, FLIR, x-ray, HD and other hires 

signals, optional HD-SDI and 

stereo audio. DGy codecs deliver 

high fidelity reproduction of fine details 

and intricate symbology, using 

the JPEG 2000 compression standard 

to achieve almost lossless recording. 

They are available in either 

internal disk-based or external network 

storage configurations. The 

DGy 210x includes an internal 

238GB removable hard disk drive 

and an optional 238GB fixed hard 

disk for high capacity recording storage 

from 10 to 32 hours per drive. 

RGB Spectrum 

(510) 814-7000 

www.rgb.com 

EAW’s Mixer-Amps 

EAW Commercial CAM160 and 

CAM80 integrated audio mixerspower 

amps are outfitted with input/ 

output facilities and feature sets that 

provide versatility. Suitable for fixed 

installations, they offer good functionality 

without need for add-ons 

such as expansion modules. Both 

models have 6 actively balanced 

combination mic/line inputs as well 

as individual adjustable potentiometers 

for line level input, mic level 

input and mic level input with 

24VDC phantom power. Input 1 offers 

an integrated transformer for 

connection to telephone paging systems. 

Inputs 1 and 2 are divided into 

4 discrete input sections: a combination 

XLR/TRS connector, Phoenix 

connector or terminal strip. Inputs 3, 

4, 5 and 6 offer both Phoenix connectors 

and terminal strips. 

EAW Commercial 

(508) 234-6158 

www.eaw.com 

Klipsch’s Speakers 

Klipsch’s 70V IC-T Series business 

music system speakers include 3 inceiling 

models and a subwoofer. 

The IC-525-T and IC-650-T offer 

deeper, richer bass sound than their 

predecessors, the IC-5T and IC-6T. 

The IC-400-T employs a 5" cone 

and 1" titanium compression driver 

tweeter mated to a 2" Tractrix Horn 

design. This provides a wider frequency 

response, while a 1" Tractrix 

port delivers a deeper bass sound. 

The IC-650-T uses the same materials, 

porting and horn technology as 

the IC-400-T but employs a larger 

6½" woofer and 3½" horn with XT 

technology. 

Klipsch 

(317) 860-8100 

www.klipsch.com 

Grundorf’s Speakers 

Grundorf’s XT Series speakers, an 

addition to the Grund Audio Design 

line, feature true 1" compression 

drivers (HF), a 90°x40° horn, 2 nd 

order crossover, ¼" input jacks, 

stackable corners and 16 gauge 

steel powder-coated grilles. Durable 

black carpet finish is standard. Models 

include 12" and 15" floor monitors, 

12" and 15" 2-way high packs 

with 1-3/8" pole mounts, and a 2-15" 

and horn model. 

Grundorf Corp. 

(712) 322-3900 

www.grundorf.com 

Technomad’s Speakers 

Updated Technomad Vienna 16 and 

Paris 616 weatherproof outdoor 

speakers are available. The Version8 

models include upgrades that maximize 

the speaker output while retaining 

broad dispersion and clear audio. 

Vienna 16 and Paris 616 speakers, 

part of the MP Series weatherproof 

speakers for indoor and outdoor permanent 

installation, can be used in 

city walkways, public spaces and 

tourist attractions. The Version8 

models add compression drivers that 

provide an added 3dB of maximum 

continuous SPL and an added 10dB 

of dynamic range. 

Technomad 

(617) 275-8898 

www.technomad.com 

Lowell’s Sequencer 

Lowell Manufacturing’s sequencer 

model SCS8R-ASM is a low-voltage 

8-step sequential unit with the 

company’s Alternate Sequence 

Mode. This 1RU sequencer allows 

for the programming of full and partial 

activation of equipment that is 

connected to remote power controls 

such as Lowell’s RPC Series. The 

8-step sequence allows equipment 

to be turned on and off in timed intervals 

of .5-10 seconds. The Alternate 

Sequence Mode allows the integrator 

to select specific desired 

steps to sequentially activate the 

system for events such as choir or 

theater rehearsals where only a 

portion of the system has to be activated. 

The SCS8R-ASM includes 

an alarm system interface for use 

where required to meet code. Appropriate 

for worship centers, 


Technomad’s 

Vienna 16 

Weatherproof 

Outdoor 

Speaker 

MagicBox’s Aavelin SignMate 

Adamson’s Metrix Sub With Pole Mount Socket 

Martin Audio’s Blackline+ Series Speakers 

schools and performance venues. 

Lowell Manufacturing Co. 

(636) 257-3400 

www.lowellmfg.com 

IDEAL’s RCA Connectors 

IDEAL Industries’ OmniCONN RCA 

compression connectors optimize 

the purity of component video and 

audio signals on standard RG 6 or 

RG 59 coaxial cables with bandwidth 

ranging up to 3GHz. Offering 

easier installations and consistent 

terminations that hold true, these 

connectors are precision-molded of 

nickel-plated brass with a goldplated 

center contact pin. This results 

in minimum return loss 

(-30dB@3GHz), nominal 75 ohm 

impedance and maximum contact 

area for good picture definition and 

natural sound reproduction. Its radial 

compression design ensures 

secure termination. By combining a 

Delrin/nylon adapter sleeve with an 

inner “O” ring, the connector provides 

double protection for a watertight 

seal. Attachable color bands 

(R, G, B, Y, W) help configure and 

identify the cable’s function. 

IDEAL Industries 

(815) 895-5181 

www.idealindustries.com 

Peavey’s Powered Mixers 

Peavey has added 2 mixers to the 

Peavey XR Series powered-mixer 

line: the XR 1220 console and 

rackmountable XR 1212, featuring 

extensive digital signal processing 

capabilities. They feature dual 600W 

power amps that can be summed to 

the main output (1200W) or used 

independently to power mains and 

monitors at 600W each. Each standard 

channel includes an XLR input 

and ¼" line input, as well as a ¼" 

channel insert, gain adjustment, 

80Hz low-cut switch, 2 monitor 

sends, EFX send, and low, mid low, 

mid high and high equalization controls. 

2 stereo channels feature dual 

¼" and RCA inputs, respectively, 

and XLR inputs. The master section 

features digital 9-band graphic EQ 

for both output amps. 

Peavey Electronics 

(601) 483-5365 

www.peavey.com 

MagicBox’s Signage Product 

MagicBox’s Aavelin SignMate provides 

the current Aavelin offering in 

a compact design, suitable for 

mounting behind displays. SignMate 

brings the power of the Aavelin AV 

400P into a smaller package. Use 

text, graphics, Flash, crawl lines, 

logo graphics and available options, 

including RSS data feeds and 

weather forecasts, to make digital 

signs dynamic and attention-grabbing. 

Recent upgrades to the EZ 

Stream Software option allow the 

SignMate to pull data from EMS 

Software solutions such as People- 

Cube, Dean Evans and Delphi. With 

Ethernet support built-in, SignMate 

can turn any display into a dynamic, 

networked resource for frequent 

updates and emergency notifications. 

MagicBox, Inc. 

(541) 752-5654 

www.magicboxinc.com 

Adamson’s Pole Mount Socket 

The Adamson Metrix Sub now 

comes standard with a built-in pole 

mount socket for use with Metrix 

Wave-t’s pole mount kit. It is for use 

with 1 or 2 of Adamson’s 15° Metrix 

Wave-t enclosures, providing 120° 

horizontal by up to 30° vertical coverage. 

The pole mount supports 3 

different positions for the bottom 

Wave enclosure, -5°, -10° and -15°, 

and can be mounted on top of a 

ground stack of Metrix Subs, or 

used independently with a stand. 

The Metrix AIR Rigging system on 

the Wave enclosure allows 3 positions: 

10°, 13° and 15°. The Metrix 

Sub-t is a compact convertible cardioid 

sub, boasting 2 15" ND15S 

Neodymium Kevlar drivers. 

Adamson Systems Engineering 

(905) 982-0520 

www.adamsonproaudio.com 

Martin Audio’s Speakers 

Martin Audio’s Blackline+ is an enhancement 

of Blackline Series installed 

pro speaker systems. Drivers 

and crossover networks have 

been redesigned so all low frequency 

drivers in 2-way systems 

feature aluminum demodulating 

rings to minimize the variation in 

voice coil inductance as the coil 

moves in the gap. The result is improved 

midrange clarity and reduced 

intermodulation distortion at 

high excursions, preserving sound 

balance and quality at high levels. 

Attention has been given to matching 

the directivity of the low frequency 

drivers to the HF horns in 

the crossover region. This has been 

achieved by the careful choice of LF 

cone profiles, together with improvements 

in crossover design. Series 

has 8 full-range cabinets and 4 

complementary sub-bass enclosures. 

Martin Audio 

(519) 747-5853 

www.martin-audio.com 

For more information about these companies, go to www.bluebookonline.net 


dbx Professional Products’ 

dB12 Active Direct Box 

Sony’s PCM-D50 

Compact Professional 

Digital Field Recorder 

Sony’s Field Recorder 

Sony Electronics’ PCM-D50 compact 

digital field recorder has features 

for a pro environment. This 

version of the PCM-D1 digital field 

recorder offers 96kHz 24-bit recording, 

2-position electret condenser 

stereo mics, PC/Mac file 

transfer via high-speed USB, etc. 

The PCM-D50 linear recorder features 

4GB built-in memory (records 

up to 6 hours at 44.1-16 bit); LCD 

digital peak metering; Memory 

Stick Pro-HG Duo slot; MP3 playback; 

digital pitch control; SPDIF 

digital input and output; 5-second 

pre-recording buffer. Includes Sony 

Sound Forge Audio Studio 9 LE 

editing software. 

Sony Electronics 

(201) 930-1000 

www.sony.com 

dbx’s Direct Boxes 

dbx Professional Products’ dB10 

Passive Direct Box and dB12 Active 

Direct Box have a solid, road-worthy, 

cast-metal chassis. The dB10 includes 

all features expected from a 

direct box: ¼" input and parallel 

“thru” jacks, transformer isolation, 

balanced XLR output and ground lift 

switch. Its 3-position pad switch accommodates 

instrument, line level 

and speaker level signals, while versatility 

is added with its selectable 

polarity invert and high-cut filtering 

functions. The dB12 includes all the 

features of the dB10, but in an active 

version. Driven by phantom 

power supplied by a mixing console’s 

mic input, the dB12’s active circuitry 

operates from 20V-48V. 

dbx Professional Products 

(801) 568-7660 

www.dbxpro.com 

■ 


Intelix’s Design Guide 

Elite Screens’ 

Product Video 

Eclipse Marketing’s 

Commercial Websites 

Elite Screens’ Product Video 

Elite Screens offers a product video featuring 

professional actor and former WRCX- 

FM (Rock 103.5) radio personality Bill 

Hainsworth as the spokesperson for the 

company’s product lines. Hainsworth demonstrates 

the products and their features in 

simple, straightforward fashion. The script 

is centered around answering commonly 

asked questions about projection screens. 

Elite Screens 

(562) 483-8198 

www.elitescreens.com 

Eclipse Marketing’s 

Commercial Websites 

Eclipse Marketing offers a pre-designed 

commercial website model as a marketing 

tool for commercial integrators needing to 

build their brand via the internet. Each 

website is professionally personalized, including 

logo and contact information placement. 

Dealers can request customized page 

or content changes. Integrators can host 

their website on their own server or take 

advantage of Eclipse’s hosting service. It 

provides integrators with commonly used 

marketing tools that promote electronic integration, 

including literature, vehicle wraps 

and e-newsletters. 

Eclipse Marketing 

(949) 363-5340 

www.eclipsemarketing.net 

Intelix’s Design Guide 

Intelix offers the Audisey Athena Design 

Guide, a catalog providing AV professionals 

the information required to design and 

specify Audisey Athena matrix mixing, 

amplification and control systems. The 

Design Guide includes system drawings, 

system parts lists, tech specs, wiring diagrams 

and programming diagrams. Also 

contained are complete system layouts 

for multiple applications, including multiuse 

facilities, whole house audio systems, 

church systems, medical offices, dental 

clinics, health clubs, recreation centers, 

restaurant and bars, retail facilities and 

corporate offices. A free copy can be requested 

online. 

Intelix LLC 

(608) 831-0880 

www.intelix.com 

■ 


AN ADVERTISING SUPPLEMENT TO SOUND & COMMUNICATIONS 

JBL Professional 

AE Compact Loudspeakers 

The AE Compact loudspeaker line features eight 2-way high-output models. These 

models range from the ultra-compact single 2.25” AC15 to the compact dual 8” 

AC28. The ultra-compact AC15 and AC25 models include a 1” dome tweeter 

while the AC16, AC26, AC18, and AC28 models feature 1” exit compression drivers 

that are paired with JBL’s patented Progressive Transition (PT) waveguides. 

All AE Compact models offer multiple attachment points strategically located on 

each model for ultimate flexibility and ease of installation. JBL offers an optional 

U-bracket for all models. Third party OmniMoint type mounting accessories and 

stand mounts can also be used. Designed with system designers and artists in 

mind, AE Compact is part of the renowned AE Series and is ideal for performing 

arts centers, houses of worship, sporting venues, and portable applications. 

WEB ADDRESS: www.jblpro.com 

Extron Electronics 

HDXP Plus Series Multi-Rate Serial 

Digital Matrix Switchers 

The HDXP Plus Series from Extron is line of multi-rate serial digital matrix switchers 

for SDI, HD-SDI, dual-link HD-SDI, and 3G-SDI signals. They are ideal for 

routing HDTV and other high resolution digital video signals for digital cinema 

projection, houses of worship, graphics production facilities, rental and staging 

environments, and other applications where reliable, high data rate signal distribution 

is required. Available in 16x16, 32x16 and 32x32 sizes, these switchers 

are equipped with a host of features including full input equalization and output 

reclocking, input preview mode with a dedicated output, and I/O grouping. The 

HDXP Plus 3232 also has two reference inputs that accept bi-level and tri-level 

sync for genlocked applications. The HDXP Plus Series can be controlled via RS- 

232 or Extron’s IP Link® Ethernet control. To ensure trouble-free, continuous 

operations, DSVP - Digital Sync Validation Processing provides verification of both 

input data rates and reclocked output data rates, through RS-232 and IP Link. 

WEB ADDRESS: www.extron.com/hdxp 

Yamaha Commercial Audio 

MY16-ES64 Card 

The new Yamaha Commercial Audio Systems MY16-ES64 card adds 16 channels 

of bi-directional input and output EtherSound connectivity to Yamaha audio devices. 

Yamaha digital consoles can be equipped with MY16-ES64 and MY16-EX 

expansion cards to provide the required EtherSound input and output capability 

for recording and is an ideal stage box solution when in a live sound environment. 

Adding up to three Yamaha MY16-EX expansion cards to the core 

MY16-ES64 card increases the EtherSound channel capacity up to 64 channels. 

Additional cards can be installed into the new Yamaha TXn series power amplifiers 

or used with a Yamaha AD8HR to remotely control head amplifiers connected 

via a Yamaha NAI48-ES EtherSound Network Audio Interface. 

WEB ADDRESS: www.yamahaca.com 

QSC Audio 

GX Series Amplifiers 

The new versatile GX Series amplifiers are taking aim at the needs of musicians, 

DJs, and performers of all description. Consisting of two professional models 

outfitted with feature sets and power ratings designed to meet the requirements 

of popular passive loudspeakers, the GX Series is as reliable as the day is long 

and is marked by affordable prices that go easy on virtually any budget. At eight 

ohms, the GX3 and GX5 are rated at 300 and 500 watts respectively, offering 

the continuous power capacity needed for a majority of common passive loudspeakers 

in use today. Outfitted with roughly 2X the continuous power capacity 

required by the top-selling non-powered loudspeakers on the market, the 

GX Series is the simplest and best answer to the question “what power amp 

do I need” 

WEB ADDRESS: www.qscaudio.com 

E-MAIL: info@qscaudio.com 



Da-Lite 

Tensioned Advantage Electrol® Screens 

The Silent Motor is now a standard feature on the Tensioned Advantage Electrol® 

screen line. This motor is virtually silent and offers over a 30% reduction in sound 

versus standard motors. The Tensioned Advantage Electrol® is an aluminum cased 

screen with a trim flange designed for a concealed in the ceiling installation. The 

handsome finished white case provides a clean look and allows easy installation 

of ceiling tiles. The Silent Motor is standard on all sizes up to 9’ x 12’. The 

Silent Motor with built-in Low Voltage Control option is also available. 

WEB ADDRESS: www.da-lite.com 

E-MAIL: info@da-lite.com 

HM Electronics 

WS200 Wireless Speaker Station 

When production requirements call for a remote speaker station, the HME WS200 

offers pro audio intercom users a unique wireless solution. The WS200 is the 

first and only wireless speaker station designed for two-way intercom communication. 

Crews can simply pick up and move the WS200 wherever they need it, 

because the WS200 does not need to be wired to the master station or power 

supply. The WS200 station features a built-in speaker, built-in microphone, visual 

and audible call signaling, and a headset jack for added versatility. Users can 

communicate from either a selectable intercom or isolated channel. Multiple powering 

options allow the WS200 to support both field and stage applications. 

WEB ADDRESS: www.hme.com 

Panasonic Broadcast Systems 

AW-HE100 Integrated HD 

PTZ Camera 

Panasonic’s new AW-HE100 multi-format 

HD/SD camera features an integrated pantilt-zoom 

mechanism with a sleek design. It 

combines outstanding image quality, super 

smooth pan/tilt/zoom operation and flexible 

system configuration and is perfect for an 

array of applications ranging from high-resolution 

distance learning and 

videoconferencing to event staging. The 

HE100 has a highly accurate True-Servo pantilt 

head that offers precise, fast, fluid movement 

in all directions, with an exceptional 

range of 350 degrees (pan) and 250 degrees (tilt). Built with impressive features 

like three 1/3” IT CCDs, a 14-bit A/D converter, and a 19-bit digital signal processor, 

the camera supports 1080i, 720p and 480i formats and can simultaneously 

output both HD and SD signals. The 14-lb camera is compatible with Panasonic’s 

line of convertible cameras and pan-tilt controllers. It ships this April with a 

suggested list price of $8,790. 

WEB ADDRESS: www.panasonic.com/broadcast 

Gentner/Starin Distributing 

Assistive Listening Group 

Gentner Assistive Listening Systems address the hearing impaired as well as guided 

tours and language interpretation. There is a choice of three receivers with the 

assistive listening group, from the single channel RX-1A and Digital 1 receivers 

to the six channel digital 6+ receiver. The TX-37A transmitter is field tunable 

to 37 channels. Its universal input accepts mic level, balanced and unbalanced 

line levels, and speaker level. Signal strength is adjustable to quarter power, half 

power, or full power. Audio processing eliminates clipping and over-modulation 

while providing superior sound quality, increased intelligibility with dynamics control 

and Aphex. The tour guide and language interpretation systems have portable 

or fixed transmitters and the choice of single or multi-channel receivers. Convenient 

packages are available in each series for savings and ease of purchase. 

WEB ADDRESS: www.gentnerals.com 

E-MAIL: info@starin.biz 

114 




d&b audiotechnik 

D6 Amplifier 

The new, compact D6 amplifier is based on the solid, reliable technology of the 

D12 and fills the need for a light, highly efficient amplifier that is designed to deliver 

medium power into impedance loads between 4 and 16 ohms. The dual channel 

Class D amplifier section offers increased efficiency compared to conventional 

designs and, weighing in at only 8 kg (17.6 lb), this 19” 2 RU amplifier is very 

easy to handle. With the exception of the B2-SUB and 2-Way Active loudspeakers, 

the new D6 offers, via digital signal processing, built-in configurations for the whole 

d&b loudspeaker range as well as sophisticated protection. A linear mode allows 

the D6 to be used with any conventional loudspeaker. All settings, including 

delay and the 4-band equalization can be accessed and controlled via the front 

panel or through the d&b remote network. 

WEB ADDRESS: www.dbaudio.com 

SANYO 

New PDG-DWT50L DLP Projector 

SANYO expands their line of DLP projectors for professional and business applications 

with the PDG-DWT50L, a dual lamp projector with 1280x768 native 

resolution. It provides a super bright 4500 lumens with 2100:1 contrast ratio, 

featuring TI’s Dynamic Black for superior black level and their BrilliantColor 

for improved color performance. The PDG-DWT50L is compatible with five 

different lenses dependent on the required throw distance plus SANYO’s exclusive 

Up/Down/Left/Right lens shift that accommodates greater placement flexibility. 

Optional six-segment color wheel (RGBCMY) is interchangeable with the 

standard four-segment color wheel (RGBW) to maximize either color or brightness 

- depending on the customer’s needs and/or the environment. A variety of 

inputs are provided including DVI-D, RGB (D-Sub15 and BNC (x5)). The Easy 

Power Off function allows the PDG-DWT50L to be turned off (even when an 

image is being projected) using a power strip. The PDG-DWT50L has an MSRP 

of $6995.00. 

WEB ADDRESS: www.sanyoprojectors.com 

DOWN TO BUSINESS 


needle much. 

I believe the basic underlying 

force is a form of fear. For 

years, we have feared a second 

attack on our country that 

hasn’t yet happened. We fear a 

steep decline in housing values. 

We fear that too many jobs are 

moving out of the country. We 

fear that the dollar will never be 

as strong again. We fear that 

our new president will bring us 

more of the same. 

This general underlying fear 

is causing a timing delay in relationships 

between economic 

forces. It isn’t that a rebate 

won’t get spent, but maybe later 

rather than right now. It isn’t 

that projects have completely 

stopped but, rather, they are 

delayed or put on indefinite 

hold. Looking deeper into the 

consultant’s workload, many of 

these projects have been dragging 

on for the past few years 

and are just now slowly moving 

forward. 

The world hasn’t changed all 

that much, really. Yes, we are 

more global and therefore more 

sensitive to events outside of 

our country, but the basic things 

that drive economies, especially 

ours and many rising economies, 

remain the same. 

We were described as exhibiting 

irrational exuberance in 

the ’90s, a cryptic warning that 

we were placing too much value 

on companies with no real 

value. I believe we are now exhibiting 

irrational pessimism. 

We are placing too much emphasis 

on what might go wrong 

based on the fear that things are 

going to get worse, not better. 

In general, there is plenty of 

demand out there for what we 

do and this will be a good year. 

It will not be without its challenges, 

but we can certainly face 

it without fear. 

■ 

HOW: BUSINESS 


Like a sensational worship 

experience, I hope that we experience 

an NAB that is: Enlightening 

(where we learn 

something new); Mysterious 

(some strange folk and products 

will be there, so this is a 

guarantee); Miraculous (we 

will if HDTV issues are resolved); 

Inspirational (we leave 

with renewed vigor to serve 

our house of worship clients 

better than ever)! 

Finally, I encourage you to 

wear comfortable shoes. If you 

see me at the show, please tell 

me about your experience! ■ 

[Editor’s Note: David Lee was 

a member of our VIEWpoint 

panel in March, discussing 

House of Worship issues. In addition, 

David’s fifth point relates 

to White Spaces concerns, 

VIEWpoint’s subject this month, 

featuring Mark E. Fritz, C-EST, 

systems engineer with ESCO 

Communications, Inc., and Microphone 

Industry Coalition 

spokesperson Christopher P. 

Lyons, of Shure, Inc. To see the 

archived show or the current 

webcast, go to http://sound 

andcommunications.com/view 

point, or search for VIEWpoint at 

YouTube. Be sure to opt-in to the 

distribution list so you are notified 

when each new twicemonthly 

show is posted.] 


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Visit us online at dmx.com. EOE 



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AD INDEX 

Company Page # 

Acoustics First 

Analog Way 

Atlas Sound 

Audio-Technica 

Bittree 

ClearOne Communications 

Communications Specialties 

Community 

Cortex/GCI Technologies 

Crestron Electronics 



Da-Lite Screen Company 

dbx Professional 

Digital Projection 

EIKI International 

Elite Screens 

Epson 



FDW - Full Discount Wholesale 

Galaxy Audio 

Gentner/Starin 

Grass Valley 

HM Electronics 

Holosonics/Audio Spotlight 

InfoComm 

InfoComm 

Inter-M Americas 

International Audio Visual 

JBL Professional 

Kramer Electronics 


Lowell Manufacturing 

Martin Audio 

Meyer Sound 

NetStreams 

One Systems USA 

Panasonic 

Panasonic Broadcast Systems 

Peavey Electronics 

Phonic 

Rane 

RPG Diffusor Systems 

RSS by Roland 

Sanyo 

Sencore 

Shure 

Speco Technologies 

Stewart Audio 

Stewart Filmscreen 

TeachLogic 

TOA Electronics 

Wiremold 

Wohler Technologies 



63 

36 

C-III 

21 

63 

48 

43 

85 

99 

C-II/3 

61 

63 

12/13 

39 

53 

32 

73 

23 

57 

C-IV 

74 

75 

98 

7 

89 

17 

59 

91 

19 

42 

35 

44/45 

5 

56 

60 

11 

65 

47 

29 

15 

71 

22 

79 

98 

52 

37 

69 

33 

27 

76 

25 

107 

8 

67 

62 

49 

83 

SUPPLIERS 

EMPLOYMENT 



SUPPLIERS 

 

 

 


Houses of Worship 


“Data Scan” is our monthly analysis of information provided by respondents to our annual Commercial Systems Integration Survey (the 

22 nd edition, published with the July 2007 issue) and the Worship Center Survey (the 11 th edition, published with the March 2008 issue). 

Each month, we examine cross-referenced data culled from responses to specific questions from the surveys. This information is meant 

to supplement the published reports, not duplicate those efforts. 

To tie in with this month’s Worship Centers theme, we are 

analyzing information provided by respondents to the 22 nd 

annual Commercial Systems Integration Survey who indicated 

in Question #18 (asking about venues and percentages 

of each company’s business) that 10% or more of their 

business relates to House of Worship integration projects. 

Question #4 relates to business trends, specifically total 

dollar sales for one year compared to the previous year. The 

response distribution here is quite dissimilar to other market 

segments we have examined, both in ways that are propitious 

and negative. The fact that one-third of respondents reported 

flat business for the year might be seen as slightly discouraging; 

for most segments, that value is smaller, with the 

absent percentage points usually in the business increase 

column. Nevertheless, nearly 70% of respondents reported a 

business increase of some magnitude, including a whopping 

53% reporting an increase of 5% or more. Perhaps most 

notably, not a single respondent in this segment indicated a 

business decrease of any magnitude. On balance, these 

trends are promising. 

Question #7 asks about average dollar size of projects. 

Here, we find a fairly standard distribution of values. The 

plurality went to $25,000 to $100,000, followed closely by 

$5000 to $25,000. Tied for third were $1,000,000. Integrators 

reporting such a large value might have been involved with 

mega-churches, such as the ones operated by Joel Osteen or 

Billy Graham, which have become increasingly prevalent on 

the worship landscape. Such facilities’ liberal use of audio, 

video, theatrical lighting and vivid projection easily could add 

up to a multi-million-dollar AV contract. 

Houses of Worship continue to represent integrators’ biggest 

market. From these charts, the trends look positive. ■ 

Based on responses to the 22 nd Annual Commercial Systems 

Integration Survey, published in the July 2007 issue, which polled 

3912 Sound & Communications readers across the US. This survey 

report is sent to subscribers as part of their subscription to Sound & 

Communications. Additional copies of the survey are available for 

$2.95. To request Commercial Systems Integration Survey copies, 

subscribe to the magazine and read select articles, visit 

www.soundandcommunications.com. 




Level and peaking compensation actively 

compensates for various cable lengths 

Dynamic skew compensation 

maintains RGB color alignment 

Local high resolution 

video I/Os accept local 

video sources 

Six I/O sizes available: 

8x16 16x32 

16x8 32x16 

16x16 32x32 

Local, bi-directional 

RS-232 insertion ports 

MTPX Plus 3232 

IP Link® Ethernet 

connectivity for 

remote management, 

monitoring, and 

control 

Local audio I/Os support 

local audio sources 

Pre-peaking on 50% of the ouputs 

provides additional compensation at the 

front end for the longest cable runs 

Local audio output volume adjustment 

and muting eliminates the need for 

preamplifiers in many A/V system designs 

Extron MTPX Plus Matrix Switchers 

Twisted Pair A/V Signal Distribution 

Built Specifically for System Integrators 

You’ve never seen twisted pair matrix switchers quite like these. The new MTPX Plus Series comprises the most integration-friendly 

twisted pair matrix switchers on the market, enabling A/V systems to be installed faster and more economically than ever before. 

Enhanced integration features, such as dynamic skew compensation, local audio outputs, local RS-232 insertion ports, and local video 

inputs and outputs, combine to eliminate integration headaches commonly encountered with other twisted pair solutions. 

Key Features: 

Level and peaking compensation on each UTP input ensures 

brighter, sharper images with any cable length or signal path 

Dynamic skew compensation maintains RGB color alignment 

regardless of input and output cable length combinations 

Local video and audio I/O’s accommodate rack-mounted 

sources and destinations, eliminating the need for additional 

transmitters and receivers 

Local RS-232 insertion ports allow the direct insertion of 

bi-directional serial control signals from 3rd party control 

systems for control of remote display devices 

Universal Receiver 

With the new MTP U Series Mini Twisted Pair Universal 

Receivers you can send composite video, S-video, component 

video, HDTV, and RGB computer video, along with mono audio 

or control signals on a single cable, dramatically reducing the 

number of matrix switcher outputs used for each display. 

800.633.9876 www.extron.com/mtpxplus16

Sound & Communications April 2008 issue

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