Advanced AV systems enhance visitor experience at new Perth attraction
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A single, pivotal moment can change the entire trajectory of a band, brand or business. Yamaha’s new DXR mk3 powered loudspeakers and DXS mk3 powered subwoofers - along with their CXR/CXS mk3 unpowered counterparts - are designed to ensure audiences experience the full range of expression and passion of performance, giving users the confidence they need for those crucial moments when high quality sound makes all the difference. From live music venues, DJs and touring systems through to corporate events, installations and fixed systems, the expanded lineup of powered and unpowered loudspeakers and subwoofers, combined with advanced DSP, robust enclosures and flexible mounting options, allows users to configure an exceptionally reliable, high performance sound system tailored to a wide variety of environments and applications.
Our July–August issue of Pro AVL Asia certainly reflects the whirlwind of activity that the past few months have been for us here at Blank Canvas. Between us, we’ve traversed APAC and beyond, covering the ever-growing calendar of tradeshows that hit the industry during May alone. Combined, our travels have taken in Seoul, Perth, Singapore, Guangzhou, Hong Kong, Macau, Bangkok, Mumbai and Las Vegas.
Of course, our journeys don’t stop at tradeshows, although you’ll find seven pages of show overviews and exhibitor commentary from p58 onwards, keeping you up to date with the latest market developments across each region. These events provide invaluable opportunities to reconnect
with industry colleagues and friends, strengthen relationships and gain firsthand insight into how different markets are evolving.
I was in Mumbai for PALM Expo India (p64), a show that seems to grow in scale and significance every year, reinforcing the country’s position as APAC’s fastest-growing AV market. Away from the exhibition halls, I was fortunate to visit a number of remarkable projects across the city that showcased the diversity, ambition and innovation driving India’s audiovisual sector. We’ll be exploring these in future editions. For now, settle in and enjoy a truly international issue, with editorial features spanning the region and beyond, from Perth to Seoul to Las Vegas, and many points in between.
cmoss@proavl-asia.com
Richard Lawn General manager rlawn@proavl-asia.com
Nick Smith Digital media manager nsmith@proavl-asia.com
Sue Gould Advertising director sgould@proavl-asia.com
Chris Yardley Video editor cyardley@proavl-asia.com
Carolyn Valliere Sales associate cvalliere@proavl-asia.com
Jack Stennulat Digital content creator jstennulat@proavl-asia.com
Simon Luckhurst Senior reporter sluckhurst@proavl-asia.com
Adrian
Production manager abaker@proavl-asia.com
Karen
Marne Mittelmann Circulation manager circulation@proavl-asia.com
Bea Meikle News editor bmeikle@proavl-asia.com
Sue Su Guangzhou manager ssu@proavl-asia.com
Panasonic Projector & Display Corporation has announced the acquisition of UK-based company Hive Media Control, expanding its capabilities in media playback and control for immersive and fixed-installation environments. According to Panasonic, the acquisition forms part of a wider strategy to evolve beyond a hardware-focused business model into a broader visual solutions provider spanning projection, display, workflow and integrated media-delivery technologies.
Despite the acquisition, Hive will continue to operate as a standalone vendor-neutral business, maintaining support for customers using its systems alongside third-party projector and LED display brands.
“This is a strategically important step for Panasonic as we continue to evolve our business beyond a hardware-oriented model
towards broader visual solutions and workflow value,” commented Yousuke Adachi, CEO of Panasonic Projector & Display Corporation. “Hive brings proven expertise in media playback and control, and, when combined with our projector and display portfolio, we believe it can create meaningful customer value through simpler deployment, greater flexibility and a better end user experience.”
Hive develops media server and playback technologies for immersive attractions, museums and permanent visual installations. Its BeeBlade platform is based on the Intel Smart Display Module (SDM) standard, allowing direct integration with projectors, LED displays and professional display systems.
“We are inspired and honoured by the opportunity to work with Panasonic, while continuing to grow Hive as an open and
independent ecosystem,” said Mark Calvert, cofounder and CEO of Hive Media Control. “This partnership gives us the scale to accelerate our vision while preserving the openness and platform-agnostic approach our customers rely on.”
Panasonic stated that the combination of Hive’s media-control technologies and its own display portfolio is expected to improve deployment flexibility while reducing infrastructure complexity, cabling and external hardware requirements across immersive installations. Hive systems have previously been deployed on projects including the BBC Earth Experience, the National Museum of Qatar and the Michelangelo’s Sistine Chapel exhibition.
www.eu.connect.panasonic.com www.hive.run
Global audio manufacturers d&b audiotechnik and L-Acoustics have joined forces with SoundPLAN to launch System Design Exchange (SDE) – a neutral standard for noise prediction across multiple sound systems. The standard has been engineered to facilitate effective noise management as outdoor events continue to grow in urban areas. Predicting noise emissions from festivals and events with systems from different manufacturers has been challenging, as each system relied on proprietary tools. L-Acoustics and d&b believe that this lack of interoperability often results in inconsistent noise predictions, making it difficult to meet environmental requirements.
The SDE standard has been designed to address this challenge by providing a unified method and file format for reliable, consistent and comparable predictions in environmental noise software. It defines how to export data from system-design software, such as d&b’s ArrayCalc or L-Acoustics’ Soundvision, and details the methodology for calculating complex acoustic interactions. This includes calibration and decoherence factors to ensure accuracy at any distance.
System technicians can use SDE to export their designs as standardised SDE files, which can then be imported into environmental noise software like SoundPLAN. This workflow allows consultants and event organisers to accurately predict noise emissions for festivals with multiple stages and systems from different manufacturers. It was reported that, in future, the SDE format will be made available to other manufacturers and noise-pollution software.
“The SDE standard is a huge step forward in addressing the noise-management challenges of large-scale events,” said Florian Hahn, product manager application software at d&b. “With SDE, we’re making effective and comparable noise management accessible, ensuring that audiences can enjoy their favourite artists while respecting nearby communities, public facilities and natural habitats.”
Christie Digital Systems and VistaPHX have ceased negotiations regarding the previously announced agreement in principle to sell its broadcast and professional video group assets, including intellectual property and operational infrastructure, to VistaPHX.
Under the agreement, Christie will retain its image processing and compositor product lines – Spyder, Terra, Hedra, Phoenix and Mastering Gateway – along with the operations supporting them. In light of the news, Christie said it is evaluating future opportunities and cited its commitment to supporting customers, partners and ongoing business activities tied to these products. The manufacturer stated that no additional details regarding the negotiations will be disclosed.
www.christiedigital.com www.vistaphx.com
“Organising a festival today means navigating real tension between the energy that makes live music special and the legitimate expectations of the communities hosting it. Using SDE gives everyone at that table – promoters, consultants, local authorities – one shared, reliable source of truth for those conversations,” Yann Gaël Gicquel, director of product management, spatial systems at L-Acoustics, added.
“SDE will set a new benchmark for noise prediction in the audio industry. Its innovative, collaborative approach promises to establish SDE as an industry standard, simplifying workflows and delivering the most reliable prediction of noise emissions from different sound system manufacturers to date,” Jochen Schaal, managing director at SoundPLAN, stated.
For L-Acoustics users, SDE is currently available to consultants trained and certified by L-Acoustics, and through the company’s environmental system-design service. For d&b users, SDE is accessible directly within ArrayCalc.
www.dbaudio.com www.l-acoustics.com www.sde-info.com
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Global sound reinforcement company Arxiduc Audio recently became the first in Japan to introduce the Quantum852, marking a landmark purchase for the business. Established in Japan in 2013, Arxiduc Audio has a subsidiary in Southeast Asia, Arxiduc Asia, which also operates DiGiCo systems.
Meyer Sound has opened a new manufacturing facility and office in Shanghai, China, through a wholly owned subsidiary that will produce selected loudspeaker products for the domestic market.
The 4,500m² facility, located in western Shanghai, will initially employ staff in product assembly, quality control and finance. According to the US company, products will be assembled
beyond the country’s largest metropolitan areas.
China has become Meyer Sound’s largest market for its PANTHER line array outside the US, with sales supported by distributor Shanghai Broad Future (SBF). The new facility will manufacture several of the company’s products for the local market, including PANTHER and the 2100 -LFC low-frequency control element.
using the same processes and quality control standards as those used at its Berkeley, California headquarters. Meyer Sound personnel from Berkeley will provide initial training and support to ensure alignment with global assembly and testing procedures.
The move comes as demand for professional audio systems continues to grow across China, particularly in performing arts centres, theatres and live venues in rapidly developing cities
The Japanese company made its first Quantum purchase in September 2020 with the Q338 console, followed by a Q225 desk. With this most recent purchase, Arxiduc Audio has established an operational framework centred around the series, expanding its capabilities for a range of applications.
According to Arxiduc Audio CEO Hirohide Kobayashi, when selecting equipment for demanding high-end live performances, he places the utmost importance on not only performance and technology, but also on the specific challenges of each customer’s application. This philosophy was built on the company’s experience of providing flexible and stable solutions tailored to the unique requirements of every venue.
“The adoption of the DiGiCo Quantum range is a direct extension of this thinking,” explained Kobayashi. “By combining the highly reliable DiGiCo platform with scalability and intuitive operation alongside the expertise of our staff, we at Arxiduc Audio ensure consistently high-quality service.”
It was reported that the company was also an early adopter of KLANG, with engineers actively integrating the immersive in-ear monitoring system into their workflow.
In addition to purchasing the Q852, Arxiduc Audio has also implemented the Fourier transform.engine. The company hopes that this balance of flexible software-based operations with high-end performance will equip it to respond more rapidly to the diverse and sophisticated sound-quality demands of the market.
“The introduction of the Quantum852 marks both a milestone and a new beginning for Arxiduc Audio,” Kobayashi concluded. “By pursuing a synergy between cutting-edge technology and the human expertise required to maximise it, the company intends to deepen its relationships with engineers, production companies and partner firms worldwide. As a leading DiGiCo user, Arxiduc Audio continues to strive for further service excellence and business expansion.”
www.arxiduc.jp www.digico.biz
AV United has officially launched dBTechnologies in Malaysia, marking the start of its role as the manufacturer’s local distributor and introducing the VIO L1608 line array system to industry partners and end users.
The launch event brought together systems integrators, rental providers, engineers and other industry professionals for a programme of presentations, product demonstrations and discussions on systems design, deployment and market developments. The event highlighted dBTechnologies’ plans to strengthen its presence in Malaysia and the wider Asia Pacific region.
approach behind the brand’s product portfolio and examined trends influencing modern systems design and deployment.
A highlight of the event was a series of live demonstrations led by Ronnie Lai, regional application manager APAC at dBTechnologies. Lai showcased the VIO L1608 line array and the Ingenia IG5TR, giving attendees an opportunity to assess the systems in operation and examine factors including coverage consistency, tonal characteristics and deployment flexibility across a range of applications.
Production of TIGRA and the 1800 -LFC is expected to begin later this year.
“The new factory will significantly accelerate Meyer Sound’s momentum in one of the world’s most active markets for live sound and the performing arts,” said Meyer Sound’s senior vice president, John McMahon. “This facility is about supporting the next phase of that growth.”
www.meyersound.com
Opening the event were Chin Foo Heng, managing director of AV United, and Patrick Hau, regional sales manager APAC at dBTechnologies. Their presentations focused on the new distribution partnership and the growing demand for scalable sound reinforcement systems in the Malaysian market.
Attendees also heard from Manuele Poli, head of sales APAC for dBTechnologies, who outlined the company’s regional roadmap and long-term plans for APAC. His session explored the engineering
Beyond the product demonstrations, the event provided a platform for AV United and dBTechnologies to engage directly with consultants, integrators and rental companies as the brand establishes its presence in Malaysia. It also offered attendees insight into the manufacturer’s broader direction in the region, combining technical sessions with discussions on future opportunities for the local market.
www.av-united.com www.dbtechnologies.com
Intense Lighting, a rental company based in Botany, Sydney, has purchased 12 Robe FOOTSIE2 Slims to service a remount production for Queensland Ballet’s “Trilogy” season in Brisbane. The three standalone short works by three acclaimed choreographers – Cathy Marston, Jack Lister and Christopher Bruce – were lit by LD Matt Marshall and director Alex Berlage.
Intense Lighting was founded in 2017 by Ian Garrard, who had previously worked for other high-profile theatre/performance companies. The company has steadily grown over the years, with Garrard investing in high-quality rental and dry-hire products that are rider-friendly and offer longevity and reliability.
The FOOTSIE2 Slims provided a great solution for what Marshall and Berlage wanted in terms of a low-profile footlight luminaire, bringing all the advantages of LED illumination to that shadow-eliminating
position around the front of the stage, almost invisible to the audience. “It has been properly designed for theatre and is a newer and better option than products we were previously using for this style of effect,” said Marshall.
Garrard has been a Robe user for many years and also had some previous experience with the products after the company purchased 32 Spiider LED wash luminaires in 2021. “I could also see how useful this product could be for theatrical and dance shows generally, where sightlines are always challenging,” he added. “The FOOTSIE2 Slim is also IP-rated, so it is great for outdoor shows, in addition to taking up minimal stage space and being very discreet. Since the production in Brisbane, the FOOTSIE2 Slims have been out on a steady stream of other shows.”
Incorporated in 1986, Tsugawa Pro is a long-established sound reinforcement company handling a wide variety of events, from live concerts to corporate gigs, and is made up of a team of five including second-generation representative Kengo Ide. According to NEXO, the Kita-ku, Osaka-based pro sound specialist has become the first rental company to deploy the manufacturer’s latest Alpha+ hybrid source sound reinforcement system in Japan.
“We currently operate two line array systems but, since we pride ourselves on our agility, we introduced the Alpha+ system as a new option so that we can still accept new projects even when all our line array systems are out,” explained Ide. “Back in the day, Alpha was everywhere, so I used it a lot. I still remember my first impression of it; I was surprised that something of that size could produce such volume.”
“I really loved it too,” added Ide’s fellow director, Takeshi Yagi. “In a word, it’s a speaker that lets you get as much sound out as you want. I hadn’t even considered introducing new speakers until I auditioned the Alpha+. I thought it was a well-balanced speaker, different from Alpha in a good way, and I was reminded once again that this system has a truly musical sound.”
“I had a demo of Alpha+ in a large hall last autumn, and the first listen immediately brought back the impression of the previous Alpha model,” continued Ide. “I really liked the nuances of the sub-bass range. I’m always checking out new loudspeakers, but I felt that this loudspeaker was exactly the system we were looking for to broaden our options.”
www.nexo-sa.com
Generation AV has unveiled a new experience centre in Singapore, marking a significant step in the company’s continued growth across Asia.
Centrally located in Ubi, the facility features a dedicated demonstration space showcasing a range of products from its brands such as Martin Audio, Optimal Audio, TiMax, Linea Research, LEA Professional, AVPro Edge, RTI, SurgeX, Violet Audio, NST Audio and iMAGsystems.
Alongside the demonstration area, there is a separate office upstairs to differentiate between holding meetings with customers and being able to deliver demonstrations and training initiatives.
“We wanted to create a location where clients could come and hear all of the systems and experience them in person,” explained David McKinney, managing director at Generation AV. “The aim for the facility is to be a natural place where clients and partners can come to learn, experience and collaborate.”
The centre replaces an earlier space opened three years ago, which was originally conceived as a post-pandemic hub where customers could once again hear and experience AV
systems in person. The new site, located just a few doors down from the original office, measures roughly double the size and has been designed with greater flexibility and a clearer division of functions. Beyond product demonstrations, Generation AV is placing
increased emphasis on training and education.
“I think there’s a big hunger for learning right now in the industry,” McKinney observed. “We expect to do a lot more education initiatives here such as training programmes, as well as demonstrations.”
Even before its official opening, the facility has already hosted several events, including a recent two-day RTI training session for customers from across Southeast Asia.
The new site also incorporates distinct zones for professional and residential applications, enabling Generation AV to showcase a wider range of solutions within a single location. Singapore remains central to the company’s strategy. “Singapore is the central location in Asia; it’s very easy to get to for a lot of our clientele,” McKinney said. “Many partners and customers can stop by on short trips, even whilst they are transiting around the region. Furthermore, Singapore provides access to a broad pool of talent and there is a high concentration of global brands here – both of these are huge advantages.”
For McKinney, the investment represents a long-term commitment rather than a short-term gain. “If we can show off our products and brands in the best way, that definitely makes it much easier,” he said. “This is a natural next step.”
A British loudspeaker brand has relaunched under its original name of Logic System.
The company began life in 1983 when founder Chris Scott began designing and manufacturing loudspeakers in the UK.
Over the following decades, Logic System established itself as a respected name in professional audio, particularly in the touring, installation and OEM markets. In 2010, Logic System was sold, continuing life as Logic Systems until that company ceased trading in the early 2020s.
Retaining the intellectual property and original branding for Logic System, Scott’s decision to relaunch the brand was spurred by a post-pandemic reconnection with Jason Baird, formerly head of R&D at Martin Audio, at London’s PLASA show in 2022. Together, they identified an opportunity to bring the brand back to market with a more targeted strategy. The decision was solidified when Baird was approached by industry contacts in Hong Kong who were seeking British-made loudspeakers tailored to China’s evolving entertainment sectors.
“There are environments that sit between traditional karaoke rooms and full-scale nightclubs,” explained Baird, now managing director of Logic System. “They require compact, powerful systems that deliver club-level performance in more intimate
settings. We saw this as an opportunity to start Logic System up again and initially focus it on the APAC market.”
The result is the A Series range of point source loudspeakers and subwoofers, the newly released Sectre range of constant-curvature array loudspeakers and a series of 4 -channel DSP amplifiers. Designed and manufactured in the UK, the loudspeaker systems feature high-performance transducers partnered with Italian amplification. The company has also focused on distinctive industrial design to create a recognisable visual identity, protected by copyright and design patents.
The revived company exhibited at Prolight + Sound Guangzhou from 28–31 May with a mission to connect with potential new business partners in the APAC region. Logic System’s booth featured an extensive demo room where attendees were able to experience the A Series and the launch of the Sectre constant-curvature system.
Logic System Hong Kong has been incorporated to represent the Asian market, while a base in Guangzhou functions as an office, demo facility and warehouse. The site also acts as the company’s primary distribution hub, with products shipped directly from the UK and handled locally.
www.logicsystem.co.uk
Kairos Multi Jaya recently gathered the local industry for Symphony of Resonance, a programme designed to deliver a true-to-field audio experience for large-scale festival and concert applications through the TT+ Audio GTX Series.
The event took place at Gambir Expo, JIEXPO, Jakarta, a venue widely recognised for hosting top-tier festivals in Indonesia, providing a live production environment where systems were required to deliver consistent coverage, high SPL and sonic accuracy across large audience areas. Symphony of Resonance welcomed dealers, rental partners and systems integrators from across the country. The event also saw support from the assistant to the governor (Sekda) of DKI Jakarta for education and public welfare, as well as the mayor of North Jakarta and vice mayor of East Jakarta.
The day kicked off with a structured pre-show experience, including the Legacy Walk which showcased the long-standing collaboration
between RCF and Kairos Multi Jaya. This was followed by an interactive Experience Booth, where visitors experienced selected RCF systems in a hands-on evaluation environment.
A highlight of the day was the full-scale deployment of the TT+ GTX system, featuring GTX 10 and GTX 12 modules configured with nine units per side in an L-R configuration. The system was supported by GTS 29 subwoofers in a cardioid configuration and powered by the XPS 16K platform.
TT+ Audio product specialist Yannick Dahms and Kairos Multi Jaya supervisor audio engineer Madhusudana Atmaja opened the programme with a technical presentation covering the evolution from RCF to TT+. The presentation also provided an overview of the GTX Series, system design, software integration and workflow for live production environments. This was followed by playback sessions and demonstrations from the FOH position.
Ideal Systems has been appointed as the official audiovisual systems integrator for the new Asian Operatic Museum (AOM), a cultural attraction currently under development in Singapore’s Kampong Gelam district. Developed by Opera Academy Singapore, the museum will combine physical exhibits with augmented
As part of its role on the project, Ideal Systems will deploy large-format LED displays, spatial audio systems, holographic technologies and AI-driven narration platforms designed to support the museum’s interactive visitor experience. The technology infrastructure will be used to bring historical archives
reality, virtual reality, artificial intelligence and immersive storytelling technologies to present Asian operatic traditions and historical narratives to contemporary audiences.
According to Ideal Systems, the 270m² venue will feature five immersive thematic zones exploring subjects including the first five kings of Singapore and stories such as Mulan through a combination of digital and physical experiences.
“Events like Symphony of Resonance are extremely valuable because they allow professionals to evaluate the GTX Series in a real production context, not only in a controlled demo environment,” said Dahms. “Kairos Multi Jaya organised the programme with great care and professionalism. We are grateful for their commitment and are proud of the strong partnership that continues to support the growth of RCF and TT+ Audio in Indonesia. It is also an honour to see how much the Indonesian market values RCF technology, engineering and sound quality.”
Symphony of Resonance concluded with a live drum performance by Indonesian drummer
Amos Cahyadi before continuing with a live band performance showcasing the system across a range of musical applications.
“Symphony of Resonance reflects our vision to elevate live sound standards in Indonesia through a true live production environment, enabling invited audio professionals to directly experience system performance in real conditions and setting a clear reference for high-performance applications at scale,” said Martin, director of operations, Kairos Multi Jaya.
www.kairosmultijaya.com
www.rcf.it
www.ttaudio.com
C&C Lightway recently hosted its annual open house in Seoul, bringing together lighting professionals for product demonstrations, networking opportunities and manufacturer showcases. The event coincided with KOBA – South Korea’s annual broadcast, media and audio exhibition – and was held at the Textile Center, conveniently located close to the tradeshow venue.
The event marked the fourth edition of the company’s open house programme since its launch in 2022. The gathering was designed to provide visitors with hands-on access to lighting technologies while strengthening relationships with customers and industry partners.
Electronic Theatre Controls (ETC) was the lead manufacturer participating in the event, showcasing products including the ColorSource Fresnel V Max and GigaPix.
Kenny Lo, ETC’s regional sales manager for Asia, attended from the company’s Hong Kong headquarters to support customers and
partners during the open house. Additional manufacturers presenting solutions included Chauvet Professional, Prolights, Robert Juliat and SGM.
Alongside product demonstrations, C&C Lightway incorporated a video arcade theme for this year’s edition, featuring lucky draws, a photo booth and live music provided by a local audio partner.
Julie Lee of C&C Lightway said the open house “provided an excellent opportunity to showcase its newest and flagship products directly to customers”. She added that these events consistently generate strong engagement, sometimes leading directly to customer orders following the event. She noted that this exclusive format allowed attendees to focus entirely on C&C’s curated product portfolio without the distractions of a large tradeshow floor.
www.cclightway.com www.etcconnect.com
and cultural stories to life through a combination of visual, audio and immersive media elements.
Located within the historic Kampong Gelam precinct, the Asian Operatic Museum is intended to provide a new platform for the presentation and preservation of Asian cultural heritage through technology-enabled experiences.
www.idealsys.com
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RCF and DirectOut have entered into a strategic technology partnership which is aimed at developing tightly integrated audio solutions for RCF’s professional sound systems portfolio.
Through the deal, German manufacturer DirectOut will bring its expertise in audio networking, signal conversion, processing and redundancy technologies to support and enhance the Italian brand’s system architectures. Designed to deliver fully integrated solutions aligned with the RCF ecosystem, the collaboration aims to ensure high performance, reliability and seamless operation across a wide range of professional audio applications.
The two companies hope that by working at a deep technological level they can simplify systems design and deployment
while meeting the rigorous requirements of live sound, installed sound and other mission-critical environments where RCF systems are deployed.
“DirectOut’s technologies and engineering approach complement our system design philosophy,” commented Fausto Incerti, managing director, RCF. “This partnership enables us to further strengthen our system offerings by integrating proven audio networking and signal management solutions that align perfectly with RCF’s performance, reliability and usability standards. Over the past years, DirectOut has emerged as a global leader in the solutions we are now incorporating into our packages, enhancing the value we provide to our customers.”
Luca Giaroli, CEO of DirectOut, added:
“Our collaboration with RCF is centred on
bringing DirectOut audio networking and signal management technologies directly into RCF system solutions. This focused approach allows us to support RCF in delivering integrated, robust and future-ready systems that provide clear benefits to system designers and end users. We are proud to
partner with a company that has such a significant global presence and a rich history spanning decades, with impressive revenues worldwide.”
www.directout.eu
www.rcf.it
APAC
Rise AV has announced the mentor–mentee pairings for its inaugural 2026 APAC Mentoring Programme, marking an expansion of the initiative beyond its UK launch in 2025. The programme is designed to support women working across the professional AV sector in the Asia Pacific region, with participation from markets including Hong Kong, Australia, Singapore and India.
The APAC rollout has been supported by global headline sponsor QSC, alongside additional backing from Lightware and ROE Visual. According to Rise AV, the new regional programme reflects growing demand for structured mentoring opportunities, with 31 mentees matched to 31 mentors across a range of disciplines such as sales, engineering, marketing, events and project management.
Participants include professionals from companies and organisations such as Samsung, AVI-SPL , Brompton Technology, ESCO, Ideal Systems, LG Electronics Australia and Sennheiser Electronics Asia, paired with mentors representing firms including IAG, Generation AV, QSC, Midwich Asia, L-Acoustics, JLL, Marina Bay Sands, Sony and JPMorgan among others. The
pairings span a broad cross-section of the industry, connecting emerging professionals with experienced practitioners across the region.
The programme will run over six months in a primarily virtual format, with a structure that combines one-to -one mentoring, online networking and training sessions, alongside regionally tailored workshops. Additional in-person engagement is planned through selected industry events and site visits in locations such as Australia, Singapore and Macau.
Mentors from organisations including JLL, MGM Macau, JPMorgan and Meta are contributing to the programme, which has been developed with input from the Rise AV APAC Regional Council. The initiative
forms part of a wider effort to extend the organisation’s mentoring framework globally, supported by its broader network and sponsorship model.
“Launching the APAC Mentoring Programme marks an exciting step forward in our mission to support women globally across the AV industry,” said Peter Hunt, chairperson, Rise AV APAC Regional Council. “The level of interest across the region has been incredible and, with the support of our Regional Council and global partners, we were proud to deliver a programme that reflects the diversity, ambition and unique cultural landscape of APAC.”
www.rise-av.com
During Prolight + Sound Guangzhou 2026, HK Audio welcomed distributors from across Asia to its newly established China experience centre in the Shunde district of Guangdong, highlighting the facility’s role as a regional demonstration and training hub.
Organised by HK Audio’s APAC international sales manager, Alwyn Wong, the visit formed part of a distributor gathering held alongside the Guangzhou exhibition, which also included a dinner for partners from across the region.
Representatives from China, Hong Kong, Indonesia, Thailand, Vietnam and South Africa were present at the event.
Operated by HK Audio’s exclusive Chinese distributor, Guangdong Heshengxiang Electronic Technology, the experience centre was soft-launched in January 2026 and is located approximately 40 minutes’ drive from downtown Guangzhou.
The facility is currently HK Audio’s largest demonstration space in Asia and has been
cinema, KTV, party and performance rooms, equipped with products from the Premium PR, Linear, Contour X, Cosmo, CAD, Fineo and Polar series.
According to HK Audio, the centre will serve as a regional hub where distributors can bring customers to experience and compare different loudspeaker systems in a controlled environment.
Commenting on the distributor visit and the launch of the facility, Wong said: “We are very pleased with the successful collaboration and the enthusiasm of our partners.”
Among those attending the visit was Irwan Santoso of Indonesian distributor PT Perkasa Bermitra Sentosa, who spoke about the facility’s capabilities: “It was my first time here in this HK Audio China experience centre. Both the acoustics and the sound were amazing; I was very happy to be there.”
www.hkaudio.com
Serving as a regional hub to foster innovation, demonstration and collaboration, Renkus-Heinz has inaugurated a new experience centre in Bangkok. The modern facility has been designed to offer partners, consultants and end users an immersive, hands-on environment to experience the brand’s audio solutions.
Dedicated demo rooms within the experience centre showcase Renkus-Heinz ’s loudspeakers, subwoofers and audio technology. These spaces enable visitors to explore the products up close and discover how they can be used across a range of environments, from theatres and transportation hubs to houses of worship.
The manufacturer celebrated the opening with an official launch event attended by the brand’s APAC partners. The day featured live beam-steering presentations, along with system configuration, commissioning and control demonstrations using the Omnibeam algorithm and the latest RHAON III software. The event also included an immersive demonstration by Amadeus Acoustics, showcasing spatial audio technologies and intelligent acoustic control.
In addition, Renkus-Heinz hosted a series of networking events that brought together industry professionals for engagement and collaboration.
An exclusive Thailand networking event held in collaboration with Thai partners Vichai Trading provided a platform for key industry stakeholders and partners from across the country to discuss emerging AV trends, project opportunities and the role of intelligent audio solutions across a range of applications. This was followed by a dedicated China networking event attended by key partners and consultants across the Chinese market. The event focused on strengthening relationships, understanding market dynamics and identifying opportunities for growth in the region’s rapidly evolving AV landscape.
“The new experience centre represents a significant milestone
for Renkus-Heinz in the APAC region, providing a dedicated space for our partners and customers to learn about our technologies first-hand ,” said Karan Kathuria, director of sales and business development for APAC and MEA at Renkus-Heinz . “This is a key growth area for us and the centre enables us to work more closely with consultants, integrators and end users to deliver tailored audio solutions for the region’s evolving needs. We look forward to welcoming visitors to experience the space for themselves.”
www.renkus-heinz.com
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Hi-Tech Audio & Image has hosted the first L-Acoustics open training programme in Delhi, underlining the French manufacturer’s commitment to India’s professional audio market.
The two-day programme brought together audio engineers and industry professionals from across the country for technical sessions focused on L-Acoustics’ systems design, workflow and implementation. The sessions were led by Luke Brookes, application engineer at L-Acoustics, alongside Katerina Panagopoulou from the company’s training team.
The initiative reflects an increasing focus from global audio manufacturers on India’s live sound and installation market, where demand for advanced audio systems and trained technical personnel continues to grow across touring, events, hospitality and fixed installations. The training was designed to provide participants with direct exposure to L-Acoustics’ workflows and international operational practices and standards.
“India has a talented and enthusiastic community of audio professionals. It was a genuinely rewarding experience engaging with them and we hope to build on this further,” said Brookes.
Participants included engineers, system technicians and audio professionals from a cross-section of live sound and integration
backgrounds. Day one centred on system architecture and workflow, looking at how the brand’s systems are structured, configured and optimised across different environments. Day two shifted focus to system implementation, with participants getting hands-on exposure to real-world L-Acoustics setups. The practical sessions allowed professionals to apply what they had covered on day one in a more direct and tangible way.
Hi-Tech Audio & Image CEO Rajan Gupta said: “L-Acoustics represents the highest standard in professional audio, and its commitment to training and knowledge-sharing reflects a brand that is genuinely invested in its professional community. We are proud to have facilitated this programme and to have provided a platform for India’s audio professionals to deepen their expertise with one of the world’s leading systems.”
The event also emphasised the growing importance of manufacturer-led education initiatives in India, particularly as system complexity and customer expectations continue to increase across professional audio applications. Feedback from attendees indicated strong interest in additional training opportunities and more frequent technical sessions in the region.
www.hitechavl.com www.l-acoustics.com
Harman Professional Solutions recently unveiled its newly revamped experience centre with an official opening event attended by customers, partners, media and senior leadership. Located in Pasir Panjang, the purposebuilt space has been designed to showcase the company’s products across multiple vertical markets through real-world applications and collaborative engagement.
The experience centre offers visitors end-to -end solution scenarios across various industries, interactive demonstrations aligned with real business challenges, immersive showcases of audio and lighting technologies, dedicated spaces for workshops and partner co-creation and executive briefing areas for discussions.
“Experience-led engagement has become essential in modern B2B environments,” said
According to Harman, the Singapore facility has been reimagined as a platform for system exploration, co-creation and executive engagement, reflecting the evolving ways B2B organisations navigate technology amid increasing complexity in today’s business environment.
“As customer needs and decision-making processes continue to evolve, we see an opportunity to rethink how we engage,” commented Nick Screen, VP and GM, Harman APAC. “Our new experience centre immerses customers and partners in real-world scenarios –where they can touch, test and co-create solutions tailored to their environments. It is all about empowering more informed decisions with confidence. Bringing together JBL, FLUX:: and Martin in this space lets us showcase fully integrated, immersive experiences that truly demonstrate what our professional solutions portfolio can achieve.”
Atul Ghaisas, director of channel sales and install solutions, Harman APAC. “The Singapore Experience Centre – along with our global network of Harman Professional experience centres – helps customers move beyond specifications to truly understand value, outcomes and scalability, while strengthening collaboration across our global ecosystem.”
The facility also aims to bring together customers, partners and subject-matter experts in one space to provide a shared platform for joint solution design and integrated demonstrations.
“This is a long-term investment, not just a one-time launch,” concluded Screen. “We see this experience centre as a living environment where ideas are tested, partnerships are strengthened and future-ready solutions are shaped together with our customers.”
pro.harman.com
Shure has taken a minority stake in EDGE Sound Research, a US-based startup focused on experiential audio technologies.
The company, founded in 2019 by University of California, Riverside students Ethan Castro and Valtteri Salomaki, is developing systems aimed at changing how audiences experience sound. Castro, a hard-of-hearing music producer and engineer, and Salomaki, who has a background in information systems and marketing strategy, have built the business around new approaches to audio delivery.
The two companies have already collaborated on technology combining Shure’s DCA901 array microphone with EDGE Sound Research’s Virtual Sound
Engine software. The system analyses audio captured during live events, identifying and isolating sound elements such as crowd noise, player interactions and in-game moments to create a more immersive listening experience for viewers at home.
Christine Schyvinck, president and CEO of Shure, said: “By combining Shure’s 100 -plus years of expertise and market presence
with EDGE Sound Research’s breakthrough technologies, this collaboration aligns perfectly with Shure’s commitment to pushing the boundaries of audio technology and creating extraordinary listening experiences.”
The companies say the technology could be applied across sports leagues, broadcasters, venues and audiences. Proposed uses include enhanced
audio formats for media rights, new subscription-based listening options, streamlined production workflows and more detailed in-venue sound experiences. For audiences, this could include access to a wider range of on-field and ambient audio.
“We’re excited to be partnering with such an established audio leader like Shure,” said Valtteri Salomaki, cofounder and CEO of EDGE Sound Research. “The most iconic moments in history have been captured by Shure microphones and we’re thrilled about the possibilities of creating the new generation of sound experiences.”
www.edgesoundresearch.com www.shure.com
Celestion appeared at the PALM Expo India show alongside its new distributor, Wave Dynamics, debuting the new partnership to the local market.
“We are a legendary brand and we have been at the PALM show right from the beginning,” said Celestion sales director Andy Farrow, highlighting the British company’s 102 -year history, “but the market is changing. We have to stay current and relevant, and we needed a new partner that is able to work with all the modern challenges that we are seeing here.” Celestion has factories in the UK, China and Thailand. “We have found that, in this market, there is something for everybody,” Farrow continued. “If you have the right product, it performs well and is reliable, people will keep buying it, so we have to make our products more available across the board.”
Wave Dynamics will be targeting Indian manufacturers producing their own speaker systems. “We are making Celestion
Soundus has assumed distribution of HH Audio in South Korea. The partnership was officially inaugurated with a launch event in Seoul, where the distributor introduced the HH portfolio to the market. “HH has a long-standing heritage and reputation within the professional audio industry and we strongly believe its innovative technology, sound quality and versatile product portfolio make it an excellent fit for the Korean market,” commented Soundus president DJ Kwon. “Through this partnership, we aim not only to introduce HH Audio products to a wider audience in Korea, but also to build long-term value and sustainable growth together with our partners and customers across the industry.”
Ian Wright, HH Audio’s brand director, said: “Embarking on this exciting new journey together with Soundus very much excites me. I have known DJ for many years, so the relationship was solid from day one. I am looking forward to working closely with DJ and his amazing team as they develop the HH Audio brand in the Korean market. Soundus represents a
great range of professional products and I am confident they are the perfect partner to take HH to the next level in this market.”
The Seoul event focused on the manufacturer’s core technologies and design concepts, featuring audio demonstrations on an assortment of products ranging from the commercial install APTUR range through to the larger TNA and Prince series line array. According to Soundus, the event saw a strong turnout, with a number of the company’s customers in attendance, such as resellers, rental companies, installers and systems integrators.
“The recent launch event was a meaningful opportunity to officially introduce HH Audio to the Korean market and connect directly with industry professionals and partners,” concluded Kwon. “The response from attendees was extremely positive, particularly regarding the products’ sound performance, system quality and competitive pricing.”
www.hhaudio.com
www.sound-square.co.kr
available to anybody that is serious about audio who is manufacturing in India and wants to take their sound to the next level,
as well as building a dealer network,” commented Zura Braganza from Wave Dynamics. “People are replacing speaker components in cabinets they want to upgrade because the market here is waking up to better quality and people want to be able to buy a recognised brand.”
Farrow points to one of the best-selling Celestion products in India, the CF18VJD LF driver. “We have been selling it here very strongly for several years and, in general, customers will put this into their cabinets if their 18-inch woofers are failing and they are just running out of steam. They just kept going, they are reliable and they are really good for this market,” said Farrow, who is confident Wave Dynamics will increase Celestion’s brand recognition and reach across the subcontinent.
www.celestion.com
Void Acoustics has announced Loud Technologies Asia (LTA) as its exclusive distributor for Singapore. Founded in 2015 and led by CEO Colin Quek, LTA has established itself as a prominent distributor of professional audio and AV technology in the Southeast Asian region. Focusing on high-end distribution, e-commerce and technical support for brands including Music Tribe – Behringer, Midas, Lake and Tannoy –PTZ Optics, RF Venue, Cloud Electronics, Audinate, RDL and Sonance, the company launched an online business model in 2019 which catapulted its business during the pandemic.
Following the installation of a Venu loudspeaker system in the upmarket Korean cocktail and dining venue Bartenders of Pony (BOP), part of the famous Jigger & Pony group, LTA received notable interest from high-end residential customers. “We’ve never experienced such a reaction on this scale before and I believe that we can further develop this vertical by engaging with less familiar systems integrators,” noted Quek. “In addition to hospitality and retail, I am optimistic that LTA is well-positioned to serve this market in Singapore.” Lu confirmed that the appointment of LTA was assured following an initial
With this appointment in Singapore, Void Acoustics has effectively filled the gap in its regional representation. “Singapore is often seen as a barometer and reference of success in Southeast Asia,” confirmed Void Acoustics APAC sales manager Fedrick Lu. LTA CEO Colin Quek continued: “Void Acoustics could have selected one of several capable and competent parties in Singapore, so naturally we are excited to be representing this premier UK brand.”
conversation with Quek. “LTA is not just another distributor looking to make a quick profit and this is exemplified by the excellent technical engineers in their service department,” he said. “Void Acoustics strives to work with distributors and systems integrators whose values and ethics align with our own.”
www.loudtechnologiesasia.com www.voidacoustics.com
TiMax has named Technical Audio Group (TAG) as its distribution partner for Australia, with the agreement covering the manufacturer’s full portfolio, including SoundHub spatial processing, panLab and TrackerD4 stage-tracking systems. The partnership was officially launched at the Entech Connect Roadshow.
Headquartered in Sydney, TAG operates offices in Melbourne and Perth, alongside regional representation across South Australia and Queensland. The distributor’s portfolio spans live production, commercial AV and installed sound markets, representing brands including Martin Audio, Audio-Technica, Allen & Heath, Q-SYS and QSC.
“We’re delighted to welcome Technical Audio Group as our new distribution partner for Australia,” commented Rik Kirby, commercial manager at TiMax. “Their experience and technical capability make them the ideal team to introduce TiMax spatial audio and show control tools to Australian sound designers, integrators and production professionals.”
According to the manufacturer, the partnership aims to strengthen its
presence within Australia’s live sound, theatre and installation sectors while expanding access to immersive and object-based spatial audio workflows.
“Extending our portfolio with TiMax is a natural progression for TAG,” added Anthony Russo from TAG. “Spatial audio is an increasingly important conversation across live performance, theatre and installation, and TiMax gives us an exciting opportunity to properly introduce that capability to our customer base.”
TiMax systems will be available for demonstration within TAG’s new Martin Audio Product Lab Centre in Sydney.
Generation AV, which manages TiMax sales and support throughout the APAC region, stated that the appointment creates additional opportunities for collaboration between TiMax and Martin Audio deployments within the Australian market.
www.tag.com.au www.timaxspatial.com
TOA has appointed Beijing Huanyu Zhihang Network Operation and Maintenance as its general distributor for the airport industry in China, highlighting the brand’s emphasis on airport projects in the country. The company is formerly a provincial dealer for TOA.
In 2020, Beijing Huanyu Zhihang shifted its business to focus on the airport market.
“China plans to build more than 200 civil aviation airports in the next 10 years, making this industry crucial to TOA’s success in China,” said Furuse Yoshio, general manager of TOA China. “Beijing Huanyu Zhihang has been a long-term partner of TOA. We share common ideas, concepts and future plans, and further deepening our cooperation on this basis will help realise our vision in the Chinese market.”
“Becoming the general distributor for a renowned international audio brand like TOA
manufacturer FaitalPRO has appointed Vardhaman Megatech (VMT) as its exclusive distributor for India. The two companies made their debut in the local market by appearing together on the VMT stand at PALM Expo India in late May.
“We’ve known these guys for a long time, so there’s a history there and a knowledge of what they’ve done and what they’re capable of doing,” said FaitalPRO sales manager, Gianluca Turra. “From the start, they proved their point because they immediately ordered stock and put together a marketing campaign
has been our goal for many years,” added Kang Shixin, general manager of Beijing Huanyu Zhihang. “Projects in the civil aviation airport industry have long cycles and the initial inputs are very high. Becoming the industry’s exclusive distributor allows us to fully dedicate our efforts to promote TOA products in the civil aviation airport sector.”
Both parties will maintain close communication to meet the airport industry’s high demands. “TOA’s product stability has gained a very good reputation over the years. Based on this, civil aviation airports have very high standards for product innovation and functionality,” furthered Kang. “As a frontline team, we will promptly feed back all the requirements from the clients to the manufacturer’s R&D department, who will then iterate and upgrade certain functions.”
www.toachina.com.cn
JPRO has expanded its distribution portfolio in New Zealand through new agreements with Audio-Technica and Televic Conference.
Audio-Technica has appointed JPRO as its commercial audio distributor for New Zealand, covering its installed audio range including installation microphones, ceiling array microphones and wireless microphone systems. The move is intended to broaden access to the manufacturer’s commercial audio portfolio across the local market.
“We’re pleased to partner with Audio-Technica to represent their commercial audio solutions in New Zealand,” said Joni Benton, operations director, JPRO. “Their reputation for quality and innovation, combined with our experience in installed AV, allows us to deliver microphone solutions that integrate seamlessly into modern environments and support the diverse needs of today’s projects.”
Meanwhile, Televic Conference has named JPRO as its distributor in New Zealand, providing local access to its conferencing platforms and project support services. “JPRO is a solutions-focused distributor and partnering with Televic strengthens our ability to deliver high-quality conferencing systems to the New Zealand market,” commented Paul Edlin, sales director at JPRO.
Bart Deschodt, general manager at Televic Conference, added: “We are very pleased to welcome JPRO as our exclusive partner in New Zealand. Their strong reputation, technical expertise and commitment to high-quality solutions make them an excellent ambassador for our conferencing portfolio.”
www.audio-technica.com
www.jpro.co.nz
www.televic.com
in a very professional way. They understand the importance of keeping stock available locally. The fact that they represent some of the biggest brands in the industry speaks for itself.”
The collaboration is anticipated to strengthen FaitalPRO’s presence and availability in the Indian marketplace, as well as offering a range of technical services to support manufacturers through product development.
www.faitalpro.com www.vmt.in
Meyer Sound has appointed Jands as its exclusive distributor for Australia and New Zealand. Through the partnership, Jands will provide market development and sales, technical support and service for the brand’s full product portfolio across both territories, serving customers across the venue, entertainment, performing arts, live touring and hospitality sectors.
The alliance continues a relationship between the two companies that spans decades. “Jands began as a rental company, building our own speaker cabinets, until a major theatrical production led us to Meyer’s MSL- 4
systems, a decision that helped shape our business,” said Paul Mulholland, executive chairman at Jands. “Meyer Sound stands out for its innovation, integrity and community focus – values we share. Now, formally representing Meyer Sound feels natural and meaningful.”
According to Meyer Sound’s sales manager for APAC, Owen Ironside, there is a significant demand for Meyer Sound across ANZ: “As the market continues to grow, it’s clear that we need a robust and future-focused distribution partner to ensure we can support our customers at the highest level. Jands is an icon of
the industry, established internationally as a benchmark for distribution. This new direction enables us to take the brand to the next level across Australia and New Zealand while strengthening the excellent
www.jands.com.au
www.meyersound.com
Bluesound Professional has entered into a sales representative agreement with Generation AV to boost its growth in APAC and bring its audio solutions to a broader audience. Lenbrook Asia continues to serve as the brand’s local distributor.
With headquarters in Singapore, Generation AV represents audio and video brands in Asia,
supported by a team with decades of regional experience. “We are excited to partner with Bluesound Professional to showcase their innovative hardware and software,” said David McKinney, managing director, Generation AV. “We pride ourselves on supporting top-tier brands that redefine auditory experiences, and Bluesound Professional’s high-performance
networked audio solutions are an ideal fit. From retail spaces and bars to restaurants and hotels, we are eager to introduce their technology to even more environments across Asia.”
Bluesound Professional has already completed several installations in the region. “Partnering with Generation AV is a key step in expanding our presence in Asia,” commented Graeme Harrison,
VP and GM of Bluesound Professional. “The team’s enthusiasm, expertise and experience will be invaluable as we continue to drive strong sales growth in Asia, solidifying our position as leaders in networked audio.”
www.bluesoundprofessional.com www.generationav.net
Electronics & Engineering (E&E) has announced that it has been appointed as an official Ross Video partner. The agreement will combine E&E’s regional expertise with Ross Video’s technologies, helping to support organisations to elevate production quality, streamline complex workflows and meet evolving operational demands. “This strategic partnership enhances our ability to
deliver smarter, fully integrated broadcast and production solutions,” said Joe Fong, COO of E&E. “As we move ahead, we look forward to working closely with the Ross Video team to further strengthen our capabilities and continue delivering value-driven solutions to our clients.”
www.enepl.com.sg www.rossvideo.com
Adamson Systems Engineering has joined forces with Seoul-based Artmix in South Korea. The appointment marks a further expansion of the brand’s presence in the APAC region, with Adamson selecting an established live production specialist to handle distribution in the Korean market. Artmix works across touring, festivals, theatre, broadcast and large-scale live events, combining system deployment with professional audio sales and support. According to Adamson, the partnership is based on Artmix’s experience in live sound environments and its established relationships within the local market.
of Adamson in Korea. We will go above and beyond to live up to the reputation of Adamson. The collaboration with Adamson represents a significant new chapter in our business journey. We have always admired Adamson for its state-of-the-art and cutting-edge technology in the pro audio industry. We understand VG products have been making big waves in the global touring market and, even in the early stages, our experience has demonstrated a high level of technical transparency and collaboration, giving us strong confidence in the partnership. I see a high level of trust across the Artmix team in the direction we are taking and the future ahead.”
“Great sound systems aren’t defined by specifications alone,” said Lee Stevens, APAC sales director, Adamson. “They’re defined by the people who deploy them, support them and stand behind them show after show. Artmix understands that responsibility. They respect the craft and they understand how trust is built over time.”
The move reflects Adamson’s wider strategy in APAC, where the Canadian company says it is focusing on partners with local market knowledge and technical expertise rather than pursuing broad regional coverage.
Artmix CEO and president Paul Yun said the partnership represents a significant development for the company’s business: “We are honoured to become the distributor
South Korea’s live events and touring market has seen significant growth in recent years, with increasing demand for large-scale production infrastructure and technical support. Adamson said the partnership with Artmix will focus on long-term system support, training and local market development.
“Artmix’s trust in Adamson is grounded in proven performance and long-term conviction – a clear statement of confidence in a brand chosen for where the industry is going, not where it has been,” concluded Stevens.
www.adamson.ai
www.artmix.co.kr
German LED lighting control specialist
Madrix has strengthened its presence in India with the appointment of Hi-Tech Audio & Image as its exclusive distributor.
The partnership comes as demand for sophisticated LED control and pixel-mapping technologies continues to grow across India’s architectural, entertainment and immersive lighting sectors. Through the agreement, lighting professionals will gain improved access to the Madrix portfolio of LED control systems, technical expertise and project support.
Madrix has more than two decades of experience in LED lighting control and is recognised for its software and hardware solutions for 2D pixel mapping and 3D voxel mapping. Its technologies are used globally in architectural landmarks, entertainment venues, public spaces and immersive installations.
“India’s lighting industry is witnessing remarkable growth, driven by ambitious projects and increasing demand for innovative visual experiences,” said Christian Hertel, managing director of Madrix. “We see tremendous opportunities
ahead and we’re excited to strengthen our presence in the region. Together with Hi-Tech Audio & Image, we look forward to delivering cutting-edge solutions that support the scale, creativity and aspirations of the Indian market.”
The collaboration between the companies is already reflected in several projects, including the Social Tree project in Saket, New Delhi, executed alongside Skycom digital innovator Shekar Rao, and landmark lighting schemes such as the Howrah Bridge in Kolkata and Reay Road Bridge in Mumbai, showcasing the creative potential of Madrix technology in large-scale LED applications.
Designed for ease of use as well as performance, the Madrix ecosystem enables users to map, manage and control individual LED pixels while creating fluid and dynamic visual effects. The platform is deployed across a broad range of sectors including architecture, entertainment, hospitality, themed attractions, residential developments and façade lighting projects.
For Hi-Tech Audio & Image, the agreement represents an opportunity to expand access to advanced lighting technologies in one of the world’s fastest-growing markets.
“Beyond expanding the footprint of Madrix in India, our goal is to cultivate a strong community of lighting professionals who can unlock the full potential of the platform,”
said Rajan Gupta, CEO and founder of Hi-Tech Audio & Image. “Through technical education, market outreach and dedicated support, we aim to help designers, consultants and integrators deliver impactful visual experiences using Madrix solutions.”
Added Yash Gupta, business head –lighting at Hi-Tech Audio & Image: “The addition of Madrix enhances our ability to deliver advanced LED control and pixel-mapping technologies to lighting professionals across India. Through training programmes, live demonstrations and active participation in industry events, we are committed to increasing awareness and accessibility of the platform.” www.hitechavl.com
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Seasoned industry professional Adam Wong has been named as the business development manager for Southeast Asia at Italian audio manufacturer RCF. Based in Kuala Lumpur, Wong will support growth strategies for both the RCF and TT+ Audio brands throughout the region, focusing on project development, partner support, technical presentations and training activities.
Wong brings experience across professional audio, building technology and channel-driven sales to the new role, including APAC-focused business development initiatives, product demonstrations and partner programme management throughout the region.
“Southeast Asia is a strategic region for RCF and TT+ Audio, with strong potential across our entire product portfolio,” commented Federico Lugli, RCF export manager. “Adam’s experience makes him a valuable addition to our international team. His market knowledge, technical understanding and ability to manage cross-cultural relationships will help us reinforce our presence and provide even stronger support to our partners.”
RCF states that Wong’s multilingual background and understanding of distributor
and partner networks across Southeast Asia will support closer engagement with regional integrators, consultants and rental companies. “Joining RCF is a meaningful opportunity to represent a brand that truly understands the ‘art’ of sound,” added
www.rcf.it
www.ttaudio.com
Riedel Group has announced a series of senior leadership appointments across its businesses, reflecting the company’s continued growth and the evolving structure of the wider group following founder Thomas Riedel’s acquisition of ARRI.
At Riedel Communications, Marc Engroff has been appointed chief financial officer, while long-serving executive Frank Eischet transitions from CFO to chief operating officer of the Riedel Group. In his new position, Eischet will focus on group-level strategy, operational scalability, cross-functional alignment and the continued development of global structures. Engroff assumes responsibility for finance, controlling, M&A, global purchasing and IT.
Commenting on the appointment, Thomas Riedel said: “With Marc, we are appointing a highly capable and trusted leader from our own ranks who combines strong financial expertise with a proven ability to translate data into strategic direction.”
The leadership changes also extend to Riedel Networks, where Gudrun Scharler has been appointed CEO, succeeding Michael Martens. Scharler joins with leadership experience across the telecommunications and technology sectors, having previously held senior positions at Unitymedia, Nets Group, E-Plus, Sunrise Communications and Telefónica Germany.
“Riedel Networks is a great company with a strong team, a clear customer focus and significant potential for further development,” said Scharler. “I am very much looking forward to getting to know the team and working together to continue the company’s
transformation while preserving the flexibility, speed and collaborative spirit that make Riedel Networks special.”
The appointments coincide with leadership changes at ARRI, where Eischet has also joined the management board as interim chief financial officer while continuing in his role at Riedel. In addition, Marcel Koutstaal has joined ARRI as chief operating officer, taking responsibility for global operations and company-wide product development activities.
Thomas Riedel said the expanded ARRI leadership team would strengthen links across the group. “By expanding the management board, we are strengthening
the connection between technology, operations and commercial execution. Frank Eischet deepens collaboration within the Riedel Group, while Marcel Koutstaal adds valuable international expertise to accelerate innovation and operational performance across the company.”
The appointments underline Riedel’s strategy of strengthening leadership across its communications, networking and technology businesses while fostering closer alignment between companies within the wider group.
www.riedel.net
David McKinney
David McKinney talks to Bea Meikle about how he finds time amidst a busy schedule at Generation AV to complete ultra marathons and how his passion for running helps him to de-stress
fundamentally I still see myself as a technical sales engineer.
Tell me about your passion for running
Running is my main way to de-stress. Like most people, I have a busy schedule – travel, meetings and calls – so it’s important to have something that resets the mind. I got back into running about 15 years ago and set myself the goal of completing a marathon. My first one was in Malaysia in intense heat – it was slow and tough, but I loved it.
Since then, I’ve moved into ultra marathons, ranging from 50km to over 125km, often on mountainous trails. One of the longest I’ve done was around 125km with 7,000m of elevation. You’re out there for close to 30 hours and it really takes you to another place mentally. You finish completely drained physically, but mentally refreshed. For me, it’s about pushing limits, embracing the challenge and using it as a reset.
What’s an ultra marathon experience that stands out?
A memorable moment was a 100km-long road ultra marathon in Singapore that I did with a friend. We completed it in around 16 hours and raised money for the National Cancer Society Malaysia. The race itself was great, but the best memories were actually from training.
We used to do long night runs around Kuala Lumpur for five or six hours at a time. Halfway through, we’d stop at street stalls for food such as roti pisang, banana-filled flatbread and then
Have most of your races been in Southeast Asia?
Yes, primarily. I’ve run marathons across Malaysia, Singapore, Hong Kong and China, with a few in the UK and the US. But most of my ultra marathons have been in Asia – it’s where I’m based, so it’s more accessible.
What kind of preparation goes into an ultra marathon?
Running becomes part of your lifestyle. Even without a race coming up, I try to get out for long runs at the weekend. Consistency is key – building mileage, doing hill training and incorporating some strength work.
I aim for 8–10 hours of running a week, though that’s not always possible with travel. To be honest, I’m probably at the lower end of preparation compared to others, I just try to fit it in where I can. But the more consistent you are, the more manageable the race becomes.
With such a demanding job, how do you make time for it?
It can be a challenge – you have to really want to do it. I prefer running in the morning; it sets the tone for the day. Even when you don’t feel like it, getting out there makes a huge difference –you feel more energised and focused afterwards. Travel makes it harder, but I try to fit in runs wherever possible, even a short
30 -minute run before dinner can help. Work comes first, of course, but if there’s a gap, I’ll use it.
How does running benefit your work life?
It helps me manage stress and maintain perspective. In business, everything can feel urgent, but stepping away for a run often makes you realise that most things can wait an hour. Running clears my head and helps me think more clearly. If I need to make an important decision, I’ll often go for a run – it’s where I do my best thinking. It helps me stay balanced and perform better overall.
It’s also become a way to connect with others in the industry. I often run when I’m travelling or attending tradeshows and it’s a great way to catch up – whether for a casual conversation or even a business meeting. If you’re in the industry and interested in running, feel free to get in touch and join me for a run!
www.generationav.net
Clear-Com communication systems were recently deployed for Musikal Perahu Kertas, a large-scale theatre production in Indonesia based on the novel by Dee Lestari. Presented by Trinity Entertainment Network in collaboration with Indonesia Kaya and the Trinity Youth Symphony Orchestra (TRUST), the production featured live orchestration,
pit were connected through the centralised matrix system. The setup supported 10 dedicated communication channels, allowing departments to coordinate independently without unnecessary crossover or interference during performances.
“Clear and reliable communication is key to the success of the show,” commented
frequent scene changes and simultaneous backstage activity requiring coordinated communication across multiple departments. The Clear-Com system was supplied and operated by Indonesia-based rental specialist 86inc, which designed the infrastructure around the Eclipse HX platform to support the production’s operational requirements. The deployment included an Eclipse HX MVX-A 16 card for routing and system management, an E-IPA card with IP transceivers, more than 15 FreeSpeak II wireless beltpacks and a
Caron Shaine, production manager of Musikal Perahu Kertas
The production involved multiple moving stage elements and rapid transitions throughout the performance schedule, placing additional emphasis on operational coordination and crew safety. “This musical had many moving parts, including heavy equipment and frequent stage changes,” added Oscar Yulius Joseph, technical and operational manager at 86inc. “We knew how critical it was to coordinate crews safely and make sure cues between actors, lighting and
Working with local SI partner ElectroAcoustics Systems (EAS), Yamaha Music
Singapore has provided a NEXO speaker system to the Lantern, a rooftop bar on the 6th floor of the five-star Fullerton Bay Hotel. The setup comprises speakers from the EN54-rated ePS Outdoor range, with compact ID Series speakers providing infill in the seating zones.
Named after the historic Chinese name of Singapore’s iconic Clifford Pier, the Lantern provides visitors with panoramic views of Marina Bay and the city skyline. Partly open air and partly covered, the large terrace is surrounded by greenery creating a rooftop garden environment where guests can enjoy food and cocktails, spectacular sunsets and sets from resident and visiting DJs. The upgrade called for consistent, high-quality audio coverage throughout the space, coupled with weather-resistant reliability that would not compromise
“The system is carefully configured and tuned to provide even distribution of audio, eliminating hotspots and dead zones across the bar, while complying with noise control requirements,” said Joseph Edward from the professional audio product sales and marketing division at Yamaha Singapore. “From chill sunset sessions to high-energy evenings, the system adapts effortlessly, delivering clear vocals, tight bass and immersive music.
“With outdoor-rated components, the system offers long-term reliability despite humidity, heat and rain exposure and the speakers were integrated with minimal visual impact, preserving the luxurious and sophisticated design of the Lantern bar,” continued Edward. “In premium hospitality venues, audio is not just background, it defines the atmosphere. This installation demonstrates how the right combination of technology and design can enhance brand perception and elevate overall guest experience.”
SOUTH KOREA
The Korea Baseball Organization (KBO) has implemented an integrated communications network from LaON Technology to support the introduction of its Automatic Ball-Strike System (ABS) across professional baseball venues in South Korea.
The ABS system, which provides automated ball and strike calls, created new operational demands for on-field umpires, who are required to receive real-time audio cues while maintaining communication with replay officials and game operations staff.
KBO sought an intercom solution capable of connecting multiple venues and centralised operations with low-latency audio performance.
Following a proof-of-concept process involving several intercom manufacturers, KBO selected LaON Technology’s GENIE hybrid IP intercom system. The deployment links the KBO Replay Center in Seoul with nine stadiums nationwide via a dedicated IP network, creating a communications platform for game officials, replay operators and ABS system operators.
The project was designed to support five simultaneous games while operating across complex RF environments. Requirements included wireless communications, integration with ABS audio feeds, remote connectivity between venues and equipment suitable for umpires working on-field
At the core of the system are LaON’s BS1000 hybrid base stations and GLR4 line routers, which connect stadium infrastructure and replay operations over dedicated VLAN connections. GDP4 keypanels are installed in replay centres, scoring rooms, ABS operation rooms and umpire facilities, providing communications between officials and operational staff.
the ABS, LaON Technology’s successful deployment of the KBO integrated intercom network will serve as a premier blueprint and the ideal architectural standard for sports federations and industries worldwide looking to adopt automated officiating systems.”
Kima Systems was responsible for the proof of concept, system design, installation, commissioning, training and ongoing support for the project.
www.laon-tech.com
For on-field use, umpires are equipped with BP851S wireless beltpacks that deliver ABS audio calls in real time. The beltpacks feature dedicated talk buttons designed to minimise communication errors during live play. Open-ear headsets allow umpires to hear communications traffic and on-field activity, while an integrated push-to -talk function enables direct access to stadium public address systems for announcing decisions.
The deployment also includes wireless antenna redundancy and wired backup communication paths intended to maintain operations in the event of equipment or network failures. System monitoring and configuration are managed through LaON’s GENIE Configuration Manager software.
Jong Hwan Lee, president of Dam Systems, which delivered the project, said: “At a historic turning point in baseball marked by the introduction of
The Dianjiang Peony Culture Festival recently returned to Dianjiang County Stadium with a star-studded concert backed by a Martin Audio WPL sound system. With over 25 years of history, the festival is regarded as one of Southwest China’s most prominent floral and cultural events, attracting thousands of visitors annually.
Dianjiang’s peony story spans nearly 2,000 years, dating back to the Han Dynasty. The region in the Chongqing municipality is famed for its wild landscape peonies, which grow naturally on mountainsides, and the festival has become a showcase for both the blooms and the local culture surrounding them.
Titled New Charm of Chongqing – Wellness Dianjiang, this year’s edition featured an expanded programme and ran for three months from March to May. Daytime flower viewing is complemented by a diverse calendar of activity, including sports events such as the Peony Marathon and Triathlon,
food festivals, arts exhibitions and this year’s Peony Festival Concert.
Artists Zhang Xinzhe – better known internationally as Jeff Chang – Yu Wenwen (Kelly Yu), Huang Pinyuan and Xianzi took to the stage at Dianjiang County Stadium for the concert. For main PA coverage, the concert deployed 36 WPL Wavefront Precision line array loudspeakers, flown as 18 cabinets per side.
Outfill coverage in the stadium was provided by a W8LC system, with L-R hangs comprising 12 units per side. A further W8LC system was also deployed as delays – optimised using Martin Audio’s software – and configured as two flown hangs of 12 elements, combined with four ground-stacked array elements per side.
A W8LM front fill system was deployed for the front-row audience area featuring wide 120° dispersion and evenly distributed as six stacks of two elements. Low-frequency reinforcement came from 44 ground-stacked WS218X subwoofers.
www.martin-audio.com
Lulu IT Infrabuild has completed the integration of a Yamaha Professional Audio system in a conference hall at the Lulu IT Twin Towers in Kochi, Kerala, one of its commercial developments in India.
The company, which develops IT parks and corporate infrastructure for technology-focused businesses, required an AV system capable of supporting a multifunctional environment. Key criteria included consistent sound coverage across seating areas, clear speech intelligibility and straightforward day-to -day operation.
To deliver the project, Lulu IT Infrabuild worked with Yamaha, alongside Godrej AV Solutions, which handled system configuration, and EYTE Technologies, responsible for AV system design. The brief centred on creating a system that could support presentations, meetings and multimedia use while remaining adaptable and reliable over time.
The installed solution combines multiple Yamaha components across FOH, distributed audio, control and signal processing. DHR point source loudspeakers provide primary coverage for spoken content, while VXC ceiling speakers are deployed to maintain
even sound distribution throughout the room. Low-frequency support is handled by VXC8S ceiling-mounted subwoofers, aimed at improving performance for multimedia playback.
Amplification is delivered by Yamaha XMV and PX Series amplifiers, with additional DHR monitors available for onstage reference. System control is managed through a TF Series digital mixing console, designed for ease of use during live events. MRX DSP processors are used for system tuning, routing and overall optimisation.
According to the project team, the system was designed to balance audio clarity with operational simplicity, ensuring that non-technical users can manage the setup without difficulty.
Since installation, Lulu IT Infrabuild has reported that the conference hall is now supporting a wider range of corporate functions with improved consistency and user experience.
www.eyte.sg www.interio.com/business www.yamaha.com/2/proaudio
Serving Indonesia’s ever-increasing demand for concrete, the construction industry requires medium- to heavy-duty trucks to connect its supply chain. As the sole distributor of First Automobile Works (FAW) since 2009, Gaya Makmur Mobil (GMM) has played a large part in providing trucks for the construction, mining, forestry and plantation sectors. The creation of a new headquarters for GMM’s sales, service, spare parts sales and technical training was completed recently. For its newly built multistorey complex located close to Soekarno-Hatta Airport, GMM commissioned Gracia Auvindo to design, supply and install a BGM and paging system. Connected to an Ecler HUB1408 14 -in/8 -out digital zone manager in the fifth-level control room, an Ecler eM Page gooseneck at reception serves as the main output for the paging system throughout the corridors and mezzanine-level rooms. The paging station and mobile devices are made possible by the Hangar webserver control application
The 12.8m x 23m auditorium is equipped with an Ecler Arqis system together with IC8 ceiling speakers
incorporated into the DSP zoner. Speaker management is handled by dual PhaseLab NX4800 processors and an extensive network of Ecler IC6, IC8 and ELC51FM ceiling loudspeakers, powered by Lab Gruppen FA2402 amplifiers in 100V line mode.
Designed for meetings and discussions, the 12.8m x 23m auditorium is equipped with eight IC8 ceiling loudspeakers discreetly installed in the 4m-high room. For higher-power events, a pair of L-R Ecler Arqis 208i speakers are augmented in the lower frequencies by dual Arqis SB15i
subwoofers. Providing even coverage throughout the room, the same components are installed at the rear of the space. Powered by a pair of existing ADR AP- 804XP amplifiers, microphone inputs routed from a Midas DL32 stagebox and sources are mixed on a Midas M32R live console. The main and delay speakers are managed on a PhaseLab NX4800 processor.
Powered by a Lab Gruppen FA2402 amplifier, the fitness centre is equipped with six eMotus80D speakers and augmented by dual Ecler Arqis SB15i subwoofers connected to an existing ADR AP- 62XP amplifier. “Despite our higher quote, the GMM management commissioned our services as they were impressed by the higher-quality audio and ease-of-use functionality that we demonstrated,” confirmed PT Gracia Auvindo’s project director, Ario Muljono.
www.ecler.com
www.fawindonesia.com
www.graciaauvindo.com
www.labgruppen.com
CS15 & CS18 cardioid. passive. gorgeous.
Absen has supplied LED technology for a new immersive visualisation facility at Swinburne University of Technology in Melbourne that is believed to be one of the largest wraparound LED environments developed for public education.
The Swinburne Virtual Universe (SVU) facility spans more than 106m2 and uses Absen’s KLCOB1.5 PRO V2 LED platform to create a 3D environment where visitors can explore astronomy and space science through real-time simulations and visualisations. Powered by NVIDIA GPU technology and content generated from Swinburne’s OzSTAR and Ngarrgu Tindebeek supercomputers, the installation enables audiences to navigate virtual solar systems, view planetary surfaces and experience astrophysics data through interactive visual content.
According to the manufacturer, the project required a display platform capable of delivering seamless imagery across a large wraparound surface while maintaining colour consistency,
close-viewing performance and durability within a public-facing environment.
“The facility is so unique that comparisons with other spaces are difficult, but it’s possible that
it is the largest truly 3D wraparound LED screen for public education ever built,” commented professor Matthew Bailes, project lead at Swinburne University of Technology. “Our first school group shrieked with joy and ran up to embrace one of Mars’s moons as soon as it appeared floating in front of them.”
The facility will be used by university students, school groups and members of the public, while also supporting programmes within Swinburne’s Film, Games and Animation department.
“Creating an immersive 3D LED environment across more than 106m2 in a public educational setting demands exceptional image quality, reliability and precision,” added Ruben Rengel, vice president, Absen. “We are proud that the KLCOB1.5 PRO V2 was selected to power this remarkable installation.”
www.absen-europe.com
CHINA JAPAN
Chinese instrumental rock band Wang Wen has premiered its immersive audiovisual production The Light at Xi’an Grand Theatre using an L-Acoustics L-ISA immersive sound system supplied by the manufacturer’s certified partner Racpro.
The production marked the culmination of a three-year creative project developed around immersive audio workflows. Originally conceived from material connected to the band’s early recordings, The Light evolved into a 50 -minute four-part composition combining improvised passages, orchestral arrangements and panoramic sound design.
Located in central Xi’an, Xi’an Grand Theatre is currently the only theatre in China equipped with an L-ISA system capable of supporting the SPL requirements of amplified rock performances at this scale. The venue’s tiered auditorium and acoustic design were considered central to the production approach.
“We kept envisioning our ideal performance space: a theatre with tiered seating,” said Wang Wen. “We wanted it to feel solemn and dignified, but comfortable. More importantly, it required an immersive sound system and coverage capable of meeting the SPL demands of an amplified band performance. At first, this seemed nearly
impossible – until we met the Racpro team, who introduced us to Xi’an Grand Theatre.”
Sound designer and FOH engineer Deng Chenglong explained that immersive audio formed part of the project from the outset: “With L-ISA, we can break free from the constraints of traditional left-right stereo, sculpting every phrase, every melody and every ambient sound within a three-dimensional space.”
The L-ISA system configuration centres on five hangs of 10 Kara II loudspeakers for the scene array, alongside extension arrays, KS28 subwoofers, A10 side-fill systems and a full surround deployment based around 58 X8 loudspeakers positioned across side, rear, overhead and under-balcony locations. Additional 5XT loudspeakers were used for stage lip and orchestra pit fill coverage. The 150 -minute performance was divided into two halves, with the first dedicated entirely to The Light alongside the Yao Bi Gan String Orchestra conducted by Song Yang. The second featured newly arranged orchestral versions of selected Wang Wen material, accompanied by large-scale visuals created by artist Cheng Ran.
www.l-acoustics.com
www.racpro.net
Adventure World in Wakayama Prefecture has implemented Blackmagic Replay systems to support real-time replay and slow-motion playback during its “Marine Live” dolphin performances. The attraction, held within the park’s Marine World aquarium area, combines synchronised dolphin and trainer performances with music, live video and largescreen presentation systems. Replay footage and performance highlights are displayed throughout the show using a workflow built around Blackmagic Design live production and replay infrastructure.
Adventure World had previously incorporated live video elements into its marine performances for more than a decade before replacing its earlier replay infrastructure with the Blackmagic Replay platform. The
Resolve, we can also use it for everyday editing in addition to replays,” explained Risa Yamazaki from Adventure World. “We were also attracted to DaVinci Resolve Studio’s AI features.”
The production workflow uses three manned cameras and two remote-operated systems positioned around the performance area. Footage is recorded as ProRes files onto the Blackmagic Cloud Store before being imported into DaVinci Resolve Studio as growing files, allowing replay clips to be created during the live show.
“Right after a dolphin jump or a performance between a dolphin and a trainer, we play that moment back on the large screen,” said Ikuma Okada from Adventure World. “During the show, we present footage almost in real time, showing images one after another.”
team had already been using a range of the company’s products, including the Blackmagic Smart Videohub 40x40 router, Blackmagic MultiView 16, ATEM 2 M/E Constellation HD, ATEM 1 M/E Advanced Panel 10, SmartScope Duo monitor, Teranex AV standards converter and Teranex Mini converters.
“Blackmagic Replay offers excellent cost-performance, and because it uses DaVinci
Yamazaki concluded: “With the previous system, the slower we made the playback speed, the more the footage would stutter. Blackmagic Replay uses DaVinci Resolve Studio’s AI frame interpolation for slow-motion playback, which produces very smooth results.”
www.blackmagicdesign.com
Kuala Lumpur-based Bosh Studio has upgraded to an immersive Dolby Atmos environment built around a Neumann monitoring system as owner and engineer Billy Ong looks to futureproof the facility in a changing production landscape.
“As we looked to expand the studio, it made sense to go beyond a traditional 5.1 setup and move into Dolby Atmos,” he explained. “If we were upgrading, we wanted to do it in a way that opened up more possibilities for the future.”
Rather than responding to direct client demand, Ong viewed the move as an opportunity to introduce immersive audio to the local market.
“At the moment, clients are not necessarily asking for Atmos,” he said. “Our approach is to move ahead and let them experience it first. By doing that, we can help educate the market on what immersive audio can offer and push the industry forward.”
The installation comprises a 7.1.4 monitoring setup using Neumann KH Series loudspeakers and a KH 750 subwoofer. “I was one of the first here to try the KH 120,” he noted. “When we decided to build the Atmos room, it made sense to return to Neumann, especially because of the in-built DSP. It allowed us to calibrate the system directly and
accurately, which made the workflow much more efficient.”
Ong views the investment as necessary to remain competitive. “In the pop music
scene, there is a strong shift towards younger engineers and producers,” he said. “As someone more established, I have to adapt and differentiate myself. Investing in more
advanced technology like Atmos is one way to stay relevant and continue contributing to the industry.”
The addition of Atmos is already influencing the studio’s client base. “We are seeing more interest from younger musicians,” Ong confirmed. “They are excited by new formats and want to experiment with different ways of presenting their music. Since installing the system, we have been able to bring in new types of projects rather than relying only on long-term clients.”
Alongside the Atmos upgrade, the facility has been expanded with dedicated spaces for vocals, piano and drums, enabling live recording for small ensembles. “We wanted to create a space that goes beyond basic production,” explained Ong. “By adding rooms for live instruments and ensemble recording, we can support more sophisticated projects and broaden the kind of work we could take on.”
For Ong, the investment reflects the need to adapt to industry change: “This upgrade is about preparing the studio for where the industry is heading. We want to stay relevant, support new generations of artists and contribute to raising the overall standard of production locally.”
www.facebook.com/boshstudio
www.neumann.com professional.dolby.com
Melbourne-based AV specialist Zelo Group has delivered a venue-wide audio system built on Eastern Acoustic Works (EAW) loudspeakers for Maison Bâtard. Located in central Melbourne, the venue was designed to transition from daytime dining to late-night entertainment and required an audio system capable of delivering consistent sound across multiple environments.
The restaurant spans four levels, including the basement supper club Le Club and rooftop dining and bar space La Terrasse. To meet the differing requirements of each area, Zelo Group designed and delivered a system that allows spaces to operate independently or together.
“Maison Bâtard is a very large venue for a restaurant, especially in Melbourne, and every level has its own identity,” said Stephen Sokolowski, design manager at Zelo Group. “The system was designed so that each floor can
operate independently or together. If there’s a performance in the basement club, that audio can be routed throughout the building or each level can host its own entertainment.”
EAW’s MKC Series loudspeakers are used throughout the venue for foreground music coverage. “The compact loudspeakers deliver premium sound quality while maintaining a strong value proposition – an important factor for hospitality environments requiring both performance and scalability,” noted Sokolowski.
“The price point on the MKC is very good and we’ve been using EAW with this client for many years, so it was a natural progression of design and implementation.”
Le Club was designed as a flexible performance space capable of hosting live bands, DJs, cabaret acts and private events. “During the opening, they had opera singers performing throughout the venue,
but the system is designed to just as easily accommodate those live band or DJ acts,” explained Sokolowski. “Every level has its own subwoofer reinforcement, effectively creating multiple performance areas throughout the building.”
A key challenge was integrating the audio system into the venue’s interior design.
Working closely with architects, Zelo Group concealed subwoofers within finishes and architectural elements, while loudspeakers were colour-matched to their surroundings.
“The finishes in these venues are extremely high-end and the architects generally don’t want to see speakers,” noted Sokolowski.
With demand for premium outdoor entertainment experiences continuing to grow within Vietnam’s hospitality and tourism industries, the outdoor entertainment area aboard the Saigon Princess has been upgraded with a complete live performance audio system. Local integrator Hoàng Phú Sound was selected to design a solution for live band performances, onboard events and premium hospitality entertainment based around Bose Professional and Powersoft equipment, combined with mixing and wireless solutions from Midas and Shure. Hoàng Phú Sound has installed eight Bose Professional AMU208 loudspeakers, part of the ArenaMatch Utility Series, along with six MB210WR subwoofers for low-frequency reinforcement. Both models are designed for outdoor operation, making them suitable for the humid, riverside and weather-exposed conditions of a cruise environment. The compact form factor has helped preserve the
“One of the project’s most critical requirements was achieving strong outdoor performance audio while maintaining the elegant visual
DAS Audio systems have been deployed at two South Korean university venues through projects delivered by local distributor Sovico System, supporting multipurpose teaching, performance and event applications. According to DAS, both installations were designed to prioritise speech intelligibility, operational flexibility and consistent coverage across varied event formats within educational environments.
At Soongsil University in Seoul, Hyungnam Hall has been upgraded upgraded with a Vantec Series system comprising six Vantec-20A line array loudspeakers and two Vantec-118A subwoofers, alongside four Action- 508A systems used for delay coverage and two Action-M512A stage monitors. According to the distributor, the installation followed a previous
DAS Audio deployment elsewhere on the university campus, where the performance of the Vantec system had already been evaluated positively by the venue team.
“We first installed the Vantec-20A array system in a Soongsil University auditorium two years ago,” stated a spokesperson from Sovico System. “The sound director was highly satisfied with the performance, which led to this new project at Hyungnam Hall.”
A second project has been completed at Inha University Gymnasium, where four Action- 512A powered loudspeakers have been installed to provide distributed coverage throughout the venue for sports activities, ceremonies and university events.
www.dasaudio.com
“Most of the subs are integrated into finishes or hidden behind architectural elements. The speakers themselves are colour-matched to the surrounding surfaces, which required physically disassembling them, painting components and reassembling them to achieve a perfect visual match.”
The project involved extensive BIM and acoustic modelling, with the venue modelled in 3D using EAW’s Resolution software and other tools to validate loudspeaker placement and performance before installation.
www.eaw.com
www.zelogroup.com.au
environment of the cruise vessel,” said Mai Nguyen Hung Truong, technical manager at Hoàng Phú Sound. “This was a very special project with extremely demanding requirements in terms of SPL, sound quality and aesthetics. When selecting Powersoft amplifiers, we were completely confident in the proven reliability and performance of the platform. System configuration and tuning through ArmoníaPlus software was highly flexible and intuitive. The amplifiers are compact, energy-efficient and perfectly suited for technically limited spaces such as cruise vessels. Combined with Bose Professional loudspeakers capable of operating outdoors under rain and sunlight conditions, we were fully confident in the system’s long-term operational stability.”
The ArmoníaPlus software allows the technical team to configure DSP processing, manage amplifier systems, optimise system performance and monitor real-world operation. The system also integrates a Midas M32R Live digital console and a Shure SLXD4+ wireless system with Beta87A microphones.
www.boseprofessional.com www.hoangphusound.vn www.powersoft.com
Ed Sheeran’s The Loop tour has provided a large-scale test environment for Sennheiser’s Spectera wideband wireless ecosystem, which is used throughout the production’s audio infrastructure.
The tour began in Auckland before continuing through Australia. Monitor engineer and RF technician Dave White, who has worked with
difference with Spectera is that even though on paper the dynamic range and volume response should have been the same, it’s not. You audibly get far more depth of dynamic range. Ed seems happy with the technology and, in terms of how it works for the show moving forward, the transition has been seamless. The techs are happy too.”
Sheeran since 2014, implemented Spectera at the start of the tour. “We’ve gone through quite a few generations of Sennheiser products over the last 12 years,” White explained. “We’ve moved from Sennheiser’s 2000 Series to Digital 9000, before switching to Digital 6000 for the Mathematics tour.”
The adoption of Spectera reflects the requirements of the tour’s dual-stage design. “We were covering such a large area; Ed is on the main stage and then seamlessly transitions through to a B stage,” White said. “If we were managing that with standard analogue IEMs, it was quite a complicated system. With Spectera, everything is off-the -shelf and designed for the job.”
Following pre-tour testing, White reported audible differences in performance. “The big
The New Zealand dates also tested RF reliability in challenging weather conditions.
“We didn’t have any failures at all with any of the handhelds or the bodypacks. We had five guitars die just due to water ingress, but we didn’t have any RF problems,” said White.
The Spectera system is used across vocal microphones, guitars and additional performers, while its wideband architecture has reduced RF coordination time. “I just need to find 3MHz, 6MHz or 8MHz holes in the frequency spectrum,” noted White. “Previously that would have taken me half an hour to coordinate, but now I’m probably down to seven minutes.”
www.sennheiser.com
An immersive water show titled The Wonders of Lu You in Shaoxing, Zhejiang Province, is being illuminated by Christie Griffyn Series, M 4K RGB Series and HS Series laser projectors. Staged at the Lu You Hometown Scenic Area, the spectacle celebrates the 900th birth anniversary of Southern Song Dynasty poet Lu You.
The Lu You Hometown Scenic Area designed a visitor route linking the Lu You Museum, water stage and Lu You’s former residence. After dark, the site transforms into a combination of light, water and live performances centred on storytelling inspired by Lu You’s life and works.
Shanghai Qingying Digital Technology, Christie’s local distributor, provided project support, including site surveys, equipment selection and multiprojector installations across performance venues and building façades.
“Christie’s extensive product portfolio has met the creative team’s requirements for realising this large-scale spectacle,” said Yueyi Wu, general manager, Shanghai Qingying Digital Technology. “Together, these visual solutions deliver a seamless, emotionally engaging experience that resonates with visitors of all ages.”
The installation features multiple Griffyn 4K50 -RGB pure laser projectors, each delivering 50,000 lumens, at the main water stage to recreate battle scenes and highlight Song Dynasty architecture.
More than a dozen DWU23 -HS and DWU15 -HS laser projectors were also deployed across distributed performance areas for interactive projections and scenes depicting Lu You’s former residence.
To support operation of the Griffyn 4K50 -RGB and M 4K+25 RGB projectors, Qingying Digital Technology deployed Christie Conductor monitoring and control software. According to the team, the system enables stable 24/7 operation to support visitor traffic and the operational demands of the scenic area.
Gene Wang, senior director of pro AV sales for China, Christie, remarked: “From high-brightness RGB pure laser projection on expansive water stages to flexible installations in intimate interactive spaces using the HS Series, this project showcases the versatility and reliability of Christie solutions in demanding outdoor environments.”
www.christiedigital.com
The Vietnam-Soviet Friendship Palace of Culture and Labour in Ha Noi has completed a stage lighting upgrade centred around Martin Professional MAC Viper XIP fixtures, marking what is said to be the first permanent large-scale theatre installation of the fixture in Vietnam. Delivered by Stage Professional Company, which acted as both distributor and systems integrator, the project modernises one of Vietnam’s bestknown cultural venues. Opened in 1985, the complex includes a 1,100-seat theatre used for artistic performances, conferences and national events.
According to the integrator, the venue required a lighting system capable of supporting a broader range of productions while improving brightness, colour consistency and long-term operational reliability. “Our goal was to deliver a futureproof lighting system that meets the exceptionally high technical and artistic standards of the Vietnam-Soviet Friendship Palace of Culture and Labour,” commented Dinh Viet Hung, CEO of Stage Professional Company. “The Martin MAC Viper XIP offered the ideal balance of power, precision and durability for a permanent installation of this scale.”
The installation includes 10 MAC Viper XIP moving-head fixtures. The IP54 -rated luminaires were selected in part for their suitability in permanent installations operating under continuous use.
The commissioning process involved fixture positioning, calibration and programming adjustments designed to optimise stage coverage and integration with the venue’s existing infrastructure. Stage Professional Company worked closely with the venue’s technical team to optimise brightness levels, movement profiles and colour performance for both theatrical productions and live event applications.
“The upgraded stage lighting system with the Martin MAC Viper XIP has brought significant improvement to the quality of performances,” added Pham Tuan Anh, director of the Vietnam-Soviet Friendship Palace of Culture and Labour. “With powerful brightness, accurate colours and flexible operation, the system enables us to host a wide range of large-scale artistic programmes and high-level events.”
www.martin.com
The GTX 7C pushes cardioid performance into a new class of precision. Its front and rear transducers are independently driven and DSP-shaped via the XPS platform, creating a controlled, broadband frontal radiation that stays clean and predictable in real venues, making it perfect for theaters, auditoriums, and acoustically challenging venues. Rear energy drops by an average of 22 dB, preserving clarity on stage and unlocking higher usable headroom in any venue. Add the GTS 16C subwoofer for a full-range cardioid system with uniform directionality from top to bottom.
Crest Audio sound systems were deployed to power Stage 3 at the inaugural Bali edition of Day Zero Festival, a new electronic music event created by Damian Lazarus, originally launched in Tulum, Mexico. Held across multiple stages in Bali, the festival attracted approximately 9,000 attendees and featured artists including Acid Pauli, AME DJ and Anthony Middleton.
The audio deployment at Stage 3 incorporated Crest Audio Versarray 112 Pro, Versarray 215 Pro and Versarray 218 Pro systems, with CPL+ loudspeakers used for delay coverage. These were powered by Crest Audio Pro-LITE amplifiers and PCX processors, with FOH responsibilities handled by the manufacturer’s local partner Vilon Group Bali (VGB). The system was designed to
maintain high-SPL performance, sonic consistency and operational reliability across extended continuous operation while supporting a diverse roster of DJs and performers.
“As one of Bali’s premier systems integrators, we are thrilled with our investment in the Crest Audio systems,” commented Dean Morris from VGB.
“Whether it is for permanent installs or rentals for festivals such as Day Zero, the reliability and versatility of the Crest product in handling different genres of music is second to none.”
“We are very proud and honoured for the Crest Audio Versarray and CPL+ systems to have been chosen for a festival as sonically demanding as Day Zero,” added Akshay Vaida, director of Peavey APAC.
“EDM is a genre that can be extremely
demanding for sonic hardware and to power through 24 hours of continuous performance – and 48 hours total over three days – with zero issues was
Optimal Audio’s Cuboid loudspeakers have been installed at the Shanghai Metropolitan VIP Lounge to provide a firm low end and even coverage under an octagonal dome prone to echo. The client sought a solution that would allow conversations
deliver deep and solid tones while keeping the rhythm tight and defined. The trapezoid wooden cabinets sit naturally with the venue’s heritage interior, whether wall-mounted, suspended, portrait or landscape. Flexible mounting and the rotatable HF
to flow in the seating booths without shouting and provide a discreet finish to complement crystal chandeliers and original Shanghainese woodwork. In the lounge area populated with seating booths, Cuboid 10 units provide warm and detailed midrange, while the dancefloor benefits from Cuboid 12 enclosures, where the 12-inch drivers have been selected to
horn mean coverage reaches the corners as much as the centre.
The reverberance of the dome’s acoustics was tamed with the passive 2-way design of the Cuboid enclosures. The outcome is described as a reliable and distortion-free sound system for the long evening sessions of dancing.
www.optimal-audio.co.uk
Mumbai’s historic Cricket Club of India (CCI) has opened a new premium sports bar, 22 Yards, featuring a d&b audiotechnik sound system designed to deliver high-quality audio while meeting the acoustic constraints of the club’s heritage clubhouse.
The venue was created in response to demand from members seeking a quieter alternative to CCI’s existing Wet Wicket bar, which regularly hosts DJs and live music. Located in a former card room overlooking Brabourne Stadium, the new space is intended as a venue for socialising, watching sport and occasional live performances.
“The Wet Wicket has a very wide demographic, from youngsters to the more elderly,” explained Ravindra Punwani, who sits on the club’s bar committee. “Some members felt the need for a little more peace and quiet – somewhere people could have a conversation.”
A key challenge was ensuring sound from the new bar would not impact neighbouring spaces. The venue operates under a self-imposed maximum sound level of 95dB due to its proximity to residential accommodation and restaurants within the clubhouse.
“We have limitations in terms of how loud we can play music here,” continued Punwani. “There are residential rooms on top, a restaurant on the side and another one downstairs. It was very important for us to insulate this place properly.”
CCI undertook a formal evaluation process, inviting several manufacturers to demonstrate systems configured specifically for the venue. “We were very specific about the size of equipment we wanted,” explained Punwani. “We wanted to audition the exact equipment that would be installed. Various vendors came in and there was a panel who evaluated the sound before making recommendations.”
A solution proposed by distributor Ansata was selected, comprising six d&b audiotechnik 8S loudspeakers, two 12S-SUB subwoofers and 5D amplifiers. “It has a nice neutral sound, pretty much like a good residential hi-fi system,” said
Punwani. “I’m an audiophile, so I particularly liked the sound.”
Used primarily for background music and TV audio, the system is paired with a Pioneer DJ controller and two 100 -inch LG displays, while remaining capable of supporting small-scale live performances.
The project also included acoustic treatment throughout the venue and double glazing to reduce external noise. Installation was carried out by AudioTechnik India, with all modifications designed to comply with the heritage requirements of the Grade II-listed clubhouse.
“We’re very happy with the sound here, and Ansata has been very proactive throughout the entire process,” concluded Punwani.
www.ansata.net
www.audiotechnikindia.com
www.dbaudio.com
Idea Live can accommodate audiences of between 5,000 and 7,000 people
Richard Lawn reports on the latest venue to open in Kuala Lumpur’s thriving live entertainment scene, Idea Live Arena
HAVING HOSTED APPROXIMATELY 450 CONCERTS IN 2025 and contributed RM1.7bn (US$450mn) to the economy, Kuala Lumpur’s live entertainment business is experiencing an upward surge. Malaysia’s growing infrastructure is keeping pace with this unprecedented growth, and the opening of three large venues can be credited with the fourfold increase in live entertainment turnover over the past three years. The rapid increase in the number of concerts has been mirrored by the growing profile of big-name acts taking to the Malaysian stages. Among them are Coldplay, Bollywood singer Arijit Singh, K-pop acts Blackpink, Babymonster and G-Dragon, Cantopop legend Jacky Cheung and South Korean boy band Winner. In addition to raising Malaysia’s cultural profile, the government is aware that international concerts are spurring economic activity for the hospitality industry, benefitting hotels, restaurants, transportation and retail businesses.
The 3,000 -seat KLCC Plenary Hall continues to report strong traction for concerts and stand-up comedy. However, the opening of Zepp Kuala Lumpur in 2022 served as a taster of what was to come. The 6,000m2, 2,500 -capacity, mid-sized venue was followed by the larger Mega Star Arena in the capital’s Bukit Bintang district in 2024. More recently, the Pavilion Arena in Damansara Heights has upgraded its audio infrastructure, while ASM Global is partnering with the government to transform Kuala Lumpur Sports City in the Bukit Jalil National Stadium into a premier world-class venue. Speculators have willingly invested in this growing demand, knowing that the new venues must differentiate themselves from the status quo if they are going to yield a significant return. While strengthening the city’s claim as the regional hub for major touring concerts, the recent opening of the Idea Live Arena is ensuring that this unprecedented growth continues.
Capable of seating 5,000 or accommodating 7,000 in a flexible setup, Idea Live Arena occupies a net lettable area of approximately 6,000m2 on level two of the 3 Damansara Mall. Developed by Superstar Arena Holdings with an investment
of RM40mn ($10mn), the venue appeals to tour promoters and managers with its rider-friendly audio, lighting and visual systems. Big, ambitious yet carefully designed, its success owes much to the seasoned professionals it attracted to create what is being widely regarded as the region’s concert hall of choice. AVSR Asia was contracted to supply and install the audio technology by the venue’s promoter IME Entertainment Group Asia and AWP’s production manager Andrew Warren. Lighting and visual technology was specified and installed by the AWP team. Over a three-month period, a demolition team worked 18 -hour days to dismantle the concrete mezzanine floor and metal fabrications of what was previously a multiscreen cinema across two levels. Because the cinema’s acoustic treatment was removed to gain the maximum height required for accommodating Idea Live’s lighting and visual fixtures, acoustic treatment was prioritised.
“We’re located in a densely built-up neighbourhood, so audio pollution is a major consideration for the nearby residences and
the lower levels of the mall,” explains AVSR Asia owner, Danny Kinchang. “With that in mind, we isolated the floor on floating springs to reduce the impact of the vibrations on the lower floors with a layer of rubber underlay and spring isolators. A 50mm layer of cellulose was inserted into the roof to minimise the noise transmission externally. Using EASE software, we discovered a significant amount of flutter emitting from the wall surfaces, so we added cylindrical cellulose diffusers throughout to control reverberation and flutter. These elements combined to attain an acoustic reverberation time of roughly 1.3s. By configuring certain acoustical elements, we not only contained the reverberation but we also created a venue for multi-purpose usage.”
Once treatment was finished, Kinchang approached IME Entertainment Group’s senior vice president Bonor Seen to gain his approval for a Meyer Sound system within the 13 m-high space. “Because Andrew and his team are very familiar with Meyer Sound loudspeakers, we submitted a Panther line array proposal,” continues Kinchang. With assistance from Meyer Sound’s Owen Ironside, simulations created in MAPP 3D software confirmed that a Panther system would ideally suit the venue’s versatile requirements on account of its high power handling, clarity and even dispersion characteristics. “It is rider-friendly, and has consistently demonstrated quick maintenance turnarounds to date,” he adds.
The pillarless room required minimal fills, with 12-perside Panther cabinets operating as the main FOH system. “Measuring 130dB SPL without any stress, the powerful dual 12-inch models excel all the way to the last row of seats, 60m from the stage,” explains Kinchang. “In addition to the Panthers, we have added seven-per-side 21-inch Meyer Sound 2100 -LFC subwoofers as left and right hangs in addition to 16 ground-stacked 21-inch subwoofers in front of the stage, all in cardioid mode. Each subwoofer has been tuned with a different delay time to disperse the low frequencies. All our acts, but mainly EDM, demand enhanced low-frequency extension.”
Whatever the occasion, the Meyer Sound system offers consistent coverage and power across the frequency spectrum throughout the venue. The front rows of seats are targeted by eight Meyer Sound Ultra-X40 point source speakers on the lip of the stage, with a similar number for the under-balcony areas. Artists onstage can monitor their performances from 16 Meyer Sound MJF-210 dual 10 -inch wedges. Connected to two Netgear 24 -port switches, three Meyer Sound Galaxy 816 network processors serve the monitor and FOH engineers, and a M’elodie processor manages the fills.
As an alternative to traditional wedge monitors, a significant investment has been made in a Shure Axient wireless system including 12 PSM 1000 in-ear monitor (IEM) systems. “All artists seem to prefer using Shure microphones,” comments AWP senior technician, “Stone” Batumalai. With over 30 years of live experience in Kuala Lumpur, Batumalai was recruited by Idea Live Arena for his industry knowledge. “We offer an inventory of 12 ADX handheld transmitters with Nexadyne capsules, but the K-pop riders still stipulate the iconic Beta 58 model because they prefer its clarity,” he explains, “so we added some Beta 58s to our inventory, because the artist knows best!”
Supplied by Concept Associates, the rack-mounted wireless inventory incorporates three Axient AD4Q 4 -channel receivers for connecting wireless transmitter units via UA854UWB antenna power distribution systems. An ADTQ 12-channel receiver connects the PSM 1000 IEMs via AD610 transmitters. An AD8C Axient Digital PSM antenna combiner, an AD600 Axient Digital Spectrum Manager and SBRC rack-mount chargers round off the extensive package. “Should there be a problem with interference, the signal is automatically switched in a flash,” continues Batumalai. “The signal can be monitored from the rack, or from the laptop with the Wireless Workbench software, which is also available as a portable phone device now.”
Dedicated DiGiCo Quantum 338 128 -channel consoles are deployed for both the front of house and monitor mixes. “With their user-friendly characteristics, we insisted on DiGiCo mixing consoles from the outset, especially for K-pop and Chinese music concerts,” says Batumalai. “They’re on all the touring riders, but there are occasions when an act like Bryan Adams will bring in their own desk – in this instance, an
Avid S6L console. With 38 physical faders and three 17-inch LCD high-resolution touchscreens, the control surface of the Quantum 338 is extremely well-designed and user-friendly.” Batumalai and the technical team were adamant that the FOH and monitor engineers should not have to share the main mix. With the addition of six ARX MSX 48 ISO-transformer microphone line splitters, dedicated gain feeds for monitors and front of house have been created. “If you share the gain, one console becomes the master and the other becomes the slave,” he explains. “It’s more common for the monitor engineer to have access to the master, but this venue doesn’t want to compromise, so both consoles receive individual gains for controlling their own mixes.”
Lighting fixtures can be hoisted up and taken down from the permanent lighting grid within 30 minutes. The process has been hastened by the selection of motor hoists individually equipped with their own counterweights, allowing the weight loads on each motor hoist to be read. An inventory of Mindrin moving heads and lighting fixtures is controlled from an MA Lighting grandMA3 control surface.
Maximising venue flexibility, a carefully designed cabling infrastructure facilitates quick turnarounds between events. “We learnt from our experiences while working in other venues where cables cannot run from the hoist to the stage or from the side,” says Batumalai. “We designed Idea Live to incorporate and benefit from a host of improvements that other venues could not offer, including the creation of a tunnel from FOH to the stage for pulling extra cable when required. In addition, a Japanese or an American operator can bring in a 110V generator and receive a 110V supply.”
With fibre cabling chosen to connect the Follow Me spots, DMX cabling was also ruled out in favour of fibre from the lighting control desk to the stage and the LED screen. “It’s futureproofed, faster, easier and has no latency over the 80m distance,” he adds. “For audio, however, we opted to run AES analogue cabling from the Galaxy processors to the amplifiers and loudspeakers, with AVB as a redundant backup or as a preference for some touring engineers.”
Despite the 11pm curfew that the venue must adhere to in this neighbourhood, bookings for Idea Live Arena continue to rise. In addition to fulfilling a major role in Kuala Lumpur’s continuing growth as a main regional hub for live performances, the versatile venue can also be transformed for exhibitions, esports, product launches and conventions. Drawing on collective industry expertise, the teams recruited to create Idea Live have delivered a purpose-built arena designed to meet the highest international standards.
www.idealivearena.com www.meyersound.com
Mahindra University in the south Indian city of Hyderabad has installed a Renkus-Heinz system into its Dr APJ Abdul Kalam Auditorium
WITH COURSES SPANNING ENGINEERING, LAW, MEDIA and design, Mahindra University in Hyderabad, Telangana, is recognised for its academic excellence and high-tech facilities. An integral part of the private university’s campus is the Dr APJ Abdul Kalam Auditorium, a multipurpose space developed as part of a wider expansion that is used for events, musical performances, seminars and daily classroom lectures. To support both teaching and cultural programming, the university has installed a Renkus-Heinz C Series point source system chosen for speech intelligibility and quality sound across flexible applications.
The design brings together two passive CX151B Complex Conic loudspeakers, 10 compact, passive coaxial CX61B loudspeakers and 10 DRS18 -2B subwoofers, creating a full-range reinforcement solution that provides even coverage, controlled output and intelligibility throughout the 1,100 -seat space.
System design and specification were carried out by Sriram B R, design director at AV consultancy firm Sonics, with a further AV consultancy, CMPPL, handling integration. Alphatec, Renkus-Heinz’s local distributor, supported setup and commissioning, and Audio-Technica microphones have also been supplied for the auditorium. “The large hall required an audio system that delivers strong coverage without adding unnecessary complexity or visual intrusion,” explains Sriram. “Before the new system was installed, students had to share microphones during lectures and sessions, so improving voice reinforcement was also an important consideration.”
The auditorium is an enclosed, air-conditioned space with no windows, making acoustic control especially important. “We worked closely with the architects to ensure loudspeaker placement met both acoustic and aesthetic requirements,” he continues. “By integrating the system around the stage and proscenium area, with key elements mounted high above the front of the stage, we were able to direct sound precisely into the raked seating area while maintaining clear front-to -back coverage and minimising visual impact. The compact C Series form factor made this easier.”
Acoustic containment was also central to the design. “It was imperative that the sound stayed within the auditorium to avoid excessive sound spill,” explains Narasa Raju, manager at the university’s technical department. “The new system ensures every word and every note can be heard clearly within the room, without leaking into surrounding areas of the campus.”
System control is managed via Dante and a touchpanel with presets, allowing university staff to operate the room’s technology with ease. “Only a small amount of training was needed, and staff now benefit from smooth day-to -day operation,” says Raju. “The intuitive system gives us confidence that, whatever the room is being used for, the sound will perform exactly as required.”
Beyond the loudspeaker system, the auditorium has been equipped with a wider AV infrastructure including wireless microphones, a pass-around microphone, mixing, DSP, switching, video systems, screens and cameras to support teaching, presentations and event production.
The overall installation had to be completed to a strict deadline as the auditorium needed to be fully operational in time for its
inauguration. “With support from Karan Kathuria, director of sales and business development for Renkus-Heinz across Asia and Oceania, and the US manufacturer’s wider team, minor issues were promptly resolved, helping us to keep on schedule,” explains Sriram.
According to university staff, the C Series system has improved day-to -day operation across the auditorium’s varied programme. “Staff can operate the system with confidence while students benefit from clear, consistent audio whether they are attending a lecture, seminar, musical performance or cultural event,” confirms Raju.
Sriram agrees with this summary. “The system sounds spectacular and delivers exactly what the university needs,” he says. “It has become a reference point for other projects, which is a strong indication of how successful the design has been. Mahindra University had very clear objectives from the start, and that clarity helped us deliver a solution that continues to perform while leaving room for upgrades.”
The auditorium is now futureproof, with the audio system providing a foundation for planned enhancements such as a large videowall. The university is also considering further development including building two additional smaller halls. “Based on the performance of the auditorium system, we would definitely consider Renkus-Heinz again for future AV rollouts at the university,” says Raju. “The system has delivered the clarity, reliability and ease of use we needed, and it has given us confidence in the technology for other spaces across campus as it develops.”
For Mahindra University, the Dr APJ Abdul Kalam Auditorium now delivers the flexibility required of a modern campus venue, combining clear speech reinforcement for daily teaching with the full-range performance needed for cultural and musical events. With reliable operation, discreet integration and consistent performance, the Renkus-Heinz C Series system has become a trusted foundation for future campus AV development.
www.renkus-heinz.com
Characterised by high output, precision directivity and a compact, unobtrusive form factor, NEXO loudspeaker systems excel in a range of applications. Installers and services providers enjoy plug and play amplification and processing solutions, intuitive system design software and world-class support from a highly-experienced engineering team. Find out more at nexo.sa.com
Richard Lawn visits Baillie Hill, a former Perth maternity hospital which has undergone an A$25mn redevelopment
AS PLANS EMERGED FOR A HISTORIC, 113-YEAR-OLD Western Australian site to be developed into a hospitality and community destination, UT Consulting was elated to be commissioned as the AV specialist by its financers, Blackoak Capital. Located in the heart of East Victoria Park, 15 minutes south of Perth’s CBD, the new Baillie Hill hospitality precinct includes a bakery, a farmers’ market, a gelato window and a pizza place among other diversions. Once Blackoak Capital had appointed Benson Studios as the architect and interior designer, Technical Alliance (TA) was effectively commissioned as the AV contractor. “Despite there being a design intent with all the bricks and mortar in place, there was no agreement for anyone at that point to operate the venue,” recalls UT Consulting’s senior consultant, Tom Carrie. “Effectively, there was no client who could brief us with their AV intentions for this space, so there was no operational brief in existence from the outset.”
Having received an AV budget, consultant Tristan Simpson from UT Consulting created an AV design to include power, data, conduits and the coordination of services. “A fundamental part of our initial design is to provide the correct provisions for services at the outset, rather than make changes during the construction phase,” explains Carrie. “By working closely with the interior designer and the architect, we could sensitively add AV points in places which were sympathetic to the aesthetics.”
Technical Audio Group (TAG) senior consultant Bryan Davidson also assisted greatly with the design validation. “Bryan is extremely experienced, and he was instrumental in making sure that we conducted due diligences such as installing technology where we thought it may be needed,” continues Carrie. “From that point, we created the specification and, on this basis, the contractor could then proceed to install the specified equipment.”
Having created what Carrie describes as “a nuts-and -bolts design with performance requirements”, the delivery process
allowed TA to add its own signature to the AV design. “When Technical Alliance entered the fray, they priced in exactly what we had asked for,” explains Carrie. “Their operations manager Andrew Dobosz and his team adopted a flexible value management process whereby they could trim off some parts of the tender to supply others.”
The hospitality venues, family-friendly spaces and community experiences under one roof include the all-day dining venue Milly’s Acre, Beth’s Bakery, Parco Pizza with its wood-fired kiln, the Berwick neighbourhood bar and dining venue and a boutique distillery producing its own botanical gins, vodkas and seasonal spirits. Once Baillie Hill was renovated and restored to its new glory, place activation became the main theme owing to the site’s heritage standing, according to Carrie.
“Being a multifunctional venue, there was a desire to give each space a particular signature,” Carrie continues. “Both Milly’s Acre and the Berwick are two distinguishable spaces as opposed to being sections of one big room. Of the seven zones, some required more amplification and visuals whereas others, such as the private area, the pavilion, the gelato shop and the petting zoo, needed to be spared from these reinforced SPLs that could spill out.”
With Baillie Hill planning to accommodate football, cricket, racing and soccer fans, visuals played a large role in transforming certain sections of the venue into hospitality sports bars. Although there was never an intention for any venue to become a dedicated sports bar, the capability to fix video at any point throughout the development was listed as a major design requirement.
A dedicated IPTV system distributes free-to -air TV, Foxtel streaming, digital signage and a wireless presentation device to all display locations across the site. Sony displays receive HDMI video signals via five Blustream IP350UHD-TX 18Gbps Dante transmitters.
A dedicated audio system distributes BGM and inputs from site-wide Audio-Technica ATW-C510 wireless handheld microphones as well as audio from the IPTV system. A thorough wireless survey using Audio-Technica software has ensured interference-free transmissions, and antenna extension kits can be deployed where receivers are not mounted.
Capable of playing two separate audio channels simultaneously and creating dedicated playlists, the BGM operates across the required number of zones, each with separate volume control.
Bluetooth and 3.5mm input connections are available for guest DJs and musicians.
“To provide a DJ or musical ensemble with the flexibility to set up as desired, we maximised the installation of XLR connections,”
explains Dobosz. “It is important to understand the provision for future expansion. From an audiovisual perspective, we have futureproofed this by inserting cabling everywhere so we can insert, for example, QSC speaker bollards wherever they may be required during future expansions.”
Powered by three QSC CX-Q 4K8 8 -channel 4,000W amplifiers, the combined QSC AcousticDesign (AD) speaker outputs vary according to the location. These include surface-mount, flush ceiling-mount, pendant and subwoofer models in addition to weather-resistant outdoor speakers in the form of JBL Control 80 and QSC AD-DWL.180 models.
Futureproofed analogue tie-lines provide a 2-way audio connection between the buildings if a network connection isn’t possible. Control of the audio and video system is via Q-SYS wired and wireless touchpanels connected to a Q-SYS Core 8 Flex processor. Routed to a single network switch, each wireless touchpanel controls the selection and volume as required in each individual zone.
“A 7-inch touchpanel installed into the kitchen provides the venue’s master control, including a map of the venue with all access parameters,” explains Carrie. “By selecting a zone graphically, the operations manager can access and select the volume and the audiovisual sources including microphones from the wall-mounted touchpanels. For each grouped zone there’s also a master control should it be required. Furthermore, individual managers can roam the venue with one of four iPads loaded with Q-SYS software that offer the same control parameters as the fixed 5 -inch touchpanels. Crucially, we have ensured simplicity of use by creating an intuitive GUI for the end user.”
The Long Hall features a wall-mounted QSC loudspeaker system comprising 10 AD-S10 cabinets augmented by a single wall-mounted QSC PL-SUB12 subwoofer at the far end of the room. A projector and screen have been installed for lunch-andlearn sessions, corporate gatherings, weddings and other events. Additionally, a portable projector and screen can be transported on a trolley and patched into a variety of spaces.
Sub-zones created on the outdoor patio area allow guests to dive in or out of higher SPL areas. “We reduced the size and the number of speakers in some areas, such as an alcove where people may wish to dine and chat,” says Carrie. “This has created a higher-energy sub-zone with more speakers and power points just beyond it. No two patrons are the same, so you don’t want to create a homogenous zone.”
With no venue operator in place, Simpson and Carrie proposed an AV design without the months of research and analysis normally associated with their detailed preparations. “It was an unusual scenario for us because we were tasked to speculate or interpret how a prospective venue operator would manage the space on a day-to -day basis,” says Carrie. “Luckily, we’ve spent enough time in bars and restaurants to understand these processes.”
Jokes aside, the UT Consulting pair have immersed themselves in sufficient 3D blueprints to know how to breathe life into them.
www.bailliehill.com.au
www.qsc.com
www.technicalalliance.com.au
www.utconsulting.com.au
Experience the new benchmark for audiophile precision and professional sound quality. The combination of transparent, highly detailed audio recording and playback makes the ADI-2 series an excellent choice for studio reference playback, mastering and audiophile listening environments.
Richard Lawn visits one of Singapore’s latest hospitality refurbishment projects at the Parkroyal Collection Pickering hotel
CONCEPT SYSTEMS TECHNOLOGY (CST) HAS revamped two event spaces at Singapore’s Parkroyal Collection Pickering hotel in a US$2.8mn refurbishment project led by architectural firm, WOHA. The William Pickering Ballroom on Level 2 now benefits from a fixed 16m x 4.5m (WxH) LED wall and two secondary screens that also function as teleprompters. The 455m2 space, bathed in natural daylight from the floor-to-ceiling windows, is a popular choice for weddings, corporate events, large-scale conferences, meetings and milestone celebrations.
Parkroyal Collection Pickering’s audiovisual manager
Ashokumar has been a constant presence within the hotel’s event spaces for the past decade and possesses an in-depth knowledge of the venues. “As with the other hotel ballrooms within the group, investing in the LED wall and dual-use secondary screens was to cater to the evolving demands of the present-day consumer,” he explains.
Before the works could be conducted, the AV design required approval from WOHA. “The interior designer was initially concerned that the LED wall and upgraded technology would interfere with their resort-style décor and fabrications,” explains CST’s project engineer, Tony Ritter. “During the compressed five-week refurbishment window, we spent a week waiting for approvals. However, communications during the works with the interior designer, general contractor Cheng Meng – who we have worked with many times before – and the electrical contractor were excellent.”
As the structure behind the Unilumin P2.55mm LED screen is partitioned, the framework had to be assembled simultaneously with the other building works. The large display receives its content from a NovaStar ET2S-G 4K media server via a Kramer VSM 4x4A 4K seamless presentation matrix switcher and scaler in addition to a NovaStar H5 Series 4K modular splicing processor. Meanwhile, the two 3m x 1.8m Unilumin 135 -inch P1.56mm LED screens combine to create a rear wall LED teleprompter, accepting 4K HDMI signals via Kramer TP-583 transmitter/receiver systems. L-Acoustics’ Soundvision simulations concluded that the Syva column loudspeaker was ideal for the 5.6m-high space. CST
concealed the cabinets within the room’s architectural features, installing them vertically in the wall adjacent to the LED screen. The slimline Syva speakers provide even, medium-throw audio reinforcement across a bandwidth of 87Hz–20kHz (–10dB) throughout the space. Comprising six 5 -inch woofers and three 1.75 -inch compression drivers in a DOSC waveguide, the colinear source enclosures offer 140° of horizontal directivity. Powered by a 4 -channel LA4X amplified controller, the Syva columns are augmented by two Syva Low dual 12-inch subwoofers also concealed within the wall. Connecting eight analogue line inputs and outputs, audio parameters including volume, source and presets are managed from a Symetrix W3 wall-mounted controller connected to a Symetrix Prism 8x8 DSP processor via Cat6e network cable. Two Furman CN-3600S E power conditioners and sequencers have been added to the rack to simplify powering the AV networks on and off. Also on Level 2, the Alexander Room caters for more intimate events of smaller capacity. Operating within a 70Hz–20kHz frequency range, four wall-mounted L-Acoustics Soka colinear
source loudspeakers provide even dispersion throughout the room. Comprising nine 3.5 -inch woofers and three 1-inch compression drivers connected to a V-DOSC waveguide, the Soka column enclosures are augmented in the lower frequencies by four SB10i 10 -inch compact subwoofers. Powered by two L-Acoustics LA2Xi 4 -channel amplified controllers, audio management is once again provided by a dedicated Symetrix Prism 8x8 DSP processor connected to a W3 wall panel controller.
The pre-function lobby is installed with a smaller-scale 4.2m x 2.36m Unilumin P1.8mm LED display, with background music provided by 16 Electro-Voice Evid C8.2 coaxial ceiling speakers powered by a single Powersoft Quattrocanali 1204 DSP 4 -channel amplifier. Finally, two adjoining meeting rooms have been upgraded with Maxhub V8650 85 -inch conference touch displays with interactive screens.
During the launch of the newly refurbished spaces, cluster general manager Kung Teong Wah gave his guests a taste of the ballroom’s cinematic capabilities with a sound and light show which demonstrated the venue’s ability to alter the mood and setting using different colours and creative projections.
According to Ashokumar, the room’s audio and video technology is now easier to manage than previously. Rather than running AV operations from a separate control room, Ashokumar carries out his work from a small technical setup based around a portable console and laptop in a discreet corner of the ballroom. “The new automated digital control that includes plug-and -play functionality has greatly simplified my workflow,” he comments. “Audio presets can now be programmed according to event type, and the quality of the audio and visual capabilities are unsurpassed. Bookings have gone up and we’ve observed more repeat business and referrals through word of mouth, suggesting that our guests feel the differentiation and are making it known.”
www.concept-systems.com.sg www.l-acoustics.com www.panpacific.com/pickering www.unilumin.com
on stage. More than ever.
Nettuno L28 marks Montarbo’s comeback to the stage with a newly designed, compact line-array.
Modular and versatile, it delivers professional performance for both touring and installed applications. Through scalable design , 135.5 dB SPL and perfectly balanced coverage, Nettuno L28 integrates effortlessly into any space, delivering sound that embraces every listener.
Adaptive headroom goes beyond expectations, while onboard presets simplify the system by reducing the need for external processing.
Richard Lawn visits Hong Kong’s leading performing arts institute which has again turned to d&b audiotechnik to upgrade the sound in its auditorium
CONSISTENTLY RANKING NUMBER ONE IN ASIA AND 10th worldwide in the QS World University Rankings, the Hong Kong Academy for Performing Arts (HKAPA) has established itself as a premier educational institution. Dedicated to nurturing professional artists in Chinese opera, dance, drama, film, television, music, theatre and entertainment arts since 1984, the Wan Chai landmark has managed to retain some of its talented alumni including Sanco Lee and Lee Hoi-Fai, who have worked in the venue’s technical office for 32 and 15 years, respectively, after graduating. Having recently instigated a major audio upgrade for the amphitheatre, their intimate knowledge and first-hand experience of working in this venue proved to be crucial in its next-stage evolution.
As the chief sound technician of HKAPA’s technical department in 2010, Lee Hoi-Fai witnessed the conversion of an open-air concrete amphitheatre into a comfortable 600 -seat indoor performance space. Retaining the feel of the original outdoor amphitheatre, the venue was reshaped and enclosed under a glazed space frame roof with motorised blackout blinds. Optimising the acoustics for spoken word, drama and music, 16 reversible hinged panels were installed around the rear of the auditorium. Designed by architectural company the Oval Partnership, the classical seating layout provides excellent sightlines and an intimacy with performers on the large stage, which is level with the lower rows of the audience area. Since the transformation, a d&b audiotechnik Qi7 loudspeaker system has faithfully served the requirements of this significant venue. “I find d&b to produce a big, clear and powerful sound, but it’s also quiet where it needs to be,” commented Lee Hoi-Fai at the time. “We selected d&b as it demonstrated all the necessary criteria: natural sound; light, compact cabinets; and a rigging system that is safe, easy and swift to install, especially for flown arrays. The system is multichannel and designed to provide smooth and even coverage. We were confident that it would provide us with the high-powered natural audio and music reinforcement that we required.”
However, 15 years and countless performances later, Lee Hoi-Fai is inspired to provide a more balanced assessment. “Consisting of three Qi7 speakers in a central cluster on the top
and two Qi7 enclosures per side in stereo behind the projection wall, the d&b audiotechnik setup has served us well on an almost nightly basis since 2010,” he asserts. “However, the point source speakers were starting to degrade slightly, and some performers were experiencing difficulties with microphone handling and feedback from the top of the stage and from behind. When the microphones were deployed on orchestral performances, they picked up sound emitting from the speakers. Furthermore, during a solo, there would be feedback when using a clip mic, so we started to think about how we could overcome these problems.”
Ruling out initial consideration for a spatial audio solution on account of the room’s architecture, HKAPA focused on improving the reinforced audio for the audience. The academy’s technical team once again turned to the expertise of d&b audiotechnik Greater China, which applied ArrayCalc modelling to simulate optimum audio levels for both audience and performers. By minimising reflections returning off the rear auditorium walls towards the stage, the sound energy levels have been focused within the auditorium. Meanwhile, d&b audiotechnik’s newly launched CCL (Compact Cardioid Line) passive cardioid speaker system was proposed as a solution to ensure cancellation from
the rear of the speakers. The first model in the manufacturer’s new CL (Cardioid Line) Series to be rolled out, the CCL array combines broadband directivity control with low-frequency cardioid behaviour. Enabling single-channel amplifier operation, the passive speaker system features a revised implementation of d&b’s patented design to bring cardioid directivity and electroacoustic performance to smaller audience areas closer to the stage.
Comprising two 7-inch front-firing drivers, two 5 -inch side and rear drivers and two 1.75 -inch high-frequency transducers, the
electroacoustic design combines low-frequency and broadband directivity control with high-frequency headroom and minimal distortion. It is available in 80° (CCL8) and 120° (CCL12) horizontal dispersion versions. The CCL speakers installed at HKAPA measure 209mm x 593mm x 355mm and weigh 18kg.
The flyable CCL-SUB passive subwoofer, which offers reduced port noise and extended usable bandwidth, features a front 15 -inch and a rear 10 -inch driver configuration.
The CCL’s specifications ticked all the boxes for the venue’s requirements. “The Qi7 point source series worked well for 15 years, but had some limitations,” admits d&b audiotechnik
Greater China sales manager, Mark Lee. “With the stage being connected to the audience area, the audio demands intelligibility together with even, high SPLs, but without affecting the performers onstage. In addition, the unique semi-circular audience area required careful loudspeaker placement.”
A steel column structure fixed to the ceiling offered little space for hanging loudspeakers, posing a problem for deployment. “To attach the arrays to the steel column, customised mounting was required, meaning that the whole array would need to be panned and tuned at an optimum angle to maximise the coverage throughout the audience area,” he continues. “There was also a safety issue to consider, because the steel structure is not attached to an overhead slab of concrete and so the mounting would need to be secure enough for loading this weight.”
With the problem identified, a structural engineer was commissioned to calculate that the loading was safe before commencing with the custom mount shipping. “Following modelling and ArrayCalc software simulations, we concluded that an L-C -R solution would work best because a stereo system would not provide sufficient coverage for the three audience areas,” Mark Lee explains. “ArrayCalc confirmed that the L-C -R deployment would provide excellent SPL coverage throughout the venue.”
Powered by four d&b audiotechnik 40D amplifiers, the L-C -R solution incorporates four CCL12 cabinets and a CCL-SUB for each hang. To match the existing steel column structure, a custom RAL colour finish was also specified. “We highly valued the opportunity to manage the first deployment of a customised CCL array here in Hong Kong,” says Lee Hoi-Fai. “It ticks all the boxes in terms of coverage, SPLs, the cardioid pattern for directing the sound energy towards the audience area and the reduction in sound reflections from other areas in the venue. In addition, the stage area is quiet now because the CCL’s sound energy is directed towards the front.”
The auditorium has of course experienced other technological upgrades since the Qi7 system, including the addition of a Yamaha console. Further works are being planned, including an active acoustic system for enhancing orchestral performances. As the amphitheatre continues to stage the next generation’s top talent, HKAPA continues to be regarded as a recognised hub for regional artistry by elevating their performances. Appearing beneath 15 fixed cabinets discreetly integrated into the ceiling, artists may leave the stage without remarking on the sound. Yet the clarity, from the drop of a pin to the sustained resonance of a cello, will not be lost on performers or audience alike.
www.dbaudio.com www.hkapa.edu
Richard Lawn visits a world-class bowling alley in a Kuala Lumpur suburb
RIDHWAN, WHO WAS CROWNED
national bowling champion 14 years ago, has created a top-level bowling alley in a Kuala Lumpur suburb. The gesture was made as a repayment for the faith and investment of his government during international tournaments, including the Asian Games and the SEA Games, and to give something back to the community.
Having converted an upper-storey car park in a Petaling Jaya shopping mall, Ridhwan invested in the latest Brunswick Boost ST freefall bowling technology. “Every detail of your operation, including the F&B, air conditioning and the audio, needs to be best-in -class, otherwise your customers will know you have undercut,” he explains. “Bowling may be declining in popularity in some countries, but it is on the up in Malaysia and Singapore, so we are trying to encourage a new breed of bowler to come and develop their game.”
Matching the high-end bowling technology, Ridhwan also invested in a premium audio system for the BGM and paging. “I have competed around the world and consistently experienced poor audio systems with unintelligible
announcements and substandard music playback,” he continues. “Most owners focus on the bowling alley without understanding the importance of audio quality. Audio is important in a bowling centre as customers wait to take their turn, as well as during special events such as tournaments, when clear, intelligible announcements are expected.”
The 10- and 18 -lane bowling alleys make up the bulk of the space, together with F&B outlets, a shop and a welcome desk. Four VIP lanes are individually illuminated by projection mapping, and this interactive area is available for birthday parties and corporate events, with Audio-Technica wireless handheld microphone systems on-hand for speeches. The challenging concrete acoustics of the former car park were characterised by long reverberation times, with the crashing of bowling balls and pins, plus excited players, adding to the SPL levels. A recommendation by a friend led Ridhwan to Mercoms Systems for an audio demonstration. “Mercoms possessed the most comprehensive audio systems for the budget we had available, and I was impressed by their high expectations for the sound in such an environment,” he says.
A demonstration combining various loudspeakers led to a pairing of Next-proaudio pendant speakers augmented by QSC subwoofers. As a guitarist and a musician, Ridhwan felt qualified to insist on the best: “Without low-frequency extension, the music has no depth, no soul. I wanted to be proud of this space from a musical perspective and demanded that the sound was right. Mercoms fully understood my request and duly delivered.”
Following EASE simulations, systems integrator Naga AV was commissioned to install the audio system designed by Mercoms Systems. Naga AV general manager Chi Yee Chee and his team, led by project manager Raja Shaharil Nasir, fully comprehended Ridhwan’s brief to maximise audio coverage and fidelity for Juara Bowling Alley’s patrons using a minimal amount of loudspeakers. “The client was familiar with other sports venues we had delivered, including iceskating rinks,” confirms Chee.
At the heart of the system, a Q-SYS Core 8 Flex processor accepts multiple inputs and outputs and provides GUI control. A Q-SYS Axon C1 IP in-wall controller has been installed for the duty staff to configure zone control with basic audio parameters; an iPad can also be used. Full-range audio fidelity is provided in one of the zones by a pairing of Next-proaudio P6 pendant speakers and Q-SYS PL-SUB10
subwoofers. Another zone demanding slightly lower SPL levels is installed with QSC AD-P.SUB and AD-P.SAT speakers suitable for background music. The systems are powered by Next-proaudio A504DSP and QSC GX7 amplifiers.
“Because of the highly reverberant nature of the hard, flat surfaces, the speakers are located as close as possible to the listeners,” explains Chee. “The SPL levels were finely adjusted to ensure there was minimal leakage between the various zones and the bowling activities. For the duty managers, we programmed basic controls such as volume, mute and source into the Q-SYS software for iPad and Axon C1 IP control. Simple on/off power sequencing is equally important for simplified daily operations.”
Characterised by its detachable antenna on the receiver unit, an Audio-Technica ATW-1422 System 20 digital wireless microphone system comprising a networkable ATW-R1440 4 -channel receiver and dual ATW-T1402 handheld transmitters handle announcements and speeches, with paging handled by a Dante-networked Audio-Technica ATND8677a desk stand connected to a U855QL cardioid gooseneck. An Audio-Technica Q-SYS plugin assigns touchscreen control from the iPad or a button on the ATND8677a base.
As well as his bowling expertise, Ridhwan’s musical passion also played a large role in planning the venue. “I wanted to establish a reference whereby customers would appreciate good audio in a harsh bowling alley environment,” he says. “If you build a good reference, the business will come. If any element of your package is below par, customers will identify it. You don’t expect customers to leave and post great reviews on the audio system, but they will let you know if it’s below their expectations.”
www.bowling.my/team-member/shafia_ridhwan www.mercoms.com
www.nextaudiogroup.com www.qsc.com
Richard Lawn visits an established arts venue in the Korean capital which has been upgraded by Soundus
TASKED WITH MANAGING THE SOUND, LIGHTS AND video for a cultural arts centre in Seoul, Oh Se Hun has witnessed some truly great performances over three decades. An electrician by trade, the hall manager has been ever-present in the Songpa Cultural Arts Center since the landmark venue opened in the early 1990s. Having been an influential voice during the recent refurbishment and equipment upgrade of the third-level theatre, the self-taught technician is now happily bowing out of his distinguished career.
In addition to being used for varied performances including national touring orchestras, plays, operas, ballets and vocalists, the theatre is also hired for local community performances. Much-needed renovations on the third and fourth levels, including the floors, ceilings and walls, commenced in the summer of 2024 and continued until the grand reopening in November 2025. With the stage curtains firmly drawn shut, Oh Se Hun oversaw the contractor works and played a large part in the upgraded specifications for the audio and lighting.
Having received vocational training during his 30 -plus years, Oh Se Hun learned his craft on the job and by networking with industry figures. One of his trusted suppliers is Soundus, which supplied three DiGiCo SD11s for the Seoul City Hall. “Soundus provided me with some excellent audio mixing training and that’s when I developed a relationship with DiGiCo,” he comments.
Spanning 704m2, the third-level stalls are equipped with 273 seats while the 230m2 fourth-level balcony has 225 seats. For the remodelling of the theatre, the fixed acoustics ensured the primary focus could be placed on the sound design, with several leading professors commissioned to perform acoustic simulations. In addition, the theatre also consulted with Hyeoncheon Construction regarding the architectural restrictions and compliances.
“As the long-term DiGiCo distributor I had learnt to trust Soundus, and that formed the rationale in recruiting them to submit a proposal for the overall audio design,” explains Oh Se Hun. “Bum Kee Cho from Soundus provided great expertise. I was invited to listen to Coda Audio speaker systems in approximately
10 concert halls and concluded how well these speakers paired with DiGiCo consoles.”
Located in the rear production room, a newly installed DiGiCo Quantum 225 72-channel console handles both FOH and monitoring mixes. Integrating 25 physical faders and a 17-inch LCD high-resolution touchscreen, the console is connected over MADI to two MQ-Racks onstage. “The DiGiCo audio quality has always impressed me, and I enjoy operating the control surface with its intuitive workflows,” adds Oh Se Hun. “Some touring engineers brought in different consoles in the past, but I personally feel none of them match the quality of DiGiCo.”
Using the architectural data, Bum Kee Cho performed software simulations and measurements using Coda Audio’s Systems Optimiser and EASE 3 software to create an audio design. The resultant six-per-side Coda Audio CiRAY dual 10 -inch line array solution is supplemented in the lower
frequencies down to 25Hz (–6dB) by three-per-side SCV-F 18-inch sensor-controlled subwoofers.
A central cluster comprising Coda Audio N-APS (arrayable point source) dual 6.5 -inch enclosures has been added above the stage to provide even dispersion in the centre stalls and balcony. Four ceiling-mounted HOPS8i dual 8 -inch coaxial cabinets provide symmetrical 100° coverage for both the under balcony and balcony areas, with two G308 -Pro 8 -inch stage fills per side.
The entire speaker system is powered by six Coda Audio Linus6.4 and three Linus14D amplifiers rackmounted in the fourth-level control room. Providing intelligent processing, amplification and monitoring, the Class-D 1U amplifiers include factory DSP presets that utilise Coda Audio DS-FIR and IIR filtering techniques. LiNET audio distribution can transmit up to eight digital audio signals via the Cat5e cable infrastructure.
Over three decades, the Cultural Arts Center has amassed a large inventory of wired microphones for the varied performances and applications. These include DPA mics for the piano, and elevation models that descend from above for ambience. For educational events and performances, a blend of Beyerdynamic TG 500 and Sennheiser EW-DX wireless microphones are preferred.
“We vary the mic inputs according to the performance,” says Oh Se Hun. “For an orchestra, it can be as high as 50 but, for meetings or smaller performances, we connect around 20. We plan to increase the number of performances and events here, so the audio operations team is looking to increase the size of its microphone inventory to bypass hiring costs.”
For an intimate 500 -seat theatre, the Coda CiRAY system may appear over-powerful, but it’s a dream come true for Oh Se Hun.
“I have a great relationship with team leader Kim Sung-Hoon, and his open-mindedness paved the way for this upgrade,” he concludes. “When you work together for decades, you develop a trust for one another, which bypasses the need to make a convincing argument. With this upgrade, I can now retire happily.”
www.codaaudio.com
www.digico.biz
www.soundus.co.kr
www.spcc.or.kr
Richard Lawn visits an entertainment hub in a northern suburb of Perth that’s been created from a disused park earmarked for development by the City of Joondalup
WHEN ETC SOLUTIONS AND CABLEWISE AV (CAV) WERE commissioned to design and install an integrated audio and lighting system for an outdoor community facility, the solution demanded ease-of-use operability. The blueprints for the A$9.3mn (US$6.6mn) project that would transform this barren space into the Duncraig Adventure Hub included a skate park, pump track, outdoor classroom, playground and pathways.
Additionally, an outdoor roller disco rink needed to incorporate tightly integrated lighting control and audio systems, allowing it to switch from a public activation zone at the touch of a button.
“Following an open tender, I received a brief in 2023 from the City of Joondalup to design and document power reticulation, events power, audio, AV systems and CCTV camera security,
together with functional and decorative lighting throughout the site,” recalls ETC Solutions’ engineer David Cumber. “The client wanted to attract a range of age groups who could enjoy the skate park and the pump track. However, some apprehension existed that the development would draw an audience of predominantly young boys. Research concluded that youth facilities are not inviting to girls, so the resultant roller disco space aimed to draw a demographic of 85% females.”
CAV was approached by Stiles Electrical to assist with the specialised audio and lighting components of the tender.
“Despite the degree of specialisation it was a smooth project, which made a welcome change from our normal fitouts in offices and boardrooms,” testifies CAV’s Roberto Scaturro. “I particularly enjoyed the challenges of the design, including the
integration of audio and lighting equipment into customised technology poles.”
Four technology towers framing the roller disco rink feature CAV’s own boom box-style coloured circular LED lights, programmed to chase, cascade and strobe. Offering rotational movement, light pattern effects, full RGBW colour mixing and animation, the lighting concept employs two digital moving head LED light projectors and gobo image projection within each tower. Integrated with audio and lighting components, each technology pole is connected by power, data, DMX and loudspeaker cabling to an equipment rack in an adjacent air-conditioned low-voltage room. Suspended between the towers in the centre is a 1.2m-diameter disco ball.
In addition to Cumber, three other ETC Solutions designers worked on this project, initially focusing on the bespoke towers.
“The towers were a challenge because few companies can manufacture something like these from a set of drawings,” Cumber explains. “One tower was initially prototyped, and this provided us with an opportunity to integrate the audio and lighting elements as a proof of concept. At that point, we agreed for the remaining three to be manufactured.”
The slim dimensions of the four towers presented limitations for the choice of loudspeakers, which were also required to combine high SPL levels with full-range audio properties. Ultimately, K-array Kayman-KY102 line array speakers were specified. “I engaged with the K-array distributor, Australis Music Group, at a very early stage to make sure that our modelling for the SPL levels was correct and we could create an outdoor nightclub feel,” explains Cumber. “Having used K-array speakers for previous outdoor projects, I felt sufficiently confident in installing this passive model within this application.”
Fixed onto internal custom brackets behind the lights, the 116mm x 1,000mm x 134mm (WxHxD) stainless steel enclosures comprise eight closely spaced 4 -inch neodymium woofers. Operating within 120Hz–20kHz (–6dB) with a peak SPL of 138dB, an IP64 rating and a back cover that protects the connectors, these were an ideal choice for the outdoor environment. Like the loudspeakers, the Deluge M800HF and M19x60WFX IP65 -rated moving head lights integrated into the towers are weatherproof.
for special events via the Q-SYS audio system and wireless interfaces for locally selectable preset scene and colour palette by event organisers and DJs. Audio control can be managed from a fixed Pharos 7-inch touchscreen in a locked cupboard adjacent to the skate park.
With multiple stakeholders providing their design input and various departments requiring signed-off documentation, Scaturro maintains that the City of Joondalup was highly ambitious in its aims. Inevitably, compromises had to be made: “Discussions with others, including programmers, all played a role in the conception of the user-friendly interface. Ease-of-use operations are vital, especially for the service manager receiving calls for what may appear simple to us; an end user just wants to press a button to ensure their event takes off. If it’s not easy to use, we will be receiving calls all the time. A successful job can be measured by the number of calls you receive once operations begin.”
With plugins available for K-array and Pharos, Scaturro maintains that Q-SYS simplified programming.
“Should the current system require expansion, we have added futureproofing by integrating two lines of Dante networking,” he explains. “Backed by Nightlife and crowdDJ playlists, the audio and lighting presets are adapted according to the age group or event being staged. Finally, an account manager was contracted to help create customised playlists for the various users.”
The Kayman arrays are augmented by a pair of K-array Rumble-KU212 12-inch omni subwoofers in enclosed cabinets on either side of the rink. Capable of delivering low frequencies down to 35Hz (–6dB), the steel enclosure of the KU212 is geared towards outdoor environments. The arrays and subwoofers are powered by a Kommander-KA208 8x2,500W DSP amplifier, offering added control over the loudspeakers.
“The audio and lighting system has been synced within the software of the Q-SYS Core 110f processor to host shows according to the time of day and the general theme,” continues Cumber. “The space is equally adaptable to supporting community events, performances, festive themes, art displays and entertainment benefitting from light and sound. Users can manage operations from a fixed touchpanel in a cabinet under the canopy, which is essentially a centralised management area integrating the source inputs including a Shure SLX-D wireless microphone system, data connections for networked audio and a crowdDJ managed service provided by the City of Joondalup.”
Interfacing with the Q-SYS DSP control, a Pharos lighting control system and scheduler syncs the music with the lighting, with peaks in the audio frequencies intensifying lighting effects. Fully automated for regular operations, the platform has been customised
POWERFUL SOUND
Beyond the roller disco, site-wide multizone PA audio is deployed across the skatepark, pump track areas and bowl. Demonstrating consistent coverage, high-output clarity and reliable operation in an outdoor, high-activity environment, Tannoy VLS speakers are powered by Lab Gruppen E Series amplifiers racked in an adjacent air-conditioned unit. Once again, Shure SLX-D wireless microphones are available for public address, and a Nightlife media player provides music streaming.
“You will not find another park in Perth, or possibly Australia, with an audio and lighting system like this,” maintains Scaturro. “We are receiving interest from other venues who have heard about this project, and we are enjoying the positive feedback from end users. Most recently, a DJ who was hosting a skate competition commented that this was the best interface he had operated in a public space because of the audio quality and ease-of-use settings.”
And, if proof was needed, user data confirms that the roller disco has met its objective of attracting an 85% female audience, balancing the facility’s more male-focused skate and bike components.
www.cablewise.com.au/service/audio-visual www.etcpl.com.au www.k-array.com
32-bit DSP with FIR filter – precise sound reproduction
PLUG & PLAY
4 on-board presets: Music, Monitor, Voice, Ext. Sub
Bluetooth audio streaming with True Wireless Stereo (TWS)
PURE POWER
1,200 W peak – fanless, silent operation
RIGHT SIZE FOR EVERY GIG
Available in 10“, 12“ and 15“
BUILT TO LAST
German quality - professional wooden cabinet
WORKS PERFECTLY WITH our new PORTABLE SUB SERIES
Live acts on the SMB 2 Stage are reinforced with Meyer Sound Ultra-X80 Series speakers and 2100-LFC subwoofers
Richard Lawn visits a mall in Bekasi, eastern Jakarta, which has opened a second open-air stage for live performances, once again turning to Meyer Sound technology for its consistent audio quality and weatherproofing credentials
LIVE MUSIC HAS BECOME A STAPLE OF THE RETAIL experience in many Indonesian malls, with scheduled acoustic sets, weekend events and resident performers becoming regular fixtures, with relaxed evening performances being held in open-air atriums, food courts and lifestyle lounges. Having specified a Meyer Sound self-powered system for the Downtown Walk outdoor stage in their Summarecon Mall Bekasi (SMB 1) development in 2013, the Nagaria family reviewed their options in advance of Summarecon Mall Bekasi Phase 2 (SMB 2) in February 2026.
Reflecting the musical passion of co-owner and director Soegianto Nagaria, the original Meyer Sound loudspeaker system continues to faithfully address packed crowds each evening. Comprising eight UPQ single 15 -inch enclosures and four 700 -HP ultra-high -power subwoofers, the covered stage of the outdoor Downtown Walk attraction has been entertaining patrons and visitors almost every night for the past 13 years. The self-powered theme extends to the wedge monitors with the deployment of up to eight trusted RCF ART 425 active speakers. To cater for the bigger weekend crowds, Meyer Sound distributor PT Promedia Sejahtera Raya (PSR) was recently commissioned to readjust eight UPJ speakers as delays.
Continuing to operate without problems in an outdoor environment characterised by high heat, extreme humidity and rainfall, the original setup is an advertisement for the reliability of Meyer Sound’s self-powered philosophy. The impressive credentials at the SMB 1 Downtown Walk stage yielded a favourable ROI. Although the management wanted to extend the UPQ and 700 -HP speaker combination to the new stage located at SMB 2, the discontinuation of the subwoofer demanded a closer inspection of the latest Meyer Sound technology. Following a proposal and demonstration by PSR, an Ultra-X80 point source speaker and 2100 -LFC subwoofer pairing was specified for the new stage. Designed to provide the power, clarity and performance of multiple line array loudspeakers in a single box, the Ultra-X80 enclosure can deliver a total linear peak output of 141dB SPL. Coupling two 12-inch neodymium-magnet cone drivers to a rotatable 95° x 40° waveguide married to a 4 -inch
high-frequency compression driver, the concentric-driver design also incorporates Class-D amplifier technology.
Suspended on hoists on either side of the SMB 2 stage, dual Meyer Sound Ultra-X80 enclosures provide the long-throw dispersion required. Comprising a 21-inch driver with four voice coils, the 2100 -LFC subwoofer produces a linear acoustic output and low-frequency extension down to 30Hz. Two pairs of 2100 -LFC subwoofers are ground-stacked in cardioid mode for the SMB 2 stage, with two further subwoofers complementing the existing RCF TTS 18 -A 18-inch models at SMB 1. An additional pair of Meyer Sound Ultra-X40 cabinets have also been supplied for portable setups or as fills when required.
An Milan AVB audio network has been established via Cat6e connection between the Meyer Sound Galileo Galaxy 408 audio processor loaded with presets and the loudspeaker outputs. Taking advantage of the Nebra integrated software platform, the Ultra-X80 incorporates both analogue and Milan connectivity. “This has been
made possible with the addition of two rackmounted Luminex GigaCore 30i switches,” confirms PSR managing director Yosua Heriyanto. “The AVB digital audio signal path is simpler and, despite the conversion, the audio resolution is excellent, and the signal is clearer and much softer.”
Connected to racked Waves Ioniq 24 I/O units, digital audio mixing is now conducted from the control surfaces of compact Waves eMotion LV1 Classic live mixing consoles on both stages. Deemed sufficient for the current setup, each stage is equipped with two Ioniq 24 stageboxes that can handle up to 48 inputs. With built-in audio processing and inherent plugins, many engineers in Indonesia appear to be very familiar with Waves.
“The LV1 Classic mixer is best-in-class on many levels but, for SMB 1 and SMB 2, there is no competition,” explains Heriyanto. “Different bands and engineers operate the console every night, with the majority already familiar with Waves plugin technology. Their settings can be installed and they can insert their desired
audio mixes. It’s truly intuitive, as the snapshots and presets can be easily changed to maximise the plugin effects. When touring, live sound engineers can load their preset files into the console, and they are generally very familiar with the plugins. It’s easy to use and provides a quick tool for sound checking and for turnaround between the acts.”
The addition of four SurgeX SEQ-1216i power sequencers provides ample protection against electrical surges. “The electricity in Indonesia is unstable, and the power input can vary, sometimes creating harmful spikes,” says Summarecon Mall sound engineer Rio Supriyanto. “The inclusion of the SurgeX SEQ-1612i power conditioners has regulated the electrical input.”
Previously existing Shure ULX-D and SLX-D wireless systems continue to serve the nightly requirements of all the artists and performers on both stages. Artists preferring an IEM solution to wedges can adopt the Shure PSM 300 IEMs that are available. Frequency congestion within the mall has not marred any performances to date, with the wireless Beta handheld transmitters working flawlessly. “With Wireless Workbench software downloaded on an iPad, I can detect interference, battery and signal strength of all the transmitters and receivers on both stages,” asserts Supriyanto. “Likewise, the LV1 consoles can also be monitored and controlled over Wi-Fi using the Waves MyFOH remote control software installed as an app on the same wireless iPad.”
The harsh acoustic environment of the Downtown Walk is mitigated at weekends when crowds become effective sound absorbers. “The tenant retailers do not complain about the SPLs as most of them enjoy the music and the crowd it brings to this area,” confirms Supriyanto, who has become a self-confessed fan of the Californian loudspeaker developer. “Having endured for 13 years to date without problems, the proven weatherproof characteristics
of the Meyer UPQs bring as much peace of mind as the company’s current eight-year warranty does. Meyer Sound has provided the Downtown Walk with proven quality, high SPLs, intelligibility and clarity that sets this mall apart from others.”
As live entertainment continues to play an increasingly important role in attracting visitors and extending dwell times within Indonesian retail destinations, Summarecon Mall’s investment in a second Downtown Walk stage demonstrates a commitment to both performance quality and long-term reliability. By combining proven Meyer Sound durability with a modern networked audio infrastructure, the mall has created a scalable platform capable of supporting nightly performances and larger weekend events alike, ensuring that live music remains a defining feature of the visitor experience for years to come
www.meyersound.com www.promediaraya.com
www.summarecon.com
www.waves.com
Dan Daley looks at how some US states are uniting in an effort to break Live Nation’s stranglehold on the live music industry
RECENT LITIGATION AROUND LIVE NATION’S ALLEGED dominance of the US live music industry further reinforces how the entire business has become financialised. If you thought Bowie Bonds and their successors, like traders Hipgnosis Songs Fund (now Recognition Music Group) and Primary Wave, were the ne plus ultra of the convergence of Wall Street/The City and Broadway/Denmark Street, that was nothing compared to how Live Nation has come to utterly dominate what in this century had become the primary revenue source for music: live concerts. Fans complained about insanely high ticket prices and never-ending add-on fees. But Live Nation seemed to have only solidified its market supremacy. Last year, the company reported a record-breaking annual revenue of US$25.2bn, a 9% increase over the previous year, while its operating income jumped 52% to $1.3bn, driven by surging international demand and record-setting, high-margin concert promotions. And, despite ongoing antitrust scrutiny in the US, Live Nation maintained a near-monopoly on live entertainment, with 159m fans attending 55,000 shows globally in 2025. This year, however, an interesting thing happened to that tale of seeming world domination. After the US Department of Justice essentially gave up on pursuing further litigation
against the company (despite a jury determining Live Nation indeed held a monopoly and after the company had spent nearly $5mn on federal lobbying, which even the presiding judge described as “disrespect for the court”), a consortium of individual American states decided it would pick up the banner. These included ones with entertainment centres, such as New York City, Los Angeles and Nashville. Amazingly, they won.
Back in April, in a case brought by a coalition of 40 state attorneys general, a jury decided that Live Nation and its ticketing subsidiary Ticketmaster were maintaining illegal monopolies in the live events industry that led to fans being overcharged for tickets. It wasn’t as hard as it might have looked. Jurors heard Live Nation executives referring to their customers as “so stupid” and how they loved “robbing them blind”. Behind closed doors, these executives bragged about “goug”[ing] customers in every possible way, including charging “$50 to park in the grass” and “$60 to park in closer grass” (my emphasis). Live Nation CEO Michael Rapino banned customers from bringing lawn chairs to the company’s outdoor venues – for their own safety, of course – and then proceeded to make millions of dollars renting them out at the venues.
It remains to be seen what penalties Live Nation might face. With legal appeals all but assured, it’ll take years for any real resolution to become clear. But the way that the states’ legal departments – many of which despise each other’s politics – banded together to continue the fight is heartening. The court’s ruling becomes an inflection point in the music industry’s otherwise technology-led journey –from its democratisation back in the Tascam Portastudio in the 1980s; to its corporatisation in the 1990s, when a dozen or so major labels were whittled down to three; to the financialisation of the business, when the aforementioned Hipgnosis Songs Fund et al. tranched and made a market of copyrights.
The abandonment of the federal lawsuit reflects how, in the current US administration, corporations can run rampant. So it was also a nice touch to have the states’ action, the first time a fractious bunch of creatives acted together, occur during the 250th anniversary of the country’s independence. When common interests are clear, so is some common sense. Now, we may be on the verge of yet another era, one in which some semblance of balance may re-emerge for an independent music sector that’s been trampled by Live Nation like the grass that it offers for $50 parking.
Phil Ward examines the need for regulation in our ever-increasingly connected, AI-driven world
IT DOESN’T
IS, or what the technology is, but there is a perennial battle between regulation and laissez-faire. The first must, by definition, be the responsibility of government, whatever the complexion. The second is the prerogative of enterprise, entrepreneurship and –let’s be honest – creativity, given that dreams and clipboards don’t usually go together unless your lifelong ambition was to read gas meters. Wealth is built by taking risks, not meter readings. But regulation is supposed to mean that the risk is to yourself, not innocent people, as far as can be judged.
I doubt if these two priorities can ever be reconciled. The best example today is AI, the science fiction Golden Egg now hatching as science reality. Silicon Valley has been left to its own, er, devices for decades and, as a result, its obscenely rich bosses are practically in control of the White House, rather than the other way round. They scorch the Earth with “data factories” in a race with China for global supremacy, building Large Language Models to train the machines to help us. Help us? Well, in pro AVL, yes, they do. We may worry about the potential of a model like Mythos (built by XBOW) to fall into the wrong hands – it tests for weaknesses in cyber-defence – but in
the meantime we can enjoy the benefits of AI as our networks grow. Mostly, we use “agentic” AI as opposed to “generative” AI: it performs highly complex tasks as required, such as analysing acoustics or predicting dropouts in 256 channels of audio, while generative AI occupies the more controversial realm of content creation.
As we begin to connect AV networks globally, the need for trustworthy all-seeing eyes grows exponentially. The expansion of digital media networks increases the burden of control and management of AV systems, and Audinate has seen this coming. From early on, Dante customers needed straightforward methods to manage their systems, with so many audio and video devices proliferating; for this, the Dante Controller software was introduced. Later, Dante Domain Manager gave more access to the farthest reaches of the networks.
Joshua Rush, Audinate’s chief marketing officer, told me several years ago that “the cloud-based workflows of today are all underpinned by the same control and management tools, identifying devices right around the world. It’s less about the individual product and the technology that’s in there, and more about the management tools that pull it all together. That’s
beyond any individual device manufacturer; it’s something that falls upon us to solve.” He might well have been predicting AI. The more successful a technology like Dante is – and, of course, this is just one example – the more the manufacturer has to address monitoring and network surveillance as a direct consequence of its own progress, a requirement that only makes safe and regulated AI all the more attractive.
Perhaps sensing a backlash, in one charm offensive Amazon hosted a complimentary one-day AWS (Amazon Web Services) Summit in London in April, offering an olive branch tellingly devoted exclusively to agentic AI. More significantly, the European Conference on Artificial Intelligence took place recently in Bologna, Italy, with a much longer perspective than you would ever imagine; it has been held regularly since 1974, in cities all across the continent, with responsibility and sustainability always to the fore.
I didn’t know this until recently, but there is also such a thing as Small Language Models that use far fewer resources and are much more targeted at specific, localised problems like our own. They needn’t be a threat. They needn’t cost the Earth. They needn’t make Peter Thiel any richer.
Richard Lawn finds that, despite a reduced footprint, KOBA remains a relevant force
OPENING ITS DOORS IN SEOUL’S COEX EXHIBITION centre between 12–15 May, the 34th KOBA (Korea International Broadcasting, Media, Audio and Lighting) Show remains South Korea’s only specialised event for broadcasting and communications convergence. Continuing last year’s theme of AIenhanced creativity and media innovation, this year’s theme was The AI Powered Media Era – Where Content Connects, Creation Evolves and Convergence Begins.
Organised by Korea E&EX and the Korea Broadcasting Engineers and Technicians Association (KOBETA), KOBA 2026 featured AI-driven content creation, 5G/6G real-time transmission systems, cloud-based broadcasting, HD video solutions, IP-based studio technologies and integrated AR/XR platforms. Accordingly, many exhibitors were keen to promote their latest hardware and software solutions following world premieres at the ISE and NAB shows. May is peak time in the tradeshow calendar, so KOBA competes for attention among BroadcastAsia, Prolight + Sound Guangzhou and PALM Expo India. However, a significant number of international brand representatives travel annually to KOBA to support their distributors and assess the changes in the domestic market.
Having presented the technologies in Halls A, C and D of COEX for many years, the organisers opted to change the format. Although the broadcast and video halls on level three remained
Chris Kim, Ingang Audio:
“In comparison to previous years, the KOBA show floor has decreased in size, but Ingang Audio continues to meet broadcasters from NBC and KBS who are interested in Calrec console technologies and Meyer Sound speakers. Although many students visit the show to learn about audio systems, we also meet engineers from churches, studios and stadiums because this is the only show where they can see and learn more about products that they are interested in. The show is changing in terms of dynamics, but the visitors largely remain the same. When you consider the size of Hall B prior to the pandemic, it has reduced a lot, but KOBA remains a major exhibition.”
the same, the pro audio and lighting exhibits migrated from Hall A to a more compact B. With limited lighting technologies on display and the Korean manufacturers that once occupied large spaces now absent, the compressed format created a busy, vibrant show floor over the four days.
Technicians, engineers and students keen to discover the latest technologies could also attend demonstrations, seminars and workshops, while side events enticed visitors from the show floor including the KOBA 2026 Media Forum and Conference covering media platforms, trends, AI, IP networks and topical broadcasting industry issues.
Hall B diversions included the KOBA Studio and KOBA Stage where K-Pop artists performed. Although ticket-holding fans flocked to see the bands, few were enticed by the audio and lighting exhibits. Hall C included a Media Content Creator Lounge and Creator Hub with an experiential demo space for solo media producers, streamers, YouTubers, podcasters and short-form content creators. Other draws included the Immersive Lab.
Leading international brands including Blackmagic Design, Canon, Fujifilm, Nikon, Panasonic and Sony dominated the vibrant Halls C and D. Larger distributor exhibits including Dasan SR, Dongyang Digital, Ingang Audio, Mipro Korea, Samasound, Sound Solutions, Soundus and ZinoPro highlighted a cross-section of broadcasting
Donghwan Kim, Mipro Korea:
“At KOBA I meet engineers working in churches and pro rental companies in addition to government purchasing officers operating in the 5.8GHz spectrum. In Korea we operate in a very narrow UHF band which is insufficient for the professional market, so our products that operate in the 5.8GHz ISM band attract users wanting more channels. This year’s show is a lot smaller than in previous years and this hall attracts many students. KOBA appears to be slower, possibly reflecting the current global economic conditions.”
technologies. In a world where time is the most precious commodity, a less is more strategy ensured that visitors and exhibitors alike could focus on relevant technologies more efficiently. By streamlining workflows and enhancing efficiencies, both social and AVoIP networks appear to be sharing the same convergence path. Well-organised and open to new technologies, KOBA refuses to limit itself to the confines of broadcast. However, market forces and a continuing shift by leading suppliers to market their technologies away from exhibition halls continues to shape the audio and lighting hall. With the attempted self-coup of late 2024 now in the rear-view mirror, KOBA now faces its own disruption as COEX considers hall reconstruction.
2026 Dates: 12 – 15 May
2027 Dates: 11 – 14 May
Venue: COEX Convention and Exhibition Centre, Seoul
Total exhibitors: 433
Attendance: 43,018
Contact: www.kobashow.com
Tommy Kim, Yamaha Korea: “I’ve been working in the industry for 25 years and over that timespan I have seen it change dramatically. KOBA remains a broadcast show, but the pro audio section has evolved because Korean manufacturers and many distribution companies are no longer exhibiting. Yamaha continues to exhibit as we believe we need to continue promoting the brand. Students from colleges and high schools are our future users, so it’s important to make them aware of Yamaha and its history. Compared to last year we decided to exhibit our pro audio products on a much smaller booth by not showcasing instruments such as guitars, drums and keyboards. Instead, we are hosting workshops twice a day in a demo room on the booth.”
Boon Siong Tan, Lawo:
“I have been attending KOBA for more than 20 years and it remains a very broadcast-focused show. However, there is a need to consider how broadcast integrates into AV for various applications. Most audio companies exhibit downstairs in Hall B and traditionally Lawo has been strong in audio. However, because of AV convergence, we now consider ourselves to be a solutions-based provider, so Hall C seems a more appropriate space for Lawo to exhibit with its partner Dongyang Digital. Ultimately, KOBA is about networking, meeting people and sharing experiences. In terms of visitors there is less attention on the quantity because KOBA continues to attract quality customers, including the main Korean broadcasters. Many content creators are seeking new technologies at KOBA to improve their production workflows or become more cost-effective, so KOBA remains a relevant exhibition.”
Sean Kim, Soundus:
“KOBA is a lot smaller, but we have experienced more visitors coming to see us because Soundus has taken a bigger space this year. Although we believe it’s important to participate at exhibitions, an increasing number of distributors are creating more personal networking relationships with customers by staging their own workshops and demonstrations. But tradeshows do enable us to create relationships with new customers, so we demonstrate new technologies from all our brands. The DiGiCo Quantum 852 digital console is a great draw to our booth, and from there we can showcase the latest products such as the compact Quantum 112. New products are normally launched well in advance of KOBA, so huge momentum normally builds up for them. The mix of visitors has been good, and there have been many students wanting to learn more about the industry. Because of K-Pop and K-drama, I believe that the media entertainment industry in Korea is growing.”
Edan Kwon, Samasound:
“At the start of the exhibition I was a little concerned when I saw the size of the show floor in Hall B. However, it has turned out to be successful, and we have met a lot of visitors over the four days. Many are students of course, but we’ve also met theatre engineers and broadcasters who want to know more about our Clear-Com and Shure solutions. The Shure DCA901 microphone array has probably gained the most attention because of the basketball display that allows visitors to experience the audio capture of the array. Although we emphasise certain products and new technologies, we are increasingly focused on networking with our industry customers and friends.”
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Going forward, the annual Singapore tradeshow would benefit
IN THESE POLITICALLY UNSTABLE AND ECONOMICALLY dynamic times, manufacturers are being tasked to stay relevant like never before. Listening to customers in the marketplace takes precedence. The three-day event that is BroadcastAsia represents the ideal opportunity for corporations and small producers alike to better understand the trends and complexities of Southeast Asia. But, as the show continues to shrink as global brands vanish from the show floor, are the organisers listening to their clients?
Comprising BroadcastAsia, CommunicAsia and SatelliteAsia, the collective Asia Tech X Singapore (ATxSG) was reformatted at the Expo in 2022. Welcoming a mixed crowd of regular broadcasters, distributors and developers, BroadcastAsia also represents the chance for many locals to simply network. Despite an upturn in the attendance in 2023, the overall feeling among the remaining exhibitors is that the show is steadily contracting. Perhaps the decision to charge a S$30 badge fee onto non-pre -registered visitors in 2025 deterred some from travelling to the Expo this year. Since the turn of the millenium, Singapore’s dominance as a regional hub has declined. Additionally, the relatively high costs to attend a show such as BroadcastAsia serves as a further deterrent for prospective visitors. At best, the attendance of overseas visitors in recent years has constituted 50% of the total.
Advon Tan, Stagetec Asia:
“I have attended every BroadcastAsia since 1993 and witnessed many changes over three decades. It is now evident that the show is shrinking in terms of size, exhibitors and visitor numbers. The organisers need to work very hard to regain its former glories and tempt back the bigger brands, many of whom prefer to host their own private events. Going forward, the show needs to market itself better and collaborate with the larger manufacturers. In addition to the usual engineers and managers operating in regional TV and radio stations, I have met several live event companies I was previously not familiar with, as they were attracted by the NEX:T axio audio interface we are showcasing for the first time.”
Pre-Covid, Singapore was considered the broadcasting regional hub for advertising, translations, interstitial material, editing and subtitling. Owing to limited budgets and the complexities involved in managing simultaneous linear and digital distribution networks, broadcast operators in Asia Pacific migrated hardware-based infrastructures at a slower rate compared to Europe and North America. However, a dynamic shift to streaming channels from live linear channels or playout has accelerated an irreversible decline and many channels have closed their regional headquarters in recent years.
The increasing adoption of remote cloud-native channels bypassing hardware infrastructure, engineers and support is now reflected by the decreasing show floor footprint at BroadcastAsia. On display, visitors were exposed to NDI networking, OTT platforms, audio-over-IP technology, cloud technology, live production, UHD content and film production equipment. Blackmagic Design returned for a third successive showing, but previous heavyweight exhibitors such as Panasonic and Sony remain absent. Discussions and workshop panels were evident, with AI continuing to draw healthy conversations on booths such as Ideal Systems.
Some years ago, when BroadcastAsia was hosted in two halls instead of one, visitors could browse a more comprehensive
Alex Collins, MultiDyne:
selection of audio technologies and brands. Not today. Showcasing its latest Vertex experiential technology, Ross Video now integrates an ecosystem rather than discrete hardware categories. The company’s smaller booth space simply highlighted the operational efficiency gains of managing an entire production and unified workflow within a single production layer. Visitors were invited to travel to the Canadian headquarters for a more comprehensive overview of its portfolio and solutions.
In terms of microphone technology, Deity is now the last brand standing as Audio-Technica, Sennheiser, Shure and others have seemingly lost faith in accruing a favourable ROI from the three-day event. Digital console technology was limited to the Evertz (Studer), JAA.S (Calrec) and Stagetec Asia (DHD and Stagetec) booths.
With Hollyland and LaON Technology absent, comms were restricted to AEQ’s cost-effective solutions with abundant price-performance features. Clear-Com vied for attention with FreeSpeak Cell and the IP-based Arcadia Central Station. In addition to its Bolero intercom platform, Riedel showcased cloud-based live video production, SmartPanel displays, SimplyLive technology and the latest hi human interface control system and an ARRI production camera following its acquisition of the brand in April.
The convergence of broadcast and AV technologies continues to grow, but there is little to suggest that BroadcastAsia is addressing this convergence. Fundamentally, by way of its name, BroadcastAsia does not seem prepared to become an AV show. Because the potential for doing business in video creation and production is greater than ever before, an increasing number of broadcast manufacturers are targeting the pro AV market. To survive, change is inevitable. The time has arrived for BroadcastAsia to draw in today’s generation of broadcasters – the gamers, the HOW volunteers, the podcasters and the YouTubers.
2026 Dates: 20 – 22 May
2027 Dates: 26 – 28 May
Venue: Singapore Expo
Total exhibitors: 1,000+ (unaudited)
Attendance: 20,000 (unaudited)
Contact: www.broadcast-asia.com
“In addition to meeting our existing channel partners, we have met a few new customers including systems integrators. BroadcastAsia has turned out to be an excellent platform for MultiDyne and we’ve been kept busy and acquired some good leads. Although I’ve met broadcasters from Singapore and Malaysia, I haven’t seen many from other Southeast Asian countries and there has been a low turnout of end users. The show could widen its international appeal and extend into other AV verticals including houses of worship. With the convergence of AV with broadcast and IT technology, it’s essential that the show widens the net, because most vendors are producing more AV-centric technologies.”
Travis Wigley, Ross Video:
“This year, Ross Video is sharing its 36m2 space with regional sales partner Barnfield Technologies. With our broadcast pedigree, our technologies are increasingly being specified for a wider variety of AV applications, including corporate, banking, education and sports. Having launched many new products at NAB last month, we are showcasing these technologies in full at our Singaporean headquarters, so we are providing free transportation for our guests to receive a proper demonstration. Ross’s customer base is increasingly drawn to new AV verticals but these customers don’t attend BroadcastAsia.”
Gustavo Robles, AEQ:
“As the most prestigious show in the region, AEQ has been exhibiting in the Spanish Pavilion at BroadcastAsia for the past 25 years. It remains the most effective way in which to meet most of our regional customers and dealers. We made appointments in advance of the show with our larger customers, but we are always surprised to meet some of our less-known ones. Theoretically and by its name, this show covers all of Asia, but I feel it’s mainly Malaysian, Indonesian, Vietnamese and Singaporean. Being called BroadcastAsia, we expect to meet a lot more professionals from China, Korea, Japan, India, New Zealand and Pakistan.”
Ryan Lau, Riedel:
“We have met an interesting mix of customers over the three days, including existing customers from Singaporean houses of worship and broadcasters from around the region seeking new solutions including our intercoms, RefCam and signal transportation solutions. Some customers are exploring how they can switch from their existing intercom systems to video. Although most of the visitors are local, we do meet customers from the Philippines, Thailand, Vietnam and Malaysia. This exhibition is tailored towards the broadcast market but attracts a mix of vendors, exhibitors and visitors. An increasing number of products and solutions here are clearly targeted at verticals across AV.”
Fintan Mc Kiernan, Ideal Systems:
“There are no new broadcasters or channels being launched in Singapore, but we can meet existing customers and discuss new technologies at BroadcastAsia. With an accelerated move from baseband and SDI towards IP, it’s refreshing to meet broadcasters wishing to better understand ST 2110 and NDI network operations. It would be hard to roadshow, because we have around 10–12 partners on the booth, including eight manufacturer CEOs. To be able to meet these leaders and have discussions is a benefit for the local broadcasters and engineers. Unlike IT, broadcast is very different because a visitor can talk to a personal company representative.”
“Our aim is to make video technology affordable, so we exhibit at tradeshows to engage with our customers, learn how they use our products and better understand their problems. This also provides us with the opportunity to demonstrate technologies that will help them in their working environments. Although we always take a large booth at BroadcastAsia, it is physically impossible to showcase all our technologies, so we focus on the newly launched products that were announced at NAB, including the Fairlight Live console. Our product portfolio extends way beyond broadcast, so we want to connect with users in all the relevant vertical sectors, including education and houses of worship.”
Marc Wilson, Glensound:
“Because we don’t make regular trips to Southeast Asia, it’s important to meet our customers at BroadcastAsia. Glensound has diversified its technologies over the years from traditional broadcasting to cater for verticals including esports, live events and performances in addition to more commercial audio environments, including parliamentary broadcasting. The broadcast sector is increasingly integrating more AV verticals, and this is reflected at other exhibitions, but it’s not evident at BroadcastAsia. There’s lots of uncertainty with AI, so educational seminars and discussions from qualified leaders highlighting the benefits of AI and AoIP will draw a greater audience. Generically, education is always a key pull because the exhibitors will follow and the show will expand.”
Bea
STEPPING FOOT
warned repeatedly about the sheer scale of Prolight + Sound Guangzhou (PLSG). Industry colleagues described it as vast, overwhelming and unlike any other tradeshow in the region.
After four days navigating the China Import and Export Fair Complex, it’s safe to say they weren’t exaggerating. Held from 28–31 May, the 24th edition of PLSG occupied 220,000m2 across Areas A and B of the venue, bringing together 2,227 exhibitors and attracting a mammoth 111,056 visitors. Those figures comfortably support the organisers’ claim that it is the “world’s largest entertainment, lighting and pro AV exhibition”. More significantly, the show continues to grow. Attendance increased on last year’s total of 110,363 visitors, while overseas visitor numbers rose by approximately 5%, with overseas attendees spanning over 100 countries and
Keith Wong, Boombeat Music: “I had never heard of PLSG until a friend recommended it, so I decided to come and see it for myself. As an event organiser in Hong Kong, I’m always looking for new technologies and products that could benefit future projects. The scale of the show has really impressed me – there is so much to explore across different sectors. It has definitely been worthwhile making the trip and I’ve already seen several solutions that could be useful for my business. I’ll certainly be returning in the future.”
regions. This reflects a stronger international presence, not just in terms of footfall but also with a strong lineup of global manufacturers exhibiting.
Covering professional audio, lighting, staging, conferencing, multimedia, KTV and home theatre technologies, the exhibition offered a comprehensive snapshot of both China’s manufacturing strength and the wider industry’s direction. One notable trend this year was a shift away from standalone product launches towards complete, application-driven solutions, particularly in the areas of immersive entertainment, cultural tourism, smart meetings and digital experiences.
Beyond the exhibition floor, more than 100 fringe events reinforced the show’s role as a meeting point for the industry. New additions included the inaugural Guangzhou Audio, Lighting & Film/TV Industry Job Fair and an AI-focused conference exploring immersive audiovisual technologies,
Pok Sutat Kohkiat: Fuzion Far East/Mr Team Productions: “This is my first time attending PLSG and my initial impression was simply how large it is. The scale of the exhibition reflects the size and importance of the Chinese market. It has been interesting to discover so many local manufacturers and learn more about the domestic industry, while also seeing a strong presence from international brands. Guangzhou feels like a genuine meeting point between the Chinese market and the wider global AV industry.”
highlighting the organisers’ efforts to expand the show’s relevance beyond traditional product showcases.
A standout attraction was the PLS Unicorn Series: Xtage, a large-scale audiovisual production that drew sizeable crowds throughout the event. Delivered by Rightway Audio Consultants, the showcase combined an L-Acoustics L-ISA sound system with DiGiCo mixing technology and an ambitious lighting and LED display package. Staged on a concert-scale platform, the production reflected the wider ethos of PLSG itself: bigger, louder and more technically ambitious than many of its regional counterparts.
The growing international focus was equally evident on the show floor. Buyers from more than 100 countries and regions attended, while organised delegations from markets including South Korea, Thailand and the Middle East underlined PLSG’s increasing importance as a sourcing and networking platform. At a time when some regional exhibitions are facing greater competition and tighter budgets, the ability to attract both global brands and international buyers remains one of the show’s key strengths.
For a first-time visitor, the most striking aspect wasn’t simply the size of the exhibition, but the sense of momentum behind it. Whether through expanding international participation, new technology initiatives or the continued growth of China’s live entertainment and cultural tourism sectors, PLSG feels less like a conventional tradeshow and more like a reflection of where the industry is heading next.
2026 Dates: 28 – 31 May
2027 Dates: 27 – 30 May
Venue: China Import and Export Fair Complex, Guangzhou
Total exhibitors: 2,227
Attendance: 111,056
Contact: www.prolightsound-guangzhou.com
Marc Vincent, K-array: “PLSG has been a pleasant surprise this year. There are noticeably more major brands exhibiting and the atmosphere across the show floor has been very positive. I was particularly impressed by the Xtage immersive showcase featuring L-Acoustics L-ISA technology and a highly creative combination of audio, lighting and visual elements. Our booth has also seen strong interest, with our partner Jeta doing an excellent job creating an engaging demonstration space. Events like this are valuable because they allow us to connect with new customers, meet existing partners and receive direct feedback from users.”
Teng Shaokai, Audio-Technica:
“This is an important exhibition not only for China, but for the wider Asian market. It provides a valuable opportunity to understand the rapid development of Chinese manufacturers and the technologies emerging from the region. Anyone looking to understand where the AV industry is heading should spend time here, because the innovations being showcased today could have a significant influence on the future global market.”
Kane Zhang, EZPRO:
“It’s been better than my expectations, we’ve seen a lot of familiar faces plus some old friends, one of whom I hadn’t seen for 10 years. People come here specifically to source some of the top products from Southeast Asia and it’s clear that Chinese-manufactured AV products are improving. As well as being one of the biggest distributors in China, EZPRO also manufactures its own product lines which we are displaying here and all incorporate AI.”
Toshiaki Takagi, Yamaha Japan:
“In general, there’s not that many exhibitions for our industry but for Yamaha, ProLight + Sound is a perfect platform for our pro AV customers and it really is a total solution exhibition. It’s ideal to display our complete product lineup and we are always really happy to attend every year. In general, visitors to the booth have a good level of knowledge, but they also come with their own fresh ideas. So, we have the opportunity to have open discussions and that’s a great reason to exhibit here.”
Holger Kartes, HK Audio:
“China has been an evolving market for many years, both in terms of manufacturing quality and commercial opportunities.
For HK Audio, PLSG is an important platform for strengthening our presence in Asia and connecting with partners across the region. We’ve received a very positive response at our booth and one thing that surprised me was how international the show felt. There were far more overseas visitors and exhibitors than I expected, which highlights the event’s growing global relevance.”
Adriane Replogle, FaitalPRO:
“It’s my first time here – it’s significantly larger than I even imagined and I still haven’t had a chance to see everything. By being here, I’m getting a better grasp of how things work in China; there’s a lot of distributors and many of the booths are collaborations between distributors and brands. I’ve managed to see a lot of clients and had the opportunity to see some production factories so all very worthwhile. It’s also very loud!”
Jason Baird, Logic System:
“The show has been really good and quite busy. We’ve had a lot of people come through our demo room, where they can hear our newly launched Sectre large-format , constant curvature system. There’s a lot of energy in there. We’ve got a DJ playing on a regular basis and a singer as well to give people the opportunity to hear our systems in both formats with music that is popular in this region. So far, we’ve had nothing but positive comments.”
Gary Zhou, Hikvision: “This is Hikvision’s first time exhibiting at Prolight + Sound Guangzhou. We’ve attended other shows, including InfoComm China in Beijing, but we felt PLSG offered stronger visitor traffic and a broader reach across Asia. Throughout the show we’ve met customers from markets including the Philippines, Malaysia and Singapore. What has also stood out is the number of international manufacturers exhibiting here. When I visited a couple of years ago, many booths were distributor-led, whereas today there is a much stronger presence from global brands. That reflects the growing influence and international appeal of the show.”
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hugely popular Mumbai tradeshow attracts a growing number of visitors each year, and day one, which fell during Eid, set the pace for the 2026 edition
THE LAST DAY OF PALM EXPO INDIA – WHICH ALWAYS falls on a Saturday – has traditionally been the busiest of the show as last-minute visitors descend on the Bombay Exhibition Centre on their day off. However, the trend was reversed this year as crowds packed the Bombay Exhibition Centre from the minute the show opened.
Unfortunately, it’s impossible to compare unique visitor numbers with previous PALM shows as organiser Informa, which took over the show two years ago, now only releases attendance figures that include repeat visits and exhibitor staff, inflating the figures and making year-on -year comparisons impossible. Suffice to say, though, this was once again a record-breaking show when it came to attendance.
International pro audio brands and distributors enjoyed the updated facilities of the new Hall 6 for the second year running. Another pro audio contingent of primarily Chinese and locally manufactured brands and speaker components was in Hall 2, with lighting in Hall 4. The PALM Conference and Seminar was held at the back of Hall 3, the pro AV hall, which also hosted the AV-ICN Expo part of the show, while speakers from across the pro AV industry drew the crowds throughout the three days.
Outside, the Demo Qubes for exhibitors hosting demos off the show floor seemed to simply be demonstrating noise levels that could be heard from a distance away. However, EAW and distributor Pink Noise had hit upon a novel idea for showcasing their systems in an outdoor setting, mounting hangs of NTX210L line array boxes and SBX218 subwoofers at the show entrance with music that drew in the approaching crowds. The long-established Harman Arena performance venue was in full swing throughout the show, while Indian
Vijay Kamble, Premier Pro Group:
“It’s been very busy, the crowd has been amazing. This year, customers are not only asking for prices, they are asking about complete solutions and are understanding the technology a lot more. It’s a sign that the market is maturing and evolving in a very positive way, with India currently the fastest-growing AV territory in APAC.”
manufacturer N-Labs staged immersive showcases and live performances. An emerging trend at PALM is the appearance of Make in India products in Hall 6 alongside international brands. Companies including Circle, VAL and Erthpot are increasingly presenting products that are either designed, manufactured, assembled or a combination of all three on the subcontinent in response to PM Narendra Modi’s Make in India campaign. And with the country affected by the Strait of Hormuz blockade, the pressure is on to become more self-reliant when it comes to the technology demanded by APAC’s fastest-growing professional AV market.
Rudy Velders, beamZ:
“It’s my first time at an Indian tradeshow and it’s interesting to see that there are two really distinct types of visitors: those who come here looking at a product and asking what it is and what it can do, and those who come with very serious questions and really know what they want. The latter group have a good grasp on the technical side of things, but there are still a lot of people that don’t have that technical knowledge yet.”
www.palmexpo.in
Andy Farrow, Celestion:
“It’s been a very successful show for us with our new distributor, Wave Dynamics, who’ve put a very professional stand together. We’ve been seeing the right sort of customers, both established and new. The first day of the show was crazily busy and we’ve got many leads to follow up on. Obviously, you don’t know until afterwards how serious they are, but they feel like good leads. People are very interested to hear that the brand’s going to be fully available in India again.”
Sachit Subramanian, Circle Pro Audio:
“We’ve been coming to PALM Expo for 14 years and, although it’s always been good, the amount of visitors to our booth has gone up by around 20–30%. There’s been a lot of interest in the fact that Indian-manufactured cables have reached this level of quality; for so many years, foreign-manufactured and imported products have dominated the pro audio market in India. There’s nothing wrong with that because the R&D in the West was so much more advanced, but now India is doing a lot of its own R&D, and you can see the results in the product quality.”
Gianluca Turra, FaitalPRO:
“It’s my first time at PALM India and the first time with our new distributor Vardhaman, and I can really feel the excitement and buzz of the market here. We’ve been seeing an incredible amount of people who really know what they’re talking about. Our new distributor is very experienced and I’m seeing an opening for them to conduct training for their clients. There’s a real thirst for education and training that’s embedded in the culture here, and that knowledge gets carried over into the market. It’s an exciting time for us here.”
Vikram Yadav, Erthpot:
“We are showing our own range of microphones, processing and conference systems; there’s a good change happening in India. Previously, people would be looking for imported brands, but, as the economy grows, Indian buying behaviour is changing. Visitors are coming to see our range and asking technical questions, wanting to understand the DSP, how the software works and what kind of applications they can target with our devices. They’re talking about designing systems rather than products in isolation. The customers in India are getting much smarter and giving value to the right products.”
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numbers as InfoComm 2026 brings together the future of work, experience and AI
AS THE THERMOMETER HIT THE 42° MARK, INFOCOMM 2026 returned to the Las Vegas Convention Center (LVCC) in mid-June, bringing together the global professional AV industry for a week of innovation, education, networking and business development.
This year, the event welcomed 28,132 verified attendees from 94 countries, with international visitors accounting for 20% of that figure, and while all those numbers were lower than the last Vegas show in 2024, organisers were unsurprisingly keen to promote that end user attendance had hit a record 37%.
With the renovation works around the North Hall area finally finished, the show certainly felt easier to navigate. Spanning almost 37,000m2 of exhibition space, 807 exhibitors (slightly down on the 833 in 2024) showcased the latest developments in audiovisual technology, collaboration, broadcast, digital signage, workplace solutions, immersive experiences and AI-powered systems.
Across the LVCC’s North and Central Halls, it was no surprise that artificial intelligence emerged as the defining theme of this year’s event, influencing everything from keynote presentations and education sessions to exhibitor product launches, demonstrations and interactive experiences. Attendees explored how AI is transforming workplace collaboration, content creation, customer engagement, enterprise communications and operational efficiency.
Laura Gaffurini, Outline: “It’s been great to be here as Outline hasn’t exhibited at an InfoComm for 11 years and we’ve had a great reaction on the booth. It’s a more relaxed show than ISE and we’ve had lots of visitors on the booth including some from Canada and South America, but we’ve decided it’s now important to be present at events like InfoComm and allow people to hear our products. We’ve been around for 53 years and, while people recognise the products, they don’t necessarily link it to the brand, so we’ve been working hard on strengthening that.”
Four major show floor activations highlighted these trends. Smart Workplace demonstrated how AI-enabled collaboration tools, workplace analytics and integrated communications are creating more intelligent working environments. The Pitch explored the convergence of sports, broadcast, live events and fan engagement technologies. Retail Experience demonstrated how AI, digital signage and connected systems are reshaping customer journeys and in-store engagement. Meanwhile, AVIXA TV transformed part of the exhibition into a live broadcast studio, offering attendees a behind-the -scenes look at modern production workflows and content creation.
The event’s keynote programme focused heavily on the future of AI-powered collaboration. Microsoft’s Ilya Bukshteyn outlined the company’s vision for AI-enhanced communication, highlighting new capabilities for Microsoft Teams, intelligent meeting experiences and tools designed to improve productivity and hybrid working. Cisco’s Espen Løberg presented the concept of “Connected Intelligence”, demonstrating how AI-driven collaboration technologies can create more immersive and equitable experiences across platforms including Microsoft Teams, Google Meet and Zoom.
Education continues to be a major focus, with more than 300 sessions covering AI, workplace technology, broadcast AV, digital signage, enterprise IT and integrated experiences. New features included the AI Accelerator, Vision Stage and Spotlight Stage,
Nick Longford, Keenfinity: “Without a doubt, this was the best demo we’ve done in terms of sound, coherence and messaging. We’ve done a great response and a lot of people have really enjoyed it. Our message here is ‘hearing is believing’ and we’ve achieved that. Customers could listen to our EVID commercial loudspeakers, the LRC family and the EVF G2 and EVH G2 arrayable point source systems. We wanted to bring the best experience and I think we’ve done that this year. We’ve got a lot more to come, particularly as we look ahead to Electro-Voice’s 100-year anniversary next year.”
alongside specialist tours showcasing real-world AV applications both on the show floor and throughout Las Vegas.
Looking ahead, InfoComm 2026 also served as the launch platform for Reside, a new event focused on residential integration that will debut alongside Lightapalooza at next year’s InfoComm in Orlando. The initiative reflects the growing convergence between residential and commercial AV markets.
And while it was not unexpected that the final attendance figures were lower than in previous years, all the exhibitors we spoke to attested to the high quality of those visitors. InfoComm clearly remains a key platform for the AV community but there is nevertheless a feeling that it has become a much more localised exhibition than in the past. Whether that will change in future is the million-dollar question facing AVIXA.”
2026 Dates: 17 – 19 June
2027 Dates: 16 – 18 June
Venue: Las Vegas Convention Center
Total exhibitors: 807
Attendance: 28,132
Contact: www.infocommshow.org
Mark Wadsworth, VIOSO: “Happy to discover that the halls are now connected and we’ve met quite a lot of new customers that we haven’t seen before. It’s also been a steady flow which is encouraging and I think although the market has been down for a little while, I feel it’s now picking up. We’ve seen some very positive signs, visitors who have come by and said that VIOSO was on their list to talk to and we’ve actually had some people who’ve come on the booth to discuss a specific project and they were customers that we didn’t know about before, so that’s really positive.”
Kevin Shove, Lavoce:
“InfoComm has always been an exhibition that is more relaxed than others we attend, you have more time to talk to people and that is always a good thing. It’s a valuable show – the US market is important for us and a chance to meet our US partners. This show is more commercial versus traditional pro audio, and we get a lot of interest in the smaller products that go into smaller, compact applications. But it’s certainly not been as busy this year, it’s more local and we haven’t had that many international visitors.”
Andreas Hilmer, Lawo:
“It’s definitely been less international this year; however, the quality of the visitors we’ve met has been very good and we’ve seen a lot of people from churches, universities and stadiums. It’s still important to be here in some shape or form – the US is basically the largest market in the world, so even if it became a lot more national or regional, depending on perspective, it’s definitely worth being here. We’ve got some really great customers and projects out there.”
CP Lin, Mipro:
“Of course, the US has always been one of our most important markets –you have to be here and you can always see and introduce something new. It’s an ideal time to meet different people, but it’s also a good opportunity to see what’s coming to market. Mipro is here not only to see and gauge the market, but also to see what we can do to support our distributors in the US and globally. We hope our presence in different parts of the country or the world will make us more visible and at the same time help our distributors.”
Matt Morgan, Ross Video: “I like how InfoComm has separated the work and play environment. I believe we’re on the play side – basically anything that’s interactive technology or that is outside of standard conference rooms or similar. For us, being in a place where we’re able to showcase how Vertex, our experiential technology, can fit into an experience centre in a lobby area and then across the aisle run a full-blown TV studio from the show floor is definitely more on the ‘play’ side. Budgets are scrutinised more and the money has to go further. So, a lot of vendors are showing how you can make some really good investments for a longer shelf life.”
Joanna Lovell, Marshall:
“It’s been busy for us, I’ve seen a lot of customers and probably more end users than at previous shows. Higher-education end users tend to come to look at our cameras as the show is an opportunity for them to physically see our products. Marshall has a very niche market because we sell these tiny point-to-view cameras. We are still one of only two manufacturers that make them and people are understanding their usefulness.”
Kim Brown, Matrox: “It’s been a good show but I did find that traffic was a bit light. It’s now become localised in my opinion – we saw fewer Latin America and European visitors but the conversations were still of a really good quality. We’ve been talking about the convergence between AV and broadcast for a while, but now we’re really feeling it. If you look at corporate AV, that’s a new terminology within the last couple of years. We have these big enterprises and education communities with a need for broadcast-quality equipment, whether they are broadcasting internally or externally. That’s really where we’re starting to see the convergence and we’re very happy with that trend.”
Bart Swinnen, Luminex:
“Overall it’s a good show because you get quality visitors who are interested in your products but there are definitely fewer people here, and that’s the trade-off. We used the show to present our GigaCore O26I in addition to the new GigaCore S30I and, with these solutions, it means we can continue to focus on what matters most to AV professionals: reliability, simplicity and performance. What was good is that we saw all our major customers but unfortunately not that many new ones.”
Giacomo Previ, DirectOut: “It was a little bit slow in the beginning, yet by the end I’d say the quality of the attendees was very high. What we were really surprised about was that visitors were coming to our booth specifically to see the new products based on a message we posted online a month ago. We introduced ACE here, with the aim of presenting it as an extension of the technology and innovation that DirectOut gives to the market. We want to expand the number of people that can take advantage of what we have created already with Prodigy and Maven so it was a perfect opportunity.”
customers generally tend not to travel to other shows, they’ll only come to domestic ones. I’ve been to busier shows, but the people that are here are of a decent quality and we have time to have longer conversations with them and that’s what matters. We’ve seen people from Peru, Mexico, China and even Eastern Europe, but it’s mostly a domestic show.”
Mark Graham, CEO of AV processing, control and monitoring solutions specialist Symetrix, takes a look at what true scalability looks like in the contemporary pro AV environment
FOR TOO LONG, “SCALABLE” HAS BEEN
word in pro AV, tied to product lineups where growth just means upgrading to a larger model. But, as AV systems become more software-driven, networked and tightly integrated with IT infrastructure, that definition is no longer sufficient. In the systems designed to meet today’s customer expectations across hybrid corporate campuses, multi-room education buildings, transportation hubs and any venue where the AV system exists to enhance the user experience, scalability is no longer about the size of the box in the rack. It is about whether the AV platform architecture the solution is built on can grow, remain resilient under adverse conditions and evolve without a forklift.
The old model treated scalability as a procurement question. If a system needed to support more rooms, more inputs and more channels, the answer was to specify a larger processor. That logic worked well enough when AV systems were isolated, one-off spaces. But that model breaks down in real-world environments where systems are constantly changing due to new rooms coming online, technologies evolving and customer expectations shifting over time.
Buying ahead of demand ties up budget in hardware the customer may never use. Buying behind demand often forces redesigns, replacement and disruption later. Neither is a good outcome for the customer or the integrator.
This is where much of the confusion around scalability still exists. Many systems can scale in capacity, but far fewer can scale incrementally. True scalability is incremental and bidirectional. It assumes a system will grow in ways no one
fully anticipated at design time: additional zones, new control surfaces, integrations with platforms that didn’t exist when the project was spec’ed and so on. It also means that the change can happen in either direction, growing to accommodate additional needs (temporary or permanent) or contracting when spaces no longer serve the greater goal.
The key distinction is that scalability must be designed into the AV platform architecture from the beginning. A scalable system should not force a redesign every time the needs of the customer changes. Expansion should happen incrementally, without downtime, substantial network or system rework or replacing hardware that is already doing its job. The system should grow by adding intelligent nodes into the network, not by tearing out infrastructure and starting over.
Across recent enterprise deployments, the systems that hold up best are the ones designed for change from day one. They are not built around a fixed end state but around the expectation that requirements will shift: new spaces coming online, new technologies emerging and new demands being placed on the system over time. That expectation is what ultimately separates systems that scale gracefully from those that require constant rework. This kind of flexibility does not come from buying larger centralised processors; it comes from designing systems that are distributed from the start. It’s a fundamentally different approach to AV platform design.
Distributed architecture as the mechanism
Elasticity in AV comes from the same place it came from in computing: distributed processing. When intelligence lives at the edge, in modular nodes that act as peers rather than as children of a central processor, capacity becomes a function of how many nodes are online, not how big the central unit is.
IT learned this lesson years ago. Systems scale more reliably when intelligence is distributed instead of being concentrated into a few centralised devices. AV is now experiencing that same transition, prioritising flexibility over fixed capacity. Edge processing reduces single points of failure, lowers latency for control surfaces near user-system interactions and allows one part of a deployment to be upgraded without disrupting the rest. The practical impact is that designers can build what the customer needs today without locking them into a final-state system years before those requirements are fully understood. This phased approach lets customers address their existing needs today, then grow without forcing everyone back to the drawing board later.
Specification is a risk management exercise. A consultant putting their name on a six-figure equipment list is staking
their reputation on the spec ageing well. Distributed, software-defined architectures reduce that risk in two specific ways.
Firstly, they decouple capability from a single product generation. When intelligence lives in software, refresh cycles can extend hardware lifespan and introduce new features without a re-spec or a capital project. Secondly, they preserve interoperability. Open APIs and IP-native designs allow the system to adopt new control surfaces, new analytics tools and new third-party devices without standing up parallel infrastructure.
In this sense, scalability is no longer just about growth; it’s about protecting the system from premature obsolescence. For the IT decision-makers who increasingly own these budgets, this is the language they already speak: distributed, software-defined, API-first. Pro AV is finally catching up to where the rest of the enterprise stack arrived at a decade ago.
Ultimately, this is about protecting the customer from unnecessary disruption, cost and redesign over the life of the system. A facilities director who spec’ed a system in 2020 should not be told in 2026 that costly control and AV processors have to be ripped out and replaced with even more costly components and associated network expansion to support a new use case. A school district that built a campus AV plan around 50 rooms should be able to add the 51st without a procurement cycle. A courtroom that must add new ADA-compliant system capabilities should be able to upgrade capabilities without a major redesign.
Increasingly, end users expect systems to behave like software platforms, evolving – and improving – over time, rather than being replaced in cycles. That is what scalability means when it is delivered in earnest. The system the designer commissioned in year one is the same system in year five and year 10, only bigger, smarter and adapted for modern challenges.
The integration industry has spent recent years debating whether AV is becoming an IT discipline. The answer was always yes. The more useful question is how integrators and consultants apply the lessons IT learned about scale: that elasticity is a property of architecture, not of product selection. For designers evaluating their next platform, the test is not how many channels the flagship product supports. It is whether
the underlying AV platform architecture lets a project of any size start at the scale it needs to, then grow incrementally, and never need to be redesigned to keep pace with the customer’s ambition. In other words, the real measure of scalability is not how large a single processor is in the system, but how easily and elegantly the system can evolve over time.
www.symetrix.co
As Wisycom enters a new phase under Audiotonix ownership, the Italian wireless specialist is attempting to scale internationally without sacrificing the engineering speed and RF expertise that established its reputation across broadcast and live production
KNOWN THROUGHOUT THE BROADCAST AUDIO
industry as a reliable and respected heavyweight, Wisycom has undergone nearly as many changes in post-pandemic years as it had in perhaps its entire 27-year history. New ownership, a new management team and most intriguingly, new ambitions –providing the perfect excuse for a trip to the manufacturer’s headquarters in the Italian town of Tombolo to find out more. It doesn’t take long after stepping through the doors to see that this is still a company heavily centred around what has made it so successful – product development and 100% Italian engineering. Upstairs sits the R&D department, which CEO Davide Morsiani describes as “the heart of the company”, with the production floor combining assembly, RF testing, machining and manufacturing engineering within the same facility. While the production line is already geared up for ambitious expansion, it’s a relatively compact complex given Wisycom’s RF pedigree – its equipment organically making its way to all corners of the globe in search of challenging RF environments.
“Whenever the guys in R&D are happy, we are happy,” says Morsiani with a smile while walking through the building. “When they are worried, we also get worried.”
The close relationship between departments has always been an important part of the company’s culture. Development, manufacturing and operations sit within easy reach of one another, something Morsiani believes helps maintain communication between teams, as well as giving staff a stronger sense of ownership and adding valuable speed to the production process.
According to COO Andrea Bulfon, the decision to retain so much manufacturing control internally is not simply a matter of quality assurance, it is fundamental to the company identity. “A part of
the DNA of Wisycom is speed,” he says as we walk through the production floor.
This emphasis on speed appears throughout the facility. Alongside RF test benches and assembly stations sits an in-house machining department capable of producing aluminium components for new products long before mould tooling has been realised, allowing them to reach market earlier while the final production processes are still being prepared.
“This saves six months in the cycle of a new product development,” explains Bulfon. “We also keep a large amount of testing and finishing in-house, which enables us to remain very flexible during development and production.”
Despite this, over the past 18 months the company has introduced significant changes to its manufacturing approach as it enters a new phase of international growth, moving away from more traditional lot-based production towards a one-piece flow system designed to further improve efficiency and shorten delivery times, for products sold at high frequencies. “Every six or seven minutes, you have a finished product in the box,” says Bulfon.
These changes have helped reduce lead times by approximately 50%, something increasingly important as customers consistently demand ever faster delivery and more flexible production schedules.
Longevity is another core philosophy the team are keen to promote. Part of the production operation remains dedicated to servicing older products still active in the field, something both Morsiani and Bulfon view as an important reflection of Wisycom’s long-term approach to design. “When we see, for example, an MTP40 out in the field, for us it’s just the trademark of the reliability of Wisycom,” says Morsiani.
Bulfon agrees, adding that older products can also still provide useful feedback for future development. “It is a baseline for developing new products which are still solid, robust and reliable,” he says.
Rather than separating disciplines into isolated departments, Wisycom’s mechanical and electronics engineers work closely together throughout the design process. “We have people that are designing, realising the product, fixing the product, then redesigning,” says Morsiani. “Normally in a couple of iterations, you basically get to the finished result.”
While speed, engineering prowess and longevity are traits that have emerged organically within Wisycom over its history, the change of ownership is also beginning to drive some new changes. Following the planned departure of longtime founders Massimo Polo and Enzo Frigo, Wisycom has spent recent years introducing a more structured management organisation intended to better support future growth. Morsiani initially joined the company when it was acquired by venture-capitalist Palladio Group before becoming CEO in 2025. “The goal was really to progressively structure the company to be able to better grow in the future and to become more scalable,” he says.
Despite these organisational changes, Morsiani insists the company’s identity remains firmly tied to engineering and product development. “The DNA of Wisycom is really that of a super technical company,” he says. “The product is the central soul of our company.”
The next chapter in the company’s development will come through increasing integration into the wider group. One of the major attractions of joining Audiotonix for the CEO is the group’s approach
For Buhe, such organisational changes do not significantly alter Wisycom’s technical priorities. “The requirements of our customers are reliability, reliability, reliability,” he says. “Our systems have traditionally been associated with demanding RF environments across broadcast, touring and live events, and RF robustness, frequency agility and frequency efficiency remain central to the development philosophy as available spectrum becomes increasingly congested globally.”
Buhe points to developments such as Wisycom’s 100kHz transmission modes, equidistant RF channel assignment and the recently introduced 3 -channel IFB mode as examples of where the team is consistently innovating, attempting to increase channel density within increasingly limited spectrum.
Another area he believes Wisycom differentiates itself is RF-over-fibre, which Buhe describes as increasingly important for large-scale productions and outside broadcast applications where reliability and long-distance RF transport are critical. At the same time, he acknowledges that customer workflows are changing as systems are increasingly deployed by smaller teams operating under tighter schedules and without dedicated RF specialists. As a result, the company is placing greater emphasis on supporting customers’ workflows to simplify deployment while maintaining RF performance.
As a company whose success has been built off the back of a small pool of highly experienced engineers, Wisycom has historically relied heavily on technically specialised distributors and partners rather than large-scale volume distribution networks. It’s a strategy that has served it well and something that CSO Stangherlin says is particularly important for a company operating
to preserving the identity of the companies within its portfolio. “Being able to build on what we are today is really key for us,” he says. At the same time, the new leadership team – which in addition to Morsiani and Bulfon also includes chief sales officer Marika Stangherlin, chief technology officer Gerrit Buhe, group product director René Moerch and chief marketing director Anne Berggein – is quickly seeing the advantages of being part of a larger organisation, particularly in areas such as sourcing, strategic planning and international reach.
in such technically demanding RF environments. But the new ownership also brings new possibilities and a much wider world via the group’s existing brand distribution networks. Stangherlin has identified the Middle East, India and parts of APAC as important growth regions moving forwards, particularly across live events, outside broadcasting, corporate AV and RF-over-fibre applications.
“We’re looking into new regions such as the Middle East and Latin America. Now that we are part of the Audiotonix Group, we’re seeing lots of possibilities for expanding our presence in these areas where, until now, we have been exploring more cautiously. These are increasingly important territories for us and we are definitely looking to have a reliable partner that can support our growth and enter into these markets. There are great opportunities, especially in the live market and broadcast as well as corporate, for example.”
She also highlights houses of worship as a potentially important future vertical as larger campuses and distributed productions create growing demand for long-distance RF transport and more complex wireless infrastructures: “At the end of the day, people feel relaxed in using Wisycom because they know that we provide reliable solutions and they can play in every situation.”
As Wisycom enters this next phase under Audiotonix ownership, the challenge for the company is scaling internationally while maintaining the engineering-led culture that shaped the business under its founders and established its reputation in the first place. Walking through the facility in Tombolo, where machining, testing, assembly and development still operate side by side, it is clear the company sees that structure not as a limitation to future growth, but as one of its greatest strengths.
www.wisycom.com
Richard Lawn meets Perth rental company Front Runner, which is pioneering Adamson loudspeaker technology in its local market
DIFFERENTIATING YOURSELF AS A FLEDGLING production rental company can take many guises. Creative marketing, external investment, a crack team of technicians, identifiable customers, good timing – the list is endless. Founded in 2021, Front Runner AV and Productions in Perth confronted an early fork in the road – to follow the status quo by acquiring a loudspeaker system widely used by the mainstream production companies or selecting an alternative brand.
“To avoid competing directly on price, we chose the latter,” states Front Runner founder and managing director, Thomas Hamilton-Stone. “Not all touring artists or local acts want to use one brand, so there’s a value in offering an alternative. Naturally, I was initially concerned by the lack of local cross-hire availability, but Perth is a big enough city to support multiple system types.”
To minimise overseas shipments to Perth, touring engineers typically assess what equipment is available on the local market prior to a performance. In recent years, one loudspeaker brand has dominated the main tier-one and mid-scale venues, becoming a reference point. Although some speaker systems are specified out of habit rather than experience, Hamilton-Stone notes that an increasing number of engineers are willing to try new technology.
“When we first started deploying Adamson speakers, few customers were familiar with the Canadian brand and fewer still had listened to them in Western Australia,” continues Hamilton-Stone. “Today, the Adamson name is starting to sell itself, with repeat clients making requests and touring crews requesting it as an alternative to the more established options. The rider landscape is evolving, and Adamson has become an
increasingly acceptable option.” Local support for the brand is on hand from distributor Audio Logistics and its Adamson specialist, Neil Colliss.
Providing scalability and modularity, Front Runner’s Adamson inventory comprises 16 CS10 2-way cabinets, 10 CS119 subwoofers and six CS10p point source speakers. “One of the key strengths of Adamson that we’ve observed is headroom,” he says. “Even in demanding environments, the speakers maintain clarity without having to push the SPLs excessively. During outdoor events we’ve experienced excellent stage noise rejection and subwoofer control, particularly when using cardioid configurations. Engineers who mix on the system come away impressed.”
Currently in year three of a five-year plan, Front Runner is aiming to increase its share in touring music and theatre productions. “Our main goal is to grow our audiences up to 2,500–3,000 capacities while maintaining quality and service. Beyond that, our growth will depend on expanding the PA inventory in addition to mixing consoles, RF systems, cabling and transport infrastructure.” Today, Front Runner employs five full-time members of staff, with the ability to call upon a team of some 30 freelancers when required. Commissioned to manage a wide range of shows including solo or multiple acts, the team has become intimate with each venue in and around the city. In terms of inventory, Front Runner has invested extensively in RF and the latest digital consoles.
Having positioned Front Runner as a premium provider, Hamilton-Stone is wary of the pricing structure. “Instead of discounting our flagship systems, we offer alternative products. For corporate work we’ve adopted the QSC K-series, which remains a reliable staple, but an increasing number of corporate clients are now opting for Adamson, having experienced it in a live environment. By investing in added-value services for our clients, including 3D CAD modelling, we can set expectations and improve on conversion rates for quotes.”
The five-year-old business continues to invest heavily in training, encouraging its team members and freelancers, to enrol onto and complete Adamson training programmes: “As the move away from traditional analogue workflows intensifies, ongoing training remains a priority, particularly around software and AVB networking. It’s such a positive experience to witness technicians returning with increased confidence in their loudspeaker management abilities. By simply adding power and a network connection, you can deploy relatively complex systems.”
While Front Runner is offering a high-quality service to clients, Hamilton-Stone is aware that the company needs to support the team’s wellbeing. “The production industry can be demanding, with long hours and challenging conditions, so we are aiming to create support for a work–life balance and sustainable practices,” he says. “We believe that delivering a premium product starts with supporting the team behind it, including training, resources and creating a positive working culture.”
With consistent annual business growth of 30–40%, the company’s development has clearly been accelerated by the decision to invest in Adamson. “We deliver a high-quality service across a wide range of productions for artists, bands and promoters, from small, intimate gigs to larger touring performances,” explains Hamilton-Stone. “The growth we’ve experienced to date has been encouraging, and it is increasing by word-of-mouth referrals. In this industry, reputation is everything. By delivering best-in-class sound together with professional service, people are talking.”
www.adamson.ai
www.frontrunnerav.com.au
The DXR/DXS mk3 and CXR/CXS mk3 models have been designed to improve the acoustic performance, functionality and power of the ranges
THE DXR mk3 powered loudspeakers and DXS mk3 powered subwoofers –along with their CXR/CXS mk3 unpowered counterparts – have been designed for live music, DJ sets, speeches and corporate events. The DXR mk3 range is available in three models: the DXR15, DXR12 and DXR10. Respectively featuring high-durability 15-, 12- and 10-inch low-frequency drivers with 1.75-inch high-frequency units, all models are housed in a lightweight, injection-moulded enclosure. As well as weight reduction, this attenuates cabinet resonance, with optimised port positions to reduce standing wave effects.
The DXS mk3 subwoofers share the same 96kHz DSP, power supply and rear LCD panel design, with a 2,500W Class-D amplifier and long-excursion 18-, 15- or 12-inch bass cones, plus 4-inch (DXS18 mk3) or 3-inch voice coil. The DXS18, DXS15 and DXS12 are housed in durable, acoustically optimised plywood cabinets with a scratch-resistant polyurea coating. All feature switchable D-XSUB processing for extended low-frequency reproduction down to 32–38Hz.
The CXR mk3 and CXS mk3 series are unpowered versions of the DXR/DXS range,
primarily intended for installation, fixed system and corporate event applications, such as situations where nearby power sources may be limited.
The SWX3220-30TCs and SWX2322P-30MC switches comes with support for 100/25 Gigabit and Multi-Gigabit Ethernet. The SWX3220-30TCs 100G/25G standard L3 switch ensures stable, low-latency transmission of audio and video signals. Fibre connections provide noise resistance and long-distance coverage.
An IEEE 1588 PTPv2 Boundary Clock (BC) enables the construction of highly accurate media synchronisation environments. The SWX2322P-30MC 100G/25G intelligent L2 PoE switch can be used to distribute between FOH and stage-side locations, allowing flexible signal routing and high-density encoder/decoder connections with PoE++. In corporate facilities, it supports AV systems spanning multiple floors or departments.
The manufacturer has also expanded ProVisionaire Cloud, its cloud-based licence management service. The platform now includes the Room Planner feature from ProVisionaire Plan, an Automatic Voice Lift Designing feature that recommends device
selection and optimises audio settings based on room size and layout, and an AI-powered image recognition feature that accelerates early-stage designs by generating room layouts from images to improve speed and accuracy. ADECIA firmware v3.0 includes auto design and setup for Voice Lift with ProVisionaire Cloud and ProVisionaire Plan updates, the ability for up to 64 RM-W wireless microphones to be automatically mixed and managed by a single RM-CR processor, an AI-powered Denoiser for clearer, more focused audio and expanded admin tools of Wireless microphones.
Finally, RIVAGE PM v7.0 firmware allows engineers to control the immersive panning of Sound xR Image direct from the screen of a RIVAGE PM digital mixing system. The update also creates a seamless connection to the Yamaha DME7 or NEXO DME10 signal processor which is used by Sound xR Image. It also supports ADM-OSC, an industry initiative designed to standardise the real-time exchange of object-based audio positioning metadata in live production and broadcast environments.
www.yamaha.com/2/proaudio
1 SOUND has added the Panorama 75 and Panorama 85 to its Panorama Series, extending the range of single-enclosure loudspeaker systems for commercial and residential applications. Built around the company’s Mono+Stereo+Sub technology, the self-powered loudspeakers are designed to create a spatial stereo image and extended low-frequency performance from a single enclosure measuring 4 inches deep.
The larger Panorama 75 and 85 increase bass extension and overall enclosure length, with each version sized to align with corresponding display formats. The Panorama 65 extends its output down to 40Hz, while the Panorama 85 reaches
30Hz without requiring an additional subwoofer. Applications include conference rooms, classrooms, museums, front-fill reinforcement and residential environments. Each model includes integrated amplification and onboard DSP, with input options including analogue L-R, HDMI eARC and network connectivity supporting AES67 and Milan/AVB. The loudspeakers ship with a flush-mount bracket for wall installation, while optional tilt brackets and stand accessories are also available. Active and remote-powered versions are offered alongside custom colour and finish options.
www.1-sound.com
THE LUNAR series from HK Audio comprises three versatile, high-performance loudspeakers with 10-, 12- and 15-inch woofers. These can be flexibly deployed as full-range systems, monitors or as mid/high units in combination with subwoofers from the PORTABLE SUB series. Predefined presets provide direct access to optimally tuned sound settings for various applications such as music, monitor or voice. A 32-bit DSP with FIR filter and phase correction reportedly result in precise, dynamic reproduction with high impact, even at high volumes. Flexible connectivity options, including Bluetooth True Wireless Stereo, also allow for easy integration of a wide variety of signal sources.
SUB 118
touch of a button. A general preset also allows the subwoofers to be easily combined with loudspeakers from other manufacturers. With 1,400W of peak power and a maximum sound
The LUNAR and PORTABLE SUB families
The PORTABLE SUB series consists of two subwoofers with 15- and 18-inch drivers. These are not only tailor-made for LUNAR but also work alongside the HK Audio POLAR MK2 and SONAR systems. Specially developed presets for the respective HK Audio series provide precisely tuned, phase-stable interaction at the
THE L1 – and its companion cardioid subwoofer, the CS1 – have been added to L-Acoustics’ L Series. Built on the manufacturer’s patented Progressive Ultra-Dense Line Source (PULS) technology, the L1 reportedly achieves a categorically higher concentration of transducers in an efficient form factor. Each enclosure integrates two 18-inch low-cardioid (LC) transducers side-mounted for frontal energy and rear rejection, four front-facing 15-inch low-frequency drivers, eight 8-inch midfrequency drivers and six coaxial 4-inch + 2.5-inch HF compression drivers. This HF coaxial configuration, new to the L Series, increases SPL and long-throw capabilities. The result is a maximum SPL of 160dB per enclosure, across a full bandwidth of 35Hz–20kHz. The companion wide vertical coverage L1D element matches this transducer architecture with a progressive 60° vertical coverage pattern for nearfield zones, achieving 155dB SPL.
The CS1 features four 21-inch transducers in a cardioid topology, delivers peak SPL up to 150dB and extends bandwidth down to 25Hz. A new-generation Autofilter algorithm works within L-Acoustics Soundvision software to shape the
low-frequency beam of an L1 array to reportedly match – or even surpass – the low-frequency control of a much longer conventional professional sound system of equivalent power, down to 20Hz, with no added latency. The result is said to be greater tonal balance stability across the venue and noticeably less low-frequency spread from front to back.
Horizontal directivity is managed by two Panflex modules per enclosure, offering 70° and 90° symmetrical patterns plus an 80° asymmetrical mode. The L1D extends options to 110° or 70° symmetrical and 90° asymmetrical for nearfield coverage. Vertical control is built into the pre-shaped progressive
pressure level of 131dB, the models are said to deliver a well-defined bass. The integrated DSP technology provides precise impulse response and reliable performance, even at high volumes.
www.hkaudio.com
www.labgruppen.com
coupling for long-throw formats and 5° for complex audience profiles.
Meanwhile, the manufacturer has also released Source Intelligence, a proprietary voice-separation technology that delivers clearer, more intelligible vocals for live performances. Running as an exclusive licensed application on the L-ISA Processor II and fully integrated in the L-Acoustics system workflow, Source Intelligence gives front-of-house engineers mixing on an L-Acoustics PA a tool to clean up vocals from noisy stages and allow performers to move freely across any stage configuration, including in front of the PA, without risking feedback or sacrificing vocal clarity.
Source Intelligence uses machine learning to continuously identify the voice in a microphone signal and remove everything else. PA bleed, crowd noise, stage instruments and room reverb can all be stripped away in real time, leaving a cleaner, more natural-sounding vocal. The result is a vocal that “preserves the natural tone, character and intelligibility of the source”. The technology also reduces feedback risk by eliminating the PA bleed and ambient noise that cause it, rather than reacting after it starts.
www.l-acoustics.com
LD SYSTEMS has extended the ANNY series with the ANNY 12, a battery-powered, mobile, full-range PA system in a 12-inch format that “combines the lifestyle flexibility of a Bluetooth speaker with the audio quality, performance and connection options of a professional PA speaker”. Regardless of location, the ANNY 12 is said to be at home wherever high-quality sound is required quickly, easily and without a power socket.
Based on an active 2-way loudspeaker system with a 12-inch woofer and 1.4-inch tweeter, the fixture has a sound pressure level of up to 122dB (peak) and an output of 185W RMS. For self-sufficient operation, the ANNY 12 relies on a long battery life of up to 50 hours (in ECO mode) and the hot-swap concept to enable the four battery modules to be replaced and charged without interruption, even during operation.
is also designed as an The integrated EQ and effects such as delay and reverb. Two microphone/line inputs, a stereo channel (3.5mm jack or RCA) and Bluetooth 5.0 are available for the flexible connection of microphones, instruments and external equipment. For wireless applications, it has two slots for wireless receiver modules (with 12dB
more gain), which can be combined with handheld microphones or bodypacks.
The unit has a priority/ducking mode for speech reinforcement, which automatically lowers the level of other signals as soon as speech is heard. At the same time, the DynX DSP (Generation 2) ensures transparent and low-distortion sound, even at high levels.
Thanks to True Wireless Stereo (TWS), two ANNY systems can also be paired wirelessly and operated as a stereo PA.
Castors, a telescopic handle and additional side carrying handles reportedly make transport and handling easier when travelling.
In addition, practical floor protection ensures that the housing is not damaged by abrasion or scratches when rolling, pulling and positioning. A protective cover is available for use in the rain.
TARGETING DJs, karaoke, public address and general playback applications, Peavey has expanded its portable sound reinforcement range with the PBK 12BT and PBK 15BT powered loudspeakers. The biamplified 2-way systems combine analogue amplification with onboard DSP processing, with the company positioning the range around a warmer voicing intended for extended listening and high-output playback environments.
Both models feature 56-bit DSP processing with selectable EQ presets for speech, monitor and music playback applications. Bluetooth streaming is included, alongside a stereo link function allowing two compatible speakers to be paired wirelessly.
Rear-panel connectivity includes dual combo XLR/TRS inputs, additional RCA and 3.5mm inputs, plus an XLR mix output for linking to additional loudspeakers or subwoofers.
The PBK 12BT uses a 12-inch woofer paired with a 1-inch compression driver, while the PBK 15BT incorporates a 15-inch
woofer with the same HF section. Both employ injection-moulded enclosures with monitor wedge angles, steel grilles and pole-mount compatibility.
www.peavey.com
MEYER SOUND has expanded its selfpowered loudspeakers with the introduction of the TIGRA line array loudspeaker and the 1800-LFC low-frequency control element. Both loudspeakers are suited for venues such as performing arts centres, music venues, houses of worship and corporate environments.
The TIGRA-L produces 146dB SPL (140.5dB AES75 maximum linear SPL) maintaining sound at close audience proximity. In addition, TIGRA arrays exhibit a similar cardioid low-frequency pattern as PANTHER modules.
The 1800-LFC improves on the 2100-LFC’s low-frequency performance delivering comparable response and dynamic range. It delivers an operating range of 30–125Hz and a 134dB AES75 maximum linear SPL.
Both products contain Meyer Sound’s GEN-1 technology that integrates signal processing, control, networking and a Galileo GALAXY output channel. They support Milan AVB networking as well as analogue inputs, with the flexibility to combine both in hybrid signal
THE SP8 from Portuguese manufacturer NEXT-proaudio is an active, high-output, fullrange 2-way point source system engineered to deliver “powerful acoustic performance, extended low-frequency response and precise vocal clarity” across a wide range of professional applications. It has been designed to provide sound reinforcement in both portable and installed environments, combining acoustic engineering with electronics and network control.
Low and mid frequencies are reproduced by two 8-inch long-excursion neodymium transducers, with band-pass loaded in a dipole configuration. Featuring dual voice coil technology, the system achieves extended bass response, reducing even-order distortion, improving thermal management and reportedly delivering up to 20% more acoustic output under sustained high-power conditions.
High frequencies are handled by a 1.4-inch exit neodymium compression driver with a 3-inch voice coil. The system incorporates the same externally rotatable waveguide design found in the SP12, providing consistent dispersion and flexibility across different deployment scenarios. Additionally, the dipolar low-frequency configuration enables directional control down to 500Hz.
At its core, the SP8 is powered by a high-performance 2-channel Class-D amplifier delivering 3,500W peak power, combined with a 96kHz DSP platform fully controllable via NEXT-proaudio’s X-NET software. The X-NET ecosystem enables system control and real-time monitoring of all connected loudspeakers, including automatic
paths. With processing integrated into the speaker, the systems remove the need for external processing, reducing the need for supporting racks. Crews can configure PAs for analogue deployments or add networking for control and audio with integrated failover options – all using the same hardware. www.meyersound.com
device mapping. Users benefit from processing capabilities such as individual EQ, level, phase and delay adjustments, as well as unlimited group creation. The system also features automatic fallback between analogue and digital inputs.
Designed for versatility, the SP8 is suitable for a wide range of applications including corporate events, theatres, concert halls, sports venues, nightclubs, small festivals, live performances, mobile DJ setups and side-fill use.
FOCUSING ON the mid and low frequencies, FaitalPRO has released the 6-inch midrange 6PR130 and 8-inch 8PR150 midwoofer. The 6PR130 loud focused midrange output comes through a lightweight aluminium voice coil, flat rubber surround and stiff, optimised suspensions. It offers 200W AES power handling (400W max) and 101dB sensitivity. The 8PR150 features an aramid fibrereinforced pulp cone and high-grade neodymium magnet, providing clear and defined mid/low frequencies, with 250W AES power handling (500W max) and 94dB sensitivity. Both models have a demodulation feature to minimise distortion and provide accurate, efficient performance across compact line arrays or larger multi-way systems.
In the high-frequency range, the 1-inch HF1006 combines an annular diaphragm with a neodymium motor, offering a sensitivity of 110dB and power handling
of 60W AES (120W max). In contrast, the HF1000T features a titanium dome diaphragm and a slightly larger neodymium motor, with 108dB sensitivity and power handling of 70W AES (140W max). Both drivers have optimised crossover points, allowing them to integrate seamlessly into
various configurations while maintaining coherence and a balanced frequency response. They deliver clear, precise highs with predictable coverage and efficient power handling.
Rounding out the lineup,
performance in a compact unit. Its
voice coil with 150W AES power handling (300W max), delivering controlled, mid-bass . The section combines aluminium voice coil with a ketone polymer dome and 30W AES power handling (60W max). It has been
section with smooth, articulate highs, a precise transient response and consistent dispersion. With a coherent output across the frequency spectrum, the 5HX220 is suitable for small-format installations, single-source setups or any application where clarity and compactness are essential.
www.faitalpro.com
THE S 08 from RCF is a high-power subwoofer ideal for installations where a compact size and the impact of an 8-inch driver are required. With an extended frequency response below 40Hz, the unit is reportedly capable of providing output levels normally associated with considerably larger enclosures. It is suited to background music in applications such as clubs, bars and cafés, as well as theatres and AV presentations. The low-frequency transducer is an 8-inch woofer with a
Meanwhile, the S 08-A is a self-powered amplifier featuring a 4-channel Class-D amplifier capable of powering the integrated 8-inch woofer, two satellite lines for both mono and stereo applications, and an additional passive S 08 subwoofer. Three line and two mic inputs can be mixed in an optimised way to balance each single level. Bluetooth connectivity allows audio streaming from any mobile device, while the speaker comes with traditional RCA, combo XLR and 3.5mm jack connectors. The model offers eight different equalisations,
S 08
1.5-inch voice coil. It has a compact active and passive subwoofer design, said to result in a fast and controlled reproduction of the bass frequency range. It comes with 120W RMS power handling, 110dB max SPL and a 40–160Hz frequency range.
optimised for music and voice reproduction. Specific HIPASS filter values allow users to combine the system with a wide range of RCF speaker models. It has a 20Hz–20kHz frequency range.
www.rcf.it
during long shoots or live events. It also takes advantage of Sound Devices’ SpectraBand extended 169–1,525MHz tuning range, which provides RF control to find clean, usable and legal frequency bandwidth anywhere in the world regardless of region, making it ideal for international productions or long, globe-hopping live tours.
The Mini Plus incorporates the manufacturer’s GainForward technology,
management tools keeping essential information visible and easy to access. Finally, the 8-Series will be integrated with the upcoming Viviana Cloud Box 2, enabling an instant upload feature to the cloud of your choice and providing a more streamlined workflow and additional backup during critical shoots.
www.sounddevices.com
ORBAN HAS announced changes to its OPTIMOD 5950 HD, introducing a range of software and processing enhancements. Updates include customisable access control, front-panel security tools and fully
remote Date/Time and NTP management. Monitoring and diagnostic capabilities have also been expanded, alongside support for offline updates via USB. HD processing has been refined with the addition of transient
enhancement controls and increased headroom, while further updates improve overall system security. Several optional features have also been extended. The Streaming option
POWERSOFT HAS introduced the PRIMA Series, a compact 4-channel professional amplifier range for installed audio systems requiring reliable low/mid power amplification. Available in two versions differentiated by power output, the PRIMA 164 and PRIMA 324 are designed specifically for applications where signal processing is already handled upstream or where DSP is not part of the system architecture.
The series has been designed to sit between entry-level commodity amplifiers and fully featured DSP-integrated platforms. Both models support Hi-Z and Lo-Z operation, with each output channel independently configurable to suit the connected load.
Auto Setup automatically optimises the amplifier’s operating parameters on first
startup, reducing commissioning time and simplifying onsite deployment. The unit uses a fixed diagonal matrix routing architecture with each input feeding its corresponding output channel, keeping signal flow clean and predictable. A dedicated connector also enables one-to -all routing, feeding a single input source to all output channels. Power Sharing technology allows available power to be distributed across channels according to system requirements, while Eco Mode, Auto Standby and low-consumption operation help reduce the energy footprint of the installation over time.
The compact half-rack form factor means the amps can be deployed in a variety of ways, including as a standalone unit, behind a display or beneath a conference table. This
now supports dual streams, enabling fully cloud-based input configurations. The optional Nielsen encoder supports three simultaneous watermarking engines for FM, HD1 and HD2, while HLS+Metadata adds a metadata decoder with EAS chain triggers. The optional uMPX feature now includes support for legacy encoders (v1–3). An optional fallback file feature is also available, providing backup audio when other inputs are unavailable.
www.orban.com
enables discreet, space-efficient installation in environments where visible equipment is undesirable. Onboard gain trimmers, status and signal LEDs, and straightforward rear-panel controls allow for quick adjustment
THE X80 from NEXT Audiogroup is a 4-channel Class-D amplifier that delivers up to 4x2,000W at 4Ω. At the core is 96kHz, 32-bit SHARC DSP, providing system control and tuning. Users can configure parametric EQ, FIR filters, limiters, delay, polarity and advanced routing, supporting optimisation across a wide range of loudspeaker systems and venue conditions. Up to 24 onboard presets can be stored and recalled, supporting use across multiple applications. Designed as a network-ready platform amplifier, the X80 integrates directly with X-NET software via Ethernet connectivity. This enables real-time monitoring, remote configuration and centralised management of multiple devices within complex sound systems, supporting deployments across touring setups, performance venues and multi-zone installations.
Connectivity options include balanced analogue inputs, AES/EBU digital inputs and balanced signal outputs. This provides routing options for hybrid system architectures. It also incorporates protection systems including thermal protection, short-circuit protection, DC protection and overload protection. The amplifier is housed in a 2U 19-inch rack chassis with intelligent cooling.
The AD3000 smart matrix DSP amplifier has been designed to target multi-zone installed audio applications. Delivering
4x750W within a 2U chassis, the Class-D amplifier is designed to support both low-impedance (2–16Ω) loudspeakers and 70V/100V distributed systems, including
mixed-impedance configurations within the same installation. Software-selectable operating modes include Normal Low-Z, Bridge Low-Z and Bridge Hi-Z configurations.
and system monitoring without requiring dedicated software or additional configuration layers.
www.powersoft.com
At the core of the AD3000 is a full matrix DSP engine designed to eliminate the need for additional external processing equipment, allowing users to manage multiple input sources, configure up to four independent audio zones, apply room correction and optimise loudspeaker outputs directly within the amplifier.
Remote access and monitoring are supported via Ethernet connectivity or the unit’s integrated wireless access point, with DSP configuration, routing and system management available through a browser-based interface compatible with PCs, tablets and smartphones.
Additional connectivity options include SPDIF digital I/O for system expansion and digital bridging between multiple amplifiers, alongside five programmable GPIO ports for external control functions including standby, mute and zone volume adjustment.
The unit incorporates an active PFC (Power Factor Correction) power supply, supporting universal AC mains operation while maintaining stable and regulated performance across international power standards. The amplifier has been engineered for a broad range of multi-zone commercial installed sound applications, including retail environments, hotel lobbies, conference rooms, bars and restaurants, museums, theatres and houses of worship.
DESCRIBED AS the next evolution of its sample creation app, ILLUGEN 2.0 offers two selectable sound-generation engines directly within the app: the new “Studio Engine”, trained to deliver high-fidelity and musically realistic production-ready loops and samples for professional music creation, and the original “Creative Engine”, designed for “sonic exploration”. This dual-engine approach is said to give users the freedom to choose between polished studio-grade output and raw sound design material within the same workflow. The update also includes Lock to Key, which is the ability to set and lock the musical key;
Loop Length Control, which allows users to define loop length and create shorter or longer loops that fit the track; and Stereo Control which provides the ability to control stereo width, from tight mono to wide stereo.
The manufacturer has also introduced the Voice ReGen service, extending its offering across voice processing and vocal production workflows. Voice ReGen is a web-based service designed to process spoken audio for video, podcast and content production. Users upload audio or video files, with the platform handling noise reduction, echo control, tonal balancing and level smoothing to deliver a consistent voice track. The service also supports direct recording within the application and includes a built-in teleprompter.
Sync Vx has been updated to expand compatibility across major DAWs, with support for VST, AU and AAX formats alongside ARA and AudioSuite workflows. The plugin is designed to align the timing and pitch of multiple vocal tracks within a single interface. Users can manage up to 16 tracks, assign reference tracks and adjust timing and pitch at both global and individual levels. Additional controls include transposition and format adjustment, supporting use across music production and postproduction.
www.waves.com
REPRESENTING THE next evolution of the company’s mic preamp circuit, the ISA C8X is a 26-in/28-out USB-C audio interface in a 2U anodised aluminium rackmount unit in Focusrite’s original house colour. It is said to combine the ISA series’ warm, rich character with an analogue console and 430 Air modes, analogue and digital I/O, and full remote control via Focusrite Control 2.
Two of the ISA C8X’s eight preamps are built with that same Lundahl LL1538 transformer that Rupert Neve originally selected in 1985 for its warm, open and detailed character. With up to 79dB of gain, switchable impedance, balanced inserts and high-pass filtering, the two ISA preamps support a wide range of microphones, including low-output dynamics and ribbons. The two ISA preamps also feature relay-switchable, analogue circuits. Console mode reportedly introduces warm saturation and low-end punch via a variable soft-clip
circuit. 430 Air mode, lifted directly from the ISA 430 MkII, adds “high-end shimmer” through an inductor-based high-shelf filter. Alongside the ISA preamps, six ultra-lownoise Focusrite mic preamps offer 69dB of gain. Two front-panel instrument inputs run through the Lundahl transformer circuitry for a console-like feel. All eight preamps are fully remote controllable via Focusrite Control 2 software. The ISA C8X uses the same 24-bit /192kHz AD/DA converters as Focusrite’s RedNet range, delivering up to 125dB of dynamic range. Twelve balanced line outputs support monitoring in formats from mono to 7.1.4, with up to three monitor groups switchable from the front panel or via Focusrite Control 2. Further digital expansion is available via ADAT and S/PDIF, with MIDI I/O and Word Clock also onboard.
www.focusrite.com
DIRECTOUT HAS introduced ACE, a compact Smart Audio Platform designed for playback, drive rack and custom processing applications within a portable form factor. Built around the same FPGA core used in the company’s PRODIGY Series, ACE combines audio networking, routing and processing within a backpacksized chassis intended for touring and live production workflows.
The platform operates across three selectable ACE Modes. Playback Mode supports redundant playback systems and vocal processing workflows with
unlocks the full globcon environment for custom signal routing, mixing, summing and snapshot control. Users can switch between modes as requirements change, with additional functionality enabled through perpetual licensing.
Connectivity includes MADI, AES3, analogue I/O and audio-over -IP formats including Dante and Milan variants. The platform also integrates with Ask.DirectOut, the company’s AI-based support and configuration service.
www.directout.eu
WISYCOM’S LATEST firmware update
for the MPR60 receiver has introduced a multichannel IFB mode designed to increase channel density in RFconstrained environments. The update enables up to three IFB audio channels to be transmitted within a single 200kHz RF carrier. When used with the MTK982 transmitter, the system can deliver high channel counts within standard broadcast bandwidths, supporting dense IFB deployments while reducing overall spectrum usage.
The approach allows multiple audio feeds to be handled with fewer transmitters and associated RF infrastructure, helping to
reduce rack space and system complexity in large-scale broadcast and live production environments.
The MPR60 maintains wideband operation across 470–1,260MHz, with the new mode designed to preserve RF stability and performance in demanding conditions. The update also introduces additional operating modes, allowing users to select between single-channel wideband, narrowband and multichannel configurations depending on application requirements.
Further updates include support for additional compander modes to improve compatibility with existing Wisycom systems, alongside continued integration
with the company’s transmitter range for single-channel operation. The firmware update is aimed at applications including broadcast, OB production and large-scale
www.wisycom.com
NEUTRIK HAS released the TRUE1 DATA Connector Series, built to support modern high-performance data standards. The platform includes the mediaCON TRUE1 which comes with USB-C (USB 3.2 Gen 1x1, 5Gbps) and USB power delivery 3.0 up to 100W; the etherCON TRUE1 which features RJ45 with Cat6a performance supporting 10 Gigabit Ethernet; and the opticalCON TRUE1 which offers 2-channel fibre-optic connectivity available in both multimode and singlemode versions. The series has been engineered for applications where mechanical stress, environmental exposure and frequent mating cycles are part of daily operation. Some of its key features include ingress protection up to IP65/IP66/IP67 (in mated and locked condition), 1,440 hours of salt spray corrosion resistance, UV-resistant
certified materials and an airtight design for RJ45 and USB-C connections. These elements make the connectors suitable for outdoor productions, OB vans, remote broadcast operations, rental staging, touring and temporary indoor or outdoor installations. The robust construction also supports long service life in high-cycle environments, helping reduce maintenance requirements and downtime in mission-critical systems.
Ease-of -use features include a locking cable connector enabling one-hand operation, colour-coding options for fast identification, minimal integration space requirements, replaceable and customisable sealing caps, and easy chassis integration via standardised D-Size format.
www.neutrikgroup.com
KLOTZ AIS has unveiled the EMC8HMFT Energy Multicore, a solution designed for event, production and media. Developed in compliance with DIN 15765, the multicore meets legal requirements for use in theatres, multipurpose halls, tradeshows, exhibitions, film, radio and television.
The EMC8HMFT Energy Multicore features a UV-resistant PVC outer jacket that combines thermal stability with flexibility, remaining operational at temperatures as low as –30°C. It comes pre-assembled with Harting HAN 16ES connectors in male and female configuration, featuring a black metal housing for integration into stage setups. A
EMC8HMFT
The EMC8HMFT uses Klotz EnergyCore EC-1 as its base cable. It features 16 2.5mm² bare conductors with a copper purity exceeding 99.95%, meeting Class 6 requirements. The EnergyCore EC-1 is equipped with a 4mm² protective conductor ensuring protection for 16A operation, over long distances up to 90m.
compound strain relief ensures tensile strength and a transparent heat-shrink sleeve at one cable end allows for identification. With the EMC6HMFT, a 6-channel variant with 2.5mm² protective conductor is also available, which can be used over distances of more than 90m. www.klotz-ais.com
SOMMER CABLE
SC-MONOCAT 303 with three Cat7 lines and three DMX lines combined in a single, rugged hybrid cable, developed for professional live and touring applications where compact, flexible and durable solutions are essential. With an outer diameter of 18mm, the slim cable reportedly provides flexibility and resilience in demanding touring environments. Due to its UV-resistant PVC jacket, the cable is suitable for both mobile applications and permanent installations (−20°C to +75°C). High-quality OFC conductors and an effective shielding are said to provide a stable and reliable signal transmission, even under challenging conditions.
Combined with the HI-LKH222 connector developed by HICON, it makes a fully integrated system: up to three Cat and three audio (NF) or DMX signals can be consolidated within the form factor of a 54-pin circular connector (CIR size 32). This reduces mating cycles, saves rack space and creates clean, well-structured signal paths in OB vans or touring productions, for example. The cable is available by the metre as well as a pre-assembled system solution. With transfer rates of up to 120Gbps in unidirectional mode or 80Gbps in bidirectional mode, the HI-T5CC USB-C has been developed for data-intensive applications such as high-resolution video workflows, ultra-fast storage solutions or high-performance docking setups. The cable is complemented by signal transmission such as DisplayPort 2.1 in full
NTP TECHNOLOGY has unveiled a 128-channel Ravenna Card with SRC. Ravenna AoIP connectivity with built-in AES67 and ST 2110-30 is now available for manufacturer’s
support for current USB4 architectures. At the same time, the HI-T5CC delivers up to 240W of power delivery for even the most power-hungry devices.
The triple coaxial shielding provides a loss-free signal quality even in demanding environments. Features include robust, potted metal connectors with gold-plated contacts, while the high-quality microfibre braid combines durability with high flexibility for everyday use. Technical reliability is provided by an integrated eMarker chip (EJ903W), which precisely controls the communication of all performance parameters.
Whether in professional studio use, demanding IT environments, high-end workstations or complex multi-device setups, the HI-T5CC enables fast data transfers, the operation of high-resolution displays and stable connections in daisy-chain configurations.
www.sommercable.com
interfaces for support of ST 2110-30 in managed and unmanaged mode. The Thunder | Core and Penta interfaces offer a range of digital and analogue I/O
audio interfaces, including the Thunder | Core series, Penta series and the AX32 via the new card and free updates to the DADman control software and device firmware. DADman version 5.8.2 provides support for the Ravenna card as well as updates to the current 128-channel Dante SRC card and the native Dante technology in the brand’s
options, with all signals accessible via an internal 2,048x2,048 routing matrix. A 64-channel bus summing system is also included, allowing flexible summing and monitoring configurations depending on system requirements. www.digitalaudio.dk
CLEAR-COM HAS unveiled FreeSpeak Cell, a cellular-based wireless intercom system that uses LTE and 5G infrastructure to support large-scale production communications. It has been designed to operate over public and private LTE and 5G networks, enabling full-duplex wireless intercom across wide geographic areas without relying on traditional radio frequency coordination. FreeSpeak Cell directly addresses increasing congestion in UHF, DECT and Wi-Fi bands, particularly in large venues and highdensity live event environments.
Unlike traditional wireless intercom systems constrained by local spectrum and physical coverage boundaries, FreeSpeak Cell leverages cellular networks to support communications across much larger areas with fewer onsite components. It has been created for large-scale and distributed environments where conventional wireless systems can face channel limits, coverage constraints or spectrum coordination challenges. The system supports deployments of 100 or more beltpacks and can scale to hundreds of users depending on network configuration. Because it operates over LTE and 5G, coverage can extend beyond a single building or compound,
enabling communications across large properties or distributed production areas.
Meanwhile, the manufacturer has announced updates to its Arcadia Central Station as well as enhancements to the Eclipse HX Digital Matrix System now running the latest EHX v15 software. EHX v15 delivers expanded configuration capabilities, increased system capacity and enhanced network resilience, while also enabling the introduction of ARC (Access, Resource, Configuration). ARC introduces a new architectural model that redefines how intercom systems are designed, deployed and experienced, with the aim of shifting the industry towards a more flexible, software-defined future. Rather than binding users, devices and resources to fixed physical infrastructure, ARC decouples hardware from system behaviour, transforming intercom into a more flexible, software-defined platform.
Updates to Arcadia Central Station include IFB support, expanding programme audio and monitoring workflows, as well as support for AES67-enabled panels.
www.clearcom.com
THE STUDIOLIVE SE Rack Mixers from PreSonus have been designed to fit into a 1U or 2U rack. The three models – SE 16R, 24R and 32R – feature FLEX DSP processing, seamless recording and playback, Milan-
preamps, 32 ¼-inch line inputs (via combo) and stereo RCA line inputs and 16 ¼-inch TRS mix outputs.
and a software suite including a perpetual licence for the DAW, Fender Studio Pro, Capture live multitracking software, Universal Control and QMix- UC.
The 1U 18 -channel SE 16R comes with 16 XMAX-R recallable mic preamps, 16 ¼-inch line inputs (via combo) and stereo RCA line inputs and six ¼-inch TRS mix outputs. The 2U 40-channel SE 24R has 24 XMAX-R recallable mic preamps, 24 ¼-inch line inputs (via combo) and stereo RCA line inputs and 12 ¼-inch TRS mix outputs. The 2U 40-channel SE 32R has 32 XMAX-R recallable mic
All three models have dedicated XLR(M) main L-R outputs and a front-panel ¼-inch stereo headphone amp with 100mW/ channel. They have nine state-space modelled EQ and 10 compressor options available on every input and bus. AVB audio networking ecosystem makes it easy to connect PreSonus NSB stageboxes, EarMix 16M personal monitor mixers, other Studiolive Series III mixers and AVB-D16 Dante bridge. The SE 16R comes with a continuously bidirectional 18x18 USB 2.0 interface (64x64 for the SE 24R and SE 32R) with included PreSonus Capture multitracking software with automated Virtual Soundcheck. Integration with Fender Studio Pro helps to simplify recording with direct preamp control and seamless switching between onboard and plugin processing with Fat Channel XT. www.presonus.com
Workplace
A SERIES of updates for Biamp’s Workplace platform have been announced alongside the launch of Parlé Participant Lift, a software feature for its conferencing ecosystem.
Updates to Biamp Workplace extend the platform’s role in managing AV systems across their lifecycle, with new tools aimed at deployment, monitoring and system control.
The Workplace Tools desktop app enables local and remote device setup, configuration and firmware management, with support for both cloud-connected and offline workflows during installation and commissioning.
Workplace Command has also been expanded with support for Qt X Zone Control, allowing real-time adjustment of sound masking, background audio and paging levels across different zones. Elsewhere, a new Personal Organization environment allows users to test features and store designs without affecting live systems, while an updated floor plan view incorporates non-AV assets to provide a broader overview of building infrastructure. Additional updates include a system status page for monitoring platform performance and expanded
ALLEN & HEATH has released the SQ+, an extension to the SQ range, introducing RackUltra FX processing, expanded DEEP processing power and a “bigger and bolder” interface across three new models: the SQ5+, SQ6+ and SQ7+.
The SQ+ brings the same 48-input, low-latency
compatibility across Biamp devices, including UC Compute platforms and USB peripherals.
Alongside the Workplace updates, the company has also introduced Parlé Participant Lift, a software-based voice reinforcement feature designed for larger meeting and learning environments. Building on the existing Presenter Lift functionality, the system uses Parlé microphones and Tesira processing to reinforce voices from multiple positions within a room, allowing participants to hear each other clearly without the need for handheld or wearable microphones.
The feature incorporates beamforming control and feedback suppression to maintain intelligibility and system stability, while new tools within Tesira aim to simplify system configuration. A Dynamic Processing Library automatically generates processing structures based on system size, while a Mix Minus Calculator and matrix import function reduce the time required to configure routing and gain settings. The feature is delivered as a software update within Tesira.
www.biamp.com
The user interface is built around a larger 9-inch touchscreen and a new dark GUI for improved clarity in all mixing environments. All models retain SQ’s full connectivity suite: a 128x128 Intelligent SLink port, a dedicated I/O expansion slot supporting Dante, MADI, Waves and SLink cards, dual USB ports for
RackUltra FX delivers a suite of effects including reverbs, vocal tuning, pitch processors, amp modelling and saturation. All four engines come as standard on every SQ+ model, with Add-Ons available from the Allen & Heath shop.
four SoftRotaries; and the SQ7+ with 33 faders, 32 XLR inputs, 16 SoftKeys and eight SoftRotaries.
www.allen-heath.com
WHEATSTONE HAS introduced several additions to its audio and broadcast technology portfolio, including a console, centralised mixing platform plus expanded redundancy features for its IP audio network. The Audioarts DMX 12 is a 12-channel IP audio console designed for standalone or networked studio environments. It features a
enabling centralised processing across a facility.
Alongside VMX, Wheatstone has developed VML, a browser-based virtual mixing console. Built on HTML5, it enables access to mixing functionality via laptops, tablets, smartphones and desktop systems. The platform is intended for remote production, temporary studio setups and backup operations.
Also introduced is the VMX mixing platform, a backend system designed to support multiple studios and control surfaces within a single infrastructure. It is compatible with Wheatstone LXE, Glass LXE, Strata and Virtual Strata consoles, as well as I/O Blade utility mixers. VMX can be deployed on commercial servers, standard PCs or dedicated hardware,
expanded redundancy within its WheatNet
hitless failover
available for Blade 4 I/O units and console
backup systems without audio interruption or packet loss. The system uses dual synchronised units and continuous monitoring to maintain
Additional updates to the Blade 4 architecture include path redundancy via dual Ethernet connections and real-time failover between mirrored mix engines, aimed at maintaining continuous broadcast operations during system faults.
www.wheatstone.com
DIGICO’S QUANTUM225 console has evolved with the introduction of the Quantum225 DS. This latest addition to the Quantum lineup has been designed as a festival-ready, cost-effective console featuring dual integral screens to give users expanded capabilities.
Compared to the standard Quantum225 which features a left-panel bracket to accommodate a channel or overview screen, KLANG:kontroller or laptop, the Quantum225 DS is equipped with two 17-inch, full-colour, TFT multitouch screens for enhanced workflow functionality and control.
The desk also includes DiGiCo’s optional Pulse software package to raise its input channel count from 72 to 96, bus count from 36 to 48 and Mustard and Nodal Processor tallies from 24 and 32 to 36 and 48, respectively. Mix Minus is also included in the
console’s Pulse feature set and the desk may be further enhanced with the manufacturer’s optional T software package for bespoke theatre-centric amenities.
An upgrade path is additionally available for existing Quantum225 consoles, for users wanting to increase their functionality and performance.
Engineered for festivals and fast-paced live environments, the Quantum225 DS features 41 mini TFTs located across the surface to provide enhanced user feedback and interaction. Also included are a 12x12 matrix, four MADI ports and dual DMI ports for added connectivity, 8x8 analogue and four AES channels for local I/O, built-in UB MADI, optional optics, Fourier Audio and Waves SoundGrid integration, plus dual PSU.
www.digico.biz
API HAS launched an update to its Vision console. The Vision+ retains the core strengths of the original version while introducing upgrades across the input module, centre section, automation system and frame design. It features an analogue inline signal path with two 100mm motorised faders per channel and is available in 32-, 48-, 64-, 80- or 96-channel frame sizes. Key highlights include 24 multitrack busses, three stereo busses, one stereo grand master bus, 10 aux sends, stereo/L-C-R/ surround panning on every channel with a high-pass filter on both signal paths, optional classic API EQs available on every channel and comprehensive centre section control with eight playback selections and three surround monitor outputs with individual solo/mute.
Final touch automation has also been upgraded, while a dual touchscreen automation control module (ACM) has been added for easy navigation of the expanded
analogue automation controls. An integrated DAW control via HUI and MCU protocols allows channel faders to function as a control surface for a user’s preferred digital audio workstation. The final touch automation system is now fully self-contained A new alt-line input option doubles line inputs during mixdown, and individual control of lower 200-Series dynamics modules is now assignable to either fader path. Patch bay design and power distribution have been improved, while the power monitor and input module have been redesigned. An optional 2500+C bus compressor has been integrated into the centre section. Additional customisations are available, including an optional 30-inch producer’s desk with monitor mount, as well as an options bucket pre-wired for 200 Series and/or 500 Series modules, allowing clients to tailor the Vision+ to their specific workflow.
www.apiaudio.com
POINT SOURCE Audio has introduced the EM-i5, a frameless headset that aims to redesign traditional 2-way communication headsets through a universal-fit concept that frees users from headframes. The modular concept supports wireless microphones or intercoms and adapts in-ear monitoring to one or both ears from the same device.
The EM-i5 is built on the company’s patented Embrace on-ear mounting platform. Without the constraint of a headband, the device can be configured as needed for dual-ear isolated monitoring or single-ear situational awareness. A patent-pending signal integration module supports this
modularity, enabling adaptation between the two use cases within a single device. Compatibility across professional systems is a key feature. The EM-i5 provides a single wearable interface that supports up to two wireless devices. A series of modular connectors enables the EM-i5 user to move between wireless microphones, such as Shure and Sennheiser, and intercom platforms, including Clear-Com and Riedel. The interchangeable earphones build on the company’s CM-i3 and CM-i5 in-ear headsets, allowing users to swap the included earphones with preferred custom IEMs.
www.point-sourceaudio.com
AUDIO-TECHNICA HAS introduced two MS (mid-side) stereo broadcast microphones: the BP350ST-UB and BP350ST-UL. Both mics have been designed to give users a wide range of stereo image options with the MS capsule arrangement, making them suitable for professional broadcast, production and field recording applications.
The BP350ST-UB’s mic element can be configured using either of the two included mounting solutions – a low-profile boundary housing and a 5-inch gooseneck with clip-on mount – to enable inconspicuous capture of true stereo sound. The BP350ST-UL – a compact stereo shotgun mic with its cardioid element mounted on a 6.3-inch interference tube that rejects off-axis noise to focus on distant sounds – is configured to mount securely to video cameras or support rigs (ideal for ENG and other on-the -move applications).
For both the BP350ST-UB and BP350ST-UL, the MS capsule configuration is said to provide a crisp, clear, well-balanced response, even at high SPLs. A switch on the included AT8547 power module allows users to choose between L-R stereo output (wide or narrow) and discrete MS signals for later
manipulation. MS operation reportedly offers several advantages for postproduction editing, making it easier to place voices naturally in a mix, and providing audio that won’t lose its depth when stereo channels are combined into a mono track. The two-mics -in-one configuration also helps reduce common problems with stereo miking, such as time alignment and comb filtering.
The BP350ST-UB’s element is enclosed within the same compact body as Audio-Technica’s ATM350a instrument mic, allowing it to be used not only with the included boundary housing, gooseneck and clip-on mount, but with any of A-T’s ATM350a mounts and mounting systems. On the BP350ST-UL, the included AT8495 mount clip secures the mic to the power module, providing adjustable, modular placement around other peripherals; the power module can be mounted into a camera’s microphone mount or secured using third-party mounts.
Lastly, the manufacturer has announced that its ATND1061 ceiling array microphone and ATUC digital discussion systems have been certified by Crestron for use with its Automate VX voice-activated camera switching solution.
www.audio-technica.com
DPA MICROPHONES has added to its CORE+ microphone selection with the 4097 CORE+ Micro Shotgun, designed for houses of worship, speech, choir, film and broadcast applications. The integration of CORE+ technology aims to eliminate the non-linearities generated by microphone membranes and electronic components, producing a natural, distortion-free sound that is particularly critical for spoken word reinforcement.
The 4097 has been designed with a simplified foam shape with a flock finish and an upgraded gooseneck. Its lightweight and compact form factor allows flexible placement and aiming without visual clutter. The updated construction includes an improved shockmount that reduces interference from external disturbances, both structural and cable-born. It offers a supercardioid pickup pattern that provides off-axis to minimise ambient noise and feedback in acoustic environments. The CORE+ technology allows the microphone to handle a wide range of vocal levels, from subtle speech to vocal performances. When purchased as a part of the choir miking solution, the 4097 CORE+ comes with a pre-assembled be folded down into a storage compartment.
The MicroLock connector on the 4097 is rotatable and non-reflective also backwards compatible to devices with MicroDot connectors for integration into existing infrastructure and runs on a range of phantom power voltages to accommodate both studio and location setups.
4097 CORE+ Micro Shotgun
The company has also engineered a new mounting system that is designed to deliver a seamless and secure user experience across an even broader range of applications. The Gooseneck Mount (G-MOUNT) integrates a 2-step locking mechanism that allows for precise mic placement with just one hand and
reportedly improves vibration isolation and overall stability. It is backwards compatible with many existing DPA clips, ensuring a smooth transition for current users. Select clips have also been refined to enhance usability, adaptability and acoustic performance.
www.dpamicrophones.com
THE S1 shotgun microphone from Lectrosonics has been designed for high-end sound capture applications such as location sound and studio production for film and TV, sports broadcasting and news coverage. The lightweight module can be used in both indoor and outdoor harsh environments and on extended boom poles. It features a true condenser capsule with RF biasing, offering resilience and resistance to humidity. This is coupled with a line tube that offers a tight, consistent polar pattern with uniform off-axis rejection coupled with low colouration. It measures 215mm long and is manufactured in aircraft-grade aluminium. With a diameter of 19mm, it is fully compatible with a wide range of suspensions and other microphone mounting options. The S1 has a broadly flat frequency response profile with a slight lift in the upper frequencies to deliver clarity for dialogue capture. The electronic design offers a low self-noise of 10dBA, with a maximum
with Wireless Designer software for system monitoring, frequency coordination and setup.
The IFBT2.0 offers IFB, NU Hybrid and EU Hybrid compatibility modes so that the unit can be used in IFB and other applications -point audio where audio fidelity is critical. The transmitter unit is fully compatible with the existing line of IFBR1B, IFBR1C (IFBlue), legacy IFBR1 and IFBR1A receivers, along with all Digital Hybrid Wireless and current digital Lectrosonics receivers from the Venue 2 to LR, DSQD, DCR822 and DSR4. Finally, the manufacturer has updated digital transmitters and receivers. Improvements include over 10% more battery life, giving the unit a maximum battery life of over 7 hours. Both the DSR 4-channel digital slot receivers now have revised internal circuitry and modifications to the cases that further improve the sensitivity and self-noise performance of the receivers.
www.lectrosonics.com
SCHOEPS MICROPHONES has developed the Desert Island Boom Set. Expanding on the Desert Island Set family, the compact kit is built around the CMC 1 U microphone amplifier, the MK 41 supercardioid capsule and the
KMIT shotgun capsule in the CMIT’s signature blue finish.
Packaged in a Pelican Case, the latest set reflects how boom operators work in two scenarios. Indoors, the MK 41 delivers a controlled pickup pattern and natural sound character for dialogue recording. Outdoors, the KMIT provides the additional directivity required on location.
THE LPA1 expands RØDE’s studio ecosystem with a low-profile studio arm engineered for placement without visual obstruction. Designed for modern recording, streaming and broadcast setups, the LPA1 sits below the camera’s line of sight, keeping creators unobstructed onscreen while delivering accurate microphone positioning. With an extended horizontal reach of 650mm and a wide vertical adjustment range, the LPA1 offers the flexibility to accommodate both end-address and sideaddress microphones. It features a high load capacity of up to 2kg and universal thread compatibility.
The DS3 introduces a new standard for compact desktop studio arms, delivering precise positioning, exceptional stability and a refined design for modern content creation. Built for creators who demand flexibility without compromise, the DS3 provides effortless placement for microphones, cameras, smartphones, lights and accessories in any desktop setup.
D&B AUDIOTECHNIK has introduced the DS110, an upgraded Soundscape processing engine that builds on the DS100, featuring updated processing hardware and expanded I/O capabilities. Channel capacity now includes up to 128 Dante input channels at 96kHz, alongside integrated MADI connectivity with up to 128 inputs and
without the need for clamps or mounting points. A precision-engineered ball head offers smooth, controlled movement and a wide range of adjustment, allowing users to
compatibility with included 5⁄8- and ¼-inch thread adaptors and supports devices up to 1.5kg.
Integrated cable management keeps XLR and USB cables secure and out of sight.
64 outputs at 48kHz or 96kHz. The DS110 maintains full compatibility with existing Soundscape software and licences to provide a seamless transition for current users while providing a future-ready platform for new projects.
www.dbaudio.com
Designed specifically for the RØDE PodMic, the PodMic Flag allows users to display their logo or artwork with a refined, broadcast-ready finish. Engineered to integrate with the WS14 pop filter, it preserves the PodMic’s silhouette while adding a distinctive branded element. Its durable construction is said to provide a secure, reliable fit, making it suitable for video podcasts, livestreams and professional studio productions.
RØDECaster Studio is a desktop application designed to help podcasters and audio creators edit, refine and publish spoken-word content. Available for both Mac and Windows, it supports seamless import from compatible RØDECaster devices, including direct-to -cloud workflows via RØDE Cloud. Creators can record on a RØDECaster Pro II or RØDECaster Duo and continue editing instantly in the app, with projects automatically synced and accessible across devices.
www.rode.com
SHURE HAS released a firmware update for Axient Digital PSM that introduces a new digital transmission mode alongside expanded CueMode functionality for monitor engineers and live production workflows. The update adds Single Carrier Narrowband, a transmission option designed to provide a workflow more closely aligned with traditional analogue IEM systems while retaining the low latency and spectrum efficiency of a digital platform.
Intended for productions where RF coordination time or antenna infrastructure is limited, the mode is designed to offer greater resilience in challenging environments including reflective stages and compact performance spaces. Axient Digital PSM continues to support wideband, narrowband and analogue FM operation, allowing mixed transmission workflows within the same production.
CueMode has also been updated to support multiple transmission modes simultaneously. Engineers can now preview CueMode entries before applying changes, with navigation between different setups streamlined for productions using varied monitoring configurations. The firmware update is available through ShureCloud and Shure Update Utility.
www.shure.com
SENNHEISER HAS reintroduced its MD 9235 dynamic microphone head for wireless handheld transmitters following renewed demand from touring engineers and performers. The capsule returns to the German manufacturer’s portfolio after previously being discontinued, offering a cardioid option designed for high stage levels and applications where strong rejection of ambient sound is required. The MD 9235 connects via the manufacturer’s standard capsule interface and is compatible with several wireless systems including Spectera, Digital 6000, Digital 9000, EW-DX, EW-D, EW-DP, the 2000 series and evolution wireless G4 300 and 500 series transmitters. It offers a frequency response of 40–20,000Hz with sensitivity rated at 1.8mV/Pa and maximum SPL of 163dB. The capsule weighs 119g and measures 51mm in diameter with a height of 72.5mm. The microphone head is supplied with a pouch and five replacement foam inlays.
A firmware update for Profile Wireless introduces Bluetooth connectivity, allowing the clip-on microphone to connect directly to smartphones, tablets and laptops. The update supports both Bluetooth LE Audio and Bluetooth Classic, enabling a simplified recording setup without the need for a receiver. The system can still be used with an external lavalier microphone, with automatic switching between the internal and external mic. The update is designed to offer greater flexibility for mobile recording, with the option to prioritise convenience or maintain higher audio quality when using the dedicated receiver.
Within the Spectera ecosystem, a new module for Bitfocus Companion and Buttons enables integration with stream deck-style control interfaces. This allows users to trigger functions such as instrument switching or system control directly from button panels or touchscreen devices, extending Spectera
into wider control workflows. Following feedback from the user community for a clear preference for Spectera WebUI over LinkDesk and interest in SoundBase for advanced management, the manufacturer has also announced a change in the software landscape for Spectera. The platform will not continue LinkDesk development beyond version 1.6.0, and SoundBase will put a focus on the integration of Spectera to cover all LinkDesk features in the future.
Also new is Spectera Studio, a system planning and configuration tool designed to support setup and deployment. The software allows users to build and edit configurations offline, migrate existing system files and calculate RF capacity requirements based on system parameters. The tool also enables batch editing of device settings and supports the creation of system documentation, with configurations exported and uploaded to base stations for deployment.
Lastly, the manufacturer has unveiled the HD 480 PRO headphones designed for studio and live monitoring, with a focus on accurate
DHD AUDIO has added an AI-based audio noise reduction option to its XD3 IP Core, developed in cooperation with ai-coustics. The feature is available on a licence basis for both new and existing XD3 modules. The system is designed to reduce background noise in audio content such as sports commentary and outdoor news reporting. Processing intensity can be adjusted via DHD mixing consoles or remote control and up to three stereo instances can run simultaneously on a single XD3 core.
The XD3 IP Core is part of DHD’s modular system architecture, where cores manage audio processing, routing and control
integration. They interface with control surfaces including RX2, SX2, DX2 and TX2, and support IP-based workflows, remote device control and virtualised environments. Connectivity options include Dante, AES67/ Ravenna, AES3/EBU, MADI and analogue. The XD3 range comprises a controller and IP core, a router extension and a DSP extension. Systems can be configured with redundancy, allowing synchronous main and standby operation. Different DSP configurations support varying channel counts, summing busses and routing capacities.
www.dhd.audio
DBTECHNOLOGIES HAS introduced Aurora Cloud, a cloud-based Platform as a service (PaaS) designed to extend the capabilities of dBTechnologies’ proprietary Aurora Net software, providing an advanced environment for remote monitoring, device management and data analysis of the manufacturer’s professional audio systems.
Developed to address the demand for connected, data-driven workflows, Aurora Cloud enables the centralisation of projects, devices and operational data within a single platform. It has been designed for systems integrators and rental companies who need full control and visibility of their audio systems.
The platform is accessed via a web-based interface, designed to be accessible by computer, tablet and smartphone, structured around a dashboard that is organised by venues, devices and alerts, enabling immediate navigation between system overviews and more granular levels of detail. The venue- and project-based management logic allows for efficient organisation and control of distributed setups, supported by system mapping that identifies device locations and enhances operational oversight.
From an operational perspective, once online, Aurora Cloud provides full monitoring of device
parameters, with access to both real-time data and historical telemetry. This approach allows users to identify potential issues and take targeted action when needed and analyse system behaviour over time through the acquisition of historical data, which is archived and made available for in-depth analysis and system optimisation. The platform also integrates a real-time alert function, which reports disconnections or operational anomalies through immediate notifications, enabling proactive management and reduced response times.
On the analysis side, Aurora Cloud features advanced tools for report generation and scheduling, fully configurable in terms of time intervals and content. This functionality supports structured, data-driven workflows and facilitates documentation, verification and maintenance activities.
Extended storage capacity allows data, configurations and projects related to one or multiple venues to be securely stored in a continually accessible environment. Stored data can be downloaded at any time and re-imported into Aurora Net, ensuring full continuity between cloud-based management and local operation.
www.dbtechnologies.com
AUDINATE HAS released Dante Preset Creator, companion to Dante Controller. It is a free online tool to help users configure network settings prior to setting up hardware. When hardware is available and ready for configuration, presets generated by Dante Preset
Creator can be imported into Dante Controller and applied to the network. Settings can be applied selectively, ensuring any existing configuration changes are maintained.
www.getdante.com
FLUX:: HAS updated its SPAT Revolution and MiRA software platforms, adding new tools for immersive production, playback and system tuning. Described as a landmark upgrade, SPAT
source, room and output control into a single workflow. Furthermore, a redesigned interface adds customisable layouts and improved navigation.
Revolution 26.04 introduces integrated media recording and playback, allowing immersive sessions to be captured and replayed directly within the software. A built-in media player enables timeline-based playback without external hardware, while maintaining live object control during performances.
A new cue sequencer expands show control, enabling programmable events to be triggered by internal or external conditions. Additional updates include support for ADM file import, allowing immersive content to be brought in from external workflows, alongside expanded synchronisation options and object movement tools.
The release also incorporates further processing within the SPAT environment, bringing
MiRA 26.04 focuses on system analysis and tuning with the introduction of an AI-based Auto EQ tool designed to generate EQ settings based on defined target curves. The updated loudness metering scope adds Peak-to -Loudness Ratio (PLR) and Peak-to -Short-Term Loudness Ratio (PSR) metrics, while the update also adds support for a higher number of simultaneous input streams, up to 24 channels per stream, enabling analysis of larger systems in real time. Further enhancements include expanded measurement workflows, additional loudness metrics and updates to visualisation and system configuration tools.
www.flux.audio
MERGING TECHNOLOGIES has released Pyramix 16, introducing new audio processing tools, expanded immersive capabilities and workflow improvements across its digital audio workstation platform.
A key addition is PanNoir, developed with recording engineer Jean-Daniel Noir. The tool is designed to improve the integration of spot microphones with a main stereo pair by combining level differences with time-of-arrival information. This approach aims to maintain phase coherence and reduce comb filtering, while improving stereo imaging in acoustic recordings. PanNoir is integrated directly into the Pyramix mixer and includes features such as microphone position detection and directivity presets for Neumann microphones.
Pyramix 16 also extends support for immersive production. The Premium version includes a built-in Dolby Atmos renderer, supporting configurations up to 9.1.6 as well as binaural monitoring. Additional tools include live re-rendering and loudness metering within the DAW environment, reducing the need for external processing.
Performance updates and expanded I/O capabilities have been introduced in response to user feedback. The software now supports Parallels Desktop, allowing operation on macOS systems alongside native applications.
The software is offered in three tiers. Elements provides core recording and editing tools with PanNoir included. Pro targets professional editing and postproduction workflows with extended I/O, mastering and loudness features. Premium is aimed at high-end music, film and immersive production, combining advanced mastering, multirecorder support and integrated immersive audio tools.
Described as a major update, Ovation 12 introduces native video playback within the software, allowing video files to be added directly into playlists and handled alongside audio cues. Up to four video streams can be played simultaneously using standard graphics hardware, with timing and fades aligned during rehearsals and live operation.
Elsewhere, video playback, synchronisation and expanded system performance form
OUTLINE HAS released a firmware upgrade for its Newton FPGA-based signal processing platform. Firmware update 98 allows users to seamlessly save and recall whole-platform snapshots of all its functional parameters and settings. The possibility of saving and recalling a complete Newton operational status as a snapshot addresses different usage scenarios in multipurpose rooms and venues, where different portions of the sound system need to be activated or when specific event types in the same venue rely on different technical suppliers, each with their own production setups. The update allows Newton users to choose which specific elements of its logic blocks
can be saved in each snapshot instance. System engineers tasked with the alignment and optimisation of complex PAs will now be able to run checkup and troubleshooting test routines in full compliance to previous service status. Safe areas have also been implemented to protect output groups which can’t be overridden by snapshot recall plus a user-defined safety switch can be locked to its current status as “recall safe”.
In Isaac 1.2.0, a new offline and virtual provision of Newton devices allows users to modify the operating parameters of a disconnected unit, which will be synchronised as soon as it is online again. The user manual
SITTING ALONGSIDE the existing 256 path option for the VTE1 engine, Solid State Logic has introduced a smaller DSP package with 140 paths, designed for small systems that still demand broadcast-grade audio processing. The feature set is exactly the same as the larger engine, including an integrated Effects Rack, Automix, full processing capability on every path, support for 5.1 and immersive audio (with path formats up to 9.1.6) and on-the-fly, flexible assigning of DSP resources between channel and bus paths as required. In addition, the software can now be utilised for both public and private cloud or directly on a COTS server. The manufacturer has also released short-term, flexible licences to make the entry point to System T “lower than ever before”. The aim is to give broadcasters the freedom to scale production resources precisely when they need them, without long-term commitments or significant upfront investment. The more flexible licensing
the focus of the latest version of the show control and audio playout platform. Ovation 12 also adds support for multiple LTC outputs, enabling independent timecode feeds for external systems including lighting, automation and video. Timecode can be routed to any audio output and sourced from different show elements depending on workflow requirements.
Integration with Pyramix has been expanded with bidirectional automation exchange,
allowing cues and automation data to move between production and playback environments without losing detail during revisions.
Additionally, the update also increases available I/O counts across the Ovation Elements, Pro and Premium editions in native mode, providing additional headroom for larger multichannel productions.
www.merging.com
is now built into the application itself, while an extended set of keyboard shortcuts means that customers no longer have to only rely on cursor-logic pointing peripherals when they
are setting the configuration parameters in Newton’s DSP channels.
www.outline.it
options are designed for organisations handling temporary, variable or one productions.
Meanwhile, the TCA Flypack Tour package is composed entirely from System T components in a compact and portable format engineered for deployment across broadcast, touring and live production environments. The unit features 16 faders, integrated Fader Tile Plus, onboard I/O featuring headphone monitoring and a custom mount for a Tempest Control App PC and touchscreen. Integrated wiring provides a reliable setup with ruggedised etherCON or Opticon connections to Tempest Engines and I/O.
System T V4.3 software includes onboard SolidPitch automatic tuning, permanent path links, additional send busses and an increased number of scenes, up to 500 per show file.
effect designed for everything from gentle pitch correction to over-thetop, modern, pop vocal effects. The Doubler effect sums two copies of the tuned signal before sending it to the output, which can be detuned and delayed to create an impression of greater thickness, or increased width when a stereo path is used, while the Harmony section adds another pitch-shifted copy of the tuned signal.
SSL Live V6.2 also adds seamless console integration with KLANG immersive processors, allowing immersive monitor mixes to be created and controlled directly from the console. Audio can be routed across any interface, including MADI and Dante, and control is provided via network integration, enabling any KLANG processing device to be fully incorporated into the SSL Live workflow.
www.solidstatelogic.com
TOTALMIX FX 2.0 has been introduced by RME, replacing the previous bitmap-based interface with a new graphics engine designed to adapt across different monitor sizes and resolutions. Mixer and Matrix views can now be zoomed and scaled independently using mouse or trackpad gestures, allowing users to adjust channel sizing and layout to suit different workflows and screen configurations.
The Control Strip sidebar can also be resized separately, while fixed scaling presets are available for consistent layouts across systems.
A new Light Theme option has additionally been introduced for alternative visual presentation. Despite the redesign, RME has retained the previous interface style within the software, allowing users to switch between classic and modern layouts where required.
TotalMix FX 2.0 is available as a standalone application for all RME interfaces, with support for Windows 10 and above alongside macOS 10.15 or later.
www.rme-audio.de
THE DM NAX audio platform and the 1 Beyond i12D camera from Crestron have been designed to simplify how organisations deliver professional, AI-ready meeting experiences at scale. The platform is a network-based audio ecosystem that brings together an expanding lineup of microphones, speaker pods and PoE speakers, all orchestrated by the DM NAX AP-100 audio processor. The system leverages Crestron DM NVX technology for audio-over-IP, PoE for single-cable simplicity and AES67 compatibility to integrate additional third-party microphones such as Sennheiser’s TeamConnect Ceiling solutions. Devices autodiscover on the network, which helps cut configuration time and make it easier to scale from a single huddle room to a full collaboration space. DSP includes acoustic
WITH MEETING room design increasingly moving towards automated workflows, Pleneo Planner has been developed to generate complete AV room layouts from a set of room dimensions.
Built around AVIXA design standards, the online tool automatically places microphones, cameras, loudspeakers and processing inside a room based on factors including coverage, sightlines and performance requirements. The resulting layout is presented within an interactive 3D environment, allowing users to visualise pickup zones, speaker coverage and camera fields of view in real time.
TIMAX HAS released TiMax panLab version 1.4, which introduces ADM-WAV playback capabilities alongside several workflow enhancements. panLab is widely used as a flexible environment for designing, demonstrating and deploying spatial audio experiences across live events, installations and immersive environments.
In version 1.4, users can play back and render audio files that contain Audio Definition Model (ADM) metadata, allowing immersive mixes created in studio environments to be imported directly into a TiMax spatial playback workflow. The software supports playback of WAV, AIF, AIFF and CAF audio files through any connected soundcard, while rendering ADM object position metadata directly to TiMax panLab Sources for output to mixing consoles, system processors or TiMax rendering platforms. Previously, spatial productions often required producers and sound designers to export audio in multiple stems, after which system operators
Components can be repositioned or swapped within the design, with changes reflected immediately inside the model. Users can also view spaces from the perspective of the installed cameras to preview participant sightlines. Alongside room visualisation, Pleneo Planner can generate project documentation including bills of materials, wiring diagrams and presentation renders. The platform supports both Pleneo and selected third-party products, allowing different system configurations to be compared within the same environment.
www.pleneo.com
echo cancellation (AEC), automatic gain control (AGC), noise reduction and auto-mixing, while “direction of arrival” audio allows the system to track who is speaking for natural conversation and intelligent video integration. Audio is tuned specifically to support Microsoft Copilot software for an accurate transcription of every word.
The 1 Beyond i12D delivers three 4K cameras, built-in microphones for speaker detection and Visual AI for speaker framing and tracking in a single, streamlined device. It features dual 4K PTZ lenses with 12x optical zoom and a 4K wide-angle lens for full-room framing and AI analysis. Onboard Visual AI powers automatic group framing, speaker tracking and composition
TiMax panLab version 1.4
would recreate object positioning and movement within the playback system. With ADM-WAV support, the full creative intent, including audio objects, position automation and track metadata,
can be preserved in a single file and rendered directly within the TiMax environment. This reportedly enables a much smoother collaboration between content creators and playback engineers.
modes, including picture-in -picture and Conversation Mode. Meanwhile, intelligent switching can coordinate views with up to four companion 1 Beyond cameras without the need for Automate VX. Built-in microphone arrays are used exclusively for speaker location detection up to 7.6m, allowing organisations to pair the i12D with the audio system of their choice. Reference audio can be brought in via AES67 or analogue connections to avoid false triggers and ensure accurate tracking. The i12D comes with USB-C and HDMI outputs, RTSP streaming and certifications for Microsoft Teams Rooms and Zoom Rooms.
www.crestron.com
Users can now connect or disconnect from mixing consoles and system processors via OSC, while the software automatically reopens the last project file when launched. The ability to create multiple Sources simultaneously and add them directly to the 3D panner is said to speed up file setup, while batch editing within the Source Manager allows parameters to be adjusted across multiple Sources at once. Visualisation of spatial Zones has also been improved, while OSC handling has been optimised for smoother positional updates during snapshots, sequences and animated playback. The manufacturer has also added native integration for TiMax SoundHub, which builds on the September 2025 overhaul of the TiMax OSC implementation. The development comes from sonicLAB, whose newly released SpatAI v2 now addresses TiMax SoundHub directly over OSC, bringing AI-driven, prompt-based object motion into the TiMax workflow.
www.timaxspatial.com
TASKER HAS introduced the T43, a coaxial cable designed for outdoor mobile use and optimised for 12G-SDI applications. Its flexibility comes from its 26/7 AWG (0.8mm) stranded OFC (oxygen-free copper) conductor, a 4.8mm foam PE dielectric and double shielding. The outer jacket is available in TPV for outdoor applications or PVC for indoor use. The TPV jacket is particularly suitable for rental and touring applications, offering high resistance to UV exposure, water, chemicals and oils. In addition, the cable is flame-retardant and halogen-free, ensuring compliance with modern safety requirements.
Extensive testing has demonstrated that the T43 supports the frequencies and data rates required by the latest SMPTE standards, enabling reliable 12G-SDI transmission up to 78m. Thanks to these characteristics, the T43 is ideal for pre-terminated cable assemblies, available under the code PC43CTV in lengths of 1m, 3m, 5m and 10m. It is also offered as pre-assembled cable reels (GT43CTV) in lengths of 50m, 75m and 100m. Custom lengths are available upon request to meet specific operational needs. For applications requiring multiple coaxial lines within a single jacket, Tasker offers the T443, T643 and T843 multicoaxial cables, incorporating four, six and eight T43 elements respectively. These are available with a full NBR (nitrile) outer jacket for outdoor use or PVC for indoor installations.
www.tasker.it
WYRESTORM HAS unveiled a number of solutions spanning hybrid collaboration, longdistance signal transport and AV-over-IP workflows, including conferencing bars, HDBaseT extenders, fibre transport and wireless collaboration tools.
Designed for unified communications environments, the manufacturer’s APO-VX20 -UC v2 combines a 4K camera, microphone array and stereo speakers within a single conferencing bar and switcher. The system supports USB-C connectivity with 60W charging, HDMI input, dual
BOSCH CONFERENCE Solutions has unveiled the next generation of its DICENTIS Multimedia device. Engineered for meetings, it delivers visuals, audio and interaction features from small boardrooms to large parliaments. It is available in two versions: the Full-function version features a 10-inch touchscreen with an adjustable viewing angle, ensuring readability for every participant. It unites audio and visual performance in a single unit and is ideal for integrated design. The second version with a docking station offers a bring-your-owndevice (BYOD) approach. This solution allows participants to use their preferred screen size by connecting off-the-shelf tablets running the DICENTIS Participant App. Both solutions support video streaming, presentation sharing and interactive documents.
In addition to offering a stem microphone, it also captures voices with the integrated microphone array, creating an AI-powered virtual stem microphone. To avoid interruptions, the device offers built-in redundancy to safeguard critical functions. Microphone redundancy ensures that if the stem microphone fails, the integrated microphone array takes over. For docking variants, quick tablet replacement keeps meetings on track.
Visually impaired participants benefit from haptic feedback for tactile confirmation, braille markings for orientation, colour-coded icons for simplified navigation and audible beeps during voting for added reassurance. Support for hearing-impaired participants is provided via third-party subtitle integration.
Bosch has also unveiled the PRA-AR616 router amplifier, which provides alarm functionality for public address zones while also allowing some background music. This complements the two multichannel and single-channel router amplifiers with relay-switched outputs, which handle performance zones already part of the Praesensa ecosystem. The combination of these amplifier types offers a wide range of applications, from security and everyday public address systems to medium-sized and large-scale projects such as shopping malls,
WITH EDGE One, Lawo has created a compact stagebox for enabling flexible audio and video connectivity in broadcast and pro AV workflows. Functioning either as inputs or outputs, one side of the device integrates eight bidirectional HD-BNC connectors for SDI signals and four HDMI outputs, two of which can alternatively be used as inputs. SFP ports for MADI I/O, GPI I/O, an audio interface via USB-C and Sync, Reference and Wordclock connectors are also available. On the other side of the device, three audio interface modules cover a variety of I/O applications.
Since not all connectors and software functionality may be needed in every use case, Edge One supports Lawo’s software-licensable functionality. Available in audio, video and audio + video, Lawo Flex allows users to activate exactly what they need. Functions including video signal instances (in or out), video frame
HDMI outputs and wireless casting via AirPlay, Miracast and WyreStorm casting devices. Within the company’s extension range, the EX-100 -KVM-8K extends HDMI 2.1 and USB 2.0
The router amplifier covers the essential zones as part of a complete Praesensa system. Its single 600W amplifier channel can be shared over relays to route the same audio to 16 loudspeaker outputs. With its built-in spare amplifier channel, the router amplifier supports system availability, meeting EN 54-16 certification requirements. It allows systems designers to configure zones, speaker load and required functionality, and also ensures Praesensa systems can meet emergency standards while also providing performance for everyday use.
syncs, JPEG XS en-/decoding, the Edge One Commentary App and audio MADI I/O with built-in SRC can be licensed if they are not included in the selected package. SMPTE ST 2110 native with a bandwidth of up to 25Gbps, the 1U rackmountable Edge One comes with an optional mounting bracket and is equipped with both RJ45 ports including PoE++ and SFP ports.
signals up to 100m over a single Cat cable using HDBaseT. Supporting resolutions up to 8K60 4:2:0 and 4K120 4:4:4, the unit also includes USB extension, RS-232 pass-through and audio de-embedding for KVM and conferencing applications. The EX-35 -8K HDMI 2.1 extender supports 8K60 4:2:0 transmission over HDBaseT up to 35m, while incorporating bidirectional IR, RS-232 and balanced audio breakout. Also new is the EX-70 -H2C, which extends 4K60 4:4:4 HDMI signals up to 70m and adds ARC support, S/PDIF audio de-embedding and EDID
servers, with support for open industry standards such as SMPTE ST 2110, AES67, Dante, NDI and SRT. Partially derived from Lawo’s mc² console DSP algorithms, HOME Power Core delivers high-quality sound for AV and broadcast productions.
www.lawo.com
management for conference room installations. Further additions include the EX-40 -H2-ARC, combining 4K HDBaseT extension with ARC and S/PDIF audio return functionality, alongside the EX-60 -USB2, which enables USB 2.0 extension up to 60m over Cat cable. WyreStorm has also expanded its fibre transport offering with the EXF-10KM -5K SDVoE extender, designed to carry uncompressed 5K60 4:2:0 video over fibre up to 10km with low latency.
www.wyrestorm.com
RACKMOUNTED AV deployments are the focus of Lightware’s latest Taurus release, with the new Rack Taurus range designed for centralised installations in education, corporate training and large shared spaces.
Available in two versions, the Rack Taurus UCX-4x3 - TPX-TX30 -R and UCX-4x3 - TPN-TX30 -R combine USB-C and HDMI matrix switching with extension capabilities for video, audio and USB data. Both support 4K and 5K signal transport alongside BYOM workflows and the manufacturer’s LARA room automation platform. The TPX version is designed for direct-link SDVoE extension without
requiring a network switch, while the TPN model supports one-to -many AV-over -IP distribution across 10G Ethernet networks. Designed specifically for rack integration, the 1U units feature rear-facing connectivity, internal power supplies and front-to -back cooling to simplify installation and servicing within racks, lecterns and credenzas. Rack Taurus also provides dual 100W USB-C charging for connected laptops and can deliver 30W PoE+ power for connected devices. Video, control and USB 2.0 data can be extended up to 100m over SDVoE infrastructure.
www.lightware.com
OFFERING BIDIRECTIONAL SMPTE ST 2110
conversion to and from streaming IP video and audio codecs, Bridge Live IP simplifies the integration of compressed media into ST 2110 broadcast, live event production and streaming infrastructures. Intended specifically for use in 10/25GigE ST 2110 workflows, the Bridge Live IP transmits and receives up to four channels of UltraHDp60 or up to eight channels of 1080p60 HD. Built in collaboration with Comprimato, the 1U device unlocks many core remote production, synchronous multichannel video contribution, streaming and multi-bit rate/multi-format delivery
IP-BASED PRODUCTION continues to consolidate video, audio and communications within a single infrastructure, and Riedel’s latest releases reflect that shift with new tools across monitoring, commentary and signal transport.
The MediorNet HorizoN ST 2110 MultiViewer App brings multiviewing into SMPTE ST 2110 environments as a software-based solution running on the HorizoN platform. It integrates directly within IP infrastructures, supporting video, audio and ancillary data alongside NMOS-based control. The application enables high-density configurations, handling up to 128 picture-in -picture windows and 16 outputs within a 1U system.
capabilities of other AJA Bridge Live SDI-based models.
Designed to support live and remote production, applications include multi-camera podcasts, security and surveillance, esports and over-the -top (OTT) content delivery. The device can bring most IP video formats onto an ST 2110 network, including H.262, H.264 and
H.265 – with MPEG-TS, HLS, RMTP, RTMPS and SRT formats.
With the OG-GEN1, the US brand has devised an HD/SD/AES-11 sync generator that overcomes common timing challenges in broadcast, production, post and pro AV environments. Capable of unlocking equipment to a master clock for audio and video synchronisation in broadcast
PANASONIC HAS added two products to its professional AV portfolio in the form of Image Adjust Pro, a plugin for Media Production Suite, and the TL-55LV12A, a 55-inch dvLED display panel.
Image Adjust Pro is a software-based control plugin that allows operators to adjust image settings for multiple Panasonic studio and PTZ cameras from a PC or tablet. Intended for multi-camera environments, it brings camera management, status monitoring and image
adjustment into a single interface, reducing the need for multiple dedicated remote operation panels.
A single licence supports registration of up to 99 cameras, with control of up to 20 simultaneously. The manufacturer says that the plugin mirrors the functionality of its AK-HRP series hardware panels, allowing it to be used in hybrid environments where some cameras remain on hardware control while others are managed in software. An overview screen
provides system status across the network, while different GUI options are intended to suit varying workflows and operator preferences.
Meanwhile, the TL-55LV12A is a 55-inch dvLED display panel designed to simplify LED deployment in professional environments.
The unit combines a bezel-less design with controller-less HDMI input, removing the need for an external LED controller, while VESA mounting compatibility allows existing LCD videowall infrastructure to be reused.
With a 1.26mm pixel pitch and brightness of up to 800cd/m², the display is aimed at applications including corporate spaces, retail environments, transport hubs and control rooms. Multiple panels can be combined to form larger seamless displays, while the slim cabinet and front-access design are intended to simplify installation and servicing.
Panasonic says the display is designed for 24/7 operation and uses COB-type LEDs to improve durability.
The manufacturer has also strengthened its professional MEVIX display portfolio with the introduction of the SQ3 Series of 4K LCD displays aimed at applications requiring continuous operation across corporate, retail, education and monitoring environments. Addressing organisations’ demands for display solutions that are not only visually impactful
Also new is the Commentary Control App for 1200 Series Desktop SmartPanels, designed to support IP-based commentary workflows. The application allows a single panel to operate across multiple roles, including commentary unit, intercom panel and audio monitoring interface, with a user interface that can be adapted to different requirements. Completing the lineup is the StageLink NSA-008A Network Streaming Adapter, a 1U device designed to provide audio interfacing within IP-based systems. Supporting SMPTE ST 2110-30 and NMOS standards, the unit offers six universal inputs and six outputs.
www.riedel.net
settings, the openGear-compatible card features nine HD/SD reference outputs and one AES-11 reference output.
Introducing more reference outputs, redundant power and remote control through Ross DashBoard software, the OG-GEN10 adds to the GEN10 Mini-Converter feature set. Simultaneous HD tri-level and SD sync output is also supported, with the ability to toggle between HD formats for HD sync and Colour Black or Colour Bars for SD synchronisation.
www.aja.com
but also dependable and easy to integrate, the SQ3 Series is said to maintain a balance of performance, flexibility and operational reliability – making it suitable for applications where consistent, around-the -clock operation is essential.
The series supports 4K (3840x2160) resolution with 4K/60p playback, delivering detailed image reproduction for signage, presentation and control room use. A 25% haze anti-glare treatment is included to reduce reflections in bright spaces, maintaining visibility across a range of lighting conditions. Available in six sizes from 43- to 86-inch, the range is designed to suit both smaller meeting spaces and larger public-facing installations. Larger models use ADS panel technology to maintain colour and brightness across wide viewing angles, while smaller sizes incorporate VA panels. Installation flexibility is supported with tilt capability of up to 20° in both directions, alongside a signal detection function that powers the display on or off based on input activity to reduce energy usage. Connectivity includes three HDMI inputs with CEC control and HDCP 2.2 support, while RS-232C and PJLink compatibility enable integration into centrally managed AV systems.
pro-av.panasonic.net
DESCRIBED AS a fine pixel pitch LED panel designed for indoor rental applications, Absen has expanded its Saturn Series with the introduction of the SA1.5. With a 1.56mm pixel pitch, the SA1.5 offers a higher resolution option within the range, and is suitable for use in live events, broadcast and corporate environments. The panel retains the mechanical design of the existing series, allowing it to integrate with established workflows and accessory systems.
The SA1.5 is built around flip-chip COB technology, using a monolithic panel structure intended to improve durability and stability compared with conventional LED designs. Absen states that this approach also supports
lower power consumption and more consistent performance over time.
Visual performance is supported by an anti-reflection design incorporating a dark coating and anti-glare treatment, reducing surface reflections and improving black uniformity. The panel is also protected against dust, moisture and impact through a multi-layer protection system. The cabinet measures 500mm x 500mm and weighs 7.2kg, with a die-cast magnesium construction designed to maintain flatness during installation and use. A fast-locking system is included to support assembly, alongside edge protection to safeguard LEDs during handling.
www.absen.com
BOLIN HAS unveiled Range, reportedly the first PTZR camera built to function as an anywhere camera, allowing production teams to use the same camera across both indoor and outdoor environments. While most outdoor cameras sacrifice the size and usability expected from indoor production systems, Range maintains the form factor and visual presence of a professional indoor PTZ while adding the durability required for outdoor operation.
With 4K60 video and 25x zoom powered by a 1/1. 8-inch Sony sensor, Range is suited for applications ranging from studios and performing arts venues to sports production and live events. Its IP65 rating, concealed rain wiper and operating range from –40°C to +60°C allow the camera to operate in changing weather conditions.
Range also introduces a motion system, with brushless motors capable of PTZR movement up to 300° per second and acceleration from 0–120° per second in 200ms. The image module can rotate up to 270°, enabling vertical video, creative camera angles and horizon correction.
Additional features include an integrated screen for reviewing settings
and live preview, a built-in carrying handle with threaded accessory mounting points and support for both Ethernet and Wi-Fi connectivity. Connectivity includes 12G-SDI , HDMI 2.0, USB-C (UVC) and IP outputs, along with support for NDI, SRT, RTMP, RTSP and ONVIF workflows.
www.bolintechnology.com
MODULO PI has released Modulo Kinetic Version 7, 10 years after its launch. The upgrade sees the media server platform streamline production pipelines while reportedly offering greater flexibility, performance and control to designers,
platform’s 3D study capabilities. In addition, Version 7 adds new simulation features, including 3D LiDAR simulation for interactive experiences. Users can visualise sensor coverage, beam emission and occlusions, helping define optimal system configurations
integrators and operators. The user experience has been refined to simplify operations in multi-screen environments, while 3D capabilities have also been expanded. Native support for major 3D formats – including Cinema 4D and SketchUp – and point cloud data, combined with integrated prefab assets, enable users to design and prepare projects more efficiently within a single environment.
based on venue constraints and audience conditions.
WITH THE release of CorePlay 1.4, Analog Way has updated the software of its CorePlay Solo media player designed for live production environments. The update simplifies the management of multiple playback systems by centralising control, improving system visibility and streamlining media distribution workflows across CorePlay units.
To manage multiple playback systems deployed across different locations, CorePlay 1.4 enables operators to view and control multiple CorePlay units on the network from a single interface. Providing a consolidated view of system status across multiple servers, a side panel displays discovered units with live thumbnail previews and key playback information.
To monitor complex primary and secondary playback systems, CorePlay 1.4 brings both systems into a single remote control application interface. Ensuring a backup server is ready if required, visibility can be maintained without relying on additional screens or manual checks. To maintain stable connections to playback systems that can be affected by IP changes or device resets, CorePlay 1.4 also introduces automatic discovery of CorePlay units on the network. Enabling media to be deployed to multiple CorePlay units, the update promotes transfers from the remote control system, where transfers are queued and processed sequentially.
www.analogway.com
Projection workflows have also been further developed, with full 3D models of projectors, including lenses and frames, refined editing tools and direct 3D pre-warping capabilities. An optional 3D auto-calibration module is said to accelerate setup by automating multi-projector blending and warping, reducing calibration time compared to manual processes.
LED study and simulation have also been introduced, with an integrated database of over 2,000 LED panel models. This allows users to simulate real-world LED panels with accurate pitch representation, further extending the
A new tracking and crowd simulator enables realistic testing of audience behaviour and generative content, allowing designers to validate interactive scenarios ahead of onsite installation. Media workflows are also strengthened with broader format support, automated file synchronisation with remote servers and integrated content versioning for more efficient asset management.
Interactivity continues to evolve with spatially triggered video playback, an improved particle engine and high-performance rendering. A new multi-user particle system enables real-time generative behaviours that adapt to the number of active users. Real-time processing capabilities have been extended with over 150 new GPU-powered effects enabling advanced visual treatments, including live content, with minimal latency.
www.modulo-pi.com
NDI HAS announced the release of NDI 6.3, which focuses on advanced discovery, monitoring and control. The update addresses the need for clearer insight by enabling real-time monitoring of multiple active sources, providing diagnostics for stream health, and helping operators identify issues such as packet loss or jitter before they impact production.
In addition to monitoring and control enhancements, NDI 6.3 expands secure pro AV workflows through new HDCP compatibility. NDI now supports HDCP-enabled devices’ built-in collaboration with ProITAV, enabling protected content workflows that were previously out of reach for many pro AV environments, including use cases that require encrypted sources, licensed playback devices or end-toend content protection. Working closely with ProITAV, NDI developed the first NDI-enabled, HDCP-compliant encoder and decoder, which is fully integrated with NDI 6.3 for HDCP streams and non-HDCP streams.
The release also supports Agilex 7 FPGA chipset enablement, with the aim of expanding hardware support and strengthening the NDI ecosystem for high-performance deployments.
ndi.video
VIOSO HAS launched Experience Designer, a cloud platform enabling AV professionals to design, simulate and validate complex projection systems before entering the venue. The platform introduces the concept of a virtual site survey for projection installations, enabling designers to evaluate projector placement, brightness, lens behaviour and potential occlusions before arriving onsite. While seamlessly integrating with VIOSO’s calibration and playback solutions, the platform is deliberately open and vendor-neutral and can be flexibly integrated into existing workflows of AV planners, systems integrators, creative agencies and simulation environments.
Experience Designer addresses the fragmented nature of multiple disconnected tools by enabling full-system simulation in advance – allowing designers to validate feasibility, optimise system design and reduce uncertainty before equipment reaches the venue. Using real-time GPU rendering and physics-based photometric
analysis, users can instantly evaluate projection coverage and edge blending, brightness distribution and screen interaction, pixel density and visual fidelity, and line-of-sight constraints. Designers can import venue geometry, position projectors from manufacturer libraries and simulate real-world optical behaviour, including lens characteristics, frustum geometry and brightness falloff. Advanced capabilities include camera simulation, including fisheye systems for calibration planning, automatic multi-projector spacing with dynamic repositioning and occlusion detection using GPU-accelerated depth analysis. Experience Designer improves communication between technical teams, clients and stakeholders by replacing static drawings with interactive visualisation. Projects can be shared via simple links, allowing users to explore system layouts, coverage and visual outcomes directly in 3D.
www.vioso.com
STAGE PRECISION has released Grid Studio 2.1 with redesigned camera calibration workflows reportedly delivering a 16x faster process. The update also includes spatial sensing through new Grid Extensions and the release of Grid Recorder, a capture and replay software that eliminates repeat studio time for calibration, rehearsal and pipeline testing. Eliminating the margin for error that can exist when calibrating cameras for virtual production and similar environments, the automated calibration engine monitors and analyses tracking data continuously once the process has been initiated. There is no longer a requirement to hold the camera still, navigate to specific zoom steps or press a capture button, making calibration a fluid and natural part of the workflow.
Grid Studio 2.1 also introduces a new approach to lens modelling. Rather than
DESIGNED SPECIFICALLY for television, Blackmagic Ethernet Switch models are equipped with network connections are on the rear, for looming cables neatly. The latest Blackmagic Ethernet Switch 820 features front-to-back cooling, six fans for
collecting measurements at fixed positions and interpolating between them, the system builds a predictive model of how a lens actually behaves across its full range. Even a sparse calibration delivers reliable results across the entire zoom and focus range.
Operators can zoom and adjust focus freely while moving; the system captures the lens profile alongside spatial calibration in a single continuous pass. Higher distortion resolution means the profiles are also compatible with other lens model formats.
For LED walls, Grid Studio 2.1 introduces a spatial topology model. The system now understands that panels in a wall are structurally connected, so it can infer the position of panels it has not directly seen from the positions of their neighbours, directly addressing real-world pain points around minute variations in panel installations, complex curved configurations and the surface mesh gaps that cause set extension feathering artefacts in media server platforms. As calibration progresses, calibration screen feedback appears in the 3D viewport in real time with colour-coded status indicators. Camera positions are shown as preview markers in space. The state of the calibration is visible at every moment to guide the calibration engineer, without waiting for a full pass to complete.
www.stageprecision.com
NMOS control Ethernet connection ensures NMOS management traffic is separated from video and audio data. Critical for syncing video, audio and data streams, two redundant PTP clock inputs maintain precise timing for all equipment connected to the switch.
redundancy, dual redundant power supplies and simple router control. This quiet design is very important when users are working near equipment such as in broadcast trucks and mini racks.
Using QSFP sockets, the eight separate 100G Ethernet connections connect data ports on the HyperDeck ISO Recorder 100G and Blackmagic Cloud Store Ultra but can also be used for SMPTE-2110 networks with ATEM Constellation IP switchers and the HyperDeck ISO Recorder 100G. Ensuring low-latency switching over an SMPTE-2110 IP video network, the dedicated
Designed to record all cameras for live production, the HyperDeck ISO Recorder 100G records up to eight separate channels of ProRes HQ in Ultra HD SMPTE-2110 IP video onto high-speed network storage over 100G Ethernet. Featuring two dedicated 100G data ports for redundancy, recording to network disks onto the network storage servers commences once the desired folder is selected. With an ability to edit media while it’s being recorded, DaVinci Resolve allows multiple workstations to access
THE V-1-4K from Roland Professional A/V is a compact 4K60p video switcher that provides an easy transition to 4K workflows in today’s production environments. In addition, Graphics Presenter Version 3.0 software now offers 4K operation, and the VenuSet control panel software has been updated to support the V-1-4K.
Designed to address the need for imaging tools that deliver high-quality results without the size, cost and complexity of traditional broadcast systems, the V-1-4K delivers 4K performance in a portable and approachable design suitable for both emerging and experienced operators. Building on the workflow of Roland’s V-1 series, the V-1-4K offers 4K60p and HDR processing in a compact footprint.
Features include five HDMI 2.0 inputs and six total outputs, including HDMI, USB and multi-view scalers on every input for seamless operation with mixed 4K and HD video sources; 4K streaming output for direct use with popular conferencing, streaming and capture platforms; and multichannel audio mixing with effects and processing.
the same storage. Simplifying live action sports replay, cameras can be displayed in a multiview viewer for live scrolling all the angles in real time. While playing to air, a new angle can be selected in DaVinci’s multiview.
Featuring a machined metal search dial with increased mass and a soft rubber surface, the design combines broadcast deck controls with front-to -back cooling and full redundancy on all video and data connections. The LCD screen supports both light and dark modes, and the search dial
it compares incoming RTP packets by sequence number before reconstructing a video frame from whichever packet of pixels arrives first.
Delivering 16 channels of 12G-SDI and SMPTE-2110 conversion via a single 100G Ethernet connection, the SD Expander 8x12G simultaneously converts bidirectionally at the same time. Capable of supporting eight bidirectional 12G-SDI connections, the converter features two separate 100G Ethernet connections allowing SMPTE-2022-7 redundancy. It converts eight independent
features an active clutch like a traditional broadcast deck. SMPTE-2022 -7 Seamless Protection Switching sends two identical copies of video and audio across both connections, and on the receive side
It also comes with control for a wide range of PTZ cameras, with remote operation supported through dedicated Roland control apps for macOS, Windows and iPadOS.
Roland’s companion Graphics Presenter software has also been updated to version 3.0 with full 4K rendering and output. When paired with the V-1-4K, operators can create polished,
channels of 12G-SDI to SMPTE-2110, while simultaneously converting a separate set of eight SMPTE-2110 channels back to 12G-SDI
www.blackmagicdesign.com
broadcast-style visuals without requiring a dedicated graphics workstation. VenuSet version 1.2 (iPadOS, macOS and Windows) works with the V-1-4K and other supported Roland video products, allowing users and systems integrators to create customisable control interfaces tailored to specific events or operator skill levels. This approach is suitable for environments where non-technical staff may be asked to manage AV systems. By enabling operators to build minimal, purpose-driven layouts, VenuSet is said to reduce barriers to high-quality video switching and ensure consistent, reliable operation.
proav.roland.com
THE KX9980 5K DisplayPort dual-display KVM-over-IP from ATEN International integrates USB 3.2 for data transfers and VM (virtual machines) support via KVM-based IT/OT network separation. The model supports broadcasting, industrial control, NOCs, energy, transportation, medical training, imaging and traffic management.
KVM-over-IP with USB 3.2 support allows users to access and control peripherals over an IP connection via a local setup.
Beyond remote console monitoring, a local PC console dedicated to operations allows access to both physical servers and virtualised
environments, while keeping the physical OT infrastructure isolated. This hardware-based isolation supports operational security and system integrity in the event of a network breach or system downtime.
It also delivers 5K@60Hz (4:4:4) visualisation with lossless compression and a wide colour spectrum for image rendering, supporting up to 240Hz at 1080p or 144Hz at 1440p. It supports uptime via network and power redundancy, while Panel Array Mode and Video Wall integration support multi-user operations.
www.aten.com
THE IMPRESSION X5 Dot Wash from GLP is described as the most compact fixture in the line to date, bringing the colour quality, consistency and system logic of the X5 platform to an ultra-compact form factor barely larger than a classic MR16 “Birdie”. It has been designed for applications where powerful, highquality light is required in the tightest of spaces. At its core is a 40W RGBL LED engine drawn from the X5 family, operating at up to 20W and delivering a light output of up to 550 lumens
at 6,500K. Weighing 580g, the fixture is light and versatile, and, thanks to its fanless design, reportedly operates in complete silence. The combination of an RGBL LED engine and GLP’s iQ.Gamut colour algorithm deliver “precise colour mixing, consistent white points and finely graded pastel tones”. 16-bit colour control further enables smooth transitions and clean dimming curves.
By rotating the front lens, the X5 Dot Wash’s beam angle can be adjusted manually from 16° to 68° without altering the physical dimensions of the unit. Meanwhile, the Colour Boost function gives the impression X5 Dot Wash a power management system that provides additional output when producing deep, saturated colours. This allows the fixture to achieve high intensity even in bold hues. The X5 Dot Wash carries an IP65 rating; a supply voltage of 24–48V DC is sufficient – no dedicated external drivers or elaborate additional hardware are required. Control is available via DMX/RDM or wirelessly through GLP iQ.Mesh.
Finally, JDC2 IP V2.0.1 reportedly increases output by 25%, simplifies the setup workflow and expands the DigiFX functions for dynamic content directly from the lighting console, without the need for an external media server. Integration of Canvas, Device Position and external NDI sources has been improved, while and sACN control options have been www.glp.de
BEAMZ HAS expanded its professional laser offering with the introduction of the Brute series, comprising 12W and 20W models with both FB4-integrated and standard control variants. The range includes the Brute 20000FB4 and Brute 12000FB4, which feature integrated Pangolin FB4 control, alongside the Brute 20000 and Brute 12000, which are designed for operation via ILDA and DMX. Across the series, all models use analogue RGB modulation to deliver smoother colour transitions and a wider colour spectrum.
Output options are available at 20W and 12W, with diode configurations providing up to 4,000mW red, 4,000mW green and 12,000mW blue on the higher-powered units. All fixtures incorporate 35K@8° optical scanners with a maximum scan angle of 50°, supporting detailed graphics projection and beam accuracy.
The FB4-equipped models support network-based control via Art-Net and sACN, with etherCON connectivity, while the standard versions offer DMX and ILDA control alongside standalone auto and sound-activated modes. Both configurations
are designed to suit fixed installations as well as touring and event applications. Each unit is housed in an IP65-rated enclosure with a dust-resistant aluminium construction, allowing use in both indoor and outdoor environments. Additional features include scan fail safety systems, emergency stop connectivity, temperature-controlled cooling and front-panel displays for system monitoring and setup.
www.beamzlighting.com
DESIGNED FOR architectural lighting applications, Anolis has introduced Calumma Arts and Calumma UN (Ultra Narrow). Calumma Arts uses interchangeable textured glass and lens options to create a range of visual effects, allowing light to be adapted to different surfaces and structural features. The fixture is available in three sizes – XS, S and M – supporting use across a variety of installation scales.
Calumma UN is designed for applications requiring tightly focused output, enabling accurate highlighting of fine architectural details as well as longer throw projection. Both fixtures form part of the Calumma range, targeting projects where control over beam shaping and visual flexibility is required.
www.anolislighting.com
FEATURING ROBE’S optical design and seven 55W RGB Lime multichip LEDs, the LEDBeam 200 delivers 25,000 lux at 5m from a compact 6kg fixture, while drawing just 330W of power. A CRI of 86 and a variable white CCT range from 1,800–10,000K are said to result in accurate colour reproduction. Lampselectable tungsten emulation and onboard DataSwatch virtual colour library provide consistent colour control via RGBL or CMY control. The noise-dampened 15.5:1 zoom ratio offers a beam angle of 3.8–60°, allowing smooth transitions from tight beams to wide, even coverage. ScreenPix reportedly enhances visual impact through multi-zone RGB control across the fixture display, while intuitive macro access adds an additional layer of effects.
The Arianne 6 features 19 55W RGB lime LED multichips and delivers 100,000 lux at 5m from a compact chassis. With variable CTO from 1,800–10,000K and authentic tungsten lamp emulation for 750W, 1,000W, 1,200W, 2,000W and 2,500W lamps, users reportedly gain improved colour fidelity with a maximum attainable CRI of 86. A motorised zoom range of 3.8–60° enables seamless transitions from tight, concentrated beams to broad, expansive washes. The onboard DataSwatch colour library provides 66 pre-mixed colours and tones, including commonly used whites.
Equipped with a digital camera on its head, the T3 Profile FS can be easily connected with the RoboSpot BaseStation. Designed for long-throw applications, it delivers over 40,200 lumens (integrating sphere) from its 1,400W MSL ( Multi-Spectral -Light) LED engine. The fixture offers user-selectable CMY, RGB or individual colour emitter control. Colour features include the DataSwatch virtual colour library, factory calibrated whites, a 2,700–8,000K CCT range and lamp-selectable tungsten emulation. Finally, the T10 Profile MFS uses the MSL additive colour mixing system with advanced TE technology. To maximise output from the compact 200W design without overdriving the LEDs, ECHO2 (Enhanced Colour Homogenisation and Output) technology has been added to increase lumens per watt performance while ensuring white and colour homogenisation and eliminating tint shifts, colour artefacts and fringing. The 200W LED engine produces over 8,300 lumens and delivers the same colour characteristics, response and control of other T Series luminaires. Virtually controlled CCT ranges from 2,700–8,000K (extended 1,800–10,000K) with calibrated whites and tungsten emulation for precise adjustment.
www.robe.cz
ADDITIONS TO Chauvet Professional’s lighting portfolio see the STRIKE Array Ultra blinder and COLORado PXL Curve 1 batten targeting flexible stage and production design applications. The STRIKE Array Ultra combines a highoutput central LED source with an RGB halo ring, creating a dual-layer fixture that can deliver both intense white output and colour effects, while the COLORado PXL Curve 1 is a compact RGBW batten designed for pixel-mapped applications. Independent control of the STRIKE Array Ultra’s core and halo allows designers
ETC HAS released the newest member of the Hog family, the Tour Wing. The playback hardware is described as the go-to for Hog users looking for additional faders. It has the same road-tested design as other Hog family members and brings motorised playback control to any Hog system.
Complete with 10 motorised, RGB-backlit playbacks, RGB-backlit keys and a full dashboard display, the Tour Wing seamlessly integrates with all consoles in the Hog family, as well as the Hog PC, allowing users to unlock 12 universes of control directly. Users can customise their workflow with intuitive controls and a modular design, making the Tour Wing suitable for productions of any size that require or desire a wider array of playback options.
device converts DMX or sACN control into DALI, providing a link between entertainment and architectural lighting systems. The DIN-mounted unit supports four DALI subnets, each with an integrated bus power supply, allowing multiple fixtures and control groups to be managed from a single gateway. A web-based interface is included
with compliant third-party enabling integration into wider lighting
The launch of the Hog Tour Wing brings with it the release of Hog OS v5.1. Version 5.1 supports the Tour Wing on all new Hog consoles, the HPU and Hog PC, and brings improvements to direct entry, adjusted UI for the dashboard displays and support for dashboard sleep, new toolbar defaults and additional functions for the U Keys.
Meanwhile, the manufacturer has also unveiled the Response DALI Gateway MK2, a DALI-2 certified device developed to meet the growing demand for DALI applications. The
control systems. It is designed for use in environments such as commercial buildings, hospitality spaces and public infrastructure, where DALI-based control is increasingly adopted. By bridging DMX and DALI protocols, the Response DALI Gateway MK2 supports hybrid systems where theatrical control and building management requirements need to operate alongside each other.
www.etcconnect.com
to build a variety of looks within a single unit. Built for touring and outdoor use, the IP65-rated fixture can be configured vertically or horizontally and integrated with other units in the range to form scalable blinder arrays. A motorised pan function adds further versatility, allowing multiple fixtures within a rig to move independently.
The COLORado PXL Curve combines a primary RGBW LED source with a linear array of warm and cool white strobe LEDs, enabling wash and strobe effects from a single fixture. Motorised pan, tilt
and zoom allow the unit to be adapted to different rigging positions and beam requirements, while alignment pins support consistent spacing when multiple fixtures are used together. Control is supported via DMX, Art-Net and sACN, with RDM and NFC included for addressing and configuration. Housed in an IP65-rated enclosure, the COLORado PXL Curve 1 is intended for both indoor and outdoor use across touring, broadcast and installation environments.
www.chauvetprofessional.com
China’s Special Administrative Region (SAR) is leveraging venue innovation, immersive experiences and event infrastructure to challenge Las Vegas, finds Richard Lawn
IF YOU DROPPED AN UNSUSPECTING VISITOR ONTO Macau’s Cotai Strip, the visual cues might feel familiar: Venetian canals, an Eiffel Tower replica and sprawling casino resorts. But Macau is no longer content with imitation; it is actively redefining itself as a next-generation entertainment hub where technology, venue design and programming are as critical as gaming revenue.
Rising by 9.1% to US$30.7bn in 2025, dwarfing Nevada’s $15.8bn, the gaming sector still dominates profits in Macau. However, visits are increasingly driven by the growing entertainment ecosystem, with a portfolio of world-class venues designed to attract global touring productions, sports franchises and broadcast events. Having overtaken its US counterpart as the world’s gambling capital, there is now sustained pressure from government to diversify. When casino concessions were renewed in 2022, Macau’s six operators committed nearly $15bn to investment over the next decade, with around 90% earmarked for non-gaming attractions such as live events, immersive attractions and high-spec venue infrastructure designed to keep audiences onsite. Part of the transformation is to attract younger visitors who are drawn to Macau for the experiences it offers, rather than with a singular focus on the gaming tables. A reimagined production of House of Dancing Water is now running at the City of Dreams while recent sold-out concerts include Westlife at The Londoner Arena and Jackie Cheung at Galaxy Arena, and upcoming sporting events such as UFC Fight Night at Galaxy Arena and NBA games at The Venetian Arena are scheduled for later this year.
The formula for what has become known as the “concert economy” integrates headline shows, sporting events such as NBA games and cultural programming to drive footfall, which in turn feeds gaming, retail and hospitality spend. There is also a growing focus on art galleries, immersive installations and community events, aligning with government objectives around economic diversification while broadening Macau’s appeal to non-gaming audiences. Along with advanced AV and lighting
systems, high-capacity rigging, flexible staging and digital infrastructure to support broadcast, hybrid events and live streaming, VIP suites offering full AV integration further enhance the visitor experience.
This integrated approach is embodied by Sands China, whose portfolio has created a connected “resort city” on the Cotai Strip. Its combined properties – The Venetian Macao, The Londoner Macao, The Parisian Macao, The Plaza Macau and The Sands Macau – offer more than 12,000 hotel rooms, 150 dining options, extensive retail facilities and venues with a total capacity exceeding 26,000 seats. The sheer scale enables year-round, diverse programming across a wide spectrum of entertainment activities. It also supports the rapid turnaround and technical consistency required by global promoters, indicating that adaptability, technical specification and integration are increasingly vital to Macau’s venues.
Sands China’s flagship is The Venetian Macao, one of the largest buildings on earth. Its recently refurbished 14,000 -capacity Venetian Arena features extensive VIP facilities, enhanced audio and lighting systems and increased rigging capacity, reflecting the shift towards premium, production-friendly environments.
Retractable seating systems allow rapid reconfiguration, enabling the venue to move between sports, concerts and corporate events with minimal downtime, allowing it to expand and diversify its events calendar.
The only other venue capable of accommodating more than 10,000 is the 16,000 -capacity Galaxy Arena, while the 6,000 -seat Londoner Arena sits between theatre and arena: large enough for international touring acts but designed to retain intimacy. Its amphitheatre layout prioritises sightlines and proximity, while a customisable floor and retractable seating enable everything from standing concerts to banquets and sporting events and flexible staging and production infrastructure supports a wide range of touring requirements.
Asia’s first L-Acoustics Ambiance system was recently installed into the Grand Hall at the Grand Lisboa Palace, while the Sands group has also chosen the French brand for many of its arenas and theatres, together with Robe, ACME and GLP lighting fixtures, a strong focus on pixel-mapping capabilities and MA Lighting control systems. Site-wide intercom systems including Clear-Com Arcadia, HelixNet and Eclipse were rolled out as part of a major renovation project starting in late 2024.
“By maintaining strong in-house infrastructure, we can support a wide range of events, from international concerts to large-scale sporting fixtures,” comments Cormac Veale, technical director at Sands China. “At the same time, we provide promoters with the freedom to use our equipment or bring in their own.”
Despite the push towards entertainment, Macau is unlikely to mirror Las Vegas’s revenue mix anytime soon, where non-gaming revenue now accounts for roughly two-thirds of total income. However, that doesn’t diminish the importance of entertainment investment, instead highlighting Macau’s strategy of using world-class venues and programming to sustain and grow gaming rather than replace it. And with 2025 visitor numbers hitting a record 40,069,360, a 14.7% increase year-on-year, the strategy appears to be gaining traction.
Macau’s transformation is still in progress, with entertainment technology continuing to play a central role as the SAR invests in infrastructure, talent and programming, boosting its position as a global entertainment hub. Las Vegas may have written the original playbook, but Macau is adapting it with a modern, technology-driven twist.
Whether deploying a redundant or primary-only network topology, the MS8.2 Milan network switch is perfectly suited to simplify mobile, installed systems and spatial audio applications.
