This page contains a Flash digital edition of a book.
SOLUTIONS: JYSKE BANK, SILKEBORG DENMARK The listening bank


[ABOUT THE INSTALLER]


Different parts of the auditorium have different uses, including presentations, meetings and small group discussions – as well as parties and musical performances


 Stouenberg is just two people: founder and lighting designer Kasper Stouenborg and, project manager and sound designer Anders Jørgensen. The company hires in designers and technicians as required


 Projects include The Blue Planet (National Aquarium Denmark), Odense Theatre and Dover Castle (Secret Wartime Tunnels)


 The company is a dealer for brands including Meyer Sound, Panasonic, Yamaha and Sennheiser


Meyer Sound’s Constellation system is being used to improve communication for all the different uses of an auditorium at a Danish bank’s HQ. Paddy Baker reports on a project that is in the running for two InstallAwards next month


THE THIRD-LARGEST bank in Denmark, Jyske Bank’s image is not what many people might expect from a major player in the financial world: its branches look more like shopping malls or airport lounges, with inviting seats, video screens, magazines and a central coffee bar. And this relaxed, even playful feel also extends to the multipurpose auditorium that has been created from a rooftop meeting room at the bank’s headquarters in Silkeborg. At the heart of the room is


a Meyer Sound Constellation acoustic system. “It’s magical that you can step inside and hear perfectly what everybody says; and if I’m whispering in a corner you can hear me perfectly at the other end,” says Anders Jørgensen of Copenhagen-based integrator Stouenborg. Although not very large, the


room is long (23m) and narrow (9.5m), so audibility from one end to the other was known to be an issue. Steen Mertz, director of communications technology at the bank, had experienced a Constellation demo at Meyer Sound’s headquarters in Berkeley, California. At the outset of the project, he contacted Stouenberg to discuss the possibility of including a Constellation system for voice lift as part of the


refurbishment of the room. Jørgensen comments: “The


problem was that people don’t always pick up a microphone, and even if they do, it can still be a problem to hear what they’re saying at the back of the room. So the challenge was, how do you enhance speech intelligibility and how do you make a system that can fulfil the dream of a truly multifunctional auditorium?” Mertz and Jørgensen


discussed the different ways in which the 75-seat room was to be used. The intention was to make it a truly multipurpose space – used for presentations, meetings, small group discussions, as well as for parties and musical performances. One requirement was to


facilitate spontaneity during debates – not having to wait for a handheld microphone to be handed around. But it wasn’t just about making people heard across the room. “Constellation voice lift technology helps facilitate teleconferencing all over the world so that anyone, anywhere in the room can speak and be heard at a remote location,” explains John Pellowe, Constellation project director at Meyer Sound.


Plus, there were


requirements beyond voice lift. “Steen wanted to


www.installation-international.com


easily adapt the acoustic characteristics for a variety of events,” says Pellowe. Finally, Mertz wanted to futureproof the space for other sonic requirements not yet thought of. Once Jørgensen had


delivered the brief to Pellowe, the Constellation team began work on the system design. “There were certain design challenges that we faced,” recalls Pellowe. “The microphones are angled to optimise their coverage of the room and to maximise the gain of the system.”


LOW TOLERANCE This was Jørgensen’s first time installing a Constellation system – and he also found challenges along the way. For instance, placing the miniature condenser microphones required extreme accuracy. “It meant that every mic had to be placed using GPS co- ordinates. Because the ceiling is curved, it’s impossible to make a mark on a drawing, make the same mark on the floor and translate that to the ceiling,” he explains. “The placement of the


microphones is the most critical part of a Constellation system,” Jørgensen continues. “When you hear the system and see the effort that Meyer Sound puts into the


tuning the system after the installation, you get a better idea of why it’s so important.” The curved ceiling made standard microphone mounts impossible. A special mount was needed in which the microphone cable runs vertically from the ceiling, with the microphone head angled.


It took much inventiveness


by Stouenborg’s engineering department to create a design that met all these requirements, and held the mics in place without them twisting around due


[INSTALLED]


AUDIO (MEYER SOUND)  D-Mitri DAI-24, DAIO-24, DAO-24 I/O units


 D-Mitri DCP and VRAS processors


 MM-4XP and MM-4XPD self-powered speakers


 UP-4XP speakers  MM-10XP mini subwoofers


 Stella-8C ceiling speakers  Miniature condenser mics


OTHER AUDIO  ClearOne Converge Pro 840T conferencing system


 D-Mitri DAI-24, DAIO-24, DAO-24 I/O units


VIDEO  Panasonic AW-HE60 camera


 dnp Zenith rearpro screen  Canon WUX4000 projector


 Samsung ME-40 (40in) and ME-55 (55in) displays


 Tandberg C20 videoconference unit


 Extron DXP44 matrix  Extron DTP-HDMI TX/RX kits


 Yamaha BD-A1020 Blu- ray player


CONTROL  AMX MXT-1000 10.1in touchpanels


 AMX DVX-3156HD 10x4 presentation switcher


 AMX MXA-MPL-300 multipreview units


 AMX NXV-300 virtual touchpanel


May 2014 53


to temperature changes or other factors. The final design features a rubber collar sandwiched between two Corian plates – so that any vibration or wind noise from the roof is not picked up by the mics. In addition, the room’s newly installed air- conditioning system had to be adjusted so as not to disturb the position of the mics. A lot of care was taken by


the project team to optimise the natural acoustics of the space. “The more voice lift systems we do, the more we realise how critical it is to have a low physical reverberation time,” remarks Pellowe. “The lower it is, the more flexibility we have to move the sound around the room where it needs to be at


Installation OF THE


MONTH


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64