Pro AVL Asia January–February 2026

ProAVLAsia January–February 2026

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION January–February 2026

IN THE CHAIR

How AV is transforming dental training at La Trobe University

MDDI (P) 066/04/2025 PPS1604/05/2013(022953) www.proavl-asia.com

MUSIC ACADEMY, MADRAS BEAM BANGKOK CHOOSES TPI

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Contents

Volume 25 Issue One

January–February 2026

Editor’s Letter

NEWS 4 News 16 Appointments 18 Distribution

22 Powering down with Rachael Hamilton 4 24 Smaller projects

For those of us who’ve worked in this industry since it was simply called pro audio – the technology that, back then, was used largely for the creation, reproduction and enjoyment of music and entertainment – the front cover of this issue might feel a little disorientating.

A shifting landscape has seen the gear used in studios, venues and broadcast rapidly becoming integral to a wide range of environments. This convergence has seen audio, video and lighting technologies move beyond their traditional roots, becoming networked, intelligent, affordable and, increasingly, permeating diverse vertical markets. Today, sectors such as corporate communications, education, healthcare, retail, hospitality and industrial environments rely on AVL solutions to enhance

engagement, improve efficiency and create immersive experiences. Our front cover feature (p60) is a prime example of this. Melbourne’s La Trobe University has adopted professional audio and video tools for its dental science degree course, facilitating remote learning and providing interactive classrooms with advanced networking, camera systems, microphones and displays to improve patient experiences and enhance surgical precision.

While increasingly sophisticated, immersive and connected equipment continues to transform our leisure pursuits, there’s no disputing that the technologies we’ve worked with in an entertainment context over the years are also having a direct and important influence on how we work, learn, heal, shop and socialise.

Email: cmoss@proavl-asia.com

FEATURES 50 InterBEE show review 52 Crown Esplanade Melbourne

52

54 The Music Academy, Madras 58 Oran Park Hotel 60 COVER La Trobe University 64 Mumbai preview theatre

54

66 Beam Bangkok BUSINESS 68 Letters 70 Fohhn profile 72 d&b on directivity

64

NEW PRODUCTS 75 The industry’s most

comprehensive product news

Follow us on social media @ProAVLCentral

ANALYSIS 98 Do venues need to raise their

75

broadcast game?

Contact us Richard Lawn

Sue Gould

Carolyn Valliere

Simon Luckhurst Senior reporter

Editorial coordinator

Karen Wallace

Bea Meikle

rlawn@proavl-asia.com

sgould@proavl-asia.com

cvalliere@proavl-asia.com

sluckhurst@proavl-asia.com

kwallace@proavl-asia.com

bmeikle@proavl-asia.com

Nick Smith

Chris Yardley

Jack Stennulat

Adrian Baker

Marne Mittelmann

Sue Su

nsmith@proavl-asia.com

cyardley@proavl-asia.com

jstennulat@proavl-asia.com

abaker@proavl-asia.com

circulation@proavl-asia.com

ssu@proavl-asia.com

General manager

Digital media manager

Advertising director

Video editor

Sales associate

Digital content creator

Published by:

Spa House, 18 Upper Grosvenor Road, Tunbridge Wells, Kent TN1 2EP, United Kingdom TELEPHONE: +44 (0) 1892 676280 WEB: www.proavl-asia.com

Production manager

Circulation manager

News editor

Guangzhou manager

LICENCES: Singapore: MDDI (P) 066/04/2025; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

PRINTING: Times Printers Singapore

COVER: La Trobe University

January–February 2026 PRO AVL ASIA 3

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NEWS

Dirk Ulrich takes on Apogee Biamp obtains Electronics ClearOne assets

WORLD

WORLD

Bolstering its technology portfolio, Biamp has entered into an agreement to acquire assets of ClearOne, including intellectual property and brands. The deal expands Biamp’s offering to include signal-processing designs and patents.

Dirk Ulrich (directly in front of neon sign) is pictured with the Apogee Electronics team

Apogee Electronics has been acquired by Dirk Ulrich’s newly founded Rockforce Tech Holding, parent company of Manley Labs, uniting two long-established names in professional and high-end audio. The announcement marks a significant moment for the Santa Monica manufacturer as it approaches its 40th anniversary.

Founded in 1985, Apogee is known for its digital audio converters, recording interfaces and software tools used by artists, producers and engineers worldwide. Co-founder and CEO Betty Bennett described the acquisition as a natural next step for the company.

“We’ve reached an exciting moment in Apogee’s evolution,” said Bennett. “To continue growing in today’s rapidly shifting audio landscape, Apogee needs expanded resources, new energy and a broader operational foundation. Dirk brings all of that. His experience leading Brainworx and Plugin Alliance, and now Manley Labs, makes him uniquely equipped to guide Apogee into its next chapter. I’m profoundly proud of what our team has built and I’m confident this partnership will elevate both companies in meaningful ways.”

Ulrich commented that the move will create a complementary ecosystem between Apogee and Manley Labs: “Apogee has an extraordinary

heritage and a loyal user base. Bringing Apogee and Manley together creates a powerful platform for professionals and creators, whether they are working in analogue or digital. It’s all about the sound.”

Apogee will continue to operate from its Santa Monica headquarters and maintain support across its hardware and software portfolio. Both companies expect the combined engineering capabilities to accelerate new product development and extend their global reach. www.apogeedigital.com www.rckfrc.com

Rohde & Schwarz buys Munich Innovation Labs WORLD

Rohde & Schwarz has acquired Munich Innovation Labs, a software specialist with headquarters in Munich. Founded in 2015, the company develops and markets AI-based software solutions for domestic and international security. Rohde & Schwarz hopes the acquisition will strengthen its position in the data analytics solutions market, particularly in the field of opensource intelligence (OSINT).

The growing demand for data analytics solutions and platforms is currently driving significant growth in this sector. The acquisition will allow Rohde & Schwarz to better serve existing market segments and open up new business opportunities.

At the same time, Munich Innovation Labs will benefit from Rohde & Schwarz’s sustainable investment in research and development.

Sebastian Richter, Rohde & Schwarz’s vice president monitoring and analytics, explained: “Open-source intelligence has become an indispensable tool for security agencies. I am very pleased that Munich Innovation Labs will

L–R: Rohde & Schwarz’s Dr Alexander Orellano, Stefan Taing of Munich Innovation Labs and Sebastian Richter from Rohde & Schwarz now be part of Rohde & Schwarz. They are a success story and have become a wellestablished player on the market. The acquisition is a strategic addition to our portfolio and will benefit the customers of both companies. Both Rohde & Schwarz and Munich Innovation Labs have first-rate analysis platforms that we will continue to develop synergistically in the future.”

The two Munich Innovation Labs founders, Stefan Taing and Jens Elsner, will remain

Over the past two decades, ClearOne engineers have worked to advance the state of audio conferencing with contributions in DSP, acoustic echo cancellation, microphone array processing and beamforming/beamsteering techniques. The acquired assets include designs and several patents related to beamforming microphone arrays and associated audio signal-processing technologies.

in management positions with the software specialist for the long term. Together with their Munich Innovation Labs team and their new Rohde & Schwarz colleagues, they will continue to advance the development of the software developer’s unique portfolio of services with their expertise for leading-edge technology.

“ClearOne helped set benchmarks in professional audio, particularly in beamforming microphones and core DSP,” said Rashid Skaf, Biamp president, CEO and co-chairman.

“Bringing these assets into Biamp strengthens our already deep audio engineering foundation and will enhance future product innovations across our portfolio. Our mission remains delivering the most reliable, best-sounding experiences in the market, and these assets align squarely with that goal.”

According to the terms of the agreement, Biamp does not assume any obligations to continue selling, supporting or developing ClearOnebranded products. The manufacturer stated that its focus is on the integration of selected IP and designs into future Biamp solutions in ways that elevate performance and provide ease of deployment and longterm value for customers. www.biamp.com

www.mi-labs.de

www.clearone.com

www.rohde-schwarz.com

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Co-create the future of Spectera

Spectera, Sennheiser’s wideband bidirectional digital wireless ecosystem, is already transforming productions all over the world — and its remarkable capabilities are evolving with regular functionality updates. Now, you can help shape the future of Spectera: Visit the Spectera Lab online to join the conversation and co-create the future of Spectera with us.

Collaborate with us at www.sennheiser.com/spectera-lab

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NEWS: BUSINESS

Prolight + Sound Bangkok launches THAILAND

Leveraging the Thai capital’s strategic position at the heart of Southeast Asia, Messe Frankfurt Hong Kong, in partnership with VNU Exhibitions Asia Pacific, has announced the launch of Prolight + Sound Bangkok. Scheduled to debut from 30 September – 2 October 2026 at Bangkok International Trade & Exhibition Centre (BITEC), the tradeshow will serve as a platform for the entertainment and pro AV sectors in the region, offering access to a broad consumer market of over 670 million people.

Prolight + Sound Bangkok is backed by Messe Frankfurt’s global resources and industry expertise – through flagship fairs such as Prolight + Sound Guangzhou – along with VNU Exhibition Asia Pacific’s established local network. The show’s organisers believe that the exhibition will serve as a key gateway for international suppliers looking to enter and expand across ASEAN, while acting as a nexus for innovation and industry growth in the region.

The latest expansion of the Prolight + Sound brand benefits from Thailand’s growing entertainment, live events and tourism sectors.

“Prolight + Sound Bangkok is a natural extension of the brand into Southeast Asia,

The show will take place at BITEC in Bangkok’s Bang Na District bringing our vast resources and expertise in pro AV and entertainment technology to a region ready for transformation,” said Wolfgang Marzin, president and CEO, Messe Frankfurt.

“Exhibitors can expect global exposure, highcalibre buyers and a powerful platform for growth.”

The Bangkok tradeshow is poised to serve as a launchpad for international brands

Sound.com unveils India’s first L2 INDIA

Sound.com has reportedly become the first rental company in India to acquire the L-Acoustics L2 system. Facilitated by the manufacturer’s local distributor, Hi-Tech Audio & Image, the purchase also marks Sound.com’s first addition of L-Acoustics products to its inventory.

“After three decades in professional audio, it’s rare to encounter something genuinely game-changing,” said Warren Dsouza, founder and managing director at Sound.com.

“But the moment I heard the L-Acoustics L2 system, it felt like listening to pure music, not loudspeakers. What’s even more exciting is that this is only the beginning – L-Acoustics’ next-generation high-density progressive line arrays will continue to evolve and Sound.com is proud to be part of this maiden journey in India alongside Hi-Tech.”

Sound.com’s new L-Acoustics lineup includes four L2 long-throw cabinets, four L2D full-range line source loudspeakers

and 16 KS28 subwoofers for low-end reinforcement. The purchase also features two LA-RAK III and one LA-RAK II AVB touring racks, a P1 processor, LA12X amplifier and three LA7.16 multichannel amplifier controllers.

Since its inception, Sound.com has focused on investing ahead of the curve.

Incorporating the L2 system aligns with that approach, adding a next-generation solution designed to improve deployment efficiency and consistency for large-scale events. The company views this L-Acoustics purchase as an important step towards elevating touring sound in India, particularly as the country welcomes a growing international clientele and hosts productions that increasingly operate on a global scale.

and suppliers to enter the local market. “By utilising the worldwide innovation pipeline and global brand resources of Prolight + Sound Guangzhou, the new Bangkok fair will help upgrade Southeast Asia’s industry and give respected industry names, international exhibitors and forward-thinking SMEs a cost‑effective, high‑impact path into the region – including brand exposure, channel building and

order landing,” stated Richard Li, executive director, Messe Frankfurt (HK).

Serving as a two-way bridge, Messe Frankfurt will pair international brands with ASEAN demand, while VNU Exhibitions Asia Pacific’s market knowledge will be leveraged to foster local partnerships.

“Bangkok is well positioned to host a world‑class entertainment technology show, thanks to favourable government policies and strong demand in Thailand and beyond,” commented VNU Exhibitions Asia Pacific’s CEO, Justin Pau. The core product categories have been selected to ensure the show meets the needs of Thailand and the wider ASEAN market.

These include professional audio and lighting, conferencing and AV equipment, LED and display technology, plus stage and music equipment.

This specialised spectrum of interconnected categories aims to mirror Southeast Asia’s end‑market needs – from festivals, concerts and nightlife to hospitality, cultural attractions and corporate AV. www.prolightsound-bangkok.com

A&L Singapore expands SINGAPORE

Acoustic & Lighting System (A&L Singapore) has announced the relocation of its Singapore office to a modern and expanded facility. The distributor of professional audio, visual and lighting solutions has had a presence in the city-state for 22 years and says the move reaffirms its commitment to innovation, growth and deeper industry engagement.

“This relocation represents more than just a new address; it reflects our journey with Singapore’s industry partners and clients over the past two decades,” said Johnson Lee Wee Mun, branch manager, A&L Singapore. “Our new office provides a dynamic environment with a versatile experience centre, enhanced service centre and collaborative spaces where we can innovate together.”

www.hitechavl.com www.l-acoustics.com www.online-sound.com

The A&L team during the grand opening event

L–R: Hi-Tech’s Nirdosh Aggarwal, Warren Dsouza of Sound.com and Rajan Gupta from Hi-Tech

Founded in 2003 on Club Street with just a small team, A&L Singapore has grown alongside the nation’s vibrant AVL industry. Four years later, the company moved to Upper Boon Keng to accommodate expansion, before settling for more than 15 years at Ubi Avenue.

Now, entering its fourth chapter with a modern office and experience centre, A&L Singapore is focusing on fostering collaboration and showcasing its AVL solutions.

The company’s new facilities feature an integrated experience centre showcasing sound, visual and lighting systems in one coherent environment. Designed as a collaborative space, it allows partners and clients to experience complete solutions in action – from performance sound to immersive lighting and visual displays – making it a hub for product demonstrations, training and industry engagement. www.acousticnlightinggroup.com

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NEWS: BUSINESS

DiGiCo Q112 launches at Seoul’s Rolling Hall SOUTH KOREA

DiGiCo has partnered with Soundus, its exclusive distributor for South Korea, to launch the new Quantum112 console at Seoul’s Rolling

Hall live music venue, attracting a wide cross-section of over 80 attendees, from rental companies and freelance engineers

to systems integrators, consultants and dealers. DiGiCo’s VP of sales Ian Staddon and product specialist Dave Bigg were on hand to support the Soundus team.

Guests were welcomed by Soundus director of sales, Kang Kyung-mo, who introduced Bigg for a 45-minute presentation on the new Q112 ultra-compact mixer, which weighs in at just 23kg while offering 80 input channels with 24 aux/subgroup busses, L-R/L-C-R master busses and a 12x8 matrix with full channel processing. After a short break, Bigg presented a seminar on Fourier Audio’s hardware-enabled audio software platform for the live events industry, introducing new features.

This was followed by technical presentations from Soundus staff including a Quantum Mustard processing seminar presented by Joo Byung-jo and a DiGiCo Mirroring seminar

by Cho Woon-sung. The event concluded with

an equipment showcase for guests to get hands-on with the latest DiGiCo technology at their own pace.

Soundus president DJ Kwon reported a high level of positive feedback from attendees.

“They were very pleased that the seminar provided educational sessions and people felt they learned a lot, with the information provided being very useful,” he said. “Plenty of time was allocated to Q&A sessions, with hands-on product time which made the event very effective. It was very much appreciated that it was not just a sales event pushing product. Having said that, the response to the Q112 could not have been better, with many confirmed orders taken on the day.” www.digico.biz www.fourieraudio.com www.soundus.co.kr

Audio Design Delhi invests in SSL INDIA

Audio Design Delhi is reporting that it has become the first rental company in Delhi to own and operate the Solid State Logic (SSL) L650 console. The landmark purchase was facilitated by the manufacturer’s regional distributor, StageMix Technologies.

The investment was led by Audio Design Delhi’s founder, Navneet Wadhwa. “Bringing the SSL L650 into our inventory is more than a business decision – it’s about keeping our promise to deliver nothing but the best to our clients,” he said.

The purchase was made alongside the help of his son, Sahaj Wadhwa, who represents the next generation of leadership for the company. “We’re excited to take this step together as a family

the Delhi company is now positioned to support larger and more complex productions, from stadium concerts and television broadcasts to high-end corporate events.

Audio Design Delhi places an emphasis on quality, professionalism and technical expertise. As the Indian live sound industry continues to grow and evolve, the company reaffirmed its commitment to staying ahead of the curve, including continuingly investing in new equipment. business, driving innovation and excellence in India’s pro audio rental space,” said Sahaj.

Audio Design Delhi’s new stock incudes one L650, two ML 32.32 MADI Analogue

Stagebox units, plus one Blacklight II interface. The SSL L650 has been designed to handle demanding live, broadcast and touring environments. With this new console,

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NEWS: BUSINESS

Netgear and Riedel join forces Shure establishes Strategic Alliances team WORLD

WORLD

Shure has announced the formation of a new Strategic Alliances team to advance its ecosystem strategy and deepen relationships with technology partners across unified communications and professional audio markets.

The team’s creation is said to underscore the company’s commitment to the unified communications and professional audio sectors by deepening relationships with technology partners and accelerating innovation through strategic engagement.

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Netgear and Riedel Communications have entered into a global technology partnership to advance AVoIP solutions. The collaboration brings together Netgear AV’s managed switches with Riedel’s video infrastructure technologies to streamline IP-based signal distribution for broadcast, live events and commercial AV. The first step of the alliance begins with Riedel carrying Netgear’s M4350 series switches, bringing them together with MediorNet MuoN A processing SFPs to deliver ST 2110 Gateway functionality for decentralised signal distribution over standard IP networks.

“We are always looking for ways to streamline workflows and enhance reliability for our customers,” said Louis Caron, senior

Richard Jonker, VP of marketing and business development at Netgear, added: “We are excited to develop our roadmap of

product manager video at Riedel. “Partnering with Netgear allows us to offer a proven networking backbone that complements our media-over-IP solutions and supports the evolving needs of the broadcast and AV industries.”

hardware and software in support of Riedel’s applications, which are at the core of this latest wave of innovation in the market.”

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The new organisation will be led by senior director Boris Seibert, who joins the company from Logitech, where he served as a global sales leader driving B2B transformation and go-to-market execution. The team also includes members with backgrounds at Avocor, AVer, Zoom, HP and Jabra, alongside experienced Shure leaders transitioning into the group.

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NEWS: BUSINESS

SRS Group launches in APAC Techtrio takes Yamaha’s PM5 into Borneo MALAYSIA

L–R: SRS Group’s Samuel Sloboda, Sean McKernan and sales manager Karol Horvat APAC

Slovakian entertainment technology manufacturer SRS Group has launched an APAC division headquartered in Singapore.

SRS Group was founded in 1992 when Robert Sloboda, who ran a rental company in Bratislava, designed and manufactured his first digital dimmer unit. Together with his son Samuel, Sloboda continues to lead the company 33 years later, with the entire development and manufacturing process from PCB and CAD design to mechanical and electrical assembly handled in-house at the Bratislava factory. SRS Group has three main divisions: SRS Lighting, SRS Rigging and SRS Power. Over the past decade, SRS has expanded its global reach, with the Asian market being handled by a group of partners. The APAC division has been launched due to a growing realisation that the company would benefit from a stronger presence in the region.

SRS Asia Group, which handles the entire APAC region, will be providing sales and technical support for its existing distribution and customer network as well as working

with new customers, introducing them to the SRS product range. The Singapore office will also handle technical repairs and training and provide demo units to customers.

SRS Asia is headed up by general manager – Asia Pacific, Sean McKernan, who previously worked for SRS Group’s Australian distributor. McKernan, who studied lighting design at the Western Australian Academy of Performing Arts, has worked in the entertainment industry for over 35 years, and led a production company specialising in lighting and rigging in Perth for two decades.

“The opportunity to join SRS Group arose, and the idea of opening a branch office in Asia was born,” said McKernan. “The customers in Singapore and beyond have been amazingly supportive of this new venture and really appreciate having local support they can rely on. It’s early days, but we have great hopes for Asia and love being a part of the market here.” www.srs-group.com

Marking a significant advance in live event technical production in East Malaysia, Sarawak-based Techtrio Management has taken delivery of two Yamaha Rivage PM5 digital mixing systems from Concept Associates. Founded in 2019, the acquisition positions Techtrio as the first event production house in Sarawak and East Malaysia (Borneo) to offer the flagship Yamaha Rivage PM digital mixing ecosystem.

The investment made by Techtrio Management includes two CS-R5 control surfaces and dual Rio3224-D3 Dante 32-input network racks.

Techtrio cites the lightweight (42kg) compact nature of the consoles together with the incorporation of three 15-inch touchscreens promoting intuitive operation as major factors behind the purchase. Designed to reduce load-in and setup times, the 38-fader control surface has further established itself amongst rental companies on account of the operational efficiencies it enhances across a diverse range of productions.

The Rivage PM system’s native Dante and TWINLANe network compatibility and extensive plugin collection provides the Techtrio engineers with enhanced flexibility and creative control.

“When evaluating consoles for this major investment, the Yamaha Rivage PM5 stood out due to its uncompromising sonic quality and exceptional rider acceptance worldwide,” commented Techtrio Management MD Saiful Dibit. “There are many options available in the market, but the PM5 offers the perfect balance of cutting-edge technology, reliability and portability that is required for the diverse and challenging event landscape across East Malaysia. Furthermore, selecting Concept Associates provided us with the confidence needed to operate systems of this calibre. Their professional business ethics, technical expertise and commitment to after-sales service stand out.”

Concept Associates sales director Royce Lee said: “We thank the Techtrio team for their trust in both the Yamaha platform and in Concept Associates as their long-term technical partner.

Our commitment now shifts to ensuring they have full access to our expertise, support and resources to maximise the PM5’s potential and deliver world-class events.” www.conceptaudio.com.my my.yamaha.com/en/business/audio

Saiful Dibit with the Yamaha Rivage PM5 mixing consoles

Phoenix Broadcast Solutions partners with Calrec SINGAPORE

Live production services provider Phoenix Broadcast Solutions has invested in a range of Calrec’s audio broadcast technology as part of a three-year enterprise partnership. The company hopes that the equipment will enhance live event services by combining advanced engineering with a creative approach. The Calrec installations and integrations are being carried out by JAA Systems.

The first delivery included a mix of Calrec’s IP Argo S and Argo M consoles, modular Type R IP mixing systems and ImPulse IP processing core. This initial IP installation phase forms the heart of Phoenix Broadcast Solutions’ portable flypack infrastructure.

Founded by industry veteran Siddhartha Tyagi, Phoenix Broadcast Solutions chose to invest in Calrec based on the company’s technical support framework and forwardthinking technological innovation. The services provider is positioning itself as a trusted partner for global broadcasters and, with a roster of high-profile events coming

of regular training sessions to assist engineers with continued skills development.

From commissioning to follow-up briefings and onsite assistance, everything has been thoroughly considered and executed.

Mastering new technology takes time, but the outstanding support from Calrec has accelerated our team’s capabilities and confidence.”

“Calrec’s ethos is a ‘Technology Partner for Life’,” added Michael Reddick, Calrec’s regional sales manager. “We don’t just sell audio broadcast solutions; we build strong relationships where our customers’ needs continue to be met long after the contract ink has dried. This important partnership with Phoenix Broadcast Solutions further demonstrates our deep understanding of the needs of the market and customers, and our commitment to delivering the highest-quality products and services.”

The Calrec Argo M at Phoenix Broadcast up, the company has selected technology partners that enable its expansion over time.

“Calrec’s inclusive ongoing support partnership is a game-changer,” said Tyagi.

“Together, we created a multi-year framework

www.calrec.com www.phoenixbroadcast.com

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S

L-Acoustics unveils new APAC HQ

SO

APAC

L-Acoustics has held the official opening of its expanded APAC regional headquarters in Singapore, joining its major operational hubs in Paris, Los Angeles and London. The new facility, situated in Singapore’s creative district, includes a

dedicated L-ISA Creative Studio where spatial audio mixes using L-Acoustics immersive sound technology can be created. The opening was attended by the company’s co-CEOs, Laurent Vaissié and Hervé Guillaume, and chief people officer Anne Hamlett.

“This expansion reflects our long-term commitment to the Asia Pacific market,” commented Vaissié. “As the region’s creative and entertainment industries continue to evolve, we’re investing in the infrastructure and resources needed to support our partners’ ambitions and deliver the exceptional sound experiences that audiences have come to expect from L-Acoustics.”

Tim Zhou, CEO of L-Acoustics APAC, added: “The Asia Pacific region represents one of the most dynamic and fastestgrowing markets for live entertainment and immersive audio experiences. This expansion gives us the infrastructure to better serve our growing community of clients and partners while providing artists and creators with a dedicated space to explore spatial audio. Our L-Acoustics Creative Center is designed to be a collaborative hub where creativity meets innovation.”

Since establishing L-Acoustics in Singapore in 2019, the company has expanded to 28 team members today – 19 based in Singapore and nine remote employees throughout APAC who regularly work from the regional headquarters. The new 835m2 facility provides the operational capacity needed to support continued expansion across the region.

This includes the 47m2 L-Acoustics Creative Center equipped with 23 L-Acoustics speakers arranged in a 3D configuration including frontal, surround and overhead arrays for artists, mix engineers, sound designers, DJs and content creators to create and refine spatial audio mixes in L-ISA Immersive Hyperreal Sound technology, collaborate with L-Acoustics application specialists and explore new creative possibilities in immersive audio production. The space is also equipped with L-Acoustics DJ technology which allows DJs and electronic music artists to learn the technology and prepare spatial sets.

“We’re not just providing a demonstration space – we’re offering a creative production environment where artists can bring their spatial audio visions to life,” added Zhou. “Whether it’s a touring artist preparing immersive mixes for their live show, a DJ crafting a spatial set for club performances, a sound designer developing content for an installation or partners wanting to understand how L-ISA can transform their venue, this centre is designed to facilitate that creative process.” www.l-acoustics.com

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NEWS: BUSINESS

Sama Sound holds PreSonus launch event SOUTH KOREA

Sama Sound recently held its 2025 Live Sound Trend with PreSonus launch event, introducing the manufacturer’s StudioLive SE Series and Air XD Series to the Korean market. The event featured two key seminars: one on AVB Milan, the networking technology behind the SE Series, and another on the growing culture of dedicated FOH live sound engineers in Korea. Three hands-on demonstration zones also allowed visitors to explore the features and advantages of each StudioLive SE mixer.

The AVB Milan seminar was led by JaeHyeok Han, head of the Sama Sound Audio Technology Lab, Q-SYS Certified Programming Engineer and Genelec Sonic Advisor. “Engineers in Korea are increasingly aware that AVB Milan has become a major global trend,” said Jason Moon, product manager at Sama Sound.

“But aside from brief mentions that major loudspeaker brands have adopted it, there has been little detailed information available in Korean. We organised this seminar to clearly explain and demonstrate the value of AVB Milan to the Korean market.”

The second seminar was led by SeongHoon (Mark) Kim, a prominent FOH engineer, who shared behind-the-scenes stories, technical insights and case studies

on pre-production workflows for Korea’s most progressive bands. He emphasised the role of trust and understanding

Between the sessions, a product introduction provided an overview of the new releases. Chanho Park from the Sama

JaeHyeok Han led the first seminar on AVB Milan between artists and engineers in delivering outstanding live sound. Both seminars ended with lively Q&A sessions.

Sound Audio Technology Lab presented the StudioLive SE Series mixers and Air XD Series loudspeakers.

In the Soundcheck Zone, participants tried the StudioLive SE16, SE24 and SE32 mixers, each paired with a Shure SM7dB microphone and SRH840A headphones. Attendees experienced the upgraded preamps and improved built-in plugins firsthand.

The Ecosystem Zone highlighted the StudioLive SE32 integrated with a StudioLive rack mixer, NSB16.8 stagebox, EarMix 16M personal monitor mixer and the AVB-D16 AVBto-Dante converter, all connected to Air10 and Air15 loudspeakers. Visitors listened to playback music through the full system, experiencing the coherence of the PreSonus ecosystem.

The Metro Zone demonstrated Metro, the remote-mixing feature of PreSonus mixers.

Using Universal Control on a laptop, visitors remotely operated the Ecosystem Zone mixer and watched faders and parameters respond in real time. The area also featured StudioLive SE16 and SE24 mixers with multitrack sessions for hands-on headphone mixing.

“Each zone was visually styled to create an inspiring, shareable atmosphere,” added Moon. “The response from Korean engineers and students was excellent, with strong engagement throughout the event.” www.presonus.com www.samasound.co.kr

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NEWS: BUSINESS

Rise AV launches APAC mentoring programme APAC

Following the success of its 2025 UK programme and demand from professionals across Asia Pacific, Rise AV has expanded its 2026 Mentoring Programme to the APAC region. Beginning in Singapore and Hong Kong from May 2026, the programme provides six months of free, structured mentorship and professional development for women at all career stages.

The APAC Regional Council will provide insights into the cultural needs and challenges across different regions, working closely with Rise AV’s global leadership team to help ensure the programme remains regionally relevant. Council members will also take an active role in community engagement, helping to recruit mentors, mentees and sponsors.

Chaired by Peter Hunt, group CEO of Hewshott, the council features senior industry leaders from across Asia Pacific such as Marina Bay Sands senior AV manager Maureen Aw, NovaRange managing director Sand Leung, QSC senior manager of strategy and business operations in APAC Angela

The class of the Rise AV UK Mentoring Programme 2025 Franco, ESCO managing director Sujith Sivaram, Vega Global executive director Molly Chow, Lightware regional director Candice Siow, ROE Visual chief strategy officer Grace Kuo and Jeff Shoesmith, senior channel sales rep – PA/VA at Honeywell.

“The launch of Rise AV in APAC represents a defining moment for our global mission,” said

Hunt. “By combining global expertise with local insight, we’re creating a programme that reflects the region’s diversity and potential, giving women in AV the tools and confidence to thrive throughout APAC, and hopefully beyond.”

The organisation is backed by strong support including its Global Headline sponsor,

QSC, as well as more sponsors at gold, silver and bronze level. “As Rise AV expands into APAC, we’re proud to support their mission to open doors for underrepresented talent and advance a more inclusive AV industry,” said Franco. “Their mentoring and development programmes have already made a powerful difference globally and this launch is a pivotal chance to extend that progress.”

Rise AV managing director Rachael Hamilton concluded: “The 2025 Mentoring Programme has already shown how mentorship transforms careers, empowering mentees and giving mentors the chance to grow and reflect. The interest from APAC proves the industry is listening and with the incredible talent on our global leadership team and regional committees, Rise AV is set to be a real force.”

Pro AVL Asia is supporting the initiative with a series of video interviews with influential women in the APAC industry which you can watch on our YouTube page. www.rise-av.com

Robe lights the way for SSL Media INDIA

SSL Media Technology & Solutions recently bolstered its Robe inventory with the addition of eight iFORTE LTX FS fixtures alongside eight RoboSpot BaseStations. With the new purchase, SSL reportedly boasts the largest stock of Robe in India, with over 200 fixtures from the Czech brand’s most recent product ranges.

The purchase was facilitated by the manufacturer’s local distributor Integrated Entertainment Solutions (IES) and is believed to be the first RoboSpot systems in India.

Following the acquisition, IES delivered dedicated RoboSpot training for the SSL team.

Mumbai-based SSL is regarded as one of the country’s largest event and entertainment technology production providers. The enterprise is headed by CEO Ulhas Sahasrabuddhe, whose father originally started the company in the 1970s as a supplier of theatrical lighting, and his son Akshay now plays an integral role as key project manager.

As SSL services top international stars when they play in India, such as Coldplay and Ed Sheeran, Sahasrabuddhe said that it is essential to be able to offer the brands that production teams are demanding. “We studied riders extensively and this has been a factor

driving us towards Robe right from the start,” he explained.

Project manager Siddhesh Susvirkar noted that in addition to shows and music-based performance, FORTEs were popular for lighting conferences, tradeshow booths and expo

Tokyo Onken invests in K-array JAPAN

Tokyo Acoustic Communications Laboratory (Tokyo Onken) has expanded its equipment lineup with the addition of K-array’s Kayman and Python series. Working across concerts, corporate events and large-scale venues, as well as providing acoustic consulting, Tokyo Onken said that it prioritises high-quality, natural sound – especially in live performance settings.

The purchase was facilitated by Audio Brains.

The decision to invest in the K-array systems was driven by the company’s commitment to preserving the authenticity of live performances.

The president of Tokyo Onken, who is also an experienced mixing engineer for jazz artists, emphasised a desire to let performers’ natural sound take centre stage. The company noted that after testing the Python-KP102 I line array and Thunder-KS3 I/KS3P I subwoofer system, feedback from performers was highly positive, highlighting the system’s natural sound dispersion and ease of onstage monitoring.

areas. Akshay added that he is seeing FORTEs and iFORTEs increasingly on riders together with RoboSpots. www.robe.cz www.sslmediatech.com

A later trial of the Kayman-KY102 further solidified the company’s decision. Tokyo Onken noted a clear leap in sound quality and character between the Kayman and Python models, with both systems praised for their clarity, even dispersion and ability to deliver consistent sound over long distances – all while remaining visually unobtrusive.

Since acquiring the systems, Tokyo Onken has deployed the K-array setups for a variety of venues, from jazz clubs to hotel banquet halls and outdoor events. The Japanese company said that the slim design and full-range speaker configuration make the systems well-suited to settings where audio performance and visual aesthetics are both critical.

Beyond sound quality, the Kayman and Python systems have also streamlined operations.

According to the team, setup time has been drastically reduced and the improved power efficiency has eased concerns about venue power availability. www.audiobrains.com www.k-array.com

Team Tokyo Onken with their new gear

www.tokyo-onken.co.jp

14 PRO AVL ASIA January–February 2026

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NEWS: APPOINTMENTS

Isabelle Wear joins HK Audio APAC /MEA

• ALESSANDRO SAUDELLI • ASSISTANT SALES MANAGER K-ARRAY

• SOFIAN OSMAN •S OLUTIONS ENGINEER FOR SOUTHEAST ASIA

Isabelle Wear has joined HK Audio as head of sales – emerging markets, responsible for MEA, India, Australia and New Zealand. In this position, she will work closely with HK Audio’s international sales manager for the locales, David Leonhard, to strengthen existing partnerships and expand the German audio specialist’s presence in the regions.

She joins from Interfacio and brings extensive experience in international sales management and the supervision of distribution networks. “With Isabelle, we are gaining an internationally experienced personality who will significantly support our strategic goals in the region,” said Christian

Screen to lead Harman APAC sales APAC

Jordan, CSO/CMO, HK Audio.

“Her deep understanding of the market, entrepreneurial mindset and network make her the ideal addition to our team.” www.hkaudio.com

To support continued growth and regional alignment, Harman Professional Solutions has selected Nick Screen as APAC head of sales. Through the appointment, Screen’s predecessor Amar Subash has transitioned to a role in EMEA but will continue to cover sales leadership responsibilities for India.

During his 12 years at the company, Screen has held a number of leadership positions. He previously oversaw channel sales and audio solutions across APAC, where he has focused on building strong partnerships and supporting the growth of the professional audio business.

“Nick brings deep experience, strategic vision and a strong track record of results. I’m confident he

will continue to drive growth and innovation across the region,” said Jaime Albors, senior VP global sales and business development, Harman. pro.harman.com

Ampetronic | Listen Technologies enhances its team WORLD

BROADCAST SOLUTIONS

Ampetronic and Listen Technologies have announced new appointments to support their continued growth since aligning their business.

David Serpa has been elevated to VP of finance, where he will work closely with the executive team to shape financial strategy and support growth initiatives, driving forecasting, budgeting and scenario-planning.

Sam Burkinshaw has been named head of strategic business development and partnerships. He will liaise with marketing, product management, sales leadership and partners to shape go-to-market strategies and support the evolution of the full Ampetronic | Listen Technologies product portfolio.

Irene Kondos joins as global inside sales and customer success manager, responsible for driving revenue growth, enhancing customer interactions and supporting international partner engagement.

• RICHA VENKATARGHAVAN • SALES MANAGER FOR JAPAN

• JONATHAN PHILLIPS • CHIEF REVENUE OFFICER

• LUKE WESTIN • SENIOR GLOBAL PRODUCT MANAGER

• ULRICH VOIGT •D IRECTOR LIVE PRODUCTION SOLUTIONS

DISGUISE

RENKUS-HEINZ

WILLIAMS AV

RIEDEL COMMUNICATIONS

POWERSOFT

• ZLATAN GAVRAN • COO/MANAGING DIRECTOR

David Serpa

Irene Kondos “Irene’s experience, collaborative workstyle and commitment to service align perfectly with Listen Technologies’ and Ampetronic’s ‘customer-centric’ culture and passion for advancing audio accessibility,” said Martin French, VP – global sales, Ampetronic | Listen Technologies. www.ampetronic.com

Sam Burkinshaw

www.listentech.com

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NEWS: APPOINTMENTS

Diversified names Lidsky as CEO WORLD

Marking the start of a new chapter for the company, Diversified has appointed Paul Lidsky as CEO. Lidsky has served as chairman of the board since 2023 and brings more than 40 years of leadership experience across IT and technology services. In his expanded role, he will oversee Diversified’s global growth strategy, focusing on market expansion and enhanced service delivery.

“Paul is a highly respected leader with deep expertise in the technology services industry and a strong history of building great companies with a focus on the people and partnerships that drive success and serve their clients,” commented Will Fleder, partner at Tailwind Capital, Diversified’s primary investor. “We are confident that his leadership and experience will further strengthen Diversified’s position as a global leader and accelerate its continued growth.”

Lidsky commented: “I’ve had the privilege of serving as chairman and working closely with this team, and I

see extraordinary opportunity ahead.

As CEO, my focus is on building on that momentum by continuing to invest in our people, our partners and the technologies that matter most to our clients.” www.onediversified.com

d&b welcomes Dr Thilo Ittner WORLD

In a move designed to further expand the company’s market position, d&b group has appointed Dr Thilo Ittner as chief technology and operations officer (CTOO).

Ittner will oversee technology, product management, R&D and operations. His efforts will advance key fields including future loudspeaker designs, immersive audio, AI-based solutions, enhanced networking and cloud-enabled platforms as well as the continuous optimisation of d&b’s operations and product delivery.

“My focus is about shaping markets and the d&b technology and operations organisation through impactful technology, innovation and leadership,” he said.

He brings extensive executive experience in technology-driven industries, including his most recent position as MD and CTO at elobau, alongside roles at Voith and McKinsey.

“With his experience of designing integrated solutions including hardware, electronics and software and his ability to lead global teams, Thilo will further strengthen d&b’s position as a technology and thought leader in

professional audio,” remarked d&b CEO Amnon Harman. www.db.group

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NEWS: DISTRIBUTION

Q-SYS shuffles the APAC deck

G In

APAC

As part of a wider reconstruction of its distribution agreements in APAC, Q-SYS has appointed Concept Associates as its official partner for Malaysia, while Samasound will serve as the brand’s exclusive distributor in South Korea.

“Over the past six months, we’ve taken a pragmatic look at our APAC operations to ensure each market has the right structure for sustainable growth,” remarked Duncan Savage, vice president APAC, Q-SYS. “This has meant refining our distribution strategy to provide clearer focus and stronger alignment with partners who share our view of the market.”

The Malaysian deal will see Selangor-based Concept Associates adopt Q-SYS as the core platform within its portfolio, serving as the central pillar around which its full AV offering is structured. “Q-SYS is our new

Duncan Savage of Q-SYS central nervous system,” confirmed Concept Associates MD Castrit Lim. “We were actively

seeking a single solution to fill the critical gap in our line for robust video, control and integrated conferencing, and Q-SYS provides this unified solution.”

In accordance with the partnership, Concept Associates will provide comprehensive local support, spanning pre-sales design consultation and after-sales service. The company will also handle local warranty fulfilment and provide technical servicing.

In addition, the distributor will operate as a certified training partner to build a strong base of Q-SYS specialists in Malaysia.

Savage added that the appointment of Samasound for South Korea will provide customers in the region with a focused and unified distribution experience. “Their nationwide coverage enhances the support available to our customers, from technical assistance to after-sales service and training,”

said Savage. “This comprehensive approach ensures that our customers have streamlined access to the Q-SYS Full Stack AV platform that meets all their audio, video and control needs, and reflects our ongoing commitment to expanding our market presence within the APAC region.”

Samasound president Kei Nishio said: “As our relationship with Q-SYS grows stronger, we’re offering a broader range of user access to better system proposals and services than ever before. As part of this initiative, we are developing an experience facility on our premises to provide users with the opportunity to engage directly with Q-SYS solutions and better appreciate their advantages.”

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Fulcrum Acoustic launches in Japan

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JAPAN

Fulcrum Acoustic has announced the establishment of Fulcrum Acoustic Japan, which will serve as its dedicated distributor in the country. Based in Tokyo, the Japanese operation will represent the brand’s complete portfolio of loudspeakers, amplifiers, processors and immersive systems. The team will provide localised sales, technical support and training to customers throughout the region.

The partnership is said to mark an important step in the manufacturer’s growing global presence. “Fulcrum Acoustic continues to grow as a global solutions manufacturer,” L–R: Val Gilbert, Diyang Lu, Megumi Yoshida, Daiki Miyashita, Takumi Iwase and remarked Val Gilbert, director of business David Gunness development for export at Fulcrum Acoustic.

“We are excited to welcome our new team in Tokyo to the Fulcrum Acoustic family.

Their combined experience will be invaluable in developing our presence in Japan and supporting all segments of the market where Fulcrum products perform so well.”

Daiki Miyashita, managing director of Fulcrum Acoustic Japan, added: “We are honoured to bring Fulcrum Acoustic’s innovative design philosophy and highperformance systems to Japan. Our team is dedicated to helping customers achieve consistent, precise sound across every project.”

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NEWS: DISTRIBUTION

Genelec taps PIS for Indonesia INDONESIA

Genelec has announced PT Promedia Innovative Solution (PIS) as its new distribution partner for professional audio solutions in Indonesia. Operating out of West Jakarta, PIS is an established distributor and systems integrator offering audio systems and broadcast engineering services.

PIS is backed by a range of high-profile projects across television studios, radio broadcasting, audio postproduction, digital audio workstations, multipurpose rooms, houses of worship and recording studios.

The distributor manages each of its projects from initial consultancy, concept design and planning, through to installation, post-installation support and technical maintenance.

“Genelec solutions are extremely familiar for Promedia,” said PIS founder Yosua Yan Heriyanto. “We’ve utilised them in the broadcasting and studio market for a long time. Now, as a Genelec distribution partner, we will bring new energy to the Indonesian market, drawing on the many portfolio projects that already showcase Genelec loudspeakers.”

The Indonesian company noted that it will leverage its strong social media presence, which includes online professional audio education, to further support the manufacturer in the region. Alongside learning, PIS’s channels offer product reviews and events, providing a combination that has earned the distributor over 137,000 subscribers and 50 million views.

L–R: Genelec’s Steen Tychsen with Yosua Yan Heriyanto of PIS In addition, the team’s online community named Netisound provides another junction for regional professionals to connect with Genelec audio monitoring.

“This partnership strengthens our presence in the region with improved local inventory, faster delivery and dedicated technical support,” said Genelec international sales manager, Steen Tychsen. “Promedia’s

strong industry expertise and established customer network will help drive growth across key market segments. We look forward to a successful collaboration that enhances service and value for our customers in Indonesia.” www.genelec.com www.promediasolution.com

Midwich to distribute Uniview LED ANZ

Expanding its growing portfolio of LED brands, Midwich has entered into a distribution agreement with Uniview LED across the Australian and New Zealand markets. Through the partnership, Midwich will provide full local support including pre-sales design assistance, technical guidance, stock availability and after-sales service.

“We’re excited to welcome Uniview LED to the Midwich family,” said David McIntyre, Midwich APAC commercial manager. “Their product quality, competitive positioning and focus on customer-first engineering perfectly

complement our commitment to delivering the best LED solutions to the ANZ market.

This partnership reinforces our mission to support resellers with technology that is flexible, reliable and installation friendly.”

Uniview LED brings to the partnership a comprehensive catalogue including finepitch displays, rental and staging panels,

outdoor signage solutions and modular systems designed for quick deployment.

Midwich believes that the manufacturer’s global credibility and track record of successful installations adds further depth to its end-to-end LED offering. The alliance aims to provide the distributor’s channel partners with greater choice, value and

enhanced access to a complete range of indoor and outdoor LED systems tailored for commercial, entertainment, retail and corporate environments.

“Partnering with Midwich is an important milestone for us,” said Alvin Chan, Uniview’s ANZ director. “Midwich’s market reach, technical expertise and strong reseller network will accelerate our ability to support more projects and deliver standout LED experiences throughout Australia and New Zealand.” www.midwich.com.au www.univiewled.com

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NEWS: DISTRIBUTION

Christie makes changes in China CHINA

As part of an update to its distribution network across mainland China, Christie has appointed four companies as authorised distributors for its 3DLP solutions for pro AV applications. Beijing Wincomn Technical Development, Beijing Zhongqing Display Technology, Shanghai Qingying Digital Technology and Guangzhou Jianye Digital Technology will help strengthen Christie’s supply chain, broaden market

reach and make its projection solutions more accessible to customers across the region, while also enhancing localised customer service, marketing and technical support.

“The appointment of these distributors for our high brightness 3DLP solutions underscores Christie’s strong commitment to the Chinese market, a key pillar of growth in the Asia Pacific region,” said Han Kim, VP of sales, Asia Pacific, Christie. “This strategic

update strengthens our ability to serve the diverse and evolving needs of customers across multiple market segments. It also enables us to respond more quickly and effectively to opportunities in high-growth

sectors such as themed entertainment, cultural tourism and visitor attractions, which continue to show strong momentum.” www.christiedigital.com

Adamson appoints PIB Indonesia INDONESIA

Marking a significant milestone in its expansion in Southeast Asia, Adamson has appointed PT Panca Inti Ber Mitra (PIB Indonesia) as its exclusive distributor for Indonesia. Through the partnership, PIB Indonesia will represent the brand’s full range of products, enhancing availability for the region’s vibrant live sound and installation markets.

“The growing demand for Adamson products in Southeast Asia, especially following the tremendous success of Vergence Group, has made it clear that the region is ready for the next level of audio innovation,” said Lee Stevens, APAC sales director, Adamson.

“PIB Indonesia’s deep market knowledge and commitment to excellence make them the perfect partner to help us meet this demand and support our expanding user base.”

Adamson’s Lee Stevens (centre) alongside the PIB Indonesia team PIB Indonesia boasts decades of experience in professional audio distribution and integration and is highly regarded for its technical expertise

PMC joins forces with Mix Wave JAPAN

L–R: Hirokazu Saika of Mix Wave with PMC’s Dan Zimbelman

UK-based studio monitor specialist PMC has appointed Mix Wave as its exclusive distributor for Japan. The manufacturer sees the strategic partnership as a significant step in its ongoing global expansion, strengthening its commitment to one of the world’s most influential recording and music markets.

“We’re excited to begin a new chapter of growth in Japan with the appointment

of Mix Wave as our exclusive distributor,” commented PMC’s senior export business development manager, Dan Zimbelman. “Mix Wave has developed into an exceptional organisation with a dedicated team of professionals who are deeply rooted in the pro audio industry, supporting the recording, postproduction, broadcast and MI markets alike. We see tremendous potential for our products in all areas of pro audio in Japan.

Mix Wave not only brings outstanding sales expertise to the table but also delivers unmatched service and support – from private studios to the most prestigious recording facilities.”

Added Mix Wave president Hirokazu Saika: “We are very pleased that our company has been appointed to handle PMC. I first imported some of their speakers to Japan 30 years ago, and I still remember my interactions with company founders Peter Thomas and Adrian Loader at that time, so I’m delighted to be working with them again.

PMC’s role as a leading supplier of Dolby Atmos systems is especially significant for the Japanese market, which has long been pioneering immersive audio technology.” www.mixwave.co.jp www.pmc-speakers.com

and customer-centric service. The company’s Jakarta headquarters features modern facilities such as demo spaces, technical labs and

training environments. In addition, it plans to launch the country’s first immersive audio space, powered by Adamson’s FletcherMachine spatial audio engine.

To further support the Indonesian professional audio community, the distributor will begin rolling out Adamson Certified Training Programs throughout the country for sound engineers, technicians and system designers.

Bun Sun, director at PIB Indonesia, commented: “This partnership empowers us to offer our clients world-class audio solutions that meet the demands of today’s most ambitious productions and we’re excited to launch training initiatives and immersive technologies that will elevate technical standards across the industry.” www.adamson.ai www.pancaintibermitra.co.id

Shure partners with Dicker Data AUSTRALIA

Shure has joined forces with Dicker Data, an Australian-owned and operated distributor of IT products. Through the deal, Dicker Data will distribute the manufacturer’s range of conferencing and collaboration products across Australia and New Zealand.

The agreement doesn’t affect the brand’s ongoing alliance with Jands, which distributes Shure’s solutions in Australia and similarly for NSL, a distributor for Shure’s solutions in New Zealand.

Eric Ong, sales director Southeast Asia and Pacific at Shure, believes the agreement will broaden access to the manufacturer’s audio solutions and services, allowing the brand to reach more customers looking to improve their communication tools in collaboration spaces. “We are committed to delivering exceptional value and transformative experiences through our audio technology,” said Ong. The alliance marks an expansion of Dicker Data’s professional AV division. “The success of our pro AV division has been built largely around video and collaboration products;

however, we are seeing increased demand for professional audio solutions, particularly high-grade microphones, which deliver more accurate audio,” explained Vlad Mitnovetski, executive director and chief operating officer of Dicker Data. “Furthermore, we are seeing

the convergence of the professional audio ecosystem with our technology ecosystem, with partners becoming increasingly involved in supplying, deploying and managing professional audio solutions for businesses and production houses alike.”

The key products being distributed include Shure’s IntelliMix Room Kits for Microsoft Teams Rooms and the MXA902 + ANIUSB-MATRIX Audio Conferencing Kit. “We’re excited to offer our ANZ customers an expanded product range through our partnership with Dicker Data,” said Jayme Quah, senior sales manager at Shure. www.dickerdata.com.au www.shure.com

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NEWS: POWERING DOWN

Finding fulfilment

Rachael Hamilton

Rachael Hamilton talks to Bea Meikle about how volunteering at her local dog shelter brings balance alongside her work leading Rise AV Tell me about your role at Rise AV

“#FromCageToCouch”, encouraging adopters to share updates.

We’re also rebuilding the website to reach adopters across Europe, as there simply aren’t enough within Portugal.

I’m the managing director of Rise AV, a not-for-profit supporting women in AV, events and production. We run mentoring and leadership programmes to help women progress, giving them the confidence, tools and opportunities they need to grow and thrive, while encouraging more inclusive working environments.

What have been the most memorable moments?

How did you first get involved with the organisation?

In 2020, I was in a senior AV role and appeared successful from the outside. However, I eventually burned out which forced me to reassess everything and eventually leave my job. Only then did I realise how much I had sacrificed – my health, my relationships and myself. My husband and I moved to Portugal to find balance and step away from the pace I had normalised.

When the opportunity came to launch Rise AV, I took it. I wanted other women to have support I never had and to know they didn’t need to struggle alone.

What drew you to volunteering?

We brought our French Bulldog, Misty, with us to Portugal. We quickly realised the reality for dogs in Portugal is heartbreaking: shelters are overflowing and many are chained, neglected or used for hunting. Wanting a companion for Misty, we visited our local shelter, Java.

When Misty passed away, it devastated me. She wasn’t “just a dog”; she was my anchor. Her loss reminded me what matters – presence, love and connection. My husband suggested I volunteer at Java. I had always wanted to but had been “too busy”. I’m glad I eventually found the time – giving love where it’s desperately needed has been healing.

How is Java run?

The shelter is bursting at the seams, housing over 200 dogs, and is severely understaffed, with only a few part-time workers. Volunteers

are its backbone: they clean kennels, refresh food and water, dry soaked dogs, walk them and offer human contact many have never known.

Portugal has almost no vetting process for volunteers due to limited resources, which brings flexibility but also risk. A new advisory board is helping introduce structure. After years of waiting, Java finally received a council grant to build an outdoor play area so dogs can run free rather than remain behind bars. Progress is slow, but it’s a step forward.

What does your work at the shelter involve?

I visit a few mornings a week. Many dogs have never felt safe human touch and simply sitting with them or walking them feels profoundly important. Wanting to contribute more, I offered marketing support outside volunteer hours.

Previously, Java had no marketing support. I began building a more emotional, storytelling-led approach for social media campaigns, sharing each dog’s personality and background. When we analysed the shelter population, we saw seniors were the largest group, so we created the “Adopt a Senior” campaign, helping long-overlooked dogs find homes.

We’ve run name-giving campaigns for new arrivals, highlighted volunteers as “Shelter Superstars” and are launching

One story stays with me. After heavy rain, I entered an unused kennel to clean it and found two elderly dogs cuddled up and shivering. Their names were Zezé and Sky. They’d been found together 13 years earlier and had lived at Java ever since. They were so bonded they needed to be adopted as a pair, which put many people off.

As part of the Senior campaign, I shared their story. It reached far beyond our usual audience and a couple who had never heard of Java adopted them both at age 14. Staff told me it was one of the happiest days the shelter had ever had. After more than a decade, they finally went home.

Why is it important to have an outlet outside work?

It reminds me my value isn’t defined by a job title. It gives me space to reconnect with who I am when nothing is demanded of me and anchors me when work feels overwhelming. Rise AV gives me purpose and the sense that we’re meaningfully supporting women in the industry I grew up in. The shelter brings me back to empathy and presence. Together, they balance ambition with humanity.

What’s next for you?

Personally, I’m embracing quieter moments – winter nights, fires, soups and jigsaws with my husband. We’ve got our puppy Terrorist Taco to look after plus we recently adopted Margs, a 10-year-old dog found cowering by the roadside. Although they’ll never replace Misty, they have brought joy back into our home.

Professionally, Rise AV has had an incredible first year. Our mentoring and leadership programmes were so successful that we’re expanding to APAC, starting with Singapore and Hong Kong.

Applications are open now.

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Brompton sets the stage for StudioCube Daejeon SOUTH KOREA

Brompton Technology processing is powering Studio V, a newly opened virtual production (VP) stage inside major South Korean public broadcasting content production studio, StudioCube Daejeon.

StudioCube Daejeon was launched in 2017 by the Ministry of Culture, Sports and Tourism (MCST) and the Korea Creative Content Agency (KOCCA) to support the competitiveness and development of the region’s broadcasting and video content industry. It has been used as a filming location for numerous high-profile productions that have received global acclaim, such as Squid Game, Kingdom and Sweet Home.

Studio V has been designed to enable creators to achieve photorealistic environments while maintaining the flexibility and cost-effectiveness that modern productions demand. The new stage was officially inaugurated during a grand opening ceremony hosted by KOCCA and attended by senior representatives from the MCST and the deputy mayor of Daejeon.

The stage features LG LED products optimised for VP environments with a pixel pitch of 2.6–3.9mm. This large volume comprises a main screen measuring

60m x 8m (WxH), including a 36.5m curved section and a 23.5m flat section, two movable screens each measuring 5m x 5m, and a large ceiling LED measuring 15m x 21m.

At the heart of the system is Brompton’s Tessera processing, with 19 Tessera SX40 4K LED processors and 38 Tessera XD 10G data distribution units controlling the large LED space, totalling 94.7 million pixels in various screen configurations.

“Studio V represents a major step forward in Korea’s mission to advance global content creation,” said acting president of KOCCA, HyunSuk Yoo. “By integrating Brompton’s industry-leading LED processing with our expanded production infrastructure, we are enabling creators to work at the highest international standard.

This facility will play an essential role in elevating the scale and impact of K-content worldwide.”

Sebastian Kanabar, head of sales – APAC at Brompton Technology, commented: “Working with KOCCA and the systems integration team on Studio V at StudioCube has been an exceptional experience. This installation demonstrates how our Tessera platform can scale to meet the most demanding virtual

production requirements while maintaining the image quality and reliability that cinematographers expect. We’re proud to support KOCCA’s vision of establishing South Korea as the global leader in nextgeneration content production and we

look forward to seeing the remarkable productions that will emerge from this world-class facility.” www.bromptontech.com www.lg.com/global/business/commercial-display

Three-dimensional audio fills Cubic Bangkok THAILAND

Since opening for business in late 2023, Emsphere seemingly has it all.

Between the gourmet market in the lower levels to the prominent EM Live and Tribe venues on the rooftop, leading retailers have made it their home. Adding diversity to this rich mix on level four, Cubic is marketing itself as Bangkok’s best and only social and high-performance club.

The installed Martin Audio loudspeaker system demonstrates why Cubic is no ordinary gymnasium.

“At Cubic, we evolve limits, break boundaries and build a fitness community that thrives on sweat, results and fun,” explained Cubic managing director Omaar Makia, adding that the Emsphere site is the third addition to the Cubic network in Bangkok. “The concept of Cubic breaks away from that of a normal gym where individuals train by themselves. Here, we host activities with others or with a personal trainer. We want our members to spend more time here, by socialising, working, recovering, taking in nutrition and having physiotherapy.”

From the entrance to the training rooms where groups practise Pilates, participate in cycling classes or simply relax in the Two Thunder Café, audio is a central theme. Suitably impressed by a demonstration provided by Hamilton Thai consultant Ryan Oldcorn, Cubic’s management requested a high-powered Martin Audio speaker system to provide the right ambience. “Specifying the correct

A Pioneer XDJ-RR Rekordbox DJ booth and Martin Audio Blackline speakers are the focal point of Two Thunder Café audio system is vital as it sets the vibe for our members,” continued Makia. “Together with the LED lighting, audio is a crucial aspect of the entire experience and helps to differentiate it. The high-power handling capabilities, even dispersion, intelligibility and full-range definition characteristics were extremely impressive.”

A Pioneer XDJ-RR Rekordbox DJ booth is the focal point of the social area beyond the reception. Here, Cubic’s scene is set with a retro speaker backdrop surround enveloping two white-finished Martin Audio SX15 Blackline speaker enclosures. An X18 Blackline single 18-inch subwoofer located under the DJ booth enhances

Cubic’s social credentials onto a par with the sky beach club, Tribe.

Providing members with ample SPLs, the fitness zones beyond the social area are equipped with Martin Audio CDD8, CDD12 and Adorn speakers. DSP presets stored in the Symetrix Composer software were programmed by supplier Fuzion Far East, with applications engineer Ben Walters assisting in the design and execution of the project. “We design and install many fitness centres here in Thailand,” he commented. “Although Cubic is highly unique, the reflective acoustic surfaces such as mirrors, glass and hard floors are as difficult to tame as a gymnasium.

We managed to cure this by ensuring the speakers are focusing their energies on the workout areas away from the hard surfaces.”

A further challenge was encountered when the instructors wearing Shure SVX4 wireless systems experienced feedback from the Martin Audio speakers. “This was solved by adding a smaller, but separate Martin Audio Adorn loudspeaker system, as the PTs receive their audio signal from a different source,” explained Walters.

“Now, the Shure SVX4 wireless system works perfectly without interference or feedback.” www.cubicsocialclub.com www.fuzion.co.th www.martin-audio.com www.shure.com

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L-Acoustics hits the high notes at Biwako Hall

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The Shiga Prefectural Art Theatre’s 804-seat Middle Hall has been transformed into an opera-ready venue with the installation of an L-Acoustics Kara II system. Long used for traditional kabuki, kyogen and theatrical plays, the hall was originally optimised for dialogue clarity and required an audio upgrade to support an expanded programme that now includes opera and vocal ensemble performances.

Known locally as Biwako Hall, the theatre also includes a Large Hall and Small Hall. When the Middle Hall broadened its

programming, it became clear that its short reverberation time and theatre-focused acoustics were not suited to musical forms requiring greater spatial depth.

L-Acoustics provider Bestec Audio designed a system tailored to the hall’s needs, with installation by Yamaha Sound Systems. The goal was to significantly enhance musical performance capability while retaining operational flexibility. The venue’s positive experience with L-Acoustics Kara mobile speakers helped guide the decision towards a permanent system.

Previously, the hall relied on point-source speakers that limited how technicians could optimise sound. “We could only make decisions from the centre of the audience area,” noted Masahito Oshitani, head of stage technology at Biwako Hall. “Switching to line arrays has dramatically improved directionality and distribution. Now operators can create appropriate sound from any position.” With improved coverage control, the team gained a significant feedback margin using only reference tuning, reducing operator workload and allowing audiences to focus on the performance.

The new proscenium L-C-R system features seven Kara IIi enclosures per hang, covering the main floor and balcony. Side arrays of 10 Kara IIi per side, each topped with an SB18 IIi subwoofer, extend coverage across the auditorium. A pair of X15 HiQ enclosures provide in fill.

Two additional X15 HiQ speakers have been flown over the centre of the hall as overheads, paired with an SB18 subwoofer for added low-end definition. Twelve X8 speakers have been positioned across three catwalk trusses, with another 12 mounted on the side walls to deliver consistent surround coverage.

A foldback system of X8 and X12 monitors supports onstage monitoring needs for performers, and two X15 HiQ units on SB18 subs form a mobile system. Power is supplied by 14 LA12X, 16 LA4X and two LA2Xi amplified controllers.

“The quality of the entire production has improved,” remarked Oshitani. “Audiences tell us the performances are excellent.

Kara II delivers consistent sound and SPL throughout the venue. No matter where you sit, the sound is natural and comfortable, with a wide frequency range that remains balanced even at low volumes.” www.bestecaudio.com www.biwako-hall.or.jp www.l-acoustics.com

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Yamaha raises the bar for Hard Rock Café MALAYSIA

AV consultant SKH Sound & Light has delivered a comprehensive Yamaha background music (BGM) and AV system for the new Hard Rock Café Genting Highlands – the highest Hard Rock Café in Southeast Asia. Perched nearly 6,000m above sea level on Level 50 of the 1001 Nights Hotel Genting Highlands & Wyndham ION Majestic Hotel, the venue covers approximately 780m2 and accommodates more than 200 seated guests or up to 450 standing.

To create a consistent and immersive audio environment, SKH designed a 12-zone BGM system covering all key guest and operational areas, including dining spaces, bar and retail sections, poolside zones and changing facilities. The Yamaha installation features 28 VXC8W ceiling speakers, 13 VXC8SW subwoofers and two NS-IC800 speakers, plus an MTX5-D processor supported by EXi8 and EXo8 expansion units and powered by seven XMV8280 amplifiers.

For live performance and event needs, the system is supplemented with a Yamaha TF1 digital mixer, a Dante-enabled TIO1608-D2 I/O rack and four DXR12MKII powered speakers for monitoring and additional reinforcement. The venue’s existing RCF HDL 10-A line array and HDL 36-AS subwoofers were retained as the main FOH

system and integrated into the updated Yamaha control architecture. Control of all audio zones is centralised via an iPad using Yamaha’s ProVisionaire software, allowing staff to manage levels, sources and presets.

According to SKH’s technical director, Soon Siong Wee, Yamaha was selected after discussions with Hard Rock Café management, meeting the brand’s technical guidelines while offering the reliability and flexibility required for a complex, multiarea venue.

A key design focus was achieving even SPL distribution within the architectural constraints of the venue’s ceiling layout.

SKH employed simulation tools to plan loudspeaker placement, optimising coverage without impacting the venue’s aesthetic. The MTX5-D’s routing and zoning capabilities provided the necessary control to fine-tune the system for each area.

Complementing the audio system is a fully integrated lighting and visual setup.

Lighting comprises AVTEC fixtures – 12 LED Parcans and six moving heads – operated via an Avolites console, alongside four Layu RGB lasers controlled by a Pangolin system.

Video content is delivered through an AVTEC P3 outdoor LED display measuring 5.76m x 3.36m, driven by an AVTEC MTX1818 video matrix switcher for distribution across multiple screens. All AV systems are unified via an ATEN VK-2100A controller to streamline operation.

Since installation, feedback has been positive with Hard Rock Café vibe manager Hafidz Ramly noting that the system is straightforward to operate, thanks to the iPad-based interface. www.cafe.hardrock.com/genting-highlands www.facebook.com/skhsoundlight my.yamaha.com/en/business/audio

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Fuzion Far East transforms MUIC auditorium THAILAND

The auditorium at leading Thai music education institute, Mahidol University’s College of Music (MUIC), has undergone an AV overhaul ahead of its end-ofyear graduation ceremonies. The upgrade, designed and delivered by Bangkok-based distributor Fuzion Far East (FFE), marks a significant step in modernising the school’s performance and teaching infrastructure.

For more than three decades, MUIC has set the benchmark for music education in Southeast Asia.

Its campus to the west of Bangkok houses a recital hall, two amphitheatres, eight ensemble rooms, 120 practice rooms, 80 teaching studios and 20 lecture spaces. The 353-seat auditorium had become a priority for renewal as the school sought a system capable of supporting concerts, lectures, conferences and streaming.

FFE was invited by MUIC to demonstrate the NEXO GEO M620 compact line array system. After securing the contract, FFE assigned sales representative and project manager Teerawut Mudwang to lead systems design and installation, supported by technicians Chaiyanut Chunnawong and David Abrahumsen.

L–R: Fuzion Far East’s Teeranut Mudwang, David Abrahumsen, Manatchaya Vanno and Chaiyanut Chunnawong return to MUIC’s auditorium Initial works involved routing network data and electrical cabling through a restricted height void in the false ceiling. Simulations in NEXO’s NS-1 software led to a main system configuration of three GEO M620 cabinets per side, flown from integrated rigging points above the stage. Single LS600 15-inch subwoofers mounted to the rear wall behind each array extend low-frequency response to 40Hz. Two NEXO ID24 cabinets installed along the stage lip provide front fill coverage. The system is powered by NEXO NXAMP4X1MK2 and Work Pro Zenith 1000 amplification.

“The pre-existing acoustics are easy to control and we are only losing around 3dB from the stage lip to the rear wall,” commented Abrahumsen.

“The compact nature of the NEXO enclosures also satisfied the interior designer.” Weighing under 10kg with a frequency response of 80Hz–19kHz (±3dB), the M620 can produce a nominal peak SPL of 127dB. Stage monitoring is handled by a pair of Quest QSA200i speakers, with a Shure SLX-D wireless system boosted by JTS directional antennas.

A DiGiCo S21 console also supplied

by FFE gives MUIC operators up to 32 microphone inputs from the stage’s

X-D rack. The control surface not only mixes small concerts and speeches, but the signal can be transmitted over MUIC’s network.

MUIC further contracted FFE to upgrade its entire AV and control system. A Symetrix Radius NX 12x8 DSP now interfaces with the loudspeaker system over Dante. “We inserted timeframes for the main, front fill and subwoofer outputs in addition to applied EQ settings on each channel,” explained Mudwang.

“Individual NEXO presets are programmed and stored within the Symetrix Composer software.”

A visual infrastructure upgrade includes the installation of wall panels to control inputs on either side of the stage. The pre-existing L-R projection screens, together with a new 300-inch central display,

Three per side NEXO GEOM620 cabinets provide ample power can receive seven inputs in-sync or separately. A CMX44CS 4x4 4K HDMI matrix anchors a Bluestream-based distribution ecosystem incorporating HDBaseT transmission, PoE and HDMI audio return pathways for multiroom operation. Control is handled via an RTI 5-inch touchpanel linked to an XP-6s processor.

Meanwhile, lighting upgrades from P+S Solutions include an MA Lighting onPC Command Wing for LED and moving light control. www.fuzion.co.th

The acoustics of the wide, pillarless auditorium assisted the audio design

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Grass Valley delivers a first for China CHINA

Powersoft takes Maison Bâtard from day to night

Ushering in a new era of live production, Grass Valley has announced that it has delivered a native-IP UHD outside broadcast (OB) system. In partnership with Beijing Sailing Hightop Technology Development, the Canadian manufacturer has provided Guangdong Radio and Television (GRT) with a 4K Ultra-HighDefinition (UHD) OB truck.

The milestone was inaugurated with a handover ceremony attended by senior executives from GRT, Sailing Hightop and Grass Valley. GRT said that the new OB unit

LDX 135/150 cameras and the K-Frame CXP switcher, the system supports 4K and 8K live production with HDR and WCG capabilities, while its distributed workflow enables real-time remote collaboration and future cloud deployment via GV Orbit SDN and AMPP. It has been designed to maximise space and energy efficiency and enable multiplatform content delivery through native landscape and portrait conversion.

According to Grass Valley, the project signifies its commitment to innovation and close collaboration with partners across

will enhance the broadcaster’s ability to produce and transmit large-scale sports and entertainment events in 4K UHD, providing strong technical support for upcoming events.

The new OB truck is reportedly the first native-IP UHD system in China, representing a transformative shift away from traditional baseband infrastructure. The adoption of a fully IP-based architecture aims to enhance flexibility, scalability and efficiency for live production. Equipped with Grass Valley’s

the Asia Pacific region. “This project is a powerful example of what’s possible when innovation, collaboration and vision come together,” said Alain Wang, sales director for China, Grass Valley. “We’re proud to support Guangdong Radio and Television and Sailing Hightop in delivering China’s first native-IP UHD OB truck, a future-ready solution that sets the standard for 4K and 8K live production in the region.”

AUSTRALIA

Powersoft Unica amplifiers are elevating the audio experience at Melbourne hotspot Maison Bâtard. The four-level venue boasts an unusual concept featuring a high-energy basement entertainment space, Le Club, juxtaposing the more laid-back restaurant and rooftop terrace upstairs.

Lucas Restaurants and long-time audio partner Zelo Group embarked on elevating Maison Bâtard beyond the typical restaurant. In terms of sound, Le Club demanded full-scale nightclub capability, while the restaurant and rooftop terrace required discreet but equally refined audio coverage.

To meet those ambitions, the team sought an amplification system capable of delivering clubgrade punch as well as crystal-clear ambience.

“Unica represents a genuine step forward in amplifier technology,” noted Ben Clarke of distributor PAVT, who worked closely with Zelo on the design. “Its power-sharing architecture means a single standardised model can serve the entire venue. All available wattage is dynamically distributed where it’s needed, so you avoid racks of different amp types, and you gain flexibility that operators really appreciate.”

Reliability and serviceability were also critical considerations for the site. The team can leverage Unica’s redundant cooling and frontpanel foam filters for simplified cleaning, while its PoE-powered front end allows commissioning and remote diagnostics even before mains power is applied. Powersoft’s “easy swap” approach to DSP modules has added further peace of mind, enabling quick onsite replacement by nontechnical staff.

Throughout the building, Powersoft amplification drives an EAW loudspeaker system, from the MKC series in the dining spaces to the more powerful MKD rig in Le Club. Each channel of Unica is individually addressable, giving management control over individual areas of the restaurant.

“If the restaurant wants a table-specific volume adjustment, it’s just a matter of a few taps,” added Clarke. “That level of granularity, without excessive rack space or energy use, is a real advantage.”

www.grassvalley.com

www.powersoft.com

Christie immerses in Gyeongju SOUTH KOREA

Christie’s M 4K25 RGB pure laser projectors have been installed at a new immersive media art exhibition, Flashback: Gyerim. Operated by Flashbackground and developed in collaboration with Dexter Studios and the Cultural Heritage Technology Research Institute (TRIC), the project brings together cultural heritage themes with projection technology across a large, multizone experience. Dexter Studios, known for its VFX work on Parasite, Victory and Parasite: The Grey, led the content production and technology integration.

Located within the Bomun Tourist Complex in Gyeongju, Flashback: Gyerim covers approximately 5,600m2 and is described as the country’s first immersive historical storytelling media art museum. The show is structured as a walk-through narrative across 13 zones based on myths and folklore of Silla. Opened alongside the APEC 2025 Summit, it reinterprets more than a millennium of Silla history using VFX,

projection mapping, sound design and digitalheritage displays.

A central feature is Zone 8, Sky Pillar, where 12 M 4K25 RGB projectors are installed

overhead to project large-scale visuals onto the surrounding walls and a prominent treelike structure. Seasonal lighting transitions, paired with a rhythmic soundscape, aim to

immerse visitors in an interpretation of Silla’s ritual and mythological traditions.

Flashbackground noted that the project objective was to create an exhibition that doesn’t just tell history but lets visitors walk through it. According to the team, the Christie M 4K25 RGB projectors provided the brightness, colour performance and reliability they needed to bring the Sky Pillar to life, resulting in a hyper-immersive experience where light, sound and myth converged into a narrative form.

Han Kim, vice president of sales Asia Pacific at Christie, commented: “Flashback: Gyerim demonstrates the extraordinary impact that projection technology can have when combined with visionary storytelling. We’re honoured that our projectors were chosen for this landmark project, and we applaud Dexter Studios and TRIC for redefining what immersive media art can be.” www.christiedigital.com

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FU Bar redefines sounddriven hospitality with d&b MALAYSIA

FU Bar in Kuala Lumpur was conceived as a space where premium sound meets private luxury, with a d&b audiotechnik system forming the core of its audio-driven hospitality ethos.

Perched on the 13th floor of TSLAW Tower in Bukit Bintang, the venue sits beside Fu Pot, a Chinese-style hotpot restaurant created by the same team and similarly designed around highquality sound to elevate the dining experience.

Both venues were launched by friends Rodney Ther, Raymond Ng, Iven Chua, Wilson Leong and Henry Lean. Their first project, Fu Pot, opened in 2022 with a vision to distinguish itself through refined Hong Kongstyle hotpot dining paired with a sense of luxury and exclusivity. The concept took off quickly and within three years, Fu Pot became one of Malaysia’s most celebrated hotpot destinations, earning the Black Pearl Dish Award – China’s equivalent to the Michelin Guide – for its signature Crab King Pot. “We wanted a place where people could connect – not just over soup, but over stories, music and shared moments,” said co-founder Ther.

That philosophy paved the way for FU Bar. With skyline views, private rooms and a curated d&b soundscape, the venue is designed for intimate dining and relaxed conversations yet can shift into a dynamic acoustic space when DJs or live acts perform.

Sound sits at the heart of the concept, but the venue’s compact room posed the challenge of delivering high-fidelity audio without overpowering the atmosphere. The team turned to the d&b xS-Series for its clarity, coverage and discreet profile.

The system was supplied by d&b’s Malaysian sales partner, AV United, which supported Eight Two Audio Consulting in designing and installing the setup. FU Bar’s audio identity centres on flexibility – clear, detailed sound at conversational levels, with the ability to scale up for DJ sets and live acoustic performances. Even, immersive coverage across the venue and a visually unobtrusive footprint were equally important.

The final system features 8S units as mains for consistent coverage, E15X subs hidden beneath the stage for tight, impactful bass and 5S units as side fills to ensure every guest – from the bar to the corner booths – feels connected to the music.

With this installation, FU Bar has carved out its own identity alongside Fu Pot. “We didn’t want speakers that shout. We wanted sound that speaks – to the vibe, to the people, to the moment,” Ther concluded. www.av-united.com www.dbaudio.com www.eighttwoaudio.com.my

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Sonos Libra debuts Adamson’s CS-Series THAILAND

Thai rapper and singer Youngohm recently debuted his new album Fai Glang Khuen with a listening party that marked Thailand’s first full Adamson CS-Series line array deployment. Provided by local distributor Sonos Libra, the sonic setup was complemented by DirectOut’s Maven.A platform alongside microphones from Earthworks Audio.

Youngohm’s listening party was split across two zones – indoor and outdoor – with separate solutions deployed for each. Serving as the main listening area for the album showcase and opening jazz set, the outdoor zone benefitted from a CS7 and CS118 line array system, complemented by groundstacked CS119 subwoofers for extended low-

frequency energy as well as MG10 monitors to support the live jazz performance.

The indoor zone played host to a DJ afterparty and featured a sound system designed to offer an energetic club-like atmosphere with precise low-frequency response tailored for DJ performances. Sonos Libra outfitted the space with CS10p point source loudspeakers, complemented in the lower frequencies by CS118 and CS119 subwoofers.

All audio processing and control were managed via the Allen & Heath dLive DM48 mix rack and C1500 Surface, while an iPad provided flexible control throughout the event.

According to Sonos Libra, a highlight was the full playback of Fai Glang Khuen, which relied on DirectOut’s Maven.A platform to deliver

studio-grade audio fidelity and enhanced redundancy for uninterrupted performance.

Furthermore, the drums in the live jazz band leveraged an Earthworks Audio DK7 Gen 2 microphone kit to provide natural transients and clarity for each song.

Sonos Libra sound engineer Pakphoom Sununtha commented on the project: “This was my first time flying the CS Series line

array. I had never learned the full rigging process before, yet I was able to set it up without difficulty. On top of that, Adamson’s ArrayIntelligence software is truly impressive; it gives us a tremendous amount of flexibility to optimise the system.” www.adamson.ai www.sonoslibra.com

YouTube Brandcast sharpens sightlines with Topaz AUSTRALIA

Held at Sydney’s Hordern Pavilion, YouTube’s recent Brandcast 2025 annual event saw Sightline Productions deploy a main visual backdrop created from ROE Visual’s Topaz 2.6 LED panels. Marking the 20th anniversary of the brand showcase event, this year’s edition welcomed more than 700 guests from across the media and advertising sectors.

Working in collaboration with Sense Events, Evolved Group and YouTube’s inhouse creative team, Sightline Productions transformed the venue with a stage design centred around a large LED canvas built from the Topaz 2.6 system. According to the company, the panels were chosen for their fine pixel pitch, colour accuracy and

brightness, while also supporting a fast build time for the production team.

“Clients’ expectations are increasing all the time. The feedback we have received from recent projects has been incredible,” said Joe Murray, founding director of Sightline Productions.

“We’re able to provide efficient solutions without compromising on high-quality visuals, which is a win-win.”

Sightline has incorporated Topaz into a growing range of corporate shows, livestreamed events and staged environments. The reliability of the platform was noted as a factor in delivering smooth content transitions and maintaining consistency across the screen surface. www.roevisual.com

Vega Global delivers 5-star AV MALAYSIA

Marking a notable project for the company and shifting away from its typical work in the corporate sector, Vega

Malaysia has delivered its first hotel AV installation at the Park Royal Penang Resort in Batu Ferringhi. The contract included

the installation of an AVoIP solution for the resort’s Andaman Grand Ballroom, transforming it into a flexible event space for hosting everything from corporate conferences to gala dinners.

Vega Global noted that the installation took three months to complete.

Accommodating up to 300 guests, the newly redesigned Andaman Grand Ballroom places an emphasis on visual aesthetics and has been finished in earthy tones to create a peaceful ambience for celebrations and events. The ground-floor ballroom covers a total area of 345m2 and, following entry from the dedicated prefunction area, it can accommodate up to 250 guests in banquet mode.

A Fohhn Audio setup serves as the main PA system for live events in the ballroom and comprises DL1230 column speakers alongside AS40 subwoofers, installed either side of an LED screen on the stage area. The cabinets were programmed and configured by Ideal Systems’ head of pro audio, David Seow, using the Fohhn Audio Soft simulation software. The room’s sonic

setup is complemented by a programmable smart lighting system, ceiling-mounted projector and LCD projector, plus a centralised Extron ICCP 250 control solution for enhanced operation capabilities. Notably, the ballroom’s Absen LED wall is reported to be the largest of its kind in Batu Ferringhi.

Alongside the ballroom upgrade, Vega Global’s work encompasses four meeting rooms and two multipurpose spaces as well as the Andaman Grand Ballroom’s pre-function area. Additional systems which were also installed include Bose DM6C 6-inch ceiling speakers for BGM, Shure SLXD wireless mics with UA844 antennas, Netgear AV GSM4352PA network switches plus a Samsung 98-inch display.

Vega has aimed to provide the Park Royal Penang Resort with a solution designed to be future-ready and enhance flexibility, scalability and operational efficiency, with the aim of enabling the venue to deliver immersive and premium event experiences. www.fohhn.com www.vega-global.com

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Back on stage.

More than ever.

Nettuno L28 marks the Montarbo’s return to the stage with a system engineered for today’s production demands. Its newly designed compact form factor, delivers remarkable output in a versatile and modular architecture that adapts seamlessly to touring environments and fixed installations alike. Offering the flexibility, coherence, and modern performance required by professionals who need a reliable line-array solution that scales effortlessly from small venues to full live events. montarbo.com

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Visit Us at ISE 2026 3 - 6 FEB 2026 BARCELONA montarbo.com Hall 7 Booth 7H640

11/12/2025 15:13:56 22/12/2025 16:17

NEWS: PROJECTS

WSDG enhances AV production for Chinese tech giant CHINA

WSDG has delivered a flagship production facility for tech giant Alibaba’s Hujing Digital Media & Entertainment Group Studios’ Beijing HQ. The firm was elected as the design partner for the project, entrusted with providing a complete recording studio design and systems package, including master planning, acoustic design, technical interior design and AV systems design.

As the creative engine behind Alibaba’s cultural and entertainment offerings, Hujing Digital Media & Entertainment Group Studios, which includes YOUKU and Damai Entertainment Group, required a production facility capable of supporting its diverse content creation demands for both users and industry partners. The aim was to create a facility with top-tier infrastructure that could match the scale and ambition of its operations.

The expansive Beijing complex features four specialised control rooms, a large live room and multiple isolation booths, offering significant capabilities for the audio, video and gaming content development arm of the large e-commerce platform.

Beyond the technical requirements, WSDG was also tasked with defining the visual identity of the facility, while giving

Creative Control of Every Spatial Detail

Unlike other systems, TiMax SoundHub gives full visibility and control over every spatial audio parameter, to deliver on any creative spatial immersion demand.

It’s time for TiMax Spatial.

timaxspatial.com

5013-TiMax AdvertCC ProAVL 135x190.indd 1

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each studio section its own unique character matched to its specific purpose.

The project was led by Silvia Molho, partner and art director, and Víctor Cañellas (Weike), China senior representative, with support from other team members. WSDG’s objective was to deliver an inspiring creative environment spread across multiple distinct production areas, each aligned with Hujing Digital Media & Entertainment Group’s varied content focuses.

recording, with a smaller performance space located directly behind it. It includes a Kali Dolby Atmos Monitor System configured for 7.1.4. Both Control Rooms A and B feature ample sightlines to the live rooms and iso booths, maintaining visual connection between engineers and talent.

The larger of the two immersive mixing rooms, Control Room C includes an Avid/CB Electronics Mix Controller and Genelec 7.1.4 Dolby Atmos Monitoring System. Control Room D, also configured as an immersive mix room,

“Each control room was designed as a unique entity with its own spatial logic, yet all maintain visual cohesion,” said Molho, who spearheaded the studios’ design development. “The curved ceilings and flowing soffits were not only aesthetic choices – their geometries were precisely shaped to enhance acoustic and visual performance.”

The facility was designed to provide a one-stop, full-chain service for film and television audio postproduction, with the aim of significantly enhancing overall work efficiency, reducing communication costs and allowing creative teams to maintain focus on the work itself.

Serving as the music production hub, Control Room A measures 65m² and features an AMS Neve Genesys Black G4 console with ATC SCM300ASL Pro and Amphion Dolby Atmos monitoring configured for 9.1.6 production.

Control Room B, which measures 30m², is designated for ADR vocal

includes a Kali 7.1.4 Atmos Monitoring System.

Alibaba’s Hujing Digital Media & Entertainment Group Studios team noted their appreciation for WSDG’s work, citing the functionality of the new space and how it serves as a platform to inspire and nurture creation.

Furthermore, the team remarked on WSDG’s professionalism, noting how the project was carried out with attention to detail and thoughtful consideration.

“Working alongside Alibaba’s Hujing Digital Media & Entertainment Group Studios visionary team was a masterclass in synchronised decision-making,” said Cañellas. “Every schematic review, equipment selection and finish choice was evaluated in real time, maintaining a perfect balance between creative, technical and commercial considerations.” www.wsdg.com

20/11/2025 09:33

22/12/2025 13:29

Dominate The Sky

From searchlight to skyower, beams to effects, it does it all!

Discover More

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22/12/2025 16:17

NEWS: PROJECTS

Mahajak checks in to Grande Centre Point Lumphini THAILAND

Grande Centre Point Lumphini has undertaken a significant upgrade of its audiovisual infrastructure, partnering with Mahajak Development to install a comprehensive AV ecosystem across its luxury property. The goal was to make each space within the hotel adaptable for a wide range of events, from corporate meetings and seminars to concerts and film screenings.

Spanning two floors and encompassing nine multifunctional venues, the AV system overhaul includes advanced sound reinforcement, high-resolution video displays and integrated control platforms.

The design aimed to prioritise scalability, flexibility and user-friendly operation, ensuring that both hotel staff and external event organisers can manage the systems with ease.

Across all spaces, a consistent emphasis has been placed on high-quality audio. JBL ceiling speakers, including Control 18C/T, 16C/T and LCT 47LP models, have been deployed throughout the 10th and 12th floors in both meeting rooms and function rooms to provide full-range sound coverage, supported by Control 19CS ceiling subwoofers for low-frequency response.

For larger events, select function rooms have been equipped with JBL SRX910LA or BRX308LA-1 line array speaker systems, capable of delivering concert-grade sound.

Wireless Shure QLXD24A/SM58-M19 microphones have been installed in each venue to provide interference-free voice transmission, while Yamaha TF5 digital

mixing consoles manage audio inputs across the various spaces.

Signal processing is handled by BSS BLU-806DA and BLU-100 digital signal

A unified AVoIP system, powered by Just Add Power, serves as the backbone of the video infrastructure, enabling content to be distributed across all spaces. This

processors, with Dante interfaces for audio networking. Power is supplied via Crown CDi 4|300 and CDi 4|3004 amplifiers.

To support conference setups, RAZR conference microphone systems – ranging from 15–50 units per room – enable organised group communication.

flexible platform supports various input sources and screen configurations, ideal for dynamic event requirements.

Large-format Samsung LED walls, featuring a P2.5mm pixel pitch, are a visual highlight in both meeting and function rooms. Sizes range from 5.76m x 3.24m

in smaller rooms to 12.48m x 5.4m in the largest function spaces. Panasonic laser projectors – PT-MZ17KLBE and PT-MZ880W models – and motorised RAZR tab-tension screens offer alternative display options for presentations and video content.

To support video conferencing, livestreaming and recording, all rooms are equipped with Avonic CM73-IP PTZ cameras, providing HD coverage from multiple angles.

To unify the user experience, a centralised control system has been deployed using the AMX NX-2200 processor. Control is facilitated via AMX Varia-SL80 wall-mounted touchscreens and Apple iPads, allowing access to presets for audio, video, lighting and environmental settings.

This dual-access system offers operational flexibility for both technical staff and event coordinators. In addition, Mahajak provides remote system monitoring and support, enabling real-time diagnostics and assistance when needed.

The AV upgrade now reflects the client’s vision for a multifunctional, future-ready event environment. Each space has been engineered to accommodate a wide range of event formats, featuring plug-and-play capability for external AV equipment. The system was also designed to deliver strong visual impact, offering clear sightlines and high-resolution displays, while maintaining intuitive, user-friendly operation for end users. www.mahajak.com

NEXO takes centre stage at NSW theatre AUSTRALIA

Situated in Australia’s Hunter region, close to the world-famous vineyards, the Performance Arts Centre Cessnock (PACC) has upgraded to a NEXO P+ sound system.

The solution was chosen to fit budget constraints and enhance sound coverage in the 450-seat live entertainment venue.

PACC is one of over 30 professionally managed and operated theatres represented by the NSW ACT Performing Arts Centres Association (NAPACA) in New South Wales and the Australian Capital Territory.

At a recent NAPACA expo, PACC venue manager Andrew Bondfield discussed a possible upgrade to the theatre’s existing FOH sound system with Chris Clarens, NSW sales manager at pro AV technology specialist Factory Sound. During this conversation, Bondfield noted his objective for the upgrade was to ensure world-class sound

for performers and audience members alike, while cautioning that the available budget was limited.

“Given this constraint, I proposed a solution using NEXO P15 point source speakers and L18 subs,” noted Clarens, who then conducted an onsite demo at the theatre featuring two P15s and two L18 subs, with amplification and processing from a single NEXO NXAMP4X2MK2 Powered TD Controller.

“Andrew and his team were particularly impressed by the coverage, especially the impact of the L18 subs, as their previous system lacked any subwoofers,” said Clarens. “However, when we ran a performance simulation using NEXO’s NS-1 system configuration software, we identified some coverage gaps in the front rows. To address this, we added four NEXO ID24s as front fills.”

Images courtesy of Jarrod Behringer

Bondfield noted that Clarens’ responsiveness and consideration, including taking the time to perform the demonstration at the theatre, was a significant factor in awarding Factory Sound the project.

He also cited his praise for the new system, saying: “The difference in clean, clear and even coverage now is night and day. I am impressed by what advances have come down the line over the last 20 years in speaker performance and

design and am surprised by how much the P15s can do in such a small box. The L18 centrally hung and four ID24s across the front of the stage has brought PACC back towards the audio capabilities that a professional stage should be – for performer, audience member and technician alike.” www.factorysound.com www.nexo-sa.com

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K-array introduces Thunder-KSCARDIO412P, the state-of-the-art cardioid sub

Thunder-KSCARDIO412P joins the Thunder family, engineered to deliver extremely powerful low-frequency output while drastically minimizing rear sound radiation. Designed for professional live sound and fixed installations, it ensures clean, focused bass that keeps back emissions to a minimum.

Discover more at ISE Barcelona. Visit K-array, booth 7G300.

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www.k-array.com

22/12/2025 16:18

NEWS: PROJECTS

One Bangkok extends its musical reach outdoors THAILAND

One Bangkok, the mixed-use development taking shape in the centre of the Thai capital, is expanding its BGM and public address capabilities as the project continues its phased rollout towards completion in 2030. The ambitious masterplan spans residential towers, premium office space, a retail hub, dining and cultural attractions, with four communal precincts centred around a 10,000m² civic plaza. Connected by a vibrant streetscape including fountains and gardens, these outdoor spaces have been designed for visual appeal and sensory cohesion, with low-level BGM enriching the ambience.

To enhance audio coverage, System Plus Corporation was commissioned to modernise the distributed loudspeaker system previously installed within lighting poles around the site.

System Plus proposed an upgrade built around Pan Acoustics P 04-Pi passive line source columns offering full-range audio benefits. The quad 3.5-inch coaxials are housed in a slim aluminium column and are designed for speech and music applications. The centralised BGM solution comprises 26 full-range Pan Acoustics columns and 28 Bose Professional DesignMax DM6SE 6.5-inch coaxial cabinets, held in place

by QuickHold U-brackets. All 54 speakers are

powered by Powersoft Mezzo 602A and 322A ⁄2-rack amplifiers and a full-rack Unica 8K8 model amplifier.

“Given the lengthy distance between the poles, Powersoft’s active damping control technology greatly compensated for incurred signal losses,” said System Plus Corporation’s managing director, Chuthintorn “Mam” Bhanyotin. “Despite cable runs extending up to 1,000m, the original Klotz AIS cabling that has been retained over this expansive area only measured 2% signal loss because of this patented technology.

Allowing the amplifiers to operate at a higher 1

efficiency, Power Factor Correction (PFC) reduces the current draw on the mains.”

Dante network connectivity has been extended outdoors by inserting five Dante AVIO analogue input adapters into the analogue line level equipment. “With an ability to route the signal directly to the amplifier, Powersoft’s Armonía Suite software played a vital role in the audio design,” continued Mam. Scene selections are set within the Scheduler according to the time of day, for manual selection within Dynamic Music Distribution (DMD). “We recommended that a Scheduler be included with the automated scene changes in addition to power on and power off functionality.”

The Powersoft DMD multi-source audio distribution solution integrates a routing matrix, a network switch and DSP within one Mezzo device. DMD groups speakers into zones, to which one or more sources can be assigned and managed. The GUI and customised system can also be programmed within the ArmoníaPlus software.

“In addition to minimising the number of points where failures could potentially occur, integrators’ workloads are simplified, as only the presets need to be input in the DMD’s software,” explained Mam. “Future expansion of the loudspeaker network will be simplified with DMD, because systems integrators can bypass hardware that normally requires terminations.

When the management wishes to stage a musical event, they can transmit the audio signal from the park to any of the zoned networked loudspeakers. With the source selected, including the DMD, the audio can be transmitted to any outputs from a touchscreen interface.” www.boseprofessional.com www.facebook.com/systempluscorp www.pan-acoustics.de www.powersoft.com

EM Acoustics and XTA amplify Chengdu CHINA

Chengdu’s new entertainment hotspot Bottle Live Club has opened featuring an EM Acoustics loudspeaker system powered

by XTA amplification and processing.

Situated in the city’s Jinjiang District, the club sought a high-calibre system to cater to its varied programme of live music from large-scale ensembles, solo artists, bands and DJs. Bottle Live Club covers a total area of more than 7,500m2, featuring a main hall spanning over 900m2 and a ceiling height of 22m. With the scale of the space posing potential challenges, the venue owner engaged local integrator ST Audio to design and supply a high-quality and robust solution for the club.

Following site inspections and consultations with the venue, ST Audio designed and installed a system centred around EM Acoustics HALO line arrays.

The setup comprises a combination of 18 HALO-A and four HALO-B units, supported by 14 S-218, four MSE 118 and four S-18 subwoofers. Additional full-range cabinets

and monitors were also deployed to achieve uniform coverage and consistent tonal balance. The system is powered by four XTA DNA100 and 10 DNA120 digital audio network amplifiers, with processing courtesy of three XTA DP448 and DP548 units each.

“Achieving a truly international-level system requires seamless cooperation

between loudspeakers, amplifiers and processors,” remarked ST Audio founder, Xian Shengtao. “Without careful integration, issues such as delay or phase misalignment could compromise quality.

Our many years of experience using EM Acoustics and XTA allowed us to fine-tune the system for optimal performance.”

According to the project team, the club’s audio system has attracted universal approval from investors, senior management, operational staff and guests, who all praised its quality and consistency.

“Since the club opened, it’s rapidly become one of the most popular nightlife destinations in China, attracting customers from across the country and overseas,” furthered Shengtao. “This success has placed heavy demands on the audio system which has consistently delivered reliable, high-energy performance – proving the strength of both the EM Acoustics and XTA products.”

XTA’s Richard Fleming commented: “ST Audio have achieved excellent results without any compromise on quality in what was a very challenging space. Deploying our amplification and processing with the sonic excellence of EM Acoustics has once again proved to be a winning combination.” www.emacoustics.co.uk www.xta.co.uk

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NEWS: PROJECTS

Piché pairs perfectly with Martin Audio THAILAND

Just as the pairing of wine with food has become a marriage of arts and science over time, one Bangkok venue owner has taken it a stage further by attempting to blend the right wine with the right musical ambience of his 24 BLVD outlet. Having left his native Napoli when he was 17, Guiseppe Cola has been on a quest to discover new places. Now settled in the Thai capital for several years, Cola continues to cross new boundaries as the co-owner of Piché.

“The nightlife here on 24 BLVD [Sukhumvit 24] was missing something, so we conceived a new wine bar concept, that has been largely inspired by our passion of music and love of wine from the tap,” Cola explained. “Wine invokes a social interaction and Piché is a high-energy environment like a club, so the concept is to pair the wine according to the energy.”

Impressed by the power and the clarity of a Martin Audio CDD6 6-inch coaxial speaker system in another Bangkok outlet, Cola requested a demonstration by systems integrator Hamilton Thai. “When I listened to the Martin Audio demonstration, it was not what I expected,” Cola recalled. “With the guidance of Hamilton Thai’s Ryan Oldcorn and his team, we managed to set the Blackline speakers and double 18-inch subwoofers in the correct positions and that is when I realised that there was no other choice for us.”

As a result, Hamilton Thai was commissioned to design, supply and install the loudspeaker system into the venue. The elongated space, featuring both a bar area serving wine on tap plus an area for live music, is now equipped with Blackline 8 speakers. These are augmented by dual SX218 subwoofers located below the DJ booth, with CDD6 cabinets serving as fills. Rather than manually configure the audio parameters, Cola prefers that his DJs and technicians manage the audio settings via the Martin Audio DX4.0 DSP presets created

by Oldcorn.

“It’s high SPL, but there is a very fine line between having a good vibe and a bad atmosphere, so we ensure that our customers can still communicate with one another,” insisted Cola. “In addition to nightly DJ sets, our two music directors curate the DJ selection, the artists, the music

and the playlists. Ranging from classic disco to tech house, music plays a very important role in this establishment.”

Full-bodied with a punch that pairs with a Barolo, Piché’s Martin Audio loudspeaker system can similarly soothe with the finesse of a Chassagne Montrachet when required. www.fuzion.co.th www.martin-audio.com www.pichewinebar.com

Martin Audio CDD8 speakers fixed to the exterior of Piché

SEAMLESS INTEGRATION

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SOFTWARE UPDATED SPEEDY SET-UP

25.04.25 11:21

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NEWS: PROJECTS

PP

Poem of Flower Rain shot with Blackmagic JAPAN

Director Jengil Park’s debut feature film, Poem of Flower Rain, has been shot using the Blackmagic Pocket Cinema Camera 6K Pro digital film camera and finished in DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio postproduction software. The DaVinci Resolve Speed Editor was also used for editing.

Poem of Flower Rain is the first feature film directed by Park, a Zainichi Korean (Korean resident in Japan) filmmaker. The story follows Harumi, a Korean university student in Japan, and her sister Reiko, who is considering marriage to her Japanese boyfriend. The film won the Audience Award at the SKIP CITY International D-Cinema Festival, known as a gateway for emerging filmmakers in Japan.

“I wanted to express the inner conflicts and uncertainties that everyone experiences, as well as the walls that can arise in communication with others, through the characters,” noted Park. “Although I had a completed script, I didn’t have enough budget to make a feature film. But when cinematographer Takahashi read the script, he said: ‘We absolutely have to make this,’ and even purchased the Pocket

that because they were both working in the same software, the workflow from grading to editing was very smooth, while the Speed Editor also made editing much easier.

“My film was screened at various festivals and I believe it may have been the lowestbudget production among them,” concluded Park. “But compared to films with much larger budgets, we were able to achieve a

Cinema Camera 6K Pro himself for the project.”

With a limited budget and schedule, the production greatly benefited from the Pocket Cinema Camera 6K Pro’s compact size and versatile features. “When the equipment is compact, you don’t need a large vehicle for transportation, and it makes shooting in small spaces much easier,” explained Park. “With limited shooting time, there

were moments on set when we couldn’t fine-tune the framing. We shot everything in 6K and finished in 4K, refining the images in postproduction. The built-in ND filters also contributed greatly to efficient shooting.”

Postproduction was completed in DaVinci Resolve Studio, with the Speed Editor assisting during editing. Takahashi graded all the footage and then shared the project data with Park who handled editing. Park noted

quality that stands on its own. As a director, that was very rewarding, and I’m grateful to Takahashi for choosing this camera for the project.” www.blackmagicdesign.com

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NEWS: PROJECTS

PP Sound Lights powers Akon’s India shows INDIA

Akon’s recent India tour drew large audiences in New Delhi and Mumbai, supported by a full technical ecosystem delivered by PP Sound Lights Productions.

The company handled all audio, lighting, LED, trussing, staging, wireless systems and backline for both shows.

PP Sound Lights Productions founder and director Prasad Parkar described the project as a demonstration of the company’s technical approach, stating: “What our team

delivered in New Delhi and Mumbai was more than technical execution. It was a demonstration of discipline, understanding and craftsmanship.”

Planning began with an assessment of show requirements and venue layouts. Both cities featured long rectangular open-air grounds, enabling the company to implement a consistent technical plan. That plan placed significant emphasis on audio coverage and system control.

The main PA system in both cities was built around Meyer Sound components. Thirteen Panther line array modules per side formed the main stereo hangs. These were supported by three Panther out fills per side to cover lateral zones, along with four Panther units at the stage lip for front fill. Low-frequency output relied on 18 Meyer Sound 1100-LFC subwoofers arranged in an end-fire gradient configuration to improve forward low-frequency projection while reducing energy onstage.

or, o e

Delay towers were necessary due to the depth of the audience areas. Each tower carried six Panther modules paired with three 2100-LFC subwoofers, designed to maintain consistent tonality throughout the venue footprint.

System management centred on three DiGiCo Quantum 338 consoles for FOH, monitors and redundancy. An Optocore fibre network handled routing and signal transport.

Onstage, vocal transmission ran through Shure Axient Digital wireless systems fitted with KSM8 capsules. Performers monitored through multiple channels of Sennheiser in-ear monitoring systems. Backline requirements were met with a complete equipment package aligned to the artist’s rider.

Visual and structural elements supported the audio system. A 3.9mm outdoor LED wall formed the central display behind the artists, supported by 2.6mm LED screens on each side and additional iMag screens placed deeper into the audience area. Trussing structures were engineered to support audio, lighting and LED loads across both venues.

Each city featured a different lighting design, with New Delhi deploying more than 100 Martin Professional fixtures, while Mumbai used a similar number of Claypaky fixtures.

Control for both shows ran through grandMA3 full-size consoles. www.ppsoundlight.co.in

UNILINE MAX

AND NOW, PLAY ON

www.apg.audio/fr/

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NEWS: PROJECTS

Reynolds and Hi-Tech break Extron modernises records with Quantum Curtin Singapore INDIA

Marking a milestone investment for the company, Reynolds Sound & Lighting Services has become the first in South India to acquire the DiGiCo Quantum 852 and Quantum 112 consoles. The new units were recently rolled out for the One World One Family concert in Karnataka which was recognised with a Guiness World Record.

One World One Family concert

SINGAPORE

The concert was part of the One World One Family World Cultural Festival 2025, which took place at Sathya Sai Grama, Muddenahalli in Karnataka. The event united 450 musicians from over 40 countries on one stage, earning a Guiness World Record for its artistic significance, scale and engineering complexity.

The concert setup featured a DiGiCo Quantum 852 to control over 220 live input channels at FOH, a Quantum 112 as the production console and a Quantum 5 to power monitors and broadcast feeds. “Watching the Quantum ecosystem power a Guiness World Record with perfect stability – mixing over 250 channels, supporting a 200-piece orchestra and uniting musicians from around the world – was one of the proudest moments in our history,” remarked Remedios. “The system didn’t just perform; it elevated the entire production. This is why Quantum exists and why Reynolds chooses it.”

As India’s live production ecosystem continues to expand, Hi-Tech is deepening its investment in technical education, training academies, certification programmes and nationwide support infrastructure.

“Reynolds’ Quantum deployment – especially during the Guiness World Record production – is a reminder of what India can achieve when talent and technology converge,” said Rajan Gupta, CEO and

L–R: Hi-Tech’s Rajan Gupta, Felix Remedios of Reynolds, Hi-Tech’s Nirdosh Aggarwal and Selwyn Remedios from Reynolds The purchase was facilitated by the brand’s exclusive distributor in the region, Hi-Tech Audio & Image, and is backed by the momentum of the region’s growing live entertainment industry. The company recognised that, as India’s productions grow more ambitious, the need for future-ready, fail-safe consoles has become essential.

“The DiGiCo Quantum 852 is built for the world’s most expressive, complex and technically demanding productions,” said Felix Remedios, managing director at Reynolds. “Introducing it to South India signals that our artists, engineers and audiences deserve global-grade sonic precision. This investment marks a defining moment in India’s journey towards international touring standards.”

founder at Hi-Tech. “Their decision to invest ahead of the curve sets a new standard for the country. Quantum technology doesn’t just enhance sound; it enables India to perform on the world stage.”

Nirdosh Aggarwal, managing partner at Hi-Tech, echoed those sentiments: “The One World One Family Guinness event was a defining reminder of what India can achieve when planning, technology and purpose align. What impressed me most was the confidence with which Indian engineers worked with the Quantum 852 and 112 – solving challenges, not creating them.” www.digico.biz www.hitechavl.com

Curtin Singapore has completed phase four of its long-term AV modernisation initiative, unveiling a fully reconfigurable three-room divisible classroom powered by Extron’s NAV Pro AV-over-IP platform. Delivered by AV-Science Marketing, the installation supports the university’s commitment to hybrid learning, space optimisation and future-ready teaching technologies.

The project transforms three adjacent classrooms into a space that can function independently, as a pair, or as one large, combined environment. At the heart of the system is Extron’s NAV Pro AV-over-IP architecture, reportedly chosen for its ability to handle complex routing demands while remaining simple for instructors to operate.

“Extron AV systems are very easy to use,” noted Bertrand Seah, general manager of AV-Science Marketing. “From an integration standpoint, their architecture allowed us to solve what could’ve been a very complex routing problem. More importantly, instructors can walk into the space, tap a few buttons and everything works. That level of functionality is exactly what institutions like Curtin need.”

Using NAV E 121 encoders and NAV SD 101 scaling decoders, the system delivers visually lossless 4K/60 4:4:4 video with ultra-low latency over the existing Ethernet network, enabling AV signals to be dynamically routed based on room configuration. The NAVigator System Manager provides centralised control, monitoring and diagnostics – an important advantage for Curtin’s IT and AV teams supporting multiple hybrid classrooms.

Control within the space is streamlined through a TLP Pro 1025T TouchLink Pro touchpanel paired with an IPCP Pro 250 xi control processor, enabling instructors to select sources, combine rooms and adjust audio with ease. Hybrid learning capabilities are enhanced through a MediaPort 200 USB bridge, PTZ cameras,

document cameras and wireless microphones.

Audio clarity is provided via an Extron DMP 128 Plus C AT DSP with AEC and Dante networking, powered by XPA U 1004 amplifiers and distributed through SF 26CT ceiling speakers. When rooms are merged, the system automatically adjusts routing logic, eliminating the need for technical intervention.

“The ability to reconfigure the space instantly without compromising audio or video quality is a game-changer,” Seah added. “NAV gave us the flexibility and control we needed, all on a single network.”

Since installation, Curtin Singapore has reported strong results. “AV-Science Marketing and Extron have really improved our AV experience in our new campus,” commented the university’s regional IT manager, Clarence Goh. “We can now turn three rooms into one large room in seconds and still get clear video and sound. The installation went smoothly and finished in three months with almost no class disruptions. Extron’s equipment works together seamlessly and the easy touch controls let our teachers focus on teaching, not tech. This has boosted our hybrid classes and set us up for future technologies.” www.extron.com

www.reynoldonline.com

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An unparalleled pair.

Hear what happens when our most powerful, lightweight line array with a controlled cardioid polar pattern is paired with the subwoofer that sets the standard for the best lows in the business.

You’ll have to hear it to believe it. meyersound.com/perfectpair

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NEWS: PROJECTS

DAS powers Hangzhou’s More Than a Music Festival

A

Hangzhou’s annual More Than a Music Festival recently took place at Baima Lake, welcoming approximately 15,000 people over the course of two days to enjoy the event’s live music programme. The festival was backed by a DAS Audio sound system designed to deliver uniform coverage across the entire location and maintain dispersion control in the completely open-air environment.

More Than a Music Festival is considered a major music event in the city, attracting attendees from across the region. The 2025 lineup offered a combination of rock, hip-hop, indie and electronic music, with performances by renowned artists from the Chinese and Taiwanese scene such as Liang Bo, Ma Siwei, MC Pharaoh, Soft Lipa and Sunset Rollercoaster.

Staging the festival at Baima Lake’s expansive grass esplanade in a completely open-air setting posed several acoustic challenges. To ensure an optimum live music experience for the large crowds, it was imperative that the sound system delivered uniform coverage over long distances, maintaining clarity and sound pressure even in the areas furthest from the stage. At the same time, as the festival is set in a green area regularly used for cultural

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activities and large-scale events, a key consideration was to control sound propagation towards residential areas and other sensitive spaces in the surroundings.

The conditions of the open-air environment added complexity to the system’s design. The total absence of physical barriers encouraged sound dispersion and required careful management of factors

such as wind, humidity and lowfrequency energy loss. In addition, the artistic programme, focused on rock, hip-hop and other high-dynamic styles, required a system capable of delivering definition, punch and accurate reproduction of vocal and instrumental content in a large-scale environment.

Taking this into account, DAS Audio designed a system centred around its LARA and SARA series, with installation carried out by Hangzhou Qijiang Stage Design Technology, while

Hangzhou Bonney Advertising Planning provided the rental systems.

The main system was configured in L-R with two arrays of 14 LARA per side. It was noted that the modules’ maximum SPL of 145dB provided the optimum capacity for the event, while its cardioid technology helped reduce rear energy – a particularly important aspect due to the site’s proximity to urban areas.

Lateral reinforcement was achieved by installing eight LARA as side fills to cover the lateral audience areas that were not within the main coverage zone, while 16 LARA-SUB subwoofers were placed under the stage for low-frequency reinforcement. The stage was also equipped with eight ARA-M210A monitors for musicians. To cover the first rows, 12 AERO-12A were used as front fills, with 24 SARA deployed further back as delay towers, extending coverage towards the rear of the space.

“The power of LARA as the main system, together with the reinforcement provided by SARA on the delay towers, allowed us to maintain a uniform level and excellent clarity across the entire esplanade, which is particularly demanding at a festival of this size,”

said Germán Rodríguez, systems engineer and head of technical support for DAS Audio in APAC. Rodríguez also highlighted the importance of dispersion control in an environment without physical barriers: “LARA’s cardioid technology was key to keeping the sound under control and reducing rear energy, avoiding disturbance outside the festival area and improving definition in the mix.” www.dasaudio.com

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Ayrton illuminates Namwon Arts Center SOUTH KOREA

Ayrton Argo 6 FX fixtures are providing versatility across Namwon Arts Center’s range of events, from theatre and concerts to exhibitions and corporate functions. Twentyfour of the luminaires were recently supplied to the centre by the manufacturer’s regional distributor, Hansam System.

Situated in the city of Namwon, in the North Jeolla Province, the relatively small arts centre features just over 300 seats and a stage measuring approximately 20m x 15m with a ceiling height of just over 13m. When the centre decided to upgrade its lighting stock, it was imperative to find a compact fixture which was flexible enough to work in various other cultural spaces in the facility that are also used for educational and youth group presentations.

A team of six Namwon Arts Center staff, alongside a number of theatre experts, took a trip to Hansam System in Seoul to compare lights from several different manufacturers.

“The Ayrton Argo 6 FX won, hands down, for many reasons: the compact size, brightness of the light source, quiet operation and effective delivery of its features – all within a reasonable price range,” explained the centre’s lighting director, Jae Beak Im. “For me and what I want to achieve, the most impressive features are Liquid Effect and Infinite Rotation.”

Accompanying Beak Im was Ho Seong Son from the technical team who commented on

the benefits of the Argo 6 FX: “Its robust build quality reduces long-term maintenance costs.

Also, the IP65 rating should not be overlooked – as an arts centre, the ability to use our outdoor spaces with confidence is very important to us.

And, from the technical team’s perspective, I think the modular design makes it easy to maintain, which is especially suitable for complex spaces such as art centres.”

Since the upgrade, the Ayrton units have been used by a variety of lighting designers for a broad range of productions, as Hansam System’s Se Hoon Park explained: “The visiting designers have all highly appreciated that the same units are able to produce such a wide range of looks, from intimate moods to intense energy, as productions can range across

all genres from the modern to traditional and cultural productions. With such a wide zoom range and excellent colour detail, the fixtures offer a degree of freedom of expression not often available to visiting designers.” www.ayrton.eu www.hansamsystem.com

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NEWS: PROJECTS

Allen & Heath amplifies Ms. Jigger

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An Allen & Heath and Void Acoustics sound system is elevating the day-to-night dining experience at Bangkok’s Ms. Jigger Italian restaurant. The solution was delivered

by Aura Visual System, in collaboration with Never2Late, to meet the objective of delivering consistent high-fidelity audio that could support both lunch and dinner services as well as intimate conversation.

Nestled within the Kimpton Maa-Lai Bangkok Hotel, Ms. Jigger blends warm interiors with a vibrant atmosphere. The venue benefits from Void’s Cyclone series, with Cyclone Bass subwoofers providing the necessary low-end impact, while Cyclone 4 speakers deliver mid and high frequencies. Due to the restaurant’s low ceiling and indoor environment, a nearfield approach was adopted to ensure even coverage and immersive listening without overwhelming diners.

The setup was carefully designed to allow the venue to maintain a delicate balance: providing enough energy to support a lively

ambience while ensuring guests can still converse comfortably at their tables. Music programming spans jazz, classic Italian melodies, downtempo remixes and lounge tracks.

While Ms. Jigger focuses on refined, relaxed dining, the connected Ruby bar transforms the mood and tone as evening falls. The bar required a sound system capable of delivering increased high and low impact, providing both clarity and punch for DJ performances and to ensure an energetic nightlife experience. Aura Visual System designed the sound to scale naturally with the environment, ensuring Ruby bar projects a more powerful and immersive experience without compromising tonality or coverage.

Allen & Heath’s AHM16 matrix processor acts as the brain of both the Ms. Jigger and Ruby systems, managing all zones with routing and preset call. Amplification is handled by Void Bias amplifiers, providing headroom across different performance

scenarios. Staff can control sound profiles via the CC7 touchscreen or wireless iPad interface, enabling quick transitions between background music, DJ sets or live performances.

To ensure consistent tonality, energy and coverage across both venues, speaker placement and system tuning were carefully

designed. The result is a soundscape that adapts to the flow of the evening – from calm, conversational dining to energetic nightlife. www.allen-heath.com www.auravisualsystem.com www.never2late.com www.voidacoustics.com

Neumann and Dolby elevate game audio SINGAPORE

Neumann studio monitors are supporting audio production workflows at Ubisoft Singapore, a highly regarded AAA game development studio in the region.

Eleven Neumann KH 80 DSPs and a KH 810 subwoofer have been implemented at the company’s Studio Blue space, which is reported to be the first Dolby Atmosenabled game development sound studio in Southeast Asia.

When Ubisoft Singapore decided to reimagine its audio facilities, the objective was to create a futureproof space where sound could drive deeper storytelling and elevate immersive experiences for players worldwide.

The company’s office covers an area of over 3,000m2 and houses three sound studios, each dedicated and tailored to a specific aspect of game audio production.

Studio Red functions as a recording studio, while Studio Black serves as its live room.

Studio Blue, previously known as Studio A, underwent a complete transformation,

moving from a traditional 5.1 setup to a Dolby Atmos 7.1.4 configuration designed specifically for mixing and asset creation.

The Studio Blue project was created through support and consultation from vendor

Broadcast Communications International as well as Dolby Singapore.

“As audio technology and the gaming industry continue to evolve, we are always looking for ways to enhance our soundscapes so that players can have the best immersive auditory experience,” explained Nicolas Ow, associate lead audio designer at Ubisoft Singapore. “The jump from 5.1 to Dolby Atmos felt like the natural next step, thanks to its 3D object-based workflow, which enables our games to be experienced as intended by the widest possible audience.”

After evaluating several options and visiting other Dolby Atmos studios, the team chose Neumann KH 80 DSP monitors as they provided the optimum balance between size and frequency response. They also cited the benefit of the monitors’ smaller form factor, which made it possible to achieve a full,

accurate sound without overwhelming the studio’s layout.

“We chose Neumann for its sonic characteristics and consistent sound across the entire range of KH monitors,” confirmed Erik-Jon Evangelista, audio director at Ubisoft Singapore. “Bigger does not necessarily mean better because balance is more important to us, especially when dealing with 3D object-based mixing in a multispeaker, surround sound, Dolby Atmos environment.”

Consistency was also a decisive factor.

The setup allows the team’s mixes to translate more reliably across a wide range of consumer systems. “To us, it is much more important to sound the same across more systems than to only sound amazing on one,” Evangelista added.

According to the Ubisoft Singapore team, Studio Blue’s Dolby Atmos setup allows them to place sounds more precisely in a three-dimensional space, making it easier for players to interpret cues that stereo or traditional surround cannot replicate.

“Games, much like films, are about escapism,” noted Ow. “People dive into them to step away from reality for a while and the heart of that experience lies in immersion. If something sounds off or does not feel natural, it breaks that immersion immediately.”

Evangelista echoed those sentiments: “Audio is what makes a horror game scary, what makes an empty street feel alive and what reinforces every action onscreen. At its best, audio reinforces atmosphere, tension or emotion without drawing attention to itself.” www.dolby.com www.neumann.com

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Sound mixer Tony Johnson relies on DPA NEW ZEALAND

New Zealand-based veteran production sound mixer Tony Johnson has more than four decades behind the boom, with credits spanning iconic films like The Piano, The Chronicles of Narnia, The Hobbit trilogy and Crazy Rich Asians.

With a trio of BAFTA and Academy Award nominations, Johnson has spent his career crafting soundscapes that transport audiences into the heart of the story.

“I’ve been using DPA lavs for about 15–20 years exclusively,” said Johnson.

“They just tick all the boxes: size, audio quality, dynamic range and the ability to handle any SPL. There’s virtually no other lav I use now. They’re rock-solid, and I can rely on them in any condition without worrying about them letting me down.”

In recent years, his work has taken him deep into the fantastical realms of Avatar: The Way of Water and Avatar: Fire and Ash, where the demands on sound equipment were as extraordinary as the visuals. Many of the characters wore oxygen masks, their glass lenses removed for VFX. “We ran DPA 6061 lavaliers up through the masks’ air tubes, placing them perfectly to capture dialogue without obstructing the effects work,” he added.

“The mics were small and easy to hide, and the VFX team had no trouble painting them out if needed. We had 10–20 masks

pre-rigged with lavs, ready to go; threading them on shoot day would’ve been impossible.”

For Johnson, DPA’s value isn’t just in sound quality, it’s the reliability, mounting flexibility and user-friendliness, which make the job possible under punishing schedules and conditions. “You can have the best-sounding mic in the world but, if it’s temperamental with wind or RF interference, or hard to rig, it’s useless on set. DPA gives me great sound and the confidence it will work every time. Whether it’s in a sweaty costume, outdoors in the wind or tucked into a wig, I know it’s going to perform; and the mounting options make it simple to get it exactly where it needs to be.”

As he steps onto new projects, Johnson’s approach remains the same: anticipate the challenges, trust the tools and keep the audience immersed in the story. “In film, sound is half the experience,” he explained. “DPA helps me make sure it’s the half no one ever forgets.” The prospect of upgrading to DPA’s new CORE+ technology, designed to eliminate virtually all distortion, is also something he’s looking forward to: “That’s going to be huge,” he concluded.

Image courtesy of Mark Fellman

www.dpamicrophones.com

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NEWS: PROJECTS

NEP Australia evolves with Sennheiser

AUSTRALIA

NEP Australia has adopted Sennheiser’s Spectera wideband wireless ecosystem to address rising RF congestion, reduce setup times and support the company’s expanding remote production workflows. The broadcaster, which delivers facilities for major Australian sporting codes and a wide range of studio programming, turned to Spectera to modernise its wireless

operations through software-driven control and simplified spectrum management.

According to Peter Hall, sales manager – pro audio at Sennheiser Australia, NEP’s ambition made it an ideal early partner. “They had a clear vision for how Spectera could work across their workflows and it was great to help shape that from the ground up,” he said.

NEP’s audio team had been grappling with an increasingly congested RF environment, particularly in dense metro areas such as Sydney, where spectrum coordination had become increasingly complex. “It’s a pretty hostile world out there for frequency management. We need something agile and easy to set up,” noted Alex Wong, senior supervising audio director at NEP Australia.

The demands of large-scale outside broadcast (OB) workflows further highlighted the need for a system with a lighter equipment footprint, faster deployment and robust remote control – key requirements as the company continues its shift towards centralised production.

NEP’s Spectera deployment integrates microphones, IEMs and control data into a single RF channel, simplifying planning and reducing rack space. The system includes a 1U Base Station, SEK bidirectional bodypacks and DAD antennas, with remote monitoring via LinkDesk and the browserbased Spectera WebUI. An in-depth RF training session led by Volker Schmitt, Sennheiser’s manager of technical application engineering, helped NEP refine its approach. “That session really helped us see how Spectera could address our spectrum issues and support more effective remote control,” Wong said.

Spectera is now in use on The Chase, Fox Footy and AFL broadcasts, with trials underway for other sports and NRL events.

NEP reports that setup times have dropped from several hours to under 40 minutes, while improved remote management allows more responsibility to shift to A1s in central hubs, easing the pressure on field-based A2s and enabling scalable multisite workflows.

“The flexibility and ease of use really stood out. We had the system installed and running in under an hour and its footprint is just a quarter of what we’d typically need,” said NEP audio director Annabelle Salomon.

The workflow also incorporates Neumann monitors and Merging’s Anubis interface, allowing single-operator transport and setup.

NEP is now preparing to take Spectera into full OB environments, pairing it with Sennheiser’s 6000 Series handhelds for added versatility. The broadcaster is also testing the system for referees and IEMs in upcoming NRL matches.

A major next step is Spectera’s SMPTE 2110 integration, which will allow direct connection to mixing consoles, intercoms and commentary systems.

“Its scalability and flexibility have already impressed us,” Salomon said. www.nepgroup.com www.sennheiser.com

Chennai concert hall gets an audio makeover INDIA

Chennai’s Sir Mutha Venkatasubba Rao concert hall has been acoustically enhanced with the addition of new d&b audiotechnik amplifiers, a retuning of the existing system and an upgrade to its existing Avid S6L console.

The 1,200-capacity concert hall is part of the Madras Seva Sadan charitable foundation, founded in 1928. Having been used as prayer hall for the foundation’s school since 2000, six years later the hall was redesigned by acoustician Andy Munro. In 2018, it was equipped by distributor Ansata with six d&b Yi8 line array loudspeakers and two

Krish Kumar in the Sir Mutha Venkatasubba Rao concert hall

Yi-SUB subwoofers per side, with a Yi10P for centre fill and three further Yi10Ps as a delay system for the balcony.

Each speaker now has its own dedicated amp channel courtesy of five d&b 40D amplifiers supplied and integrated by Ansata whose application specialist, Kendrick Robin, retuned the system using the 40D’s onboard DSP. “We’ve been able to completely upgrade the sound in the hall without tearing out the existing d&b speakers and buying a new system,” said head of operations Krish Kumar. “It’s made a huge difference in providing improved

coverage right across the venue, as well as the increased headroom that’s now available.”

Added Robin: “Notably, despite the loudspeakers being installed in 2018, the integration of array processing to the existing system was highly flexible. The system remained in excellent condition and the quality of its response was remarkably unaffected. We conducted a thorough system check, and the data revealed that its health was intact even after seven years of usage.”

Meanwhile, the 48-channel Avid S6L has been increased to provide 96

channels to cope with the demands of the newer shows and productions coming into the hall. “We’ve equipped the S6L with the E6L-112 engine and Stage 16 stageboxes,” continued Robin. “This provides exceptional transparency of the stage content, as the venue primarily hosts live performances. To maintain the integrity of the artists’ and instruments’ sound, we utilised industry-standard AD converters that don’t compromise the sound quality. The significantly improved signal chain ensures that the amplifiers receive the highest audio quality and provide ample headroom for the loudspeakers to achieve their full potential.”

Ansata also supplied a quantity of DPA 4488 CORE directional headset microphones.

The upgrades have provided the Sir Mutha Venkatasubba Rao concert hall with improved channel count and coverage while adhering to the foundation’s sustainability remit. This has, according to Kumar, “drastically” increased the system’s headroom and flexibility. “It truly feels like the hall and the sound system are working together as a single instrument,” he said. www.ansata.net www.avid.com www.dbaudio.com

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BUSINESS: SHOW REVIEW

InterBEE 2025

InterBEE 2025 took place at Japan’s Makuhari Messe, with 1,079 exhibitors across 1,985 booths filling the venue’s seven halls with the latest AV technology. This year’s show attracted a total of 34,072 visitors, a slight increase over last year ALTHOUGH THE SHOW BEGAN AS A DEDICATED broadcast exhibition in 1965, InterBEE has long since evolved into a comprehensive platform for the entire AV industry, bringing together technologies and innovations spanning live sound, production, content creation, distribution and more.

This year’s event was presented across four categories: professional audio, entertainment and lighting, video production/broadcasting equipment and media solutions.

Aside from the technology on the show floor, there was an enhanced conference and seminar programme offering 130 sessions and the InterBEE EXperience sessions featuring the much-anticipated loudspeaker showcases as well as demo areas for microphones and headphones. InterBEE returns to the Makuhari Messe from 18–20 November 2026. www.inter-bee.com

From the show floor Ian Staddon DiGiCo: “It’s been really busy with a steady flow of people. Lots of the main distributors have got much larger booths this year and it seems there’s even more of a focus on immersive.

We’ve launched the Q112 for the Japanese market and it’s been very well received, so we’re looking forward to the orders coming out of it.”

Emma Farinella, Powersoft: “We are presenting the Nota 142 here at InterBEE – a compact 140W into 2-channel unit which we believe to be the smallest PoE amplifier on the market. Its main application is audioover-IP; it’s so small it can be used for expanding existing installations and functions as a multimedia device player through the USB-C connector. We’re also showing our legacy products – the T Series and X Series touring amps and the new Unica touring amp that we launched at the beginning of the year.”

Hiro Sawaguchi, L-Acoustics: “It’s been a really good show; we’ve seen our usual customers such as rental and touring companies but also new ones from different verticals, including systems integrators, as we had an immersive demo room where they could hear our products, which has been well received. We’re exhibiting alongside our partner, 2nd Stage, who is also demonstrating immersive sound using L-Acoustics products so altogether it’s been a very impressive show for us and I’m looking forward to the business it will bring in the future.”

The Bestec Audio team with L-Acoustics’ Hiro Sawaguchi (second from left)

Paul Ward, Coda Audio: “The show is really well attended as always. We’re on the stand of our distributor, Hibino – they have a high stature in the market and we’re always here to support them along with their other suppliers.”

Dan Zimbelman, PMC: “We have a wonderful demo room on the stand, with a complete 7.1.4 Dolby Atmos playback system which is pretty typical of what PMC is putting into a lot of installations around Japan at the moment. This show is fantastic, it’s been extremely busy.

We’ve had so much interest now that Mix Wave has taken over distribution because they are such a powerful company with an incredible team of dynamic young people and the sales are already showing that.”

Craig Lovell, d&b: “We’ve held the global launch of the CCLi compact cardioid line array which has been specifically designed for install use, offering handles and slightly different rigging and connections options to the rest of our new CCL-Series. We’re also launching the B12 sub for mobile ground-stacked applications; it has no rigging hardware.

We’re participating in the shootout with CCL in the small line array category, and we have a demo room with a full immersive system setup, guest speakers and panel discussions. The show’s been really busy, all our events have been fully booked and we’re getting a very large throughput of interested people.”

Owen Ironside, Meyer Sound: “We have a fantastic stand here with our distributor Artwiz showing the latest products, the brand-new GEN-1 Galileo Extending Networking platform, with demonstrations every other hour. We’re also showing the new Nebra 2 monitoring and management software and demonstrating Spacemap Go spatial software with control from a DiGiCo console.

It’s a fantastic show, always very well attended, and the reception we’ve had has been great.”

Bart Swinnen, Luminex: “We’re really proud to be showing our new Gigacore 026-I 40Gb switch which provides higher bandwidth capability and is optimised for use in any AV environment. Everything is predefined and preconfigured for a whole range of networking applications in audio, video and lighting applications. We’re also showing our IP-rated products for outdoor applications.”

Harumitsu Yasunaga, Shure Japan: “We’re on the third day and we’ve had more visitors than we expected. One reason for this is that we’ve been showing a new product, the DCA901 broadcast microphone array. It’s a compact digital array delivering eight channels of audio and the first Shure product that’s dedicated to broadcast applications.

People realise that we’re doing something different, so it’s been interesting to change the mindset of the customers.

I’m new to Shure Japan and I’m very happy in my role as director; we have a really great team of people here.”

50 PRO AVL ASIA January–February 2026

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FEATURES: LEISURE

Playing straight on Melbourne’s Esplanade

Each enclosure is fitted with custom pan tilt brackets

A Melbourne riverfront is benefitting from a new EAW system to relay music to passers-by. Richard Lawn goes for a stroll WHEN ZELO GROUP WAS APPROACHED BY CROWN Casino in Melbourne to enhance its outdoor speaker system on the Yarra River’s Southbank, the systems integrator played with a steady hand by relying on its trusted brands and relationships.

Welcoming over 22m visitors each year, Crown Melbourne has evolved to become Australia’s leading integrated resort. Opening in 1994 in a temporary location before moving to the extensive property on Southbank, the accommodation, dining, casino, retail outlets and entertainment facilities have been continually transformed through investment to retain its world-class crown.

With an aim to create an upbeat audio signature adjacent to the Esplanade, as well as a more consistent transition into the interior entertainment precinct, the preexisting external, pole-mounted loudspeaker system was recently upgraded.

Serving as a shop window for Crown Melbourne, the Esplanade is a shared path for cyclists and pedestrians. “The Esplanade serves as a prelude for the energy and the vibe that a customer will experience within the adjacent restaurants and in the Crown itself,” explains Zelo Group’s sales and design manager, Stephen Sokolowski. “The Crown is upgrading many other elements, so the creation of a foreground presence on the Esplanade sets the scene for what is inside. By installing a good loudspeaker system to provide the right vibe and energy, the Crown is making a powerful case to draw passers-by.”

By analysing the limitations and problems of the original audio design, Sokolowski requested Ben Clarke from Production Audio Video Technologies (PAVT), to conduct acoustic modelling results based on EAW loudspeaker designs. “The more information and documentation you generally submit, the smoother the project,” he continues. “Both Zelo Group and PAVT included extensive modelling results together with the estimated coverage, the energy rejection across the water and all the recommended

Watertight junction boxes allow up to two speakers to be fixed to each pole

cabinet tilt angles. The technology is not complex but, with the works being in the public domain and covering a long route, getting the audio right was critical.”

Working with the existing speaker poles, the loudspeaker modelling dictated the outcome of the project. Having initially considered active arrays with presets, including a steerable loudspeaker, Zelo Group ultimately proposed the EAW MKC120 coaxial point source enclosure. “Keeping within the budget, this powerful 12-inch model provides excellent throw coverage within a 48Hz–20kHz frequency range (±10dB),” explains Sokolowski.

“Owing to their versatility, price performance benefits and reliability, EAW and Powersoft have become the premium brands for approximately 90% of the hospitality venues we are engaged on, and the Esplanade was no different.”

Protected with a weatherproof finish prior to shipment, each 16.4kg enclosure is fitted with custom pan tilt brackets allowing pole mounting in either tilt (vertical) or splay (horizontal) orientation. Having prepared the brackets in advance, all 57 speakers were fixed to the poles down the length of the Esplanade before the cabling could be fed into the existing lengthy conduits by the Crown technicians. Fixed to each pole location, sealed and watertight junction boxes with two conduit entries allowed up to two speakers to be connected and terminated with 6mm2 double insulated cable.

Grouped into 10 zones, the 57 MKC120 loudspeakers are served by four individual nodes. Speaker groups are tilted down at a 15° angle, while the wider-spaced groups of 8–10 are tilted at 10°. Each rack node is fitted with Cisco C1300 layer 3 managed switches that connect the speakers over the Crown’s existing VLAN network and WheatNet DSP. Operating over 4Ω output, a total of five Powersoft Unica 8K8 8-channel amplifiers provide sufficient headroom to all 57 12-inch coaxial enclosures.

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“I’ve been working on Crown projects for 15 years, and they have always insisted on using Powersoft amplifiers, over which time only three have lost a channel,” continues Sokolowski.

“Owing to their extreme low failure rates, Zelo Group has not specified another brand for performance spaces. Providing unrivalled power density, the Unica platform is exceptional with its inherent DSP, particularly when rack space is a concern.”

For the Esplanade, either one or two speakers on each pole has been paralleled to individual amplifier channels. To ensure precision tuning in each zone, EAW Greybox FIR filters were loaded into the Unica amplifier settings by Zelo’s technical team.

The continued adoption of the Unica platform across the Crown property is providing numerous benefits including remote Dante audio networking monitoring and control. “Adopted as the Crown standard many years ago, audio signals can be transmitted over very long distances from an existing network node, and the Esplanade is merely a continuation of that same network,” he continues.

Designed to create enhanced musical energy, Zelo Group added spare Unica amplifier channels for the future addition of EAW SB150 subwoofers. “For every three posts, a subwoofer can be added, but we resisted implementing these because there are strict sound restrictions, especially with the body of Yarra River water behind. In addition, subwoofer locations have been created within concrete seats, together with a cabling infrastructure with added circuitry. However, the 12-inch enclosures can produce low frequencies down to 55Hz, so arguably there’s enough punch with some added DSP configuration.”

The higher energy vibe that the EAW loudspeaker system is delivering is clearly infectious as Zelo Group has been commissioned to install MKC outputs into some of the restaurants along the Crown Esplanade. To create a continuation of the same tonal audio fidelity, one venue has specified the same 12-inch models, he explains. “Each venue is equipped with its own independent source, but Crown’s audio can also be routed to these outlets because they share the same

The EAW 12-inch coaxial enclosures under the bridge are fixed horizontally infrastructure. The entire network is an active living, breathing system, whereby the Crown engineers are regularly changing the patching and the signal routing daily.”

Sokolowski ponders long and hard to determine the main challenges that the Zelo Group faced onsite: “The logistics of managing our time on the Esplanade, seeing in deliveries and having to barricade the zones in a public area, which required planning, was demanding but, for us, it was just another project.

Ultimately, this was one of the most straightforward projects that we’ve conducted to date. This was largely achieved by Michael Stavrou who thoroughly managed the works, and our head technician, Rob Ribic, who managed the installation team onsite.

Having installed the speakers and terminated all the cabling, which went smoothly, the Crown engineers digitally levelled the

speakers, and we checked all the throw angles and programmed the DSP into the amplifier channels. It was one of the smoothest jobs we have ever overseen because it just worked, and everyone is happy as there is no noise pollution.”

Zelo Group’s experience, intimacy with the venue and long-term relationships with both the client and supplier have combined to create a foreground music solution that continues to enhance the fortunes of Crown Melbourne. www.crownmelbourne.com.au www.eaw.com www.pavt.com.au www.powersoft.com www.zelogroup.com.au

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FEATURES: LIVE

Academy award

One of South India’s leading concert halls has undergone a major audio system upgrade.

Caroline Moss visits the Music Academy, Madras

Indian distributor Hi-Tech recommended L-Acoustics’ Kara series for the main system THE MUSIC ACADEMY, MADRAS (NOW CHENNAI) stands as one of India’s most influential institutions in the preservation and promotion of the fine arts, including the South Indian tradition of Carnatic classical music. Its origins lie in the All India Congress Session of December 1927, when a parallel music conference brought together leading artists and thinkers of the time. Here, an idea emerged of creating a permanent body to uphold the intricate standards of Carnatic music and provide a forum for scholarships, performance and cultural exchange. By August the following year, the academy had been formally inaugurated.

From the beginning, the Music Academy has positioned itself as the cultural nerve centre of South India. In 1929, it launched its annual music conference – an initiative that soon evolved into the December Music Festival, now celebrated globally as the Margazhi Season – and implemented the Sangita Kalanidhi awards, recognising contributions to Carnatic music. What began as an effort to consolidate knowledge, encourage excellence and create a platform for musicians has grown into a large and vibrant classical music gathering. Beyond the world of Carnatic music, the institution has also become a critical platform for the revival of Bharatanatyam, a South Indian classical dance tradition.

Over the years, the academy has developed and expanded, moving into its permanent home on TTK Road where the foundation stone was laid in 1955 by then-prime minister Jawaharlal Nehru. Central to this building is the T T Krishnamachari Hall which opened in 1962 and plays an instrumental role in hosting the annual music festival in December and staging concerts throughout the year for both the academy’s own programming and for outside bookings. So it didn’t bode well when, following an audio system upgrade in the academy’s main auditorium five years ago, the technical team were informed that the sound wasn’t up to the expected standard for such a prestigious venue.

The left-side Kara IIi array hangs over Saraswati, goddess of learning, arts and music

This realisation started coming to light following a Bharatanatyam dance performance, which featured a sound design by music producer and studio owner Sai Shravanam.

One of a few classically trained sound engineers in India, Shravanam noticed that there were many acoustic dead spots around the auditorium. After careful evaluation of the venue and its sonic requirements, combined with past experience of working with the brand, he suggested that an L-Acoustics system be installed into the venue. Central to his recommendation was the need for a high-resolution sound system that could interpret Indian classical music at its best, as well as handling symphonies and rock concerts.

Shravanam conducted a thorough acoustic study of the 222m2 hall, which seats 700 on the ground floor and a further 750 on the balcony. He shared his findings with L-Acoustics applications engineer, Dubai-based Adriaan van der Walt, together with insights on the nature and complexities of Indian music. “I explained that it’s horizontal in structure, with accompanying musicians typically following and cascading behind the lead artist, resulting in a frequency buildup over the same octave,” he says. “This characteristic, combined with the limitations of acoustics, microphones and PA systems, affects the overall sound quality during classical performance amplification.”

In subsequent conversations, van der Walt and Shravanam discussed the importance of finding a balance between technical expertise and artistic expression when it comes to sound design. Van der Walt shared insights from his extensive experience in theatre design, while Shravanam highlighted the importance of the human ear during the final tuning. They agreed on the significance of aligning client expectations with the subjective nature of sound, as well as the importance of conducting a final listening test for N Murali, president of the Music Academy, Madras, to refine the installation.

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Shaping Sound

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FEATURES: LIVE Van der Walt began work on an audio design for the auditorium, focusing on the importance of consistent SPLs and clear sightlines for all audience members and mapping out his design in L-Acoustics Soundvision 3D simulation software. He stressed the importance of achieving a flat tonal response and ensuring the system behaved in a linear fashion, allowing mix engineers to make precise adjustments. His design focused on enhancing the relationship between the artist and the audience to facilitate a shared experience.

A Zoom meeting was arranged with Murali and academy committee members, together with Shravanam and van der Walt as the latter went over his design and speaker placement. Following this, Rajan Gupta, CEO of L-Acoustics distributor Hi-Tech Audio and Image, with whom Shravanam had worked on previous auditorium installations, was brought into the discussions to recommend an appropriate system based on the Soundvision design. After Gupta’s suggestions to base the system around the Kara series, along with a DiGiCo 225 Pulse mixer at FOH, a design incorporating 52 loudspeakers was agreed upon.

used to display system parameters including RT (reverberation time) and SPL. Drawing on his experience, Ravi has implemented some crucial details such as creating a separate output from the console for the media or for recording shows. “They can just plug in by themselves without having to go behind the console,” he says. “It’s the small things that people appreciate when working in an auditorium like this.”

This attention to detail extends to the storeroom which Ravi and his team reorganised in tandem with the L-Acoustics upgrade. Here, everything has been meticulously labelled, arranged and stored correctly according to the Japanese principle of 5S, a workplace organisation methodology aimed at improving productivity. A rigorous practice of regularly

Audio engineer Sriram Ravi with a selection of Sangita Kalanidhi award-winners over the years

The Music Academy, Madras technical team, with L-Acoustics’ Peter Owen (eighth from the left)

Hi-Tech provided a DiGiCo Quantum 225 Pulse console for FOH The main L-C-R system comprises nine-per-side L-Acoustics Kara IIi long-throw concert sound installation loudspeakers, with four more forming a central array. Four 8Xi coaxial speakers mounted along the stage lip provide front fill, while two X12 coaxials flown in the centre of the proscenium cover the area just in front of the stage, with another two flown from the proscenium. Four X8is provide under-balcony fill with a further two for rear balcony fill.

Low frequencies are handled by four ground-stacked KS21 subwoofers, two placed in the pit on a specially erected platform, well-grounded with pads to prevent any acoustic vibration, and a further two on the extreme left and right of the stage, resulting in an even bass response across the auditorium. A further four KS21 subwoofers have been flown in the centre of the proscenium.

Onstage, as well as four X12 stage monitors for musicians’ foldback, two A15 Wide side fills cover the performance area.

These really come into their own during the annual 15-day December Music Festival when five concerts per day are performed, with audience members sitting on the stage as well as in the auditorium.

“Great care was taken in the system design for this prestigious venue, ensuring that the musical style, venue coverage and overall value for money were all thoughtfully considered,” says L-Acoustics’ sales manager for India, Peter Owen. “The result is a solution that delivers both excellence and long-term benefit.”

Freelance audio engineer Sriram Ravi, who has worked at the academy as a consultant since 2022, has brought his technical experience and knowledge of sophisticated contemporary audio technology to the new system and is part of the technical team overseeing its ongoing operation. This includes working with visiting sound engineers to help them set up the system and work with technology that they might not be familiar with, such as the DiGiCo Quantum 225 Pulse 96-input/48-aux console at FOH. This is especially important while working in an enclosed auditorium as many concerts in India take place in large-scale outdoor settings. As well as the DiGiCo Quantum 225, Hi-Tech also provided two 96/48 MQ-Racks. Positioned on either side of the stage, inputs can be accessed without the need for cables running across the performance area.

An Ethernet cable connects the 13 LA4X amplified controllers running the PA system to FOH, where it’s controlled and monitored via the L-Acoustics LA Network Manager. “We can control all the speakers with just one mouse click; another brilliant implementation from L-Acoustics,” enthuses Ravi. “We also have iPad control so that we can roam around the auditorium to monitor the audio in different locations.” Smaart is also being

The centre cluster comprises four Kara IIi cabinets and four KS21 subs disinfecting the shared equipment is enforced, particularly when it comes to the extensive inventory of microphones. “As we’re working in a shared space, with people coming and going every day, we pay particular attention to hygiene,” says Ravi.

The academy has invested in a broad range of microphones including the Sennheiser Digital 6000 Series with drumkit, vocal and gooseneck models as well as Shure, Neumann, AKG, Røde and Universal Audio mics. This wide selection ensures that artists from all musical genres – including the Carnatic classical musicians that the auditorium was created for – have the flexibility of choosing the most appropriate microphones for their performance requirements.

Another new addition to the auditorium is an Avolites Titan lighting console, which controls the fixtures that were purchased during the 2019 upgrade.

The new system made its debut in June 2025, supporting a 15-piece band onstage and a 1,400-member audience engaged in call-and-response singing – a fitting test of its musicality and clarity.

Hosting more than 100 third-party performances a year as well as the academy’s own programming, the upgraded T T Krishnamachari Hall now benefits from a world-class sound and lighting system that will futureproof its capabilities for years to come. www.digico.biz www.hitechavl.com www.l-acoustics.com

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FLY WEIGHT Mix Anywhere. Fly Everywhere www.digico.biz DiGiCo, No.5 The Distillery, Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845 600

DiGiCo_PAA_Jul_Aug_24_GiveThePeopleWhatTheyWant.indd 1 Untitled-1 4

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FEATURES: HOSPITALITY

A race to the top

SB-21 10-inc multic Q-SYS interfa projec server Adja simila with a an SX The natura ceiling stand

When Sydney’s suburban sprawl finally caught up with Oran Park, there could only be one outcome. Richard Lawn visits the raceway-turned-entertainment hub LOCATED SOME 60KM SOUTHWEST OF SYDNEY, THIS dot on the map has been characterised by speedway racing from 1962 onwards. But, as the Oran Park Town housing developers encircled the raceway in the early Millennium, a new breed of suburbanites living in streets named after motor racing celebrities demanded varied entertainment under one roof. Replacing the high-octane revs of racing motors with high-impact live music and BGM, the newly constructed Oran Park Hotel features an AV design and installation by systems integrator Vestec Electro. With a spend of close to AU$60mn, the venue lays claim to being the largest pub entertainment venue in Australia.

Developed by Momento Hospitality, the Oran Park Hotel complex was conceived by Sydney-based Archebiosis Architects in collaboration with Greenfields Development Company.

Spanning three levels and boasting seven bars, an ever-growing membership from the Macarthur region is drawn to its multiple food outlets including the all-day dining Bistro, the Sports Bar, Papi’s pizzeria, an Asia-inspired rooftop bar and a bottle shop. The expansive 7,500m2 precinct also includes the Grand Ballroom, two boutique cinemas, an indoor play area and a garden atrium.

Art created by local and emerging artists plays a defining role in the venue’s character, including a hand-painted racing mural in the Sports Bar celebrating Oran Park’s motorsport heritage. A native Australian bottle tree in the central atrium serves as the heart of the venue as natural light filters through the third-level glazed roof onto raised areas with integrated bench seating and curved balconies.

Momento Hospitality general manager Salvatore Bellamo

Natural light floods the atrium, where a bottle tree provides a central focus

The S Subcontracted to Versatile Construction, Vestec Electro was appointed to integrate the audio infrastructure throughout. Installed under the project management of Mark Versic and Neville Hanna, Q-SYS Core technology controls and monitors AV functionality.

Australian distributor Technical Audio Group (TAG) played a significant role in the audio design, with EASE modelling carried out by its system solutions and engineering (SSE) team.

The AVoIP system comprises a range of QSC products including CX-Q Series amplifiers, Core 110f processors and loudspeakers controlled by Q-SYS touchscreens and interfaces. A centralised subscription server provides zoned music over fibre via the controlled network switch to the processor. Bypassing the need for human interaction, preconfigured audio levels are also adjusted within the control software. In addition, Audio-Technica AT U853A hanging ambient microphones automatically adjust the output within the higher-occupancy rooms.

Momento Hospitality general manager Salvatore Bellamo maintains that the continued drive towards an IP strategy is significantly

Two boutique cinemas are equipped with QSC loudspeaker systems

assisting hotel managers and staff to control their AV systems. “One of our philosophies is to make functionality simpler for operators,” he says. “Here, the ease of audio management is dictated by the capabilities of the IP and Q-SYS. Our operations managers can simply switch between DJ and BGM mode in the bar. At the push of a button, the audio system is instantly adjusted as the DSP configurations are set in the software.”

Central to the audio and control processing system, a Q-SYS Core 110f processor adopts Q-LAN for audio, video and control connectivity over the IP network. Providing 128x128 network channels together with 8-in/8-out analogue channels, the main Core 110f extends Q-SYS control to third-party non-networked control devices via GPIO-connected QIO 8x8 expanders. Bypassing the network switch, a fireman’s panel automatically cuts in when needed.

Located in the same ground-floor rack as the Core 110f, QSC CX-Q Series multichannel amplifiers in 100V line operation are routed over the hotel’s Cat6a infrastructure to the loudspeaker network.

Various QSC AD-S4T, AD-S5T and AD-S6T ceiling- and surface-mount speakers handle announcements and BGM. For higher SPL and premium foreground sound reinforcement, TAG recommended Martin Audio enclosures and subwoofers. With multiple screens showing major Australian and global sporting events, the Sports Bar and its games area are reinforced by distributed CDD5B 5.25-inch speakers augmented by discreetly located SX110 compact subwoofers. A DJ and live music stage features a pair of CDD12B 12-inch coaxial enclosures and Blackline X118 18-inch subwoofers. Three ambient microphones cut in when required to raise and lower the levels.

The Bistro is similarly equipped with Martin Audio CDD5B and SX110 enclosures. Its terracotta ceiling, terrazzo flooring and large windows overlooking the atrium add to both the architectural elegance and acoustic reverberation times (RT). Utilising Martin Audio’s Display 3 prediction software, the Vestec Electro engineers managed the RT by focusing acoustic energy away from hard surfaces.

For private viewings, seminars, book launches and events for up to 40 guests, two Gold Class boutique cinemas are located on the first level. Designed by cinema guru Peter Williams, whose expertise ensured that both cinemas met the industry compliance required for Hollywood film distributors, QSC audio solutions in each comprise L-C-R SC-2150 dual 15-inch cinema speakers supplemented by an

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FEATURES: HOSPITALITY SB-2180 dual 18-inch subwoofer, with 12 wall-mounted SR-1020 10-inch speakers as surround channels. Powered by three CX-Q multichannel amplifiers, the audio signal is transmitted from a Q-SYS Core Nano DSP connected to a DCIO-H digital HDMI cinema interface. Projection in both spaces is via Barco SP2K-7 Series laser projectors and Dolby CP950 cinema processors with Dolby movie servers.

Adjacent to both cinemas, the movie-inspired Crush Bar provides a similarly intimate setting inspired by elegant movie theatres of old, with a vinyl selection output over Martin Audio CDD5B speakers and an SX110 subwoofer contributing to the ambience.

The foyers and corridors connecting the venues benefit from natural light and seamless audio from a network of QSC AD-C ceiling speakers. A further two first-floor rooms are equipped with standalone Core 110f processors. Operating within the Q-SYS

ecosystem, a training room supports videoconferencing via an NV-32-H Core HDMI video matrix and an NC 20x60 IP-PTZ camera.

Laptops and other devices connect to unDX4I 4x1 and unD6IO-BT 4x2-channel Dante wallplates, with audio output provided by five AD-C6T speakers.

The Grand Ballroom hosts weddings, formal events and celebrations. Customised AV wall plates integrating audio, control, video, mic/line, data and lighting control enhance flexibility should a client wish to supply their own AV equipment. The Martin Audio frontof-house system comprises two ceiling-suspended CDD15B 15-inch speakers in white, supplemented by two floor-standing SX218 dual 18-inch subwoofers. Powered by a QSC CX-Q 8K8 8-channel amplifier, four CDD10 cabinets provide even dispersion.

Available microphones include Audio-Technica dual ATW 3000 Series receivers and transmitters together with bodypacks for connecting

The Grand Ballroom hosts weddings and formal events AT829 lavalier and ATW-C510 handheld dynamic microphones, with an ATW-A49a UHF wide band directional passive antenna and an active unity-gain antenna distribution system.

“Q-SYS makes our entire operations so simple for all the staff,” concludes Bellamo of the venue’s infrastructure.

“We are required to change the channel and volume on over 100 individual displays throughout Oran Park. With Q-SYS, I can instantly change the settings from my tablet over Wi-Fi and we can also configure settings from our mobile phones.” Additionally, Q-SYS TSC-50-G3 5-inch wall-mounted touchscreen controllers allow restaurant and bar managers to change sources and music levels. “Credit to Neville from Vestec Electro; he fully appreciates how the staff operate here at Oran Park,” continues Bellamo. “By adding touchscreens for venue staff and creating a GUI with settings for mobile operators, Vestec Electro and TAG have perfectly tailored the venue manager’s workflow.” www.martin-audio.com www.qsys.com

The Sports Bar and gaming area are reinforced by Martin Audio CDD5B speakers

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FEATURES: HEALTHCARE

Dental college says “ahhh” to AV L–R: UT Consulting’s Daniel Knoche and LTU’s Adriano Salutari

The preclinic space accommodates 86 pods

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Richard Lawn explores a non-traditional sector where carefully focused AV systems are playing an increasingly important role AV INTEGRATION HAS LONG TRANSCENDED boundaries that once demarcated clear divisions, with tailor-made products giving way to bespoke solutions in clearly defined sectors including transportation, museums, enterprise, education and healthcare. With an increasing number of software and networking solutions becoming available, those boundaries disintegrated and AV has now permeated real-world scenarios that are somewhat harder to categorise. A peek into La Trobe University’s (LTU) regional campus in Bendigo exemplifies how far AV consultants have come in meeting their clients’ demands.

Dental students aspiring to practise in Australia’s regional areas attend LTU Bendigo in the state of Victoria, some two hours out of Melbourne. The students can get to grips with dental practices in the clinical simulation laboratory once they have studied the basic sciences and public health. The courses are designed with a future career in dental practices, community health centres, hospitals and aboriginal health collectives in mind.

Updates for all LTU’s education clinical spaces commenced with the Shepperton campus. The blueprints revealed that the existing oral health care clinic at the main Bendigo campus would be converted into a nursing and midwifery teaching facility. As such, a new purpose-built dental facility demanded the very latest AV technology for its students. LTU’s AV projects manager Adriano Salutari was under no illusion that he would require a little help from seasoned professionals, appointing UT Consulting as AV consultant and Citadel as AV systems integrator given the extensive experience outlined in their proposals.

Say ahhh – each of the pods features a dummy head for dental practice

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FEATURES: HEALTHCARE the student can perform a dedicated dental procedure on their dummy.

Global dental equipment supplier Henry Schein was commissioned to design and install the learning products and tools for LTU’s new faculty. “Installing the audiovisual equipment around the dental infrastructure supplied by the Henry Schein team required highly detailed integration plans,” continues Salutari. “Each pod contains all the tools associated with a typical dental clinic including hydraulics and moving parts in addition to plumbing for water, drainage and suction. Henry Schein creates amazing dentistry learning products, but the intricately installed AV technology has transformed our facility.”

Unphased by the challenge, Citadel built the simulation pods in phases. Once the frame was built, the electrical works were followed by hydraulics, power, data, plumbing and AV. “While the AV was being installed in one pod, Citadel worked on the next set of seats concurrently,” recalls Salutari. “The AV was commissioned and the computers were programmed, completing the install. A staggering amount of detailed coordination was required with the main contractor to execute the works in the preclinic, so absolute kudos to Citadel.”

Citadel ensured that LTU was comfortable with the phased works. “The water points had to be installed in specific spots for the chair and to tolerances of less than 5mm,” explains Knoche. “The cabling network connecting the 86 stations had to avoid the plumbing and other ducting. In addition, each station had to be installed with a video decoder for controlling the screen, all of which needed to be labelled, connected and programmed before commissioning.”

At each station, the student logs onto their individual learning management system (LMS) to familiarise themselves with “AV systems for dental and oral health incorporate very unique components that differentiate themselves from other AV systems in other learning facilities,” explains Salutari.

“The planned dental teaching environment demanded the inclusion of up-to-date and futureproofed audiovisual practices, technologies and systems. I have worked with Daniel Knoche from UT Consulting on several LTU projects in the past and, because we understand how one another works, I was confident in his expertise.”

It was dental work that inadvertently sidetracked UT Consulting associate and education sector lead Knoche into the world of AV. “As I was having my wisdom teeth removed, I couldn’t train or play cricket, so my school asked me to oversee the AV for a local TV channel show,” he recalls. “Following graduation, I spent 12 years in elite sport. I worked in the AFL [Australian Football League] at four different clubs, ultimately finishing up with a broadcaster doing statistics before going into healthcare, education and consultancy. These varied roles have helped me better understand how to interpret client demands.”

Working for AFL teams Carlton, Brisbane, St Kilda and Essendon has served Knoche well in translating the AV wishes of his clients into real-world solutions. With a goal to improve the efficiencies and capabilities during training and matches, Knoche coached the staff and players in the use of video and computer technology. He also needed to decipher the statistics on the field for analysis in a format that the staff and players understood.

Upon UT Consulting’s appointment to the project in June 2023, Knoche wanted to better understand what the academics’ requirements were: “The AV system needs to enhance the working practices of the educators for them to impart knowledge in the most efficient way possible.

Following the initial conversation with the client, we scoped the processes by holding two workshops with the architect, educators and teachers. A proof of concept highlighting the functionality requirements was required rather than technical components and specifications. Often, academic demands do not readily translate into an AV technical language.”

The extensive property includes a flat-floor teaching space, meeting rooms, prosthodontics room, preclinic and dental clinic. The preclinic space accommodates 86 pods, each equipped with dental tools, a mannequin dummy head, overhead light, reclining chair, faucet and a display connected to a local PC. The room can be divided into three sections, with the two outer divisions served by fixed teaching points. Owing to the size of the space, visual content is transmitted from a teaching point to the individual student displays, whereupon

three rooms based on the configurations. Crestron AirMedia technology enables faculty members to share content from laptops to the middle section in standalone mode.

A standards update was required to ensure LTU was aligned with the latest technologies. “With so many endpoints in such a complicated space, it was difficult to specify the most cost-effective, futureproofed solution,” explains Knoche. “With unique AV signals being transmitted to 86 stations, LTU knew from previous experiences that the existing network would be over-congested. AV data traffic has the potential to transmit poorly on some networks, requiring careful management techniques, so we opted to transport the AV signals through dedicated AV network switches.”

Historically, a 128x128 AV switcher would have been employed for transmission to the 86 stations. Today, however, with Q-SYS and dedicated AV network switches, systems have almost unlimited growth potential.

Connected by a single point to the traditional IT network for maintenance purposes, Netgear AVLine M4300 network switches have been specified on account of their high bandwidth and fibre interconnections, splitting the AV traffic from the traditional IT signals that transport the VoIP, internet and business services. Following a recommendation from UT Consulting, the system was designed with redundancy in mind, with three Netgear AVLine M4350 switchers in an AV network stack incorporating redundant power supplies. Installed in a purpose-built central comms room which consolidates the AV equipment, this includes QSC CX-Q Series amplifiers to power the QSC ceiling speakers zoned throughout the facility in addition to the encoders and decoders. Knoche admits that the complex

The pods are equipped with dental tools and a display connected to a local PC the day’s assignment, the academic providing a presentation of the objectives from a visualiser or PC installed in either teaching point. The teaching demonstration pod contains two specialised cameras. Firstly, students can see into the patient’s mouth with Solana vision cameras embedded into overhead lights in the teaching pod. Forming part of the toolkit, miniature Samia intra-oral cameras attached to tools highlight specific details in the mannequins’ mouths. Microphone lapels provide audio transmission.

For a broader visual demonstration, Q-SYS NC Series PTZ cameras focus on each teaching area. Video signals can be transmitted to every display or zone-defined pod should the students split up to focus on different activities, with the academic teams hosting up to four different activities per class in parallel. Lessons can target individual pods in one, two or

cabling infrastructure between the rooms demanded detailed coordination with the builder and electrical contractor.

Compared to a traditional setup, Knoche discovered that the adoption of Netgear AVLine M4350 switchers greatly simplified the corporate network installation. “With the AVLine firmware, you log onto the switch with a dedicated web-based GUI for AV integrators,” Knoche continues. “This includes drop-down menus with all the tools in a format that makes it intuitive for selecting the correct individual port settings and other parameters. Once that configuration has been set, the audiovisual components are connected and start communicating. By removing IT complexities, audiovisual integrators can better focus on their AV works. Netgear AVLine understands the challenges that a typical IT department experiences from its network switching, including remote

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FEATURES: HEALTHCARE monitoring, control and maintenance updates. In the more traditional teaching spaces at the dental training facility, all network cables connecting AV components for audio or video transmission are routed to a Netgear AVLine switch in the lectern. These switches are pre-loaded with Dante and QSC profiles, allowing them to operate straight out of the box without any clocking or subscription problems between the components.”

With Bendigo a two-hour drive from Melbourne, LTU collaborated with other university sites via Zoom. This introduced a further layer of complexity for Salutari and Knoche. “For educators to collaborate with students in today’s highly connected world, videoconferencing is ideal,” says Salutari. Components include Q-SYS NC Series cameras and four Sharp M 98-inch displays fixed to the outer walls of the preclinic, with a further 98-inch displays serving the central division.

“LTU now possesses AV capabilities that greatly surpass their previous system, which was around 10 years old,” he continues. “A decade is an incredibly long time in AV. Because of the sheer number of sources, destinations, switching and control panels, inputs, design considerations and audio routing, the preclinic is one of LTU’s most complicated spaces. You can’t simply acquire a new version of the previous platform because it doesn’t exist anymore, and it would neither be fit for purpose or futureproof.”

Following extensive research, a Q-SYS platform was specified to replace the previous 128x128 switcher housed in a 45U rack, incorporating a Dell COTS server, while a centralised Q-SYS Core 610 processor distributes audio, video and control signals throughout the Netgear AVLine network of the preclinic.

In addition to providing analogue and networked endpoints, the processor stores the DSP settings for room-combining operations.

Audio, video and control inputs and outputs require distribution to the smaller rooms, including the dental clinic and prosthodontics. For this, each room has a dedicated Q-SYS 64x64 Core 8 Flex DSP and Netgear switch. “We didn’t want to have a single point of failure on any single component, so this design provides redundancy,” adds Salutari. “Our request to monitor the audiovisual components on the network has also been heeded, as health statistics and messages are fed directly into our Q-SYS Reflect monitoring system.”

Integrating intelligent bandwidth management through Q-SYS Shift and AV Bridging, low-latency network video signals of up to 4K60 4:4:4 are distributed to Q-SYS Network Video endpoints. Delivering no-code deployments and automation, NV-21 and NV-32 Series video endpoints integrate into the Q-SYS system without additional management. “We invited our support and maintenance division to be briefed on the

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QSC CX-Q Series amplifiers power the QSC ceiling speakers setup,” explains Salutari. “You can build an amazing space, but it’s more important that the technicians can operate those rooms for the next 10 years. We had to be assured that the capabilities, warranty and support of Q-SYS could support such a complicated environment and be managed by our AV support team rather than a third party.”

The entire Q-SYS network was programmed by Matt Vance from Melbourne systems integrator Optimal Audio, working closely with Citadel. The scripting engine powers the AV control platform, allows third-party plugins and uses Lua programming language for custom scripts with a visual coding tool. This serves as a built-in health check and feeds to the Q-SYS Reflect and the support team as a dashboard. “We wanted to ensure our dental technicians and staff would be able to use such an investment to the best of their abilities,” explains Salutari.

“Matt insisted on hosting workshops with the end users to design a user interface. By having the dental team involved in the design of the touchpanel interface, all the staff were familiar with system operations when it went live.”

The dental clinic is equipped with 16 patient chairs and monitors for displaying selected content from a PC, laptop, document camera or educator’s PC. Equipped with the same capabilities as the preclinic for demonstration purposes, the teaching point is furnished with a preview monitor and Q-SYS touchpanel. A demonstration chair is also installed with touchpanels to mirror functionality of the teaching point.

Operable from the touchpanel interfaces, Q-SYS NC cameras can zoom in as required. The inclusion of X-ray-proof glass created sight line restrictions, so two 98-inch videoconferencing displays are wall-mounted to the north- and south-facing walls.

Educators in the lower-level hybrid teaching space operate from a Podion lectern fitted with a preview monitor and Q-SYS touchpanel, establishing a typical setup for LTU flat-floor teaching spaces. Equipped with two 75-inch displays on the rear and front walls, the classroom can host videoconferencing for remote lecturers or for a classroom-based lecturer to videoconference to another location. Q&A sessions are enhanced by Sennheiser TeamConnect Ceiling 2 microphones, which output to QSC ceiling speakers. Streaming video feeds from the main presentation area adjacent to the teaching point, Q-SYS NC Series cameras identify content played on a media device or within a media file courtesy of inherent Automatic Content Recognition (ACR) technology.

Selected for their reliability and familiarity across the LTU campuses, Shure wireless lapels and Beta handhelds are used throughout. “Staying with the Shure brand ensures that our students and educators remain familiar with these components configured in a similar manner,” explains Salutari. “From a support perspective, you are more confident when someone reports a fault knowing the operator is familiar with that component, plus we have the benefit of a reduced spares inventory.”

Previously, in hybrid spaces, a student would ask a question in a classroom, and the academic would repeat the question for those watching online, using a handheld. “With ceiling microphones, a student can now ask a question without the use of a handheld and is instantly audible both in the room and online,” confirms Salutari. “This can immediately be interacted without a delayed 3-way conversation between the questioning student, the academic and the others in the class.

The academic is engaging more with the students as they are visible, with the camera automatically tracking the enquiring student.”

Although the IR augmentation system must fulfil legal requirements, LTU demanded the most appropriate system, with coverage that extended beyond a tick box. Ultimately, a Williams AV infrared solution was installed. “Multiple transmitters have been provided in every room, due to sightline interruptions,” says Knoche.

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FEATURES: HEALTHCARE Futureproofing played a major decision-making process beyond traditional audiovisual. “Following commissioning, we retain access to the code for the Q-SYS Core processor and touchpanel,” explains Salutari. “Upon completion of the project, our support team now requires that code be available for future programming adjustments. With the code running in real time on Q-SYS Cores, modifications to the code can be made, extensive testing performed and the new code updated to the Q-SYS Core.

If LTU ever wishes to make a change, such as the font or logo, it can be downloaded, modified and re-uploaded.”

A Williams AV infrared solution has been provided for both students and educators, but without distracting from the dental practices. As we monitored the network and waited for service calls on that first day, we realised that they were completely at home in the new space. There would be no traditional six-month learning curve thanks to the combined efforts of Daniel, Matt Vance and Citadel.”

Previously convinced that audiovisual technology has its limits, Salutari now appreciates its dynamism. “By challenging the boundaries to deliver desired outcomes, this project has provided me with a much better understanding of how we can adopt audiovisual technology in teaching spaces that ultimately benefits the student,” he summarises. “The deployment of AV technology is crucial; even the most advanced systems aren’t universally suitable – their effectiveness depends on context and user needs.”

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In the runup to the grand opening, training was conducted to provide a holistic overview. However, Salutari became aware that both the educators and students had accrued high-level training following their input into the touchpanel interface design. Nevertheless, he was naturally nervous when the live date arrived and the first batch of 80 students from the old facility arrived onsite. “They were operating the new equipment in a new location, but appeared unfazed, despite some of the equipment still being wrapped in plastic,” he recalls. “We have created an educational format that offers AV capabilities

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Cinema paradiso

One of India’s leading actors has opened a private Dolby Atmos screening room with a Munro Acoustics design providing isolation from its busy surroundings. Caroline Moss visits

Dolby speakers and subwoofers form the Atmos cinema system PRIVATE SCREENING ROOMS IN MUMBAI THAT PROVIDE A premium immersive listening experience are still somewhat of a rarity. Needing somewhere to debut the latest film releases to family, friends and industry colleagues, a famed Bollywood superstar has opened his own 42-seat private theatre in the city.

The Dolby Atmos room was designed by Munro Acoustics, the team behind Mumbai’s other strong contender in this sector: Lightbox at Excel Entertainment (Pro AVL Asia January–February 2024).

“The beauty behind this cinema is that the entire front end comprises Dolby speakers and subwoofers,” explains Munro Acoustics consultant, Utkarsh Naidu, “but the only system that could provide the flexibility required for switching the feeds from the Dolby IMS300 media server and the amplifiers was Q-SYS.” However, introducing a Q-SYS Core 110f processor with DC10-H cinema interface into the system presented a unique challenge to the team. “Connecting the Dolby DMA amplifier directly to the IMS3000’s DCI interface worked flawlessly but routing the AES67 stream through the Netgear switch and Q-SYS was challenging, as the DMA amplifier wasn’t receiving the feed,” he continues. “The L-C-R channels are analogue, and surrounds and bass management run on AES67. Q-SYS was handling distribution and source integration including DCI and HDMI from the AV receiver, while calibration remained on the IMS3000.”

Then, Dolby invited Naidu to attend CinemaCon 2025 in Las Vegas, where he discussed the issue with the team, including Joseph Boutros, Dolby’s senior manager for cinema and technical lead. “Their insights were invaluable,” he continues. “Based on our conversation, I realised I needed to monitor network traffic more closely. Using the Wireshark network protocol analyser, I was able to identify and correct the IGMP [internet group management protocol] snooping configuration required, which finally enabled the Dolby DMA amplifier to receive the AES67 streams from Q-SYS. However, the audio suffered from reduced sample rates and digital distortion. To resolve this, I segmented the network into two VLANs, one dedicated to control and the other to AES67 traffic and routed the AES67 stream through the secondary LAN port on the Q-SYS

processor. This adjustment delivered flawless immersive audio, ready for amplification.”

Back in India, Shawn Mendes, cinema staff support engineer at Dolby Laboratories’ local office, was on hand to assist with a few design challenges that the Munro team were facing. “Because this is a combination of two screen ratios – a flat screen and a wider scope format – the acoustic centres of the L-C-R had to be adjusted accordingly,” explains Munro acoustic consultant, Vignyan Beera. “It took a few iterations of working out the screen sizing and matching the acoustic centre to achieve this.”

The installed system comprises three Dolby 131 L-C-R screen channel speakers, eight DSR1280 immersive surround speakers and 24 DSR1090 cinema surround speakers, with four SB218XL dual 18-inch and two 118-I cinema bass management subwoofers handling low frequencies. The system is powered by a Dolby DMA32301 32-channel amp and five RAM Audio Z440 4-channel amps, with a Marantz AV8805A preamp AV processor and a variety of streaming devices.

The building had been constructed around a decade ago, with the provision for a theatre built in at the planning stage. So, while the necessary height and space to accommodate a full Dolby Atmos system were included from inception, there were challenges as other areas of the building became functional. This included a gym next door to the theatre and a food court and dining experience below. “It’s a high-intensity workout gym, with weights being dropped and loud music playing,” says Beera. “When we started on the design, we did our usual assessments, which included actually dropping weights ourselves and taking vibration measurements. We ended up floating the entire floor and building the walls off that, to isolate the room. We also had to provide good separation between the dining experience below. Fortunately, the architect was very accommodating to work with.”

While the planning stage was still ongoing, stricter municipal regulations were introduced, ultimately requiring a redesign.

“Initially, the screen was on the other side of the room, opposite where it is now,” he continues. “Everything had been designed, and

L–R: Munro Acoustics’ Vignyan Beera and Utkarsh Naidu then the new municipal and fire regulations kicked in and we had to go back to the drawing board. We did a full flip to accommodate the fire exits and other new regulations.” This included providing two emergency exit doors at the front of the room, either side of the screen, in addition to the main entrance at the rear.

Due to the client’s widespread fame the theatre is a closely guarded secret, reserved for the actor’s family, close friends and production partners for private previews. Fulfilling the brief of providing a premium viewing experience, the space blends cuttingedge technology with refined aesthetics. While the technical setup was left to the experts, the interiors were designed by the star’s sister, giving the theatre a distinctive style. The result is a luxurious, state-of-the-art retreat which has established a new benchmark for private viewing facilities in India’s film capital. www.dolby.com www.munro.co.uk www.qsys.com

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FEATURES: ENTERTAINMENT

72 Courtyard has undergone a major refurbishment

The lighting design features colour-based moving

Bangkok clubland beams brighter

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After a redesign by London club specialist Most Technical, Beam is reclaiming its place at the cutting edge of Bangkok nightlife BANGKOK’S CLUBLAND SCENE EBBS AND FLOWS, WITH venues quickly falling in and out of fashion and favour. But, as iconic club Beam is demonstrating, there are a few that stand the test of time. Beam, which launched in 2016 at the 72 Courtyard development in the Thonglor district of Bangkok, has reopened following a major revamp based around a complete new acoustic design. Beam once again partnered with Most Technical, a UK-based consultancy which has been responsible for system integrations at leading nightclubs including London’s Fabric and Ministry of Sound.

Beam’s year-long closure saw a focus on sound quality and immersive design under the supervision of Most Technical’s director and systems engineer Dave Parry who, aside from the aforementioned London clubs, has worked extensively across the globe, with Asian venues including Elevate and Shroom in Delhi and Nox, Zhao Dai, 44KW and Pillbox in China among others. In recent years, Parry has worked with UK speaker system manufacturer TPI to integrate its technology into a number of his club designs, selecting TPI’s Type. Totem 2 flagship ground-stack reference system for the Beam revamp.

TPI was launched in 2016 by a group of analogue engineers determined to preserve their craft in an increasingly digital world.

With more than a century of combined experience between them, they set out to design audio equipment that focused on fidelity and build quality. Founder Giles Smith is an electrical engineer with a lifelong connection to music, and has worked with Parry for eight years, completing six nightclubs with him across Asia.

“Giles is pretty single-minded in what he wants,” says Parry.

“TPI is a cool, small UK-based company with amazing sounding and beautifully built kit. I’d previously used TPI systems in some other spaces in China including 3 The Bund. I specified some for

the house of Beam’s owner, Chet Chetchotisak, and he loved them, so I used them in a small offshoot bar below the main club, Beam Bar.” The system installed at Beam Bar consists of two TPI Type. FV-1 high-output, wide-dispersion models, a Type. MFR bass unit and two Type. MM-8 compact speakers, powered by a Type. PM8000 amplifier. This paved the way for an installation at Beam Cube, a sister venue across town, where Parry designed a system comprising a custom Type. MFR stack with extra subwoofers, six Type. V-28 speakers and two Type. UC-15 sub bass units, before pushing the envelope further with the flagship Totem system for Beam, which already had a reputation for having one of the best sound systems in Thailand. “I put in the original system along with a BodyKinetic floor in 2016, so we needed to up the ante,” Parry continues. “Beam Cube brought a new focus onto the sound system quality that Beam is known for across Thailand, so the new system had to not only match the sonic quality of Beam Cube but totally exceed it, and Chet was open to it. The new system sounds superb, with some serious punch, and I think we surpassed the brief.”

Parry based his design for Beam around two Type. Totem 2 ground-stacked 3m-high systems with custom-designed drivers, patented crossover technology and a V-fronted array formulation. Each stack consists of two V15-2 ultra-high-output dual 15-inch cabinets, two V8-2 ultra-high-output dual 8-inch cabinets, a wide dispersion 2-inch horn and four ultra-highoutput 18-inch subwoofers. The Totem stacks are powered by one Type. PM2HD amplifier and one Type. PM8HD Class D amplifier, plus two Type. PM10HP amplifiers which have been developed for bass output. A TPI Type. Producer DSP is provided for speaker management and calibration. Additionally,

Dave Parry is renowned for his international club designs

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panels on hoists an MFR sub bass unit and two V28 amps have been installed in the bar area.

The redesign has completely reimagined Beam’s sonic identity.

Designed to accommodate an increasingly diverse music programme, from house and techno to drum ‘n’ bass, hip-hop and UK garage, a new system provides a powerful, controlled environment tailored to long-format DJ performances and extended operating hours. According to Beam’s owners and design team,

the renovation brief centred on three key objectives: improved sonic focus, enhanced system intelligibility at high SPLs and even coverage across multiple audience zones. The intention was to retain the venue’s minimal, warehouse-style aesthetic while achieving a more intentional and tightly defined listening experience.

Complementing the audio upgrade, Beam introduced a new lighting concept inspired by the work of American artist James Turrell. The design employs colour-based light panels that provide diffuse, ambient illumination rather than conventional moving fixtures. The panels incorporate bio-textiles developed

by Denmark’s Natural Materials Studio, aligning with Beam’s commitment to sustainability and multi-sensory cohesion. The minimal lighting approach reduces visual distraction, allowing the focus to remain on the sound system and the performance. The lighting design also incorporates 10 BeamZ MHL 1940 moving heads and eight BeamZ Nuke hybrid strobe/beam lights. “The light panels are on hoists, and three Panasonic projectors focus on the walls above the DJ and onto the moving panels, with a further Panasonic projector in the DJ booth itself,” explains Parry.

“There are also countless Acme Lighting LED bars running across the length of the walls and six strobes mounted in the floor for good measure.”

The refurbishment of 72 Courtyard also encompassed Beam’s lower-level venue, Katsu, which occupies the space formerly known as Beam Lounge. Here, Most Technical repurposed and re-engineered a Void system to suit the room’s new function as a more open-format, genre-flexible space hosting hip-hop, house and R&B. The Katsu system is based around a Void Venu main system with Stasys sub bass units and Impulse 4 fill speakers, powered by Void Bias amplifiers. The upgrade has also created the Feral wine and cocktail bar, which is newly installed with a stereo custom soffit-mounted speaker system in orange from another renowned UK manufacturer, Master Sounds, and a Master Sounds Four Valve MK2 DJ mixer.

The upgrade of Beam, together with the other newly renovated spaces, enhances the site’s reputation as a multi-venue

Dave Parry’s design for Beam is based around a pair of 3m-high Type. Totem 2 systems entertainment hub, signalling a confident new chapter for one of Bangkok’s most forward-thinking nightlife destinations, where sound, design and community converge. www.eraa.uk.com www.tpi.co.uk www.voidacoustics.com

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BUSINESS: COMMENT

A letter from America The fading of independence day for small music venues is upon us, notes Dan Daley MUSIC RECORDINGS SOUND MORE AMAZING THAN ever. Putting aside the obviously subjective matter of the aesthetic quality of the music itself, the productions’ sonic quality is benefitting from a combination of signal processing capability and a generation of music producers and audio engineers reared on online tutorials, as well as a generational leap in terms of willingness to take artistic chances and cast aside convention. Granted, there’s far more slop to wade through now, but the number of innovative gems it spawns can make it worth it.

Not so for live music, however, and that is far more ominous than AI-generated “music” for the future. Yes, top-level concerts and tours have evolved into true events, necessitating rehearsal facilities that rival the heyday of Hollywood and Pinewood sound stages. But it takes that kind of scale to support the level of productions that induce concertgoers to shell out US$250 for a halfway decent seat in an arena or stadium now.

But that dynamic is leaving behind the grass roots of the industry: the bar/pub band-level venue, where each generation of musicians has learned its trade. In October, the National Independent Venue Association (NIVA) released

its State of Live reports – a series of studies examining the economic impact of independent live music venues across all 50 US states. It’s not pretty. The studies highlight the financial difficulties facing the independent live entertainment sector, with 64% of independent stages nationwide reporting unprofitability in 2024. Rising costs across labour, taxes, rent and artist expenses, along with anti-competitive practices from national-level competitors, continue to pose major challenges. It’s not just an American phenomenon: since 2023, more than 150 of these venues have permanently closed their doors in the UK alone – about 16% of the entire sector, says The Guardian newspaper. But, as with everything else American, it’s the scale here that makes it so disturbing.

Those independent music venues generate sizeable sums: the report says they created US$153.1bn in total economic output, contributed $86.2bn to US GDP, supported more than 907,000 jobs and paid over $51.7bn in wages and benefits. Nice numbers but drops in a bucket of the country’s $29tn GDP. How much reaches individual venues, musicians and workers is unclear, but it’s likely not enough to sustain anything close to a middle-class economic existence for most of them. Gentrification – the transformation of cheap,

funky neighbourhoods that allowed small venues to establish themselves into upscale residential destinations – has been a quiet but effective killer of these kinds of clubs, raising rents, taxes and other costs beyond their ability to sustain them.

Ironically, some corporate behemoths have themselves moved into the independent venue space, seeking authenticity but with the deep pockets the real thing rarely has.

Several movements have recognised this loss of rootslevel venues and are taking steps to preserve them. Some have called for small levies on the ticket sales of the largest companies behind the loss of indie venues to help support them. Cities, aware of the value that live music in small venues brings by attracting patrons who spend on other businesses in the area, are instituting things like “night mayors”, developing policies to maintain those venues’ economic health.

It’s too soon to tell if these strategies will help stem the loss of these foundational venues. Like so many wildlife preservation initiatives, they’ve arrived after much of the population has already been devastated. But it’s worth an effort. If we could bring vinyl back from the dead, why not [legendary New York music venue] CBGB, too?

A letter from Europe

Phil Ward tours the historic Hansa studio in former East Berlin and encounters ghosts of the past amongst its 21st-century reincarnation STUDIO SURVIVAL IS ALWAYS HEARTWARMING. Across Europe those that have survived tend to have a story attached to them, while the rank-and-file fall by the wayside to be replaced by digital sheds. Few have a better story to tell than Emil Berliner Studios, as it’s now called, in Berlin.

You will know it better as Hansa Tonstudio – or “Hansa-by-the-Wall” – and although that title has gone, the place retains a vigorous lust for life, to quote Iggy Pop. If you are lucky enough to be introduced to Rainer Maillard – producer, tonmeister and recording engineer – on a visit to Neumann microphones around the corner, you’ll be whisked off for a technical tour merely by enquiring: “isn’t it round here somewhere?” Before you know it, you’re standing in the Meistersaal, the very room in which Iggy Pop, then David Bowie, then Depeche Mode, then U2 made a few of their most celebrated albums, and it seems astonishing that it has survived intact into the third decade of the 21st century.

This is largely because the place has come full circle.

Constructed between 1910 and 1913, it was originally an event space for the Berlin building trade association.

Today, it’s again used as a corporate event space, run

by BESL Eventagentur. Indeed, the Meistersaal is a grand

fin de siècle ballroom with a stage, and no self-respecting Berlin insurance company would consider anywhere else for a party. Thank goodness, too: all of this helps to pay Rainer’s bills thanks to a partnership agreement with EBS Productions GmbH. The Ariola record label adopted it for classical recording in the 1960s, while new owners in the early 1970s renamed it Hansa and introduced more modern forms of music.

Now, as EBS, it’s the ultimate vintage-plus-modern hybrid: there’s a beautifully preserved Studer A800 MK III, a fully operational disc-cutting lathe and computers. Suitably enough for a business named after the inventor of the gramophone, the lathes are fully restored and used for all-analogue, direct-to-disc recording sessions on a regular basis. Of course, most recording nowadays is on Pro Tools, although the SSL 4000 E Series installed during a huge upgrade in the early 1980s is still here in the Studio One control room.

The Meistersaal is 270m2, nearly 7m in height, about the same size as Studio Two at Abbey Road but, unlike Abbey Road, its control room was physically and visually separate.

All the tielines are intact; there are new control rooms, also

out of sight, but the old one is now a well-appointed bar where delegates mingle, pre-Saal.

This side of the building was just 200m from the Wall.

Rainer casually announces that its two windows, facing north-east at right-angles to Köthener Straße, are the ones through which you could look over the Wall, survey the barbed wire wasteland of Potsdamer Platz and feel the dark, alluring frisson of East Berlin – and, perhaps, conjure up some lyrics about star-crossed lovers. Producer Tony Visconti’s welldocumented techniques, using four Neumanns hanging in each corner of the room as well as three more paced out in a line for the lead vocal, sure did the job of imbuing Heroes with its eeriness, underpinned by the cerebral ambient machinations of both Robert Fripp and Brian Eno. The whole facility is available to anyone in search of such inspiration or, maybe, simply in need of a fine orchestral space. Because, in truth, the fairy dust of these acoustics is now the fine particulate matter of history, the view from the window takes in a bland grouping of smart new apartment blocks and Potsdamer Platz is a fun-packed, neon-lit theme park dedicated to consumerism. I guess you have to survive somehow.

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BUSINESS: PROFILE

Precision in every detail

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Simon Luckhurst explores Fohhn’s 30-year pursuit of engineered sound perfection

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AS THE CATHEDRAL PRESET ENGAGES INSIDE THE Fohhn SoundLab, the room seems to inhale. Reflections collide, speech blurs and then – with a few mouse clicks – everything snaps into focus as a narrow beam locks onto the listener. It’s a concise demonstration of what Nürtingen-based loudspeaker manufacturer Fohhn has built its reputation on: precision control of acoustics through engineering rather than spectacle. The demo ends with a reminder that “good sound doesn’t have to be seen”, and it soon becomes clear that this is more than simply a tagline.

From the outset, Fohhn has approached loudspeaker design as both science and craft. Founded in 1993 by musicianengineers Jochen Schwarz and Uli Haug, the venture grew from their frustrations with the patchwork PA systems of the 1980s and a belief that sound reinforcement needed to function as

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Nico Schwarz inside Fohhn’s huge anechoic chamber

a “complete, predictable system”. Three decades later, that philosophy underpins everything from the company’s beamsteering columns to its amplifiers and software. Jochen’s son, Nico, stands ready to carry the founders’ vision into the next generation, uniting acoustics, electronics, software and industrial design under one roof at the firm’s energy-efficient German headquarters.

The story traces back to the mid-1980s, when the elder Schwarz and Haug were teenagers in a band. “We were 18 years old, and I was the keyboardist while Uli mixed the sound,” recalls Jochen. “After hundreds of concerts, we realised how poor the audio often was. Systems were just random combinations of boxes – subwoofers from one brand and horns from another.”

The pair’s experiments with self-built PA rigs led to the first

inklings of Fohhn’s core idea: reliable audio demanded a system mindset. “We called it Tontechnik mit System – literally, audio technology as a system,” says Haug.

In those early days, the company operated from a basement workshop armed with little more than a soldering iron and conviction. “We were students by day and technicians by night,” Haug smiles. “We’d build our own crossovers and cabinets, test them in the village hall, then tear them apart again the next morning.” Their first customers were local churches and touring acts who shared similar frustrations in pursuit of good sound.

Much of their income also came from OEM work, which financed further experiments under their own name. “That was our apprenticeship,” says Jochen. “We learnt what works, what fails and where the hidden costs are.”

Beam-steering right in front of your eyes!

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BUSINESS: PROFILE

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3D printing has taken Fohhn’s obsession of precision engineering a stage further

A look under the surface unveils Fohhn’s engineering pedigree Those lessons led to Fohhn’s first independent product: EasyPort, a battery-powered all-in-one PA for outdoor ceremonies.

“A pastor came to us and said, ‘I need a speaker for funerals – something wireless, easy to carry and quick to set up’,” recalls Jochen. The self-contained system became the company’s first DSP loudspeaker, helping establish a reputation for practical engineering and durability. Early work for churches also exposed the team to acoustically challenging spaces and sparked the innovations that would later define Fohhn. “We were dealing with reverberant rooms long before beam-steering was a trend,” says Haug. “Our goal was always clarity – to make speech intelligible where it had never been clear before.”

Today, exporting globally through a growing network of partners, Fohhn claims the world’s largest beam-steering portfolio, from the

With a need to blend into the environment, speaker customisation is big business compact Focus Slim to the towering Focus Venue arrays used in concert halls and arenas. Each system’s directivity can be shaped in real time through software. “Every loudspeaker in the array has its own amplifier channel and DSP,” explains Nico. “By controlling delay and level across each driver, we’re able to steer the beam vertically without mechanically tilting the enclosure.”

Perfecting this balance of acoustics and aesthetics, however, took years. “When you bring a 12cm-wide column to an architect, they’ll say it’s too big,” notes Jochen. “If you return with one just 7cm wide, they’ll still say it’s too big.” The drive for slimmer housings forced Fohhn to redesign both transducers and internal electronics, fitting multichannel amplification and DSP into an enclosure barely wider than a hand. “It was a long process,” says Haug. “But the Focus Slim proved that high-end beam-steering didn’t need to dominate a space.”

This integration of form and function runs throughout the company’s approach. Its design and production processes – from cabinet carpentry to PCB assembly – are all housed under one roof at the Nürtingen facility, which opened in 2020 after years of the team operating across seven separate sites. “It changed everything,” says Nico. “R&D, production, logistics and the custom paint shop are now within walking distance. It’s more efficient and means the people who design the products see them being built every day.”

Touring the production line with the younger Schwarz reveals how important in-house development remains. The acoustics lab includes two anechoic chambers – one equipped with a robotic arm for 360° polar measurements and an adjoining materials lab for waveguide prototyping. One recent column’s waveguide went through no less than 74 design iterations to achieve the right dispersion. Engineers subject each design to 100-hour stress tests, thermal and ingress testing and long-term endurance cycles before approval. “We create power presets for every amplifier so it’s impossible to burn the speaker,” adds Nico. “That data comes from these tests and is part of our safety philosophy.”

The company’s self-described “love for the details” also extends to visible elements. Customisation is now a major part of the business, with around 20% of products leaving the factory in bespoke colours or finishes. In the paint shop, a batch of brushed-metal columns awaits shipment to the German Parliament. “If an architect wants a specific shade or texture, we can match it,” Nico says. “Good sound should fit perfectly into its environment.”

Close collaboration with architects has therefore become second nature. Jochen recalls an early beam-steering installation in a listed church where strict preservation rules limited mounting options. “There was a painting behind every column, a sculpture in front of every pillar and nothing was allowed to move,” he says.

“The team simulated every possible position until they found the one spot that would cover both nave and balcony. The result impressed clergy and heritage authorities alike – it proved that technology and architecture don’t have to fight each other.”

This obsession with integration has shaped Fohhn’s relationship with architects and consultants ever since. “From the beginning we offered planning support,” says Haug. “You can make the best loudspeaker in the world, but if someone installs it in the wrong place, it won’t perform. So we help with acoustic design, simulation and commissioning.” Fohhn Designer software allows clients to model rooms in 3D, adjust beam angles and hear predicted results.

Behind the precision lies a strong sense of independence.

Fohhn develops its own DSP platforms, amplifiers and control software, and was among the first to network loudspeakers via Ethernet with Airea in 2004. Today, Dante integration and PoE are standard across the portfolio. “Every speaker speaks Dante,” says Jochen. “It’s the language of pro AV.” The company is also working directly with Audinate on Dante Direct implementations optimised for PoE systems.

While acoustics remain the foundation, the team’s focus is increasingly IT-driven. “We’re in pro AV, not rental or residential,” says Haug. “Our customers need managed systems – hundreds of networked speakers across multiple rooms, monitored from a central control room. Our task is to make those systems IT-friendly, secure and easy to manage.”

At the heart of Fohhn’s mission is a team of around 130 employees drawn from both musical and technical backgrounds.

Nearly half work in production, with the remainder in R&D, logistics, sales and administration. “We’ve always tried to keep the same spirit we had when we started,” says Haug. “Everyone here plays some part in the sound.”

Recruiting, however, has changed. Where the company once looked for acousticians and cabinetmakers, it now hires network specialists and software engineers. “A few years ago, if you could solder, you were qualified,” Nico jokes. “Now, we need people who can write firmware and understand Dante clock domains.”

Fresh off the line – the compact Scale-1 PoE cabinet Sustainability is another thread running through both product design and corporate culture. The Nürtingen headquarters, built to the KfW 55 standard, consumes 45% less primary energy than comparable modern buildings. “When we built it, we didn’t think about money. We were more concerned with our responsibility,” says Jochen. “But when energy prices rose, the savings proved themselves.” Fohhn has also formed a sustainability committee and collaborates with universities on research into recyclable and plastic-free materials. “If you destroy your environment or mistreat your employees, you won’t survive long,” he says. “A good company must take care of both.”

Long product life cycles are part of that philosophy. Amplifiers are rated for at least 100,000 operating hours, all products are repairable and systems installed more than two decades ago – such as at Munich airport – remain in daily use. Clients can retrofit new modules into older models, extending lifespans significantly.

“Some ask us to build systems that will last 30 years,” Jochen notes. “We don’t always recommend it, but we surely build with that durability in mind.”

Digitalisation, meanwhile, is seen as an enabler rather than threat. “The biggest change in audio has been the shift from analogue to digital, but what’s more important is how it changed mindsets,” reflects Haug. “Today’s decisions are made not by the guy with the soldering iron, but by the IT manager who needs to monitor systems remotely and know they’re online every morning.”

For Nico, representing the next generation, that transformation is only the beginning. “There’s more discussion now about network management and data security than about sound,” he says. “The sound will always be good – our job is to make sure the system is smart enough to prove it.”

Back in the SoundLab, the virtual cathedral fades to silence as the beam-steered voice that earlier demonstrated the technology signs off with quiet pride: “We are a system manufacturer.” After time inside Fohhn’s meticulously ordered world, it’s clear that this isn’t a slogan but the product of 30 years of treating sound as an engineered, sustainable and human pursuit. It is this coherence, rather than any single loudspeaker, that defines Fohhn today. www.fohhn.com

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BUSINESS: TECHNOLOGY

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Sound without spillage

Saltatio Mortis at Wacken Open Air 2025

As environmental restrictions tighten, broadband directivity has become a key point of differentiation for system designers and according to d&b audiotechnik manufacturers THE SUCCESSFUL STAGING OF OUTDOOR EVENTS increasingly depends on factors that have little to do with production values. Beyond the usual concerns of coverage, clarity and reliability, there is now a growing requirement to contain the system’s acoustic footprint.

Venues are becoming more acoustically complex, shows more dynamic and local governments less forgiving. Offsite complaints, once treated as the inevitable background noise of outdoor culture, are fast becoming showstoppers and, in certain markets, regulatory tolerance for offsite emissions has tightened significantly. Simultaneously, touring and rental companies are looking for greater flexibility and precision in how their systems behave across varied venues.

One of the more significant responses to this shift has come in the form of broadband acoustic directivity – specifically, full-range pattern control that extends into the low-frequency domain. While high- and mid-frequency dispersion has long been shaped through horns and waveguides, low frequencies have typically proved harder to control. Their longer wavelengths tend to radiate in all directions, which not only adds unwanted energy to the stage and reflective surfaces but also increases the risk of offsite disturbance.

Given that German loudspeaker manufacturer d&b audiotechnik considers itself to be something a leader on the topic, Pro AVL Asia sat down with recently sat down with its loudspeaker

product manager, Santiago Alcalá Baillie, to see how the market is responding to this challenge.

“People used to worry about whether their PA would be loud and reliable enough to survive a summer of festivals,” says Alcalá.

“Now, we’re in a completely different era. It’s not just about being loud, but about evenly distributing that powerful sound to everyone in the audience, and not anywhere else. At the same time, audience expectations for sound quality are higher than ever.

These forces are colliding in ways that demand smarter, more intentional system design.”

The company’s approach to this problem can be traced back to 2013, when engineers identified a persistent 100Hz peak travelling beyond the boundary of a large German festival. By time-aligning the main arrays, they were able to attenuate the problematic frequency in the affected zone without compromising audience coverage. That incident contributed to the development of NoizCalc, a software tool designed to predict offsite SPL levels.

Three years later, the launch of the SL-Series saw the first d&b large-format systems to offer full-range directivity, including cardioid behaviour at sub-100Hz. Consisting of the GSL, KSL and later XSL systems, the series became one of the few touring-grade solutions to integrate this level of control in a line array format.

According to Alcalá, the SL-Series helped confirm that there was demand in the market for loudspeakers with this behaviour – despite their higher cost.

An array of eight CCL8 top cabinets “It wasn’t a given that people would pay more for a system because it reduced side and rear low-frequency spill,” he notes. “But the advantages in real-world applications for promoters, neighbours and even monitor engineers turned out to be definitive and unquestionable. Once our industry experienced what the SL-Series could do, the next question is always the same: can you make it smaller?”

That question led to the development of the CCL compact cardioid line array. Released in 2025, CCL is the first of d&b’s

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BUSINESS: TECHNOLOGY smaller-format systems to adopt the same directivity concept.

It retains many of the underlying electroacoustic principles of the SL-Series, but with a more compact form factor and halved channel count, requiring a single amp channel per cabinet. While intended for performance venues, regional festivals, houses of worship and other mid-sized applications, the product also serves a larger strategic purpose.

“CCL is the first system in the second wave of our loudspeaker systems portfolio strategy,” says Alcalá. “SL proved the concept works in large formats. CCL is now proving that it can be scaled-down and still bring all the same advantages and benefits to smaller projects. It changes the conversation.”

Alcalá is aware, however, that convincing long-time users to adopt something smaller and more efficient can take time.

“FOH engineers, system designers, promoters and venue owners demanded something lighter and easier to deploy than the SL-Series, but, when CCL is unpacked, the first reaction is scepticism,” he explains. “They still expect performance to be linked to size or weight. There’s still a quick and smooth learning curve.”

Internally, building CCL required several changes to the company’s normal design and manufacturing processes.

The tight dimensions of the box leave little margin for error, particularly given the need to fit ports, drivers and structural bracing into a single enclosure without impacting the exact internal volumes and mechanical intricacies that make CCL work. Alcalá describes the product as “enormously satisfying to listen to and to sell – but extremely difficult to design and manufacture”.

He also points to a broader trend in loudspeaker development: a shift from chasing higher output to refining efficiency. “As an industry, we’ve pushed most loudspeaker parameters close to the limits of physics,” he says. “You can’t really create loudspeakers that are significantly louder unless you make them bigger, more complex and use expensive exotic materials. But you can make them

But with noise management increasingly tied to licensing and compliance, systems that can accurately direct their output are gaining traction – especially in built-up areas.

“I don’t think there’s any doubt that this approach is going to spread,” Alcalá reasons. “The days of measuring success in maximum SPL are over. What matters now is consistency, accurate predictability and keeping broadband acoustic energy exclusively where it’s supposed to be, indoors or outdoors, avoiding walls or neighbours, while stages quiet for the artists and keeping the audience joyfully entranced by the show.”

CCL Sub more efficient – whether that means lower power draw, fewer enclosures or simpler deployment. That’s where we see the future opportunities.”

That efficiency includes removing unnecessary operational and logistic complication in system design. Through its simulation and planning tools, d&b has increasingly encouraged users to take a more measured approach to system scaling and rigging decisions. “If ArrayCalc software shows you can do the job with four elements instead of 32, why carry 32?” asks Alcalá. “Of course, some people still prefer to over-specify, but we’re trying to shift the mindset.”

While CCL is still in the early stages of rollout, feedback has been broadly positive, particularly among younger engineers and contractors. According to Alcalá, what was initially met with caution is now being embraced as a new baseline. “It’s already being used as the go-to reference system even by people who never previously worked with SL,” he says. “For them, this is just how sound should behave.”

Whether or not that view becomes widespread will depend in part on how fast the industry adapts to changing priorities.

Not every region has a strict level of regulation, and not every venue operator is focused on environmental control.

With noise regulation tightening and audiences less tolerant of poor or uneven sound, d&b’s focus seems well-placed.

In an industry where every show must now operate at the intersection of creativity, compliance and community, the ability to control where sound goes and, crucially, where it doesn’t, may well be the defining factor for the next generation of events. www.dbaudio.com

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING

Tackling stage monitoring head on

Funktion-One has debuted the PSM15, offering advanced stage monitoring for live applications WITH THE launch of the PSM15, Funktion-One is applying the same level of loudspeaker engineering and technology that it does to its flagship PA systems.

The 15-inch stage monitor has been built around a triaxial, biamped architecture.

Instead of the conventional 2-way common magnet arrangement found in many wedges, where a large driver handles low and mid frequencies while a compression driver covers the upper midrange and high end, the PSM15 divides the workload more evenly. A dedicated midrange section sits between the 15-inch low-frequency driver and the high-frequency compression driver, reportedly reducing intermodulation distortion. This distortion occurs when an HF driver is also tasked with producing midrange content, often resulting in blurred or harsh reproduction.

A key element of the PSM15 is its waveguide design, which delivers a nominal 70° x 50° (VxH) pattern. Coverage is said to be focused and consistent across the

listening area. Crucially for a monitor wedge, this directivity control reportedly makes the PSM15 less prone to feedback, with its constant directivity characteristic resulting in a “stable and predictable” gain margin.

Many modern stage monitors rely on hidden preset EQ to achieve a usable response, but the PSM15 is designed to be naturally flat without corrective processing.

This reportedly gives monitor engineers maximum headroom and removes the uncertainty associated with hidden DSP curves. For touring productions that carry different consoles or move between house systems, the predictability of a neutral starting point can be an advantage.

According to the manufacturer, the monitor delivers very high output without the strain or brittleness often associated with pushing a wedge hard. When performers request more level, the sound reportedly remains coherent rather than becoming harsh or indistinct. Reduced distortion can facilitate a lower SPL with

more clarity, resulting in safer listening for musicians and engineers working long shows or multiple performances in a day.

The enclosure is compact and designed for real-world handling. The unit includes M10 flying points for yoke mounting and M8 points for use with a stand adapter, extending its usefulness beyond the floor wedge role. It is suitable for small stage reinforcement, side fills in tight spaces or where monitors need to be suspended.

Amplification is provided by the manufacturer’s D100Q-DSP or D80Q-DSP. The TR-1 tour rack contains three D100Q or D80Q amplifiers for a total of six mixes and up to 18 wedges per rack. The signal and loudspeaker patch panels have been designed to accommodate both stage monitoring and main PA applications, with six analogue inputs, six NL4 outputs and four etherCON ports for control and AoIP. Three NL8 connectors are also available. www.funktion-one.com

A–ZCONTENTS Adamson ArrayIntelligence V1.3 Alcons Audio M-Series Alto Professional TMD16 AMC Baltic RC 5 / CCA 2X1.5 Analog Way Aquilon Cmini API Audio 312 SEPIA ARRI LPM-1 Astera SolaBulb ATEN CE801 / CS742H Atomos Ninja TX GO Audient ORIA Mini Audiofocus 118SG / 118SGa Avocor/DisplayNote Launcher v2 Ayrton MagicDot Neo Blackmagic Design Streaming Decoder Bolin Technology Discovery Tool 2.0 Bose Professional DesignMax Luna DML88P Canon RF 85MM F1.4L VCM / CR-N400 Celestion TF0512HE Claypaky Ultimo Sharpy update d&b audiotechnik CCLi DiGiCo S-Series V3.1 Digital Projection Luma 37000 WU Dynaudio Acoustics Delta Series Eclipse Audio/Bose Professional FIR Designer v4.5 ETC Irideon FPZ Plus Extron FOX3 T 211 / FOX3 SR 211 Fulcrum Acoustic Driveflex / Fulcrum One v1.5 Funktion-One PSM15 Genelec 8380A Harrison Audio D510ua High End Systems MegaPix / GigaPix Ikegami UHL-X40 / UHK-X700RF Joyned MU16 Klotz AIS HC71PC25 / HD01PC25 Kramer VIA Connect 3 KV2 Audio VHD7000D Lawo HOME Audio Shuffler Leyard Europe Komodo Series Lightware Taurus DCX Mackie ThumpSub GO Marshall Electronics StreamDesk Merging Technologies PT64V3 Meyer Sound USW-121P Mipro AD-58 Neutrik opticalBAR Outline ET Controller Panasonic AK-UBX100 PPDS Philips MediaSuite 6000 Series PreSonus Air XD Series Q-SYS NC-90 / NC-Pro15x RCF SUB 15-AS / SUB 18-AS Renkus-Heinz Third-party control plugin modules Robert Juliat Morgane RØDE Wireless Micro Camera Kit Solid State Logic Super 9000 Channel Strip Sommer Cable SC-AQUA MARINEX Sound Control Technologies (SCT) micro(C)eries Sound Devices Astral v8.20 Stagetec NEX:T axio Symetrix Composer v9 Tasker TSK1038 PUR TSL Hummingbird TT+ Audio RDShape Vari-Lite VL3200 LT Profile IP Waves L4 Ultramaximizer Wisycom Portable RF-over-Fiber Box Wohler eSeries update WyreStorm CAB-UAOC-USBC-10

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PRODUCTS

Alcons adds to M-Series ALCONS AUDIO has released the MR10 mid-sized 3-way 10-inch near/midfield monitor and the MR12 large-format 3-way 12-inch midfield/main monitor, which join the MR5 micro 2-way 5-inch nearfield/surround monitor to form the M-Series. All models share identical mid/high-frequency transducers to provide consistent voicing and seamless imaging in multichannel and immersive setups.

At the core of every M-Series system is Alcons’ RBN202 pro-ribbon driver, reproducing mid and high frequencies from 1kHz to beyond 20kHz, said to cover a much wider range in the critical mid-band than traditional designs.

Thanks to its compression-less operating principle and extremely low moving mass, the RBN202 reportedly delivers a fully linear response at any level, combining transient detail with fatigue-free listening, even during extended sessions.

With a 500W peak power input, the 1:15 RMSto-peak dynamic range enables the RBN202 to deliver a virtually unlimited headroom. Mounted

AMC Baltic heads outdoors THE RC 5 is an 8Ω outdoor loudspeaker with a durable, rigid enclosure and IP55rated weatherproof coating, suitable for demanding environments such as stadiums, car parks, pools and outdoor public venues, as well as indoor spaces. It features a

5-inch woofer and 1-inch tweeter capable of delivering high sound pressure levels with wide horizontal and vertical dispersion.

The unit includes an internal 70V/100V transformer and a passive crossover, making it ideal for public address and music applications in all-weather conditions. It has a rated power of 100W, a sensitivity of 98dB (1W/1m), a maximum SPL of 118dB and a frequency response of 95Hz–20kHz. Meanwhile, the CCA 2X1.5 is a doubleshielded, oxygen-free cable with a flameretardant LSZH insulator. It is designed for loudspeaker installation in background music, voice evacuation and similar alarm systems. The cable is certified in compliance with EU regulations for construction materials and can be used in systems that require fire-resistant components. The screen material is a PET tape and blue aluminium mylar foil (metallic towards the inside) with a 1/0.5mm tin-coated copper drain wire. The overall cable diameter is 5.8mm, while the spool size measures 100m.

RC 5

www.amcpro.eu

on Alcons’ new HempHorn waveguide with patented constant 120° horizontal directivity, it is said to provide a wide, stable sweet spot.

Complementing the pro-ribbon driver are custom-engineered midrange and low-frequency transducers with ActiveCoil motor structures for ultra-low distortion, described as a perfect match with the MHF pro-ribbon technology. The newly developed ScoopVent LF loading design enhances breathing capacity and transient response, maintaining clarity and control even at the lowest octaves.

The M-Series is powered and controlled by Alcons’ ALC amplified loudspeaker controllers, featuring VHIR phase processing, 192kHz AES3 digital inputs and audiophile-grade amplification stages. The remote-amplified architecture eliminates local heat buildup and electronics behind screens or within baffle walls, to reportedly provide a centralised, reliable system operation and maximum performance consistency. www.alconsaudio.com

Designed to the Max BOSE PROFESSIONAL has released the DesignMax Luna DML88P pendant loudspeaker system, created for open-ceiling environments such as retail stores, restaurants, breweries, fitness studios and similar designconscious spaces. At the heart of Luna is Bose Professional’s proprietary Ring Array configuration, which combines eight precisely positioned 2-inch mid-high drivers and an integrated 8-inch woofer to create a smooth, articulate listening experience that fills the coverage area without hot spots or dead zones. The design provides clarity and balance down to 40Hz, which eliminates the need for external subwoofers even in open-ceiling spaces. With a maximum SPL of 111dB and consistent 140° coverage, Luna delivers

immersive sound that reportedly requires fewer speakers to cover large areas, preserving both aesthetics and budget.

Luna was specifically engineered to address installation issues commonly found in challenging openceiling spaces and adapt to constraints while remaining balanced. It supports both single- and twopoint suspension, with a streamlined profile and concealed wiring.

It has be designed to replace the traditional pendant and subwoofer setup, and is described as easy to spec, easy to hang and made to blend in visually.

installation version of the CCL-SUB. The Bi12 multipurpose passive cardioid ground subwoofer has been introduced specifically for installations, while a mobile ground

subwoofer version (B12) is also available for the CCL system.

www.boseprofessional.com

Compact and precise D&B AUDIOTECHNIK has introduced its CCLi compact cardioid line array, designed specifically for installed applications. Building on the success of the CCL system, the CCLi offers the same technical advantages and acoustical properties, while adding distinctive features tailored for fixed installations.

The CCLi system boasts compact dimensions (209mm x 593mm x 355mm) and broadband directivity control (down to 60Hz) with low-frequency cardioid behaviour to focus acoustic energy onto the intended audience areas. This reduces unwanted low-frequency reflections from the side and rear walls, minimising reverberation in acoustically challenging spaces.

The CCLi delivers extended high-frequency headroom and minimised distortion to reportedly ensure greater perceived intelligibility. Along with its single-channel amplifier operation, the CCLi also offers features that cater to the needs of the installation market: an unobtrusive design with a new front grille integrated with less visible rigging elements, side panels that replace the CCL handles with flushed side grilles and an optional Phoenix Euroblock connector panel with sealed cable gland.

The CCLi system is available in 80° and 120° horizontal dispersion models (CCLi8 and CCLi12). As with other d&b loudspeaker systems, the package also includes a range of matching subwoofers, such as a dedicated flying subwoofer (CCLi-SUB), the

www.dbaudio.com

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SUB 9000

A New Definition of Bass.

Simplified Tuning. Unrivaled Depth.

Unleash the pristine power of low-frequency reproduction with RCF SUB high-performance active subwoofers. Deliver up to 142 dB SPL with up to 8000 Watts Class-D amplifiers and high-excursion Precision Transducers®. Experience effortless system control via RDNet® and groundbreaking contactless configuration with the RDTap® app for easy setup, all wrapped up in a tour-ready subwoofer ideal for audio professionals who expect the very best.

Engineered for rigorous music performance, the SUB Series features a weatherproof plywood cabinet with a durable polyurea finish. A magnetic rain cover for the connection panel is included in the box, with rugged powerCON TRUE1 TOP AC Connector.

rcf.it #ExperienceRCF

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Hit the ACE! The new Advanced Crossover Engine unlocks your system’s true potential with factory-tuned presets for perfect sub-top pairing. Simply connect your satellite speakers to the SUB, select the preset from RDTap, tap the back panel with the smartphone and you are ready to go. ACE is engineered to precisely align time, frequency and phase over a broader range than typical crossovers, delivering impressive impact and precision.

Visit us at ISE 2026 | Hall 7 Booth D700 - Demo Room B2 Barcelona, 3-6 February 2026

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PRODUCTS

Genelec slots the 8380A into The Main Ones

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TAKING ITS place in “The Main Ones” family alongside its larger 8381A sibling, Genelec has introduced the 8380A 3-way midfield SAM main monitor. Promoting precise imaging and neutral sound reproduction, the 8380A is designed for high SPL applications in medium-sized control rooms, including professional recording, mixing, mastering and home studio applications.

Combining a 15-inch woofer with the Finnish manufacturer’s MDC (Minimum Diffraction Coaxial) midrange tweeter technology, the 8380A promotes accurate time-aligned playback and directivity control. Contributing to uncoloured audio, both on- and off-axis, Genelec’s DCW (Directivity Control Waveguide) houses the MDC coaxial midrange tweeter driver. SAM models including the 8300 Series, The Ones and The Main Ones can be combined and phase-matched within the same system owing to the 8380A’s time domain performance and low system latency.

With an integrated 200W Class-AB stage powering the tweeter, 500W and 250W RAM-L2 Class-D fanless power amplifier

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modules supply the power to the woofer and midrange driver respectively. As a commitment to sustainable design, the 8380A offers minimal idle power consumption and intelligent power management through Genelec’s ISS energy-saving technology. Operating within a frequency response of 29Hz–43kHz, the 8380A is capable of outputting a maximum short-term SPL of 122dB and a low selfgenerated noise level of 0dB SPL. Sharing the same physical dimensions as the 1038 and 1238 3-way monitors for traditional soffit-mounting installation, the enclosure includes two linear forwards-facing reflex ports for clean LF playback. As part of the SAM monitoring family, the 8380A’s internal DSP integrates with Genelec’s GLM software for configuring, calibrating and controlling SAM systems. GLM analyses and minimises the listening room’s influence on the sound, producing mixes that translate to other systems in stereo, surround or immersive. www.genelec.com

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PreSonus raises the bar DESCRIBED AS a new generation of loudspeakers and subwoofers, PreSonus has introduced the Air XD Series, designed for mobile and small- to mid-sized venues.

The models feature Class-D amplification with 1,500W for the speakers and 2,000W for the subwoofers, TWS Bluetooth wireless stereo pairing, onboard mixing and extensive DSP tuning options with onboard EQ. The

series is said to offer flexible connectivity for DJs, jam rooms, touring bands and houses of worship. The speakers are available in 10-, 12- and 15-inch full-range models, and 15- or 18-inch subwoofers.

The Air XD Series is built for mobile performers, venues and systems integrators.

They can be flown, pole-mounted, groundstacked or installed with the Air XD as a

floor wedge. All Air XD models feature True Wireless Stereo (TWS) Bridge Mode, allowing users to pair two speakers via Bluetooth to create a stereo system without any additional cabling, making them an ideal solution for corporate events and parties.

The speaker models feature custom low-frequency drivers paired with highperformance compression drivers that deliver

up to 134dB SPL with deep low end and detailed highs. The loudspeakers feature enlarged voice coils in the LF drivers to ensure more efficient power handling and extended low-frequency response down to 40Hz, while the PEEK diaphragms in the HF drivers provide a precise, durable performance with clear, detailed highs. Each speaker includes ±10dB EQ and performance tuning modes for speech, music playback, FOH or monitor use. Additionally, a full-colour 2.6-inch LCD screen is said to make metering and system adjustment fast and easy. Air XD speakers offer two mic/line connections and an aux input.

The subwoofers’ DSP includes variable crossover filtering, alignment delay, cardioid and end-fire array presets and the exclusive “Mo’ Bass” enhancement, in addition to the full-colour LCD screen. They feature flexible routing options and come in rugged wood enclosures featuring ergonomic handles, ground-stacking provisions and caster mounts.

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Audiofocus increases its LF capabilities BELGIAN LOUDSPEAKER manufacturer Audiofocus has extended its touring and installation lineup with a pair of subwoofers.

Specifically designed for deployment in ground-stacked systems, the 118SG and 118SGa are fully compatible with the ELIZ 210 line array and ARRoCC 210 constant curvature systems. Providing additional power, precision control, improved impulse response and enhanced transient handling, both the 118SG and 118SGa benefit from Tetracoil double voice coil technology. Both subwoofers operate within a frequency response of 30–80Hz and can produce a peak SPL of 135dB.

With rigging hardware scaled back to achieve a cleaner appearance, lower price point and reduced weight, the passive 118SG is a variant of the existing 118S single 18-inch subwoofer series. Omni and cardioid presets for the 118SG are offered for both Audiofocus A series amplifiers and Powersoft’s ArmoníaPlus.

The self-powered 118SGa features an integral Audiofocus A4M SCiO amplifier module, allowing it to be remotely monitored and controlled via the company’s SCiO web application. www.audiofocus.eu

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PRODUCTS

Dropping the bass MACKIE HAS taken its product catalogue into the lower frequencies with the ThumpSub GO, reportedly the first battery-powered portable subwoofer. With its slim, ergonomic design, the ThumpSub GO can add “floor-shaking” low end to a battery-powered PA system, without sacrificing portability.

The ThumpSub GO combines two battery compartments for up to 12 hours of continuous bass thumping using two rechargeable GB-200 batteries at once. (The ThumpSub GO includes one GB-200 battery for up to six hours of battery life; optional second battery sold separately.) Since the sub also works with a single battery, it’s possible to charge a second battery elsewhere, then hot swap it out, without the unit powering down.

Users can carry the bass like a briefcase with the built-in ergonomic handle. Thanks to the low-profile design, the ThumpSub GO can be laid flat and hidden out of sight under tables, stages or DJ stands. It works equally well vertically, making it easy to fit into narrow spaces where it won’t get in the way.

The subwoofer has been designed as a companion to the Thump GO battery-powered loudspeaker, but it can also be used to

Customers can also mount a speaker above the ThumpSub GO using the SPM400 speaker pole (sold separately) to create an all-in-one system with a minimal footprint.

The ThumpSub GO can stream music wirelessly from phones, tablets and laptops with Bluetooth. Since any streaming audio gets passed from the ThumpSub GO to any connected loudspeakers, it can create a complete Bluetooth-capable PA system even if the loudspeakers don’t have built-in Bluetooth.

Along with dual 8-inch woofers for a deep, nuanced bass response, the ThumpSub GO has all the inputs and outputs for a mono, stereo or zone PA system. The phase inversion switch solves any phase cancellation issues.

High-pass and full-range modes allow users to optimise the balance between the subwoofer and connected loudspeakers. Customers can keep track of the ThumpSub GO when the lights go down with LEDs for system power, overload and one for each battery.

add bass reinforcement to the Thump210, Thump210XT, ShowBox or any portable loudspeaker with up to a 10-inch woofer.

www.mackie.com

Celestion adds versatile mid-bass OFFERING EXTENDED bass response within a 5-inch form factor, Celestion has added the TF0512HE to its catalogue of midbass woofers. Designed for compact 2-way studio monitors, bookshelf speakers, lowprofile infill cabinets and small line arrays, the pressed-steel chassis facilitates maximum energy transfer within a 1.4kg package.

Capable of handling up to 150W of continuous programme power, the TF0512HE pairs with Class-D amplifiers and the 8Ω nominal impedance to make it compatible across a broad range of applications.

Maintaining sound-free distortion at sustained high outputs, the addition of Kevlar adds stiffness and resilience to the lightweight paper cone mounted within

an Elastomer (elastic polymer) surround.

Contributing to an efficiency of 89.5dB, a ferrite magnet and copper-clad aluminium voice coil combine to maximise performance while minimising heat.

Operating within a frequency response between 55Hz–4kHz, the speaker can equally serve as a primary woofer and midrange driver in a compact 2-way system, or as the middle driver in a 3-way system. Promoting its use in horn-loaded cabinet designs, an inverted dust cap allows a phase plug to be centred close to the cone, for increasing projection and perceived loudness in an acoustic space. www.celestion.com

Meyer Sound introduces USW-121P subwoofer

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MEYER SOUND has unveiled the USW-121P, the first model in a new range of USW subwoofers. Drawing on the power and low-frequency capabilities of the 2100-

LFC but optimised for installations and portable use, it comes in a streamlined form factor and is suitable for cinema, theatres, performing arts centres, houses

of worship, spatial sound environments and other non-arrayed deployments.

Because the USW-121P was designed from the outset as a non-arrayed subwoofer, it eliminates the rigging hardware and other elements required for flown configurations. Powered by a single 21-inch driver with a wide frequency range of 20–125Hz (–10dB), it delivers extended low end with the same power as Meyer Sound’s other flagship subwoofers. In larger systems, the USW-121P can also complement the 2100-LFC, adding groundstacked depth beneath flown arrays.

At just 62cm deep, the USW-121P reportedly provides low-end extension without sacrificing valuable floor or stage space. Its rigid cabinet optimises acoustic volume and features a distinctive corner cut-out that allows for connector and cable clearance when the cabinet is against a wall or in other tight spaces, including behind screens and in prosceniums. A low-

velocity square port minimises noise even at low frequencies.

The USW-121P is also the first Meyer Sound subwoofer to feature Galileo Extended Networking (GEN-1) technology, which integrates networked audio connectivity and Galileo GALAXY-class DSP directly into the loudspeaker, reducing or eliminating the need for separate system processors. As a result, calibration and deployment are said to be simpler and more scalable across cinema, theatre and spatial applications. Configuration, control and monitoring are handled through the Nebra software platform and MAPP 3D system design and prediction tool. AES67 and analogue inputs are standard at launch, with Milan functionality planned in a later GEN-1 update, giving designers and integrators a flexible, future-ready workflow. www.meyersound.com

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KV2 Audio expands VHD Series

Keeping it low RCF HAS added two subwoofers to its expanding catalogue. The SUB 15-AS is a portable 15-inch high-power active subwoofer for live sound applications.

It features a transducer and a 2,200W Class-D amplifier that delivers sound pressure levels up to 133dB. Designed

SUB 18-AS

as the ideal complement for 8-, 10- and 12-inch loudspeakers, it includes a Bass Motion Control algorithm for extended bass response at any volume. The connection panel comes with mono/ stereo combo inputs, an XLR stereo link and XLR crossover outputs. Rear panel controls include volume, polarity and lowpass frequency selection. The unit comes in a rugged all-wood cabinet with a scratch-resistant polyurea coating, reportedly making it durable, easy to carry and install securely. It has been specifically designed for small- to mid-sized venues and portable applications.

The SUB 18-AS brings all the same functionalities in an 18-inch format but delivers sound pressure levels up to 135dB. Both models come with a 35–400Hz frequency response; the SUB 15-AS has a 3-inch voice coil while the SUB 18-AS has a 4-inch voice coil.

THE VHD7000D subwoofer amplifier is the latest addition to KV2 Audio’s VHD Series. Engineered to drive all VHD, ES and SL subwoofer elements, the VHD7000D is said to provide “uncompromising power and exceptional control”, making it the suitable for large-scale events.

thermal compression at high temperatures and maintains natural sound dynamics even during continuous high-output operation.

The tunable notch filter for resonance suppression has been added to prevent excessive cone excursion that causes distortion, reduced clarity and shortened

This universal bass amplifier is fully compatible with third-party subwoofers – a first for KV2. Its power management system enables the VHD7000D to deliver short-term power of 7kW, with peak output up to 14kW, while operating at a modest consumption of only 3.6kW from a 16A circuit. The peak

lifespan. Instead, it reportedly delivers clear, precise and impactful audio with a balanced low-frequency response and improved definition across the bass range.

The peak limiter provides additional protection, shielding loudspeakers from mechanical damage caused by excessive

output power extends beyond the capacity of the mains supply.

The integrated RMS limiter provides longterm protection for loudspeaker components by monitoring average power over time and analysing thermal behaviour to control temperature buildup and prevent overheating, compression or driver damage. Pre-configured within the VHD7000D’s factory presets, it reportedly maximises SPL output, minimises

signal peaks and ensuring the cones remain within their safe range of motion. This feature prevents smaller loudspeakers from being overloaded. The amplifier also incorporates a high-power switching mode power supply circuit for enhanced power delivery, onboard overdrive protection and remote configuration capability via KV2’s Control and Diagnostics Tool.

www.rcf.it

API Audio launches the 312 SEPIA API AUDIO has introduced the digitally controlled 312 mic pre module for Karno’s SEPIA digitally controlled modular audio platform. Designed in collaboration with Karno for the L6 rackmount system, the 312 SEPIA module delivers the analogue character of the classic preamp within the flexible, digital-analogue hybrid environment of SEPIA. Based on the original API 312

circuit design, the new module has been designed, built and tested by API with a proprietary transformer. Digital control through SEPIA’s modular L6 rackmount system offers real-time parameter control, automation and presets. www.apiaudio.com www.karno.com/sepia

www.kv2audio.com

Wohler takes control ADDITIONAL BALANCE tracking on analogue output over XLR has been added to Wohler’s eSeries in-rack monitor range.

previously featured “volume tracking” to track adjustments made using the volume control knob on the front panel. Feedback from customers means that tracking “balance” settings can now be made from the front panel as well. www.wohler.com

Up until now, the eSeries has had the capability to route a stereo downmix of signals being monitored on the front panel to the XLR output connectors. This routing option has

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Dynaudio Acoustics tunes the room DANISH DEVELOPER Dynaudio has launched the Delta Series of power amplifiers for professional studios. Built by MC2, the Delta Series comes in both DSP and non-DSP versions for different room-tuning scenarios. Currently consisting of five models (Delta 20, Delta 40, Delta 40 DSP, Delta 80 and Delta 80 DSP), the DSP version spans three dynamic and eight static EQ bands per input channel, together with nine static EQ bands per output.

Ha The range can be mixed-and-matched according to user preferences. For example, a stereo 4-way system can be created when adding a Delta 20 with a single Cat5 cable to a 2U Delta 80 DSP model. Providing output from 175–480W per channel, the Delta 20 is the smallest in the range, while the Delta 80 DSP offers up to 4x2,000W at 4Ω or 2x5,000W when bridged.

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Power to the amp FULCRUM ACOUSTIC has introduced its Driveflex amplifier line and version 1.5 of Fulcrum One software, extending the platform to include power amplification and advanced array functionality. The release is said to give users a unified workflow for designing, simulating, controlling and monitoring amplifiers, loudspeakers and immersive systems within a single environment.

Driveflex amplifiers are compact 1U models that deliver the power and processing required for Fulcrum’s advanced DSP. They are automatically recognised and configured within the Fulcrum One software, which loads optimised TQ presets and limiters for the entire loudspeaker catalogue. This integration

Lawo introduces HOME Audio Shuffler HOME AUDIO Shuffler – Lawo’s fifteenth HOME App to date – is a software-based replacement for a traditional baseband audio matrix within an IP-based Dynamic Media Facility. It allows users to repackage incoming audio signals for different applications, compile streams based on audio signals from a variety of sources and customise an audio stream’s payload. It is suitable for downstream applications and devices without built-in audio matrix functionality.

Supporting SMPTE ST 2110-30 (24 bits) and -31 (32 bits, Ravenna AM824 payload format with bit transparency), HOME Audio Shuffler conforms to AES67 and ST 2110-30 (Levels A, B and C) with minimal latency, while also providing redundancy options via ST 2022-7 (Seamless Protection Switching) and the HOME App auto restart mechanism, for reliable 24/7 operation.

Incoming audio streams can be reshuffled and routed to the desired transmitters using the HOME Terminal Routing Matrix. Stream routing,

shuffling and many other operations can be controlled via any hardware or software panel of a workflow control system such as Lawo VSM that communicates with HOME Audio Shuffler via the HOME API. HOME Audio Shuffler is suitable for any audio deployment at scale, such as in master control rooms, and any other application requiring a mix of common (e.g. clean feed) and individually contributed and controllable audio sources.

Supporting up to 16,384 input and output signals and offering symmetrical flow sizes between 64 and 2,048 RX and TX streams, each accommodating up to 64 audio channels, HOME Audio Shuffler’s matrix size can be conveniently selected from six packages. All signal inputs and outputs come with essential DSP functionality: Gain and Phase on the RX side, and Gain, Phase and Delay (up to 5s) on the TX side. www.lawo.com

reportedly provides consistent voicing and system protection while reducing setup time and onsite adjustments.

Fulcrum One v1.5 adds Driveflex amplifier management to the platform. Used together, customers are provided with advanced array tools including array optimisation, array voicing and array limiter protection. These functions are said to give greater control and predictability in system design, helping users achieve uniform performance across a wide range of applications. These advanced capabilities are currently supported in the AHS, FL and CC loudspeaker series, with additional models to follow. www.fulcrum-acoustic.com

TSL Hummingbird takes flight

CREATED TO drive efficiency and reduce complexity across broadcast and AV environments, TSL has introduced Hummingbird.

The unified, interoperable ecosystem of control and monitoring applications and interfaces combines TallyMan and DNF Controls solutions.

It comes with 15 modular applications that can be independently deployed or added as enhancements to existing infrastructure, bought as pre-built toolkits or combined to build complete control and orchestration workflows. With planned additions of protocols, applications and integrations, in addition to soft and hard panel interface options, the ecosystem will develop progressively to emerging standards and evolving customer needs.

The flexible architecture enables customers to build bespoke workflows with their preferred vendor tools. TSL Hummingbird prioritises interoperability to deliver control, monitoring and IP routing orchestration across multi-vendor applications. The bridging of SDI, ST 2110 or NDI workflows provides facilities the freedom

to integrate diverse technologies, while AV and broadcast operators can work across varied converged environments.

Hummingbird debuts three new capabilities for TSL: NDI Source Tally, Orchestration and extensions to the supported protocols, including more Grass Valley licences. Ensuring mixed vendor routing and failover, these additions enhance the low-risk migration to IP by reducing retraining, in addition to preserving existing route controls and operator panels. NDI Source Tally carries tally across SDI and NDI for hybrid estates. As a vendor-neutral, NMOS-native IP routing control layer, Orchestration presents SDI-style workflows to operators and provides real-time control of 2110 media flows.

The ecosystem supports a broad range of vendor-agnostic soft and hard panels, including TSL Hummingbird’s own extensive range of HMI interfaces, for simplifying the adaption to existing infrastructures. www.tslproducts.com

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Harrison Audio bridges the gap Hapi Mk III expansion ENABLING A range of production workflows for studio and live sound, Harrison Audio has extended the D510 Series with the addition of the D510ua USB/ADAT interface. Combining the D510mx 10x2 analogue summing mixer and D510dante AoIP interface, the D510ua USB/ADAT interface creates an audio hub for up to 10 analogue inputs, 14 analogue outputs and 16 channels of bidirectional

becomes equipped with A/D and D/A converters, and four additional D/A converters feed the D510mx headphone mixes. The 510ua USB/ADAT can be used via USB for direct DAW integration or as an expansion to an existing audio interface setup, offering up to 16​channels of bidirectional ADAT. To simplify the switching between USB and ADAT, the front panel controls can be operated

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Installed via the rear panel of the D510rack, each slot of the D510ua USB/ADAT interface

MERGING TECHNOLOGIES has released the PT64V3 I/O expansion card for the Hapi Mk III audio interface. The card enables seamless integration between Merging Technologies’ and Neumann’s audio solutions and Pro Tools HDX. The PT64V3 card connects Pro Tools HDX systems to Ravenna/AES67 or Dante networks via the Hapi Mk III, unlocking access to Merging’s audio conversion and Neumann’s monitoring tools.

Described as a significant step in making the complete Merging and Neumann ecosystem accessible to Pro Tools users, key benefits include access to Merging Technologies’ preamps, A/D and D/A conversion, integration with Neumann’s MT 48 or Merging Technologies’ Anubis Monitoring Engine for stereo and immersive setups, personal monitoring solutions for performers using

Music and Venue Missions for Anubis, and modular, scalable configurations that reportedly offer flexibility and cost-efficiency.

The PT64V3 supports up to 64 channels at 48kHz, 32 channels at 96kHz or 16 channels at 192kHz. Additional features include up to 192 DigiLink I/O channels with multiple PT64V3 cards and multiple Hapi Mk IIIs, and compatibility with Hapi Mk II (Ravenna/AES67 only). The card emulates HD I/O, HD MADI and 192 I/O latencies for accurate delay compensation and adds to a total of eight expansion cards already available for the Hapi MK III. www.merging.com

for routing. Compatible with macOS and Windows, the D510ua interface card includes a dedicated word clock I/O, ensuring jitter-free and digital clocking. www.harrisonaudio.com

Neutrik tackles demanding environments NEUTRIK HAS expanded its suite of professional connectivity solutions with the launch of the opticalBAR, a compact, rugged fibre breakout system built for highperformance deployment in harsh conditions.

Designed to interface seamlessly with the manufacturer’s opticalCON Advanced series, the opticalBAR provides IP65-rated protection and a push-pull locking mechanism, delivering an easy-to-integrate fibre option for touring, broadcast and event applications.

Available in a variety of I/O configurations and featuring flexible mounting options, the opticalBAR offers greater durability and adaptability compared to traditional fibre breakout solutions. Neutrik claims it has engineered the unit with installer convenience and environmental resilience in mind, positioning it as a go-to solution for challenging outdoor or high-traffic environments where robust data transmission is essential.

In addition to the opticalBAR, the company has unveiled two further connectivity products

designed to meet the needs of professional AV and event production teams. The powerCON TRUE1-CG with Cable Gland Entry is a heavy-duty, single-phase locking mains connector designed for sealed, high-reliability power connections in outdoor environments.

Certified to IP65, IP66 and IP67, the connector features CBC (breaking capacity under load), UV resistance and a twist-lock mechanism with integrated strain relief – making it suitable for permanent installations and mobile setups.

Finally, the NAUSBC-5G is a USB Type-C chassis connector offering 5Gbps data throughput and up to 100W of power delivery.

Part of the company’s new mediaCON series, the NAUSBC-5G features a panel-mount design with a robust locking mechanism and integrated fly-lead, enabling secure and efficient data and power transmission in modern AV and IT infrastructures.

No drivers, no fuss JOYNED HAS released the MU16, said to be the first Milan-compliant USB interface delivering seamless AVB/ Milan network connectivity to macOS, Windows and iOS devices via USB-C. At the heart of the MU16 is a USB-to-

Milan-based installations directly from a laptop or iPad. The MU16 works out-of-the-box with any DAW via USB-C, enabling everything from stereo tracking to immersive multichannel workflows, all over Milan.

Milan bridge that transforms devices into a 16x16-channel Milan endpoint.

Appearing as a class-compliant USB Audio Class 2.0 interface, the MU16 delivers 32-bit audio, ultra-low latency and solid stability for live sound, studio production and AV installations.

Users can perform virtual soundchecks, monitor rigs or route outboard processing, as well as precision-tune

Designed to answer the growing demand for simplicity and cross-brand interoperability, the MU16 provides 4-in/2-out Milan streams, supporting 48kHz and 96kHz. It has a Milancompliant Gigabit Ethernet interface (RJ45), a robust clock sync and a compact, rugged design.

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Waves Audio unveils next-gen limiter plugins WITH THE release of the L4 Ultramaximizer, Waves has created an adaptive limiter for modern music. Delivering competitive loudness levels for streaming, the L4 preserves musicality and offers greater lowend impact, enhanced dynamics and transient punch. Having established the L1 and L2 as industry-standard tools for peak limiting and level maximisation, the manufacturer has focused on making contemporary sound deeper, bigger and more dynamic. Rethinking how loudness enhances musical expression, the L4 has been designed to enhance musicality rather than reducing the dynamic range.

Engineered for a wide array of production styles, the L4 offers five unique limiting algorithms to match the aesthetic of a sound: Modern, Aggressive, Smooth, Safe and L2.

Adaptive Clipper & Release ensures settings are automatically tailored to the content by the plugin and fine-tuned to their relative levels in real time. Inspired by the MV2 plugin, the Upward Compression module enhances lowlevel details and adds density.

Live performance-ready, the L4 integrates with Waves eMotion LV1 and LV1 Classic mixing consoles, SuperRack SoundGrid and SuperRack Performer. Featuring both short-term and long-term LUFS (Loudness Units relative to Full Scale) metering, the L4 provides accurate level monitoring throughout a workflow, and is optimised for streaming platforms. The low-latency performance adaptive limiter also features True Peak limiting in addition to the Graph and Classic

GUI modes. The L4 Ultramaximizer has been added to the Waves Ultimate plugin subscription, which includes the comprehensive Waves plugin catalogue of over 240 plugins.

Meanwhile, Waves has announced two updates to its eMotion LV1 live mixing console. With the optional 80-channel expansion, any LV1 Classic mixing console or LV1 64-channel modular system can now grow from 64 to 80 mono/ stereo channels and from 44 to 52 mono/stereo

busses, with 32 auxes including up to 24 monitor aux sends. Because any LV1 channel can be mono (one input) or stereo (two inputs), this expands the LV1’s input capacity to 160 inputs.

The newly added eight busses can be deployed in two ways: either in Groups mode, which adds eight more audio groups, for a total of 16 audio groups; or in Monitors mode, which adds eight monitor aux sends, for a total of 24 monitor auxes. To upgrade to the 80-channel LV1, users will need a 64-channel LV1 (either LV1 Classic or a LV1 64-channel software licence), updated to v16, plus the separately purchased eMotion LV1 80-channel expansion licence.

Second, the manufacturer is also releasing a v16 version of the eMotion LV1 mixer software – which is available free to all LV1 Classic users – which comes with new features and enhancements. These include improved DSP efficiency for even greater processing power, new Scenes & Recall Safe filters, new customisable user keys and shortcuts and Aux Send Flip and Mixer Mode upgrades. www.waves.com

Third-party control RENKUS-HEINZ HAS launched third-party control plugin modules for Crestron and Q-SYS, developed in partnership with Control Concepts, a specialist in AV software development and API integration. The speaker manufacturer partnered with Control Concepts to develop the new third-party plugins to enhance workflow and improve cohesive control across all Renkus-

the assurance that their API integrations are fully tested, approved and endorsed by the manufacturer, whose in-depth product knowledge provides responsive support and quick issue resolution.

Heinz products. The plugin modules have been designed to eliminate integration hurdles by ensuring full system compatibility, with the aim of saving users hours of valuable time.

Beyond workflow improvements, the plugins are backed by Control Concepts’ official Supported Product Program. Control Concepts’ ongoing support of the plugins gives integrators

www.controlconcepts.net www.renkus-heinz.com

The sound of modern music SOLID STATE LOGIC (SSL) has announced the launch of its Super 9000 Channel Strip.

Following the launch of the Revival 4000 channel strip, the Super 9000 comprises the manufacturer’s SuperAnalogue technology in a 1U channel strip. The SuperAnalogue technology creates a transparent signal path and wide bandwidth, “putting the engineer in the room with the artist”.

Characteristics of the Super 9000 include wide audio bandwidth, low transient intermodulation distortion, no electrolytic capacitors in the main audio path, low noise and harmonic distortion, and low phase shift across the audible

spectrum. The results of these elements are said to be greater sonic definition and a “largerthan-life” soundstage.

The SSL Super 9000 offers the choice of two preamps, just like the company’s flagship Duality console. The SuperAnalogue preamp offers headroom and clarity, while the Variable Harmonic Drive (VHD) circuit delivers character and saturation. With VHD, users can dial in

2nd-order harmonics for a “rich, valve-like warmth” or 3rd-order harmonics for a “harder, transistor-style edge”. An Input Flip button allows users to run the line-input through the VHD preamp, making it easier to add harmonics to DAW stems or other line-level instruments and sources.

Built around the THAT 2181A VCA, the compressor includes a switchable Fast

Attack mode and the Peak Detect option, first introduced on the SL 9000 console and carried through to the Duality series. It also incorporates SSL’s Expander/Gate section with variable hysteresis built into the Threshold. Additionally, the Super 9000 allows the dynamics section to be moved pre and post EQ.

wireless integration of backing tracks and smart device content.

The mixer features USB connectivity for recording and playback integration; a 7-inch colour display for clear visual feedback and easy navigation of mixer functions, settings and metering; 10 dedicated push-button encoders with press functionality and seven backlit control buttons that provide direct access to all mixer functions without menu diving; and seven 100mm capacitive touch faders with 18-segment LED indicators that deliver precise, responsive level control. A dedicated

channel solo and mute functionality streamlines workflow during setup and performance.

Parametric EQ on all channels provides precise tonal shaping with adjustable frequency, gain and Q settings, while compressors on all inputs and outputs deliver professional dynamics processing for consistent levels and punch. A high-resolution effects engine includes reverbs, delays, choruses, compressor/limiter and a 7-band graphics EQ. A preset save and recall provides instant access to complete mixer configurations.

www.solidstatelogic.com

Comprehensive connectivity ALTO PROFESSIONAL has released the TMD16, a 16x12 analogue I/O with eight digital mic/line channels on combo connectors, two digital mic/ stereo line channels on XLR plus two TRS connectors, one stereo RCA input and one 3.5mm stereo input. The output section includes two mains, four subgroups, three auxes and one FX XLR output, plus two monitor TRS outputs and a top-panel headphone output. Bluetooth audio streaming enables

www.altoprofessional.com

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Mipro expands its MI-58 Series THE AD-58 5GHz 4-channel transmitting antenna combiner is the latest addition to Mipro’s MI-58 Series 5.8GHz digital in-ear monitoring (IEM) system. The MI-58 Series’ products come with a wide frequency response and low latency, and have been designed to meet the needs of live performers, engineers and interpretation professionals.

The MI-58 digital stereo wireless IEM system includes the MI-58R/MI-580R stereo bodypack receiver, the MI-58T/MI-58TD stereo transmitter

and optional noise-isolating earphones. The AD-58 operates within the ISM 5.6–5.9GHz band and integrates up to four MI-58T/MI-58TD transmitters into a single output antenna with 10dB gain. This is said to reduce antenna congestion and minimise the need for multiple power supplies, making it suitable for complex stage setups and large-scale applications.

RF LED indicators per channel clearly show signal presence and overload status, providing real-time monitoring at a glance.

What’s NEX:T for Stagetec?

NEX:T axio

WITH NEX:T axio, Stagetec is adding a futureproof, extendable IP-based audio I/O and processing platform next to its Nexus system. Designed for both smooth transitions into IP workflows and for fully networked infrastructures, the compact system combines audio quality across analogue and digital formats, and includes an integrated 4-way audio split, allowing Avatus, as well as third-party consoles, to access signals simultaneously – without external splitters. Thanks to compatibility with Dante, AES67, ST 2110-30 and more,

By streamlining antenna installations and significantly reducing intermodulation interference, the AD-58 has been designed to provide greater stability and optimal

performance in demanding multi-transmitter environments. www.mipro.com.tw

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the NEX:T axio integrates seamlessly into existing setups and scales flexibly. Centralised, browser-based control via Stagenet Embedded on the device simplifies routing, monitoring and presets – locally or remotely – and in many cases removes the need for external control software.

Whether in theatre, broadcast or AV installations, the NEX:T axio seamlessly grows with a user’s needs and can be used as a quick way to expand and modernise hybrid workflows.

Meanwhile, the NEX:T core is a softwaredefined audio processor that fully virtualises signal processing, routing and DSP – enabling maximum flexibility while maintaining consistently high audio quality.

Free from hardware limitations, functions such as EQ, compression or mix-minus can be freely configured and updated remotely as needed. The platform integrates seamlessly into AES67 and ST 2110 infrastructures and reportedly stands out for its low latency, high scalability and triple network redundancy. For broadcasters, postproduction facilities and fixed installations, the NEX:T core provides a futureproof, efficient solution for modern audio workflows of any scale.

DESIGNED FOR long-distance RF transport, Wisycom has released its Portable RF-over-Fiber Box. The compact, field-ready solution is capable of transporting RF signals where coaxial cable is impractical or would lead to excessive signal loss. Available as a 2-channel transmitter with isofrequency-over-fibre or as a diversity receiver with two independent channels, the unit operates across extended runs with minimal degradation over single-mode fibre for signal integrity.

www.stagetec.com

Portable RF-over-Fiber Box

www.wisycom.com

systems, the compact ORIA Mini can load up to four unique calibration profiles onto the hardware and switch between them instantly for workflows. Serving as a mix reference against other systems, calibration profiles can be created with Sonarworks, to simulate different playback environments, such as a mobile phone.

Maximising the performance of the speakers, without colouring the room, the British

manufacturer claims that calibration and setup can be performed within 20 minutes.

A remote-control option is available via a Stream Deck and an iPad. The rear panel interface includes TRS analogue and S/PDIF digital inputs together with two TRS outputs alongside a dedicated sub output. Compatible with macOS and Windows, the ORIA Mini supports 24-bit/96kHz audio and is USB 3.0 bus powered.

Lending itself to congested RF environments, its wide dynamic range and low-noise design promote clear, interference-free performance.

For portable and mobile applications, the unit operates on both battery and mains, making it ideal for remote or mobile deployments. OB trucks, theatre productions and large-scale live events benefit from BNC and fibre connections for a flexible setup for IFB/IEM transmission or microphone diversity reception. Housed in a rugged construction with a temperature-controlled fan for harsh environmental conditions, the box supports remote control via Ethernet.

Building on Wisycom’s MTP61, the latest MTP61 XL is reportedly the world’s smallest multiband bodypack transmitter. Providing 19 hours of battery life at 10mW or 15 hours at 100mW within a 7mm deep profile, the XL can be used in location sound, reality TV, theatre and other productions where size and endurance are vital criteria. Retaining Wisycom’s widest tuning range and linear technology for intermodulationfree frequency planning, the MTP61 XL features splash-resistant housing, a waterproof magnetic connector and Bluetooth monitoring/control via Wisycom Manager or mobile apps. Existing MTP61 users can upgrade to XL performance by replacing the battery lid and using the new XL battery.

ORIA Mini corrects the room IN COLLABORATION with Sonarworks, Audient has developed the ORIA Mini room correction system for integration between existing audio interfaces and speakers.

Requiring no software or plugins, the acoustic calibration hardware is powered by Sonarworks’ SoundID Reference as an inline hardware DSP solution. Capable of measuring and correcting the acoustics of any space, the ORIA Mini applies corrective calibration directly via its onboard DSP controls including EQ, trim, delay and bass management from

measurement software including Smaart or RoomEQ Wizard.

With 32-bit converters, 127dB dynamic range and support for up to 2.1 speaker

www.audient.com

Highlights include a Component check, which confirms driver health and connectivity with a silent DC resistance measurement; an improved device browser that allows switch port identification, status and advanced filtering capabilities along with Component check and Inclinometer calibration; I/O page improvements such as solo-in-place and a pink noise generator; and Milan patching has

been expanded to its own page with a wider range of Milan talkers included.

The MG10 speaker is now included as a point source alongside the VGs, while and optimisation algorithm updates include a flat average phase response and improved LF beam steering. www.adamson.ai

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Adamson works smarter ADAMSON HAS announced the release of ArrayIntelligence V1.3, the latest version of its loudspeaker design and control software. The update is said to bring a wide range of new features developed in close collaboration with the manufacturer’s expanding user community worldwide, with beta testing providing valuable feedback before launch.

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PRODUCTS

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TT+ shapes sound RDSHAPE IS a simulation software, purpose-built for acoustic modelling and system optimisation of TT+ Audio speaker and subwoofer systems. Designed to streamline the design, setup and tuning process, RDShape is described as a versatile tool for touring professionals, venue designers and sound engineers.

The software allows users to predict SPL and frequency response across audience areas, enabling finely tuned performance for every seat, while the autosplay feature can be used for optimal line array angles and to evaluate subwoofer configurations with virtual microphones. Customers are provided access to detailed rigging data, including load, fly bar strength, pick points and weight distribution, to ensure safe and efficient installations. With 3D Venue Modeling, users can define audience planes and simulate sound propagation with a full 3D venue visualisation, including IRbased virtual microphone measurements. The streamlined workflow can be used to leverage

templates, import venue basemaps and export key design elements as STEP (ISO 10303) or PDF files.

Meanwhile, the manufacturer has also announced that BIM files are now available for all TT+ Audio products. Each file is compiled with all the product’s technical specifications.

The project file includes all the proposed configurations, such as GTX line arrays in both installation and ground-stacking configurations, or GTS subwoofer configurations and combinations of GTS + GTX. For example, if there are 10 possible inclination values between two GTX10 units, the file ensures that any userdefined angle will be automatically adjusted to the closest valid option. Users can also modify the number of elements and the presence of flybars and extension bars, with adjustable positions where applicable.

In brief, the GTX 10i, GTX 10Pi and GTX 10Wi have been certified under EN 54-24:2008.

FIR DESIGNER v4.5 DSP software from Eclipse Audio can now be used to design and load EQ to Bose Professional sound processors and PowerShareX, PowerShare and PowerMatch amplifiers.

The manufacturer has collaborated with the speaker manufacturer to add a new “Bose Professional” IIR filter mode in FIR Designer v4.5 and FIR Designer M v4.5.

This enables audio professionals to design custom EQ for loading into the IIR filter-based signal processing blocks (PEQ blocks) in Bose Professional’s ControlSpace Designer professional configuration and control software.

The filter emulation in FIR Designer ensures that common IIR filters, used to configure DSP functions for EQ, will produce consistent results when used in Bose Professional products. Brand-specific IIR emulation is necessary for audio optimisation because

some filters produce different results when used across different processor brands. Bose Professional and Eclipse Audio have worked together to ensure that the Bose Professional IIR filter mode in FIR Designer interprets filter parameters in exactly the same way as ControlSpace Designer.

The IIR filter mode contains options for parametric, low-shelf, high-shelf, notch and Butterworth (1st- and 2nd-order filters) highpass and low-pass filters, all of which can be saved and exported as a .peq file for upload into a ControlSpace Designer PEQ block. The addition of the Bose Professional IIR filter mode brings the number of brand-emulating modes in FIR Designer to a total of 16.

Pre-existing filters developed for other audio brands can now be converted for use in Bose Professional processors and amplifiers (and vice-versa), using the IIR Reference Editor conversion engine in FIR Designer. www.boseprofessional.com www.eclipseaudio.com

www.ttaudio.com

DiGiCo announces V3.1 update for S-Series THE SOFTWARE for DiGiCo’s S21 and S31 S-Series mixing consoles has been upgraded to V3.1. As part of the update, the S21 and S31 both fully support DiGiCo’s latest MADI-based stagerack, the MQ-Rack. This unit features 48 microphone inputs and 24 line outputs, with four of these outputs switchable to AES/EBU digital outputs, at 48kHz or 96kHz sampling rates via MADI over BNC connection.

In addition, V3.1 offers User Layouts, allowing multiple operators to have their own favourite way of laying out the console easily accessible – or the ability to change layouts for different bands as a show progresses, containing only the channels needed for that band. Users can change between layouts by pressing the touchscreen, and the user menu can also be

pans allow users to keep FX sends lined up with the master panning layout, while Reverse Link pans are said to improve mixing monitors from front of house, with no need to manually pan each send inverted to the main mix.

Finally, the auxes on the S-Series consoles are able to take a signal from three positions: pre-mute, pre-fade or post-fade. The aux master can assign a global pick position to all of its sends, and each individual pick point can be changed from on the channel itself. With the latest software update, the number of sends in each position can be seen from the aux master, allowing the user to quickly see the position of all sends at once.

S21 and S31 opened from a macro. Loading a new user will not interrupt audio and can be done mid-show.

Meanwhile, Separate Layer Control allows for the left screen of an S21 – or the left and centre screens of an S31 – to view and control a different layer to the one displayed on the righthand screen. The layer up and down buttons are

added to the top menu bar, meaning they are always accessible. Separate Layer Control is ideal for leaving a set of output controls on the right-hand side while scrolling up and down the inputs on the left-hand side.

Additional new features can also be found on the auxiliary section of the S-Series desks. Link

www.digico.biz

Turning the tables OUTLINE HAS launched ET Controller, a control software that supersedes ET Commander.

Customers can now use the software in their preferred environment – either macOS or Windows – as a crossplatform-engineered application. The updated user interface has a contemporary colour palette, while functions and controls have been upgraded following user feedback:

switching from display to real-life (and back) now happens seamlessly.

Targeted specifically at multi-user working environments and structured measurement activities, ET Controller handles macro libraries in the form of external

files, so that users can access pre-arranged routines and/or journaled applications. As a result, process files can now be stored on a shared repository and consistency on different ET devices is assured, even when different operators from different departments are using the full complement of turntables across all lab facilities. www.outline.it

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PRODUCTS

Sound Devices enhances Astral wireless

Designed for wireless operations in location and sound, in addition to fixed installations, the Astral Wireless RF toolkit now incorporates several new features with the v8.20 upgrade.

Multiple Astral Outpost Network support allows the ARX16 and ARX32 to connect to up to eight outputs for command and control of transmitters across extended NexLink coverage.

Avoiding frequency assignments within the 6–8MHz bandwidth, the newly launched TV Channel Finder feature automatically detects and displays 6MHz, 7MHz or 8MHz TV channels in the RTSA and Scan Views. The Whip Antenna Length menu calculates the necessary length of a whip antenna by frequency range.

WITH THE introduction of Astral v8.20, Sound Devices has added set of feature upgrades for the Astral wireless product range.

These include over-the-air firmware updates including the ability to wirelessly update Astral transmitter firmware, in addition to frequency exclusive regions, a whip antenna length tool, a TV-Channel Finder and a wide range of web app usability enhancements.

The Astral wireless range

Power boost SYMETRIX HAS released Composer v9 with added support for the Server D100 and a new Audio Network Tab to System Manager with additional Dante functionality including

Views, improved graphics and additional tool tips. Amendments to large site file handling in Composer include scrolling, selecting and moving modules, and reduced file size. The

the ability to update all Symetrix xIO devices with a single button. Improvements have been made to Super Matrix to support larger sizes, better saving and recall of User Matrix

ability to keep a device’s existing network name when locating has also been added.

www.sounddevices.com

WyreStorm powers up with USB-C DESIGNED TO overcome compatibility problems, WyreStorm has introduced a USB-C to USB-C active optical cable with the CAB-UAOC-USBC-10. A dual MCU design allows the cable to adapt automatically to different requirements, shifting between 2- and

port functions are configurable via DIP switch for control signal pass-through and firmware updates.

The CAM-420-PTZ is described as the manufacturer’s next-generation dual-lens AI tracking camera designed to bring intelligence,

www.symetrix.co

Klotz develops compact hybrid cable THE HC71PC25 compact hybrid cable, combining both data and power, has been specially developed by Klotz for mobile applications. Characterised by a flexible soft PVC outer jacket, the hybrid has been designed for computer-controlled devices and systems in demanding live environments and permanent installations in addition to IT applications.

The Cat7 cable connects components of digital audio networks including CobraNet, Dante and EtherSound, and can transmit DMX control signals based on Art-Net, MA-Net or Pathport protocols. The double shielding of aluminium foil and dense copper braiding enables interference-free transmission of high data rates up to 10Gbit/s.

Consisting of three conductors made of bare, the power line includes fine-stranded copper wire, each with a crosssection of 2.5mm², and the conductors are insulated with PVC for added mechanical durability. By combining the connector for both the power and Cat7 data line, the simplified integration into hybrid cable drum systems reduces the processing time and decreases the overall cable diameter, resulting in longer cable lengths per drum.

Meanwhile, the HD01PC25 hybrid combines both digital audio/DMX and power lines within a flexible soft PVC outer jacket. Enabling the transmission of audio or lighting control signals and the required power supply through a single cable, a drain wire is also included for ground connection when assembling with XLR or TRS connectors.

HC71PC25

Designed for mobile use and with an impedance of 110Ω, the double-shielded signal line is also suitable for transmitting analogue audio signals.

The 2x0.22mm² conductor cross-section, aluminium foil and dense copper braid shielding promote interference-free transmission over long distances. Insultated with PVC, the power line features three bare, fine-wire copper conductors, each with a cross-section of 2.5mm². When assembling the HD01PC25 with a combined connector for both power and signal, a separate jacket for the three power cores is bypassed. This reduces the cable’s outer diameter and provides for cable lengths of up to 100m per reel.

The EFI6HF and EFO6HM adapters are equipped with Harting HAN 16E connectors including metal coupling housing in adapter-side configurations with six Schuko rubber plugs or sockets or six powerCON TRUE1 connectors in male or female versions. The adapters can feed or extract six discrete 16A power circuits into or from a 6-channel Energy Multicore system for mobile power distribution. A waterproof Titanex H07RN-F rubber cable has also been added. www.klotz-ais.com

CAB-UAOC-USBC-10 4-lane operation for conferences, classrooms and production environments. The single cable handles up to 20Gbps data transfer, 8K-ready video bandwidth and 60W power.

The CAB-UAOC-USBC-10 is reinforced with Kevlar strength, a flexible TPE jacket and EMI/ RFI resistance. With a bend radius of 65mm, the cable is described as rugged, yet flexible.

In a conference room, a single cable powers the presenter’s laptop while transmitting 4K video to the display. In an education space, it provides consistent, plug-and-play connectivity between laptops, projectors and collaboration systems. For broadcast applications, it ensures high-resolution cameras and equipment are linked without signal loss.

The EX-40-KVM-5K is an HDBT 3.0 extender kit that delivers uncompressed video up to 5K@30Hz and 5120x1440@60Hz, with full support for 4K@60Hz 4:4:4 and all HDR formats. It supports USB 2.0 pass-through with one USB-B on TX and four USB-A on RX, making it suitable for KVM applications. Audio features include HDMI audio format support, analogue audio pass-through from TX to RX and de-embedding on both ends. An HDMI loop-out is provided on the TX for local preview. RS-232

flexibility and 4K precision to modern meeting spaces. Suitable for huddle and medium rooms, the camera combines a 3x optical zoom PTZ lens (DFOV 110°) with a panoramic lens (DFOV 120°), giving users seamless real-time coverage and accurate detail from every angle.

Smart AI features like Auto Framing, Speaker Tracking, Presenter Tracking and Individuals Gallery are said to create a people-focused video experience that enhances engagement, whether users are in the room or dialling in remotely. Features include a dual-lens design with 4K@30fps output via HDMI and USB-C, a built-in mic array with audio-based tracking, intelligent framing and facial/sound tracking, flexible mounting options for any room layout and NDI | HX support for seamless IP workflows.

Finally, the manufacturer has released the NHD-500-IW-TX v2 with HDMI, USB-C and Dante AV-A support and a firmware update for the SW-640L-TX-W that introduces Multi Stream Transport (MST) over USB-C, along with NetworkHD 500 Series v8.5 firmware with RESTful API support and new resolutions. www.wyrestorm.com

88 PRO AVL ASIA January–February 2026

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Sommer goes diving THE ARAMID-REINFORCED 110Ω SC-AQUA MARINEX ARAMID MIKRO14 microphone cable forms part of Sommer Cable’s AQUA MARINEX series and is suitable for a permanent installation in water up to 20m or in damp areas. It remains watertight thanks to its special

waterblocking tape and is suitable for a large range of applications, from amusement parks, sports arenas and wildlife parks to OB vans. Its precisely fitting 6.2mm cable diameter ensures that the cable fits perfectly with the strain relief of the manufacturer’s HIMARLIN connectors (HI-X3CM-HD-B and

HI-X3CF-HD-B) and, when combined, reportedly guarantees dependable waterproofness in accordance with IP67. At the same time, the cable is described as particularly easy to work with and does not require any complicated manoeuvres – even with standard XLR connectors. The outer jacket is resistant to salt water, fresh water, UV radiation and microbes, making it suitable for long-term outdoor use.

The internal aramid fibres not only provide a reliable tension relief, but also offer additional protection against rodents. The cable is abrasionproof, cold-flexible, reelable and ideally suited for demanding applications such as AES/EBU or 3-pin DMX transmissions, developed for professional technical equipment in use under extreme conditions. www.sommercable.com

Cable drums for touring TASKER HAS expanded its range of assembled, ready-to-use drums for a wide range of its cables. For DMX applications in audio and lighting, the TSK1038 PUR and C862 come with one and two pairs respectively. The TSK1038 PUR is a single pair DMX with a 2x0.35mm² section and braided tinned copper shielding, while the C862 is the double version with 2x2x0.35mm² and the addition of Kevlar traction inner elements to give this cable double strength and resistance.

They can be combined with 3- and 5-pin Neutrik XLR NC3M/FXX-B and NC5M/FXX-B connectors if customers wish to have free connectors and Schill’s GTRM cable drum series. Alternatively, they can be combined with one NC3MD-LX-B panel connector and one free connector, combined with Schill’s GTS0 cable drum series.

For video broadcast transmission, the T42 PUR is a coaxial HD-SDI cable with a stranded conductor and tinned copper double braid, allowing 12G-SDI signal transmission up to 58m or 3G-SDI up to 100m. The TR11 PUR Extraflex is a triaxial cable with a stranded silver-plated copper conductor and double braid, one in silver and the other one in red copper, and has been designed for professional camera interconnection up to 300m. The T42 PUR can be combined with the Neutrik’s 75Ω rear TWIST NBNC75BUU11X connector, while the TR11 PUR Extraflex comes with Fischer Connectors’ 1051 series as both a double free connector and free/panel connector combinations. These two solutions are assembled with Schill GTS0 (free/free connector combination) and GTRM (free/panel connector combination) series cable drums.

For data transmission on LAN cables, the C725 PUR is a Cat5e S-UTP 26/19 AWG with total braided shielding and double sheath, suitable for communications on the Dante protocol. The C728 PUR is a Cat6A S-FTP 24/7 AWG with single shielded pairs with aluminium foil, tinned copper braid and double sheath. Thanks to this bigger section, it is suitable for video transmission on the HDBaseT protocol. The C726 PUR is a Cat7 FTP 26/7 AWG with single shielded pairs with aluminium foil and tinned copper braid, ideal for high connection speeds in data centres. These cables are combined with Neutrik NE8MC-B, NE8FDP-B and NE8MX6-B etherCON connectors and

mounted on Schill GTMFK series with a lockable door to protect the connectors. www.tasker.it

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January–February 2026 PRO AVL ASIA 89

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PRODUCTS

All-in-one collaboration

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KRAMER HAS announced the launch of VIA Connect 3, the next-generation wireless presentation and collaboration solution designed for hybrid work and education environments. The latest addition to Kramer’s VIA line, the system reportedly delivers secure, high-quality wireless connectivity and 4K presentation capabilities in a compact 9cm x 9cm form factor.

Purpose-built for seamless collaboration, VIA Connect 3 allows iOS, Android, Chromebook, PC and Mac users to connect instantly to any

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main display – without the need for dongles or additional software. The device supports AirPlay, Miracast and browser-based connections to provide compatibility across various platforms.

Engineered for professional meeting rooms, classrooms and hybrid collaboration setups, VIA Connect 3 supports 4K video streaming and advanced conferencing integration. Users can wirelessly connect to in-room AV equipment, cameras and microphones, while the calendar widget provides one-click access to scheduled sessions.

Streaming to the masses MARSHALL ELECTRONICS has unveiled its first professional podcast streaming bundle, the StreamDesk. The package includes a Marshall CV508 POV camera, VAC-12HUC adapter, MXL 990 blaze LED condenser microphone with integrated SMP-1 shockmount and pop filter, MXL BCD-STAND desktop stand and the MXL MIC MATE PRO adapter. The StreamDesk bundle has been designed to deliver clear audio with HD video, making it suitable for podcasts, streaming and video calls on any platform.

The CV508 is a micro POV camera with HDMI and 3G-SDI. It also has a nextgeneration Sony 1/2.8-inch solid-state image sensor that provides clear HD images with rich, accurate 10-bit (4:2:2) colour, even in low-light (0.01 lux) environments. The Marshall VAC12HUC converts HDMI 2.0 to USB-C (USB 3.0/USB 2.0) at resolutions up to UHD 3840x2160p at 30fps.

The MXL 990 Blaze is an LED XLR condenser microphone, designed with the modern content creator in mind. It features a FET-based design and a large diaphragm for professional sound quality in both online livestreams and studio podcast recordings. The integrated MXL SMP-1 shockmount and pop filter protects the microphone against vocal plosives and corrosive moisture.

The MXL BCD-STAND is a desktop microphone stand that is described as durable and flexible. It is ideal for hands-free podcasting, recording or voice-over work and has a built-in 3.6m XLR cable with an easy clamp mount or a screw-to-tabletop surface kit for a variety of mounting solutions. It also comes with an XLR cable installed for easy plug-and-play.

The MXL MIC MATE PRO connects XLR to a USB interface with phantom power. www.marshall-usa.com

Security and flexibility are a core focus of VIA Connect 3, featuring 1,024-bit encryption, 802.1x network authentication and dynamic room codes – all backed by third-party security certification. The dual Wi-Fi allows access point, Miracast and LAN connection simultaneously, with hardwired LAN providing flexible configurations to keep internal

networks secure and protected. VIA Connect 3 also provides cloud-based management through Kramer’s VIA Site Management (VSM) software, allowing IT teams to deploy, monitor and update devices remotely and securely. www.kramerav.com

Atomos unveils Ninja TX GO

THE NINJA TX GO from Atomos is an HDMI monitor-recorder that brings the Ninja TX to a wider community of filmmakers and creators. Built for HDMI-based cameras, the Ninja TX GO combines a brighter screen, advanced monitoring tools, professional codecs, camera control and cloud connectivity, all in one compact device.

With its 5-inch, 1,500-nit HDR touchscreen, the Ninja TX GO features professional tools such as EL Zone, waveform, vectorscope and focus peaking, giving content creators control over framing, exposure and colour accuracy on-set.

The monitor records directly to CFexpress Type B or external USB-C SSD storage and supports Apple ProRes, ProRes RAW, Avid DNx and H.265/H.264 formats, providing flexibility across postproduction workflows. With RAW-capable HDMI inputs, it can record up to 6Kp30 RAW. The integrated camera control is a free feature that will allow direct adjustment of exposure settings such as aperture, shutter speed and ISO on supported cameras from Canon, Fujifilm, Nikon, Panasonic, Sony, Z CAM and other brands.

The Ninja TX GO includes built-in Wi-Fi for seamless camera-to-cloud operation, including 20GB of free ATOMOSphere cloud storage, enabling direct upload to ATOMOSphere, Frame.io, Dropbox and other services, or livestreaming via NDI 6/HX3.

For those who need even more advanced options, the Ninja TX adds SDI input/output, AirGlu wireless timecode and expanded 8Kp30 RAW recording capabilities for cinematic cameras. Both models run on the AtomOS platform, which reportedly provides faster performance, over-the-air updates and a more refined user experience. A robust locking cable system for HDMI and USB-C connections is also included.

In addition to its touchscreen interface, the LPM-1 features tactile rotary knobs for easy adjustment of contrast, colour, brightness and peaking, allowing operators to tweak the monitor image to their needs without affecting the production image. Alongside the rotary knobs are four configurable user buttons that can be

assigned to camera or monitor functions for personalised, on-the-fly control.

Initial setup of camera and monitor settings can be achieved either with the touchscreen or with buttons on the monitor’s rear. Also on the rear are strong mechanical interfaces for battery plates, VESA mounts and other accessories.

Further aiding the professional operator are

three physical tally lights, positioned discreetly at the top of the monitor, which can supplement or replace the monitor overlay tally. A Tally IN connector facilitates external triggering, while a large camera number display enables easy identification of camera channels. For performers or presenters in front of the camera, the 3-colour talent tally is sufficiently bright to be clearly visible in all light conditions, even direct sunlight. Complementing the LPM-1 is the specially designed Monitor Yoke Support MYS-2, which provides sturdy support and flexible manoeuvrability. An integrated NATO rail allows operators to slide the monitor back and forth and adjust its position on multiple axes with one hand. www.arri.com

90 PRO AVL ASIA January–February 2026

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ARRI goes live ARRI HAS introduced the LPM-1 live production monitor, a 10-inch onboard display and control interface that complements the manufacturer’s ALEXA 35 Live camera, LPS-1 live production system and Skaarhoj’s RCP. The LPM-1 connects to the camera via an ARRI CoaXPress viewfinder cable, though an optional RS cable can provide additional power for maximum brightness. The 10-inch screen is said to be an optimal size for live productions: big enough for accurate judging of focus, yet practical and unobtrusive on a tripod. According to the manufacturer, operators can always be sure of a clear image due to the high-bright display, wide viewing angle, accurate colour rendition and two sunhood options: a long sunhood for outdoor environments and a short, foldable sunhood for studios.

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Analog Way expands LivePremier lineup THE AQUILON Cmini is the latest addition to Analog Way’s LivePremier family and said to be the most compact presentation system in the range. It delivers the same capabilities as its larger counterparts, including ultra-low latency, 10-bit uncompressed image processing, ease of use, smart functionalities and the Link feature.

It also supports a wide range of modular input and output cards, covering all major baseband formats, including DisplayPort 1.4, ST 2110, NDI, SDVoE and Dante.

With up to 16 inputs, 12 outputs, two dedicated multiviewers and eight 4K layers, the Aquilon Cmini is suitable for applications where reliability, compactness and workflow agility are important considerations. It can be used in scalable productions, where between two and four Aquilon

units can be linked to increase inputs, outputs or aux destinations. It is also suited to mission-critical applications requiring seamless failover between primary and backup media sources to ensure uninterrupted operation.

The manufacturer has also introduced an 8-plug SDI input card, offering increased flexibility and density. With eight 3G-SDI or four 12G-SDI ports, all freely configurable, it is ideally suited for applications where workflows remain highly mixed between 3G-SDI and 12G-SDI. It is particularly relevant for users working with 3G-SDI workflows involving between five and eight simultaneous sources where it can maximise actual SDI port utilisation while reducing slot consumption. www.analogway.com

Extron adds DisplayPort extenders EXTRON HAS expanded its FOX3 fibre optic platform with two DisplayPort fibre optic extenders. The FOX3 T 211 and FOX3 SR 211 provide long-haul transmission of DisplayPort video, stereo audio, control, IR and 3D sync signals over fibre optic cabling. Engineered for high-resolution image performance, they deliver mathematically lossless 4K/60@4:4:4 over one fibre. Designed specifically for AV systems, the FOX3 DisplayPort extenders include integratorfriendly features such as EDID Minder, audio embedding/de-embedding, Ethernet monitoring and control, audio gain and attenuation, and real-time system monitoring.

The MGP 641 xi 5K multi-window processor has been designed for presenting up to four 5K sources on a

The DTP3 CrossPoint 42 is a compact 4x2 4K/60 matrix switcher featuring USB-C and HDMI inputs, HDMI outputs and a DTP3 output for extending video, audio and control signals up to 100m over a shielded Cat6A cable. Integration-friendly features, such as 60W USB-C charging and audio de‑embedding, are said to simplify designs and streamline installation by reducing equipment needs. Extron’s Vector 4K scaling reportedly delivers pristine image quality, seamless transition effects and logo keying. The unit has been built to serve the needs of environments where reliability, ease of use and superior quality presentations are crucial, such as corporate meeting rooms, lecture rooms in higher education and government facilities.

Adding USB-C input capability and input switching to Extron’s NAV Pro AV-over-IP

single screen, including 5K and ultra-wide displays. Supported video signals can be up to 5120x2880 with 4:4:4 colour sampling, while the manufacturer’s Vector 4K scaling engine reportedly ensures that downscaled and upscaled content is presented with the highest image quality. In addition to four HDMI inputs that support data rates up to 18Gbps, the HDCP 2.3-compliant processors include an HDMI background input for presenting live, non-scaled content behind the source windows at resolutions up to 5K. The MGP 641 xi 5K SDI model supports 12G-SDI sources, along with HDMI. An HDMI output accommodates a local display, while the DTP3 output that supports 4K/60 and 5K resolutions drives a remote display located up to 100m away with identical content.

series platform, the NAV E 222 USB-C and HDMI switching encoder is said to provide AV system designers with flexible options to create high-performance streaming systems. Versatile input switching modes are configurable as auto or manual switching. The encoder can power a USB-C device with up to 100W using the optional UPI 100 power inserter. The NAV E 222 supports the AES67 audio-overIP standard, facilitating flexible integration with Extron DMP Plus DSPs or other IP-enabled audio components. Purposebuilt to support demanding professional AV applications, the scalable NAV platform provides secure deployment of AV signals to thousands of endpoints.

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ATEN goes further in True 4K CE801

THE CE801 USB True 4K HDMI Cat6 KVM extender from ATEN allows users to redefine streamlined KVM extension and ergonomic remote access by keeping hardware securely out of the workspace.

Engineered for performance and simplicity, the CE801 delivers True 4K visuals with HDR10, crystal-clear digital audio, high-speed USB peripheral transmission and uninterrupted serial control, all over distances of up to 70m via a single Cat6 cable. Designed for environments where both clarity and control are mission-critical, the CE801 is suitable for applications ranging from control rooms and retail to healthcare and manufacturing.

The extender delivers True 4K (3840x2160 @60Hz, 4:4:4), with Long-Reach Mode extending 1080p transmission to 100m.

Whether powering mission-critical operations or everyday professional workflows, it has been designed to provide vibrant, precise and reliable KVM performance for any environment.

To enhance operational flexibility, the CE801 provides dual console access, enabling both local and remote users to control the system.

Pressing the pushbutton on the CE801L (Local) grants the local console priority KVM access to the source PC at any time in Local Mode, and pressing the button again releases this priority in Auto Mode, allowing KVM access from either the local or remote console, whichever gains control first. Administrators can prioritise local console access or share access between both ends, ensuring seamless collaboration and secure management.

The unit also delivers HDMI video, USB keyboard/mouse, RS-232 control and audio over a single Cat6 cable for easy setup and stable extension. EDID switches on the CE801L (Local) optimise HDMI output quality, while the

CE801R’s (Remote) RS-232 port supports direct integration with devices like touchscreens or barcode scanners, providing smooth communication and accurate data transfer between local and remote sites.

Meanwhile, the manufacturer has also released the CS742H 2-port USB 4K HDMI dual-display KVMP switch, designed for creators, engineers and professionals who require control over two computers while maintaining visual performance and peripheral sharing. With support for 4K (4096x2160@60Hz) resolution and ATEN’s Video DynaSync technology, the switch preserves display settings, ensuring consistent window sizes and icon positions during every port switch for smooth, stable multitasking. It allows users to connect two HDMI computers while outputting to dual 4K displays, making it suitable for content creation, postproduction and finance applications that require simultaneous visibility and precise control.

To simplify workflow transitions, the CS742H offers flexible switching between computers via pushbutton, hotkey, mouse or the ATEN Remote Port Selector. The unit also features a built-in 2-port USB 2.0 hub that supports devices such as webcams, storage drives and drawing tablets. Users can share media and data between systems through USB connections, eliminating the need for an additional docking station. The CS742H also supports multiplatform compatibility across Windows, Mac and Linux. All cables are included – the switch comes with four HDMI cables, two USB 2.0 A-to-B cables, one power adapter and one remote port selector. www.aten.com

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Painting a portrait CANON HAS released the RF 85MM F1.4L VCM, a professional portrait lens that extends the Hybrid RF prime range and reportedly delivers greater reach and versatility for creative photography and filmmaking. Optical quality and an 85mm focal length that gently compresses facial features make the RF 85MM F1.4L VCM suited for portraiture.

Its ultra-wide f/1.4 maximum aperture reportedly ensures separation of the subject and background, while UD and aspheric lens elements, combined with Super Spectra and ASC coatings, are said to achieve sharpness exactly where it matters.

Voice Coil Motor (VCM) AF technology provides precise focusing with minimal focus breathing. Combined with a dedicated smooth action Iris Ring and a customisable Lens Control Ring and Lens Function Button, the RF 85MM F1.4L VCM equips filmmakers with a flexible and reliable tool. It shares a consistent design with Canon’s RF F1.4 hybrid primes, allowing it to be used seamlessly with the rest of the range.

At approximately half the size and weight of the RF 85mm F1.2L USM, the RF 85MM F1.4L VCM is built for shooting on the move. Its L-series construction, featuring well-placed weather seals

RF 85MM F1.4L VCM

and an oil-repellent fluorine coating, provides reassurance in adverse conditions.

Enhancing its PTZ camera lineup, the manufacturer has also released the CR-N400 and CR-N350, which aim to address customer needs in terms of advanced functionality and streamlined workflows. Designed to fill the space in the manufacturer’s PTZ lineup between the CR-N300 and the CR-N500, the cameras reportedly provide a smooth on-air pan/tilt performance and high-quality imaging for a broader range of users.

Suitable for studio productions, live events, houses of worship, corporate settings and educational environments, both cameras offer 4K60p imaging with a 20x optical zoom, extendable to 40x advanced zoom in Full HD. They come with a 1/2.3-inch CMOS sensor and a DIGIC DV7 image processor. Both cameras also include a vertical crop feature which allows users to simultaneously output a 9:16 crop of the full image.

The CR-N400 has been designed for professional broadcasters who require a 4K

CR-N400 SDI-based workflow as it features 12G-SDI and 3G-SDI connectivity, Genlock and Timecode support for seamless integration into professional multi-camera setups. The CR-N350 provides a cost-effective solution for users who only require 4K over HDMI/IP or Full HD over its 3G-SDI terminal. With the increasing adoption of IP protocols such as NDI and SRT, both the CR-N400 and CR-N350 provide a versatile solution for direct IP streaming and remote production workflows. www.canon.co.uk

Panasonic unveils 4K multipurpose camera DESIGNED FOR multipurpose 4K productions, Panasonic Connect has added the AK-UBX100 4K camera to its catalogue. Using the same 2/3-type bayonet lens mount sensor and processing platform as the UCX100, the UBX100 is a box-style 4K camera that incorporates colour matching for devices such as the AW-UE160 PTZ camera. A unified menu interface and compatibility with common remote operation panels enhance intuitive control across production setups.

1.9kg, the camera is suited for robotic mounting and flexible lens configurations, although an HD optical low-pass filter enhances suppression.

Interoperability with the UCX100 and UE160 enables streamlined workflows for multi-camera environments.

A broad range of IP protocols are supported, including SMPTE ST 2110, NDI High-Bandwidth and NDI HX2, and SRT. It offers robust connectivity options through dual 12G-SDI and SFP+/28 ports. Weighing

eu.connect.panasonic.com

Ikegami unveils compact 4k cameras AIMED AT boosting production flexibility, image quality and operational efficiency, two additions have joined Ikegami’s UNICAM-XE series – the UHL-X40 ultra-compact 4K-UHD HDR camera and the UHK-X700RF wireless portable camera.

Building on the UHL-F4000 in a compact head measuring 120mm x 112mm x 128mm and weighing 1.1kg, the UHL-X40 uses three ⅔-inch CMOS UHD sensors with a global shutter architecture to minimise distortion on LED displays and reduce artefacts from flashes or strobes.

Features include dual optical filter wheels, optical vignetting correction and remote back focus. In addition to 4K-UHD output, the CCU offers simultaneous downconversion plus a 1920x1080 central cut-out. A vertical image inversion mode supports overhead mounting, while commands such as pan, tilt and zoom or teleprompter feeds can be sent from the CCU via an integrated 100BASE-T Ethernet trunk.

UHK-X700RF The UHK-X700RF, meanwhile, is a wireless version of the UHK-X700 portable camera, supporting 1080@50/59.94p and

3840@50/59.94p operation in ITU-R BT.709 SDR and ITU-R BT.2100 HDR with BT.2020 wide colour gamut. Its transmitter operates in the 2–2.7GHz band in 250kHz steps with 100mW output power. Encoding latency is typically 40ms at UHD or HD, with a standard transmission range of around 500m. Systems can be extended using cascaded IP-Mesh data transceivers, up to 22 in a single configuration.

The ½-rack receiver/decoder provides four SDI outputs supporting 1.5G, 3G and 12G formats with embedded audio, two XLR analogue audio outputs, BNC genlock input and 12V DC power, and can connect to up to eight downconverters via BNC cabling up to 100m.

The ULE-217-HDR is a Full HD HDR/SDR video quality monitor designed for use in studio control rooms, mobile production units and postproduction suites. Space- and energy-efficient, it is equipped with a 21.5-inch 1920x1080 pixel LED display, recently upgraded from 500 to 1,000 nits brightness.

HLG and HDR10 high dynamic range and all commonly used resolutions from 480p up to UHD and 4096x2160p60 4K are supported.

Operating features include horizontal and vertical image flip, area selection, full/over/

ULE-217-HDR under-scan and an assignable front-panel control button. Connection ports include 3G-SDI in and out, VGA in, HDMI in, audio in and out, and 12V DC power input. The ULE-217-HDR is housed in a robust metal cabinet with integral loudspeakers and consumes 24W or less.

The manufacturer has also released an IP extension unit for the IPX-100, said to provide an alternative to the conventional base station or CCU for applications where IP interface of video, audio and intercom are planned from day one. www.ikegami.com

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PRODUCTS

Bolin releases SCT bridges legacy AV Discovery Tool 2.0 ENHANCING PERFORMANCE and reliability across its product line, Bolin Technology has announced a firmware update together with the launch of the Discovery Tool 2.0 for device management.

Available from the Bolin Download Centre, the firmware update

WITH THE launch of the micro(C)eries, Sound Control Technologies (SCT) has created a series of modular USB-C solutions that bridge legacy AV systems and USB-C devices. Offering flexible USB-C connectivity with DisplayPort Alt Mode, Power Delivery (PD) and USB extension, the lineup includes the USB-PDI, USB-PDC and USB-AMV. With the shift to USB-C, collaboration devices have created challenges when interfacing with different protocols in older rooms. The micro(C)series delivers modular options: DP Alt mode with PD; DP Alt mode with PD + USB 2.0 extension; PD

www.soundcontrol.net

DisplayNote and Avocor expand partnership BUILDING ON a collaboration that has spanned more than four years, DisplayNote Technologies Belfast, UK and Avocor are marking a new chapter in their relationship with Avocor now offering Launcher v2 directly to customers.

Previously offered to Avocor customers

includes user-requested features and enhancements. Some of the 34 new improvements include a public API for custom integrations, support for NDI 6.2 on NDI-enabled SKUs, enhanced stability for an NDI embedded bridge, GDR Frame support for IP streams, and quickaccess Wiper and Heater controls on outdoor cameras.

Built for modern workflows, the Discovery Tool 2.0 update is a crossplatform, multilingual, enterpriselevel tool that efficiently manages, configures and deploys Bolin devices. The multi-language interface (English, Spanish, Korean, Russian and Chinese) detects all supported Bolin hardware across the networks, simplifies IP address configuration and supports multi-NIC across the networks. www.bolintechnology.com

(standalone); PD with USB 3.2 extension; Merge HDMI + USB into a single USB-C DP Alt mode connection; Merge HDMI + USB into a single USB-C DP Alt mode connection with USB 2.0 extension; and end-to-end DP Alt mode support with PD. Paired with SCT’s broader portfolio, the micro(C)eries supports tabletop upgrades to end-to-end room connectivity. Without needing custom programming, laptops, video bars, codecs, PTZ cameras and room peripherals can now be connected.

The TITAN of projection

interface with a cleaner navigation that reportedly makes meetings easier to start; editable home screens with personalised layouts and shortcuts that adapt to how people work; and screen saver messaging with idle screens that keep teams informed.

These come in addition to existing GroupShare features, such as multi-VC support, allowing users to join Teams, Zoom, Meet or Webex from one screen; kiosk mode and automatic cleanup which locks down every session; and calendar-based meeting launch with one-touch access to scheduled calls.

DIGITAL PROJECTION has launched the Luma 37000 WU and Luma 35000 4K-UHD, described by the manufacturer as its most compact 3-chip DLP projectors to date. They are said to bring the same TITAN performance in a chassis that’s 35% smaller and easier to integrate in challenging commercial spaces. Weighing 57kg, the compact TITAN Luma projectors reportedly simplify transportation, installation and long-term servicing, making them an ideal upgrade path for ageing highlumen projectors. Both models start at 31,000 lumens and up to 2,000:1 contrast ratio.

Blackmagic Design cameras (Blackmagic Studio Camera Pro, PYXIS, URSA Cine and URSA Broadcast) and send video point-to-point between remote locations via Ethernet or phone connection using mobile data. A 12G-SDI reference input can connect SDI tally, camera control

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www.digitalprojection.com

plus talkback for backup to the encoder.

Both the front and rear panels feature USB-C connections that can be used for phone tethering but, should the internet fail, the Streaming Decoder will automatically switch its internet connection to use a connected phone.

Most Blackmagic Design cameras support camera control, talkback and tally from an ATEM switcher via an SDI control protocol.

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Control for all cameras is embedded into the ATEM SDI outputs and the specific camera number can be specified on the camera. For cameras with built-in streaming, the Streaming Decoder’s REF input is connected to the ATEM switcher’s SDI output. With control embedded into the SDI monitoring output, the Streaming Encoder can be used for cameras without streaming. Measuring 135mm wide, three units can be mounted in a single rack space for simultaneous streaming to multiple independent services. www.blackmagicdesign.com

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Blackmagic Design adds Streaming Decoder FEATURING TALKBACK, camera control and tally, the Blackmagic Streaming Decoder decodes live H.264 and H.265 streams from an encoder or camera and converts it to SDI or HDMI. Previously marketed as the Web Presenter, the Streaming Encoder also features a matching set of streaming encoder and decoder products.

The streaming processor builds internet broadcast links with the Streaming Encoder.

The Streaming Decoder 4K receives the H.264 or H.265 stream from the Streaming Encoder and converts it to SDI and HDMI video. Users can transmit directly from

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as GroupShare, a customised version of DisplayNote Launcher, the move to Launcher v2 delivers the full benefits of DisplayNote’s latest release, while preserving the “simplicity, security and cross-platform compatibility” customers are already familiar with.

Launcher v2 now provides a centralised management with clear visibility and control of rooms and devices at scale; a modernised

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Enter the dragon Philips MediaSuite 6000 Series

PPDS expands MediaSuite TV series PPDS HAS added two models to its Philips MediaSuite range. As with previous and existing Philips MediaSuite models, the 6000 Series with Ambilight and 7000 Series UltraSlim ship Netflix-ready along with the complete Google Mobile Services package, including Google Cast integrated technology as standard.

In addition, Philips MediaSuite TVs are now also compatible with Apple AirPlay and come cloud gaming ready, offering hoteliers the option to offer guests easy access to their favourite games via their personal subscriptions. Guests can either bring their own controller to use, or the hotel may choose to have controllers available to lend or rent.

The new models also include a custom engineered speaker. Bluetooth headphone functionality also brings wireless freedom for guests and customers who prefer to connect their own wireless headphones for discreet viewing.

The Philips MediaSuite 6000 Series – available in 43-, 50-, 55-, 65-, 75- and 85-inch versions – features Ambilight technology which works by projecting lights from the LEDs at the back of the TV onto the wall behind. These dynamic lights change colour and intensity to match what is happening on the screen in real time, creating an immersive ambient lighting effect that makes the screen seem bigger and the visuals more engaging.

The 7000 Series UltraSlim stands less than 3cm from the wall. Available in 24- and 32-inch (FHD and ideal for cruise ship crew cabins) and 43-, 50-, 55- and 65-inch (4K) versions, the 7000 models are also protected against the harmful effects of sea air – whether at beachside resorts or on cruise ships, via an additional layer of conformal coating on the circuitry, helping to defend against the ingress of salt, dust and humidity. www.ppds.com

LEYARD EUROPE has released the Komodo Series, a family of ultra-fine pixel pitch Chip-on-Board (COB) MicroLED videowall displays. Available in 0.7mm, 0.9mm and 1.2mm pixel pitches, the units feature a DCI-p3 colour gamut for professionalgrade colour reproduction and 1,000 nits of brightness to support dynamic image reproduction in any indoor environment.

Powered by Megapixel’s Helios LED processing platform, the displays come with LED display cabinet electronics specifically designed to fully leverage the Megapixel platform. Helios is a secure LED processing platform offering support for 8K inputs and output with a small 1U size. In addition to 100Gbps ST 2110 capability, the series also features an upgradable design to support future standards and can be configured to meet customer application needs.

The displays have been designed to support today’s most in-demand formats, including 16:9 and 21:9. With the ability to

build videowalls from native Full HD and 4K to 8K and ultra-wide 5K, the family is suited for corporate and education applications that benefit from ultra-wide 5K resolution.

For applications demanding expansive or panoramic viewing experiences, the units deliver an immersive, cinematic-scale seamless display that maximises visual impact.

Featuring the latest advancements in COB technology, including improved colour accuracy, high pixel density, sharper imagery and deeper blacks, the displays also use an alternating LED orientation to produce improved viewing angles and colour uniformity. www.leyardeurope.eu

Q-SYS enhances its Full Stack AV Platform QSC HAS announced the expansion of the Q-SYS Full Stack AV Platform with the NC-90 and NC-Pro15x network cameras, high-density QIO Series audio I/O models, new Space Utilization features for Q-SYS Reflect, the Q-SYS Library and expanded NS Series Gen 2 switches.

The NC Series NC-90 and NC-Pro15x have been built for the Q-SYS Full Stack AV Platform. The NC-90 is a next-gen network ePTZ camera that combines onboard AI with

The NC-90 with the NC-Pro15x

enhanced optics to deliver an automated collaboration experience in smaller, wider collaboration spaces. The NC-Pro15x is a network PTZ camera,

built by Canon, that expands Q-SYS video capabilities to high-impact spaces requiring elevated production-grade elements.

To meet growing demand for large-scale audio integration, high-density audio I/O expander models have been added to the existing QIO Series, including QIO-ML24i, QIO-L24o and QIO-24f. Each model features support for analogue audio connections, 8x8 GPIO ports and dual network connectors. These expanders are said to reduce complexity for large installations such as event venues, hospitality environments and judicial spaces.

The upcoming Space Utilization feature in Q-SYS Reflect helps organisations optimise meeting spaces and technology investments by combining calendar data, sensor insights and system usage metrics. Without requiring hardware changes, Reflect reveals how and when spaces are used, enabling better space management, reducing “ghost meetings” and improving workplace experiences.

The Q-SYS Library is a one-stop hub for verified ready-to-use assets such as Q-SYS plugins, UCI templates and sample designs.

Replacing the legacy Asset Manager, it offers curated, cloud-native resources optimised for seamless integration with Q-SYS Designer.

With tested assets supported by Q-SYS and partners, organisations can save time, deploy with confidence and access resources anywhere through a streamlined browser-based experience.

Q-SYS Reflect-enabled assets further extend monitoring and management, helping integrators scale deployments more reliably.

The Q-SYS NS Series Gen 2 network switch portfolio now includes the NS26-480+ and NS40-960+, providing modernised networking solutions for Q-SYS systems. These switches reportedly deliver the best out-of-the box experience and add to a robust portfolio of NS Series network switches. www.qsys.com

RØDE adds 2nd-gen Wireless Micro range FEATURING TWO compact transmitters with in-built microphones, a smartphone receiver and an on-camera receiver with a 1.1-inch AMOLED screen, the Wireless Micro Camera Kit from RØDE can be used for shooting on a DSLR or as a mirrorless camera or smartphone. The latest addition to the manufacturer’s Wireless Micro range includes second-generation universal camera connectivity to cater to a broader set of content creators.

Additional features include GainAssist technology for balanced audio, extended battery

life with included charging case and plugin power detection, a lightweight form factor, integrated windshields (with additional furry windshields) for outdoor recordings and Direct Connect which enables seamless connectivity to iOS smartphones via Bluetooth through the RØDE Capture app. The on-camera receiver features both a 3.5mm TRS and USB-C output, while an integrated cold-shoe mount provides a streamlined setup. www.rode.com

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Lightware’s DCX extends Taurus appeal

DCX-3x1-TPN-TX10

DEVELOPED FOR cost-conscious educational or corporate settings, Lightware has extended the Taurus Series with the DCX lineup of signal management solutions.

Offering a streamlined setup, the Taurus DCX series currently comprises the DCX-3x1-TPXTX10 and DCX-3x1-TPN-TX10. The TPX has been created for point-to-point installations, while the TPN is for larger, networked setups.

When paired with their corresponding receivers including the HDMI-UCX-TPX-RX107 and HDMITPN-RX107A-SR, the transmitters enable AV signals to travel across longer distances.

By combining switching and long-distance transmission capabilities over SDVoE in a single unit, the Taurus DCX eliminates the requirement for multiple devices. With a single USB-C and dual HDMI inputs in addition to one HDMI output, various sources including laptops, cameras and media players can be switched for output to a desired screen. Unlike a standard switcher, SDVoE compatibility provides long-

distance transmission over a single Cat cable up to 100m, including 4K UHD video support.

In TPN systems, distances can be extended further by adding switches. Additionally, USB-C charging up to 100W makes the Taurus DCX an all-in-one solution for workplaces and classrooms. Lightware Advanced Remote Access (LARA) integration into the Taurus DCX enables remote monitoring, control and configuration over a network.

Meanwhile, the manufacturer has also announced an update to its Taurus platform, which now delivers switching for 5K and 21:9 ultra-wide display formats. This makes Taurus devices fully compatible with the latest generation of hybrid environments, including those using Microsoft Teams Front Row, Zoom Rooms and other ultra-wide meeting room layouts.

The addition of native 5K and 21:9 display compatibility is said to bring a range of

real-world advantages to modern meeting, learning and collaboration environments such as simulation, engineering, broadcast and executive boardrooms. Lightware’s Taurus devices can now display collaboration interfaces exactly as intended, showing more participants, shared content and chat simultaneously without cropping, scaling or distortion. The wider canvas also allows users to view multiple sources or applications side by side, making multiwindow workflows even easier to manage, ideal for creative studios, control rooms and training environments with immersive content.

With a newly expanded EDID library, Taurus devices can now automatically detect and configure 5K and 21:9 displays, eliminating manual setup and reducing deployment time for plug-and-play simplicity. This simplification reportedly reduces the need for IT support calls. The expansion means compatibility with all display types, from ultra-wide monitors to premium LED walls.

Taurus devices can handle 4:4:4 visuals and advanced audio signals with ultra-low latency.

The feature is currently available for the Taurus UCX HC40 and HC60, Taurus DCX, Taurus TPX and Taurus TPN models. By the end of the year, full 5K capability will extend to the entire UCX/DCX lineup, including the HC30 variants.

Ayrton launches the MagicDot Neo BECOMING THE latest addition to Ayrton’s IP65 Creative Series, the MagicDot Neo is described as “compact, lightweight, ultrafast and powerful”.

It is a cylindrical luminaire featuring a 100mm lens set within a perfect sphere.

Measuring only 35cm but with continuous double rotation on the pan and tilt axes, MagicDot Neo fixtures can be clustered with minimal spacing between units to open up new configurations.

Individual control over each light source is maintained in every direction, allowing the creation of ultra-compact matrices or concentric circles in which the fixtures appear almost fused together.

The unit is compatible with Astera’s batterydriven PowerStation, which can be used as an external display or power supply, and the fixture’s housing includes two threads (¼- and 3⁄8-inch) for attaching to baby pins, tripods and other mounting accessories.

When no other control is available, the SolaBulb can be turned on or off via its onboard hardware button, or “blue mode” can be activated for Bluetooth pairing or to easily apply different colour presets.

www.astera-led.com

Claypaky updates its Ultimo Sharpy CLAYPAKY HAS added a new Low-Noise mode to the Ultimo Sharpy, a feature developed in direct response to requests from lighting professionals. The new operating mode delivers a reduced operating sound, cutting noise levels by up to 7dB while maintaining 90% of the original light output.

To enable this operating mode on already purchased Ultimo Sharpy units, users need to download the new firmware from e-assist.tech, the After Sales Service Information Support Tool.

Equipped with a new 120W RGB-L multichip LED source paired with a 100mm optic, the MagicDot Neo delivers a total output of 3,000 lumens for an overall power consumption of only 160W, and a 16,000 lux output at a distance of 5m. It can switch instantly from beam to wash, offers a 10:1 zoom ratio, a wide beam angle from 3–30°, a uniform beam of light with no colour shadows, and rich saturated and pastel colours. Its IP65 rating extends its versatility to stage lighting for indoor and outdoor use, even in saline environments.

The MagicDot Neo features Ayrton’s LiquidEffect featuring 60 RGB LEDs around the beam’s periphery. This is said to create mesmerising multi-colour effects, organic lighting and complex volumetric effects. The high output of this LED source is handled by Ayrton’s bespoke cooling solution based on phase-change heat pipe technology.

By drastically reducing the thickness of aluminium components, optimising the cooling system, simplifying lens mounts and integrating low-density optical parts, the MagicDot Neo’s weight has been reduced to just 6.6kg. www.ayrton.eu

www.claypaky.com

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Onboard CRMX makes LumenRadio’s wireless DMX and RDM protocols available for seamless integration with lighting consoles plus tabletbased controllers such as Blackout. It also works with Astera IR WhiteRemote and FX Remote for tweaking colour temperatures, skin tones or dimming values, and is fully compatible with the Astera App. The DMX patch can be swiftly configured using the Astera App, which offers full control over SolaBulb and other Astera fixtures that can be combined in the same smart ecosystem, offering familiar setup features and real-time monitoring.

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Astera is in the spotlight WITH AN in-built 15–50° zoom range that is optimised for maximum lux output, the SolaBulb from Astera is based on the LunaBulb launched in 2024. The SolaBulb is a zoomable LED bulb the provides both spotlight and wide-angle beam spreads and comes with a refined PAR20 Fresnel lens.

Equivalent to a 50W tungsten PAR bulb, the luminaire includes a high-quality light output with clean edges and an even beam, making it suitable for eye-lights, concealed backlights or background accenting and effects.

The fixture is powered by Astera’s fivecolour Titan LED Engine which delivers the same performance and beam characteristics as larger luminaires like the QuikSpot or QuikPunch. The front barrel is rotatable to obtain the desired beam angle, and the fixture comes with a SolaSnoot that attaches directly to the front of the barrel, eliminating light spill.

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PRODUCTS

ETC brightens its architectural portfolio

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THE FAMILY of architectural luminaires from ETC now includes three brighter display fixtures: the Irideon FPZ Plus, Irideon WLZ Plus and Source Four Mini LED Plus. With new control options and an increase in lumen

output, the Plus luminaires reintroduce the ability to mount ETC fixtures on a 230V track, this time using the DALI control protocol and adapters compatible with OneTrack by EUTRAC.

Compact and bijou VARI-LITE HAS released the VL3200 LT Profile IP, a compact, long-throw production profile fixture with over 20,000 lumens of output in a small, outdoor-rated format. It includes a 550W monochromatic light engine and a CMY+CTO colour mixing system for a broad range of colours. With a large selection of tools for creating dramatic effects, the VL3200 is suitable for long-distance key lighting and mid-air effects.

The fixture includes fixed and indexing/ rotating gobo wheels, an animation wheel,

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ETC BRAND High End Systems has released the IP54-rated MegaPix and GigaPix, two pixel wash fixtures described as high-impact features in a compact package. Both come with a Fresnel lens system, smooth zoom range, RGBL colour engine and dimming. The units offer the output characteristics of a Fresnel lens, with the power and versatility of a pixel optical system. The patented Integrated Fresnel Lens (IFL) system increases output throughout the entire zoom range, while the fixture is also protected against a buildup of condensation from fog to minimise maintenance requirements.

A custom RGBL LED engine, along with a 2,000–10,000K CT channel, deliver “vibrant colour and elegant white light washes” to any

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mounting, can be DMX or DALI controlled, or used with the F-drive centralised remote driver system.

Finally, the lighting manufacturer has expanded its Response Mk2 DMX Gateway family with two 8-port options: a full-width Gateway with eight XLR connections and a 1⁄2-width Gateway with eight terminal connections. These higher-density gateways are said to deliver the same system functionality at a lower price, while using less rack space. With multiple mounting options and repositionable network ports, the Response Mk2 8-port DMX Gateway “fits comfortably wherever it is needed”. The Terminal version is the same size as ETC’s current 4-port Gateway, providing twice the number of 3-position terminal connections into the same amount of space. Using an existing rack-mount kit, it is possible to get 16 ports of DMX output into a 1U rack space by mounting two 8-port terminal gateways side-by-side.

dual prisms, frost, a 4-blade continuous wipe framing system, a 16-leaf variable iris and a 12.5:1 ratio zoom range of 4–50°.

Thanks to its V*Track Focus technology, the VL3200 offers an advanced 16-bit focus control that ensures the edge and zoom remain aligned throughout the full zoom range with no need to switch between controls at the narrowest end of the range.

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The Irideon Framing Projector Zoom (FPZ) Plus features a 25–50° beam spread and an output of up to 1,600 lumens, said to be notably brighter than its standard predecessor.

The FPZ Plus is available with DMX or DALI control, and is compatible with F-Drive, ETC’s centralised remote driver system. The luminaire is available in 2,700K, 3,000K, 4,000K and 5,000K colour temperatures in Standard 80 and Gallery 90 CRI. The Irideon Wash Light Zoom (WLZ) Plus includes 9–78° zoom optics and is ideal for softening the appearance of any space.

Substantially brighter than the original WLZ, this fixture outputs up to 2,600 lumens of light. The WLZ Plus is available in 2,700K, 3,000K, 4,000K and 5,000K colour temperatures in both 80 and 90 CRI, with similar mounting and control options as the FPZ fixture.

The Source Four Mini LED Plus is available in 2,700K, 3,000K, 4,000K and 5,000K colour temperatures in both 80 and 90 CRI. It comes with either track, canopy and portable

stage. Developed by ETC’s colour scientists, the CT channel reportedly delivers the highest TM-30 Preference rating (P1) of the entire range.

Macros with built-in colour or flex macros with customisable colours are also included. Each look is highlighted by HaloGraphic Pixel Definition technology, outlining each cell with a slight diffusion to enhance cell-to-cell visuals. Users can maintain modular control of each pixel with Art-Net or sACN control options.

The MegaPix weighs 9.2kg and has a 10,000-lumen output with a 4.5–50° zoom range, while the GigaPix weighs 15kg and has a 17,000-lumen output with a 4.5–55° zoom range. www.etcconnect.com

The magic of Morgane ROBERT JULIAT has announced the launch of the Morgane, a 13–24° followspot and the smaller sister of the Tristan launched last year. Its 825W LED source is available in tunable white or in fixed cool white. The Morgane has a motorised, fully closing iris that allows the creation and storage of presets for rapid cueing. Accessories include a remote display providing iris and intensity information for operator convenience; the ability to connect external remote controllers to operate the followspot from any position; and an optional version with left-side controls for iris, dimmer, frost and colour changer.

As with other Robert Juliat followspots, the Morgane includes a smooth flat beam, ergonomic design, electronic dimming with single-handed local control, remote DMX control, frost and colour filters, 6-way colour changer and a native CRI >90. The variable white source is said to offer greater versatility and eliminate the need for physical colour correction filters, simplifying setup and reducing costs. The colour temperature can be controlled remotely from the console allowing real-time adjustments. The fixture

DMX, RDM, Ethernet, Art-Net and sACN protocols. It also has Advanced Ethernet node functionalities compatible with RDM, LLRP and zeroconf protocols.

Housed within a compact body and offering silent operation, smooth electronic dimming and the benefits of no lamp change due to its LED source, the Morgane is also suitable as a spot for front-ofhouse, truss and backlight positions. has a built-in electronic flickerfree power supply and is compatible with

www.robertjuliat.com

January–February 2026 PRO AVL ASIA 97

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BUSINESS: ANALYSIS

Air to the throne

Phil Ward wonders if venues can keep up with broadcast trends

Typical mobile audio setup by Creative Technology IT’S THE ROLE OF MANUFACTURERS TO PROVIDE NEW techniques and new solutions. Whether the rest of the industry adopts them is another matter. In-house broadcast facilities for live venues are facing rapid changes as streaming changes the habits of viewers and listeners, with major concert halls and opera houses adding some kind of TV-style gallery with theatres and regular gigging venues going straight-to-stream – if anything.

Most venues, even those built since the 1950s, consider the audience in the room to be the endpoint.

Why wouldn’t they? Cameras get in the way even more than loudspeakers, while the space needed for control and direction is, at best, a remote cupboard that may have once housed a projector, if not cleaning products.

The Royal Opera House in London’s Covent Garden has been syndicating live performances to distant cinemas for about 20 years, when a Studer Vista 5 console and 5.1 monitoring was added to a control room tightly packed into a corner some distance from the auditorium. But it has only just upgraded its audio signal conversion, adding Pro Tools and Merging’s Pyramix alongside a 48-fader Avid S6, with Munro acoustics and Dolby Atmos, all connected by Dante.

There is also a streaming platform.

Even the most prestigious venues have been struggling to keep up. Just as an infrastructure for conventional broadcast becomes a reality for the top elite, along comes a disrupter that already demands a rethink of how venues should engage with the outside world. When Sydney Opera House underwent a major refurb between 2015 and 2018, it was under the auspices of Niels Erik Lund, on secondment from Copenhagen’s Danish Radio Koncerthuset where he was, and still is, responsible for strategic development projects. On his watch, the concert hall gained new acoustics, new hardware such as fly systems, stage risers and air conditioning, and improved disabled accessibility. More was done for the building’s 50th anniversary two years ago, but again prioritising sound reinforcement including a large d&b audiotechnik inventory.

Yes, there is a shiny new Stream app. But, as of today, the app “hasn’t received enough ratings or reviews to display a summary”.

It will do, but by then the broadcast infrastructure will have changed again. Some, like BBC-trained engineer Antony Shaw, feel like they’re holding out for quality in a world of compromise. He cofounded the classically equipped OB truck Spiritland in London – its centrepiece is an SSL System T console – and believes in the oldschool method of parking outside the venue, collecting traffic fines and, simply, being there. “There’s a whole lot of work to be done on how remote audio works,” he says, “recording or live. We play in that space, having done some gigs that were completely remote-mixed and livestreamed. The technology is there, but people still need to be persuaded that it’s OK to have somebody 100 miles away mixing your gig for broadcast. You’re in control of someone’s IP, and they may have no representation at the session.”

Ticketing all the boxes The problem for conventional broadcast is that everyone is a broadcaster. This year’s IBC has been described as some kind of all-purpose “future-tech” show, almost a half-year staging post between one ISE and the next, with TV and radio fading into crackling nostalgia. Of course, every type of venue and event is gearing up – but for TikTok, not TV. In London’s Camden Town, KOKO is a reinvented theatre with every space wired for sound, from the main auditorium to a members-only club, speakeasy, piano room, stage kitchen, recording studio, penthouse, library and roof terrace – every inch ready to stream out into the metaverse. Sound reinforcement was specified by the engineering and technical design team at Funktion-One alongside Peter Knowles, a broadcast and streaming technology leader and founder of the consultancy Studio Expert. The system, reports Funktion-One’s Mike Igglesden, “plugs into Dante ports

that connect it with the broadcast and streaming platforms designed by Peter, with whom we worked very closely throughout. We drew a line through the system ahead of our processed amps so that he can run full-range signal at whatever level he wants – and whichever choice of signal.”

The urban festival Live From Reykjavik mics up multiple venues across the city and then recommends use of the DICE.fm app for streaming, which also handles ticketing.

This involves registering with the app, verifying your iOS device and obtaining an access code, although standard browser-based purchase and access is available as well.

Meanwhile, PUSH Live uses a proprietary rendering engine to prepare and transmit AV content via the cloud, but founder Larry Gale repeats a simple plea made by sound engineers working in TV, film and presentation down the years: don’t overlook audio. “I would never advocate taking a stereo aux feed from the FOH desk into my livestream and up to my end user,” he says. “What they would end up hearing would be awful.”

Streaming still relies on Real-Time Messaging Protocol (RTMP) for a smooth internet ride. “It does mean thousands of operators are not broadcast-trained,” observes Graham Sharp, CEO at Broadcast Pix. “Our goal is to make the kit easy to use, unlike the MixEffect hardware control panels that still proliferate. Our audio and video tools are all in the box, simple to use and make the most of automation and behavioural intelligence. There is too much focus on technology and not enough on ease of use.”

Nevertheless, manufacturers continue to come up with brilliant solutions. Yamaha’s new DM7 console can be split in two for simultaneous live and streaming mixes; Lawo’s mc² console ecosystem is hailed as “a household name” in arts houses from New York, Saint Petersburg and Beijing to Paris, Berlin and Zurich; and DirectOut’s global clocking inside the PRODIGY range of routers ensures that broadcast and live feeds are seamlessly locked. The hope is that streaming won’t discourage venues from taking advantage of them.

98 PRO AVL ASIA January–February 2026

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