in November 2008
By Shonan Noronha, EdD
Panther's Bank of America Stadium makes a play with HD.
Bank of America Stadium, Charlotte NC, home of the Carolina Panthers.
The Carolina Panthers opened its 2008 season at Bank of America Stadium in Charlotte NC with giant new LED high-definition scoreboards, an exclusive membership club with a 103-inch plasma display, nearly 200 public area flat-panel displays, and major sound and video upgrades to PantherVision’s production capabilities. The $12 million AV technology makeover included more than $1 million in audio upgrades alone, HD-ready video production devices, high-speed networking and signal distribution technology, and a stadium-wide wireless intercom system.
Moving Into HD
“We are excited about our move toward the HD world,” said Kyle Ritchie, director of entertainment & PantherVision. “This season, we are able to display standard-definition signals on 16:9 widescreens. Our fans can now enjoy watching the game and instant replays on the huge Mitsubishi screens and the clarity of sound from our new loudspeaker system. We hope to complete our transition to full HD with new cameras and editing gear during the upcoming off-season, and to produce and deliver in HD during the 2009 season.”
Chris Williams, vice president of Dallas-based Wrightson, Johnson, Haddon & Williams (WJHW), who was the video designer on the project, said the system was long due for an overhaul. “This move to high-definition is essential. Sports fans are accustomed to high-end AV technology, and expect the best of their stadium entertainment,” noted Williams.
The Panthers assembled an all-star team to ensure the complex makeover successfully was completed on schedule. WJHW’s Williams designed the video systems and managed the bid process. Jim Brawley, president of James S. Brawley & Associates (Clemson SC), served as design consultant for the new scoreboard speaker clusters. Installation of scoreboard loudspeaker arrays, amps in the amp room, speakers in the Gridiron Club and terraces, and the new audio control room was awarded to SE Systems (Greensboro NC).
Professional Products Inc. (PPI, Gaithersburg MD) was awarded the contract for the installation and integration of the video control room and the rack room components, including the wireless intercom system.
“We had sold the Carolina Panthers most of their AV equipment when they built their original replay control room,” reported Bruce Kaufmann, PPI president/CEO. “This was a great opportunity to come full circle and actually help in their implementation of HD technology.”
Most of the contracts were awarded in January. Work on the scoreboard, which entailed construction of new sound cluster housings, started in March. Audio and video onsite installation and integration took place during the Summer, and the system was ready for use on August 2 for the team’s Fan Fest event, with minor work continuing until the first game.
Williams noted that the installation was project managed by the Panthers and their owner’s representative, N.W. Getz & Associates, “with an ideal schedule, appropriate budget and comprehensive site construction management. In many ways, the end result for this season was as close to ideal as I have experienced in two decades of design and construction.”
A Big Score
The stadium’s new Mitsubishi Diamond Vision AVL-ODQ10 LED displays, which are 31½ feet tall and almost 77 feet wide, provide more than triple the size of the earlier displays. The new loudspeaker arrays would have to fit within limited available space.
“The new sound system also had to offer more acoustic power to keep up with the current trends in live sound and playback for NFL and college games,” Brawley said.
Four JBL VLA loudspeaker arrays are used in the new system. These were selected for high acoustic output and pattern control suitable for arena and stadium use. “They can also be custom-built by JBL to a high weather resistance standard,” noted Brawley. “Brad Ricks and Jay Fulmer of JBL Professional provided invaluable assistance in developing the loudspeaker array design.”
“The maximum levels are near 105dB SPL, which is twice as loud as the previous system. The extra maximum loudness provides more power headroom, and greater fidelity and clarity for music and voice,” explained Brawley. “Because bowl seating near the loudspeaker cluster is shadowed by the scoreboard structure, the older fill loudspeakers still are used to fill in these areas.”
A custom winch system for each of the four clusters was designed and installed by Stage Rigging Services (Greensboro NC). Each cluster weighs more than 2000 pounds. The winch system was used to lift the loudspeakers into place and will allow them to be serviced easily when need be.
The new scoreboard loudspeaker system required construction of a new amp room for the 400,000 watts of amplifiers. This room is 170 feet above field level, in the upper scoreboard directly between the speaker clusters. It requires seven tons of air conditioning to keep the amplifiers cool during operation. Locating the amplifiers near the loudspeaker arrays kept loudspeaker cable runs to less than 100 feet.
“We also had to ensure redundancy of components, so a component failure would not bring the sound system down on game day,” Brawley said. “This was done by providing backup signal paths, including CobraNet and AES digital audio lines from the control room to the scoreboard Dolby Lake Processor, and analog audio lines from the control room directly to the QSC Basis Controllers in the scoreboard amplifier rack.”
Three key criteria anchored the design of the audio system: reliability, flexibility and ease of operation. “Because the stadium is used during each season for 11 NFL and two college games, a dependable sound system is essential, not only for the game, but also for life-safety emergency procedures in the bowl,” said Miller, SE Systems president.
The primary system consists of three Yamaha AD8HR remote microphone pre-amps, with digital A outputs connected to a Yamaha NAI-48 EtherSound interface. The digital B outputs are connected to two Lynx Studio Aurora 16s, to convert AES to an analog signal. “Only two of the AD8HRs are necessary for most on-field inputs, leaving one as a spare,” explained Miller.
The main console is a Yamaha PM5D with 64 channels of EtherSound cards installed. The top 24 channels are assigned to EtherSound inputs and the lower 24 channels are assigned to the analog inputs. “When the backup mixer is in use, only the analog signals transfer to the Yamaha LS9, fitted with a MYADDA card via three eight-channel Whirlwind Professional AB-8 switches. The same principle is used for switching console outputs,” noted Miller.
Flexibility was a critical requirement because, from game to game, signal sources must be directed to different locations. This was provided with the EtherSound system. According to Miller, all of the PM5D inputs and outputs are assigned to the EtherSound network and can be routed quickly and easily via the AuviTran ES-Monitor software. Twenty of the 24 mix outputs are committed to on-field loudspeakers, in-ear monitor mixes, press feeds, broadcast truck sends, entry messaging system, etc. “Chris Hinson, a district manager with Yamaha, was most helpful with the integration of the EtherSound network,” Miller offered.
Regarding ease of operation, Miller said the Panthers are fortunate to have had the same audio mix engineer and many of the game-day technicians from the start of the franchise; hence, much of the design was tailored to meet the requests of the game-day staff.
The audio control room, measuring about 7'x12', is adjacent to the video control and rack rooms. “The space between the wall and the forward equipment rack required that the audio console be less than 64 inches wide, but the output requirements were much greater than the L-R mains, eight matrix and eight mix outputs of the old console,” Miller explained. “Our minimum requirements for the new console were for it to have two stereo masters, eight matrix and 24 mix sends. We chose the Yamaha PM5D because it afforded all necessary inputs and outputs in less than the 64-inch space constraint, and would accommodate EtherSound network cards.”
The scoreboard’s line arrays with the grilles.
Another challenge for the SE Systems team was to provide a backup console with at least the minimum inputs and scaled down outputs that would fit in the already-tight space. The solution was to fabricate a sliding mount for the Yamaha LS9 that would allow the engineer to remain in position to monitor levels, be able to see the playing field and retain communication with the game day director. “We had to remove the side panels of the LS9 for it to fit completely inside the equipment rack, and built a roller system for the cable harness to extend, retract and turn as the console extended into operating position,” described Miller.
Control Room Touchdown
The redesigned PantherVision Control Room, situated on the Press Level, is one large room sectioned into three spaces, forming the video control room, the rack room and the earlier-discussed audio control room.
Two rows of production equipment and workstations run parallel to the wall in the video control room, measuring roughly 26 feet wide by 16 feet deep. The producer’s workstation faces the field, as does the board operator’s, the PA booth and the audio playback operator’s.
“The new layout enables better movement in and out of the control room,” said Ritchie. “On game day, we have almost 20 people, out of about 33 working on production, moving in and out of the space.” Ritchie credits the video design and integration team, consisting of Chris Williams from WJHW, Kevin Filano from PPI, Berkley Dickens of PantherVision and the staff of N. W. Getz & Associates, for their expertise and working in unison to provide as close to an ideal system as possible within the constraints of space.
“The design of a true HD ‘upgradeable’ system, with all core components upgraded excepting cameras, editing and tape machines, sounds easier to execute than it was,” said Williams. “We were constrained by writing press on one side and a suite on the other. We had to add two CRACs (computer room air conditioners) to provide redundant AC.” The solution was to push the rack room wall out into the suite corridor.
Highlights of the recent installation in the video control room include an Evertz VIP monitor wall, a Ross Video Vision MD/X switcher and a Pro-Bel router. “The new Evertz monitor wall provides us with tremendous flexibility,” reported Ritchie. “Now, we can change the display on a monitor, say, from a TV show to a game production easily and quickly.”
The previous system consisted of many small monitors hardwired to dedicated video sources. The Evertz VIP series of multi-input display and signal monitoring products also offers PantherVision versatility to match the production styles of different directors. “Technical directors have their own preferences. One may want the input changed to a tape source. Another may want the captioning changed for his own ease to call the shots during live production. With the new system, we can handle these changes with ease.”
Bank of America Stadium’s finished bowl area.
The installation and integration of multiple key video components can be complex, especially if it involves new products. “Interfacing a Pro-Bel router, a Ross Video Vision MD/X switcher and the Daktronics scoring system with the Evertz VIP monitor wall system was the most challenging aspect of the project,” said Filano, PPI systems design engineer.
“This was difficult due to the various manufacturers, whose protocols and communication standards were all different. We implemented mnemonics from the Pro-Bel router, serial Tally from the Ross switcher and score/clock information from the Daktronics. There was a lot of communication between each manufacturer to work out specific configurations. All this information is passed to the Evertz VIP units via the LAN,” Filano added.
In addition, connectivity was provided to the three edit suites, broadcast truck parking and coach’s studio area.
Can You Hear Me Now?
One of the highpoints in the stadium’s technology upgrade is the new intercom system. The earlier system was wired and limited in the number of headset inputs. “We used to have people tethered to fixed locations. With the new Telex wireless intercom and Riedel system, we have greater range,” explained Ritchie. “It also increased our wireless headset capacity from eight to 19.”
Riedel’s Artist32 frame is the core of the system. Two Riedel CPU-128FG2 units offer redundancy and fiber connectivity for future growth. Filano noted that, although it was easy to configure the initial setup of the intercom system, there was a learning curve, because it was the first Riedel intercom project at a National Football League stadium.
“We supplied a completely new heart and core Riedel intercom and the Telex BTR-800 series wireless intercom system. The fun part was to work out antenna placements and frequency coordination for the five base stations and 19 beltpacks,” explained Filano. “For antenna placements, we set up a test cart with all the intercom equipment and went around the stadium to figure out where the best antenna placement would be.” They finally settled on the 30-yard line at the edge of the field, which gave the best coverage for field usage and allowed the roaming camera operator visibility of the antenna throughout the stadium.”
Discussing change orders, Filano noted that there were few on this project. “Regarding the intercom system, some of the changes that had to be made were due to interfacing with other intercom components, such as a Studio Technologies 233 Announcer Microphone Station and legacy two-wire systems,” he reported. They originally were using another system as a two-wire to four-wire interface but, after design discussions with Riedel engineer John Kruman, they opted for the Riedel IF-2104 interface. “This was the correct choice. The two-wire systems sounded great through the Riedel system.”
Providing members with an exclusive game day experience, the new Gridiron Club on the West End of the stadium spans 10,000 square feet, with 282 seats outside, and an upscale lounge with a theater and other world-class amenities.
Outdoor three-tier seating, shielded from nature’s elements and augmented with radiant heating and cooling fans, features 22 LG 37-inch LCD flat-panel displays for an up-close look at the game and instant replay. “We installed 24 JBL Control 25A/V speakers to mask reflections from the East End and provide maximum intelligibility,” noted Miller. “We used black speakers against a black wall in order to blend into the space.”
The lounge features a custom theater with a 103-inch Panasonic plasma display and plush seating, a videowall, a full-service bar and a food market, among other services. “The video-
wall of 12 LG 42-inch flat-panel displays features all the other NFL games in progress, as well as sporting events such as NASCAR, PGA and MLB that club members might be interested in watching,” said Matthew Getz, facility manager, Bank of America Stadium. “In addition, we have installed seven smaller screens [Toshiba 32-inch LCD flat panels] in the bar area and restrooms. Even though the latter may sound over the top, club members are seriously into the game and want to keep up with it at all times.”
Because of the open ceiling, 40 SoundTube RS400i free-hanging speakers and two RS1001 subs were installed to ensure good sound coverage in the lounge.
Hi-Def All the Way
Bank of America Stadium currently is scheduled to complete its move to HD in the upcoming off-season. This will encompass replacement of remaining tube TVs with about 370 flat-panel sets, and an upgrade of production gear to high-definition. “Our hope is to jump into the world of HD production. We have yet to decide on which format we will adopt,” Ritchie candidly admitted.
“We hope to purchase ENG cameras, point-of-view cameras and tape decks. We already have an HD-ready switcher and servers in place, so we’ll need the appropriate components and software to make the switch.” Ritchie and his team are hoping to enjoy HD production and distribution during the 2009 NFL season.
SE Systems, Inc.
Founded in 1973 by Cliff Miller, SE Systems, Inc., began in Asheboro NC as a sound installation and production company doing repair work, church installations and sound reinforcement. SE opened its sales operation in the mid-’70s, selling professional audio equipment, and expanded further by providing full production services, including sound, lighting, staging, stage roofs, mobile stages, design, generators, backline and logistics.
“We moved our headquarters to Greensboro in 1993, to provide a more central location for our rapidly growing customer base,” said Cliff Miller, president. Staff includes 24 full-time and 25 part-time employees. The company’s roster of audio installations includes the Walker Center in Wilkesboro NC and the main arena of the Greensboro Coliseum Complex in Greensboro NC. In 2001, SE Systems opened a second sales showroom in Charlotte NC.
For more information, go to www.sesystems.com.
Professional Products, Inc.
Professional Products, Inc. (PPI, Gaithersburg MD), has a tradition of serving the broadcast/production and AV industries since 1965, when Carter Kaufmann started the company. Kaufmann passed away a year ago; the company had transitioned its day-to-day operations to Carter’s son, Bruce, several years ago.
President/CEO Bruce Kaufmann said, “We are a technology-driven design-build company specializing in advanced video, audio, data and control systems. Our staff of 67, including 18 engineers, is focused on providing a full array of hardware and software solutions for presentations, conferencing, training, broadcast, digital signage and video on demand, among other applications.”
In addition to working on Bank of America Stadium’s move to high-definition, PPI recently completed the HD video replay control room and coaching systems for the Washington Nationals at Nationals Park in Washington DC and the global WAN deployment of the video network for the Associated Press’ Entertainment Division.
For more information, go to www.professionalproducts.com.
Bank of America Stadium Addresses Wireless Issues
It might be just a little more than a month into regular season play at Bank of America Stadium but, due to the efforts of SE Systems, the NFL team is already prepared to face challenges coming next year, when wireless communications within the 700MHz frequency band as we know them will undergo a major transformation.
SE Systems, which implemented Bank of America’s original wireless blueprint when it first opened as Ericsson Stadium in September 1996, returned earlier this year to upgrade its plan as part of a facility-wide systems rejuvenation. “For 12 years, the Panthers used the original Shure UHF wireless systems we installed here,” noted Cliff Miller, SE Systems founder/owner. “They still worked, but we took them out of service to meet the new realities sure to follow the 700MHz auction held earlier this year.”
The 700MHz wireless spectrum auction (officially named Auction 73) was launched by the FCC on January 24, 2008, to sell the rights to operate in the 700MHz frequency band in the US. The 700MHz band, once the domain of analog television broadcasting for UHF channels 52 through 69, also was used by wireless microphone installers like Miller, who set up multiple channels of UHF wireless systems to meet the needs of the Panthers in 1996.
With the last transmissions made by incumbent users of the 700MHz band scheduled by FCC decree to cease by February 17, 2009, Miller faced the prospect this year of placing a winning bid for his own space or clearing those specific airwaves at the stadium. The first choice was impractical, given the heavyweight nature of the competition and the scale of his project. Shure supplied him with UHF-R wireless systems for his handheld and lavalier mics and PSM 700 personal in-ear monitors.
“We basically adopted a clear-cut avoidance policy when it came to the 700MHz band,” Miller said, explaining his switch, which dropped him well below the frequencies in question. “This auction is going to bring change, and it will be significant. This is a topic that should be at the forefront of everyone’s mind right now within our industry.”
Miller deployed UHF-R channels for use with four handheld transmitters sporting Beta 87C capsules and a pair of UR1M Micro-Bodypacks. Conversely, a pair of PSM 700 transmitters serves four beltpack receivers. Four Shure helical antennas were used with the systems: two for the wireless handhelds and Micro-Bodypacks, and the other two for the PSM 700s.
Brought out regularly for functions on the field, ranging from singers of the national anthem to halftime entertainment, the systems provided features such as transmitter/receiver auto-sync and low- and high-power transmitter settings. With all system receivers residing in a control room also revitalized by Miller and his SE Systems team, monitoring functions are performed from a single location.
Working on game days in a hostile RF environment, where at least two full spreadsheets are required to map frequency coordination, the UHF-R auto-sync feature has been valuable for SE Systems already, coming to the rescue when an unauthorized party grabbed a frequency assigned to them just before a game, and a change had to be made on the fly.
“About two hours before a game not long ago, we noticed we were getting interference on one of our channels,” Miller explained. “Given the timeframe, [the] auto-sync feature made it a lot easier for us just to make a change ourselves rather than hunt down the offenders. Another feature I’ve really come to appreciate is the high and low power setting on our transmitters. It’s important to realize that RF output is as important as audio output in these situations, so you don’t wind up overdriving your receiver if you’re closer to it. Now we can change the power on our transmitters to match our distances.”
He concluded, “We’re ready for whatever comes our way in February of next year when the 700MHz band changes hands.”
The FCC’s wireless spectrum auction was given specific rules covering the process of the sale of what, in reality, was the 698 to 806MHz portion of the wireless spectrum divided into five blocks. Bids were anonymous and designed to promote competition, with the aggregate reserve price for all Block C licenses penciled in at about $4.6 billion. The aggregate reserve price for all five blocks being auctioned in Auction 73 was slightly more than $10 billion. Bidding for Block D, which failed to meet its reserve, will be used for a national public safety network. Auction 73 concluded with the highly publicized open access C-Block going to Verizon for $4.74 billion. The entire sale netted $19.592 billion.
Screens (general public areas)
5 LG 47LC7DF 47" Class LCD HDTVs
82 LG 42LG30 42" Class LCD HDTVs
33 LG 37LC7D 37" Class LCD HDTVs
3 LG 32LC7D 32" Class LCD HDTVs
Screens (suites, club level)
26 Sharp LC-45GD4U 45" LCD TVs
125 Sharp LC-37D5U 37" widescreen flat panels
114 Sharp LC-32D5U 32" widescreen flat panels
1 Ross Video MD 906 serial tally interface
1 Ross Video DB-VIEW advanced tree dashboard plug-in
2 Ross Video MD015 panel serial port expanders
1 Contemporary Research 232ATSC HDTV tuner
1 Contemporary Research RK1-HD rackmount
Terminal Gear, Interfacing
4 AJA Video HDP HD-SDI/SDI to DVI-D and audio converters
1 Cobalt Digital 9032 multi-rate HD/SD universal input
6 Ensemble Designs BrightEye 30 audio ADCs and DACs
1 Evertz 7701FR 1RU multiframe
1 Evertz 7707EO-3-HD Triple HDTV electrical to optical converter
2 Evertz 7707OE-3-HD Triple HDTV optical to electrical converters
4 Gefen EXTDVI142SL 1:2 DVISL splitters
1 Kramer Electronics VM2DVI 1:2 DVI-D dual link DA
2 Ross Video ADA-7802 DA audio stereo/mono
14 Ross Video DEA-8205 dual serial MD-SDI equalizing amps
6 Ross Video HDC-8222 HD down converter, distribution amps
5 Ross Video MD024CNBNC OpenGear networked frames-fixed
2 Ross Video PS8300 RossGearMD frames, 150W
5 Ross Video SEA-8203 serial MD-SDI equalizing amps
3 Ross Video TDA-7891 timecode distribution amps
8 Ross Video UDA-8005OG analog video utilities
4 Ross Video UDC-8225 MD-SDI universal up/down/cross
1 Pro-Bel Freeway 128
1 Pro-Bel Sirius 7RU 128x128 frame
6 Pro-Bel XY control panels
Pro-Bel Morpheus control, monitoring
Virtual Monitor Wall
3 Evertz 7700FR-C multiframes
10 Evertz 7767VIP4-HSN, 7767VIP8-HSN signal monitoring modules
1 Evertz 3000-DCP desktop control panel
1 Evertz 7700PTXCTP3RU universal protocol translator
1 Doremi Labs DSDI20S DVI to SD/HD-SDI converter
Gefen fiberoptic cable
3 Chief FTR4100 flat panel tilt wall mounts
26 Dell 19" to 27" flat panels and widescreen LCDs
2 Dell AS501 sound bars
1 Rose Electronics RV2CKVT19 RackView
19" fold-forward LCD
5 Sony LMD2050WHD 20" WSXGA+ monitors
20 TVLogic LVM071W 7" multi-format LCD monitors
1 Chyron 7A00321 LEX 2 graphics system
1 Chyron 5A61447 DB link for ODBC database connection
1 Chyron 7A00320 channel box
1 Chyron 5A01473 second HD SDI video input
1 Avocent AMX5000AM 8-output, 32-input KVM switch
Avocent dual-system interfaces, extenders
3 Cisco network switches
1 Crown D75A power amp
2 Tannoy Di6 DC 6.5" dual concentric wall mounted speakers
3 Wohler AMP1A-2S confidence monitors
2 Wohler SPM-1 speaker audio monitors
2 Wohler AMP1-DA in-rack self-power speakers
1 Wohler VMQ-2D audio monitor
2 David Clark H8592 single-ear noise canceling headsets
5 David Clark H8532 dual-ear noise canceling headsets
1 Riedel MFR032G2 intercom mainframe
3 Riedel CAT5108G2 8-port Cat5 client cards
1 Riedel AIO108G2 8-port analog I/O client
1 Riedel DCP1016EO 16-key LED desktop control
1 Riedel IF2104 4-channel 2/4 wire interface
2 Riedel CPU128FG2 intercom node controllers
1 Riedel RCP1012E/O 12-key LED rackmount
1 Riedel ASMG2 artist sync module
5 RTS BTR-800-RTS UHF 2-channel wireless
synthesized base stations
19 RTS TR-800-RTS UHF 2-channel wireless synthesized
1 RTS ACS-101 antenna combiner/splitter
1 Studio Technologies Model 233 announcer’s console
8 Telex 64437102 headsets
10 Middle Atlantic MRK4436 racks w/accessories
1 Middle Atlantic MRK2431 24-space rack w/rear door
Patch Panels, Cords
8 ADC PPE4632MVJBK panel assemblies
1 ADC P2232D9BK panel
1 ADC PP48AC6T 48-port panel Cat6 RJ45 angled right/left
2 Evertz 7707EO-3-HD Triple HDTV electrical to optical
1 Evertz 7707OE-3-HD Triple HDTV optical to electrical
1 Dell OptiPlex 740 SFF small form factor CPU
1 ETA Systems PD8 8-outlet rack power strip w/surge
8 Fiber Instrument Sales ST SM adapters
12 JBL Control 24CT Micro ceiling speakers
2 Lynx Studio Technology Aurora 16 16-channel mastering
A/D, D/A converters
114 Mogami W3161 AES/EBU digital snakes
4 OmniMount 60.0WA-B wall back mount speaker mounting kits
1 QSC CX204V power amp
1 QSC CX702 power amp
1 QSC RAVE 522AA 8x8 CobraNet-enabled signal processor
1 Shure PA821 antenna combiner
4 Shure UR2/BETA 87 C wireless handheld mics
3 Shure UR4D-H4 dual-channel diversity wireless receivers
2 Shure URIM-H4 micro bodypack transmitters
1 TASCAM CD-RW901SL CD-R/RW recorder/player
1 TASCAM US-144 interface
4 Versitron SB10SM mini GBIC fiber modules
4 Versitron SG70660M Web Smart 6-port managed switches
West Penn wire, cables
5 Whirlwind AB-8 8-channel mic/line switchers
19 Whirlwind custom cable assemblies
15 Whirlwind D-Sub 25-pin connectors
3 Yamaha AD8HR remote controllable 8-channel A/D converters
3 Yamaha AVY16ES 16-channel Ethernet interfaces
Yamaha DME24ns (3), DME8 (1) engines
1 Yamaha DME8/0ES digital mixing engine
5 Yamaha MY16 ES/EX 16-channel cards
1 Yamaha MY8ADDA96 8-channel analog I/O
4 Yamaha NAI48-ES EtherSound network audio interfaces
1 Yamaha PM5D digital mixing console
1 Yamaha LS9-16 digital mixing console (backup)
2 Adaptive Technologies Group fly grids for JBL VLA speakers
8 Acoustical Solutions AQFA-10 EXT 4'x8'x2", 32-sq.-ft.
4 Community R-2 694Z all-weather speakers
1 Dell Precision M6200 laptop computer
1 Dolby Lake Processor 4 AES inputs/12 analog outputs
3 Dolby digital to analog output cards for Lake Processor
1 Dolby CobraNet card for Lake Processor
1 Fiber Instrument Sales MM coupler assembly
8 Fiber Instrument Sales F18102SS FIS-ST MM metal
housing-bronze mating sleeves
2 Fiber Instrument Sales FI-1100 distribution fibers w/furcation
tubing, ST connectors
2 JBL AM6200-62-WRC end-fill speakers
40 JBL Control 25AV shielded indoor/outdoor speakers
14 JBL Control 29AV scoreboard under-fill speakers w/mounting
12 JBL VLA301H-WRC 30° line array speakers
12 JBL VLA601H-WRC 60° line array speakers
4 Middle Atlantic WRK 40-32 LRD 40-space, 32" deep racks
2 Mitsubishi Diamond Vision AVL-ODQ10 LED displays
7 QSC BASIS 904ZZ network DSP processors
12 QSC BASIS 922AZ network DSP processors
2 QSC PL 325 dual-channel power amps
3 QSC PL 340 2-channel power amps
45 QSC PL 380 2-channel power amps
Rapco commercial speaker wire, cable
4 Stage Rigging Systems, Inc. winch, pulley systems
4 Sundance Systems power locking cables
2 Sundance Systems analog 2-channel transmit masters
2 Sundance Systems 2-channel analog receive masters
2 Sundance Systems fiberoptic format converters
(to 20-channel digital audio)
Tripp Lite SMART1000RM1U SmartPro rackmount UPS
4 Versitron 30359-616 16-port Web Smart managed switches
2 Versitron 30359-660 6-port Web Smart managed switches
8 Versitron S30359-GB2 fiber modules
West Penn Wire speaker cable
9 Whirlwind engraved rack panels w/lace bar
24 JBL Control 25A/V shielded indoor/outdoor speakers
1 QSC BASIS 922UZ 8x8 CobraNet-enabled control,
monitoring signal processor
5 QSC PL340 dual-channel amps
1 QSC NAC-100 network audio controller
Rapco speaker cable, Cat5 cable
40 SoundTube RS400i-BK 8" coaxial open-ceiling/surface-
2 SoundTube RS100i-II-T-BK 10" open-ceiling/surface-
1 Versa VX-PL100 POE power injector
West Penn cable
Screens (club area)
12 LG 42LC5DC 42" class LCD widescreen HDTVs
22 LG 37LC7D 37" class LCD HDTVs
1 Panasonic TH103PF9UK 103" plasma
7 Toshiba 32AV500U HD LCD TVs
List is edited from information supplied by Professional Products, Inc., and SE Systems.
Shonan Noronha, EdD, an independent writer/producer and training consultant, is the author of books and articles about television, AV, instructional technology, multimedia and music. Send comments to her at firstname.lastname@example.org.