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ProAVLAsia November–December 2026

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION November–December 2026

IMMERSED IN THAI TRADITION

Long-term vision brings immersive sound to Bangkok’s National Theatre

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CINEOM INTEGRATES MUMBAI’S IICT

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SUNWAY UNIVERSITY’S MEDIA CITY

BEAMZ: FOCUSING ON THE FUTURE PROLIGHT + SOUND DEBUTS IN BANGKOK

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Contents

Volume 25 Issue Six

November–December 2026

Editor’s Letter

NEWS 4 News 16 Distribution 18 Appointments

22 Smaller projects And just like that, we find ourselves at the final edition of 2026. At this time of year, it’s customary to pause, take stock and wonder where the past 12 months have gone. But this year seems to have accelerated at an unprecedented pace, with barely a moment to draw breath between one industry milestone and the next. From the record-breaking ISE 2026 in early February through a packed calendar of Asian travel, landmark installations, product launches and industry developments, 2026 has been a year of big ideas, ambitious projects and plenty of miles on the clock, with no shortage of stories to tell along the way. One theme that continues to resonate across the region is the importance of education and investments being made to equip the next generation with the skills, knowledge and creative confidence to shape the future. This issue brings that commitment into sharp focus, with three of our major features

exploring state-of-the-art institutions that are raising the bar for learning, performance and technical innovation. The result of an eight-year project, Sunway University has unveiled its world-class media production facility in Kuala Lumpur (p.46). You can read the second part of our Edith Cowan University coverage detailing new teaching spaces and performance AV venues on page 50. Meanwhile, an initiative to boost what India is terming the AVGC-XR sector – animation, visual effects, gaming, comics and extended reality – sees the Institute of Creative Technology open in Mumbai (p.44). These are environments designed to nurture talent, encourage experimentation and prepare students for an increasingly sophisticated media and entertainment landscape. If the quality of these facilities is any indication, the future of the region’s creative industries is in capable hands.

FEATURES 42 Canaries Post Sound 44 Indian Institute of Creative Technologies 46 Sunway University 56 MTR headquarters 58 COVER Bangkok National Theatre BUSINESS 60 Letters

62 PL+S Bangkok show report 64 InfoComm India show report 66 IBC show report 68 RF-over-fibre

70 BeamZ profile

Email: cmoss@proavl-asia.com

50 Edith Cowan University part 2

NEW PRODUCTS 73 The industry’s most

comprehensive product news

POWERING DOWN 98 N ugen Audio’s Sophie Guest

Yuvaraj Parmar

Carolyn Valliere

Simon Luckhurst Senior reporter

Editorial coordinator

Karen Wallace

Bea Meikle

rlawn@proavl-asia.com

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sluckhurst@proavl-asia.com

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bmeikle@proavl-asia.com

Nick Smith

James Boakes

Jack Stennulat

Adrian Baker

Marne Mittelmann

Sue Su

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LICENCES: Singapore: MDDI (P) 037/04/2026; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

PRINTING: Times Printers Singapore

COVER: Bangkok National Theatre

November–December 2026 PRO AVL ASIA 3

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NEWS

ISE 2027 expands WORLD

Integrated Systems Europe (ISE) will return to Barcelona from 2–5 February 2027, with an exhibition floor already 7% larger than 2026 as the show broadens its focus across AV, broadcast, content production and creative technology. Running under the theme When Worlds Unite, ISE 2027 will maximise the available space at Fira de Barcelona Gran Via, including the return of exhibition space at the East Access and a new Outdoor Structure at the South Access. Hall 8 at Fira Montjuïc will host the returning Spark programme and EdTech Congress Barcelona on 3–4 February. “The most interesting opportunities increasingly exist at the points where different disciplines meet,” commented Mike Blackman, managing director of Integrated Systems Events. Spark will expand its programme connecting AV with creative technology, immersive experiences, content, entertainment and gaming. The 2027 edition will feature two stages, an immersive pavilion and live showcases across an enlarged show floor.

A Broadcast Enterprise Studio will also be introduced in Hall 4, powered by AVIXA TV. It will demonstrate workflows for enterprise content production, including podcasts and interviews, covering cameras, microphones, lighting, switching, branding, captioning, AV distribution, streaming and editing. The content programme will grow, with the Megatrends programme doubling in size to cover AI, robotics, machine learning, cybersecurity, smart spaces, sustainability and tradescape. Half-day summits will focus on digital signage, cybersecurity and control rooms, while the four-day CEDIA Smart Home Technology Conference returns alongside an expanded Open Content Programme. Three keynote sessions have been announced. Former Google chief business officer Mo Gawdat will deliver the Tuesday Business Keynote, while Crestron will bring FC Barcelona CIO Miriam Ferrando to the stage on Wednesday. A Creative Keynote linked to ISE’s work with Casa Batlló will also take place. www.iseurope.org

Mike Blackman unveiled next year’s show at the ISE press event in Munich

Golden Sea takes stake Ideal Systems SEA rebrands in Follow-Me SOUTHEAST ASIA

WORLD

Chinese entertainment technology group Golden Sea has acquired a majority stake in Dutch performer tracking specialist Follow-Me, adding its tracking technology to the group’s portfolio of live entertainment brands. Follow-Me will retain its independent status while gaining access to Golden Sea’s R&D resources, manufacturing capacity and international network. Marking its 10th year of operation, Follow-Me develops fixture-agnostic tracking systems for live entertainment. Its portfolio includes the Track-iT automated tracking system and DELT∆ manual performer tracking platform. The acquisition covers applications across touring, events, theatre, broadcast, themed entertainment and permanent installations, combining Golden Sea’s entertainment lighting expertise with Follow-Me’s tracking technology. “Access to Golden Sea’s global engineering resources, facilities and international network

provides us with the platform to deliver even more for our customers,” said Erik Berends and Marc van der Wel of Follow-Me. “Our partners, customers and employees will all benefit from the momentum this brings to the live entertainment market.” Christopher Agius Ferrante, vice president Golden Sea, responsible for overseas subsidiaries, added: “This agreement truly underpins our strategy to architect a portfolio of complementary brands, each at the top of its game. We warmly welcome Follow-Me into the Golden Sea family.” Follow-Me will remain headquartered in the Netherlands, with its existing team staying in place. Cofounder Erik Berends will continue as technical director, while Marc van der Wel remains managing director. Cofounder Gary Yates will step down as director but continue as an advisor to the board.

Ideal Systems’ Southeast Asian operations have been rebranded as AVBuddy Integration following a management buyout that established the Singapore-based systems integrator as an independently owned company. The rebrand covers Singapore, Malaysia and Indonesia, following CEO and founder Fintan Mc Kiernan’s acquisition of the remaining shares in the business from Ideal Systems Group in Hong Kong. Mc Kiernan joined Ideal Systems Group 15 years ago to establish its Southeast Asian operations, which have since grown to more than 100 employees across the three markets. The company’s portfolio spans broadcast and AV systems, with an expanding focus on immersive digital experiences, corporate TV studios, LED displays, content management, collaboration spaces, IP networking and AI-enabled AV. “This is much more than a name change,” said Mc Kiernan. “It marks the next chapter for our business. We are now an independently owned Singapore company with a clear focus on audiovisual technology in Southeast Asia.

While our name and visual identity are changing, our people, expertise, engineering capability and commitment to our customers remain the same. AVBuddy Integration reflects who we have become and where our business is heading.” AVBuddy Integration will serve sectors including corporate, education, hospitality, sports, government, marine, retail, healthcare, airports and houses of worship. Its services include system design, project management, installation, commissioning and lifecycle support across enterprise AV, broadcast and production, LED displays, audio, networking and command-andcontrol environments. The rebrand will be rolled out across the three markets. Existing customers will continue working with the same local teams, engineers and project managers, while contracts, warranties, service agreements and customer relationships will remain unchanged. Company registration numbers will also be retained. www.av-buddy.com

en.goldensea.com www.follow-me.com

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NEWS: BUSINESS

Midwich Asia opens in Singapore SINGAPORE

Marking the next stage of the company’s growth across Southeast Asia, Midwich Group has opened the doors to its new experience centre in Singapore. The group said that the move reinforces its longterm investment in the region, establishing Singapore as a central hub for its regional operations to support its growing network of customers, technology partners and industry stakeholders. Midwich Asia currently boasts offices in Malaysia, Singapore and Indonesia with a growing regional team spanning 20 members. The new location has been designed as a space where visitors can connect with the Midwich Asia team, experience technologies in working environments, explore integrated solutions and participate in demonstrations, training and industry engagement activities. The facility was officially opened with a launch bringing together Midwich Group leadership, customers, technology partners, industry

L–R: Alex Kemanes, Stephen Fenby and Will Fenby cut the ribbon at the official launch stakeholders and members of the media. Following the ribbon-cutting ceremony, Midwich Group and regional leadership took part in a panel discussion titled Building the Future of

Planetcast acquires BroadStream WORLD

Broadcasters looking to connect playout, localisation and distribution workflows will be the focus of Planetcast’s acquisition of BroadStream Solutions, which adds integrated playout, captioning, subtitling and broadcast workflow technology to its global media services offering. BroadStream will form the foundation of a newly established products division, combining its software portfolio with Planetcast’s media services and infrastructure to support linear, streaming and hybrid workflows.

Tech in Southeast Asia, exploring the group’s long-term ambitions for the region, Singapore’s role as a strategic hub and the evolving role of specialist distribution.

Stephen Fenby, group chief executive, Midwich Group, said: “Our approach has always been to combine the scale, relationships and specialist expertise of the wider group with strong local teams who understand their markets. This new space gives Midwich Asia an even stronger platform from which to support our customers and vendor partners, develop local capability and continue building the business across Southeast Asia.” Will Fenby, director – business operations SEA, Midwich Asia, added: “Our growth in Southeast Asia has always been built around being close to our customers and partners. The new Singapore experience centre gives us a home where we can bring those relationships together with technology, technical expertise and hands-on experiences.” www.midwich.com.sg

Adam Hall brings partners together

across content preparation, playout, localisation, streaming and distribution, while giving customers the flexibility to build solutions around their specific operations and growth plans.” BroadStream CEO David Bowes will lead the new products division, overseeing product strategy, development and go-tomarket activities. Planetcast said the transition would also support existing customers and partners. Bowes explained: “Joining Planetcast gives us a much broader portfolio, greater

INDONESIA

BroadStream’s OASYS Integrated Playout platform will be a key component, alongside solutions for time delay, captioning, subtitling and accessibility. The combined portfolio will cover content preparation, playout, localisation, streaming and distribution. “BroadStream is a natural fit for Planetcast as we expand our product capabilities alongside our global services business,” said Sanjay Bhatt, CEO, Planetcast. “This acquisition brings together BroadStream’s proven broadcast products with Planetcast’s services and global infrastructure to support customers across more of the content lifecycle. The combination creates new opportunities to connect these capabilities

global reach and access to new resources. Together, we can build on the relationships and solutions we’ve established with our customers, introduce additional capabilities as their needs evolve and bring that same approach to new customers and markets around the world.” The acquisition expands Planetcast’s offering beyond media services and distribution infrastructure into broadcast software, with the new division also supporting further product development and international availability. www.broadstream.com

The Adam Hall Group’s Global Partner Summit brought together selected partners, customers and industry representatives from Asia Pacific and, for the first time, Europe to discuss changing market requirements, shared business opportunities and long-term growth in a challenging economic environment. The event builds on the APAC partner format established in Bali in 2024. “The most honest conversations don’t happen in between trade fair appointments,” said Kati Eismann, co-CRO of the Adam Hall Group, in her opening remarks. “We brought partners from Europe and Asia Pacific together around one table to talk openly about challenges and opportunities: about investment decisions, new technologies and demand that is noticeably shifting and becoming increasingly hard to predict. None of us has all the answers alone. Together, we see the market far more clearly.” The summit centred on two themes. “Shaping the Future” examined customer investment decisions, project efficiency and

where partners require greater support. Eismann said the discussions highlighted the importance of service, availability and planning certainty alongside product offerings. The second theme, “Beyond Partnership”, focused on involving partners earlier in the development process, rather than solely at product launches. During discussions and individual meetings, attendees provided feedback on upcoming products and the development direction of LD Systems, Cameo, the Integrated Systems portfolio and other Adam Hall Group brands. Markus Jahnel, CRO of the Adam Hall Group, said: “Anyone can be a partner in the good years. It gets interesting when the market is tough. At the summit, the people around the table knew their markets better than any study. When we bring their experience into our development processes early on, the result is products that genuinely work in practice. That’s exactly what we mean by ‘Beyond Partnership’.” www.adamhall.com

www.planetc.net

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NEWS: BUSINESS

d&b Korea becomes Echtec SOUTH KOREA

d&b audiotechnik Korea has changed its name to Echtec Korea, with the company continuing as the German manufacturer’s official distributor in South Korea under CEO Daniel Kim. The new identity retains the team, expertise and customer relationships built during almost three decades representing d&b audiotechnik in the Korean market. Echtec Korea will continue to provide product supply, systems design, training, demonstrations, installation assistance, technical support and after-sales service. “I take the 30 years of dedication and hard work of d&b audiotechnik Korea very seriously,” commented Kim. “Moving

forward, I want Echtech Korea to engage with customers in a more personal, sincere and authentic way.” Kim joined the company in 2013, progressing from team leader to senior managing director. His background spans architectural design, acoustics, music, systems integration and technical training, alongside the development and operation of cultural and performance venues. He has overseen d&b installations at Busan Concert Hall, Busan Asiad Main Stadium, Everland, Manna Church and the National Intangible Heritage Center. His experience also includes Soundscape operation and content creation.

“We will build on what we do best, while responding quickly and decisively where we need to change,” continued Kim. “Our ambition is to maintain the high standards established over the past three decades, raise them further and play a pioneering role in the Korean market.” Echtech Korea said the rebrand represents continuity rather than a departure from its history, with plans to strengthen services and customer relationships while building on d&b audiotechnik’s established presence in South Korea. Daniel Kim will lead Echtec

www.dbaudio.com

StageMix showcases DAS in Delhi INDIA

StageMix recently welcomed around 50 customers and industry professionals to the Sheraton New Delhi Hotel for a presentation on DAS Audio systems. The event was attended by the Spanish manufacturer’s CEO, Manuel Peris, alongside Luis García, sales manager for Southeast Asia and Oceania. The event was designed to strengthen the collaboration between DAS Audio and StageMix in India, as well as to provide another opportunity to maintain direct contact with professionals in the market while introducing them to the latest developments from the brand. As DAS Audio’s distributor in India, the entire StageMix team was in attendance including directors Karan Nagpal and Eshdeep Bahsin who led the event. During the session, the Lara, Lara-Sub and point source systems from the Ara

DAS Audio product portfolio, with Event-30A and Event-S218A units demonstrated to enable attendees to hear them in operation. The meeting also gave the DAS Audio and StageMix teams the opportunity to speak directly with the professionals attending, answer questions and explore the features and applications of the different systems presented. “India is a very important market for DAS Audio and events like this allow us to stay close to professionals, listen to their needs and directly present the solutions we are developing together with StageMix,” commented Peris. Solid State Logic, another brand represented by StageMix, was also present with a dedicated space for its own solutions. Series were presented, giving attendees a first-hand look at the systems’ features and capabilities.

The new generation of the Event Series also played a prominent role during a presentation focused on the latest solutions added to the

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NEWS: BUSINESS

Sama Sound hosts HK Audio Lunar event SOUTH KOREA

Sama Sound introduced HK Audio’s Lunar range to the Korean market through a three-week Open House at its Seoul office, giving customers and industry professionals the opportunity to experience the manufacturer’s Portable Sound products in a dedicated listening environment. The event transformed a former band rehearsal room into a demonstration space, building on the office’s existing role as a venue for customer support, training sessions and other programmes. Students from Sama Sound’s scholarship programme were also among the visitors, broadening the initiative’s reach to younger audio professionals. The main setup paired two Lunar 112 XA loudspeakers in stereo with a Portable Sub 115 A. Polar 8 MK2, Polar 10 MK2 White and Sonar 110 Xi were available for individual demonstrations, while a Portable Sub 118 A was displayed separately to highlight its rear-panel controls and versatility. Rather than conventional product presentations, Sama Sound offered reservation-based listening sessions for groups of up to five people per hour. Following a brief introduction, visitors could explore the systems at their own pace using a reference playlist curated to demonstrate different frequencyC ranges and reveal the performanceM of the loudspeaker and subwoofer Y combination. Among those attending was CM Mark Kim, who runs Team Mark, MY an engineering team working with Korean artists and bands, includingCY Car the Garden. He shared his CMY impressions of the Lunar and Portable Sub combination, stating: K “The clarity and energy in the low-mid range exceeded my expectations. I think this combination would be a great option for venues and small to mid-sized rental companies looking for high-quality sound.” The initiative aimed to raise awareness of Sama Sound and HK Audio among end users, particularly younger customers, while supporting the brand’s growth in South Korea. Social media content and creator collaborations extended the campaign’s reach, with videos from the Open House continuing to be shared after its conclusion. “Really inspiring to see such a creative and hands-on approach from our Korea team,” said Isabelle Wear, head of APAC at HK Audio. “The Lunar Open House is a fantastic way to engage customers and let them experience the products in a relaxed, inspiring

59 PM

environment. Great work by the team, a wonderful example of local creativity and initiative across APAC.” The Open House also formed part of Sama Sound’s wider programme leading up to the HK Audio Experience Day, planned as the brand’s largest event in Korea this year. The event welcomed 55 visitors during its first four days, with total attendance projected to exceed 100. www.hkaudio.com

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NEWS: BUSINESS

A&L and RCF reconnect in KL MALAYSIA

Kuala Lumpur-based distributor Acoustic and Lighting (A&L) hosted two events under the banner “Reigniting the Journey” to promote RCF and TT+ Audio products. The first, held in the Malaysian capital, featured the RCF EVOX portable speaker system and TT+ Audio GTX7 line array, with A&L business development director Michelle Yeo reporting positive feedback. “We have been a partner of RCF since 2004 in Malaysia and so today’s event commemorates that anniversary as well as RCF’s 77th birthday,” said Yeo. “We are officially introducing the TT+ Audio brand, which focuses more on larger concert and

touring events or venues including stadiums and arenas, in addition to the portable EVOX series. Following the demonstrations, we have received positive comments regarding impressive SPLs, dispersion qualities, power handling and ease of setup features.” RCF’s recently appointed Southeast Asia business development manager, Adam Wong, also attended. He highlighted the GTS subwoofers, including single and double 16and 19-inch versions designed to supplement the GTX7 double 7-inch line array system: “When guests are discussing pricing after the demonstrations, it means they enjoy the listening experience and are interested

APAC sales manager Federico Lugli travelled from RCF’s headquarters in Reggio Emilia, Italy, to attend. He recalled meeting A&L CEO Yeo Kim San in Thailand in 2004 and said the event offered an opportunity to reconnect with Malaysian users and explain the manufacturer’s recent developments. Further demonstrations have taken place at Prolight + Sound in Bangkok and at an event in Hanoi featuring the TT+ GTX12 system. “Our recent TT+ GTX sales successes in India and South Korea are a testimony to successful demonstrations made by our distributors, who are continually attempting to expand the RCF community,” added Lugli. “It took many months to organise these events but, ultimately, the effort is worth it. Although they are being staged in an excellent venue, it has posed many challenges. However, at RCF, we relish a challenge.” Yeo described RCF as one of A&L’s key brands and said the company planned further events following the Kuala Lumpur demonstrations. Attendees had travelled from several Malaysian states for the session. “Having entertained many guests travelling from different states including Sarawak in East Malaysia, a demonstration on this scale was overdue. Following this success, we are now planning to host more events like this in the future,” she said.

in the loudspeakers. The rental companies who attended today, for example, are really impressed with the performance of the GTX7 and are considering investing because of the features such as noise cancellation and no low-frequency spill onstage.” Wong added that the event helped customers understand the wider RCF portfolio: “Most of our customers are owners of our small-format portable cabinets, because they are reliable, sound great and are powerful. However, many are unfamiliar with products beyond the HDL and ART Series, so this event helped introduce people to the wider product family.”

www.acousticlighting.com www.rcf.it www.ttaudio.com

Gonshiro integrates ARRI and Riedel JAPAN

Japan’s growing appetite for largescale live entertainment is driving closer collaboration between production specialist Gonshiro, Riedel and ARRI, with the companies working to integrate camera, communications and networking workflows. Gonshiro handles approximately 1,000 live productions each year and is involved in around 60% of Japan’s major concerts, alongside work across entertainment, sports and broadcast. Its production fleet features 22 ARRI cameras, including 16 Alexa 35 Live units, as well as six Riedel Bolero wireless intercom antennas and 15 beltpacks. The companies are using Gonshiro’s experience in demanding live environments to inform development priorities around camera-to-intercom integration, network-based LUT and settings management across multicamera deployments, and more compact camera configurations for restricted onstage positions. “The combination of ARRI and Riedel creates exciting possibilities because cameras, communications, networking and operations are all part of the same production workflow,” said Yuji Morihara, president and representative director of Gonshiro. “If we can bring together camera systems, tally, talkback, monitoring

The Riedel and Gonshiro teams environments and communications into a more integrated environment, the benefits for live production would be absolutely real.” Gonshiro has deployed the Alexa 35 Live to bring cinema-grade imaging to live entertainment, while Bolero connects camera operators, backstage crews and

production staff. Each Bolero beltpack supports up to six channels of send and receive, with centralised management allowing engineers to configure and monitor communications from a single system PC. “Our goal has always been to create the best possible images while making it easier for crews to do their jobs,” noted Morihara.

“As productions grow more demanding and experienced technical staff become harder to find, simplifying workflows will become increasingly important. We want camera operators to focus on creativity, not infrastructure.” According to ARRI and Riedel, feedback from Gonshiro is helping shape their approach to live-specific product development. “Gonshiro operates one of the largest Alexa 35 Live fleets in the world and their feedback from live music, sports and broadcast work is a direct line into how the camera needs to perform outside of a controlled cinema set,” said Michiyo Funayama, sales manager at ARRI. “That input shapes decisions we make for live production going forwards.” Guillaume Mauffrey, director of sales – Asia at Riedel Communications, added: “We used a combination of Bolero and MediorNet to solve Gonshiro’s recurring problem: keeping large, distributed crews connected without adding friction to the production. Pairing that expertise with ARRI’s imaging gives us a much more complete answer for live production teams working at this scale.” www.arri.com www.gonshiro.co.jp www.riedel.net

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NEWS: BUSINESS

Novatech expands L2 inventory

Goshen Swara puts Q-SYS on show INDONESIA

Q-SYS is expanding its presence in Indonesia through four experience centres across Jakarta, established by official distributor Goshen Swara Indonesia. The facilities give customers and industry professionals hands-on demonstrations of the Q-SYS Full Stack AV Platform across corporate, collaboration and entertainment applications. Located in north, central, south and east Jakarta, the centres provide practical education on software-based AV, with each space demonstrating different applications and configurations.

Interfaces (UCIs) demonstrate source switching and display management. These interfaces show how controls can be adapted to users’ requirements. Hosted by Suara Visual Indonesia, the South Jakarta facility covers corporate collaboration and entertainment. Its meeting zone features BYOD, integrated audio and video, room control and conferencing. The entertainment zone demonstrates DMX lighting control, audio management and automated show workflows, illustrating applications beyond corporate meeting spaces.

The North Jakarta centre, at Goshen Swara’s headquarters, focuses on smart meeting environments. Its system combines Q-SYS Core processing with networked audio and video distribution, room control, environmental sensors, automated functions, BYOD collaboration and Automated Camera Preset Recall (ACPR). It demonstrates automated responses to room occupancy, including lighting, curtains and displays, while USB-C supports BYOD conferencing. ACPR enables cameras to track speakers across predefined zones. In Central Jakarta, the V2 Indonesia Experience Center demonstrates Q-SYS audio, video and control capabilities. Visitors can compare loudspeaker configurations using a Q-SYS Touch Screen Controller, while customised User Control

The T-ECO Hub (Technet Vision Experience Center) in East Jakarta focuses on corporate meetings, using Q-SYS Core processing, networked loudspeakers and intelligent room control to demonstrate an integrated approach to workplace AV. All four centres feature Shure MXA920 ceiling array microphones, demonstrating integration between Q-SYS and Shure technologies. The facilities allow consultants, integrators, end users and technology decision-makers to assess applications before deployment, from workplace collaboration to hospitality and entertainment.

Image courtesy of David Solm

AUSTRALIA

Marking its 25th year in business, Novatech Creative Event Technology has purchased eight L-Acoustics L2 and four L2D systems, giving the Adelaide company Australia’s largest L Series rental inventory to date. The purchase builds on Novatech’s longstanding relationship with the brand, whose systems portfolio at the company includes the K2, Syva, L-ISA and K1. An L-Acoustics certified partner, Novatech was selected through a competitive tender to replace the Adelaide Entertainment Centre Theatre’s V-DOSC system. The brief called for consistent coverage across different venue configurations without changing the array geometry. “The brief was to match the flexibility of the old system without re-rigging between formats, and L2 let us do that with far more headroom in reserve,” said Matthew Ruggiero, technical project manager at Novatech. “With L-Acoustics Network Manager, we can adjust coverage on the fly instead of flying the array in to re-pin it, which matters in a room that changes configuration as often as this one does.”

Soundvision modelling initially indicated that one L2 and one L2D per side would suffice, but the venue opted for two L2 and one L2D per side. Four KS28 subwoofers per side are flown in a cardioid configuration behind the arrays, allowing them to move with the system when the room is reconfigured. A further 12 floor-deployed KS28 with Kara II can be added for higher-SPL events, while six X8 provide front fill. A custom Novatech drive rack incorporates an L-Acoustics P1 processor, with fibre-based Milan-AVB, Cat5 AVB and analogue paths providing connectivity and redundancy. LA7.16 amplified controllers drive the L2 and L2D elements. The system was calibrated for each theatre configuration using the M1 measurement and optimisation workflow in Network Manager. The eight L2 and four L2D systems have also been added to Novatech’s rental inventory, making the platform available to touring productions across Australia. www.l-acoustics.com www.ncet.co

www.goshen.co.id www.qsys.com

NDI and Nvidia target multilingual AV WORLD

NDI and Nvidia are developing AIpowered broadcast workflows designed to make real-time multilingual content production more scalable. Early testing indicates the approach can significantly reduce the video infrastructure required. The initiative combines NDI-native connectivity with Nvidia AI for Media technologies, including the Nvidia LipSync NIM microservice, enabling broadcasters to create localised versions of live content from a common media stream. Applications span live events, breaking news, sports, entertainment and corporate communications. Traditionally, multilingual distribution has required separate versions of the same content for each language, increasing production requirements, bandwidth consumption and infrastructure costs. NDI and Nvidia’s approach instead allows multiple

language experiences to be generated from a shared source workflow. During internal testing involving 10 languages, the companies said the method achieved the same results while carrying eight times less video. “Broadcasters have spent decades trading audience reach against distribution cost,” said Miguel Coutinho, head of NDI. “With Nvidia AI for Media, we are enabling a

fundamentally different model, where a single media workflow can support multiple language experiences. This has the potential to significantly reduce bandwidth and distribution costs while making multilingual content accessible to far larger audiences.” The workflows support real-time translation, lip-synced dubbing and regional language adaptation, with potential applications including localised advertising. The technology

is designed to integrate with existing broadcast and media production environments. “AI is transforming the way content is created, adapted and delivered,” said Lewis Smithingham, principal product manager, media and entertainment at Nvidia. “The goal is to provide media organisations with the ability to increase viewer engagement by delivering content in their language and with advertising that makes sense for who and where they are. It’s a solution designed to create maximum value while reducing the cost and complexity of multilingual content delivery.” The system is being tested with selected partners across live production and enterprise communications, with proof-ofconcept demonstrations held at IBC2026 in Amsterdam. ndi.video www.nvidia.com

12 PRO AVL ASIA November–December 2026

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08.10.2026 13:52:26 26/10/2026 13:21

NEWS: BUSINESS

Diversified targets managed services WORLD

Diversified has established a Global Managed Services Practice to consolidate its managed services capabilities, appointing Rob Mello as vice president. The practice will align global service delivery, client success and AI-enabled operations across media, workplace and experience technologies, while retaining regional expertise.

Rise AV launches global awards WORLD

Rise AV has launched the inaugural Rise AV Awards, recognising women, advocates and organisations across the AV industry. Entries are open, with the first ceremony scheduled for May 2027. Rise AV said the programme aims to highlight career opportunities in an industry where women account for 9% of the AV workforce. The programme spans technical, creative and business roles. Fourteen categories cover early careers, technical achievement, operations, product innovation, sales, marketing, leadership and advocacy, and are open worldwide. The awards include a Woman of the Year category, selected by the judging panel, and an Advocate Award open to any gender. A Company Award for Investment in Women recognises organisations making measurable efforts to attract, develop and retain women.

Sadie Groom, founder and CEO of Rise Diversity (AV and Broadcast), said: “If we want more women and more diverse talent

to see AV as an industry where they can build a career, they need to see people like themselves succeeding. These awards are about celebrating those achievements,

creating role models and making sure the incredible people already shaping our industry are seen.” Entries close on 27 November 2026, with judging in January 2027. The shortlist will be announced at ISE on 4 February 2027, ahead of the May ceremony alongside the Peerless Technology Showcase. “Sponsoring the Rise AV Awards is more than just putting your logo on a screen,” said Rachael Hamilton, managing director of Rise AV. “It’s about putting your brand behind the people and achievements you want to see more of. It’s about celebrating achievement, creating visibility and showing your employees, customers and future talent that you’re invested in the people shaping AV.” www.rise-av.com

GoodAudio with TT+ Audio SOUTH KOREA

A longstanding relationship with Sound Solutions and RCF is helping South Korean rental company GoodAudio prepare for the next stage of its development, with the company investing in a substantial TT+ Audio GTX system as it targets the international K-pop concert market.

director and chief engineer. The company currently serves K-pop concerts, festivals, broadcast music programmes, national ceremonies and major events. The TT+ Audio investment comprises 48 GTX 12, 24 GTX 10 and 16 GTX 7CP line array modules, alongside 36 GTS 29,

while the 2-way GTX 10 supports scalable systems and rapid deployment. The company said the decision followed almost a year of discussions with Sound Solutions. “Just one demo of the GTX 10 was enough to provide complete assurance,” said Dong Ho Kim. “Thanks to that trust, the GTX 12 and GTX 7CP did not even need to be seen or heard, and GoodAudio was able to make the best choice with confidence. “All TT+ Audio speaker products adopt RCF’s top-tier, high-quality units. The reproduced sound combines delicate detail with overwhelming power, offering a unique tonal character that provides a differentiated sound identity in live performance settings.” Sangjin said the partnership had evolved beyond system supply, with GoodAudio becoming a Familyship Partner to strengthen marketing and sales networks. For Dong Ho Kim, the investment represents “a decision embodying the best

CEO Dong Ho Kim founded GoodSound as an audio rental business in the Incheon National Industrial Complex in 2004. The company adopted RCF TTL Series line arrays in 2014, with Sound Solutions, RCF’s Korean partner, facilitating the investment. Kim had first met Sound Solutions CEO Hong Lee in 2013, laying the foundations for a partnership spanning more than a decade. Sound Solutions shareholder Glenn Suh and sales director Shin Sangjin also supported the latest investment. Sangjin had developed a close working relationship with Kim through his work as a sound engineer for K-pop performances. GoodSound relocated its headquarters to Yongin, Gyeonggi Province, in 2017 before becoming GoodAudio in 2026. Jeonga Hwang took over as CEO, with former AMG CEO Seongmin Kim joining as vice president and former Seoul Sound executive Jo Seungje appointed technical

eight GTS 19G and eight GTS 16C subwoofers, eight GT 8 modules and eight KX 515-A systems. Amplification includes 12 racks of TTR-3 16KD and six racks of TTR-1 16KD, plus accessories. The 3-way GTX 12 is designed for large-scale touring,

sound, the best partner in Sound Solutions and a spirit of challenge towards the future”.

Rob Mello will lead the new practice “We have an opportunity to move the managed services conversation beyond maintenance and support towards intelligence, optimisation and AI-enabled, continuous value creation,” said chief revenue officer Tyler Affolter. “Rob’s experience building global practices and AI-infused, market-leading offerings gives us the leadership to accelerate that shift and help define where the industry goes next.” Priorities include common delivery standards, client adoption, performance and resilience, with automation and agentic AI supporting proactive monitoring, faster resolution and continuous optimisation. Mello brings more than two decades of experience in technology-enabled services, including roles at NTT DATA, Orange Business Services and IBM. His background covers practice development, service offerings and technology transformation. “Diversified has already redefined what’s possible in designing and delivering the world’s most complex technology environments,” said Mello. “Now we’re setting our sights on the next frontier: transforming how those environments perform, adapt and create value over time. By fusing our people, data, technology and partner ecosystem into a single intelligent system, we’re building a managed services model that doesn’t just maintain performance, it continuously elevates it.” www.onediversified.com

www.rcf.it www.soundsolution.co.kr/kr/index.php www.ttaudio.com

14 PRO AVL ASIA November–December 2026

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GTX 7C | GTS 16C CARDIOID LINE ARRAY SYSTEM

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NEWS: DISTRIBUTION

Sonos Libra lands Theory Professional THAILAND

Theory Professional has appointed Sonos Libra as its exclusive distribution sales partner in Thailand. Founded by CEO Paul Hales, the Californian loudspeaker brand has exhibited at InfoComm and ISE in recent years. “I was familiar with Theory Audio’s residential line, but less so with their professional range,” noted Sonos Libra chief and founder Alfonso Martín. “This year at ISE, our team listened to their professional line, and we were all thoroughly impressed with the sound quality. The output levels and clarity from commercial audio products were unsurpassed and we unanimously agreed it was the best-sounding demo at the entire show. Listening to the ic6v2 speakers with the pendant ceiling mount combined with the ic12 hanging subs was a revelation.” Theory Professional chief operating officer Marc Bertrand, former Adamson Systems Engineering CEO, also played a significant role in developing the partnership. “We built a great relationship during his years at Adamson and have maintained contact ever

Sonos Libra’s Alfonso Martín since,” continued Martín. “Having met at this year’s ISE, I was delighted to connect with someone so prominent in our industry and came away impressed by the uncompromising

Fidato takes on APG and Active Audio INDIA

APG Audio and Active Audio are set to expand their presence in India after Arbane Groupe appointed Fidato as the French brands’ exclusive distributor across the country. The agreement covers distribution, sales, service, channel development and market expansion, with Fidato initially targeting corporate and conference spaces, hospitality and entertainment venues, and acoustically challenging environments. The partnership brings two complementary professional audio portfolios to Fidato’s existing network of systems integrators, AV consultants, resellers and project partners. APG’s portfolio covers applications including live sound, events, auditoriums, theatres and fixed installations, while Active Audio focuses on architectural and installed sound, with an emphasis on speech intelligibility and controlled directivity. “What attracted us to APG and Active Audio was the combination of strong acoustic engineering, product quality and the complementary nature of the two brands,” noted Naveen Sharma, managing director, Fidato. “Together, they allow us to address a wide spectrum of the Indian professional

DirectOut, Earthworks and Klotz AIS. The company has operated in Thailand since 2017. “We previously struggled to find satisfactory commercial audio solutions,” explained Martín. “However, after hearing Theory Audio’s products and reviewing their build quality, electronics and controls, we knew they were the perfect fit for our portfolio, and we can now support conventional and commercial applications without compromising on audio quality.” Bertrand welcomed the partnership, saying: “Having worked with Sonos Libra before, I know that they are the ideal partner to elevate the Theory Professional brand in Thailand. Their access to top-tier projects and high-level technical expertise make them a standout distributor. Partnering with Sonos Libra to expand Theory Professional in Thailand is a powerful, mutually beneficial opportunity and I look forward to our joint success.”

audio market with solutions that are technically strong, reliable and relevant to the evolving needs of our customers and partners.” Fidato said that its initial focus will be application-led, with corporate and conferencing projects requiring speech intelligibility and uniform coverage, alongside entertainment and hospitality venues and spaces where reverberation, complex geometry or difficult coverage requirements require an engineered approach. “This is why we believe it is the right time to introduce APG and Active Audio more strongly into the Indian market,” confirmed Sharma. “Both brands bring a very strong French engineering heritage and a solution-oriented approach to acoustics. They give us technologies that can address real challenges in Indian projects rather than simply adding another loudspeaker option to an already crowded market. Our role will be to make their technology accessible, understood and well-supported in India.” www.arbane-groupe.com www.fidato.in

L–R: Arbane Groupe’s Régis Cazin and Eric Grandmougin flank Naveen Sharma of Fidato

approach that Theory Pro brings to product development.” Sonos Libra’s portfolio includes Adamson, Allen & Heath, Bluesound Professional,

www.proaudiotechnology.com www.sonoslibra.com www.theoryprofessional.com

AtlasIED expands in SEA SOUTHEAST ASIA

AtlasIED has appointed MI Engineering as its representative in Thailand and partnered with Hikari Indo Sarana in Indonesia, expanding the manufacturer’s distribution network and commercial audio offering across Southeast Asia. The agreements are intended to extend the brand’s reach in the APAC region, combining its portfolio of commercial audio, mass notification and IP endpoint solutions with the local market

Jakarta-based Hikari Indo Sarana will add AtlasIED’s products to its existing offering of AV, lighting and electrical systems. Established in 2001, the project supplier and systems integrator serves the hospitality, office, data centre and industrial sectors. “This partnership opens up significant opportunities to offer a much more comprehensive and integrated commercial audio solution to our clients,” said Hikari

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Ital welc dist Proe Equ Th prof L–R: AtlasIED’s Glenn Lin with Attapol Praisri and Krittin Teerakitti of MI Engineering knowledge and technical capabilities of its partners. Founded in 1990, MI Engineering operates across the pro audio, installed AV and live performance markets. The partnership will combine AtlasIED’s systems with MI Engineering’s expertise in systems design consulting and commissioning. The companies will also provide local product availability and customer support. “We greatly look forward to partnering with AtlasIED, whose team brings its proven expertise in life safety, public address and architectural audio solutions to our customers,” commented MI Engineering general manager Niti Teerakitti. “Adding AtlasIED’s portfolio strengthens our ability to deliver complete solutions while opening new opportunities across enterprise, healthcare, education and transportation markets.”

Indo Sarana managing director Idjung Mulyadi. “AtlasIED’s product range aligns well with current market needs, enabling Hikari Indo Sarana to confidently support larger and more sophisticated projects while further strengthening its position in the market.” AtlasIED director of sales for APAC Glenn Lin said the agreements support the manufacturer’s regional growth strategy. “Partnering with local companies that hold impressive track records in customer satisfaction is exactly what we’re looking for during this period of growth in the APAC region,” he added. www.atlasied.com www.hikari.co.id www.mi-engineering.com

16 PRO AVL ASIA November–December 2026

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SurgeX appoints Concept Associates MALAYSIA

Power protection specialist SurgeX has appointed Concept Associates (KL) as its sole Malaysian distributor, expanding its presence in the Southeast Asian professional AV market. The appointment covers SurgeX’s range of solutions for commercial audio, video, lighting and control systems, with a focus on addressing electrical spikes, grid instability and equipment failures in sensitive installations. The brand’s new partnership with regional sales representation firm Generation AV was officially launched at Concept Associates’ headquarters in Kuala Lumpur, where a live technology showcase introduced SurgeX’s power protection and energy management solutions to the local market. “SurgeX is the definitive safeguard for mission-critical electronics,” said Castrit Lim,

managing director of Concept Associates. “By eliminating transient spikes and ground noise at the source, it prevents system crashes, protects high-value hardware investments and eliminates the frustrating cycle of emergency service callouts before they ever happen.” Kevin Kee, regional sales director at Generation AV, commented: “Concept Associates has an outstanding distribution track record with world-class brands like Shure and Q-SYS. Their distribution reach, channel trust and established reputation make them the ideal partner to drive SurgeX across Malaysia.”

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Proel moves into South Korea

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Italian manufacturer Proel has welcomed Digital High Tech as its distributor in South Korea, covering the Proel Sound Systems and Proel Stage Equipment brands. The agreement will make Proel’s professional audio and staging products

“South Korea represents a strategic market for the growth of our brands and we are confident that Digital High Tech’s expertise and local market knowledge will allow us to deliver high-quality service to professionals in the industry,” commented Giacomo Sorbi and Alessio Foti, CEO and co-CEO of Proel.

available to installers, rental companies, systems integrators and other industry professionals in the market. Digital High Tech will provide local technical and commercial support, acting as the point of reference for customers and partners in the region. The appointment forms part of Proel’s international distribution strategy, with the company targeting growth in Asia’s professional audio and live technology sectors.

Digital High Tech’s Lee Yong Hyun added: “With its long history and strong reputation in professional audio, Proel has great potential in the Korean market. Leveraging our experience and distribution network, we will work closely with Proel to develop the brand and provide reliable products, technical support and service to our customers.”

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26/10/2026 10:47

NEWS: APPOINTMENTS

Jands changes leadership AUSTRALIA

Kling & Freitag welcomes Aljoscha Bergforth in the position of sales director

Dalet names Brian Doheny as chief executive officer

Jens Miedek joins Qvest as senior vice president sales – media and entertainment

Jands has made some key management changes, appointing Geoff Smith as CEO and Mark Condon as general manager for its Enterprise business. During his 24-year tenure with the distributor, Smith has held senior leadership positions, including more than five years as chief operating officer with responsibility for strategy, people, operations and supply, and earlier as general manager of distribution. His path to CEO also spans marketing and business development leadership, giving him an end-to-end view of how Jands serves its partners and customers. “Geoff has spent 24 years helping build Jands into what it is today,” said Paul Mulholland, executive chairman and founder of Jands. “He understands our brands, our partners and our people better than anyone, and the board and I have complete confidence in his leadership.” Smith commented: “Our job has always been to bring the world’s best brands to Australia and New Zealand and stand behind them with real support. That doesn’t change. What excites me is building on 55 years of trust to keep delivering for our partners and customers as the industry evolves.” Based at Jands’ Sydney headquarters, Condon

dBTechnologies expands technical team APAC

Geoff Smith will lead the company’s Enterprise strategy across its conferencing, installed audio, AV distribution and assistive listening brands in the corporate, education and government sectors. “Jands represents brands I’ve respected throughout my career, backed by strong technical capability and local support,” Condon said. “There’s a significant opportunity to build on that foundation across the Enterprise market and I’m looking forward to working closely with our partners, customers and the Jands team to grow the business.”

Expanding its regional technical team, dBTechnologies has appointed Wilson Tan as APAC application engineer. Based in Kuala Lumpur, Tan brings a background in professional audio installation, systems design and integration. His new role covers all APAC countries in which the manufacturer operates and will include training, demonstrations and other educational activities. Already familiar with the dBTechnologies product portfolio, Tan will also develop his experience in touring and live applications, with a particular focus on the VIO Series. “With the resources and knowledge I have gained, I feel ready to step into the market and make myself fully available to our partners, customers and users across APAC,” he said.

The appointment gives dBTechnologies a second application engineer dedicated solely to the APAC market and brings its regional team to five people, following an expansion of its support resources over the past two years. “When two years ago we promised our distributors and end users that we would have implemented a solid team that would have supported them regularly, it wasn’t just a catchphrase,” commented Manuele Poli, head of sales APAC, dBTechnologies. “We now have five people dedicated to the APAC region and that’s just the beginning.”

Forté appoints CEO WORLD

Funktion-One appoints Rob Speight as technical marketing director

Meyer Sound names John McMahon as chief operating officer

Crea prepa as fou Andre mana with T presid See in Se leade 1 Jan marks joins Venue serve

www.dbtechnologies.com

www.jands.com.au

Christopher Mounts has assumed the position of global CEO at communication and collaboration solutions designer Forté. In addition, the company has also appointed country managers in Australia, Singapore and the Philippines to support its growth in the APAC region. The appointments come in the aftermath of Forté’s acquisition of APAC systems integrator, Vega Global. Mounts succeeds Jeff Stoebner, who has served in the role since 2009 and will continue as executive chairman for the company. Having joined Forté in 2015 as controller, Mounts was named CFO in 2019. During his tenure, he has helped to strengthen the company’s financial foundation, operational discipline and systems infrastructure during a period of significant growth and transformation. “Chris has been a trusted leader and strategic partner throughout one of the most transformative periods in our company’s 52-year history,” commented Stoebner. “He understands our business, our culture and the responsibility we have

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to our employees and customers. His financial discipline, operational perspective and steady leadership make him the right person to guide Forté into its next chapter.” As global CEO, Mounts will focus on advancing Forté’s company culture, integrating newly acquired businesses into a unified global organisation and strengthening the systems and capabilities that support continued growth and customer success. “Forté has built a remarkable legacy by staying focused on people, customers and the belief that the right technology can create better outcomes,” added Mounts. “I’m honoured to step into this role at such an important time in our company’s history. My priority is to build on our existing foundation by helping Forté teams around the world operate as one company while continuing to invest in the tools, talent and infrastructure our employees need to deliver greater value for customers.”

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18 PRO AVL ASIA November–December 2026

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NEWS: APPOINTMENTS

Tom See AEQ ushers in new leadership named CT president WORLD

WORLD

Creative Technology Group is preparing for a leadership transition as founder and CEO Graham Andrews steps away from day-to-day management at the end of 2026, with Tom See set to take over as president of the business. See joined Creative Technology in September and will assume leadership of the business on 1 January 2027, as the company marks its 40th anniversary. He joins from Live Nation International Venues, where he most recently served as chief strategy officer.

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AEQ has appointed Mónica de la Fuente as its new CEO, placing the company’s former head of marketing and communications at the helm as it looks to expand its presence in domestic and international markets. De la Fuente has spent more than 10 years with AEQ and has a wider background in the audiovisual sector beginning in film production. “Taking on the role of CEO at AEQ is a great responsibility and, at the same time, a source of immense excitement,” said de la Fuente. “We have solid experience, a great team and a very close relationship with our customers.

This closeness allows us to listen to the market, identify new trends and move forward to offer solutions that increasingly meet users’ needs.” De la Fuente becomes the first woman to serve as CEO of AEQ during the company’s more than 45-year history. Her priorities in the role will include strengthening AEQ’s market position, supporting its technological development and consolidating relationships with customers and partners. www.aeq.es

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“I have tremendous respect for Graham and the legacy he’s built at Creative Technology,” See remarked. “What he and the team have created is incredibly special – a company with world-class capabilities, deep client relationships and a culture built around delivering at the highest level. I’m grateful for the opportunity to build on that foundation and excited about what we can accomplish together in the next chapter of CT’s growth.” Andrews will join NEP Group’s board as a non-executive director. “When I founded Creative Technology 40 years ago, I wasn’t sure where it would take me – but I always knew that, if we were successful, it would be important to develop leaders who, at the right moment, could take our company to the next level,” he said. “This is that moment, for me personally and for CT. “I’ve been honoured to serve the organisation and our people. I’m grateful to our CT employees who have demonstrated their commitment, resilience and loyalty since the day we started. It’s who we are as a company – and I’m confident they will continue to flourish and develop under Tom’s leadership.”

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NEWS: APPOINTMENTS

Outline welcomes Alwyn Wong APAC

As the Italian manufacturer strengthens its focus on the Asia Pacific market, Outline has appointed Alwyn Wong as regional sales manager for the region. Based in Kuala Lumpur, Malaysia, Wong will oversee the brand’s business across APAC, excluding India, reporting to sales and marketing director Fernando Rey Méndez. His responsibilities will span professional rental, live sound and permanent installation markets, working with existing distributors while identifying potential partners in territories not yet covered. Wong brings more than 25 years of professional audio experience, having held roles with Harman Professional, Peavey Commercial Audio, Symetrix and, most recently, HK Audio. His background covers regional sales management, systems design, application engineering and technical training. Méndez said the appointment would provide Outline with a dedicated regional presence and greater insight into the individual markets across APAC. “Asia Pacific isn’t one market but many, each with its own customers, its

L–R: Alwyn Wong and Fernando Rey Méndez own pace and its own way of doing business. Our partners there deserve someone in the region who understands its different markets, someone who can bring that knowledge

Riedel restructures WORLD

straight to our headquarters. From now on, that person is Alwyn. “What struck us about him is that he has done both jobs. He can sit down with a

distributor to plan the next three years, then with a consultant to work through a system design and he is equally credible in both conversations. That is exactly what this role requires.” Wong added: “I had admired the Outline brand from afar in the professional audio world for quite some time and I’m truly honoured to now be part of the Outline family moving forward. My long-term experience within the APAC territory gives me a solid background for my responsibility/tasks within the international sales department of Outline.” Wong’s initial priorities include meeting Outline’s regional partners, reviewing market opportunities and developing a regional plan for 2027. He will also work with the company’s technical and marketing teams on demonstrations, training, partner visits and local promotional activity, while feeding market and customer insights back to Outline’s headquarters in Flero, Italy. www.outline.it

Tascam picks Tsunoyama for GM WORLD

Bringing more than 25 years of experience with TEAC Corporation, Takashi Tsunoyama has been appointed as general manager for Tascam. In his new role, he will oversee the division’s global business activities and support its continued growth across international markets.

company’s European operations for five years. “It is a privilege to lead the Tascam Division and build on the strong foundations established by our global teams,” said Tsunoyama. “Having spent the past five years working closely with

During his career with the company, Tsunoyama has held a range of leadership positions across international sales, business development and global operations. He relocated to Germany in 2017 to take up the position of export sales manager at TEAC Europe, where he contributed to the expansion of Tascam’s international business and strengthened relationships with distributors and partners across global markets. Following this, he assumed the role of managing director of TEAC Europe, where he led the

customers and partners across Europe, I look forward to bringing that experience back to Japan and further strengthening the Tascam brand worldwide.” His appointment comes as Tascam continues to develop its international operations, with Tsunoyama’s experience across both European and global markets expected to support the brand’s relationships with distributors, customers and partners worldwide.

L–R: Lutz Rathmann and Anthony Zuyderhoff

Riedel Communications will bring its Product and Managed Technology divisions under unified leadership from January 2027, with Lutz Rathmann appointed CEO and Anthony Zuyderhoff taking on the newly defined role of chief commercial officer. Rathmann will assume overall responsibility for both divisions, which will retain their respective teams, expertise and market focus while working more closely across the business. The restructure will also see Riedel combine its customer-facing sales, service, support and marketing functions within a unified global go-to-market organisation led by Zuyderhoff. “By aligning product and managed technology more closely and strengthening how we connect with the market, we can turn our combined experience into greater value for customers and partners,” said Rathmann, who has led Riedel’s Managed Technology business since 2020, having previously held positions including vice director global events and head of project management. Zuyderhoff is currently executive director of global sales and will take responsibility

for coordinating the company’s primary customer-facing functions in his new position. “Our ambition is to make Riedel feel like one company at every customer touchpoint,” he commented. “That means connecting our commercial teams more closely, bringing the right expertise to the table earlier and focusing less on individual products and more on the outcomes our customers want to achieve.” The changes coincide with the retirement of Product Division CEO Jan Eveleens at the end of 2026. Eveleens will subsequently continue working with Riedel as a consultant. “Lutz knows our customers, our technologies and the realities of complex live production,” said Thomas Riedel, Riedel Group CEO. “Anthony brings the commercial perspective and market focus needed to translate that strength into a consistent customer experience. Together, they will help us connect our capabilities more effectively and make Riedel easier to engage with, easier to understand and stronger in the market.”

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www.riedel.net

20 PRO AVL ASIA November–December 2026

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NEWS: PROJECTS

Attika gets the Crest Audio treatment

K D Y

INDONESIA

A speakeasy-inspired Bali venue has turned to Crest Audio to balance the demands of late-night DJ sets with a more intimate atmosphere. Attika, located above La Favela in Seminyak, has installed a system based around the brand’s Versarray loudspeakers. Attika occupies the third floor and features a programme that moves from cocktails and conversation to late-night DJ performances. This required an audio system capable of delivering low-frequency impact and headroom while maintaining controlled coverage at lower levels. Versarray 112 MK III line array modules form the main system. Each module combines a 12-inch Neo Black Widow woofer with two RD 2.6 MK III ribbon tweeters, with adjustable rigging allowing the arrays to be configured around the room. Additional coverage is provided by CPL 12+, CPL 8+ and CA 218 PRO cabinets alongside Peavey PVXp 10 DSP, PVs 15 SUB and PCX 88 units.

Power is supplied by the manufacturer’s Pro-LITE amplifiers, while system management is handled through a PCX platform with Dante. Located on the ground floor, the processor controls the upstairs audio system over the network, providing access to DSP and networked audio without requiring the processing equipment to be installed in the venue itself. According to Akshay Vaidya, director at Peavey Asia Pacific, Attika is a “distinctive venue within Bali’s nightlife scene, where sound quality, control and consistency are all important. The Crest Audio Versarray 112 MK III provides the high output, controlled coverage, clarity and dynamic headroom required for the space, maintaining definition and tonal balance even at nightlife SPL levels.” Zuben Naik, operational manager at La Favela and Attika, added: “From my experience working

with the Crest Audio system at Attika, I’ve found it to be very reliable and consistent for our day-to-day operations. The system has been performing well and gives us a clean, powerful

sound that works really well for the different events and performances we host.” www.peaveycommercialaudio.com/crest-audio

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Christie puts India’s words in focus INDIA

Christie laser projectors are bringing India’s linguistic heritage to life at Kolkata’s newly inaugurated Museum of Word. Located within the historic Belvedere House of the National Library, the museum is the first in India dedicated to the country’s linguistic diversity and literary heritage. Designed by Dronah, the 2,282m2 facility spans nine galleries, with Christie projectors supporting its multimedia exhibits featuring everything from ancient manuscripts to digital communication. A total of 16 projectors have been installed across the museum, comprising 11 Captiva DWU500S ultra-short-throw models and five Inspire Series 1DLP laser projectors, including the DWU760-iS and DWU960ST-iS. The latter are equipped with a 0.65–0.75:1 fixed short-throw zoom lens. MSS World implemented the AV technology, while Pavilions and Interiors (P&I) served as the main contractor for the museum’s exhibits.

The projection systems support a range of display requirements, from large images in confined spaces to bright visuals across the galleries. Christie 4K UHD LCD panels also

feature in the installation, with 22 units powering hands-on exhibits and digital experiences. “The combination of Christie Captiva DWU500S and Inspire Series projectors gave us the

flexibility to support diverse exhibit requirements while maintaining the integrity of the gallery spaces,” commented Pratik Wadhwa, CEO of MSS World. “By matching different projector models to each exhibit, we were able to create engaging displays throughout the museum without compromising design or visitor flow.” Rishubh Nayar, pro AV sales director for India at Christie, commented: “More than simply presenting information, the museum invites visitors to experience language through immersive and collaborative environments that bring stories, ideas and cultures to life. We’re delighted that our Inspire Series and Captiva projectors are helping create these memorable experiences, demonstrating how advanced technologies can support museums in educating, engaging and inspiring audiences.” www.christiedigital.com

OnlyC finds its Origin VIETNAM

Ho Chi Minh City-based producer OnlyC has installed Vietnam’s first Solid State Logic (SSL) Origin 32-channel analogue mixing console, adding the platform to the hybrid workflow at his OnlyCproduction facility. Established in 2013 and relocated to a new building in the Lakeview City villa area of District 2 in 2022, OnlyCproduction provides recording, mixing and mastering services for artists, film companies, record labels and commercial brands. The producer primarily uses the Origin for mixing, integrating the console into a hybrid workflow that combines analogue summing and processing with plugins running in DAWs including Pro Tools and Reaper. “I’ve always appreciated the sonic character of SSL and after researching the Origin, I felt it was the right choice for my studio. For me, SSL is one of the leading choices in professional music production,” he said.

OnlyC was already familiar with SSL processing, using equipment including the G-Series Bus Compressor, The Bus+, Fusion and BiG SiX. “The EQ is clean yet retains a strong analogue character,” he noted. “Overall, the sound is punchy and clean, with a solid stereo image, great depth in the summing bus and a strong sense of glue and space in the mix.” He added that the console’s routing and grouping capabilities have also proved important to his workflow, and that he makes full use of the 16 subgroups and eight stereo mix buses. Since taking delivery from SSL Asia, the console has been used across numerous productions. “Since installing the SSL Origin, many top Vietnamese artists who have worked at OnlyCproduction have been very satisfied with both the sound and the workflow,” he concluded. www.solidstatelogic.com

22 PRO AVL ASIA November–December 2026

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NEWS: BUSINESS

K-array blends into Dali Edition resort in Yunnan CHINA

A concealed audio system using K-array and KGear loudspeakers has been installed across the Dali Edition resort in Yunnan, China, with the design balancing the property’s architectural requirements with differing audio demands across its indoor and outdoor spaces. Located at the foot of Cangshan Mountain overlooking Erhai Lake, the resort comprises 151 guest rooms, suites and private pool villas, alongside four dining venues, a ballroom and meeting space, spa, fitness centre, terraces and outdoor event areas. The project was sourced through an audio consultant, with K-array selected for its ability to integrate into the interior

The terrace lounge and outdoor bar use eight weatherproof KGear GF82 I line array loudspeakers and four GU210 subwoofers. The system is configured for both background music and higher-energy events, with external DJ input ports provided for parties and cocktail functions. The loudspeakers are positioned around the covered terrace perimeter to maintain views across the surrounding landscape. Audio for background music, banquets and events is routed through an audio matrix and zoning processor to dedicated amplifier channels for each zone. Individual spaces have independent volume and playlist control, while the ballroom has a separate

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design. Shanghai Jeta, the brand’s official distributor in China, provided technical support, with Jason Zhao, director of sales and operations at K-Array.CN, working with the consultant to select loudspeakers, mounting solutions and coverage patterns for each zone. The installation comprises 70 KT2C ceiling loudspeakers, 16 KT2 point source speakers and four KU44 I compact subwoofers across the all-day dining, lobby, pool and Chinese restaurant areas. The ballroom, which can be divided for smaller events and accommodates conferences, weddings and live performances, is equipped with four KY102 line array loudspeakers and two recessed KS2P I subwoofers. The subwoofers extend low-frequency response to 35Hz while remaining concealed within the wall structure, with the system designed to provide speech coverage alongside the requirements of live bands and DJs.

digital mixing console connected to the matrix for live events. The main technical challenge was concealing the system within interiors dominated by natural materials while accommodating different acoustic requirements between zones. K-array worked with fit-out and low-voltage contractors during the design stage to establish speaker positions, mounting depths and cable routes before returning to site for final placement checks and tuning. “This project demonstrated that K-array’s strength extends far beyond compact, minimalistic hardware,” said Zhao. “K-array and KGear form a complete hotel audio ecosystem, solving concealed installation while delivering scalable coverage, dynamic range and low-frequency support for background music, banquet PA and outdoor entertainment alike.”

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.

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NEWS: PROJECTS

Robe lights up The Court Theatre NEW ZEALAND

Brompton powers Brian Cox’s Emergence AUSTRALIA

Brompton Technology’s Tessera SX40 processors and XD distribution units have supported large-format LED displays across multiple venues on Professor Brian Cox’s Emergence World Tour. Produced by Lateral Event Management, the Australian dates were delivered by Creative Technology Australia & New Zealand (CT ANZ), which acted as technical and AV systems integrator, with the brief to maximise screen size within the physical constraints of each venue. At ICC Sydney, CT ANZ used a 32x15 array of ROE Visual CB5 panels to create a 3,328x1,560-pixel canvas. The same panels were deployed in a 30x15 configuration in Wollongong and Newcastle, while Brisbane hosted the tour’s largest screen, a 36x18 CB5 build delivering 3,744x1,872 pixels. Other configurations included a 28x5 array of Uniview Tekken 3.9 panels at Exhibition Park in Canberra and a 21x9 configuration of ROE Visual Vanish 6 Solid panels at Melbourne Convention and Exhibition Centre. Each venue used two Tessera SX40 processors, configured for main and redundant operation,

alongside four Tessera XD 10G distribution units at most venues and two in Melbourne. The touring workflow included stacked main and redundant processors, Frame Store for test patterns and backup graphics, and Live Control for brightness, freeze and fade-to-black functions. Redundant 12G-SDI feeds were also used for the filmed and streamed elements of the production. “Roof load limits were probably the biggest challenge,” noted Herman Putter, project manager at CT ANZ. “The goal was always the largest possible screen at roughly a 2:1 ratio and as high-resolution as we could get while still fitting on a UHD raster.” Sebastian Kanabar, head of sales APAC at Brompton Technology, added: “Touring at this scale, and at this pace, is exactly the environment Tessera was built for. It’s fantastic to see CT ANZ getting this level of image quality and reliability out of the SX40 and XD combination across such different venues in a matter of weeks.” www.bromptontech.com www.ct-group.com/aus

Lighting designer Rachel Marlow has put the new house lighting rig at Christchurch’s recently rebuilt Court Theatre through two very different theatrical tests, using Robe T11 Profiles and T11 Fresnels to light successive productions of The King’s Speech and 9 to 5: The Musical. The venue recently installed 50 T11 fixtures comprising 30 T11 Profiles and 20 T11 Fresnels. The two productions required markedly different visual approaches, allowing the fixtures to be used across a broad range of theatrical applications. For The King’s Speech, Marlow relied on the T11 Profiles to illuminate Daniel Williams’ set, including a large, gilded picture frame that divided the stage into multiple performance areas. Precise shuttering, wall washes and colour treatments were used to help define the changing environments and psychological shifts throughout the production. “I was impressed with the punch of the fixtures,” said Marlow, who also praised the colour mixing and clarity of the T11s, adding that they would feature in future productions. The following production, 9 to 5: The Musical, demanded a much brighter and more colourful aesthetic. T11 Profiles were used as high side and top lights to accentuate the honeycomb-inspired set, while evolving colour palettes reflected the changing character arcs throughout the show. One T11 Profile was also adapted as a manually operated followspot during 11 musical numbers. According to Giles Tanner, head of technical at The Court Theatre, the theatre’s decision to specify the T11 series followed an extensive evaluation process. “From the outset, Robe’s T11 series fixtures seemed to be strong contenders,” he said. “They easily aced the noise and dimming tests. We liked

their design ethos and they appeared to be designed with theatre applications in mind.” Tanner added that the fixtures’ 5–50° zoom range, gobo performance, colour rendering and modular construction all contributed to the final specification for the venue’s permanent lighting rig. www.robe.cz

Epson powers Singapore Night Festival SINGAPORE

Epson has served as the Official Technology Partner for the Singapore Night Festival (SNF) 2026, supplying projection technology for three of the event’s major projection mapping installations. The festival ran across Singapore’s Bras Basah.Bugis precinct, with 17 installations expected to attract more than one million visitors. Epson provided EB-L30000U projectors for installations at The Cathay, Chijmes Hall and SMU Campus Green. At The Cathay, Epson partnered with the festival on the inaugural MALAM Projection Mapping Competition. The initiative invited artists, students and collectives from across Southeast Asia to reinterpret the building’s façade around the theme Myths and Legends. Almost 50 submissions were received, with the top 20 projected onto The Cathay. At Chijmes Hall, Clare Chong’s Between Stories uses projection mapping inside the historic venue, combining light, sound,

between Tagalog and Bahasa Melayu, and the undeciphered scripts of the Singapore Stone. “This partnership goes beyond supporting this year’s installations,” said Qazim Karim, festival director, Singapore Night Festival. “It helps strengthen capability development within the heritage and cultural sector, while giving artists a platform to reach wider audiences in Singapore and across the region.” Tan May Lin, regional director, visual products at Epson Southeast Asia, added: “Beyond delivering high-brightness projection technology, Epson is dedicated to empowering artists and enriching the communities around us. Supporting the Singapore Night Festival and the inaugural MALAM competition reflects our ongoing focus on uniting technical execution with artistic vision.” oral histories and local poetry. Meanwhile, Isaiah Cacnio’s Night Lights: Traces at

SMU Campus Green explored Southeast Asian maritime heritage, linguistic links

www.epson.com.sg

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NEWS: PROJECTS

L2 handles Ministry of Sound Sydney

Heritage restrictions, reflective surfaces and nearby residential streets shaped the audio design for Ministry of Sound Testament at Sydney’s White Bay Power Station, where VLA Production deployed its L-Acoustics L2 system for the first time on a major event. The former power station hosted three sold-out Testament shows across two stages, with VLA supplying audio, lighting, video and staging. The company has been the primary production supplier for Testament Sydney since its inaugural event in 2021. White Bay Power Station has no in-house technical infrastructure, meaning VLA brought in the complete production. Heritage protection limited where equipment could be rigged, cables could be run and equipment mounted, while the venue’s concrete, steel and reflective surfaces created challenges with reflections and intelligibility. Its location among residential streets also required control of sound spill. “The brief was clear: deliver a system that feels like a world-class festival inside a heritage-listed industrial building, without compromising the building, the neighbours or the audience experience,” said VLA production director Keith Eisenhuth. VLA used L-Acoustics Soundvision to model coverage, array angles and

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AUSTRALIA

subwoofer configurations ahead of the build. The main dancefloor was covered by one L2 and one L2D per side, with the L2 providing long-throw coverage and the L2D covering the nearer floor. Both incorporate

Panflex horizontal directivity control and an integrated cardioid pattern. Low frequencies were handled by nine cardioid-configured KS28 subwoofers arranged in three clusters, with Kara II

providing front-of-room infill. Delay positions used two A15 Focus and one A15 Wide per side, while VIP and upper-level areas were covered by four Syva and Syva Low positions, each supported by an SB18. Amplification was provided by LA-RAK II and LA-RAK III, with an L-Acoustics P1 handling system control and tuning. An LC16D formed part of VLA’s AES signal path. The second stage used a separate system comprising nine Kara II and two SB18 per side, with six cardioid-configured KS28 subwoofers ground-stacked in three-per-side configurations and two X12 providing out fill. Eisenhuth noted that Soundvision helped the team address potential issues before arriving onsite: “By the time we arrived, we already knew the coverage, SPL distribution and potential trouble spots, which meant faster deployment, cleaner tuning and a system that behaved exactly as expected from the very first show.” The deployment was supported by Group Technologies Australasia, L-Acoustics’ distributor for Australia and New Zealand, with feedback from visiting engineers highlighting the system’s control at high SPLs. www.grouptechnologies.com.au www.l-acoustics.com www.vla.productions

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NEWS: PROJECTS

Stage Precision for Xi’an mall installation CHINA

An interactive installation combining moving structures, LED displays, lighting, audio and audience participation is transforming the atrium of DT51 Xi’an into an immersive storytelling environment, with Stage Precision’s SP Grid platform providing centralised control of the multimedia system. Located in China’s Yanta District, the shopping mall opened with a focus on luxury retail and experiential attractions. Cultural events specialist Xi’an DuWu WuYan Cultural Industry selected digital design studio bright! studios to develop an installation that would encourage social interaction while providing a flexible platform for advertising. The concept evolved from discussions beginning in 2019, with the pandemic delaying development and the project eventually moving to DT51 Xi’an. The creative direction centred on a galaxy-inspired journey through the formation of the solar system and Earth before exploring the cultural heritage of Shaanxi Province. Stage Precision’s SP Grid was selected as the technical backbone. “We primarily used SP Grid as the central control platform where the media server timeline, kinetic timeline, light show and audio elements were integrated into one connected workflow,” explained Leon Herche, project lead at bright! studios.

The installation occupies the mall’s multistorey atrium, where four large metal rings are suspended from the ceiling. The rings move vertically and can be positioned at different angles, with each divided into two elements to provide greater flexibility. Mirrored surfaces reflect galaxy visuals from LED screens, enabling content to be viewed across the rings’ interior and exterior surfaces. Additional LED screens and strip lighting line the atrium’s perimeter walls, while ceiling-mounted LED fixtures add depth to the visual environment. Cameras positioned within the installation capture visitors in designated participation zones, allowing their images to become part of the on-screen content. SP Grid synchronises the various technical elements and processes real-time data to monitor and control the system. As the installation is operated by mall staff rather than specialist technicians, bright! studios developed a simplified interface through which users can manage media and audio playback, control kinetic elements and run maintenance tests. “Within SP Grid, we developed a user-friendly interface that allows non-technical users to control multiple technical elements across media playback, audio playback and kinetic systems – all

displayed as one control environment,” Herche said. The installation also serves a commercial purpose. The rings can move into a static configuration to display sponsored

advertising, allowing the mall to use the same infrastructure for both interactive entertainment and promotional content. www.stageprecision.com

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NEWS: PROJECTS

1 Sound supports Ciputra University INDONESIA

Ciputra University’s Dian Auditorium in Jakarta has installed a 1 Sound loudspeaker system designed to accommodate both speech-led events and larger performances, with additional portable reinforcement available when required. Melodia Sound and Lighting Systems designed the system around the manufacturer’s Contour CT212 loudspeakers and SUB2112 subwoofers for the main left and right channels. The installation also includes a portable CT28 and SUB215 system for use as stage fills or additional main reinforcement. The CT212 is a 3-way, long-throw point source loudspeaker capable of a maximum SPL of 145dB. Its 100° x 50° dispersion maintains constant directivity down to 200Hz, providing controlled coverage for spoken-word applications and performance environments. According to the team, the controlled dispersion and predictable off-axis response help focus sound within the

combining controlled projection with low-frequency output. The configuration is intended to provide the auditorium with the headroom and coverage needed for presentations, performances and larger productions, while retaining clarity at lower listening levels. For events requiring additional reinforcement, Melodia has also provided a portable system comprising Contour CT28 loudspeakers and SUB215 subwoofers. These can be deployed as stage fills or integrated into the main system to support larger events. By using products from the same manufacturer for both the installed and portable systems, the venue now has options for adapting its audio configuration to different event requirements. intended coverage area while reducing unwanted sound onstage.

Paired with the SUB2112 subwoofers, the CT212 forms a 5-way system

www.1-sound.com

Ayrton dresses the runway Encore goes big in Melbourne INDIA

A pair of concentric oval runways formed the centrepiece of Gaurav Gupta’s Haute Couture Collection presentation in Mumbai, with 118 Ayrton Veloce Profiles used to shape the lighting design around the show’s Lunar & Solar concept.

orbit effect around the performers. “I used gobos from the overhead Veloce Profiles to create an orbit effect around a pair of suspended dancers and illuminated them from above in tight circles of light that enhanced the sense of drama and isolation and introduced a

Image courtesy of Rohit Harshavardhan Pathak and Harshavardhan Pathak

Presented at Jio World Pavilion 3, the collection came from Indian couturier Gaurav Gupta, whose sculptural designs have also featured at Paris Haute Couture Week. Lighting designer Harshavardhan Pathak developed the show lighting, with SSL Media supplying the fixtures. The Veloce Profiles were rigged to a custom-built overhead truss positioned above the two runways. Pathak used the fixtures’ shutters, focus and zoom functions to define the oval shapes. “The SSL team rigged the Veloces exactly how they were shown in my design,” he said. “This enabled me to focus them from the perfect position in every case, then fine-tune each one using a combination of Veloce’s shutters, focus and zoom to create the perfect oval-shaped runways.” The design also incorporated two aerial dancers at the centre of the runways, with Pathak using gobos and framing to create an

contrast of warm and cool colours to emphasise the Lunar & Solar theme,” Pathak explained. The show was programmed on an MA Lighting grandMA3 full-size console, with Pathak stating that it enabled him to adjust all 118 fixtures in 90 minutes. SSL Media was led on the project by Ulhas Sahasrabuddhe, while Vardhaman Mega-Tech (VMT), Ayrton’s exclusive distributor for India, provided technical support. VMT’s Kekul Sheth also credited the collaboration between the lighting designer Sahasrabuddhe said: “It was an exciting opportunity to execute this unusual design suggested for the Gaurav Gupta Show. The Ayrton Veloce performed flawlessly – as expected – and a special mention must be made for its Blade function, which was the centrepiece of this design.”

AUSTRALIA

Encore has completed the installation of a 36m-wide LED canvas at Pullman & Mercure Melbourne Albert Park, creating what it says is Australia’s widest permanently installed hotel LED screen. The installation comprises six configurable Absen NT Series LED screens with a combined 126m2 footprint. A custom-designed 270° tracking system forms part of the installation, with several weeks of engineering work required to overcome the building’s limited structural capacity. The infrastructure also allows the LED display to expand in the future. LED has been installed throughout the ballroom as well as the Lake, State and Park View meeting spaces, supporting conferences, awards programmes, exhibitions and immersive brand experiences. The project forms part of a wider technology transformation led by Encore across the Melbourne venue, extending into its ballroom, meeting spaces and public areas. The venue overlooks Albert Park Lake and provides more than 2,600m2 of event space across more than 30 rooms, with capacity for up to 1,600 delegates. The wider infrastructure upgrades include Netgear Pro AV Line as the network backbone, Q-SYS Matrix solutions and a NEXO PA. Lighting

is controlled by MA Lighting, running Chauvet fixtures. Jack Illeperuma, regional general manager, Encore VIC, SA and WA, described the project as a significant development for hotel-based events: “Together with Pullman & Mercure Melbourne Albert Park, we are creating one of the most advanced event environments in Australia and setting a new benchmark for the Asia Pacific region. The scale of this installation gives our Design Studio an innovative, flexible canvas to create immersive experiences, powerful brand stories and memorable audience moments.” Shreyas Matkari, hotel manager at Pullman & Mercure Melbourne Albert Park, commented: “Event organisers are looking for greater visual impact, flexibility and opportunities to create memorable delegate experiences. This investment allows us to offer capabilities rarely found within a hotel environment while preserving the convenience, service and versatility that have made Pullman & Mercure Melbourne Albert Park one of Melbourne’s leading conference and events destinations.” www.encoreglobal.com

www.ayrton.eu www.sslmediatech.com www.vmt.in

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NEWS: PROJECTS

PSR upgrades Meyer listening INDONESIA

Meyer Sound distributor PT Promedia Sejahtera Raya (PSR) has installed two high-end music venues in Jakarta, combining fine-dining and live performances with facilities for professional audio system demonstrations. PSR was formed in 2024 by Benny Suherman, cofounder of Cinema XXI, which runs 1,395 theatres across Indonesia, and the Ballroom at Djakarta Theatre, together with industry stalwart Yosua Yan Heriyanto and XXI Cineplex Group’s David Sabariman. The company took on the Meyer Sound distributorship for Indonesia. Its latest demonstration approach centres on the Music Lounge at Plaza Senayan Mall and the newly opened Music Place at the Fairmont Hotel Senayan. Located on the fifth level of Plaza Senayan Mall, the XXI Cineplex Group’s Music Lounge hosts cinema premieres and press conferences. When the red carpet is in storage, the 90-capacity venue offers food, drinks and live musical performances to select guests, accompanied by Meyer Sound’s latest speaker systems. The installed system includes ceiling-suspended L-R Ultra-X80 loudspeakers, dual 2100-LFC low-frequency control elements and compact MM-4XP side fills. Management presets are configured in a Galileo

Galaxy 408 processor, while six MJF-208 dual 8-inch and six MJF-210 dual 10-inch wedge speakers function as stage monitors. The concept extends two floors below to Music Place on the third level of the Fairmont Hotel Senayan. Previously known

30 PRO AVL ASIA November–December 2026

as Motion Blue Jakarta, the venue built a reputation for combining premium jazz performances with fine-dining. Acoustic treatment and a Meyer Sound system comprising UPQ-2P, UPA-1P and UM-1P loudspeakers and 600-HP subwoofers established it as a serious listening venue.

Following an interior redesign, the 120-seat Music Place retains its predecessor’s ambience while providing PSR with a setting for demonstrations and live performances. The installation combines L-R Ultra-X80 loudspeakers with L-R Ultra-X40 and dual Ultra-X20 cabinets serving as fills and down fills respectively. A pair of 2100-LFC subwoofers extends low-frequency response to 30Hz, while six MJF-208 monitors serve performers onstage. Front-of-house mixing uses a Yamaha Rivage PM10 console connected to an RPio622 I/O rack. A DiGiCo Quantum 338 console and SD-Rack handle stage-input monitoring, Shure Axient Digital PSM IEMs and Meyer MJF-208 monitor outputs. A Shure Axient Digital wireless system, including eight KSM11 handheld vocal mics, completes the package. Far removed from conventional demonstrations in outdoor car parks, with line arrays suspended from scaffold towers, Music Place and the Music Lounge offer a different environment in which to experience professional audio systems. PSR has made audio demonstrations a key focus. www.meyersound.com www.promediaraya.com

NEWS: PROJECTS

PSR upgrades Meyer listening

d&b finds the sweet spot

INDONESIA

CHINA

More than 60,000 fans per night experienced immersive audio during Silence Wang’s 10-show residency at Beijing’s Bird’s Nest Stadium, with d&b Soundscape deployed across the venue. The Age of Romance world tour marked what d&b audiotechnik describes as its largest Soundscape deployment in a stadium environment to date. The system was supplied by OST Productions, a Chinese specialist in sound solutions for large-scale concert touring. The production brought together d&b audiotechnik’s Greater China office, its local and global EAS teams, OST Productions and Wang’s longstanding sound designer, Jin Shaogang. The latter has worked on major concert tours, broadcasts and national events, including chief sound design for the 2008 Beijing Olympics Opening Ceremony. The design comprised seven frontal hangs of KSL8/12, with two SL-SUB hangs flown behind. A further 22 hangs of GSL8 were positioned around the stadium’s ceiling bowl for the 360° Soundscape system. Twenty-two groups of V10P provided two rings of fills, alongside an additional SL-SUB array. More than 150 KSL8 cabinets completed the design as outer fills, side fills, rear delays and side delays, and ArrayProcessing was applied across the loudspeakers. The system centred on d&b’s DS100 signal processor, which was used to manage spatial positioning, object latency and loudspeaker layouts.

of the entire audience area. Its performance in spatial imaging, layering and depth delivers an immersive experience that traditional stereo simply cannot match.” Sam Wang, head of mobile sales and senior system engineer at d&b audiotechnik Greater China, added: “This preserves accurate spatial positioning, smooth panning and consistent localisation throughout the venue. Audiences

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“The d&b SL-Series is exceptionally beneficial when used with Soundscape,” Shaogang noted. “With its full-range directivity, there is remarkably little energy emitted from the rear of the cabinets. When 360° arrays and delay speakers share the same trusses, this precise pattern control prevents low frequencies from spilling backwards into the delay zones, audience seating or backstage areas, preventing unwanted bass bleed across the entire stage.” He also described the system’s coverage and spatial performance: “Soundscape dramatically expands the stadium sweet spot, from around a third of the venue to an impressive 60–70%

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experience coherent dynamic movement and rotational audio effects that remain stable, clear and engaging across the entire listening area.” The German manufacturer’s Create. Control software supported the programming workflow. “Create.Control lets us move fast,” said Lucchi Federico Tobia, responsible for Soundscape enablement at d&b audiotechnik Greater China. “With more than 400 snapshots and 300 animations programmed in just one month, speed and simplicity were essential.”

sizes and matching extension rods – or choose a complete stand from the K&M Compact Stage series. With smart design, exceptional stability, and optional weight plates, this system oﬀers maximum ﬂexibility for stage, rehearsal room, or studio. Convenient carrying bags ensure safe and easy transport. Discover space-saving stands tailored to your needs.

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NEWS: PROJECTS

Grass Valley streamlines ANI ASIA

Asian News International (ANI) has deployed Grass Valley AMPP and Framelight X to centralise ingest, media management and content distribution across more than 100 bureaus. Founded in 1971, ANI supplies text, video and picture content to television networks, digital

platforms, newspapers and more than 1,000 news organisations worldwide. “ANI operates continuously across a fast-moving news environment, where incoming content must be recorded, verified and made available to our editorial and distribution teams without

delay,” explained Ishaan Prakash, director at ANI. The deployment connects four on-premises processing nodes to AMPP cloud orchestration, supporting 32 concurrent ingest resources across 28 SDI and four SRT channels. Framelight X integrates monitoring, media management, clip playback, graphics and workflow automation. “The Grass Valley AMPP and Framelight X platform gives us a centralised environment for scheduling, ingest monitoring, asset management and automated content delivery, helping us manage a high volume of news feeds while making content available faster for broadcast, digital and social media workflows,” Prakash added. Grass Valley Elastic Recorder X and Scheduler control the 32 ingest resources, allowing operators to schedule recordings, assign resources and monitor status. Each processing node handles seven SDI inputs and one SRT input. Elastic Flow Monitor tracks signal health, recording status and storage usage, while Clip Player services support preview, quality control

and transmission. GV HTML Graphics, Clean Cut and Image Store provide graphics, switching and fallback. Framelight X provides browser-based media search, proxy preview, metadata and content validation. Automated workflows transfer material into ANI’s central library for editing, archiving and playout, including Adobe and EDIUS environments. Time-critical processing remains on the four local nodes, while AMPP provides cloud-based orchestration. Shared storage connects ingest, editing, archive, playout and transcoding. Evan Boyd, senior vice president of sales, APAC, Grass Valley, said: “This deployment combines AMPP cloud orchestration with local media processing to manage high-density ingest and automate the movement of content into editorial, broadcast and digital workflows. It gives ANI a scalable, software-defined platform that can continue to develop with its news operations.”

powered directly by the Zone 8P. The compact 2-way passive cabinets incorporate an 8-inch driver and rotatable high-frequency horn, providing a 90° dispersion pattern across the space. Additional low-frequency reinforcement for DJ sets is provided by a single Sub 10.

The resulting system allows each of the areas to operate according to its requirements while remaining part of a unified audio infrastructure, from background music during daytime dining through to higher-energy, late-night operation.

www.grassvalley.com

Optimal Audio at El Santo’s THAILAND

A three-zone audio upgrade at Bangkok’s El Santo has brought the Mexican restaurant and bar’s dining room, terrace and late-night bar under a single control system, while retaining elements of the venue’s existing audio infrastructure. At the centre of the installation is an Optimal Audio Zone 8P, an eight-zone audio controller with onboard DSP and eight channels of integrated 100W amplification. Rather than replacing the existing amplification, the Zone 8P was added as the system hub, allowing sources to be routed independently and each area to have its own mix, level and EQ. The controller provides four stereo line inputs, two microphone inputs and two HDMI inputs, while its integrated amplification

allows it to drive the bar directly without a separate amplifier. Day-to-day operation is handled through Optimal Audio’s WebApp, enabling staff to adjust levels and switch sources from a phone or tablet. Programmable presets allow the system to transition between different settings for lunch, evening and late-night operation without manual intervention. In the all-day dining room, the system uses the venue’s existing loudspeakers to provide consistent background audio while maintaining conversation. Futhermore, the semi-outdoor terrace is independently zoned, allowing its source and level to be controlled separately from the surrounding rooms. The late-night bar features three of the manufacturer’s Cuboid 8 loudspeakers

www.optimal-audio.co.uk

Kramer connects the dots INDIA

SailPoint Technologies has deployed an integrated Kramer AV system at its Pune office in India, enabling two neighbouring meeting rooms to operate independently or combine into a larger collaboration space for presentations, training and town hall events. Designed and delivered with SRSG Broadcast India, the system combines audio, 4K video distribution, wireless collaboration, USB connectivity and centralised room control over a dedicated AV network. Users can select the required room configuration without manually reconfiguring the underlying technology. At the centre of the video system is a Kramer VS-66H2 matrix switcher, while SWT3-22-HU-WP-T wall plates provide USB-C and HDMI connectivity. VIA Connect3 supports wireless presentation and collaboration, with EXT3-TR and TP-583R HDBaseT solutions providing 4K60 video and control signal distribution over structured cabling. Audio processing is handled by dual DSP-62-AEC digital signal processors,

providing acoustic echo cancellation, automatic microphone mixing and noise suppression across both room configurations. Audio is amplified through a PA-240Z and distributed through ceiling loudspeakers.

The system also uses an SWT3-41-U to share cameras, microphones and other USB peripherals between the rooms, supporting BYOD workflows across Microsoft Teams and Zoom without requiring equipment to be manually

reconnected when the spaces are combined or separated. Control is managed by the KC-Virtual Brain1, which coordinates video routing, audio processing, USB management and room-combine functionality. RC-308 wall controllers provide one-touch operation, while an Apple iPad interface offers additional controls. Users can select Room 1, Room 2 or Combined mode, with the system handling the required AV functions. Ashish Papadkar, IT support specialist at SRSG Broadcast India, commented: “The seamless room management and centralised control architecture give SailPoint the operational simplicity and enterprise-grade reliability needed to support different meeting formats.” The dedicated AV network also provides SailPoint’s IT team with a segregated infrastructure for the collaboration technology, while the integrated architecture is intended to simplify maintenance and future expansion. www.kramerav.com www.srsg.com

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NEWS: PROJECTS

DiGiCo follows Dermot Kennedy into ANZ ANZ

Dermot Kennedy’s Weight of the Woods tour takes place in New Zealand and Australia this November, with a DiGiCo-based control package supporting the production as it moves between venues and configurations. The dates in Asia, New Zealand and Australia follow the tour’s European and North American legs, with Solotech supplying audio. For the show, FOH engineer Will Donbavand is operating a Quantum338 Pulse, while monitor engineer Michael Fitzsimmons is using a Quantum5. For a production that has grown substantially since Kennedy’s early club shows, the ability to move show files between DiGiCo consoles has proved particularly useful. Fitzsimmons said that the show has expanded enough that he has moved from the Q338 to the Q5 as channel requirements have increased. “So far, it has been a raging success, the show has been very well received with 5-star reviews across the board,” he said. “Solotech have been great and our tech, Dominic Green, keeps everything running smoothly. Everyone onstage is really happy. I started out with a Q338, but we’ve added to the show and now

I’ve run out of channels I’m on the Q5. The fact that you can just swap over your show file to a different console is a big plus.” Donbavand has worked with Kennedy since 2017 and has used DiGiCo since the

following year. He is using Pulse software, Con Sends for talkback and a Fourier transform.engine for plugin processing, while shared racks help reduce the tour’s footprint.

“We got our first control package in 2018 and it’s been DiGiCo ever since,” he noted. “Sharing racks helps keep production happy and, as I am reaching the limits with channel count, I find things like the additional, zero-latency Con Sends very helpful, especially for talkback between us.” The system has also adapted to larger performances, including a Dublin homecoming show which featured a 22-piece choir and additional guest artists, prompting Donbavand to switch to a Quantum5. The engineers are also making extensive use of DiGiCo’s onboard processing, including the Mustard Source Expander, as the tour prepares for its next run of dates. “I have seen the show evolve from clubs to two nights in Dublin’s Aviva stadium, which has a 50,000-seat capacity. It’s been a super nice ride and the whole production has evolved a lot,” Donbavand concluded. “DiGiCo’s ease of workflow means starting from scratch with another console has never even crossed my mind.” www.digico.biz www.solotech.com

JBL strikes a chord at M Suite VIETNAM

KTV venue M Suite recently opened in Ho Chi Minh City featuring a JBL Professional sound system tailored to the venue’s individual room requirements. Featuring a range of small, medium, large and signature rooms, M Suite has been designed with distinct entertainment environments that progress from more intimate karaoke settings to a larger premium performance space. With music and vocal performance at the centre of the guest experience, the audio system needed to deliver the clarity, output and low-frequency impact expected from karaoke while adapting to the different scale and layout of each room. Taking this into account, M Suite worked with distributor Phuc Giang PGI to develop JBL systems tailored to each room type, with EON700 Series systems for the small, medium and large rooms, while the larger signature room features the PRX Series. PGI Pro Audio noted that the installation represents the company’s first use of JBL Professional active loudspeaker systems for a KTV project. “The new M Suite location was looking to elevate its karaoke experience with a more powerful and engaging sound system,” explained An, M Suite project manager. “After evaluating solutions from several brands and receiving consultation from the PGI team, M Suite selected JBL Professional for its dynamic sound performance, vocal clarity and ability to deliver an immersive karaoke experience.” The small rooms have been outfitted with two EON712 powered loudspeakers, paired with a single EON718S powered subwoofer. The compact configuration provided the primary coverage and dedicated low-frequency reinforcement required for the smaller karaoke

environment without adding more loudspeakers than the room required. Medium rooms pair two EON712 loudspeakers with two EON710 powered loudspeakers positioned to extend coverage towards the rear of the room, while a single EON718S subwoofer provides low-frequency reinforcement. The additional rear coverage allows the system to address the longer room layout while maintaining the same EON700 Series platform used in the smaller spaces. For the large rooms, six EON712 loudspeakers provide the additional output and coverage required across the larger listening area, while two EON718S subwoofers increase

low-frequency capability for music playback and karaoke. The signature room represented the largest step in the system design. PGI selected six PRX915 powered loudspeakers in a surround configuration, supported by four PRX918XLF powered subwoofers, with a Soundcraft mixer providing mixing for the room’s audio system. According to the team, this progression from EON700 to PRX Series systems allowed PGI to address the acoustic and performance requirements of each space without overbuilding smaller rooms or limiting the larger ones. The active architecture also kept amplification integrated within the loudspeaker systems, giving

PGI a common deployment approach across various configurations. “KTV is an important entertainment market across Asia, where the audio system plays a central role in the guest experience,” said Nick Screen, vice president and general manager, Harman Professional Solutions, APAC. “At M Suite, PGI scaled the JBL Professional system according to the requirements of each room. That approach provided the vocal clarity, coverage, output and low-frequency performance needed across the venue’s different karaoke environments.” pro.harman.com

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ProAVL Asia Fp PointSourceDoneRight Swop2.pdf

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The Reference Series emacoustics.co.uk

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NEWS: PROJECTS

Canon brings SCCC into focus SINGAPORE

Officially opened in May 2017, Singapore Chinese Cultural Centre (SCCC) is an institution for local Chinese culture. It houses facilities such as an auditorium, multipurpose hall (MPH) and a recital studio for performances, exhibitions, workshops and other events. To complement the flexible use of its MPH and deliver professional-quality multicamera productions, SCCC recently upgraded its filming equipment. Measuring 1,850m2, SCCC’s MPH can house 50 banquet tables for seating up to 550 guests and support a portable stage setup in different locations. Equipped with an audio, lighting and video inventory including a podium with a gooseneck microphone, four wireless handheld microphones, three projectors with portable screens and a foyer display, filming remained a challenge without any fixed or portable cameras. To enhance venue versatility, the technical operators were tasked to create a varied stage layout that could adapt to each event’s requirements. Foreseeing an increase in demand for video filming of events, SCCC explored options that could provide smooth and sharp video capture for its users.

capabilities of the CR-N700 and CR-N300 models. Aligning with the venue’s varied stage requirements, EAS also noted the smooth capture, high colour reproduction and sharp images provided by Canon’s PTZ solutions. The MPH is now equipped with two mobile Canon CR-N700 cameras and six fixed CR-N300 models managed from a single RC-IP1000 controller. Auto tracking is enabled with two Auto Tracking Licences. To ensure seamless integration and networkable operation, EAS installed

In line with SCCC’s existing Panasonic PTZ camera setup in the auditorium, the Remote Camera Control Application (RCCA) is paired with the MPH’s RC-IP1000 controller, allowing SCCC to view and control all eight remote cameras from a single platform. Simplifying multicamera production and ensuring visual consistency across brands, Canon’s Camera Colour Matching Application equalises the CR-N700’s colour profiles with pre-existing Panasonic and third-party cameras.

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With Electro-Acoustic Systems (EAS) appointed as systems integrator, SCCC identified Canon PTZ cameras and infrastructure as the preferred equipment for video capture. This was followed by a demonstration highlighting the differences between 1-inch and 1/2.3-inch sensors in addition to the zoom

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an infrastructure that includes a racked Furman power sequencer, Blackmagic Videohub 10x10 12G-SDI router, Netgear AV network switches and a Datavideo HDR-90 video recorder. “Eliminating the need for a dedicated camera operator, one of the standout aspects of the demo was Canon’s auto tracking capability, which delivered smooth, reliable tracking of onstage performers,” commented EAS service division general manager Sunny Leow. Following installation, the SCCC team received comprehensive training, including an overview of the Web User Interface (WebUI).

According to SCCC, the Canon PTZ camera lineup was specified for its visual quality when showcasing the nuances of cultural arts. The institute also highlighted how the cameras’ smart auto-tracking functions free operators from having to constantly monitor dynamic live events. Furthermore, the team noted that Dual Pixel AF’s deep-learning detection provides accurate, focused quality during fast-paced stage movements, enhancing the production quality of performances and livestreams. www.easpl.com.sg sg.canon

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NEWS: PROJECTS

Blackmagic records Japan’s Podcast Expo JAPAN

Japan’s Podcast Expo 2026 used Blackmagic Design cameras and live production equipment to record around 24 hours of content across 24 sessions on two stages, with material published online shortly after the event. Organised by Zatsudan, the event featured 64 creators and industry experts. Each stage used an ATEM Mini Extreme ISO G2 live production switcher, HyperDeck Studio HD Plus broadcast deck and three cameras. Models included Blackmagic Cinema Camera 6K, Pocket Cinema Camera 4K, Studio Camera 4K Pro G2 and Studio Camera 6K

Pro, alongside SmartView 4K and Video Assist 5-inch 12G HDR monitoring. The workflow prioritised onsite postproduction. Switched programme feeds were recorded for use with minimal colour and audio adjustments, while ISO recordings were saved to SSDs connected to the switchers as backups. “We decided in advance to record the switched programme feed in a form that could be used almost as is, so that only colour and audio adjustments would be required afterwards,” explained Nobuhiko Ueno, who oversaw the recording operation. “As a risk management

measure, we also recorded ISO feeds as a backup, saving them to SSDs connected to the switchers. We used DaVinci Resolve for editing. Because we applied LUTs, the footage

was already close to its final look at the time of capture, which made the process very efficient.” www.blackmagicdesign.com

Vizrt puts Richmond AFL in 3D AUSTRALIA

Richmond AFL has adopted Vizrt’s Viz Libero Teams to support match analysis and digital content production, giving the Australian Football League club a workflow for turning game footage into 3D tactical breakdowns and fan-facing content. The platform provides more than 70 analysis tools, including measurements, defensive lines, zones and 3D camera flights. Richmond’s coaching and analysis

teams can use the system on a laptop, on-premises or in the cloud to examine match footage and create clips for digital channels. In addition, the workflow allows the club to produce analysis content for its online audience, combining coaching applications with short-form video and match highlights for social media. “This technology gives our coaches and analysts a powerful new way to break

down match footage and translate it into clear, actionable insights for our players,” commented Troy Johnson, head of technology, Richmond AFL. “Just as importantly, it opens up new possibilities for how we connect with our members and fans, letting us bring them closer to the tactical side of the game in ways we haven’t been able to before.” www.vizrt.com

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NEWS: PROJECTS

Sonos Libra takes Fletcher to Unfest’26 THAILAND

Spatial audio moved from workshop sessions into live performance at Unfest’26 in Bangkok, where Sonos Libra deployed an Adamson Fletcher Machine system at Spatial Stage 218. Held at Cloud 11, the creative technology festival brought together artists, creators and technologists to explore real-time approaches to storytelling and production. Its Unlive programme focused on live music combining sound, visuals and technology. Rather than reproducing a conventional stereo mix, the spatial system allowed artists to position and manipulate sound within the performance

space. Fletcher Machine supports 2D and 3D speaker configurations, object grouping and linking, external control protocols, timecode and a delay matrix with user-assignable gain and delay. The Fletcher Machine Stage can provide up to 128x128 inputs and outputs at 96kHz, with 1.3ms latency. The project began before the festival, with Sonos Libra working alongside Unformat Studio to run weekly spatial audio workshops at Uncommu. The sessions introduced artists and creators to spatial audio and the Fletcher Machine system, while examining how sound could extend beyond the conventional left-right stereo field. Workshops also

covered acoustics, psychoacoustics and the relationship between sound, space and human perception. “In a stereo system you can play with gain, EQ, compression, some reverberation. But in a spatial audio system you can play with distance, you can play with movement, you can play with position, you can play with artificial reverberation and room emulation,” commented Alfonso Martín, CEO, Sonos Libra. “What is special about it is that it enables us, it provides us a link between the artist and the engineering and the technology which never happened before. The artist

itself has to interact with the product, the artist itself has to create their own mix and how they want the space to be represented. Additionally, the distance between the audience and the speaker has to maintain a certain relationship in order to provide the spatialisation of the audio.” At Spatial Stage 218, loudspeakers were positioned around a central performance area, allowing participating artists to develop performances around spatial sound alongside visuals and lighting. www.adamson.ai www.sonoslibra.com

Anolis illuminates Adelaide Festival Centre AUSTRALIA

Over 200 Anolis LED lighting fixtures have been installed across two venues at Adelaide Festival Centre as part of a government-driven initiative to replace the centre’s original 1973 house lighting, which consisted primarily of incandescent PAR 56s and other downlights. “Professional high-grade dimming was high on our list of requirements for the new lighting,” explained Adelaide Festival Centre’s head of technical and production Nathan Luscombe. “We tested numerous products that snapped off or on during the last 5–10% of the dimming curve, and with a system life expectancy of around 10 years, it was vital to get details like this correct with any new installation.” Luscombe also wanted the venue’s environmental and architectural lighting to be DMX or DMX-over-Ethernet controlled, with colour-changing lights providing options for bespoke lighting showcases, special occasions and immersive moments. This would also allow incoming productions to integrate the house lighting into their own systems. The new lighting schemes were designed by Eddie Galak from Anolis’s Australian distributor, Jands. Galak noted that Luscombe and his team were impressed with the range of angles and lensing available, as well as the quality and vibrance of the

light output. Another consideration was that the signature white walk-in look should be 3,200K, slightly cooler than standard. Victoria-based systems integrator ITE completed the installation across the 2,000-capacity Festival Theatre and 590-seat Dunstan Playhouse. To replicate the previous house lighting look, Anolis Ambiane fixtures were selected for their tuneable whites, with over 200 units installed across both venues. Lighting control is provided by an ETC Paradigm system. The lights operate on their own networks but can be connected to a production lighting network. In the Festival Theatre, the luminaires are installed in the ceiling, under bridges, recessed on balconies, under boxes and in up/down configurations grazing the walls. In the Dunstan Playhouse, fixtures occupy five different levels and the area under the balcony. Most luminaires fitted into existing house lighting holes, assisting installation in the heritage building. The project has reportedly reduced power consumption by approximately 50%. Luscombe noted that the house lights can now run at around 70% intensity to produce the required 150/160 white lux levels, leaving headroom and removing the need for staff to work at heights to replace broken bulbs. www.anolislighting.com

LD Systems serves up sound in Goa INDIA

Olive & Ouzo, a Mediterranean-inspired restaurant in Goa, has installed an LD Systems sound system designed to provide consistent audio coverage across the venue. The installation comprises Stinger 10 G3 2-way passive 10-inch bass-reflex PA loudspeakers, two Stinger Sub 15 G3 subwoofers and AmplifyX amplifiers. The system was implemented by AV installation company Final Touch. The Stinger 10 G3 is a passive 2-way loudspeaker incorporating a 10-inch low/mid driver and 1-inch high-frequency driver, with a 90° x 50° dispersion pattern. The loudspeaker is intended for applications requiring full-range sound reinforcement while maintaining intelligibility across the listening area. Low-frequency reinforcement is provided by two Stinger Sub 15 G3 units. The passive

15-inch bass-reflex subwoofers feature 600W RMS power handling and are designed to extend the system’s low-frequency output. Each unit has a 15-inch woofer and can be used in horizontal or vertical configurations. AmplifyX amplifiers provide power for the passive loudspeakers and subwoofers. The combination was selected for the restaurant’s background music requirements, with the system supporting both daytime dining and busier evening periods. The installation forms part of Olive & Ouzo’s wider approach to creating a Mediterranean-inspired environment, with audio integrated alongside the venue’s interior design, food and ambience. www.ld-systems.com

38 PRO AVL ASIA November–December 2026

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Giga Impact Anytime, Anywhere Compact High Output All-in-One IP65 Fixture Fast Prep and Easy Maintenance LSW-3TM 350W White Phosphor Laser Source Laser Class 1 RG 3 Device Untitled-2 4

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26/10/2026 13:29

NEWS: PROJECTS

WyreStorm completes the circle MALAYSIA

A circular conference room presented a different set of integration challenges for Futuristic Store Fixtures, with Malaysian integrator Naga AV using WyreStorm connectivity and collaboration equipment to build an AV system around the room’s design. Futuristic Store Fixtures, a Singapore-based store fixtures specialist with a manufacturing facility in Malaysia, wanted its new facility to include a meeting space that combined conferencing and presentation capabilities with straightforward operation. As a new-build project, Naga AV was able to integrate the technology from the outset. However, the circular room layout meant that

equipment placement and clean integration were important considerations, while the system also needed to be simple enough for employees to connect, present and communicate without technical assistance. At the centre of the installation is WyreStorm’s SW-640L-TX-W 4-input 4K presentation switcher, providing connectivity for multiple presentation sources. Video conferencing is handled by a CAM-420-PTZ 4K dual-lens PTZ camera, while an APO-SKY-MIC ceiling microphone and COM-MIC-HUB microphone hub provide audio capture. An EX-60-USB2 60m USB 2.0 extender provides additional flexibility in positioning USB

devices around the room, while an APO-DGHDMI HDMI and USB-A to USB-C adapter and EXP-4KUHD1.0 cable complete the connectivity infrastructure. The WyreStorm equipment is complemented by Audio-Technica ATDM audio processing, Next Audiocom A504 and C6 audio equipment and Belden network cabling.

The resulting system is intended to keep the technology unobtrusive while providing the functionality required for meetings and collaboration. Feedback has focused on the system’s ease of operation, while Naga AV also highlighted the reliability of the equipment. www.wyrestorm.com

Lightware links up LinkedIn APAC

Lightware’s Taurus UCX switchers are providing BYOD connectivity for Microsoft Teams Rooms across LinkedIn’s APAC meeting rooms. Delivered by PTS Consulting Singapore alongside local systems integrators, the project aimed to provide a consistent Microsoft Teams Rooms experience with BYOD functionality across nine APAC cities – Bangalore, Beijing, Hong Kong, Melbourne, Mumbai, Shanghai, Singapore, Sydney and Tokyo. PTS Consulting Singapore oversaw the unified communications (UC) upgrade, covering AV design, procurement, implementation, commissioning and handover. The company was tasked with upgrading approximately 300 meeting rooms within nine months. Rico Sim, general manager of PTS Consulting Singapore, identified scale, speed and regional variation as the main challenges. “Each market had different infrastructure conditions, regulatory requirements, local working practices, integrator capabilities and supply-chain constraints,” said Sim. “Product model variations and differing lead times also added complexity, so it was essential to maintain a familiar room experience while adapting to local requirements.”

Sim said reliable switching was essential for deployment and support. “Lightware Taurus UCX switchers were deployed across meeting rooms to support laptop connection, source switching and BYOD presentation paths,” he explained. “The technology helps bridge the user input layer with the Microsoft Teams Rooms ecosystem and in-room AV devices.”

Rooms were classified as standard or specialist types to accommodate differences in size, infrastructure and functionality. In standard rooms, a UCX-2x1-HC40 Universal Switcher beneath the meeting table provides HDMI 2.0 and USB-C connectivity through CAB-USBCT200C cables. The Lenovo ThinkSmart Core and IP Controller kit manages Microsoft Teams

Rooms, while the UCX handles local switching and device integration. “The UCX’s HDMI and USB-C connectivity proved especially valuable, reducing user ambiguity across each room,” noted Sim. “By providing a repeatable switching and connectivity approach, employees could expect a familiar connection method and meeting room workflow regardless of location.” Despite local adaptations, the underlying room architecture remained consistent within each typology, simplifying deployment and configuration. Standardisation enables regional IT teams to diagnose issues, manage rooms and maintain reliability across locations. “From a usability perspective, the upgrade from varied legacy configurations to a more standardised Microsoft Teams Rooms environment reduced the need for users to relearn different room setups when working across different locations,” Sim added. “This was intended to give staff a smoother meeting experience, allowing them to concentrate on collaboration rather than the technology in the room.” www.lightware.com

Audient goes off script NEPAL

A four-week recording trip to Nepal has evolved into a 70-minute documentary for producer Noah Strik, with an Audient EVO 8 audio interface forming part of the

compact recording setup used throughout the project. Strik initially travelled to Nepal to record a collaborative EP with local musicians.

However, a major earthquake struck on his second day, forcing him to abandon the original studio-based plan and instead document an evolving journey through the country. The resulting film, Project Nepal, premiered at the Beholders Film Festival. With recording taking place in local homes, villages and remote jungle locations, Strik used the USB bus-powered EVO 8 as part of a portable setup. The interface’s single-knob operation and Smartgain feature were used to simplify recording in changing conditions, while its preamps captured voiceover and ambient recordings that subsequently contributed to the film’s musical score. “The EVO 8 might have been my most underrated setup choice looking back,” noted Strik. “So many times, we had to improvise and adapt our setup, but the EVO 8 was

the one thing that just worked. It made professional recording feel portable and I never felt like I was compromising on quality simply because I wasn’t in a studio.” The project marked a shift for Strik from music production towards filmmaking, with material gathered during the Nepal trip becoming the foundation for the documentary after he returned home. He taught himself editing, scoring and feature-film production to develop the project. “The journey completely changed the way I view music. I hope people leave the cinema either feeling empowered to connect more with those around them or feeling recognised in their own personal struggles,” concluded Strik. www.audient.com

40 PRO AVL ASIA November–December 2026

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26/10/2026 12:00

Lyzard-KZ1 I

Discreet sound. Distinctive surroundings. At Four Seasons Hotel in Florenze, discreet audio integration preserves the character of the interiors. In the reception area, Lyzard-KZ14 I loudspeakers are integrated into the wood panelling, with a custom wood-effect RAL finish that makes them virtually invisible.

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In the corridor, compact Lyzard-KZ1 I speakers extend this discreet approach, providing audio coverage throughout the passage. Sound that supports the space while letting the architecture take centre stage.

www.k-array.com

26/10/2026 13:30

FEATURES: POSTPRODUCTION

The sound of freedom Resul Pookutty: looking forward to increased creative possibilities

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Oscar-winning sound designer Resul Pookutty has built a Dolby Atmos mix theatre at his Canaries Post Sound facility in Mumbai. Caroline Moss visits to learn about his unusual speaker choice SOUND DESIGNER RESUL POOKUTTY HAS BEEN pioneering film sound in India since 1995, recording and often mixing on location rather than overly relying on dubbing and ADR after shooting. Pookutty started his own facility, Canaries Post Sound, in 2006, with Ghajini and Slumdog Millionaire among the first soundtracks he worked on there. The latter earned him an Oscar, a BAFTA and numerous other accolades. I’d previously interviewed the irrepressible Pookutty about his work on the Netflix film Aadujeevitham (Pro AVL Asia, May–June 2025) so it was no surprise to learn about his unconventional decision to install a d&b audiotechnik system in a new Dolby Atmos mix theatre at Canaries. “Although I’m working in a small room, I wanted the sound of a big cinema, and it needed to be as clean as possible, so you can take decisions you would if you were working on a big mix stage,” he explains. “Once I started working with d&b, I felt that nothing else could fulfil those criteria.” Pookutty’s history with d&b did not originate in cinema at all. His introduction to the brand was when designing audio for a sound and light show in the Indian city of Nagpur. “We were creating a musical fountain on Futala Lake, with a 1km-long sound installation,” he says. “I was looking for speakers that wouldn’t differ acoustically or drop out along that length, so that the audience would get an even dispersion of sound anywhere they stood.” d&b’s Indian distributor Ansata arranged for Pookutty to visit the manufacturer’s German factory for a demonstration. “I was blown away by the Yi10P speakers when I heard the sound, and decided they were perfect for this project,” he recalls. “We installed 15 pairs in 2.1 mode along the lakeside and there’s no audio dropout or acoustic interference.” Three more d&b installations followed before Pookutty decided he also wanted them for the mix room he was planning. “I thought that if they could give me that level of clarity and consistency in a huge outdoor installation, why shouldn’t I use them for film?” he reasons.

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The studio is installed with an Epson 4K laser projection system For many years he’d been mixing in studios across India, Europe and the US, but it was during the pandemic that the idea of building his own facility really came to life. “While the Covid era made me realise that running around to other studios could be avoidable, it was more than that,” he explains. “When you are in someone else’s room, the clock is always ticking. If I need to take a couple of hours or a day more for a sequence, I should be able to spend that time

without feeling stressed or worried about the cost, especially when it runs into overtime.” Before work started though, he had to counter an initial wave of scepticism from Ansata. “I asked Resul if he was crazy by considering a d&b system for his studio,” recalls director Leslie Lean. But Pookutty was determined. “They told me it wasn’t built for cinema, but I said, ‘it’s built to give me clearer sound, and I’m going to go for it!’” he says.

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FEATURES: POSTPRODUCTION With the addition of the new Dolby Atmos mix room, Canaries now spans two levels, housing 2.1 and 5.1 studios, three cutting rooms and an Atmos design room, with film posters and cabinets bursting with awards bearing testament to the work that goes on behind the walls. Yet, despite the bustle, there’s a sense of calmness, almost of completeness, now that the new Atmos mix room is up and running. “I want people to leave any tension behind when they walk into the room, to relax and know they will hear good audio,” says Pookutty. “To hear a big sound and take decisions they would be making in a big cinema.” The first commercial output from the new room was Indian language mixes – Hindi, Tamil, Telugu and Malayalam – of the Masters of the Universe film released this summer. Pookutty explains that Indian language versions require more than simply matching the loudness of the original, keeping in mind that different languages and dialects have varying intensity and character, so dialogue requires careful treatment while retaining the creative intent of the original mix. His team had to be particularly careful with the film’s robots and characters. “We deal with the dialogue and match it to how the original sounds,” he explains. “Creatively, we don’t interfere, but we deal with the sensibility of the Indian audience.” However, it’s one of Pookutty’s own projects that perfectly illustrates the studio’s value when it comes to escaping the time constraints of commercial facilities. This was a film shot at the 2025 Maha Kumbh Mela, a 45-day spiritual gathering which attracted more than 660 million pilgrims. “It needed a lot of patience because it is humungous; there are just so many people,” he says. “We shot a lot of film footage and every shot tells its own story. Within that, I need to find the emotional train of thought. It’s a passion project, and the clock can’t run on that kind of work, so I think this room is going to give me more creative freedom. Until

Pookutty (fifth from left) with the Ansata team

The 9.1.4 system was supplied and integrated by Ansata and certified by Dolby The 9.1.4 system supplied and integrated by Ansata and certified by Dolby comprises three d&b Vi7P speakers for the L-C-R screen channels and 12 8S speakers for the surrounds. A Vi-GSUB subwoofer below the screen handles the LFE and is run in cardioid mode. A d&b 40D amplifier powers the L-C-R and LFE channels with digital AES signals relayed over XLR, while three 5D amps drive the surround channels, providing Dante over Ethernet. Ansata also supplied an Avid MTRX II audio interface with a Dock providing Avid control on an iPad, an Avid S1 control surface and a Trinnov D-MON room correction and digital monitoring system with a La Remote controller. The studio is also installed with Apple Studio Display screens and an Epson 4K laser projection system. Extensive plugin processing includes bundles from Waves, FabFilter, The Cargo Cult, Plugin Alliance, McDSP, Nugen Audio, LiquidSonics, Sonnox, UAD, iZotope, Soundtoys, Krotos, Audio Ease, AIR Music Technology and Eventide. “My go-to plugins for dialogue are Todd-AO’s Absentia and Hush Pro and I’ve incorporated the SoundFlow workflow platform with a Steam Deck

device, creating custom scripts for my mix setups,” he explains. Audeze LCD-X headphones are used for cross-referencing stereo and binaural mixes, secondary nearfields are Genelec 8020B monitors, and streaming and web content mixes for home listening are QC’ed through a Bose speaker. Directors and producers can check their mixes on private links via Devialet Gold Phantom wireless speakers and the room is also connected to a 15TB sound effects library. Pookutty designed the studio from the ground up himself, aided by rerecording mixer Ajaykumar PB and drawing on his wife Shadia’s eye for detail. Her influence can be seen in the calming colour scheme, fabrics and furnishings, as well as murals of tropical foliage that trail across the ceiling. “I wanted the room to be really pleasant to enter, from the floor to the ceiling,” he says. “When you’re looking up and around, you’re not just seeing the speakers.” Adding to the sense of the studio as an instrument is a floor of seasoned rosewood, sawn from a 300-year-old tree sourced from his home state of Kerala. “Rosewood gives you the truest sound; it doesn’t add to the acoustics of the room at all,” he explains. “In every room I’ve built, I’ve used teak or rosewood, a minimum of 80 years old. You have to season it first or the boards move around, so I built the floor and left it for almost three months to settle. The floor took me more than six months to finish – far longer than the installation!” Pookutty also used handmade rubber sheets from his rubber estate in Kerala along the walls for lowand mid-frequency absorption. According to Pookutty, one of the main benefits of the new system is the amount of headroom it affords. “For film sound it’s normal to have around 120dB headroom but, in almost all mix rooms, it’s kept to around 103dB, maybe 109dB maximum,” he explains. “To increase the headroom from 109dB the cost of amplification would rocket. Here, we have about 130dB headroom. And of course, the cost is phenomenal, but everything has worked out so well. I have no distortion; the sound is completely clean even when I’m operating the amplifiers and speakers at full capacity so I can hear extremely fine detail without distortion or colouration.” However, he stresses that this doesn’t translate into unnecessary SPLs. “Being loud is okay, as long as you’re not hurting anybody – the audiovisual experience has to be pleasurable,” he says. He insists on mixing to standardised levels, constructing a loudness graph alongside the narrative graph to follow the story rather than keeping levels permanently elevated. “The objective isn’t to make films louder; it’s to make every element more intelligible, dynamic and emotionally effective. We’re dealing with psychoacoustics: when you have too much music or noise, the audience just gets disconnected and switches off.”

d&b 8S overhead speakers against a backdrop of tropical foliage I print it, I don’t have to commit to anything, and that gives me a great sense of comfort and freedom of thinking.” When the Ansata team visited the studio after the installation, they understood why Pookutty had chosen speakers capable of delivering that “big” cinema sound alongside optimum clarity and resolution. “Nothing is masked in this room; you can really hear all the detail and dynamics and it’s about as close as you can get to perfection,” says d&b’s sales support engineer for India and Africa, Neil Lean. Pookutty agrees. “You need to be precise in the room where you’re listening,” he says. “At the end of the day, you want to give the audience a genuine and pleasurable experience, making sure that they leave the cinema without feeling fatigued.” www.ansata.net www.avid.com www.dbaudio.com www.trinnov.com

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FEATURES: VIRTUAL PRODUCTION

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Supported by the Government of India, the Institute of Creative Technologies is at the forefront of a nationwide initiative to boost what the country is calling the AVGC-XR sector. Caroline Moss visits SPREAD ACROSS 4,700m2, MUMBAI’S Indian Institute of Creative Technologies (IICT) brings VP (virtual production), motion capture, VFX, postproduction, immersive audio and advanced media technologies together to support India’s rapidly expanding media and entertainment landscape. The Government of India is actively driving structural, financial and educational support to position the country as a global hub for content creation, anticipating that the sector will require 2 million professionals by 2030. And IICT is the anchor of this national push. Welcoming its first student intake in October 2025, IICT – pioneered under the leadership of Prime Minister Narendra Modi – reflects a wider shift in India’s creative industries. The facility has been established to boost capabilities across AVGC-XR – animation, visual effects, gaming, comics and extended reality – giving students

access to the technologies and workflows they will encounter in professional production environments. In a country that has long prioritised pathways into the legal, financial and medical sectors, AVGC-XR is part of what is termed the “Orange Economy” in recognition of the importance of creative industries and intellectual property. India has long been a global centre for VFX and postproduction, with local technicians contributing to international productions, but the country hasn’t embraced the shift to VP as quickly as some of its Asian neighbours. As advanced production environments in India still often rely on international specialists for highly technical workflows, it was crucial to provide IICT with an infrastructure that would give students a thorough understanding of the technologies underpinning modern production pipelines. This placed a significant emphasis on getting the integration of the technology exactly right.

L–R: Cineom’s Priyan Parab and Shailesh Parab with IICT’s head of postproduction, Salil Deshpande

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The design and integration of an immersive VP studio was the most complex aspect of the installation

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FEATURES: VIRTUAL PRODUCTION The tender to deliver this groundbreaking project was won by long-established systems integrator Cineom, a company well-positioned to take on the challenge having established one of India’s early VP environments at Famous Studios in 2021. Cineom was appointed as systems integrator and turnkey technology provider, contracted to oversee the deployment of an integrated technology ecosystem as well as handling project management of civil interiors, acoustic design and theatre acoustics. “India already possesses the technical talent and creative workforce,” explains Cineom executive director, Priyan Parab. “The next step was to create an ecosystem where original content, technology expertise and production innovation could also originate from within the country, making India a true content creation economy.” Although Cineom has extensive experience across VP, postproduction, DI, broadcast, audio and integrated media workflows, the scale of IICT took the integrator to another level altogether. Rather than starting from the ground up, the facility had to be integrated into an existing building at the National Film Development Corporation (NFDC) Mumbai premises within a six-month timeframe. “That created a completely different set of challenges,” continues Parab. “The building had never been designed for the type of media infrastructure we needed to install.” IICT required a mediacentric backbone capable of supporting workflows ranging from 10Gb to 100Gb, connecting production, postproduction, teaching and storage environments across the facility’s four levels. Custom raceways, conduits and trenching had to be constructed to accommodate the fibre and networking infrastructure required for large-scale AV-over-IP and high-throughput media workflows. The result is a centralised production asset management and shared-storage ecosystem, linking immersive facilities, classrooms, VFX and gaming

laboratories, editing suites and DI environments into a single production infrastructure. This allows students to move between theoretical learning and practical work without encountering the disconnect that often exists between academic and professional environments. For Cineom, the most complex aspect of the installation was the design and integration of an immersive VP studio supporting in-camera VFX, chroma-based and broadcast VP, cinematic workflows, motion capture and photogrammetry. Accommodating those different disciplines within a single studio required particularly careful planning. A major challenge was that the slabs of the existing building, dating from the 1980s, were not capable of supporting the suspended loads required for a motorised lighting grid. The amount of structural reinforcement added significant time to the scale of works, but Cineom still completed the overall project within its six-month schedule. An unconventional approach to lighting in the VP studio saw Cineom rejecting a conventional fixed LED ceiling in favour of a vertically adjustable motorised rig fitted with ARRI SkyPanel S60 Pro softlight fixtures, allowing the physical lighting to respond to the virtual environment displayed on the LED volume, reproducing elements such as its reflections, shadows and ambient light to create a closer relationship between the on-screen and physical environments. A 9m x 4m AOTO LED wall with a pixel pitch of 2.3mm supports 12-bit processing. The LED volume itself operates at 120Hz and delivers near-4K resolution, with Brompton Tessera SX40 video processors handling the display processing. A 1:6 scaling ratio helps reduce common camera-related issues when shooting LED walls, including moiré, metamerism and other scanning artefacts. The system also supports professional colour spaces

The ICT-enabled classrooms feature 4K projection, interactive displays, PA systems and digital teaching tools

The 4K laser projection Dolby Atmos preview cinema and grading theatre spans two levels

A photogrammetry setup with 72 Sony Alpha 6100 mirrorless cameras

such as the Rec 2020 international standard for UHDTV and DCI-P3. Another notable feature is the ability to run two cameras simultaneously, each with its own independent frustum. Rather than switching between camera views, frame remapping allows both frustums to be displayed concurrently, while each camera records only the image intended for it. This opens up a more streamlined approach to multi-camera XR, broadcast and live production. Cineom has taken the workflow further with a dual-output system built around RED V-Raptor XL 8K professional cinema cameras, high-frequency LED operation, Brompton processing and Phantom Track dual-capture VP technology. This allows the same production to generate both a finished in-camera VFX image and a synchronised chroma-key version. The latter provides an alternative compositing route in postproduction, giving productions greater flexibility if changes to the visual environment are subsequently required. IICT also offers a broad range of production and postproduction facilities including a preview and Baselight grading theatre spanning the 4th and 5th levels of the building. This is installed with a full Dolby Atmos system with an L-C-R screen system of JBL 4732 ScreenArray cinema speakers, 14 JBL 9350 and eight SCS 12 cinema models for the surround channels, two 4641 cinema subwoofers for screen channel low-frequency effects and two 5628 subwoofers, all powered by nine Crown ITech 4x3500HD amplifiers and controlled via a Grace Design m908 immersive monitoring system with Dante card. The theatre is also installed

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A 4K HDR postproduction edit suite with a Barco SP4K-15B 4K laser cinema projector, a Dolby Atmos CP950A cinema processor and DAC interface, an Antelope Audio Galaxy 32 Synergy Core and an OCX HD master clock. 4K DI (digital intermediate) suites are installed with 7.1 reference audio systems comprised of Neumann KH 120A monitors with a KH 810 studio subwoofer, a Marantz AV7706 11.2-channel preamplifier, two BenQ PD2705U monitors, an EIZO ColorEdge CG319X 4K colour grading monitor and Blackmagic Design DaVinci Resolve colour grading software running on a Mac computer, with a Blackmagic Design UltraStudio 4K video I/O device and mini grading panel. Students also have access to a surround sound mix room with a Neumann KH 120A/KH 810 7.1 system, Avid S1 and Dock control systems, a Mac computer running Pro Tools Ultimate, Beyerdynamic DT 990 Pro studio headphones, a Mackie HM-4 headphone amplifier and a Neumann TLM102 studio condenser mic. Also available are 4K edit suites running Apple Final Cut Pro on an Apple Mac Studio M2 Ultra, equipped with a BenQ PD2705U 4K monitor and a pair of Yamaha HS2 active studio monitors. ICT-enabled classrooms are equipped with 4K projection systems, interactive displays, integrated PA systems and advanced digital teaching tools. Training spaces for hands-on production workflows include a 40-seat VFX laboratory and a 20-seat gaming laboratory, both equipped with Dell Alienware Area-51 workstations featuring Nvidia GeForce RTX 5090 graphics cards, Intel Core i9 processors, NVMe storage and high-capacity RAM, providing the processing power for VFX, animation, gaming and postproduction. Motion capture forms another important part of the facility, with a 30-camera Qualisys system providing students with hands-on experience of character and performance capture, while a photogrammetry room is installed with 72 Sony Alpha 6100 mirrorless cameras. When integrating such an extensive and sophisticated technology infrastructure, it was important that Cineom’s role extended beyond installation. The company provided a three-month faculty training programme covering LED wall workflows, camera tracking, sensor and lens calibration, software environments and overall system management, with members of its engineering team remaining at IICT to provide ongoing support and training. Provision has also been made for a quarterly maintenance and audit cycle, whereby all equipment is rigorously monitored and evaluated. IICT has been carefully designed to maintain close links with the industry, giving students a practical understanding of real-world workflows, standards and expectations through hands-on experience with current production technologies and guidance from professionals actively working in the field. Its long-term goal is to produce graduates equipped with the technical skills and industry awareness to move seamlessly into professional production environments and contribute to the continued growth of this important sector. The campus at the former NFDC is just the first phase for IICT, as a much larger facility is currently being constructed in the north of Mumbai at the Film City complex. However, in phase one, Cineom has provided a formidable technological foundation designed to provide scalability and flexibility, with much of the technology suitable for reintegration into future environments as IICT grows in scale and ambition. For now, by bringing production, postproduction, immersive media and education into a single integrated environment, IICT offers a glimpse of the infrastructure India hopes will help shape its next generation of content creators. www.cineom.in

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FEATURES: EDUCATION

Steep learning curve A Yamaha Rivage PM3 control surface is deployed at FOH in the Recital Hall

In a leap forward for Malaysian education, Sunway University has completed an ambitious eight-year project to provide its students with a world-class media production facility. Richard Lawn visits RECOGNISED BY APPLIEDHE AS THE HIGHEST-RANKED private university in Southeast Asia, Sunway University also produces Malaysia’s most employable graduates, according to the country’s talent authority, Talentbank. Located in Bandar Sunway on the outskirts of Kuala Lumpur, the university, which comprises eight faculties and schools alongside several research centres, was inaugurated in late 2025. The 1,200-seat Jeffrey Cheah Performing Arts Centre (JCPAC) forms a distinctive part of the 70,000m2 campus, with AV and lighting technology playing a central role. The Faculty of Arts and Social Sciences incorporates drama, dance and music, with the media school specifically catering for students looking to forge a career in production beyond TV and film. Specialist broadcast consultant Stage Centre Line Associate (SCLA) was commissioned to lead the ambitious design of the Media City production facility that would ultimately support a broad range of media production disciplines. These were to be served by two recording studios, a shooting studio for single camera operation, five webcast studios, a foley studio, two online editing suites, two media production suites, a preview studio and a final mix studio. “The school knew exactly what they wanted and how we should design accordingly,” explains SCLA founder and lead consultant, Mac Chan. Integrating a wide spectrum of specialist facilities into a relatively small area proved to be the overriding obstacle for those contractors associated with the professional acoustic, technical and operational standards. “Media City is laid out on a compact footprint, so designing and installing each individual facility became

SCLA founder and lead consultant Mac Chan

a great challenge,” says Chan. “Our scope extended beyond the technologies and involved space planning. We worked closely with the architect when designing the recording studios, which ended up being adjacent to one another because of the small footprint.” Trained by the BBC in 1997 as a TV broadcast lighting engineer when Astro became Malaysia’s first digital broadcast studio, Chan gained further experience at Pinewood Studios in Johor Bahru and as a lighting designer during the Commonwealth Games in Malaysia. Having worked on architectural projects where he created his own designs, Chan established SCLA in 2006, successfully applying his broadcast and live theatre expertise. “For Media City, I could use my experience to design the theatre, black box, postproduction suite and studios,” he continues. Prompted to apply as the lead AV consultant in 2018, Chan was contracted in 2019 with a cited completion date of 2023. “We wanted this project to be successful because there had never been such a comprehensive educational institution like this in Malaysia. However, the Covid-19 pandemic stopped everything and led to a three-year delay. Although the plans had not radically changed when we re-emerged in 2022, changing attitudes in student learning led to a dilemma when it came to the classroom design and the adoption of a hybrid style.” There was also a fear that students might stay at home indefinitely, studying online without needing to attend school in person. “We had entered a great unknown and Sunway literally went into panic mode with so many classrooms and lecture halls all fitted with AV equipment under construction,” continues Chan. “No forecasts existed and the university did not know how

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FEATURES: EDUCATION

L–R: Benji Chiah and Joshua Seow from Tegas Broadcast and Multimedia many lecture halls and classrooms they required, as the original design concept was based on in-person lecturing. Although we were encouraged to redesign an entire online teaching system, Media City did not abandon the original design plans because they believed that the lecturers and students would ultimately return.” Online lecturing systems of different scales had to be redesigned for the school, which meant converting some of the larger lecture halls into smaller studios. Accordingly, SCLA redesigned many teaching rooms to accommodate a single teacher lecturing up to 90 physical students, in addition to multiple displays. “A Covid-19 hangover perhaps, because the final design incorporates many hybrid interactive teaching features,” he adds. “This reflects the timing of the project as we came out of the pandemic and gradually witnessed students returning in person. At that point in 2023, Sunway Media City realised they needed more classrooms than originally planned and redesigned all the lecture halls.” The original recording studio concept was intended to expose students to both analogue and digital workflows. “Our client is very passionate about the technology,” explains Chan. “We held numerous discussions on the choice of mixing console for the two recording studios, having initially specified digital and analogue control surfaces. It’s important for students to understand the difference between recording on analogue and digital work surfaces and getting trained on both. However, following consultation with the students, the school opted for Avid S6 32-fader and S1 16-fader surface controls. They needed to look at this as an educator and deduced that Avid remains the standard in the real world beyond education.” The theme for implementing technologies within the school that would help the students transition into the real world became a recurring theme. So that students could learn about tungsten bulb dimming as well as LED fittings, SCLA investigated the addition of a phase dimming module to the black box theatre. “Unfortunately, we realised that the dimmer manufacturer was discontinuing this technology, so we would not be able to maintain the dimmers after several years,” says Chan. “As a consultant, it’s vital that you look into the future for the client.” The AV installation contract for Media City was awarded to Tegas Broadcast and Multimedia. Founded in 1990, the Kuala Lumpur-based company can highlight multiple Malaysian broadcasting references over the past three decades. “As a consultant, I had a lot of confidence in Tegas,” explains Chan. “Their understanding of how local broadcasters operate and use systems led to how the audio and lighting designs were implemented within Media City. However, when you’re designing and installing an educational application, you must also familiarise yourself with the operations and the culture.” At an early stage, both SCLA and Tegas dismissed the implementation of an all-in-one network that would cater for

lighting, audio streaming and data. “One network would not allow different users to operate personal protocol priorities or accommodate sufficient IP network control bandwidths,” explains Chan, who insisted on separate independent IP networks. “AVoIP has evolved quickly with Luminex redesigning the AV network switch and the Avnu Alliance’s work in standardising network requirements. Ultimately, Media City’s students need to focus on their audio recordings and other work rather than becoming bogged down with network issues.”

Neumann mics are used by the presenters in the radio studio

An L-Acoustics A15i Wide and KS21i system complements the ivories in the Recital Hall Standalone AV networks were created with varying digital workflows operating independently of one another. “Each individual room was carefully assessed before we specified a primary network which would allow any secondary network to be patched in,” explains Tegas’ business development manager, Joshua Seow. “For an engineer working in the recording studio, there’s no need to convert to another network because we added manual patches for connecting other studios, with independent networks such as Dante over Cat6e or fibre to the Foley studio or Recital Hall, for example. This provides both flexibility and simplicity.” The architect was made aware of the acoustic treatment that would be required to completely prevent audio pollution from penetrating into adjacent rooms and studios. “In the Foley studio we had to increase the floor volume to create a sunken floor for the pit,” says Chan. “In addition, small water taps needed to be plumbed in for recording running water. This was all new to the architect, who subsequently had to redesign this studio by building a room within a room with additional concrete. The architectural layout was modified to fully seal the door and the windows, ensuring that the sound transmission registered no audio pollution.” Interfaced with an Apple Mac Studio computer loaded with Pro Tools Studio, the Foley studio is equipped with Sennheiser MKH 416 shotguns loaded on pistol grips, Sound Devices 833 portable recorders, Neumann KH 120 monitors and Sennheiser HD 300 Pro headphones.

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Studio A includes an Avid S6 32-fader console, Genelec monitoring and an extensive outboard selection

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FEATURES: EDUCATION Arriving onsite in late 2024, Tegas would take up residency on the eight-level building for over 18 months. “It was a difficult balancing act because we were working on other projects at the same time,” explains Seow. “We upscaled our team and recruited two permanent engineers exclusively for the Sunway project but, when we arrived onsite, the builders were on level four and the rain was falling through the open roof. We could pull cables and, as the builders progressed upwards, the venue became more watertight. With approximately 30 other contractors working onsite we were restricted as to what we could do for any period.” In addition to the general contractor, Tegas worked very closely with the acoustic team. “We could not commence our fitouts until the acoustics had been completed,” says Seow. “Conversely, they could not go onsite to commence their acoustic works until we had completed the cabling and trunking. Rather than installing one recording studio at a time, we had to work on the entire project simultaneously, which meant working on several rooms instantaneously when rooms became available.” Sunway University’s ambitions are evident throughout the fourth level, which demanded best-in-class technology. The JCPAC on levels 5 and 6, with its extensive L-Acoustics L-ISA immersive hyperreal audio loudspeaker system and Ambience active acoustics, is a first for Southeast Asia. Serving as a prelude to the JCPAC, the intimate and tastefully furnished 100-seat Recital Hall in Media City is characterised by a Steinway grand piano together with an almost overwhelming inventory of audio and video technology. Here, the audience receives a stereo mix from ceiling-fixed pairs of L-Acoustics A15i Wide cabinets augmented by dual KS21i subwoofers powered and processed by two LA4X amplified controllers. Mixing is carried out on a Yamaha Rivage

Sunway Media City’s postproduction studios are equipped with extensive Avid and Blackmagic production tools

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The shooting studio is equipped with tracked Libec DL-5RB and Movietech dollies PM3 control surface which receives its audio inputs from a Rio3224-D2 I/O rack. Milan and Dante audio networking is enabled by the addition of an L-Acoustics LS10 CE AVB switch and a Yamaha HY144-D card. Video inputs are routed through a Blackmagic Design Videohub 10x10 12G to the Panasonic PT-REQ80 projector. Standardised deployments of Avid, L-Acoustics, Neumann and Sennheiser technologies across Media City fulfilled the original technical brief and client’s expectations. “Avid remains the main brand in most postproduction and broadcast facilities, so we adopted Pro Tools and the S4 as the standard,” comments Seow. “For monitoring, Media City is equipped with an extensive mix of Genelec and Neumann speakers to reflect real-world studios such as Astro, Media Prima and RTM.” The shooting studio is equipped with tracked Libec DL-5RB and Movietech dollies loaded with Canon camcorders and Hollyland transmitters. An inventory of Sennheiser EW-DP wireless microphones and a suite of AJA video recorders, converters and media modules all play a part in enabling the AV workflows. Managed from an ETC ColorSource 20 console, the

studio lighting is enhanced by a combination of 32 ETC Fos/4 and Lustr X8 LED fixtures together with Prolights EclPanel LEDs and Fresnels. The inclusion of a Panasonic 4K projector and L-Acoustics X8 wall-mounted speakers enables remote student participation, emphasising the hybrid educational model. In addition to the ubiquitous deployment of S4 control surfaces, the five film and sound studios are all equipped with Avid MTRX Studio interfaces fitted with HDX Core cards for enabling Pro Tools software. Studio one is installed with a 7.1.4 Neumann monitoring setup comprising KH 310 speakers, KH 80 nearfields and a KH 870 subwoofer together with a 98-inch LG display. In addition to the standard Avid setup of an MTRX Studio and HDX Core, studio two benefits from an SSL UF8 DAW controller and a Blackmagic Design DaVinci Resolve advanced panel. The Genelec monitoring system includes 8030 and 8000-402B models supplemented by a 7370 APM subwoofer. Different monitoring is provided in the two recording studios, with Genelec 8361A SAM speakers in studio A and Neumann KH 310, 870 and 120 models in studio B. Outboard processing is extensive in both A and B, with a wide selection of stereo

limiters, compressors, limiters, reverb units and channel strips from brands including Rupert Neve, Universal Audio, Empirical Labs, Manley, Drawmer, Tube-Tech, Neve, Bricasti Design, Avalon Design and API. The analogue hardware is balanced digitally with an inventory of Ableton Live, Antares, Izotope, McDSP, Soundtoys, Waves and UA software and plugins. Three of the five webcast studios allow students to bring in their own devices, whereas Webcast 2 and 3 are equipped with Neumann BCM 705 dynamic microphones, Sennheiser headphones, a Canon CR-N300 PTZ camera and a RØDE RØDECaster Pro II mixer. “The budget is always a constraint for any project,” says Chan. “Fortunately, Sunway supported our plan because they wanted their students to engage with the highest level of real-world technologies. In this age of internet information transparency, prospective students can do their research and select the best course and university for their needs. Education is a two-way street. Rather than simply being what the school can provide for a student, it’s also about what the student wants to learn. The school is simply providing a platform for the student.” The overriding goal to integrate the most practical solutions with the appropriate technologies has been fulfilled, according to Chan. “The solution must be practical, workable and fit for the purpose of education so that it will provide the student with real-world industrial practice,” he explains. “My experiences at Pinewood and Astro encouraged me to look at other world-class facilities, but I was also confident that Tegas would adopt the most current technologies from their recent works.” Media City is now a glowing reference for both the AV consultant and systems integrator. “For an educational facility, this is a first for Malaysia,” concludes Seow. “Although we have worked on higher education facilities in the past, none have been on this scale or in this class. Sunway cared about the standard of technology for their students rather than the price. I very much doubt if any students will be asking for refunds.” This shining seat of education demanded that the architects, consultants and contractors of all trades would have to continually adapt their skills if they were to fulfil their client’s ambitious yet dynamic brief. Following eight years of dedication working on this extensive project, Chan was relieved to complete the final commissioning, content in the knowledge that he has learnt considerably from what may prove to be a once-in-a-lifetime experience. www.scla.asia www.sunwayuniversity.edu.my www.tegasbroadcast.com.my

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FEATURES: EDUCATION

City takes centre stage

In our second feature about Edith Cowan University’s new City Campus in downtown Perth, Richard Lawn reports on the institute’s seven world-class performance venues

The M

the M the Fl venue space conne Perth Work Perth Hawo Charc syste the pr the S Scree the B FOR VISITORS WHO HAVEN’T EXITED PERTH’S MAIN station into Yagan Square for several years, the transformation is hard to miss. At the centre of the Perth City Deal partnership created to reenergise the CBD, a striking, futuristic media façade now rises from what was, until only a few years ago, barren and disused land. Backed by the Australian and Western Australian Governments alongside Edith Cowan University (ECU), the development of ECU’s City Campus has helped recast this neglected corner of the CBD as a new centre of education, culture and activity. As the city’s first inner-city university campus, it is already turning heads among architectural and academic commentators while drawing prospective students from across Australia and beyond. Spanning 11 levels across 8,000m2, the AU$852mn purpose-built university campus is now home to 11,000 students and 1,500 staff members. Appointed as head contractor in March 2022 ahead of the construction phase, Multiplex played a central role in its conception, including the teaching spaces and performance AV venues. Four years on, Multiplex project manager Elijah Steele appears bewildered by the sight of the completed project. “It’s so impressive, but you have to keep remembering that its primary purpose is for teaching and education,” he says. Beyond the ECU City Campus façade fitted with more than 2,800 custom LED lattice fixtures and a 407m2, four-storey LED screen, another world unfolds. Art, culture and cutting-edge audiovisual technologies are woven throughout a creative environment that has become the artistic home of the Western Australian Academy of Performing Arts (WAAPA) and its students of music, dance, movement, production and design. At its heart is the Minderoo Centre for Performance Excellence, a purpose-built precinct encompassing eight venues including

Multiplex project manager Elijah Steele managed up to 900 subcontractors onsite each day

Diversified’s Dylan Curtois in the ECU City Campus foyer

ECU City Campus has become the artistic home of the Western

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FEATURES: EDUCATION

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The McCusker Recital Hall the McCusker Recital Hall, the Playhouse proscenium theatre, the Flex theatre, a dance space, a jazz and contemporary music venue and an Aboriginal performance studio. Together, these spaces transform the campus into a living performance hub, connecting emerging artists with audiences in the heart of Perth. Working with lead architects Lyons in partnership with Perth-based Silver Thomas Hanley and long-time collaborators Haworth Tompkinson, global theatre design consultancy Charcoalblue led the design of the specialist theatre technical systems for several of WAAPA’s proposed 70-plus spaces. As the project progressed, Charcoalblue was commissioned by the School of Art and Humanities (SAH) and Western Australia Screen and Media Academy (WASMA) to extend its expertise to the Broadcast Media Centre, Screen Production and Creative

Australian Academy of Performing Arts (WAAPA)

All the SAH rooms benefit from digital signage Industries Precinct. Charcoalblue’s intuitive AV designs are now enabling students to study, perform and develop practical skills in audio, broadcasting and editing. Forging close ties with acoustic designer Marshall Day and engineering company Stantec, Multiplex appointed specialist AV contractors to fulfil the design briefs. “Considering the scale and complexity of ECU City Campus, it was clear that no single AV contractor would be able to handle the entire project, so we agreed on a multi-contractor model,” explains Steele. With Perth-based Vizcom contracted to install the audiovisual technology into the teaching spaces, Diversified was appointed to oversee AV in the performance venues while The PA People was commissioned for complex stage engineering including the lifts. When Alistair Dick set out from his native Melbourne in 2009 to pioneer the Perth office of Rutledge AV – acquired by Diversified in 2019 – he was employee number one. With the demand for specialist AV integration often outstripping supply in the affluent mining state, the team grew to 60 personnel within 10 years. Before committing himself to the goals and objectives of Multiplex, Diversified’s number included then-senior project manager Steele. “At the peak of the works, we were managing up to 900 subcontractors onsite each day,” confirms Steele. “The key consideration was to reduce the number of subcontractors and allow them to manage their own scope, otherwise Multiplex would become a bottleneck if decisions weren’t made quickly enough,” he says. Reunited with their former colleague, the Diversified team maintained a healthy relationship with Multiplex throughout the project. “Diversified has scaled up massively over the years and, for ECU City Campus, we had to scale up again,” reveals Diversified’s commissioning team lead, Dylan Curtois. “As much as were aware of the scale of the ECU City challenge ahead, it wasn’t until we arrived onsite that we could fully comprehended how enormous our task ahead was going to be. Your average college faculty does not have seven theatres which all vary in terms of size, form and functionality.” Curtois was drafted onto the ECU City Campus project in late 2023 to communicate the scope of works, provide documentation, produce engineering drawings and oversee specification compliances. Everything changed six months into this tenure. “The original baseline budget was effectively doubled with only about two-and-a-half years left before practical completion,” he continues. “With a technology budget exceeding 10% of the total project value, which is several times larger than typical Australian AV contracts, this was always going to be a daunting challenge.” Like Curtois, Steele was also wary: “The client had initially wanted to reuse a significant amount of existing equipment

for the performance spaces, but that approach shifted when ECU decided not to reutilise old technology for a university of the future. Following seven months of workshops with ECU, Diversified and Charcoalblue, we set on a new course. From a revenue perspective it was a positive development for both contractors, but it also introduced risk in terms of increased labour, timeline and delivery capabilities. Additionally, the added technological infrastructure proposed for the performance spaces and broadcast facilities was highly complex, demanding the integration of specialised systems and equipment that in turn required additional subcontracted expertise.” The location next to the city’s main train and bus station and directly above the underground and train lines required the general contractor and Multiplex to carry out highly complex acoustic and building works. Every theatre is essentially a box within a box as each performance space sits on hydraulic springs, with separated outside walls eliminating outside vibrations. With the performance theatres located on the ground, first and second levels, Diversified was given access relatively quickly as the building site progressed vertically. However, the level-six broadcast suite and SAH rooms would not be available for a fitout until October 2025, which was three months prior to completion. Diversified adopted a best-in-class standardisation of equipment across most theatres, including DiGiCo Quantum and SD12 consoles in addition to Yamaha DM7 and DM7 Compact boards for audio mixing. The touring rider standard is maintained with the addition of Riedel Bolero wireless intercom systems and L-Acoustics loudspeaker arrays powered by LA7.16i amplified controllers connected by LS10 network switches, with some theatres capable of producing spatial audio mixes with L-ISA Controller desktop spatial processing tools. Providing redundancy, DiGiCo Quantum 338 consoles at FOH are connected to QLab playback systems and Mac mini desktop computers. An audio preset can be seamlessly switched at the touch of a button, changing the output to the preview monitor, the programme or the console’s audio inputs. The Quantum digital engines at FOH and monitors receive Dante digital audio signals from the DiGiCo racks and convert them to AES analogue. In addition, the stageracks include local passive and stage splits together with AVB (audio video bridging) patching for primary and secondary AVB networking. Beyond the Dante primary and secondary, AVB, VLAN (virtual local area network) and AES67 networks lies an extensive Q-SYS Q-LAN platform. Interfacing and bridging the wide range of audio protocols, three Prodigy.MX multiformat audio matrix

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FEATURES: EDUCATION units connected to a Netgear switch are installed for site-wide paging over the Q-LAN network. The resultant MADI signal is output from the QSC Core 110f processor to QSC CX-Q 4K8 amplifiers connecting the dressing rooms and FOH and BOH paging zones over the Q-LAN fibre infrastructure. “As much as we tried to standardise for ease-of-use across the campus for the facilitators, there were slight intricacies and differences,” explains Curtois. “However, by standardising most workflows in the theatres, the teachers and students have quickly familiarised themselves with the intuitive technology. The digital consoles could be daunting for them, so we created two control modes whereby the basic presets bypass direct console control. Most students in an educational facility are working with basic to standard technologies so, when they graduate, they’re usually stepping up. That won’t be the case when they depart ECU City Campus.” Paradigm lighting control has been installed in all seven theatres including some wireless panels that can be shared for basic lighting functionality. Separate lighting racks include the ETC Paradigm ACP3 controller and MA Lighting grandMA3 and ETC Eos control connected to a detailed fibre and data infrastructure including DMX, DAs and splitters. Paradigm control of the lighting fixtures, including 200 channels of LSC Control Systems dimmers in the Playhouse theatre alone, can be managed in switch mode from the console or in show mode within the Paradigm software. Netgear switches provide general networking on the converged network. Connected to the Q-SYS network via QSC Core 110f processors, the video editing suites in each venue are characterised by Blackmagic Design solutions including recorders, 20x20 video hub routers and ATEM 2 M/E production switchers. Further standardisation has been provided in the form of Williams AV Wavecast wireless hearing augmentation. The congested wireless network that challenged the Diversified team also required equipment standardisation.

WAAPA benefits from a proscenium theatre, the Playhouse

A Ross TouchDrive TD2S console serves as the centre point of the Vision Mixer location

DiGiCo consoles are standardised across most theatre spaces “We created a building-wide frequency management plan which required us to work closely with Vizcom to ensure that the frequencies weren’t clashing,” recalls Curtois. “In addition to the wireless infrastructure of microphones and transmitters in this building, extensive scans had to be conducted beyond the building perimeter to ensure there were no clashes with neighbouring buildings that might be operating over similar frequencies. When we discovered competing frequencies between the ground floor and level six, we separated them out. Ultimately, an extensive Shure Axient Digital wireless solution was adopted in every venue, including the broadcast facilities.”

The installation of bespoke Audio Visual Boxes (AVB) and Stage Light Boxes (SLB) are one of Diversified’s areas of expertise. Ingesting varying infrastructure cabling, these surface-mount, ceiling-mount and recessed panels enhance venue flexibility within the main performance venues and the broadcast suite itself. “There are hundreds of customised boxes, all varying in size, because they all had to be installed at various depths with the correct cables in each location,” explains Curtois. “Each one had to be tested and commissioned, and the electrical contractor routed all the cables in steel conduits to a rack in the basement.”

A studio equipped with an Avid S4 console and Meyer Sound Acheron Designer monitors Diversified’s mission was made possible by adopting one of Multiplex’s key strategies – factory acceptance testing (FAT), whereby a working setup of the entire broadcast facility was created in its Perth offices. “We procured all the equipment in late 2024 and early 2025, set up the entire system as practically as possible, configured it and recruited external experts to commission certain aspects,” says Curtois. “This

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The WASMA screening room with a Blackmagic Design DaVinci Resolve Studio setup, Stewart screen and Meyer Dolby Atmos system was a massive undertaking, but the initiative enabled us to acquire a client sign-off on the functionality before it was delivered onsite.” Workshops were conducted from mid-2024, and the FATs were rolled out in 2025. “For a broadcast studio of that size, the FATs were vital,” continues Curtois. “Before we could install in situ, the entire broadcast control room, including the audio booth, all six equipment room racks, a podcast studio, the newsroom, two of the virtual radio studios and one of the media production suites were set up in our office as a working proof of concept. Literally half of our office was transformed into this broadcast facility, and the commissioners managed these from our boardrooms and warehouse. The assembled racks were sensitively transported to the site as soon as we received the green light.” The broadcast suite required specialist expertise. After 17 years of working in the UK, Ryan Campbell’s return to his native Perth in late 2024 proved to be perfect timing. “Ryan ensured that the high-level design would operate according to the specification and would meet the ECU’s expectations in terms of system functionality,” confirms Curtois. “Having him on board to understand the day-to-day operations and oversee a proof of concept long in advance of the site delivery was vital. For a broadcast studio of that size, we could not have done it without Ryan and the FAT testing concept.” Operating within the realms of the SAH, Charcoalblue and Diversified continued their quest of designing and integrating the AV and lighting technologies into the extensive level-six broadcast AV facilities. Content is created and broadcast from a media centre, a studio, a control room, two visual radio studios, eight media production suites, a newsroom and two podcast studios. The world-class postproduction facilities include a sound mixing studio, production suites, a Foley studio, 16 edit suites, two finishing theatres, a sound stage and WASMA screening room. A combination of 12G-SDI video, AES3 audio and Cat6a data cabling runs throughout, and the broadcast studio operates over an ST 2110 AV-over-IP infrastructure. Extensive single- and multi-mode fibre cabling feeds are routed from the performance theatres into the broadcast suite. Fighting the

clock, Diversified subcontracted the installation of the complex fibre and cabling infrastructure. “There were literally thousands of fibres and, by not having to test them, we could focus on the commissioning,” explains Curtois. “Although it was a good opportunity for the university to utilise their 12G-SDI infrastructure, we decided to futureproof it with added ST 2110 AV-over-IP capabilities.”

Permanent and temporarily patched theatrical AV connections are transmitted into the broadcast suites by two Arista switches which were specified for their ST 2110 PTP (precision time protocol) broadcast compliance. Ross Video Ultrix and Riedel MediorNet HorizoN technologies are central to the video transmissions taking place between the venues and the broadcast suite. For transporting, mixing and processing 64x64 physical SDI channels, or 12G-SDI I/Os, a Ross Ultrix FR5 frame handles outputs for inhouse or external broadcast productions. Hosting an array of SDI-IP gateways and video processing capabilities including SDR-HDR conversion and colour correction, each Riedel MediorNet HorizoN unit transmits up to 128 channels of SDI-ST 2110 and up to 32 channels of SDR-HDR or up to 16 up/down/ cross conversions. When introduced to the broadcast suite, students may believe they’ve arrived in one of Australia’s national TV studios. The high ceiling is fitted with a baseline setup of eight lighting bars fitted with ARRI fixtures controlled from a compact grandMA3 lighting console, and the stage below is equipped with Panasonic 4K cameras fitted with autocues. Mounted Sony displays on the main wall are complemented by portable displays for news shows, weather presentations or a live cross from the newsroom. Divided into workflow locations, the main broadcast control suite features a graphics section with a Ross Video XPression data server and a replay area with two Riedel SimplyLive servers each running three 12G in and one 12G out. A Ross Video TouchDrive TD2S console serves as the centre point of the Vision Mixer location. Enabling the recording of remote production broadcasts, incoming SDI signals are converted to fibre before being ingested into the system. The entire workflow operations are controlled and orchestrated by Lawo’s Virtual Studio Manager (VSM), integrated with several button panels. “Each location offers similar controls, but the majority are X-Y routing or source-to-destination, and we also added several presets,” explains Curtois. “Following a workshop with the SAH broadcast team, we were made aware that they spent a lot of their time repatching between classes. By adopting VSM we could recall multi-view layouts, under monitor displays and virtual I/Os at the touch of a button.” In addition to broadcast and virtual radio presets there is also a newsroom preset which can switch between sources or location on the Ross TouchDrive. “The operators can rename everything, so camera one can be renamed to an individual operator for a particular show,” continues Curtois.

A typical 7.1 editing suite is equipped with Yamaha monitors

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FEATURES: EDUCATION “There is also a LiveU preset for external broadcasts using a LiveU backpack, which can be deployed wherever there’s 4G or Wi-Fi reception for transmitting back here remotely. This was my first time using the Lawo VSM and I was greatly impressed by it. In addition to the national supplier, PAT, the manufacturer’s project manager came to Perth to assist us. They also supplied and commissioned a Lawo mc²36 production console for mixing the audio signals transmitted from the performance venues.” The real-world setup is enhanced with a Ross AirCleaner live broadcast delay solution serving as a profanity delay, and an AJA Lilliput 4K monitor has been added to the control desk for camera shading and other touch-ups. “It’s not a postproduction tool but it allows the operator to touch some aspects up before live transmission,” explains Curtois. To meet the High Dynamic Range (HDR) and Wide Colour Gamut (WCG) broadcast requirements of real time and low latency for 4K workflows, an AJA FS-HDR Colorfront converter/frame synchroniser has been adopted. “You can touch down on any camera and shade before it goes live to air.” Located on the same level as the broadcast suite, the newsroom also betrays its university setting. Given access to the room just weeks before handover, Diversified partnered with specialist radio company AVC, which had previously worked at ECU’s existing Joondalup campus. Panasonic UE160 4K cameras, microphones and lighting simulate a live cross to the main control room, and a small monitor can route the programme feed or audio cue onto a display. Interconnected to a producer’s office and a newsreader booth, virtually identical Visual Radio Studios 1 and 2 exist on either side. With an ability to screen incoming phone calls, the producer can send selected live chats to the studio. Fitted with Yamaha HS5 and wall-mounted HS8i active studio monitors together with a Telos Alliance Axia Quasar console for radio automation, the studio can switch automatically to live on-air status. In addition to the vMix live video production software, which is used for auto switching, a compact Skaarhoj Air Fly Pro panel can be adopted for manual routing. Presets are activated automatically via the software but some tactile controls, including a Panasonic RP60 PTZ camera controller for the three Panasonic UE100 4K PTZ cameras, are also available. Five of the six news channels can be displayed on the newsroom wall and into the console as live sources for routing from the Ross Ultrix platform should a broadcast feed require transmission. The Foley studio control room is equipped with Apple M3 Ultra-equipped computers running Pro Tools, together with an Avid S4 chassis, Yamaha HS8 and HS5 monitors and an automation master module. The multipurpose sound studio floor allows Foley recordings for ADR effects including doors, gravel, sand and other materials, for recording and mixing in 7.1, 5.1 or stereo formats. The immersive Meyer Sound monitor system comprises Amie studio monitors and subwoofers, and a large inventory of DPA and Neumann microphones are at the disposal of the students. The recording studios, including an output suite, viewing suite and sound mixing suite, are installed with best-in-class standardised technology including Avid S4 consoles, MTRX and MTRX II audio interfaces and HDX processing together with an extensive inventory of Meyer Sound loudspeakers including Amie and Acheron Designer monitors augmented by X-800C cinema subwoofers. The Dolby Atmos theatrical screening room, which is also home to the WASMA, incorporates an immersive 35-speaker Meyer Sound Atmos system including seven subwoofers together with a Christie DCI-compliant projector and a Stewart Filmscreen projection screen. A Dolby IMS 3000 integrated media server was specified for playback, and the aspect ratio of the large-format Stewart screen can be adjusted accordingly. A Blackmagic Design DaVinci Resolve Studio stereoscopic 3D editing and compositing setup is included together with an advanced panel for grading. The production suite also includes an advanced Avid S4 console incorporating three channel strip modules, a post module, joystick module, automation and master module. “There is plenty of storage and bandwidth here with 100GB uplinks from various locations connected by Netgear 10GB switches, fibre and data patching,” confirms Curtois. “The suite features 7.1.4 Dolby Atmos playback, but it can also

A Lawo mc²36 production console mixes the theatre feeds for broadcast

venues required privacy but, once enabled, any of the show relay video feeds from the seven main theatres can be transmitted to the teaching spaces on the north side or the BOH dressing rooms from the stage manager console.” The decision by Multiplex to open level six ahead of levels four and five may not have been a typical scenario, but it ensured Diversified could complete the extensive SAH fitout before the politicians arrived onsite to cut the ribbons. “This required coordination with hundreds of subcontractors and careful planning,” says Steele. “However, it allowed us to tackle one of the most complex areas earlier in the programme and it made a significant difference to the outcome.” Another key factor in the success of the project was having the right people in place, according to Steele: “It’s not just about selecting the right companies but ensuring that they will deploy the right personnel, because projects are delivered by

Standardised studio technology includes Avid S4 consoles, MTRX and MTRX II audio interfaces and Meyer Sound Amie monitors be mixed in 7.1.4 in Pro Tools before being exported as a file format for playback via a Trinnov Altitude 16 immersive sound processor.” A Dolby CP950 cinema processor routes the audio to the 7.1 system in sync with the projection. Avid Sync decks provide video and audio synchronisation throughout the system and a Q-SYS Synapse D32i interface bridges the outputs of the Altitude 16 monitors over an AES67 network for output to the room while a Riedel MicroN UHD interface transmits 12G-SDI video sources. Two separate audio systems are integrated within the 5.1 mixing studio including Meyer Sound Amie monitors for the surrounds and L-C-R mix. For spatial audio requirements, an L-Acoustics L-ISA setup incorporates four SB18 subwoofers placed in each corner in combination with nine wall-mounted and four grid-mounted X8 enclosures. A Pro Tools plugin integrates the object-based L-ISA console for mixing a spatial audio file and simulating a 5.1 mix in the live room from a Yamaha DM7 control surface. Once the file has been saved, it can be transmitted to the Playhouse rehearsal venue. Three wall-mounted projectors blend the visual 4K images when a spatial audio video show is filmed in the Playhouse rehearsal space. In addition to wireless network compatibility, Diversified collaborated with Vizcom for certain parts of the integration. “Q-SYS transportation and Crestron NVX encoders enable AV show relay and transmission to the wider ECU network,” explains Curtois. “Vizcom has added the capability to input live feeds in certain teaching spaces. The feeds from the

people, not organisations. With Vizcom peaking earlier in the programme and Diversified completing later, this staggered approach allowed Multiplex to focus resources effectively at different stages. The project was intense, but we sustained a consistently high pace rather than extreme peaks. Upon reflection, the success of this project can be attributed to early planning, a clear strategy, strong collaboration and having the right people in place.” Charged with correcting non-existing defects after completion, Curtois cuts a satisfied yet solitary figure against a backdrop of excited students. His mission accomplished, he continues to be inspired by the simplified, futureproofed AV technologies that have been integrated into the immense structure. “Essentially, we’re in a university!” he reminds himself. “We have installed international broadcast standards that will allow ECU to teach newer standards and focus more on teaching technology for years to come. The emerging students will be far more valuable to the industry having learnt their skills here, because it’s a real-world setup.” Geographical location aside, perhaps ECU City Campus is simply a world beyond. www.ecu.edu.au www.multiplex.global www.onediversified.com www.vizcom.com.au

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A mee

Sound investment

L–R: Kairos Multi Jaya’s Irene Aditya, Damaran Kristanto and Daru Luhur Sasmito

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The audiophile owner of a new office space in the Indonesian capital insisted on the best when it came to the AV infrastructure, reports Richard Lawn

The main reception area and adjacent M Bar are equipped with RCF TT loudspeakers WHEN KAIROS MULTI JAYA WAS COMMISSIONED TO create an AV design for a new office building in South Jakarta, the company’s preconception of it being just another corporate space was erased upon meeting the owner and management team of Mitra Tiga Rekanan (MTR), who demanded full-range audio be installed across designated zones. The 19,355m² space constructed by Wijaya Kusuma Contractors comprises eight levels and a semi-basement. Working closely with the general consultant JCM and mechanical and electrical contractor Jagat Citra Inti, Kairos Multi Jaya was awarded the AV contract in December 2024. “It was refreshing to work with an owner who understood audio and was receptive to our suggestions,” comments Kairos Multi Jaya system designer, Damaran Kristanto. “The management team took a great interest in our design proposals and recognised the benefits of the increased investments.” Contracted to design and build the AV system for the main ballroom, pre-function ballroom, meeting room, M-Café and reception lobby, Kairos Multi Jaya spent an intermittent 12 months onsite before testing and commissioning was carried out in February 2026. To maximise room flexibility, the 416m2 ballroom

can be divided into four equal sections, each fitted with VGA laptop inputs and custom AV wall plates comprising XLR and HDMI connections. Each wall plate is routed to the main control room patchbay and 16-in/16-out processor. A single Symetrix Prism 16x16 audio signal processor, which provides room combining and dividing in addition to DSP speaker settings, lies at the core of the ballroom’s loudspeaker management. The inclusion of a Dante card has created a 64x64 matrix which has been increased to 128x64 with the addition of a Symetrix xOut 12 expander connected to the same Aruba JL868A managed switch. Connected to a half-rack xControl GPIO expander, the DSP settings within the SymNet Composer open architecture software was configured by Kairos Multi Jaya’s Daru Luhur Sasmito. Designed to control the AV parameters, a Symetrix T-5 Glass touchscreen has been fixed into the control room rack, and there are four portable Epson EB-L630U projectors on hand. “Once connected, the Somason MS-150LUC 16:9 motorised screens are managed over Symetrix xControl,” explains Kristanto. “Our corporate clients normally specify Crestron, Extron or AMX control platforms, but few realise that Symetrix possesses its own

system. Here at MTR, the client can manage zoned AV settings from a tablet with a customised GUI we created from the SymNet app. By adopting control within the Symetrix Prism DSP ecosystem and interfacing this with the Visionary 4 Series HDMI-over-IP Duet encoders and decoders, the video inputs connect laptops to the main video system via the Cat6 infrastructure.” When the ballroom is divided, separate Allen & Heath CQ-12T portable mixers connected to DT22 Dante interfaces receive their audio signals via the custom wall plates. Fixed into the walls at a height of 3.5m and firing away from the floor-to-ceiling glazing, there are two EAW Radius RS123 12-inch enclosures in each divisible room. “The architectural wooden décor and 7m height ruled out a ceiling speaker solution,” explains Kristanto. “Following EASE simulations, we opted for the Radius powerful and flexible rotatable driver speaker design as it provides 60° x 90° vertical or 90° x 60° horizontal dispersion.” The pre-reception area outside the ballroom is reinforced with RCF PL 8X ceiling speakers powered by a Powersoft Mezzo 322 amplifier. Within the ballroom itself, the general consultant demanded maximum flexibility, which has been addressed with a portable loudspeaker system for main FOH reinforcement. Providing plug-and-play capabilities, four self-powered RCF NXL 44-A loudspeakers are augmented by pairs of RCF SUB 8006-AS dual 18-inch subwoofers and an RCF SUB 8004-AS single 18-inch model. Connected to an Allen & Heath GX4816 audio expander, inputs including Audio-Technica ATW-T3202 wireless handheld transmitters and ATW-R3210 receivers are routed to an Allen & Heath Avantis Solo console before the signal is split by an XTA DP448 digital PA system controller. Four RCF NX 932-A powered speakers can be patched in as monitors. In room-combined mode, Visionary Duet-2 decoders output HDMI signals via a Novastar VX400 processor to a Mars 7,680x4,320mm 4K LED display at the far end of the ballroom. Completing the video signal chain in each divisible ballroom, a Kramer solution includes VS-411X automatic switchers, a PT-871/2xr HDMI extender kit and FC-69 HDMI audio embedders and de-embedders. Kairos Multi Jaya also oversaw the installation of an extensive cable infrastructure including a Cat6 layout together with Klotz AIS LY215 and MC2000 loudspeaker cables. “In addition to holding internal company events, the management wants to maximise the ballroom’s potential by hiring it out for weddings, seminars and external functions,” explains Kristanto. “With the DSP presets we have programmed, the in-house or external technicians do not need to waste time manually configuring delay formations or other DSP parameters. A further preset within the XTA DP448 provides one-button operation for the RCF NXL 44-A portable speaker system.”

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CMY

FEATURES: CORPORATE

A meeting room equipped with an Allen & Heath CQ-12T mixer and Audio-Technica ATW components A Mars LED screen is used when the ballroom is in room-combined configuration Allen & Heath CQ-12T portable consoles were specified for their ease of use and attractive price performance capabilities. “Our users enjoy the highly intuitive graphic user interface,” comments Kristanto. “To become familiarised with the CQ-12T, operations manager Ihsan required just one hour of tuition before operating the compact control surface. The main Avantis Solo console incorporates a 96KHz engine, large touchscreen and 64x64-channel matrix, upgraded with the optional downloadable dPack software.” A standalone meeting room is equipped with an Allen & Heath CQ-12T mixer that feeds into a Powersoft Mezzo 322 AD amplifier for output to four EAW CIS400 ceiling speakers. Downstairs, the main lobby reception and the adjacent Meja Bar – or M Bar – are installed with L-R wall-mounted, full-range RCF TT 515-A dual 5-inch enclosures and RCF TT 808-AS dual 8-inch subwoofers. Mixed on an Allen & Heath CQ-18T control surface, announcements and performances transmitted by the

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Audio-Technica ATW-3212 wireless microphone system, in addition to BGM sources and external audio inputs connected to a wall plate, are routed through an Allen & Heath AHM-64 mixer. “Like almost every project we work on, the timeline and the tight schedule was the most challenging aspect of this one,” reflects Kairos Multi Jaya’s project manager director of operations, Johannes Martin Wijaya. “The audiovisual works are always the last to be installed after the other electrical and interior designer contractors have completed their contractual fulfilments. As challenging as the project was, it was pleasing to work with a client that recognised added value.” www.allen-heath.com www.kairosmultijaya.com

Each of the four ballroom sections is reinforced by a pair of EAW Radius RS123 in-wall enclosures

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FEATURES: THEATRE

Immersed in culture

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The theatre’s upgrade to international standards includes a flexible immersive audio system, new lighting rigs and refined colour systems

Bangkok’s historic National Theatre has undergone a major audio upgrade sensitively handled by Fuzion Far East to provide an immersive system

L–R: Fuzion’s MD Joshua Oates with his colleague, Sutat “Pok” Kohkiat CONCEIVED AS A LEADING INSTITUTION FOR THAI arts following the 1932 constitutional shift, Bangkok’s National Theatre would eventually open its doors in December 1965. A recent refurbishment of the performing arts venue demanded a similar long-term strategy. As an integral part of these works, Professor Phonlasit Thinnakorn na Ayuthaya spent 15 years updating and perfecting an ambitious immersive audio design. The building’s Thai architecture features a modernist reinforced concrete structural plan, high-pitched gabled roofs and simplified decorative motifs. Equipped with hydraulic lifts and provisions for traditional painted backdrops, the auditorium supports various stage types, including proscenium and thrust setups. Advanced lighting systems provide flexible illumination for both subtle traditional and

vibrant modern performances. Likewise, audio reinforcement caters to varied musical styles ranging from acoustic Thai classical music to amplified contemporary shows. Located in Bangkok’s historical Phra Nakhon District, the National Theatre is managed by the Fine Arts Department of the government’s Performing Arts Department. Staging khon masked dramas, theatrical productions and Thai classical music in addition to international productions, the performing arts venue lies at the cornerstone of the country’s cultural life. Having increasingly integrated digital technologies into its operations, the venue ensured the continuity of its programming and broadened its appeal to global audiences by streaming performances during the pandemic. Initially commissioned by the National Theatre to enhance the audio technology for traditional Thai performances in 2009, Professor Ayuthaya would spend 15 years updating his extensive research. When the works were finally approved in 2022 following the completion of the government procurement process, the professor, acting as the project consultant, sought the expertise of Fuzion Far East’s Sutat “Pok” Kohkiat. Having founded Mr Team Productions in the 1980s, Pok was among the first audio professionals in Thailand to pioneer the use of 5.1 surround sound for live performances and advance the technology within the country’s live entertainment industry. “Once the proposal for the theatre’s audio system installation was approved, the professor approached me for technical advice,” explains Pok. “The current trend in recent years has been for immersive sound, and he wanted to implement this in the venue. Because our own productions had advanced to a level where the audience could no longer detect any variation in lip syncing, the professor was confident in our abilities to assist in the audio design.” At its heart, the loudspeaker design integrates Yamaha’s AFC (Active Field Control) Enhance technology. Linking NEXO’s

The main L-C-R speaker system comprises NEXO GEO M1210-I arrays speaker configurations with Yamaha’s AFC Image processor, the object-based immersive audio ecosystem allows audio designers to pan, move and automate objects across 3D acoustic production applications. At the heart of the immersive audio setup, a 256x256 Dante-equipped system with two DME7 processors drives object-based mixing for up to 128 inputs and 64 outputs.

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FEATURES: THEATRE Pok adopted NEXO’s NS-1 system configuration and simulation tool to design the theatre’s main front of house setup for performances demanding higher SPLs in addition to the distributed speakers for immersive requirements. “Both speaker systems can be combined should a performance require it, so it is a multipurpose theatre rather than a concert hall,” he says. “In terms of headroom and coverage pattern, the NEXO speakers could not be bettered.” To fulfil the venue’s multipurpose requirements, Pok’s initial stereo image design was upgraded to an L-C-R configuration. In addition to L-R arrays each comprising eight NEXO GEO M1210-I (six 12° and two 20° vertical dispersion) 12-inch cabinets, a central cluster of three GEO M1220-I (20°) enclosures was added to ensure even dispersion across the listening plane of the lower stalls. The lower frequencies are significantly enhanced down to 32Hz (–6dB) by a separate rig of 12 MSUB18-I subwoofers grouped in four hangs of three enclosures behind the three M1210-I centre speakers configured in cardioid mode to reduce onstage reverberation. “Following the demo with Fuzion, I knew that the NEXO GEO M1210-I 2-way line array fulfilled the FOH requirements,” explains the professor. “In addition to the NEXO GEO cabinet’s power handling capabilities and the controlled horizontal dispersion characteristics, its compact footprint ensured that this was the ideal choice for the room.” Capable of operating in a frequency range of 50Hz–20kHz (–6dB), the 12-inch model features integral rigging. The installation version of the GEO M12 can be set for 80° or 120° horizontal dispersion using magnetic flanges in the waveguide. AFC Design Assistant software was adopted to calculate the exact number and positioning of speakers required for uniform immersive coverage. The extensive NEXO immersive system features 27 ID24 enclosures fitted with a combination of 120° x 40° and 90° x 40° rotatable HF horns in addition to 93 P8-I 8-inch and four P12-I models fitted with 90° x 40° HF horns. The entire speaker system is powered by a combination of six NEXO NXAMP4X2MK2 and three NXAMP4X4MK2 network-powered digital TD controllers, individually fitted with NXDT104 MK2 Dante cards combined with a special

12 NEXO MSUB18-I subwoofers are suspended behind the three M1210-I centre fill speakers configuration of three Yamaha XMV8280-D, one XMV4280-D and 23 PC406-DI amplifiers. “To preserve the original architectural design, we worked closely with the interior designer,” explains Professor Ayuthaya. “Many of the P Series and ID24 NEXO cabinets had to be embedded into the walls and ceiling. Although limitations existed as to where we could fix the speakers, the audio parameters confirmed that we had met the technical criteria upon commissioning. For the variable acoustics, particular attention had to be paid to the reverberation time between the audience and the performers onstage, especially during a musical performance. Implementing AFC provided us with the right solution.” AFC technology is certainly not plug-and-play, but Pok believes that the younger generation of audio engineers will gain a better grasp

in comparison to experienced show producers more familiar with conventional audio setups. “It will be interesting to see how the traditional artistic community will interact with immersive technology and learn to strike a balance between creativity, technology and performance,” he says. “Naturally, I am very proud to have played a role in the transformation of the National Theatre. Adapting to traditional and Western music in addition to Thai dance with varied musical styles ensures that the engineers work as a team.” The microphones installed as part of the AFC system pick up the room’s resonance to relay a more realistic form of reverb into a live show. The STI of the theatre now varies between 1.1 and 4.0. For such a landmark project, the installation of a world-class sound system demanded that the professor conduct extensive testing and measurements for the highly detailed commissioning. Some ambient noise such as the air-conditioning made it more challenging. “Because the noise floor remains too high, the speed of the air coming out of the vents had to be adjusted,” he explains. Concealed for nearly two years behind scaffolding, the venue has been upgraded to meet international standards and is ready for a broader mix of programming. In addition to the immersive audio, performances are significantly enhanced by new lighting rigs and refined colour systems. Adding fragrance during key moments on stage, a 4D scent system provides another layer of audience connection. Beyond the technical upgrade, the National Theatre represents another milestone in Fuzion Far East’s 25-year history. Having played its part with the importation, support and service of hardware used in this AFC project, Pok believes that the company is now in a position of strength to supply a growing demand: “Once audiences fully experience immersive shows for the first time, they won’t want to go back. Traditional performing arts are still being preserved, but they’re also being presented in ways that fit more naturally with how audiences engage with culture today.” www.asia-oceania.yamaha.com www.fuzion.co.th www.nexo-sa.com

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BUSINESS: COMMENT

A letter from America

Dan Daley asks if the Korean connection has been short-circuited – and perhaps short-changed – by the Grammy organisation

IN JULY, A MONTH AFTER THE GRAMMY ORGANISATION debuted a new category for Asian popular music, K-pop supergroup BTS announced they would not compete in the 69th Grammy Awards next year. This looks very much like a protest against that new category, Best Asian Pop Music Performance, which will be awarded for the first time at the next ceremony in February. The Grammy Awards have faced decades of criticism and accusations of systemic racial bias from artists, music critics and fans. Back in 2017, Adele used her time accepting the prize for Album of the Year over Beyoncé’s Lemonade to ask why the Black artist had been repeatedly passed over for that honour. Those sorts of accusations go back many years, to a time when Little Richard still had to stay in segregated hotels on tour in parts of the US, even as artists like Pat Boone achieved massive mainstream success by recording sanitised covers of his pioneering rock-and-roll hits during the 1950s and early 1960s. Dozens of Black music artists had to be passed through the filter of White business and media before their music could get the traction it deserved, and were limited to the so-called “chitlin’ circuit” of small clubs and rooms throughout the

Deep South for the live gigs that brought in money that airplay didn’t. Asians in America had their own battles. Brought in to build the country’s railroads after the Civil War in late 1800s, by the end of the century they were being largely excluded, by policy and blatant racism, and only somewhat protected in enclaves in cities like New York and San Francisco. Musically, Asians were basically reduced to the tonal fifths that acted as aural clichés, only suggesting their presence in movies or novelty songs, for example the opening two bars of Turning Japanese by the Vapors. Country music, which is about as White as it gets, culturally speaking, had its own challenges in the last half-century. The entire “hillbilly” culture around it had been long disdained in the industry’s power centres. But country was able to self-segregate, localising itself in middle cities like Nashville and Bakersfield, California – building a business, financial, technical and artistic infrastructure robust enough to support itself separately from the mainstream. Of the remaining terrestrial music radio stations in the US today, the majority play country. The genre crosses into the mainstream periodically, such as the “Countrypolitan” days of Charlie Rich

and George Jones in the 1960s, merging with rock and pop in the 1970s and 1980s as the Eagles and Kenny Rogers dominated the pop charts. Lately, it still regularly occupies Top 10 charts, spearheaded by rap-infused artists like Shaboozey. But it remains steadfastly its own universe. Then came K-pop. A Beatles-esque juggernaut in its fully formed suddenness when PSY’s Gangnam Style landed on our shores in 2012, but was actually the output of a well-oiled machine in Korea that was about to put its stamp on global culture. K-Pop Demon Hunters today rivals the rejuvenated Barbie for influence on (and revenue from) youthful American consumers. And that’s the stage that the Grammys’ new dictum arrives on. Is it an acknowledgement that K-pop has established itself as the standard-bearer for all Asian popular music, deserving of its own overly inclusive award category, as R&B and later rap did? Or is it an attempt to ghetto-ise an artistic Icarus flying too high and close to the sun of pop music that the Grammys believes it has an imperialistic hegemony over? No matter who wins or loses here – and K-pop’s biggest army has already withdrawn from the field – it’s the Grammy Awards itself that likely have the most to lose.

A letter from Europe

Phil Ward celebrates behind-the-scene changes alongside the comforting continuity that keep the Montreux Jazz Festival at the pinnacle of the global music scene YOU BLINK, AND A DECADE GOES BY. AND, WITH EACH decade, the famous aphorism penned by Alphonse Karr – “the more it changes, the more it stays the same” – seems ever more relevant. I was reminded of this when the press release arrived announcing 40 years of Meyer Sound at the Montreux Jazz Festival, thanks to a unique relationship established between John Meyer and festival founder Claude Nobs. Surely, I thought, the secrets of such longevity can shed light on our AI-distorted world in which robots have their own Olympic Games. It didn’t take long before I found the fanfare surrounding the 30th anniversary of Meyer at Montreux, and then the 20th… and so on. However, this would be dispiriting were it not for the way another much more American aphorism complements the first: “if it ain’t broke, don’t fix it”. The thing is, the Montreux Jazz Festival is most definitely not broken, but Meyer and other global brands continue to fix it, year on year, creating the illusion that things are changing when, in fact, they are really staying the same. The same, that is, only better – exactly what the Silicon Valley apologists say about the conjunction of generative AI and robotics, despite the possibility of conscious

automata taking over the world and starting up their own businesses. This process began when the very conscious John Meyer brought the MSL-3 and the UPA-1 speakers to the festival, kickstarting a succession of technology upgrades throughout the town’s dispersed venues notwithstanding its original commitment to very acoustic jazz. Plus the addition of a new symphony hall dedicated to even more acoustic classical music. In fact, the introduction of powerful PA broke a lot of rules and led to erstwhile Meyer engineer Jim Cousins spending a lot of time in the new Stravinsky Hall trying to strike a balance between the reverberation time necessary for orchestral energy and the absorption needed by unruly loudspeakers. Jim – whose mobile phone ring tone at the time was that classic tribute to Montreux, Smoke on the Water, later recalled: “In the Stravinsky Hall we had to get the reverberation time down from six seconds to one second – without covering the architecture – as it had been designed for orchestral concerts. That’s a very typical challenge.” More help arrived when digital consoles, wireless microphones and in-ear monitoring wrought sonic changes that rendered Montreux’s dependence on, and relationship with, pro audio very much the same.

The consoles went digital in 2005, when both the Miles Davis Hall and the Casino acquired a Digidesign Venue each, with recording everything onto Pro Tools in mind. And in further proof of Monsieur Karr’s aphorism: a Digidesign Venue live sound console is now an Avid Venue live sound console. Following acquisitions of this kind, brands often sell the change simultaneously – for the better, otherwise why do it? And the continuity? Don’t worry, all your favourite flavours will remain unchanged. However, Digidesign’s sponsorship relationship with didn’t last long. Within four years, DiGiCo – which is still called DiGiCo, thank goodness – had waded in with a raft of its own consoles, the precise improvements at that time coalescing around FPGA processing. And today we have Meyer Sound’s Tigra and Panther line arrays and 2,000 Shure components across 10 stages arriving in time for the 40th anniversary, along with the cutting-edge immersive audio of Spacemap Go for the Memphis Stage in Lake House. If robots do develop consciousness, they’ll have an advantage way beyond the physical strength of a JCB and computer brains. At least, unlike us, they’ll know for sure who created them.

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BUSINESS: SHOW REVIEW

Prolight + Sound Bangkok 2026

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Caroline Moss visits the inaugural Thai event that has already justified its place in the tradeshow calendar, despite some distinctly unwelcome weather IT’S ALWAYS A GAMBLE HOLDING EVENTS IN SOUTHEAST Asia during the rainy season. Days before the inaugural Prolight + Sound Bangkok began, the city was hit by torrential rain, widespread flooding and severe disruption. Declaring all 50 districts a disaster zone, the Bangkok Metropolitan Administration began pumping operations, clearing debris, towing stranded vehicles, closing schools and encouraging remote working to get the city moving again. By the time Prolight + Sound – jointly organised by Messe Frankfurt (HK) and VNU Exhibitions Asia Pacific – opened on 30 September, the situation was largely under control, although initial flight cancellations and baggage delays deterred some international visitors. However, the three days that followed revealed a well-organised, vibrant show in a world-class exhibition centre easily accessible by road and BTS Skytrain. First-time exhibitors and visitors from 51 countries had been quick to recognise the show’s potential despite the fact that the AV industry had gathered in the city for InfoComm Asia just over two months earlier. An even stronger turnout is anticipated for 2027, particularly as InfoComm Asia moves to Kuala Lumpur. While the shows target different verticals, there is some crossover between them, with Bangkok proving a popular destination for the fast-growing Southeast Asian market. A notable initiative was the Singapore Pavilion organised by the Pro Audiovisual & Lighting Integration Association of Singapore (AVLIAS), with Acoustic & Lighting System, EP-Tec Solutions, MA Lighting, New Wave Display, Robe Lighting, Total Solution Marketing and Unearthed Productions all demonstrating global brands. Others were present with Thai distributors including Golden Duck and Sonos Libra, both sponsors of the Learning Hub seminar space together with Cosmos AV. Two Indian manufacturers, N-Labs and Giant Truss, took large stands near the front of the hall, while the rear half of the hall was dominated by Chinese brands showcasing lighting, lasers, speaker components and amplifiers.

Aks “We soo to c goo We’ ren will righ look our wel The show was opened by contingents from Messe Frankfurt, VNU Asia Pacific and invited dignitaries Seminars and panels took place on the Main Stage, which also hosted musical performances. Further seminars and workshops were held in the Immersive Tech Experience and dedicated demo rooms and a drone show lit up the night sky in an amphitheatre outside the hall. “The fringe programme is an important component of this show,” explained Kerstin Horaczek, vice president technology shows, Messe Frankfurt. “In this industry, there’s a lot of knowledge exchange, especially given the advances in technology involving AI. Organising events around the exhibition provides added interest for visitors. People like coming to Bangkok and the industry is getting more and more professional, with concerts, festivals and tourism all developing fast. It’s an exciting time to be here.” In a year that saw the original Prolight + Sound show in Frankfurt disappear from the calendar after three decades,

and with the Asian industry very much in ascendance, the timing seems right for Prolight + Sound Bangkok. The dates are set for 2027 and it’s to be hoped the weather will be kinder next year.

Jeremiah Joseph, Generation AV: “For us, being on the booth of Acoustic & Lighting and part of the Singapore Pavilion has been a great experience because a lot of international brands have converged here, which seems to be pulling visitors in. There’s a buzz on the show floor, but I’m not sure yet if that translates into the right kind of people. We’ve had a good flow of rental companies and some systems integrators, but we haven’t managed to get a good feel of who the real players are yet. But it’s early days.”

Sutat Kohkiat (Pok), Mr Team: “Walking into the show, it seems to be a good mix of music, pro audio and lighting and the atmosphere is very lively. I think most of the bigger brands are just watching to see what’s going to happen this year before committing to the show. I’ve been presenting a few panels and they’ve gone down very well. It’s important to educate the market not only on the latest technology but also looking at how creative people learn to understand and interact with the technology.”

2026 Dates:

30 September – 2 October

2027 Dates:

29 September – 1 October

Venue:

BITEC Bangkok

Total exhibitors: Attendance:

160 4,547 www.prolight-sound-bangkok. hk.messefrankfurt.com

Contact:

From the show floor

Chanunkarn Boonmarkmee, Golden Duck: “It’s been a good first show because all the customers that we invited have come, and I’ve also met other targeted buyers that I’ve never met before. These have mainly been from the nightclub and live entertainment markets, but our established customers from the rental and staging market have all come as well. I really think this show has potential and has given us a lot of opportunity to show our products. I’m quite happy and I think the organisers have done a very good job; it seems professional and well set up.”

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BUSINESS: SHOW REVIEW

From the show floor Jens Poehlker, Robe: “Since we’re growing this market, it was important to have a presence here. Thailand is a very relevant market; it’s easy to travel to and Bangkok has a lot to offer, which means that people are willing to spend the money to attend the show. Even given the current weather-related issues, we are seeing people coming in from overseas; the only explanation is they had already booked their flights and didn’t want to cancel at the last minute. This has meant a surprising number of overseas visitors but fewer local people than we expected.”

Akshay Singh, Giant Truss: “We are looking to expand worldwide and, as soon as the show was announced, we decided to come and exhibit as we thought it would be a good opportunity to explore the regional market. We’ve had some good visitors including lots of rental companies, so I’m hoping some business will come out of it. If things move forward in the right way, we will come back next year. We are looking to promote brand awareness, showcase our product innovations and meet new people as well as signing new distributors for the region.”

Andy Farrow, Celestion: “We’ve been working with our Thai distributor, DMM International, for more than 10 years; they are very well connected and are bringing in all the right people. This is the first show for us here in Thailand and it’s been way better than we expected it to be. We’ve been meeting everybody from very passionate sound engineers discovering the brand through to existing end users. We’ve seen people from China, India and Malaysia and there’s been an international crowd coming in from further afield, which has been really good.”

Hemal Bhatt, N-Labs: “We made the decision at ISE that we would exhibit here and be part of this major event. We were also at InfoComm Asia because the Southeast Asian market is very large and the shows attract very different crowds. This is geared towards the live sound industry, and we’ve also seen many OEM companies interested in making their own brand. As this is the first show, the visitor profile is not that targeted, but I’m confident that the organisers will fine-tune it in the coming years and bring in the right people.”

Michelle Yeo, Acoustic & Lighting System: “We decided to exhibit as soon as we heard the show was coming – it felt important to have a presence here. We were worried that people wouldn’t come because of the flood situation, but we’ve been pleasantly surprised. Going forward, we hope to see more participation by global brands which would elevate the entire show experience and keep visitors here longer. I think the fact InfoComm Asia is moving from Bangkok next year will help to attract more people to this show. But we’ve seen a diverse crowd from across Southeast Asia, including Singapore, Indonesia, Malaysia and Vietnam, from the live sound and entertainment industry and even corporate install.”

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BUSINESS: SHOW REVIEW

InfoComm India 2026 Caroline Moss reports from the Jio World Convention Centre at Mumbai’s BKC

HAVING OVERSEEN INFOCOMM INDIA WITH HIS TEAM since the show launched in 2013, AVIXA’s outgoing CEO David Labuskes, who retires at the end of the year, delivered a heartfelt welcome address to open this year’s event. It was a fitting moment to reflect on just how far the Indian audiovisual industry has come over the past 13 years. Today, it is the fastest-growing AV market in the world, and AVIXA has played a significant role in that transformation by providing a leading platform for the pro AV and integrated experience technology industry. The event brought together technology manufacturers, solutions providers, systems integrators, IT professionals, consultants and enterprise decisionmakers to explore the latest innovations shaping the future of connected experiences. Once again, the 2026 edition had grown over the previous year, occupying its largest footprint to date – an increase of more than 17% compared with 2025. The programme also expanded

its Summit conference, featuring 43 sessions across 12 content tracks, delivered by 102 industry speakers. Innovation was a central theme throughout the exhibition, with AI-powered technologies at the forefront of audio, video, collaboration, digital signage and AV management solutions. Demonstrations on booths and in rooms off the main halls allowed visitors to experience technologies in real-world situations, reflecting the industry’s shift towards intelligent, integrated and immersive environments. Positioning the registration counters on the third floor of the Jio World Convention Centre for a second consecutive year had an even greater impact this time around. The Jasmine Halls on Level 3 certainly saw the heaviest footfall in the mornings, with crowds generally taking some time to filter down to the ground-level Pavillion Halls, where many of the larger stands and leading brands occupied the floorspace. The venue’s somewhat awkward layout, with concourses and escalators separating the two halls, does make the show feel distinctly like an event of two halves. But the Jasmine Halls, which also host the Smart Tech Stage and AVIXA Xchange Live booth, have really come into their own, offering a vibrancy and crowd that was absent in the early days of moving to Jio, and exhibitors seemed happy to be on that level. Once again, InfoComm India has demonstrated the growing importance of pro AV, AI, digital transformation and integrated experiences in the country’s rapidly evolving technology ecosystem. Its expanded scale, strong industry participation, extensive educational programme and focus on practical innovation positioned the 2026 edition as an important milestone in the continued development of India’s pro AV market.

David Labuskes opens InfoComm India

2026 Dates:

16 – 18 September

2027 Dates:

8 – 10 September

Venue:

Jio World Convention Centre, Mumbai

Total exhibitors: Attendance:

200 13,275

Contact:

www.infocomm-india.com

From the show floor

Shubham Rawat, Audio Wizard: “There’s no other event in India where we get to see all the decisionmakers; that’s the biggest reason for us to be at InfoComm. Given the recent collaboration between Fulcrum and Bose, it’s a good time to exhibit. This is the first time we’ve had an immersive session so people can come and understand that technology. Most of the visitors we are seeing are new contacts, with just a small percentage of repeat clients. At other shows, the audience is completely different – more rental- and events-based – so it’s definitely worth doing the show, and we’ll be back next year.”

Val Gilbert, Fulcrum Acoustic: “We’ve built a 3m x 3m immersive demo room which we’ll roll out for smaller tradeshow stands. Our goal is to make immersive audio inclusive for all end users, not just high-level integrators and consultants. Immersive demos tend to be in large spaces with no opportunity to interact with the technology, so we want visitors to get hands on, to move objects around in space and play with active acoustics. InfoComm India really matches our target audience: the level of user, the type of applications, the markets the visitors work in – they all align with what we do as a manufacturer. The attendance has grown and being up on the third floor has been really good.”

Sachit Subramanian, Circleflex: “This is our second year as an exhibitor – we took a small stand last year to see whether InfoComm would work for our brand, and we were happy, so our stand is almost three times bigger. We’ve had a good response which we hope will convert into real business. Almost everyone we’re meeting is new to us as we’ve predominantly been working in the events and live sound industry. InfoComm allows us to interact with people from the install and integration market and understand what they need. As a manufacturer it’s easy to implement customer requirements; we can go back to the drawing board and build something new based on the feedback.”

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BUSINESS: SHOW REVIEW

Niels Altink, Harman International: “It’s been a really good show. The Indian sales team here is very involved with their end users. I only took on the Indian sales operations role for Harman in March this year so it’s a new show for me, and I’m finding there’s a great thirst for knowledge here. The customers I’m seeing are extremely engaged and interested in finding out more about our products – perhaps more so than in other more established markets.”

Kirti Shetti, Kramer: “InfoComm India is where we showcase our latest solutions to customers as well as meeting new contacts, end users and our partners – it’s a great networking opportunity. We also receive a lot of feedback about what the customers are expecting, which helps with product development and what the market actually wants. These days, customers are well informed about what they need. In particular they’re looking for simplicity combined with great connectivity.”

Nittin Dargan, Bose: “We’re back after a two-year break and finding the show busier than in previous years. We’re seeing a big change, not only in terms of footfall, but also in the quality of the people attending. InfoComm is the dominant player in the Indian AV market so we decided to come back, and it was the right decision. The Indian market has matured so much in terms of experience and knowledge, and there is a real hunger to learn new things, to accept new challenges and implement new technology to support that. It’s very promising for the future.”

Vineeth Divakaran, Listen Technologies and Amptetronic: “We’re with our new distributor Nvincy and there’s been a lot of interest in our products. India’s Rights of People with Disabilities Act mandates the need for such systems in each building, be it a government, corporate, stadium or entertainment venue. We’re educating the market on the need for assisted listening and communication, making them understand this is a requirement, not a want. Last year I came to InfoComm India as a visitor and it was great. This year, as an exhibitor, it’s greater still, and we will be back next year.”

Mohd Nadeem, Crestron: “We’re a Platinum Partner and enjoy a prominent position on the front row of the ground floor, and the response we’re getting to our meeting room solutions for enterprise, government and education is exciting. We were also given the opportunity to invite some key customers as hosted buyers. The kind of people we are seeing, as well as the number of visitors, pretty much meet our expectations. It’s a very important show for seeing our partners, customers and consultants and giving them an opportunity to experience first hand what we are showcasing.”

Hemal Bhatt, N-Labs: “InfoComm India has been like a homecoming for us because we’ve done the InfoComm shows in the USA and Bangkok over the past few months. We get to meet all our domestic customers as well as overseas visitors. Right now we have a complete AV ecosystem to show people, mainly for corporate installations, and we’ve been seeing a good mix of systems integrators, consultants and end users. The visitors have been coming from South India and West India, with a limited amount from the east of the country.”

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BUSINESS: SHOW REVIEW

IBC2026

Richard Lawn reports from the halls of the RAI Amsterdam

AS IBC PREPARES TO TURN 60 NEXT YEAR, A TIMELY health check of the global broadcasting industry was staged at Amsterdam’s RAI. As technology advances and audiences change how they consume content, business models must adapt to demonstrate value. Both the exhibition and the conference continue to draw the world’s broadcasting community to Amsterdam in its quest to learn more about Al, the cloud and new forms of production. With a new generation of broadcasters and content creators catering for esports and social media platforms, IBC has further benefitted from the increasing convergence of AV and broadcast. The global media, entertainment and technology communities returned to the RAI’s 15 exhibition halls to confront pressing industry challenges while seeking new opportunities. Ultimately, RAI Amsterdam enticed a total 41,225 attendees from 170 countries and more than 1,300 exhibitors. “IBC’s superpower is the power to convene our industry,” commented IBC CEO, Mike Crimp. “Our industry has always been at its best when people

come together, embrace new technology and work through challenges to create real opportunity. We bring together all corners of the industry to demonstrate how innovation can solve practical challenges.” Following its introduction in 2025, Future Tech expanded its role as a focal point in Hall 14 for emerging technologies, collaborative innovation and new industry talent. For 2026, Future Tech Ignite drew over 70 startups and emerging companies and connected them with investors and established organisations from across media and entertainment. Visitors explored live demonstrations of generative and agentic AI, immersive and interactive media, cloud-native workflows, private 5G networks and sustainable innovation. The IBC Accelerator Media Innovation Programme drew broadcasters, streamers and technology companies together to highlight agentic AI, immersive experiences, private 5G, accessibility, content provenance and live-event streaming challenges. Similarly, the three-day IBC Conference brought

speakers and leaders from across media, entertainment, technology and sport together to address AI in practice, shifting business models, the economics of live sport, changing patterns of content discovery and security. 4K, 6K and 8K cameras and monitor formats were previewed on booths including ARRI, Blackmagic Design, Canon, Grass Valley, Panasonic, Sony and Ikegami. Prior to NAB 2026, Thomas Riedel announced the acquisition of ARRI cameras. Adjacent to the distinctively red trussing design of the Riedel Communications booth, a DJ entertained visitors in the remodelled space. Following a highly prolific sporting summer for the German brand, the RefSuite managed sports production package was in vogue among the Bolero Mini wireless intercom beltpacks. Set against a backdrop of the SimplyLive Production Suite Flex licensing model, RiView video review system, RiMotion replay bundle and Venue Gateway 1612 Advanced, over 4,000 coffees and 5,000 beers were served from a central café. Taking its hyperconverged media infrastructure to enterprise scale with 576x576 UHD I/O in a single chassis, Ross Video revealed the largest addition to its Ultrix series to date with the FR30. Software updates, including Piero 21.1, were demonstrated across its live production portfolio of media infrastructure, replay, sports analysis, production switching, automation, robotics and control. Supporting up to 16 HD cameras and eight replay outputs, the Rio Replay platform was also extended with the Rio XL 3U server. German companies have once again been industrious in the run-up to IBC2026. From Leipzig, DHD Audio debuted its latest MX3 on-air radio production system as a modular desktop unit. Remaining in the audio radio domain, Stagetec showcased the On Air modular IP-based console, together with the NEX:T Axio IP-based audio I/O and processing platform, and its software-based Multiviewer Format Converters and IP Gateway video processing. Lawo introduced three new apps for its Home management and orchestration platform: Logo Inserter, Key and Fill Extractor and Stream Share. Adjusting broadcast resources in response to changing production demands, the Dynamic Media Facility (DMF) approach continues its upwards trajectory. Calrec’s most compact all-in-one digital console to date, Type RT is a small-format, broadcast-level audio mixer with six, 12 and 18 motorised faders. In addition to the Apex M6 1U modular I/0 box, the UK innovator highlighted the benefits of its ecosystem. Heralding from the same Audiotonics stable, Solid State Logic demonstrated the S500m console, a range of software-defined production updates to its System T architecture, integration support for MXL into the System T Virtual Tempest Engine and introductions including the µVTE and ST 2110 Bridge. Deity, DPA, Microtech Gefell, Schoeps, Sennheiser, Shure, Sony and Wisycom attracted new and traditional broadcasters seeking wired and wireless microphone technologies

From the show floor

Mark Cooke, Ross Video: “IBC remains our biggest show for key markets across Europe, the Middle East and Africa. Alongside broadcast clients, we’re seeing growing interest from enterprise AV, sports venues and other organisations using video to engage audiences. We’ve focused our demonstrations on the outcomes customers need, showing how the technology addresses their challenges. Those conversations also help shape future developments. Content creators are being asked to produce more with increasingly stretched resources, so efficiency, flexibility and scalability are central themes. Our job is to understand each customer’s application and give them the tools and choices to tell their stories in their way.”

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Treva Head, Qvest Australia: “I’ve been attending IBC for around 25 years, and the industry is working together more closely now. Manufacturers still have their own ecosystems, but collaboration is the way forward, and this year I’ve had more discussions about integration. For systems integrators, that’s ideal: we can specify the right products for each project, rather than being tied to a single manufacturer’s range. Ultimately, the client benefits from a solution built around their needs. Meeting people at IBC, exploring those opportunities and discovering the latest technologies makes travelling the 10,000 miles from Australia worthwhile.”

Frederic Fievez, BCE: “The first day was excellent in terms of attendance, and the quality of meetings has been encouraging. People are arriving prepared, with real questions and challenges to discuss. The media industry is facing a difficult period, with falling advertising revenues putting pressure on customers. Our role is to be a partner through those difficult times as well as the good ones, helping them optimise operations and reduce costs through analytics, appropriate uses of AI and simpler workflows. For us, that’s where IBC delivers value: meeting customers, understanding their priorities and having practical conversations about how we can help them.”

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BUSINESS: SHOW REVIEW while Clear-Com (Arcadia), Pliant (CrewCom) and Riedel showcased their latest IP comms. Shure highlighted the latest ANX4 wireless receiver in addition to a complete portfolio of live production microphones including the ULX-D and Axient Series, and the steerable DCA901 microphone array for capturing audio in broadcast and media production. Featuring a physically asymmetrical design with a shifted acoustical axis, DPA Microphones announced the 6388 Core+ supercardioid headset. Now shipping its Spectera bidirectional wideband wireless platform with the latest SKM handheld, Sennheiser also highlighted Neumann and SoundBase solutions across wireless, monitoring and broadcast integration workflows. Neumann previewed additions to its studio monitor portfolio, unveiled the KK 104 A and KK 105 A capsule heads and an end-to-end broadcast audio workflow with MKH Series RF condenser and EW-DX handheld microphones feeding into an MT HAPI audio interface. “What’s great about IBC is that it keeps evolving what the word broadcasting means,” stated ESHAP media cartographer, Evan

Shapiro. “This is a really great intersection of people from all over the planet – from Asia, Latin America, the US and Europe – all sharing best practices, exploring the challenges that we’re facing and looking for solutions together.” Now in its sixth decade, IBC recognises the ageing symptoms of the industry, with its leading consultants and experts happy to provide diagnoses, but a cure demands further analysis.

2026 Dates:

11 – 14 September

2027 Dates:

10 – 13 September

Venue:

RAI Amsterdam

Total exhibitors: Attendance:

1,300 (1,300 in 2025) 41,225 (43,858 in 2025)

Contact:

www.ibc.org

From the show floor Maciek Janiszekski, Skaarhoj: “It’s been a busy show across all four days, meeting broadcasters, systems integrators and television station operators, both familiar and new. Our visibility continues to grow, with 38 partners, including Riedel, Sony and Panasonic, demonstrating our products on their stands. Exhibitions also provide valuable customer ideas. Last year, we discussed developing a strip bar that could listen to other devices, generate active labels and detect system changes dynamically. Twelve months later, we’ve brought it to the show. This year has generated more useful conversations, and we’ll return home ready to turn those ideas into products.”

Suso Carrillo, BirdDog: “Our new location in Hall 7 has worked really well for us. The hall has been busy and we’ve had plenty of good conversations with high-quality visitors. We’re seeing people from across Europe alongside visitors from the Middle East and the US. What stands out this year is that people seem closer to making purchasing decisions. Last year, conversations were often exploratory, with visitors wanting to understand the products. This year, more people are arriving with active projects to discuss. That makes the conversations more focused and gives us a positive sense of the business opportunities coming out of IBC.”

Andreas Hilmer, Lawo: “Our stand has been extraordinarily busy, and conversations suggest that acceptance of softwarebased media production is coming of age. We’ve been demonstrating our Dynamic Media Facility concept for two years and the platform continues to evolve with new applications and functionality. The appeal is practical: customers can make better use of their investment, doing more with the same resources or more with less. That directly addresses the pressures they face, and it’s resonating. We’ve also welcomed visitors from every continent. For us, IBC feels truly international again, and it’s been the most international broadcast show we’ve experienced in recent years.”

Sapan Doshi, Bolin Technologies: “We’ve enjoyed three busy days at IBC2026, meeting vendors and partners and hearing about the broadcast and pro AV projects they’re supplying. After introducing new cameras at NAB, IBC has given our European and international customers the chance to get hands-on with the products. Despite our 25-year manufacturing heritage, building awareness of our brand remains vital. We’re seeing growing interest from customers across Europe, Asia Pacific, Latin America, the Middle East and Canada. That international reach makes IBC valuable for demonstrating our cameras and strengthening relationships with customers and partners.”

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Nick Rashby, AJA: “IBC feels positive and energetic this year, and our new FS8 media processor has attracted a lot of attention. Some very experienced industry people have told us it’s the best thing they’ve seen at the show, which is fantastic feedback. We’ve demonstrated it to visitors who have then brought back colleagues, customers and senior executives to see it for themselves. Customer conversations are also helping shape what comes next. We already have a roadmap for additional features, but we’re hearing ideas here that we’ll take back to our engineers to explore for future updates. It’s been a great show for us.”

Daniely Amancio, Lingopal: “Choosing a stand in the Hall 14 technology area was a strategic decision. At NAB, being close to companies such as Google, Microsoft and Amazon worked well for us, and we wanted a similar experience at IBC. Visitors exploring those stands are also interested in AI translation, so the location brings us into relevant conversations. We’ve barely stopped talking since the show opened, with broadcasters, podcasters, TV channels and FAST channels coming by. Alongside prospective customers, existing clients are visiting for live, in-person demonstrations. The stand has been busy, and we’re very happy with the response and the experience overall.”

Marco Lopez, Clear-Com: “IBC remains important because it brings our channel partners and strategic customers together in one place. That gives us an opportunity to communicate our message and meet people from across our network. Visiting those customers and partners individually, taking people and equipment around the world, would cost considerably more than exhibiting here. The audience has changed since before Covid: I see fewer visitors from Asia and South America, although Europe and the Middle East remain well represented. People can access more information online now, but bringing those relationships together face to face still makes the show a worthwhile investment for us.”

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BUSINESS: TECHNOLOGY

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Wisycom antennas deployed at the Arena di Verona for Milano Cortina 2026

A Wisycom BFL-T2 optical link deployed trackside in the Sachsenring pit lane

As productions spread across larger venues and multiple spaces, RF-over-fibre is separating antenna placement from receiver location. Wisycom’s René Mørch explains why the technology offers more than an escape from the limitations of coax CONSIDER THE GEOGRAPHY OF A MAJOR SPORTS broadcast. Wireless microphones are required beside the pitch, in a presentation studio, at commentary positions and throughout interview areas, while the receivers may sit in an OB truck hundreds of metres away. Each antenna must be close enough to its coverage area to collect a dependable signal, yet all must ultimately reach the same technical centre. Coaxial cable places a practical limit on that arrangement. RF attenuation increases with distance and frequency, while lower-loss cables tend to be thicker, heavier and more expensive. Amplification can compensate for some loss but also intensifies noise. “Typically, 100m is the rule of thumb,” explains René Mørch, Wisycom’s group product director for wireless. “The exact distance depends on the cable, frequency and installation, but at some point it becomes more practical to change the transmission medium than continue enlarging and amplifying the coaxial route.” RF-over-fibre, or RFoF, does precisely that. A short cable connects the antenna to an optical transmitter, which turns the electrical RF into an optical signal. Single-mode fibre carries it to the equipment room, where an optical receiver reconstructs the electrical RF and passes it to the wireless receiver. Although light has replaced copper, the signal has not become network data. The optical link neither demodulates the wireless transmission nor extracts its programme audio. “It is not digital,” Mørch stresses. “The electrical signal from the antenna is transformed into an optical signal, but it is still an analogue signal going down the fibre.” The link does not need to interpret the wireless format and can therefore operate with different manufacturers’ systems, provided its frequency and level ranges are suitable. Wisycom cites fibre attenuation of approximately 0.4dB/km, excluding losses through connectors and splices. A kilometre-long UHF coaxial antenna feed would incur prohibitive losses.

René Mørch, with the Wisycom BFLR2 Optical Link “Instead of 100m, we can run several kilometres or miles,” says Mørch. “You can pull in signals from faraway locations, and the basic system is very simple – you put one optical node at each end and connect it.” This is increasingly relevant as productions occupy larger spaces. “We are seeing larger and larger shows,” Mørch observes. “In broadcast, sports and news are still what drive people towards live television, and sports requires signals to be picked up from many different positions. At large concerts, artists are also moving all over the venue because they want to become closer to different parts of the audience.” The technology can also carry an IEM or IFB transmitter’s RF to an antenna closer to its users. Although diversity reception can be deployed readily with third-party equipment, Mørch

cautions that IEM and IFB transmission requires more careful planning. Integration is simplest within Wisycom’s ecosystem; third-party systems must be checked against the optical link’s operating requirements. Diversity reception still requires two independent antenna signals. These may use separate fibres or different optical wavelengths multiplexed onto one strand. Gigabit Ethernet can accompany the RF, enabling remote configuration of filters and optical nodes. Depending on the multiplexing arrangement, the two RF paths and Ethernet connection can travel over one or two fibre strands. Reducing the fibre count simplifies deployment but concentrates more services onto a common route. Large productions commonly use tactical multicore fibre with spare strands, while critical systems may require redundant power and separate cable paths. The optical link remains an active part of the RF chain, with defined gain, noise figure, linearity and maximum input levels. Too little signal can impair the link’s signal-to-noise ratio, while excessive input can overload the optical transmitter and generate distortion or intermodulation. Filtering is particularly important with wideband antennas. Alongside wanted microphone RF, they can collect strong IEM and communications signals together with noise from LED screens. Filtering at the pickup point prevents this unwanted energy consuming headroom before the signal reaches the wireless receivers. Wisycom’s dual-channel BFL-T2 RFoF module covers 170–1,260MHz and provides selectable low-pass, high-pass and tunable 40MHz band-pass filtering. It can also power and control compatible active antennas and boosters remotely. For temporary applications, the portable PFL enclosure supports diversity reception or IEM and IFB transmission. Its controller can change automatically between mains and V-Lock battery power while managing a temperature-controlled fan.

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BUSINESS: TECHNOLOGY For permanent installations, the building may already provide the necessary fibre. “Even 15 years ago, when I worked for a systems integrator, we deployed fibre in buildings,” recalls Mørch. “There is often a lot of fibre already installed for IT, video and even building control, so spare fibres can sometimes be reused.” But those strands must still be tested to confirm the fibre type, patching, connectors, optical loss and resilience. Once several remote antenna zones reach a common technical room, receivers no longer need to be assigned permanently to individual spaces. “Instead of having receivers sitting in each studio and not being used for most of the day, you can put them all in one place,” says Mørch. “You can have more bodypacks and handhelds, then reuse the pool of receivers throughout the day in different locations.” A theatre might need 40 microphones on its main stage for one production, then divide that capacity between smaller spaces the next day. A broadcaster can allocate channels according to which studios are active. Transmitters move with the production while software recalls the required antenna routing and receiver configuration.

Combining antenna zones introduces another consideration: every antenna contributes the RF conditions at its location. Additional inputs can introduce noise and interference as well as useful coverage, so an unused zone should not remain connected simply because fibre makes it available. Wisycom developed its MATF programmable matrix/combiner to manage this relationship. The 1U system accepts coaxial and optical inputs and can handle up to eight diversity zones, with as many as six arriving over fibre. Different combinations can feed separate receiver groups rather than sending every antenna to the entire pool. An integrated spectrum analyser allows operators to inspect an input before adding it to the combined signal, then monitor the spectrum reaching the receivers. Gain, filtering and routing can be managed centrally. “The idea was very much customer driven,” Mørch explains. “We visit people, listen to their needs and try to find the common requirement. Customers wanted to integrate what previously required several different boxes into one unit and we also incorporated the spectrum analyser so they could check the inputs before combining them.”

Wisycom directional antennas provide RF coverage overlooking the Nürburgring pit straight The MATF programmable matrix/combiner can manage up to eight diversity antenna zones

The resulting infrastructure may be easier to operate, but fibre does not automate RF engineering. Antenna placement, filtering, gain structure and redundancy still require informed decisions. RFoF instead removes distance as the first constraint. Coverage can follow the production, receivers can become a shared resource and the wireless system can be designed around the venue rather than the reach of its coaxial cables.

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BUSINESS: COMPANY PROFILE

Focused on the future

Tron

The company moved into its current building in Almelo in 2020

Focus, flexibility and long-term relationships underpin the beamZ brand, which has evolved from entry-level DJ products into a growing professional lighting portfolio FROM A SMALL FAMILY OPERATION SELLING electronics in the early 1980s to a 140-strong international business with warehouses across Europe and Asia, the Velders family has learned some lessons the hard way. The story begins in 1983, when Mario Velders and his wife started selling electronics to small retail shops from a van. Two years later, the business was appointed as a distributor for British company Altai for several European countries, an arrangement that lasted until All Time was sold in 1990. A year later, Mario sold his own company, remaining as managing director until 1997. The change of ownership prompted a decisive break. “The new owners were taking the business in a direction that didn’t make me happy,” he recalls. “It became purely investment-focused and less about the customers. So we separated and I started another business called Skytronic in 1998 with about 15 Altai staff.” Skytronic traded in sound, lighting and other electronics products and enjoyed several successful years. However, in 2006, the decision to buy a business from a close friend spelled trouble, almost putting an end to things and forcing Mario to seek outside investment. “That ultimately led to the company we have today,” he muses. “We’ve made mistakes and learned from them – one of the biggest lessons was to keep your business focused and don’t spread yourself too thin. You also need thorough financial control, especially when subsidiaries are involved.” When the company restructured in 2010, it did so with only 10 employees and a dramatically reduced portfolio of around 1,000 sound and lighting products, down from the previous 4,000. But the determination to keep a tight focus led to the development of beamZ, one of the brands developed during this period. “It took many years to bring beamZ to where it is today,” reflects Mario on the brand that was initially positioned towards the DJ and the entry-level market, sold mainly through online stores. “We can now say that product quality is very close to many of the leading brands, but at a fraction of the price.” The move upmarket was not without its challenges. “We attended all the major exhibitions in Europe with large stands and live demonstrations because we wanted people to see and experience the products for themselves,” he continues. “Over time, we managed to build visibility and credibility for beamZ throughout Europe.” As the company’s customers expanded into more professional operations, beamZ evolved with them, developing its product range accordingly. That evolution has influenced the company’s distribution

strategy – rather than a single distributor representing its complete portfolio in a territory, specialist partners covering different market segments are increasingly being sought. “One partner might focus on professional products, one on online sales and another on consumer electronics,” says sales director, Rudy Velders. “We no longer believe one distributor needs to cover everything.” Europe remains the company’s established heartland, but the next phase of growth is increasingly international. Southeast Asia is a particular focus, with the company having invested in local infrastructure before establishing a substantial customer base. “When we decided to focus on Southeast Asia, we opened warehouses before we even had customers in place,” continues Rudy. “We wanted to demonstrate commitment to the region and ensure fast delivery.” That commitment includes a warehouse in Shenzhen, where the company currently holds more than US$3mn of stock, giving

its growing distributor network rapid access to products while demonstrating that the region is a long-term priority. “It’s a large and important territory for us, but we are realistic enough to know that building a position there will take time,” says Mario. The company’s ability to respond to changing market conditions was unsurprisingly tested during the pandemic. BeamZ moved into its current building in 2020 in Almelo just as the crisis began, initially experiencing a significant decline in its sound and lighting business. However, the Velders family identified opportunities in home audio and consumer products and acted quickly. While competitors reduced staffing and stopped buying stock, the company took the opposite approach. “We continued buying,” reveals Mario. “When business started recovering in 2021, we were one of the few companies with strong stock availability.” The strategy paid off. Professional and consumer businesses grew rapidly, with turnover effectively tripling over four years,

L–R: BeamZ’s founder and son, Mario and Rudy Velders

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BUSINESS: COMPANY PROFILE strengthening purchasing power in China and facilitating investment in quality control, logistics and product development. BeamZ is increasingly developing products using its own tooling and designs, particularly in professional lighting, a continuous process involving product development, efficiency and infrastructure. A fully automated warehouse will add approximately 270,000m³ of storage capacity to the Almelo premises and, combined with existing facilities in the

Tronios BV’s state-of-the-art headquarters in Almelo

The Grandbrothers benefit from a beamZ lighting setup

A fully automated warehouse will add approximately 270,000m³ of storage capacity to the Almelo premises

Netherlands, UK and Spain, the additional capacity is intended to facilitate continued international expansion. Behind the infrastructure, the Velders family places considerable emphasis on people, with few layers of management and an expectation that employees should make decisions for themselves. That philosophy has also shaped Rudy’s own route into the business. Now approaching 40, he has been part of the company since starting as a teenager in the warehouse before moving through purchasing, logistics, returns and sales. Crucially, he says, his family connection did not provide preferential treatment: “What I appreciated most was that nobody treated me as Mario’s son. I was simply another employee. If I made a mistake, people told me.

Today, I still spend a lot of time walking through the warehouse and talking to people. You learn a lot by listening to what people are dealing with and understanding the challenges they face every day.” Now around 140 people strong, the business has retained what Mario describes as a family culture, with employees from different departments pitching in during busy periods and social events providing opportunities to celebrate together. For both generations, relationships are as important as growth. The company looks for long-term partnerships with distributors and suppliers rather than simply pursuing sales opportunities. “We want distributors to become part of the wider beamZ family,” explains Rudy. “We want long-term partnerships where both sides learn from each other and grow together.” The same principle applies to opportunities that appear outside the company’s core activities. “If opportunities come along, we always ask whether they fit our core business. If they don’t, we say no. We don’t need to do everything.” This philosophy, rooted in the lessons of the past, resonates with the company’s international ambitions. From its early days of van-based distribution through acquisitions, restructuring, a pandemic and the transformation of beamZ, adaptability has become almost as important as focus – and family ownership is an advantage. “We don’t need outside investors to tell us what direction to take; if we decide to go left, we go left,” explains Rudy. The clearest evidence of that adaptability for the Velders is in seeing their products being specified for professional applications around the world. “I remember the excitement of seeing our fixtures being used in a small area of a festival,” says Rudy. “Today, we see beamZ products on major stages around the world. And whenever someone sends me a photo of a completed installation or a show using our products, I still feel proud. It reminds me of how far we’ve come.” For a business built on decades of experience, perhaps the most significant challenge for the family now is to ensure that its hard-won lessons continue to guide growth without compromising the focus and culture that made it possible. www.beamzlighting.com

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NEW

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The ADI-2/4 Pro EX represents the latest evolution of RME’s reference-class converter and mastering hub. Building on the proven design of the ADI-2/4 Pro SE, the EX version introduces upgraded ESS conversion technology, SteadyClock EX Factory-Calibrated Clock Precision, a modern USB-C connection, GND screw for turntables or general earth connection and further refined hardware protection.

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ISE 2027 | 2 - 5 Feb 2027 Fira de Barcelona, Gran Via

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NEWPRODUCTS

INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS

Yamaha launches DM5 digital mixing consoles

Yamaha has added the DM5 series with a set of utility I/O devices to its fleet of professional digital mixers DESIGNED FOR small to mid-sized live sound, corporate events, houses of worship, theatre and broadcast applications, the DM5 series is available as the DM5 and DM5 Compact. In addition to three R Series utility I/O devices, a PY-DSP processing card and Dugan Automixer licence, both consoles incorporate the DM7 series workflow in an 826mm x 235mm x 441mm (WxHxD) compact design. Capable of processing 60 input channels, the DM5 features twin fader bays and screens with 32 analogue inputs and 16 analogue outputs. The DM5 Compact has 16 analogue inputs, 16 analogue outputs and can process 48 input channels. Featuring a single fader bay and screen, its chassis measures the same height and depth as the DM5 but is just 446mm wide. Both models feature up to 64 I/Os of 96kHz Dante networking together with 24 mix buses, 12 matrices, two stereo buses, 12 DCAs, 18 channels of USB I/O, an RJ45 connector for mixer control and Bluetooth for audio playback. The dynamics library for each channel includes four types of EQ with a real-time

analyser. A 16-slot onboard effects rack includes 43 effects, including eight types of delay and reverb. The PY series card slot can be used to add further processing or additional I/O, while the optional PY-DSP adds 32 Yamaha premium effects. The main 13.3-inch screen includes glass keys, which serve as tactile switches and display status with dynamic labelling. A customisable 4.3-inch touchscreen is also included for user-defined keys in addition to four rotary controls beside the main screen. Dynamic Mode automatically follows selections in the selected channel view and assigns the relevant function parameters. Four selectable viewing angles for adjusting the main display can be adopted for varying lighting conditions, seating or standing positions. Two additional feature packages can be accessed by activating a purchased licence within the DM5 and DM7 mixers, with an additional one for the DM5. The Broadcast Package adds seven essential broadcast functions, including Mix Minus and Audio Follow Video, while the Theatre Package brings immersive control

functions along with four bank EQ/DYN, an Actor Library and other functions for musical and theatre applications. The three new utility I/O units are fully compatible with the DM5, DM7 and DM3 series, in addition to the RIVAGE PM digital mixers. Featuring 16 analogue inputs, eight analogue outputs and primary plus secondary Dante ports, the RUio1608SB-D is a compact stagebox-type I/O unit with rubber protectors and a carrying bar. Designed for applications requiring extra I/O, the RUio0804-D is a 1U I/O rack with eight analogue inputs and four analogue outputs. For fully scalable audio installations, the RUio16FLX-D’s 16 channels can be flexibly configured in pairs as analogue mic/line inputs, analogue outputs, AES/EBU outputs or Dante I/O. Enabling offline setup and editing, the DM Editor App provides online backup management for both the DM5 and DM7 series. Updated DM StageMix and MonitorMix applications provide remote control functionality from anywhere within a venue.

ADJ Vizi Xtreme / Entour Pileus 97 88 AJA FS8 / OG-FiDO-4 Alfatron 3GSDI-HD 94 80 Amadeus Acoustics ART::Director v1.3.1 Arthur Holm D2 90 ATEN PresentON VP200 and VP201 92 AtlasIED GCK17 80 89 Atlona OmniStream+ Audio-Technica BP350ST / BP350ST-UL 76 Audiofocus CC210Wix / CC210Nix 83 Audix DP7X 76 92 AV Stumpfl Screen configurator beamZ DotBar Series 96 79 Biamp VenuePolar update / Community LVH-900 Blackmagic Design UltraStudio Mini 12G 94 BSS Soundweb Omni Touch Panels 82 Calrec Tyre RT / Apex M6 74 96 Cameo Cameo Connect CEDAR Audio Voxis 87 Celestion CDX1-1413 83 ChamSys MediaMaster 26.0 97 97 Chauvet Professional Ovation Rêve F2 and E2 DHD audio Version 10.4 80 75 DiGiCo Quantum638 Digital Audio Denmark ST 2110-30-Ravenna 75 DPA Microphones 6388 Core+ 76 EAW NT119S / NT219S / OAA v1.1 84 84 Electro-Voice EVIDn Epson EB-L270F / EB-XQ2030B 95 ETC HPU+ 96 Extron DTP3 T 321 / USB Extender xi Series 87 79 Focusrite Control 2 Harrison Audio Flex-10 82 90 HIVE Nexmosphere integration HK Audio DSP CONTROL V4.2 80 Hollyland Solidcom H1 78 KLOTZ AIS CAM-DB1 series / K12RM / EBOHM-NF 88 Lawo Stream Share (SSA) / HOME Logo Inserter 79 LDA Audio Tech Mini One 78 Lightware LARA Wizard update / Taurus v1.20.0 92 Logic System AC Series 84 89 Lumens OIP-N60D-ND Luminex GigaCore 026-1 / GigaCore S30-1 89 96 MA Lighting grandMA3 v2.5 / grandMA2 v3.9.63.10 Magewell Pro Convert IP to AIO 4K 94 Montarbo Nettuno W12 / Nettuno W15 84 Neumann KH 310 II / KH 350 / KK 104 A / KK 105 A 86 75 Neutrik DR Series NUGEN Audio Flexible subscriptions 79 Orban OPTIMOD Trio V.2 82 Panasonic AW-UE200 / AW-UER200 93 81 Pliant Technologies CXD-32CF / CrewWare 2.0 Powersoft ENEA PAVA 87 PPDS Unite 3000 Series 90 PTZOptics Rise 4K 93 RCF MMR 30T / EVOX J9 / EVOX J11 / X Series update 86 Riedel OnAir 200, 400 and 500 Series 89 ROE Visual Sirius 93 Ross Video Ultrix FR30 94 Sennheiser Spectera Base Station ZMAN 75 83 Shure WAVETOOL 4 / Microflex neXt Fusion Mode Sommer Cable HICON BNC 87 Sonance Professional Professional Series High Output 86 Soundcraft Signature Plus Series 74 SSL Odyssey / SolidPitch 74 Tasker TSK1170–TSK1176 / C283 / C284 / C290 88 Theory Professional PLC series 83 TiMax TiMax MCP / panLab v1.5 / 3D Panner update 81 Violet Audio DX16B / io44 83 Warm Audio/Sound Techniques Jude 78 Waves Audio V17 / Mix Unlock / Atlas Reverb 82 WyreStorm EX-40-KVM-H2 / EX-100-KVM-H2 93 Yamaha DM5 / DM5 Compact / RUio1608SB-D 73

www.yamaha.com/2/proaudio

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PRODUCTS

Calrec adds Type RT and Apex M6 to its IP ecosystem EXTENDING THE same IP ecosystem built around Argo, Calrec has condensed the traditional broadcast console into the Type RT console range of self-contained units. Available in six, 12 and 18 motorised fader versions, the Type RT units combine Calrec’s Argo and Type R platforms and integrate DSP, control processing, I/O, monitoring and integrated USB audio connectivity. Created as an accessible entry point into the Calrec IP ecosystem, Type RT provides proven broadcast audio performance across a wide spectrum of AV applications including houses of worship, corporate event venues and stadiums. Purpose-built for fast deployment, the compact, fanless tabletop console ensures silent operation. Sharing the same capability, I/O and licensing options, the three models adapt to a range of production requirements, where streamlined workflows can operate across multiple applications. With dedicated information and metering displays located beneath each fader providing visual feedback, the user-configurable control and monitoring panel adapts to how each operator prefers to

work. Up to 138 assignable buttons, 24 rotary encoders with dedicated displays, three ancillary displays and a 4-inch TFT screen with meters clearly highlight critical controls and status information. Calrec’s Medium Capacity Card delivers native ST 2110 AoIP connectivity with full support for existing Calrec AoIP boxes. Dante is also available via an optional card, together with MADI via a software licence. Type RT combines optional True Control 2.0 for remote production and ImPulseV virtualised DSP. The browser-based Calrec Assist control interface is included as standard, to provide virtual faders, user-configurable metering and real-time, interactive access to the console from anywhere. Covering network management, system configuration and status monitoring, Calrec Connect and Calrec Configure are also included. Developed as an ST 2110 modular I/O platform for audio interfacing, signal routing, bridging and network edge connectivity, the manufacturer has also introduced the Apex M6 1U unit to its portfolio. Designed to expand and

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extend connectivity across broadcast audio infrastructures, the Apex M6 supports ST 2110-30, AES67, Dante, MADI, SDI, Waves SoundGrid, AES3 digital formats and analogue workflows. For broadcasters transitioning to IP, the Apex M6 expands existing networks or integrates mixed-format environments independently of Calrec consoles. The platform combines six configurable module slots for a wide range of existing Calrec I/O cards, with two built-in MADI interfaces included, GPIO and redundant network connectivity in its compact footprint. The Apex M6 works with Calrec’s full console range while opening opportunities in standalone

conversion, virtualised workflows and multi-vendor environments. A 512x512 channel internal router allows any input to be sent directly to any output without patching signals back through the network, while NMOS-native operation ensures interoperability across multi-vendor ST 2110 ecosystems. Requiring no DSP core, the Apex M6 is equally suited to distributed deployments, from remote studios, venues and commentary positions to temporary flypack and pop-up productions. www.calrec.com

SSL introduces flagship Odyssey analogue console workflows, while retaining the sound and operation of a flagship analogue SSL console. The modular console is available in configurations from 24+8 to 96+8 channels, with straight-frame, curved

A 32-channel Odyssey

SOLID STATE LOGIC has expanded its Future Analogue platform with Odyssey, a large-format recording and mixing console that combines fully analogue signal processing with complete Instant Recall across the entire console. Built around SSL’s ActiveAnalogue technology, Odyssey is designed to remove the time-consuming recall process traditionally associated with analogue production. Engineers can restore complete console settings across tracking, overdubbing, mixing, stem creation and immersive production

ProStation and custom frame options. Features include four stereo main mix buses, 16 track buses, 10 aux buses, eight stereo Flex Groups, integrated immersive monitoring, O-Motion

automation and O-Control software for offline session preparation, snapshot management and complete console recall. Greater third-party control is at the centre of System T V4.3 software update, with comprehensive Open Sound Control (OSC) integration allowing broadcasters to access console parameters from external mixers and controllers over standard IP networks. The implementation provides control of functions including faders, mutes, PFL, AFL and path labels, with further functionality available through System T’s Event Manager. System T’s meter bridge has also been updated, including a follow active fader bank option for S500 and S500m consoles that provides dynamic metering according to the selected sources and surface layout. SSL’s Bus Compressor Effect Meter can also now be displayed directly on the meter bridge. The release extends the platform’s bussing architecture by giving Track buses the same independent per-channel send level capabilities as stem and aux buses. Permanent Path Linking, brought across from the Live console ecosystem, provides up to 48 permanent link groups between paths, while showfile capacity has increased to 500 scenes. Also moving

Soundcraft signs off the Signature Series with a Plus DESCRIBED AS the next generation of the Signature Series, the Signature Plus Series of analogue connected mixing consoles has been launched by Soundcraft. Available in 12-, 16-, 22- and 32-channel configurations, the work surface is characterised by a clean, intuitive layout separating the console’s creative inputs and its output sections. Colour-coded buttons and tactile “squircle” knobs are said to provide accurate adjustments in low-light environments.

Audio features include a flat frequency response, Soundcraft Ghost mic preamps, Sapphyre EQ and dbx one-knob compressors with harmonic enhancement. Alongside an exclusive, built-in Lexicon hardware effects processor, combo jack inputs, inserts and an included software bundle support modern hybrid workflows. With rackmount ears included on the 12- and 16-channel models, a surface-mounted QR code, linking to training videos, manuals and support resources, ensures all models are venue-ready.

Features include extensive SSM (Simple Success Metering) for both inputs and outputs for fast visual feedback in addition

across from the Live platform is SolidPitch, an onboard vocal tuning and processing effect supporting pitch correction and creative treatments including tuner, doubler and harmoniser functions. SolidPitch is available throughout the System T ecosystem, including the Virtual Tempest Engine. Finally, the company has expanded its live production platform with the introduction of the System T TCA Tour, a compact fly-away audio production system designed for rapid deployment across touring, broadcast and live applications. Built entirely from System T components, TCA Tour combines a 16-fader desktop-format control frame with integrated I/O in a portable, pre-wired package. The system features eight mic/line inputs, four line outputs, headphone monitoring and a built-in network switch, alongside an adjustable mount for a touchscreen and PC running SSL’s Tempest Control App. Available with DFT and DFT+ fader tile options, the latter adds per-fader OLED displays and individual fader metering. Ruggedised etherCON and opticalCON connections provide links to external Tempest Engines and I/O racks.

DIGIT additi AES6 to its series

www.solidstatelogic.com

to Pro Listen Bus and “Talkback To” routing for monitoring. Four aux sends including Mix to Auxes for versatile monitoring control are included in the chassis, in addition to a 4x4 USB-C 192kHz interface for playback and recording with laptops or mobile devices. The USB inputs can be routed into channel strips or they can override the mix for break music and DJ sets. Additionally, a single press select provides direct headphone and control listening between sessions. www.soundcraft.com

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PRODUCTS

DiGiCo bridges SD7 and SD5 with Quantum638 DIGICO HAS announced its latest addition to the Quantum range, the Quantum638 mixing console, with an optional Quantum638T version designed specifically for demanding theatrical productions.

Sennheiser brings Spectera into ST 2110 workflows NATIVE SMPTE ST 2110-30 audio integration for Sennheiser’s Spectera ecosystem means that the platform can be deployed directly into professional broadcast IP workflows via the new Spectera Base Station ZMAN. The base

integration with its Command functionality. The software’s Remote View tool addresses the network demands created when multiple operators need to monitor wireless hardware across a production site. Rather than requiring each operator to

station incorporates a Merging ZMAN audio network module for AES67 ecosystems, providing integration with ST 2110 infrastructures while retaining the flexibility and control of the Spectera wideband wireless platform. Spectera support has also been added to SoundBase’s brand-neutral RF planning and management application, including

run a separate instance of the monitoring software, Remote View acts as a built-in web server to share live hardware telemetry across multiple endpoints. This reduces the number of connections and associated network traffic on the production control network.

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Combining the best elements of the SD7 and SD5 with the latest Quantum technology, the new desk gives theatre sound teams a familiar yet more powerful worksurface with quicker access to cue firing and Macros for musicals, plays, tours and installs where speed, redundancy and compact control are critical. Positioned between the Quantum852 and Quantum338 Pulse, the console provides 256 input channels and 128 aux/sub-group buses alongside a 48x48 matrix. Processing includes 128 Nodal Processing instances, 64 Mustard Processing strips and 16 Spice Rack slots, with onboard Dante and a built-in Fourier interface card providing native compatibility with Fourier Audio’s transform.engine. Three 17-inch high-resolution touchscreens sit above 38 touch-sensitive 100mm motorised faders, with additional displays providing metering and channel information. Enhanced Macro controls include 4-channel Macros that follow the selected channel through different console layouts, while assignable Macroder

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DAD adds to the Thunder DIGITAL AUDIO Denmark has announced the addition of audio-over-IP connectivity, with AES67 and Ravenna capabilities, to its Thunder | Core, Penta series and AX32 audio

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rotary encoders can control programmable parameters on the currently selected channel. The Quantum638 marks the first time that DiGiCo has offered a Quantum console in both single- and double-engine configurations, with the latter able to run in single-engine mode. The desk is said to be particularly well-suited for the theatre market when paired with the manufacturer’s optional “T” theatre software extension, which adds Auto Update, Aliases, Players, advanced CG programming tools and Matrix Nodal Delays. With a footprint close to the SD7, DiGiCo is positioning the console as an upgrade option for theatres requiring greater processing capability without substantially increasing the space occupied by the worksurface. Both engine configurations include dual DMI card slots and hot-swappable PSUs, while each engine provides a MultiMode Optocore interface supporting 504 additional audio paths at 48kHz and 96kHz. An optional second Optocore loop can double this capacity.

interfaces. The connectivity is enabled by the ST 2110-30-Ravenna card, providing compatibility with IP-based Ethernet audio formats for broadcast installations and applications. The interfaces support analogue-todigital and digital-to-analogue conversion, remote-controlled microphone preamplifiers, monitor control, routing, format conversion and sample-rate conversion.

www.sennheiser.com

Another first for Neutrik NEUTRIK HAS expanded its product lineup with the advent of the DR Series platform. Bringing together the xlrCON DR and etherCON DR Series of chassis connectors, this is the company’s first connector family to combine rear-mount installation with waterproof protection. Available as male and female 3-pole and 5-pole XLR chassis connectors, as well as a Cat5e compatible etherCON chassis connector, the units feature vertical PCB contacts, standardised D-size mounting dimensions and a

24mm panel distance. The DR Series provides a compact and space-efficient solution for equipment designs requiring both environmental protection and flexible rear-mount installation. Characterised by corrosion-resistant and UV-protective materials, IP65 ingress protection is provided when mated with a corresponding Neutrik Top cable connector or fitted with a closed sealing cap. www.neutrik.com

The Thunder | Core, Penta series and AX32 feature optional expansion cards and modules, allowing their configurations to be adapted to different applications. The Thunder | Core and Penta audio interfaces provide digital and analogue input and output options, with signals available through an internal routing matrix supporting up to 1,872x1,872 non-blocking connections. The number of channels available depends on the input and output configuration of the audio interface. A 64-channel bus summing system is also integrated into the matrix. Through the Pro | Mon functionality, the system provides summing and monitoring configurations for different workflows. DR Series www.ntp.dk

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PRODUCTS

Audix promotes tonal control THE DP7X professional drum microphone package from Audix builds on the company’s DP7 seven-piece drum kit solution. It has been designed to provide a complete microphone lineup intended to capture the full transient detail, impact and spatial depth of a standard five-piece drum kit. The focal point of the DP7X is the inclusion of the D6X dynamic kick drum microphone, replacing the original D6. The D6X uses the manufacturer’s VLM (Very Low Mass) diaphragm for natural, distortion-free sound capture under high sound pressure levels (≥144dB). It also comes with a recessed, tool-free switch that enables engineers to sculpt the low-end character of the kick drum across three distinct frequency response profiles on the fly: deep, which

retains 100% of the classic, pre-shaped D6 sonic performance; balanced, which delivers a more traditional kick drum voice by adding presence in the mids and upper midrange; and natural, which unlocks a more linear response thanks to its adjusted high-end roll-off and fuller midrange. Beyond the kick drum, the DP7X combines a matched array of specialised microphones designed to create a cohesive, professional drum sound. The i5 snare microphone is a dynamic cardioid model that manages close-range transients to capture the fundamental depth and distinctive “crack” of the snare. Two D2 rack tom microphones feature VLM Type B technology to deliver the attack and warm overtones of rack toms with off-axis isolation. The D4 floor tom microphone is a dynamic hypercardioid microphone using VLM Type D technology, offering an extended low-frequency response down to 40Hz to capture the deep, fundamental resonance of floor toms. Finally, two ADX51 overhead microphones which feature 14mm gold-sputtered diaphragms and cardioid pickup patterns, designed overhead to add spatial dimension, smooth cymbals and a phase-coherent stereo image of the entire kit. The DP7X is ready for heavy touring with a newly styled, rugged nylon carrying case reportedly offering improved shock resistance, portability and interior organisation. Additionally, the package comes complete with professional mounting hardware and accessories, including four DVICE spring-loaded rim-mount clamps, three DCLIP heavy-duty mic clips, one MC1 nylon clip and two WS81C foam windscreens for the overhead condensers.

DPA drills deeper THE 6388 Core+ headset microphone from DPA Microphones has been created for live environments where clarity, feedback rejection and ease of use are critical. In addition to a tightly controlled proximity effect, the physically asymmetrical design and the shifted acoustical axis of the supercardioid microphone capsule reportedly make it less sensitive to exact placement, even if the directional headset is repositioned during a performance. This added flexibility is said to reduce the need for precise positioning and simplifies operations for sound engineers. Building on DPA’s 4088 directional capsule, the 6388 Core+ provides enhanced feedback rejection and greater clarity to deliver both natural, authentic audio and strong noise rejection. Unlike traditional directional headset microphones, the 6388 Core+ features switchable boom placement (left or right). This feature, along with the asymmetrical capsule design and shifted acoustical axis, allows the microphone to be positioned discreetly beside or slightly

behind the performer’s mouth. Improving the aesthetics, it also reduces plosives and noise without impacting tonal accuracy. Maintaining consistent directionality across frequencies, the 6388 Core+ ensures predictable linear off-axis rejection and a stable tonal balance for natural sound reproduction. Ideal for loud stages, this is said to result in superior isolation, reduced stage bleed and improved gain-before-feedback performance. Its wide dynamic range can be adapted for both soft and powerful vocal delivery, while its design allows a variety of users to achieve reliable results. The microphone’s IP58 certification provides resistance to dust and humidity, while its modular connection options are compatible with major wireless systems. Available in multiple colours, sizes and termination options, the frame of the headset is a fine-tuned version of the brand’s Act Headset Frame, which offers a secure, stable fit and comfort. www.dpamicrophones.com

www.audixusa.com

Double take on stereo capture COMBINING LINE-CARDIOID and figureof-eight elements within a single microphone capsule, Audio-Technica’s BP350ST provides mid-side stereo capture in two versions tailored to different production environments. The microphone uses switch-selectable internal matrixing to provide either left-right stereo output with wide or narrow imaging, or discrete mid-side signals for adjustment during postproduction. The configuration is said to maintain depth when stereo channels are combined to mono while helping to avoid time-alignment and comb-filtering issues associated with some stereo microphone setups. The BP350ST-UL incorporates a 16cm interference tube designed to reject off-axis noise when capturing more distant sources and can be mounted to video cameras or support rigs. Its AT8547 power module can be fitted to a camera microphone mount or secured using third-party mounting options. The BP350ST-UB uses the same compact body format as the manufacturer’s ATM350a instrument mic and includes both a low-profile boundary housing and a 5-inch gooseneck with clip-on mount. The magnetised boundary base plate can be attached to metal surfaces or screw-mounted, while compatibility with ATM350a mounting systems provides further positioning options.

BP350ST-UL

Both versions use permanently attached cables terminating in TA5F connectors for connection to the power module and are supplied with a 36cm TA5F-to-dual-XLR3-M stereo cable for connection to phantom-powered microphone preamps. Drawing audiences closer to the action, the manufacturer has also added a specialised, waterproof contact transducer to its catalogue. Adding a new dimension to sports broadcasts, film productions, field recording and theatre audio applications, the BP880R captures impact and surface vibrations for audiences seeking to experience a physical impact.

Rather than capture airborne sound, the BP880R uses a high-sensitivity piezoelectric sensor to detect vibrations travelling through surfaces and structures before converting them into audio, such

as a skate blade cutting across ice. Because the BP880R has little sensitivity to airborne sound waves, it can isolate impact and vibration sounds while minimising surrounding ambient noise. Designers can use it to capture Foley and location effects, while theatre and live production technicians can install the transducer in stages, flooring, scenery and structures to capture sonic details. Designed to withstand freezing and high-impact applications, the phantom-powered BP880R combines its high-sensitivity piezoelectric sensor with an internal preamplifier, allowing it to deliver clear signals over long cable runs. The fixed 20m waterproof cable is terminated with an XLR-M output connector and provides a BP880R low-impedance output. Housed in a low-profile, dezincification-resistant (DZR) brass body with a protective coating, the transducer can be deployed in water or ice, buried underground or objects within the field of play. Flexible mounting options include four through-holes for securing using screws and nuts or zip ties, and a ¼-inch threaded hole for mounting with a single screw. www.audio-technica.com

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VARIABLE CURVATURE LINE ARRAY The MUSE 210LN/LND combines reliable acoustic design with advanced digital integration. Driven by an onboard 800W + 400W RMS Class-D module, it delivers a maximum 136dB SPL (55Hz – 20kHz) via two 10” custom woofers and twin 1” B&C compression drivers on a proprietary 90° waveguide. With native integration for the INFINITO System Management Suite and Dante audio networking (LND), the system allows full remote management, routing, and real-time monitoring. The road-ready hardware features an aluminum chassis with forced ventilation, a local OLED display, and an integrated DSP with 8 user presets for fast setup, curvature compensation, and cardioid configurations.

SYSTEM MANAGEMENT SUITE

www.fbt.it

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PRODUCTS

Hollyland launches large-scale wireless intercom system DESIGNED FOR broadcast, live events and industrial applications, Hollyland has released the Solidcom H1 bundle comprising the Geo Central Station, Solidcom ANT01 and Solidcom BPK01. At the centre of the system is the Geo Central Station, a flexible hub that supports up to 80 wireless beltpacks when used with an antenna, all without any licensing fees. Leveraging roaming cascade technology, the system extends wireless coverage to over 4 million m2, equivalent to approximately 560 football fields. Equipped with native Dante integration and 4x4 network ports, the Geo Central Station eliminates the need for additional audio interfaces, reducing rack space and installation complexity while maintaining reliable, independent audio channels for every group. The Solidcom H1 system offers flexible deployment options, functioning as either a standalone system or integrated with the Geo Central Station. It supports up to 30 beltpacks in standalone mode, which can be expanded to 80 beltpacks when linked with the Geo Central Station. Built for productions

of any scale, it has been designed to provide uninterrupted connectivity and dynamic deployment across diverse shooting or operational environments. According to Dave Liu, CTO of Hollyland’s R&D management centre, the modular topology allows scalable user capacity based on project needs. Beltpacks can seamlessly roam across remote radio units (RRUs) and central stations, offering location-independent deployment in challenging environments. With built-in cloud call capabilities, the system enables real-time communication across wide-area networks. The 30 to 80 beltpack expansion capability is said to support everything from small sets to major live productions, all on the robust 1.9GHz frequency band. A single Solidcom ANT01 unit provides a 500m radius of coverage in open-field conditions. When cascaded, the system creates a seamless large-scale wireless network spanning an extensive area. In addition, the Solidcom BPK01 beltpack is built for mobility, weighing less than 305g

Venu critic

including battery and offers up to 15 hours of operation. Integrated Bluetooth support allows users to pair wireless earbuds or headsets for a fully cable-free experience. Its four programmable buttons can be customised

for advanced control, including multichannel talkback, call alerts and combination actions, all within a simplified user interface. www.hollyland.com

Warm Audio revives Sound Techniques preamp A PREAMP circuit behind recordings made at some of Britain’s best-known

console schematics. Available as the single-channel Jude-MP and dual-channel

custom-spec CineMag USA transformers and dual-discrete 3035 Class-A amplifiers.

studios has returned in the Sound Techniques Jude, developed with American microphone manufacturer Warm Audio from Geoff Frost’s original A-Range

Jude-MP2, the preamps recreate the original circuit topology using hand-wired PCB layouts, Wima and Nichicon audiograde capacitors, carbon resistors,

Central to both models is Frost’s 9-position Z-Match impedance circuit. Rather than offering a small selection of fixed-input impedances, the 8-lead design

changes the interaction between the connected microphone and the preamp’s front end. This reportedly allows engineers to alter characteristics including transient response, frequency balance and saturation when using ribbon, condenser and dynamic microphones. The circuit originates from Sound Techniques’ A-Range consoles, which were installed at studios including Trident and De Lane Lea and used on recordings by artists including The Beatles, David Bowie, Elton John and Queen. The Jude name references The Beatles’ Hey Jude, which was recorded using a Sound Techniques console. www.warmaudio.com

LDA Audio Tech adds a Mini One COMPLETING THE One series as a solution for smaller-scale installations, the Mini One from LDA Audio Tech is certified to EN 54-16 and EN 54-4 standards. The compact PA and EVAC system operates in small-scale installations with up to two audio zones. Designed for lower-capacity installations, the One-150 model sits below the One-500 within the company’s portfolio of EN 54-certified systems. Retaining the key capabilities of the series within a more streamlined architecture, the Mini One incorporates NEXO integration and EVAC Control for multi-system architectures and the EVAC Control One platform for centralised management and supervision. The compact format promotes flexible installation within a wall and rack configuration (rack, desktop or wall mount) or a basic integration in spaces with technical constraints. In small-format retail chains, the One-150 allows standalone systems

to be deployed without any interconnection between units. For multipurpose spaces such as gyms, the 2-zone configuration allows EVAC announcements and BGM to be managed separately, without additional amplification equipment. Maintaining EN 54-16 compliance within a single unit, the integrated main/backup

amplification architecture reduces system complexity and eliminates the need for auxiliary racks. Ensuring system continuity in the event of a failure and meeting EN 54-16 requirements, the system integrates two Class-D amplification channels with a maximum output of 150W per EN 60065, in a main/backup configuration.

Key technical features include three audio inputs with priority levels and mixed input, two pre-amplified outputs for external amplifiers and integrated DSP including parametric EQ, volume control and zone volume adjustment. A dual EVAC and ALERT pre-recorded message player is included in addition to fire detection panel integration and local control via LCD display. Enabling One-150 and One-500 systems to be integrated into multi-site architectures alongside NEO and NEO+ systems, NEXO includes NEXO Hub Lite as standard. Receiving calls and commands from a global control point, NEXO acts as a gateway between the One system and the IP network, allowing standalone installations to become part of a shared infrastructure without losing their local operation. www.lda-audiotech.com

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PRODUCTS

Focusrite gets in control VenuePolar guides integrators through critical decisions

Biamp redesigns VenuePolar plugin EXACT VENUE coverage design of the custom-steered systems can be calculated in minutes with the redesigned VenuePolar plugin. Delivering a streamlined workflow that integrates directly with EASE Focus 3, VenuePolar includes automatic cabinet configuration, system EQ and automatic beam optimisation. The system can be installed at any ceiling height, including rooms where line arrays cannot be deployed. Eliminating minimum ceiling clearance requirements, electronically steerable coverage replaces the physical J-curve, with the compact single-cabinet form factor reducing sight-line interference. Venues can also switch between event configurations in seconds via Armonia+ presets. Integrating a fully steerable line array performance within an architecturally elegant point source, two simplified models have been added to the next-generation Community LVH-900 loudspeaker series. The LVH-906 and LVH-909 offer fully steerable line array precision to medium-sized venues. The original LVH-900 offers fully custom, asymmetric vertical beam coverage by directing sound precisely to the audience. Biamp’s finite impulse response (FIR) processing delivers a fixed 6ms of system latency regardless of configuration, promoting the LVH-900 to lip sync accurate live performance monitoring and broadcast applications. Capable of replacing a full line

array hang with just one or two cabinets, the redesigned system can create exact asymmetric, fully optimised vertical coverage patterns matched to real-world seating geometry. Colour customisation and weather-resistant variations are available. Biamp has also announced that its BMA 360D ceiling tile microphone array is now certified for Microsoft Teams. Enabling organisations to deploy the solution in a wide range of conferencing and collaboration environments, the certification validates that the BMA 360D is both compatible with and optimised for Teams. The company’s Kleeo Desk Manager has meanwhile been certified for Zoom Workspace Reservation, integrating desk booking with Zoom’s flexible workplace platform. Employees can reserve and manage desks through Workspace Reservation, while Kleeo’s OLED display and colour-coded LED indicators show whether a desk is available, has an upcoming booking or is occupied. QR code access provides another route into the booking system, while Focus Mode indicates when a user does not want to be disturbed. Kleeo can be positioned on the desktop or mounted to its front edge. Locations, desks and reservations continue to be managed by IT administrators through Zoom, with Kleeo device provisioning handled through the Biamp Booking app. www.biamp.com

NUGEN puts plugins on a project basis NUGEN AUDIO has announced two flexible subscription offerings intended to provide short-term access to the brand’s key plugins. The Post Plan brings together tools for dialogue editing, loudness compliance, upmixing, downmixing, and surround and immersive delivery. Its selection includes VisLM, Halo Upmix, Halo Downmix, Halo Vision, Paragon, LM-Correct with DynApt, ISL with DSP extension and DialogCheck.

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FOCUSRITE IS expanding Focusrite Control 2 compatibility to Scarlett 3rd Gen, Clarett+, Clarett USB and selected Scarlett 2nd Gen USB audio interfaces, including the 6i6, 18i8 and 18i20. Focusrite Control 2 is an app for controlling compatible audio interfaces from a computer. It provides additional functionality through an updated user interface and mixer design. Users switching from Focusrite Control must uninstall the previous application before installing Focusrite Control 2.

The software features clearer metering for monitoring signal levels, while its routing controls are designed to simplify configuration. Multi-interface control allows users to switch between multiple USB connected interfaces without disconnecting and reconnecting them. On Windows, Focusrite Control 2 maintains driver compatibility automatically. Automatic updates ensure the software remains current, while screen reader support has been added for visually impaired musicians. www.focusrite.com

Lawo extends HOME ecosystem BRINGING MORE of the broadcast chain under software-defined control, Lawo has expanded its HOME ecosystem with mediasharing and graphics applications while updating its mc² and Power Core platforms. The Stream Share App (SSA) is designed to simplify media exchange between distributed facilities, OB trucks, cloud environments and

platform-specific delivery. The Key and Fill Extractor converts HTML5 graphics into separate SMPTE ST 2110-20 key and fill streams for connection to Lawo or third-party downstream keyers and production switchers. It can operate independently or within the HOME Apps DSK. Lawo FLEX allows audio, video or combined audio and video configurations to be specified.

third-party systems. Built on NMOS standards, each instance can expose up to 128 HD/3G/ UHD video streams, 512 audio streams and 128 metadata streams bidirectionally as a single NMOS device. Control data is handled separately from the essence streams, which travel over dedicated network tielines, allowing resources to be shared without handing control of the originating system to the receiving environment. Graphics capabilities have also been extended with the HOME Logo Inserter and Key and Fill Extractor. Logo Inserter can create up to 16 independently branded outputs from a single video source using HTML-based graphics, targeting regional feeds, sponsorship and

JPEG XS encoding and decoding, frame synchronisation, commentary features, MADI I/O and mc²-grade DSP can be licensed as required. Lawo’s mc² 12.4 software release adds Real-Time Analyzer support, touchscreen zoom module pop-ups and control of compatible third-party equipment through HOME. External Ember+ controllers can recall channel presets, while sample-based delay adjustment provides finer timing control. A preview of Release 12.6 introduces dynamic assignment of physical console connections through HOME and browser-based mxGUI operation.

Aimed at mixing, mastering and pre-production, the Producer Plan includes MasterCheck, Paragon ST, ISLst, SEQ-ST, Stereoizer, Monofilter and Visualizer. NUGEN sees the subscription model as particularly suited to freelancers, independent studios and project-based teams, allowing the cost of the required software to be incorporated into individual production budgets rather than requiring the purchase of a complete bundle. www.nugenaudio.com

www.lawo.com

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Amadeus gets down with the mix ART::DIRECTOR V1.3.1 from Amadeus Acoustics introduces the Downmix Engine alongside workflow and system control updates. The Downmix Engine translates venue mixes into standardised formats for broadcast, studio pre-production and monitoring applications. It allows sound engineers to run multiple speaker-based downmixes in parallel with the primary spatial mix. The feature also enables sound designers to create and adjust spatial soundscapes in an offline studio environment using smaller monitoring configurations, including 5.1, stereo and headphones. Downmix systems can be represented as interactive globes within the 3D venue map, allowing teams to simulate how spatial sound movements translate to different

loudspeaker configurations before moving into technical rehearsals. The Downmix Engine supports stereo, 5.1, 7.1 and Dolby Atmos formats, as well as bespoke loudspeaker configurations. Each parallel Downmix system includes a size multiplier to adjust the spatial field according to the target loudspeaker configuration, individual fade controls for spatial and performer sources and a dedicated LFE output. Performer sources can also be mapped to the main frontal loudspeakers of the studio setup, separating them from surround and overhead channels. The update adds Advanced OSC Automation, supporting pattern-based OSC, variables and properties within OSC addressing. The functionality also provides compatibility with ADM OSC. Scaling can be applied to overall boundaries

or configured individually for each OSC source. Acoustic Precision Tools now provides additional performer source gain offsets for fill, precedence and subwoofer systems, as well as support for negative loudspeaker delay offsets. Amadeus has also updated Director/DSP connection handling, automatic network port

detection and the built-in connection history log. Other additions include adjustable crossfades between venue snapshots, customisable value mapping and granular fade-out gains within immersive fade zones. www.amadeus-acoustics.com

HK Audio updates DSP CONTROL software to V4.2 HK AUDIO has released version 4.2 of its DSP CONTROL software, introducing workflow enhancements and expanded system management features for its networkenabled loudspeaker range. Available for macOS and Windows, DSP CONTROL provides remote management, firmware updates and DSP configuration for compatible HK Audio loudspeakers. The latest release introduces a new bulk update function, allowing multiple devices to receive firmware updates simultaneously to reduce deployment time. The software now provides 20 preset slots per device, giving users greater flexibility when storing and recalling loudspeaker configurations.

Language support has also been expanded with the addition of French, Italian, Norwegian and Swedish. Additionally, version 4.2 includes several updates for the LINEAR 5 MK2 series, including an increase in maximum delay time to 50ms and further enhancements to certified Milan functionality. Meanwhile, system setup for a wide range of HK Audio loudspeakers can now be handled directly within Powersoft ArmoníaPlus following the addition of CONCERT SOUND 2.0 presets to its latest Preset Library Package. Optimised for Powersoft amplifier platforms, the library covers HK Audio’s COSMO, C-SUB, CONTOUR X, CADIS, SI SERIES, FINEO, VORTIS and VORTIS 2 systems,

AtlasIED moves GLOBALCOM towards Dante

DHD expands broadcast platform

ATLASIED HAS announced the release of GCK17, the latest software head-end powering its GLOBALCOM ecosystem. The update introduces two major advancements for large-scale paging and communication systems: a 2-way integration with Sittig Technologies’ PAXGuide platform and Dante signal transport improvements. The GCK17 removes the need for CobraNet hardware or CobraNet-to-Dante bridges, allowing previously isolated networks to communicate directly while providing faster announcement triggering. The update follows AtlasIED’s end-of-life plan for its CobraNet products and is intended to simplify upgrades for existing GLOBALCOM installations.

The GCK17 also introduces 2-way integration with Sittig Technologies’ PAXGuide platform for airport applications. Gate agents can access real-time information including gates, airlines and delays through the touchscreen of a GLOBALCOM microphone station, while boarding calls and manual pages initiated from the GCK station can be synchronised back to PAXGuide. The integration also supports PAXGuide’s multilingual and accessibility capabilities, providing a consistent flow of information between flight information and airport paging systems. www.atlasied.com

INTRODUCING NEW routing, control and audio-over-IP capabilities alongside the Routing App, a new Control API and AI-based audio noise reduction, DHD has released Version 10.4 firmware for its latest-generation audio production systems. Compatible with supported DX2, RX2, SX2 and TX2 audio mixers, XC3, XD3 and XS3 IP cores, and AES67/Ravenna interfaces, the firmware introduces Flex Channels, allowing operators to access a larger pool of signals through pre-assigned input source lists. New Channel Categories further simplify navigation by filtering available sources within complex broadcast systems. The update also enables remote microphone preamp gain adjustment directly from the console touchscreen, Views App or Control API. Audio-over-IP redundancy has been enhanced through improved Precision Time Protocol clock management, while system logging now uses the industry-standard Syslog protocol.

together with passive models from the LINEAR and LINEAR SUB ranges. Filter and limiter settings are included to provide a consistent starting point for touring, installation and event applications. CONCERT SOUND 2.0 also introduces expanded beam-steering capabilities and an optimised selection of subwoofer filters. Additional headroom is provided, particularly for COSMO systems, while phase response has been standardised across HK Audio’s Concert Sound portfolio. The updated presets are available now as part of the Powersoft ArmoníaPlus Preset Library Package. www.hkaudio.com

Alongside the firmware, DHD has introduced a new Control API for AES67/Ravenna interfaces. Positioned as a licence-free alternative to NMOS and Ember+, it provides secure control of stream parameters and interface settings using TLS/HTTPS and access-token authentication. The new Routing App expands DHD’s range of optional software applications, providing graphical routing control for XC3, XD3 and XS3 processing cores. Users can create and save crosspoint matrices for rapid recall, with routing displayed either as an x/y matrix or I/O list. DHD has also added AI-based audio noise reduction from ai-coustics for XD3 Quad Core devices. Available on a per-instance licence, the feature is designed to reduce background noise while preserving the natural characteristics of the speaker’s voice. www.dhd.audio

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TiMax puts AI to work on SoundHub setup AIMING TO reduce the manual work involved in building an initial spatial audio show file, TiMax MCP is an AI assistant integration included with the latest TiMax2 SoundHub software for Mac and PC. Built around the open Model Context Protocol (MCP), it allows designers to connect a supported AI assistant and use conversational instructions to create and configure elements within SoundHub. According to the manufacturer, an initial show file that would typically require four or five hours of manual data entry can be reduced to around 30 minutes. TiMax MCP can import loudspeaker layouts from Martin Audio DISPLAY 3, d&b ArrayCalc and EASE files before creating or editing Speakers and their positions, Image Definitions, Subspaces, Scaling Surfaces and Output Labels. It can also reconfigure venue orientation when the imported

prediction file does not correspond with the orientation required in TiMax2. The MCP server includes TiMax-specific product information covering the operation of SoundHub and concepts including Image Definitions, Subspaces, Scaling Surfaces and reference-point geometry, providing the connected assistant with context specific to the platform. The integration is deliberately limited to initial setup rather than creative design, deployment or live show operation. Objects created through the AI assistant appear as standard TiMax objects and remain visible, editable and reversible within SoundHub. The manufacturer has also released version 1.5 of its panLab macOS spatialisation app, introducing faster tools for creating object movement alongside expanded

Pliant shows its latest CrewCom face EXPANDING ROUTING flexibility and streamlining integration across its CrewCom wireless intercom system, Pliant Technologies has designed the CXD-32CF 32x32 Dante/ AES67 digital audio network interface. The connectivity solution can operate with other AES67/Dante-based sources, including Pliant’s

CrewCom Flex frameless matrix IP platform. The CXD-32CF 32x32 I/O half-rack interface provides audio routing from the CrewCom system using standard AoIP infrastructures. The device can be powered with

TiMax MCP console compatibility and a series of workflow enhancements. A new Sequence Shape Palette allows users to generate movement from predefined shapes including circles, squares, triangles and 2D or 3D spirals, providing an alternative to manually drawing movement paths. Shapes can be resized, rotated and repositioned within the 3D Panner, while a new bounding-box tool enables complete sequences to be reshaped across one or multiple axes. Several refinements have also been made to the 3D Panner. The camera now keeps the floor in view automatically while orbiting, selected sequence nodes are highlighted more clearly, and

speaker labels remain hidden until required to reduce on-screen clutter. Elsewhere, sequence editing has been streamlined with direct node deletion and duration editing, while playback timing has been improved for greater accuracy. A new Update Current function allows changes to be written directly back to the active Snapshot, and Snapshot Recall Scope can now be applied across multiple sources simultaneously. The release also includes smoother live sequence playback and resolves a number of software stability issues.

either net power over a CrewNet copper connection or via the supplied 48VDC power supply (PPS-48V-02). Supporting wired, wireless and virtual intercom platforms, the CrewCom CXD-32CF operates on a standards-based AES67/SMPTE ST 2110 backbone for hybrid, remote and

distributed workflows. This includes provision for both copper and fibre connectivity along with support of both primary and secondary redundant digital audio network ports. Combined with the release of CrewWare 2.0 software, the hardware interface simplifies configuration, routing and monitoring across the CrewCom ecosystem while providing a streamlined path for connecting CrewCom Wireless and Flex deployments to AoIP networks.

www.timaxspatial.com

www.plianttechnologies.com

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OPTIMOD Trio V.2 expands broadcast flexibility V.2 OF Orban’s OPTIMOD Trio audio processor has been announced, incorporating new processing structures and a dedicated Digital Media mode that extend the device’s role across FM, AM and digital broadcast applications. For FM workflows, a new standalone stereo encoder processing structure enables crossfading between pre-processed network feeds requiring overshoot limiting and locally produced programming requiring full audio

processing. The update also adds APTmpX encoding, allowing composite/MPX signals to be transported over high- or low-bandwidth IP connections. The new Digital Media mode provides 5-band or 2-band OPTIMOD processing together with integrated loudness control for digital radio, digital television and internet broadcasting. It can also be deployed in SMPTE ST 2110 environments for DTV applications, operating in stereo or

Waves streamlines plugin workflows with V17

DESCRIBED AS a major update across its plugin catalogue, new V17 plugins have been announced by Waves. At the centre of the release is a preset management system that has been implemented across the entire plugin range, with an updated

workflow that improves preset browsing, searching and organisation, while adding favourites management to help users locate and recall settings more quickly across music production, broadcast, postproduction and live sound applications.

dual-mono mode for bilingual broadcasts by separating media into independent essence streams. OPTIMOD Trio combines analogue connectivity with dual AES3 interfaces, analogue composite and digital MPX signals, and AoIP support for Dante or Ravenna. Processing modes can be switched within seconds, allowing the processor to serve as a backup device across different

broadcast workflows. Optional capabilities include IPSOS, Nielsen or Kantar ratings watermarking, streaming monitoring, an internal backup audio player, backup audio over IP stream and APTmpX or µMPX. The V.2 software is available as a free download for existing OPTIMOD Trio users and comes pre-installed on new units.

Live sound users benefit from real-time analysers in the Renaissance EQ and eMo Q4 plugins within the eMotion LV1 and SuperRack platforms, alongside extended dynamic control and a new 5Hz Frequency Shift option in Primary Source Expander (PSE) for increased gain-before-feedback performance. Studio updates include a redesigned MondoMod interface, new I/O automation controls for CLA MixDown and AudioSuite support for the WLM Plus Loudness Meter. Introduced as part of V17, Mix Unlock is a premium StudioVerse feature that enables vocals, drums, bass and instruments to be separated from finished stereo audio in real time within the DAW. Individual elements can then be processed independently using Waves plugins and StudioVerse preset chains, allowing remixing, rebalancing and creative manipulation without access to the original multitrack sessions. As part of StudioVerse, Mix Unlock benefits from the manufacturer’s growing ecosystem of cloud-connected production tools and preset-sharing capabilities, giving users access to a continuously expanding library of professionally designed processing chains and creative workflows. Atlas Reverb has also joined the portfolio, a flagship algorithmic reverb plugin built around

a new processing engine. Rather than relying on convolution, Atlas generates reflections in real time and offers a collection of reverb programmes inspired by classic DSP hardware. Designed for both studio and live applications, the plugin includes halls, rooms, chambers, plates, springs and more experimental spaces, while its low-latency architecture and efficient CPU performance make it suitable for demanding production environments. eMotion LV1 Version 17 has also been released. The update introduces a refreshed user interface, more flexible mixer layouts and workflow enhancements for live mixing. It is available to users of LV1 mixers, including the LV1 Classic mixing console. Version 17 introduces a triple-bay mixer view, providing additional information and control options for each channel, including dynamics and EQ, auxiliary sends, routing and processing. Engineers can customise the contents and order of each row and save layouts as presets. Other additions include expanded Channel Focus views, improved status indicators and visual indicators for functions including Recall Safe, Dugan and IEM status.

www.orban.com

www.waves.com

BSS Soundweb Omni adds the right touch

Harrison brings analogue DNA to Flex-10

HARMAN PROFESSIONAL Solutions has extended the BSS Soundweb Omni audio processing platform with a series of touchpanels. Designed for enterprise environments, the Omni Touch Panels adapt to different roles in various installations to deliver a feature set tailored for each space. With pre-installed options supporting AVX Control, Web Kiosk applications and room scheduling, each panel assumes a defined role through the selection of an App Persona. This enables user-installed applications, allowing a single panel type to support a wide range of use cases without dedicated hardware. A range of form factors supports deployment across diverse environments, from conference rooms and collaboration spaces to hospitality, education and government installations. The touchpanels offer mounting flexibility, with included hardware for wall, glass and VESA mounting, optional tabletop accessories and slimline models for in-wall installation using standard single-gang electrical boxes. To enable the use of a wide range of voice, telephone and video conferencing applications, the touchpanels integrate speakers, microphones and a front-facing HD camera.

HARRISON AUDIO is bringing its signature analogue character to a compact desktop format with the Flex-10, a 10-in/12-out USB/ADAT audio interface aimed at producers and artists working in studio and mobile environments. At its core are two Harrison mic preamps with H-Drive transformer saturation, alongside classic high-pass and low-pass filters derived from the company’s 32 Series consoles. Two front-panel Hi-Z inputs provide quick connections for guitars, basses, synths and other instruments, while balanced inserts allow external processors and effects to be integrated. The Flex-10 uses 32-bit/192kHz converters and provides eight channels of ADAT I/O for system expansion. It also features dual monitor outputs, two headphone outputs and MIDI I/O via 3.5mm TRS connections. Two VU meters complete the desktop interface,

Supporting programmable colours for various applications, including room status indication, branding or ambient design, the customisable LEDs provide dynamic visual feedback. Additional capabilities, including NFC, proximity sensors and ambient light sensors, enable deeper integration with system logic and the surrounding environment. All Omni Touch Panels are configured, managed and updated through AVX Suite, with an integrated setup wizard simplifying deployment and AVX Manager enabling centralised monitoring, configuration and updates across large installations. www.bssaudio.com

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providing visual feedback during recording and playback. The interface can be paired with the brand’s D510r 500 Series rack and D510UA ADAT interface to create a 10-in/12-out hybrid production system. The Flex-10 also comes bundled with the Harrison Creator Pack, featuring instruments, plugins, loops and samples from a range of third-party developers, as well as a full licence for Harrison Mixbus 12 DAW. www.harrisonaudio.com

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Shure rewinds the system with WAVETOOL 4 UP TO 30 minutes of full-system audio history gives engineers a way to investigate problems after they occur with WAVETOOL 4, the latest version of Shure’s monitoring and listening software for theatre, live sound, broadcast and houses of worship. A new Global Instant Replay function rewinds the entire monitored system rather than an individual channel, allowing teams to revisit intermittent faults and determine what happened at a particular point in a production. WAVETOOL 4 supports up to 192 channels and eight concurrent users, combining direct listening to wired and wireless audio sources with replay, alerts and communication within a shared environment. Other enhancements include an interface that can now be scaled, resized and arranged to prioritise channels according to the production, while intelligent microphone issue detection identifies potential problems while filtering expected production sounds to reduce false alarms. Collaboration tools have also been expanded with chat, image sharing, reactions and voice notes integrated into the monitoring workflow. The software is intended for use throughout a production, from setup and microphone checks through live operation and subsequent review. Subscription and perpetual licensing options

are managed through ShureCloud, allowing the platform to be used for touring and project-based work as well as permanent installations. Simplifying audio deployment across boardrooms, training rooms, flexible classrooms and lecture halls, the introduction of Microflex neXt Fusion Mode has expanded the manufacturer’s Microflex ecosystem. Drawing the Microflex Wireless neXt and Microflex Advance portfolio together within a unified audio system, the patent-pending feature extends audio coverage across a wide range of enterprise and education environments. By combining wireless microphones with ceiling array microphones, the solution supports clear and consistent audio capture across medium and large spaces. Central to Fusion Mode, Shure’s built-in IntelliMix DSP bypasses the need for additional external processors. Enabling both systems to operate together, the optimised mixer synchronises Microflex Wireless neXt transmitters with Microflex Advance array microphones. Ensuring that presenters, participants and audience interactions are audibly clear in spaces where presenters move around freely, the automatic presenter prioritisation reinforces the wireless microphone while keeping the array microphones active. www.shure.com

Violet Audio simplifies transport DESIGNED TO transport and distribute balanced microphone and line-level audio over shielded Cat5e or Cat6 cable, the DX16B 16-channel passive audio splitter and the io44 4-channel XLR-to-etherCON from Violet Audio are built around the manufacturer’s Pure Path passive architecture. The combination preserves the original microphone signal while simplifying routing between consoles, recording systems and broadcast feeds. The DX16B accepts microphone inputs and simultaneously distributes them to frontof-house, monitor, broadcast and recording systems through front- and rear-panel XLR

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connectors, dual DB25 connectors and four etherCON ports. Replacing analogue snakes, the passive design maintains microphone signal quality and integrity over long distances to multiple destinations. Operating bidirectionally and requiring no external power, the io44 transports analogue audio across large venues via existing structured cabling. Capable of transporting four balanced audio channels over a single shielded Cat5e or Cat6 cable, the combined DX16B and io44 all-metal solution provides a scalable analogue infrastructure. www.violetaudio.com

BASED ON Powersoft’s Class-D amplification and signal processing technologies, Theory Professional has added five amplified loudspeaker controllers within its electronics portfolio. Comprising two 4-channel (PLC-16K4 and PLC-9K4) and two 8-channel models (PLC-4K8 and PLC-8K8), the PLC series features SmartRail energymanagement power supplies, Power Factor Correction and advanced DSP architecture in a 1U chassis.

capable of accepting up to 10-gauge wire and 4-channels of Dante/AES67 audio-over-IP digital I/O are included. The DLC-1500.8d can be configured with the DLC onboard web interface accessible via wired Ethernet, or via its onboard Wi-Fi access point, and includes matrix mixing, priority audio routing and ducking, parametric EQ, delay, gain and limiter DSP objects to simplify system optimisation. Full API and modules for AMX, Control4, Crestron, Crestron Home, ELAN,

Capable of delivering 1,500W into 4Ω or 8Ω from any channel pair, or 800W into 2Ω or 4Ω all channels driven, the DLC-1500.8d 2U controller can drive up to 32 Theory 16Ω loudspeakers in Lo-Z mode, or over 300 direct in Hi-Z mode, with no internal transformer required. Designed to simplify setting up distributed audio systems, high-current output Euroblock connectors

Josh.ai, Q-SYS, RTI and Symetrix are also available. Key features of the maritime-compliant platform include proprietary loudspeaker presets, three configurable 1Gb network ports including PoE, all channel power sharing and an eEasy swap USB key amplifier restore. www.theoryprofessional.com

High-frequency compression CELESTION HAS created a threaded variant of the CDX1-1412 high-frequency compression driver, designed for spacecritical, portable applications. Featuring a 1-inch exit and a neodymium magnet, the CDX1-1413 integrates a standard 35mm screw-thread fitting, for seamless compatibility with horn flares with threaded connections. Measuring 60mm in diameter and weighing 0.4kg, the CDX1-1413 can output 70W continuous power handling (35W AES

standard) to deliver 107dB sensitivity within a 1.5–20kHz frequency range. Fabricated using a highly rigid engineering thermoplastic, the compact chassis of the CDX1-1413 comprises a 1.4-inch diameter edgewound copper clad aluminium voice coil paired with a single-piece polyimide film diaphragm and surround. The acoustic foam is utilised internally to minimise air cavity resonances and damp unwanted reflections from the inside of the cover. www.celestion.com

Fixed for focus AUDIOFOCUS HAS released two fixedinstallation loudspeakers for its mediumthrow ARRoCC constant-curvature system. The passive cabinets are the wide-coverage CC210Wix and the narrow-dispersion CC210Nix. Designed for installation in midsized venues, the loudspeakers incorporate a minimal rigging system and concealing plates. Both models use paired 10-inch LF transducers with Tetracoil double voice coil technology and a 4-inch titanium diaphragm HF compression driver. According to Audiofocus, the HF driver enables a lower crossover point for extended dispersion control at lower frequencies. The CC210Wix and CC210Nix provide a frequency response of 55Hz–19kHz. The wide-coverage version delivers a peak SPL of 133dB, while the narrow-dispersion model

reaches 135dB peak SPL. Manufactured from birch plywood, the loudspeakers are compatible with the 118SG ground-stacked 18-inch subwoofer and A-Series rack amplifiers. www.audiofocus.eu

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EAW extends Newport Series DESIGNED TO partner the NT206L and NT208L line arrays, the NT119S and NT219S models have been added to EAW’s Newport Series of active subwoofers. Powered by 4,000W (peak) of Class-D onboard amplification and a 19-inch high-excursion driver, the NT119S produces a maximum SPL of 136dB down to 25Hz in an array-ready footprint. Featuring dual 19-inch highexcursion drivers and 8,000W (peak) of amplification, the NT219S delivers a maximum SPL of 142dB down to 25Hz (–10dB). Weighing 60kg and 98kg respectively, both the NT119S and

NT219S can be flown or groundstacked seamlessly with other Newport Series systems. Enhancing system design accuracy and usability, an update to EAW’s Online Array Assistant is available. OAA v1.1 supports throw distances of up to 100m and incorporates the NT206L high-frequency boost button. V1.1 also reports total array weight and the bottom of the array height. Additionally, a subwoofer array guide is included to aid in the reliable setup of common subwoofer arrays such as cardioid and end-fire. www.eaw.com

EVIDn connects the dots A SINGLE network connection carries power, audio and data to Electro-Voice’s EVIDn loudspeakers, a nine-model family designed for networkmanaged commercial audio installations. The range covers ceiling, surface-mount and pendant formats, allowing integrators to select different form factors while retaining a common PoE+ architecture. Each loudspeaker incorporates amplification, DSP, signal protection and network audio transport, eliminating the requirement for a separate amplifier room. The models are pre-tuned to their passive EVID equivalents, while Dynamic EQ is used to maintain tonal balance as listening levels change. EVIDn supports Dante and AES67 for integration with networked audio systems. PoE+ Class 4 provides up to 30W to each loudspeaker, with standard PoE compatibility also supported. Network security features include 802.1X authentication, while configuration, monitoring and management are handled through a browser-based web interface without requiring dedicated software. The surface-mount model carries an IP65 rating for indoor and outdoor applications.

Montarbo heralds the age of Nettuno DESIGNED FOR live sound stage monitoring applications, in addition to sideand near-fill reinforcement elements in larger productions, the Nettuno W12 and W15 loudspeakers have been added to Montarbo’s catalogue. The Nettuno W12 active 2-way enclosure incorporates a 12-inch ferrite woofer with a 3-inch voice coil and a neodymium compression driver with a 1-inch exit and

Installation features include Electro-Voice’s SwiftLock mounting system, designed for single person installation. Tile rails, mounting rings and magnetic grilles are included, while support for fully terminated Ethernet cables is intended to simplify deployment. The loudspeakers can be individually addressed for software-based tuning and monitoring, allowing settings to be adjusted as spaces or system requirements change. Ceiling and surface-mount models are scheduled to become available globally from early 2027, with pendant models following later in the year. The range is covered by a three-year warranty. www.electrovoice.com

polyurea coating, the rear panel incorporates a speaker preset sensitivity knob, LEDs and a USB C-type port. Incorporating the same design features as the W12 enclosure, the W15 is a 15-inch higher-powered speaker. Operating within a frequency response range of 58Hz–17.2kHz (–6dB), the W15 can produce a maximum SPL of 136.5dB. The coaxial architecture of both loudspeakers promotes a coherent phase response, to combine vocal intelligibility with controlled 90° x 90° (W12) and 60° x 60° (W15) dispersion characteristics.

1.75-inch voice coil. Driven by a 1,000W RMS Class-D amplifier with integrated DSP, the W12 delivers controlled output to a maximum of 131dB SPL within a 67Hz–19kHz (–6dB) frequency range. Allowing quick adaptation to different stage layouts, eight DSP presets – including FIR processing and tuned waveguiding – facilitate ease-of-use setup. Housed in a plywood cabinet and finished in a durable

Nettuno W15

www.montarbo.com

Logical additions UK MANUFACTURER Logic System has added the AC Series to its growing portfolio of loudspeaker systems. Featuring a contemporary industrial design, the AC12 and AC15 point source loudspeakers feature 12- and 15-inch neodymium drivers with 3-inch voice coils and demodulation rings, in addition to 1.4-inch compression drivers offering extended HF response. The coaxial driver design maintains an 80° x 80° pattern control down to below the crossover point. Housed in respective 18mm and 15mm Baltic birch plywood cabinets and finished

in a polyurea coating, the speakers provide flexibility of use with five M10 inserts, a pole mount and pocket handles. Differentiating itself from the AC Series as a non-coaxial passive point source design, the AT Series currently comprises two loudspeaker models. Featuring 15- and 12-inch woofers respectively, the AT15 and AT12 models incorporate 3.5- and 3-inch voice coils and low distortion ferrite LF drivers. Titanium diaphragm ferrite compression drivers married to respective 80° x 60° and 90° x 60° (HxV) rotatable

elliptical HF die-cast horns maintain pattern control down to the 2.2kHz crossover point. Housed in 18mm (AT15) and 15mm (AT12) trapezoidal Baltic birch plywood cabinets and finished with a polyurea coating, each speaker comprises 12 M10 inserts, a pole mount and pocket handles. Up to eight AT12s or AT15s can be driven by one LS Series amplifier, which also comes pre-loaded with EQ presets and limiter settings from the A Series. AC12

www.logicsystem.co.uk

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PRODUCTS

Neumann expands monitoring and wireless options

KH 310 II and KH 350

A SUCCESSOR to the KH 310 A and the brand’s first entry into a new midfield monitoring category lead a series of recent additions spanning studio monitoring and wireless vocal capture for Neumann. The KH 310 II retains the 3-way sealed format and 3-inch soft-dome midrange driver of its predecessor, while almost every other part of the monitor has been re-engineered. A new woofer provides greater linear excursion and reduced intermodulation distortion, while the

updated model delivers 5dB higher SPL and improved linearity of ±0.6dB from 100Hz–10kHz. Its external dimensions remain identical to the KH 310 A, simplifying replacement in existing installations. Joining it is the KH 350, a 3-way bass-reflex midfield monitor intended for larger listening distances and applications requiring greater low-frequency output. Positioned between the KH 310 II and KH 420, it extends down to 30Hz ±3dB and 27Hz ±6dB, with

the German manufacturer stating that its full-range performance can remove the need for a subwoofer in many setups. A large MMD waveguide provides controlled directivity for multichannel and immersive environments. Both monitors share an 8.25-inch woofer, 3-inch midrange driver and 1-inch tweeter, alongside the same Class-D amplification and 32-bit DSP platform. MA 1 Automatic Monitor Alignment is supported, with analogue and digital AES3id inputs provided. Consistent voicing across the KH range is intended to allow different models to be combined in stereo, multichannel and immersive systems. The manufacturer has also replaced its KK 204 and KK 205 wireless capsule heads with the cardioid KK 104 A and supercardioid KK 105 A. Both use the condenser capsule technology found in the company’s KMS wired stage microphones and are compatible with Sennheiser Spectera, EW-D, EW-DX and Digital 6000/9000 handheld transmitters. The new capsule heads feature improved suppression of handling noise, integrated shock mounting and pop protection. A fixed low-cut filter compensates for proximity effect during close miking, while a hardened steel grille incorporates a pop screen to protect the capsule from moisture and control plosives and sibilance. The KK 104 A’s cardioid pattern is said to provide a more forgiving response to performer positioning and head movement, while the KK 105 A’s supercardioid pattern increases rejection and separation in crowded stage environments. Both are available in nickel or black.

powerCON TRUE1 TOP connectivity for applications requiring higher output and greater system resilience. Both models are available in black or white finishes and designed to provide professional sound reinforcement while maintaining the portability and fast setup associated with the EVOX range. Finally, the X Series has achieved EN 54-24:2008 certification, ensuring compliance for voice alarm systems in fire detection and alarm installations. www.rcf.it

www.sonance.com

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Variable Dispersion Technology allows designers and installers to select between 120° and 80° dispersion patterns, allowing them to optimise coverage for both low- and high-ceiling applications. The technology is delivered through a magnetically interchangeable horn and collar assembly that ships in-box with every model and can be reconfigured in the field without any special tools. A two-position switch optimises the crossover for whichever dispersion configuration is selected, providing consistent sonic performance in either mode. With each speaker sharing the same acoustic voicing, a consistent listening experience is maintained by mixing the pendant, surface-mount and in-ceiling loudspeakers throughout a project. The surface-mount model further extends deployment into covered outdoor environments with an IPX4 rating. The backcan of the two-piece in-ceiling model can be installed before construction has been completed onsite. Further characteristics include integrated 70V/100V transformers with up to 120W taps, 8Ω bypass capability, UL1480A compliance and UL2043 certification on in-ceiling models.

MMR 30T to deliver improved vocal intelligibility, enhanced low-frequency performance and rapid deployment. The EVOX J9 delivers up to 130dB maximum SPL from a 2,100W dual-channel Class-D amplifier. The system combines a 1.75-inch compression driver mounted on RCF’s True Resistive Waveguide with six 3-inch neodymium full-range transducers and a high-output 12-inch woofer. Positioned above the J9, the EVOX J11 increases output to 3,500W and 132dB maximum SPL. It features 12 3-inch full-range transducers and professional

DESIGNED FOR commercially demanding environments requiring higher SPL, controlled coverage and speech intelligibility, the compression driver-based Professional Series High Output family includes pendant, surface-mount, blind mount in-ceiling and two-piece in-ceiling models, each combining an 8-inch woofer with a coaxially mounted 1.4-inch compression driver and offering lowfrequency extension down to 41Hz.

www.neumann.com

Audio maximised with Micro Monitor COMBINING ULTRA-COMPACT dimensions with an elegant design for distributed audio designs, the MMR 30T Micro Monitor loudspeaker has been added to RCF’s catalogue. Designed for indoor and outdoor installations, the IP55-rated wall-mounted model comprises a 3-inch full-range transducer housed within an ABS enclosure. Rated at 10W RMS power handling and capable of producing a maximum SPL of 101dB, the MMR 30T operates within a 200Hz–20kHz frequency range. Integrating with compatible RCF amplifiers using an onboard preset, the 3-inch model exerts 130° conical constant directivity coverage. Finished in black or white, the MMR 30T includes a wall-mount bracket, a 70V/100V transformer and a 2-pole Euroblock connector on its rear for simplified connection. Extending the platform following the launch of the flagship EVOX V15, the manufacturer has also added to its portable sound reinforcement range with the introduction of the EVOX J9 and EVOX J11. Designed for mobile entertainers, event production companies and live sound applications, both new systems combine 3-way column array technology with RCF’s FiRPHASE processing, Bass Motion Control and onboard DSP

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PRODUCTS

Another notable transmission EXTRON HAS developed the DTP3 T 321 4K/60 USB-C DTP3 transmitter, capable of transporting video, audio, data, power and bidirectional RS-232 signals up to 100m over a single shielded Cat6a cable. Featuring a USB-C input, local HDMI output and two USB device ports, the DTP3 T 321 transmits video resolutions up to 4K/60 with 4:4:4 colour sampling, EDID Minder and HDCP 2.3. The supported video resolutions are delivered without compression and the local USB connections with 10Gbps data rates provide remote power for DTP3 receivers. The DTP3 T 321 promotes reliable, long-distance transmission of USB-C DisplayPort alt-mode video supporting Deep Color, 3D and embedded HD lossless audio formats. Bypassing the requirement for laptops with a separate power or USB data connection, the USB-C input supports the three functions of video/audio, USB data and device charging over a single cable. The DTP3 T 321 provides 60W of standard device charging power and

up to 100W with the addition of the UPI 100 power inserter. The USB Extender xi Series extends and switches USB signals from peripheral devices to a host computer up to 600m through a Gigabit Ethernet network or 100m point-topoint over one Catx cable. It supports High-Speed (USB 2) and earlier devices and can be powered by the host computer or included power supply. It provides USB peripheral emulation to enable trouble-free booting of a host computer that is not connected to a keyboard or mouse. The receiver features a built-in, active 4-port hub with up to 500mA of power per port. The matrix controller allows simple setup and control for a distributed USB matrix switching system over an Ethernet network. Dynamic Images is a control system capability whereby Extron user interfaces can now display low-frame-rate video directly from NAV Pro AV-over-IP systems and, soon, Quantum Ultra II videowall

POWERSOFT HAS unveiled its ENEA PAVA system, a voice alarm platform certified to EN54-16. Where many voice alarm systems are built primarily to meet that certification with audio quality a secondary concern, the manufacturer claims that ENEA has been designed to prioritise both. The system brings control, amplification and power management together in a modular system architecture designed for safety and high-quality audio distribution. Its components work as one integrated network, providing the flexibility to build centralised or distributed configurations and scale the system by adding control units as installation requirements grow. ENEA is made up of the ENEA PS-CTRL control unit which manages emergency workflows, routing, paging and network-wide control functions; the UNICA 8G amplification platform which provides high-performance

amplification; the ENEA PS-PSM power supply manager which monitors and manages power distribution, batteries and system

CEDAR tackles live noise isolation

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from web sources and file servers, enabling interface graphics such as logos, channel icons and status images to be updated without redeploying the GUI file. It is compatible with the manufacturer’s latest generation of user interfaces, such as the TLP Pro 35 Series touchpanels, Extron Control for Web and the Extron Control Pro App. www.extron.com

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processor systems. Confidence preview content is delivered securely to the control interface with no dedicated preview hardware required, making the feature a cost-effective addition to professional AV systems. The Dynamic Images feature can also be used to automatically update graphical content on Extron user interfaces, such as logos and other changeable elements. Dynamic Images can retrieve JPEG, PNG and animated GIF files

CEDAR AUDIO’S Voxis voice isolator is able to tackle background noise in live spoken-word and vocal applications thanks to sub-10ms latency. The plugin targets broadcast, concerts, conferences and other live production environments. Joining the manufacturer’s ICONS range, Voxis uses deep neural network technology to isolate voices from unwanted background noise while maintaining sufficiently low latency for

real-time use. Applications include FOH mixing, live recording, broadcast and sports production, as well as AV systems for conferences and live events. The plugin builds on CEDAR’s dialogue noise suppression technology, with its neural network architecture designed to handle a range of challenging noise conditions encountered in live environments.

redundancy to ensure maximum reliability and EN54 compliance; the ENEA PS-PSU power supply unit, which delivers up to 800W

at 48V for efficient system operation; the ENEA PS-FRM rack mounting frame which is designed to accommodate power supply units and support scalable system expansion; and optional paging stations including the PS-ZM for zone microphone and PS-FM fireman’s microphone. It offers full-fidelity sound for background music and everyday announcements, alongside certified emergency voice alarm messaging from the same system. It also works with the manufacturer’s AnyMATE technology, which monitors each loudspeaker and signal path remotely, allowing faults to be identified without the need for onsite checks. ENEA is suited to stations and transport hubs where space is at a premium and simplicity of installation and maintenance is key. www.powersoft.com

Sommer shines with HICON sockets DESIGNED FOR broadcast, studio and professional AV applications demanding high-resolution 4K and UHD signal quality, the HICON BNC 12G-SDI panel-mount crimp sockets have been added to Sommer Cable’s catalogue. The 75Ω crimp-type panel-mount sockets are available for coaxial cables measuring 0.6/2.8mm (BNC0.6/2.8FE-UHD), 0.8/3.7mm (BNC0.8/3.7FE-UHD), 1.2/5mm (BNC1.2/5.0FE-UHD) and 1.6/7mm (BNC1.6/7.0FE-UHD). Ensuring a stable, low-loss signal transmission, the sockets comprise 4μm gold plating on the contact surfaces and a gold-plated brass housing

for added corrosion resistance. With crimping technology providing a mechanically secure and attenuation-optimised direct connection between the cable and socket, a standard 0.5-inch thread allows the sockets to be neatly integrated into panels, racks or equipment units. Alternatively, the sockets are also available in a D-flange metal housing. Suitable for time-critical broadcast and production environments, the sockets also include a BNC bayonet lock for quick and secure connections. www.sommercable.com

www.cedaraudio.com

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PRODUCTS

The evolution of cabling TODAY’S LIGHTING systems are expected to do far more than simply illuminate a stage. They must be faster to install, easier to maintain and capable of operating flawlessly under increasingly demanding production schedules. The first stage of this transformation is power distribution. 2-core cables are most suited for simple luminaires, while 3-core versions are widely used where protective earthing is required. 4-core constructions simplify RGB installations, whereas 5-core cables provide an efficient solution for RGBW and other multichannel fixtures, reducing cable runs while keeping installations clean and organised. The next step is the integration of power and control. But mechanical performance is equally important. Indoor installations benefit from highly flexible soft PVC jackets that withstand frequent handling and coiling, while touring and outdoor applications demand NBR rubber compounds capable of resisting abrasion, oils, humidity and harsh weather conditions.

This design philosophy is reflected in Tasker’s latest lighting cable portfolio. The TSK1170–TSK1176 LED power cable family covers applications ranging from basic power distribution to RGB and RGBW lighting systems through dedicated 2-, 3-, 4- and 5-core constructions. For intelligent fixtures, the hybrid C283 combines one 110Ω DMX pair with a 3x1.5mm2 power cable, while the C284 adds a second DMX channel using the same power section. Where higher current capacity is required, the C290 integrates dual DMX transmission with three 2.5mm² power conductors. All three models are available with soft PVC jackets for indoor installations or NBR jackets for demanding outdoor environments, and can also be supplied as factory-assembled cable solutions like the NKDN83 series with Neutrik TRUE outdoor connectors.

OnAi

www.tasker.it

KLOTZ AIS adds solutions in the box CAM-DB1 series

WITH THE development of the CAM-DB1 series SMPTE distribution boxes by KLOTZ AIS, SMPTE-311M hybrid cables can be adapted to conventional single-mode fibre

(SMF) connections for the transmission of audio, video or data signals. Different versions cover common fibre-optic connectors on the output side. Enabling integration into existing

fibre-optic infrastructures, EDW, FXW, ST, LC, opticalCON or SmartBeam connectors can be optionally configured. Suited for demanding outdoor environments, all passive CAM-DB1 versions feature an extruded aluminium housing to withstand strong mechanical stress. Providing optimal protection against dust and moisture, the housing and connectors meet IP65 standards when mated. Screws on the bottom of the housing ensure that the SMPTE box can be securely mounted during live operations and dust caps are added to all input and output ports. Designed for transmitting both analogue and AES/EBU digital audio signal, the 12-channel K12RM digital multicore system is based on the OmniLIVE multicore cable. With a characteristic impedance of 110Ω, the K12RM combines a high-quality construction with effective shielding for interference-free signal transmission. With two RMP 37p circular connectors characterised by gold-plated male and female contacts, the system has been designed to maintain consistently high contact quality for more than 2,000 mating cycles. Achieving an IP67 protection rating, protective caps on both cable ends safeguard the contacts during transport and storage in addition to resistance against

dust and moisture. A ZEP plastic strain relief further enhances the system’s mechanical durability. Available in six or eight discrete 16A circuit versions, the Energy Fan OUT Box portfolio has been expanded in the form of the EBOHM-NF Adapter Boxes. Promoting the safe distribution of electrical power during events and broadcasts, the latest models can be applied in both indoor and outdoor settings. Equipped with Harting HAN 16ES connectors and housed in metal coupling enclosures, the Fan OUT Boxes enable reliable power distribution to or from an Energy Multicore cable, including the EMC8HMFT. The Adapter Boxes are also available with Neutrik powerCON TRUE1 connectors. On the multipin side, a lightweight, impact- and scratch-resistant housing made from environmentally friendly recycled PE offers resistance to temperature fluctuations, weathering and chemicals. For secure rigging installations, the housing is equipped with an M10 threaded insert and an integrated safety lanyard attachment point. The power tails are fitted with waterproof Titanex H07RN-F rubber cables with a conductor cross-section of 3x2.5mm². www.klotz-ais.com

Simply AJA BUILDING ON AJA Video Systems’ FS frame sync line, the FS8 video and audio processor bridges SDI and IP infrastructures in broadcast, production and pro AV applications. Powering up to eight channels of 2K/HD or four channels of UltraHD image processing, including frame sync, up/down/ cross conversion and IP gateway functionality, the 1U solution features a node-based web UI and wide-ranging connectivity. Reducing the need for additional equipment, up to 16 12G-SDI over coax and fibre inputs and eight HD or four UHD ST 2110-20 inputs feed eight HD or four UHD video processors.

Support for embedded SDI, ST 2110-30, Dante and MADI audio creates a 459x448 mono audio matrix, from routing and conversion to level adjustment, delay and sample rate conversion. Configurable video and audio delay enables delay of up to 60 frames in HD, and up to 2.5s of audio. Simplifying setup and control, features are accessible through the 1U frame and browser-based web UI including video preview, audio meters, system and component-level preset recall and status monitoring. The front-panel colour LCD supports moving video and audio meters

Lu and enhances confidence monitoring with its status of inputs, outputs and video processors. Offering four channels of conversion between 12G-/3G-SDI and fibre, the OG-FiDO-4 is the latest family of openGear-compatible cards. Promoting uncompressed SDI transport over LC fibre, nine hot-swappable models are currently available, including the base card and AJA Fiber SFP variations including 12G-SDI,

3G-SDI, single- and multi-mode models. Independent, isolated SDI-BNC connectors enable different rates to be carried simultaneously, while an integrated rear I/O card unlocks high-density transport of up to 40 channels in an openGear frame. DashBoard software support streamlines installation, configuration, monitoring and service updates on Windows and macOS. www.aja.com

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PRODUCTS

Riedel OnAir Headsets turn heads Lumens decodes Dante

OnAir 500 Series

CREATED FOR broadcast, live entertainment, sports and other live production applications, Riedel Communications has introduced the OnAir headset platform of professional intercom headsets. Designed for lightweight, single-ear communication, the OnAir 200 is available as an analogue model with a fixed XLR4F connection and a digital model with a fixed USB-C connection. Both versions feature mic mute, reversible designs and easily replaceable parts. The OnAir 400 Series is available in single- and dual-ear versions and adds integrated controls and flexible connectivity. An integrated Push-toTalk (PTT) button on the mic boom allows users to respond directly from the headset, rather than a key on a connected intercom device. The 400 Series also features a reversible design, a pressure-reducing headband cutout and an exchangeable Mini XLR7 connection at the ear cup, allowing cables to be changed for use with different devices. Built for demanding high-noise environments such as motorsports, the OnAir 500 Series distinguishes itself by a dual-ear design which combines high passive isolation with expanded controls directly on the headset. In addition to the reply key on the mic boom, two PTT buttons on the ear cup provide additional access to intercom communication, and a dedicated radio mode enables the buttons to operate with radios. Like the 400 Series, the 500 Series features a reversible design and an exchangeable Mini XLR7 connection. Components of the 400 and 500 Series include ear and head cushions, dust protection, a mic boom module and cable that can be replaced individually.

With a focus on expanding IP-based production workflows, the German manufacturer has also unveiled a series of developments across its SimplyLive production platform, Bolero wireless intercom portfolio and Managed Technology offering. The latest SimplyLive Production Suite Flex server configurations add SMPTE ST 2110 support alongside existing SDI, SRT and NDI compatibility, extending deployment options for IP production environments. The software has also gained integration with SKAARHOJ control panels, new Venue Gateway options and additional workflow enhancements for live production, replay, review and contribution applications. Elsewhere, several new features have been introduced across its Bolero wireless intercom range. New 5G filtering for Bolero antennas and beltpacks is designed to improve resilience in congested RF environments, while updated beltpacks feature a more robust hardware design for demanding broadcast, live event and production applications. Completing the announcements is DIVA+, a managed technology service that combines data, intercom, video and audio across wired and wireless infrastructures. The platform also incorporates Easy5G, cloud media services and centralised control. The service supports the full event lifecycle, from virtual pre-planning and deployment to monitoring and live operation, helping teams manage distributed workflows through one coordinated infrastructure approach. www.riedel.net

LUMENS DIGITAL Optics has announced the OIP-N60D-ND, a multi-format decoder that supports NDI HX3, Dante audio, Dante AV-H and RTSP streams, with simultaneous USB-C and HDMI outputs. The device also supports Picture-in-Picture (PIP) and Pictureby-Picture (PBP) HDMI output. A low-latency 4K IP bridge, the OIP-N60D-ND enables systems integrators to combine network audio and video sources on a single IP infrastructure. Supporting video streams up to 2160p60, the compact device allows users to select and switch instantly between IP sources before outputting video via HDMI 2.0 or USB-C for display, video conferencing, recording and production applications. The OIP-N60D-ND receives streams from network sources including Lumens OIP bridge encoders, NDI cameras, playout servers and Dante audio devices. Designed for installation on standard Gigabit Ethernet networks, the device enables long-distance AV transmission without point-to-point cabling. It converts

network video and audio to HDMI and USB-C, outputting standard UVC and UAC signals for use with video conferencing platforms and software applications. USB webcam and speakerphone extension over IP allows cameras and audio devices to be positioned at a distance from the host computer while maintaining USB connectivity at the endpoint. PIP and PBP layouts are supported, alongside videowall configurations of up to 3x3. Bidirectional Dante audio enables flexible routing between networked audio systems and local devices, while web-based management simplifies source selection. Instant source switching and Last-In Switch functionality can also automate operation in BYOD (bring your own device) environments. The OIP-N60D-ND can be powered via PoE or USB for AV-over-IP deployments in meeting rooms, classrooms and production environments. www.mylumens.com

Atlona brings USB into OmniStream endpoints

FIVE NEW AV-over-IP endpoints have been announced for Atlona’s OmniStream AV-over-IP platform, adding integrated USB options and a wall plate encoder to the solution. The OmniStream+ encoder with USB and OmniStream+ decoder with USB combine video, audio and USB extension within a single endpoint. Both support the distribution of 4K/60 4:4:4 video over standard Gigabit Ethernet, with the integrated approach

intended to reduce hardware requirements in conference rooms, classrooms, huddle spaces and other USB-dependent installations. Joining the OmniStream+ models are new standard OmniStream Encoder and Decoder units, together with an OmniStream Encoder Wall Plate. The latter packages the encoding functionality into a two-gang in-wall form factor, allowing source connections to be located directly in walls or furniture rather than routed back to a rack-mounted encoder. All five additions are compatible with existing OmniStream deployments, allowing integrators to introduce USB connectivity or wall plate endpoints without replacing installed infrastructure. www.hallresearch.com/atlona

Luminex unites AV networks LUMINEX HAS introduced two additions to its GigaCore portfolio: the GigaCore 026-1 and GigaCore S30-1. The solutions were showcased during IBC2026 in Amsterdam, where the brand held live demonstrations to showcase converged AV networking solutions, highlighting how video, audio, lighting and control data can share a single infrastructure. The live demonstration featured multiple PTPv2 clock instances and support for NDI, IPMX, Ravenna/AES67 and ST 2110

protocols. Solutions from technology partners including Lawo, DirectOut, Matrox, Meyer Sound and Meinberg highlighted interoperability across broadcast, professional AV and live production environments.

At the centre of the demonstration was Luminex’s GigaCore, Araneo GigaCore and Araneo Studio systems, which are designed to support the integration of diverse networked systems.

The GigaCore 026-1 is designed for professional AV, broadcast and live event applications, while the GigaCore S30-1 joins the range as another option for network infrastructure in demanding production environments. Both switches form part of Luminex’s focus on purpose-built networking for professional applications, with an emphasis on interoperability, deployment flexibility and reliable performance. www.luminex.be

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PRODUCTS

Arthur Holm loses the hatch with D2

REMOVING THE visible hatch traditionally associated with retractable monitors, Arthur Holm’s D2 uses an aluminium tabletop frame to create a flush installation that can be fitted from above the table.

The design combines elements from the manufacturer’s DB2 and DynamicX2 ranges, pairing the former’s discreet approach with the integration and connectivity options of the latter. Touching

an integrated capacitive sensor raises the display vertically from the furniture, after which it can be tilted by up to 20°. A second sensor in the monitor glass controls tilt and retraction.

The D2 supports addressable RS-422/ RS-485 full-duplex control using Arthur Holm’s AHnet protocol, alongside opto-isolated GPI Up/Down control. An RJ45 Cat6 connection with loop-through supports AHnet, while USB provides access for firmware upgrades. Interactive Setup Display and automatic mechanical movement calibration are included, with optional Ethernet interfaces adding AHlink app-based setup, diagnostics and control. Connectivity can be configured around individual projects. The 17-inch Full HD AH17D2 provides two HDCP-compliant DVI inputs as standard, with options including dual HDMI inputs, projected-capacitive multitouch, a built-on PC Box, retractable USB-C or HDMI cables, an integrated USB camera and DynamicShare. The range is available in 17-inch, 17-inch 4K, 22-inch and 24-inch 4K versions, with painted, black anodised, gold and bronze finishes among the customisation options. Laser engraving can also be applied to the aluminium tabletop frame. www.arthurholm.com

PPDS opens up dvLED with Unite 3000 Series PROVIDING A more accessible route into 16:9 dvLED, PPDS has introduced the Philips Unite LED 3000 Series, with four pixel pitches targeting indoor applications across corporate, retail, education, hospitality, transportation, events and public venues. The panels are described as “economically pleasing and easy on the eye”, designed to deliver impactful visual experiences in a highly competitive market. The COB range is available in 0.9mm, 1.2mm, 1.5mm and 1.8mm pixel pitches. The three finer-pitch models provide 600 nits of brightness and a 3,840Hz refresh rate, while the 1.8mm version increases brightness to 1,000 nits and the refresh rate to 7,680Hz.

Common cathode technology has been used to improve energy efficiency while supporting colour accuracy and stability. The panels provide a 96% colour gamut and incorporate adaptive brightness, automatically adjusting output according to ambient lighting conditions to reduce unnecessary power consumption. For installations in more demanding environments, the Unite LED 3000 Series carries an IP54 ingress protection rating at the front and IP31 at the rear. Both front and rear service access are provided, with individual modules removable using the supplied T-hex tool to provide access to the power supply, hub board and wiring. www.ppds.com

HIVE gives media playback a sense of its surroundings VISITOR MOVEMENTS, objects and physical interactions can now directly influence content running on HIVE’s Beeblade media players following the addition of native support for Nexmosphere sensors and controllers. The integration connects Nexmosphere hardware to HIVE via USB or Ethernet, bringing data from multiple sensors into the Dataflow environment. Supported technologies include presence and motion detection, RFID, touch and push buttons, object detection, Lift & Learn, weight sensing and LiDAR. A new Data Matching module allows integrators to create rules that trigger content in response to particular inputs, such as a visitor entering a zone

or pressing a button. More complex interactions can be developed using a new Scripting module with JavaScript support. This could allow an exhibit to launch content as somebody approaches, switch to an interactive interface when a visitor stands in front of a display or use RFID to identify an object and trigger corresponding video. Communication can also work in the opposite direction, with HIVE able to send commands to supported Nexmosphere devices to control elements such as LED lighting. The integration works across HIVE’s Beeblade media player range and will form part of the latest HIVE software release. www.hive.run

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Wireless switching ATEN HAS announced the launch of the PresentON VP201 wireless dongle for conferences and the PresentON VP200 wireless dongle for presentations. Combined with the previously released VP2020 and VP2021 switches, as well as the VP2020KIT 4K wireless presentation switch kit and VP2021KIT 4K wireless presentation switch with quad view kit, the dongles complete ATEN’s Wireless Presentation Switch Series. The driver-free VP201 and VP200 enable a plug-and-cast workflow across Windows, macOS and Linux, supporting visuals up to 1080p@60Hz. A single VP2020 or

Lightware expands room control

VP2021 base unit can pair with up to eight VP200 or VP201 dongles, allowing up to eight participants to connect wirelessly by plugging the USB-C connector into their laptops or compatible devices. Presenters can also control their PCs directly from a room’s touchscreen or interactive whiteboard. Cross-platform compatibility allows participants to use in-room USB conference peripherals, including microphones, cameras and speakers, while hosting hybrid meetings across major operating systems. www.aten.com

LARA Wizard

AV Stumpfl simplifies screen specification AV STUMPFL has launched an online screen configurator designed to simplify the specification of its projection screen range. Available in metric and imperial versions, the browser-based tool supports the company’s MONOBLOX, MONOCLIP, MONOLYTE, VARIO, VARIOCLIP and FULLWHITE screen families.

LIGHTWARE HAS introduced updates to its LARA Wizard Touchpanel configuration software and Taurus product family, adding new room control features alongside SNMPv3 monitoring support for enterprise AV environments. The latest LARA Wizard update is designed to simplify touchpanel configuration while expanding functionality for meeting spaces. A new Dual Display Control feature allows two displays to be configured independently from a single touchpanel, while Light and Dark themes, custom company branding and a live preview window help integrators configure and verify interfaces before deployment.

the configuration and operation of larger SDVoE-based systems. The unit supports Lightware’s Taurus TPN, HDMI-TPN and HDMI-OPTN endpoint families, together with USB20-1GBE USB extenders. An integrated SDVoE Control Server and centralised management interface provide device discovery, endpoint configuration, signal routing and network management from a single environment. Once endpoints have been identified, named and configured, the TPN-MMU-X100 provides centralised crosspoint routing for video, audio and USB, allowing signal paths between transmitters

One of the key additions is an integrated augmented reality preview. Users can generate a QR code from a desktop browser and transfer the current configuration to a smartphone, where the selected screen can be viewed at full scale within the intended installation environment using the device’s camera.

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The configurator guides users through each stage of the specification process, from screen selection and dimensions to transport options and accessories, automatically building a complete configuration. A real-time 3D model updates throughout the process, allowing the screen to be viewed from different angles, repositioned and exported as either a 3D model or screenshot.

Completed configurations generate a full parts list for quotation requests, while projects can be saved and shared with colleagues or clients to support collaborative workflows. The configurator also includes a Best Match option for users requiring guidance during the specification process. www.avstumpfl.com

Room control has also been extended with support for up to four configurable control buttons using GPIO, serial, Ethernet or CEC communication, allowing users to operate equipment such as displays, projectors and lighting directly from the touchpanel. Additional enhancements include scheduled display shutdown, Smart Auto-Select across both outputs and a refreshed user interface. Separately, selected Taurus devices now support SNMPv3 monitoring from firmware version 1.20.0, enabling integration with existing IT monitoring platforms. Compatible Taurus UCX, TPX and TPN devices can be monitored using standard SNMP management software, allowing administrators to track system health, network status and uptime without relying on proprietary interfaces. The manufacturer has also added Taurus-specific MIB parameters, including device label, serial number, CPU temperature, motherboard health and link status, providing additional visibility into device performance within enterprise monitoring environments. Support for up to 100 TX/RX endpoints extends the reach of Lightware’s 10G TPN AV-over-IP platform with the TPN-MMU-X100 Matrix Management Unit, designed to simplify

and receivers to be created and modified independently. Lightware-specific settings including RS-232 can also be configured through the interface. Network management tools support automatic and static IP addressing and can identify potential network incompatibilities during deployment. The MMU can operate across AV and corporate network environments, supporting larger distributed systems in applications including meeting facilities, auditoriums and university campuses. For integration with third-party control and automation systems, the TPN-MMU-X100 provides a Lightware API as a centralised integration point for the TPN system. Built-in LARA support adds communication and monitoring capabilities within the MMU interface. Finally, the LARA (Lightware Advanced Room Automation) platform has been extended with the GUDE Power Distribution Units driver module. GUDE devices can now be incorporated into the LARA environment, allowing AV devices and intelligent power distribution to be managed together through unified automation workflows. www.lightware.com

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One Format. Endless Flexibility. The Next Generation of Analog Professional Mixing Consoles Built for the demands of modern audio, Signature Plus channels your creative audio character plus proven professional workflows, into a scalable family of portable, intuitive, analog mixers. Available in 12, 16, 22, and 32-channel models, it provides the performance, control, and room to grow needed to support a wide range of applications. Learn more at soundcraft.com.

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PTZOptics rises in 4K PTZOPTICS HAS introduced Rise 4K, a flagship PTZ camera combining a 1-inch, 50MP CMOS sensor with professional broadcast connectivity and camera automation. Designed for applications including live production, broadcast, sports and enterprise studios, the camera records 4K UHD video at up to 60fps. The imaging system features a 20x optical zoom, approximately 71° horizontal field of view and phase-detect autofocus. Optical image stabilisation is supported alongside brushless motors for camera movement, while a three-stage ND filter provides exposure control in changing lighting conditions. For multicamera production, Rise 4K incorporates timecode and genlock synchronisation, as well as FreeD support for virtual production and augmented reality workflows. Video interfaces include 12G-SDI for 4K60, 3G-SDI, HDMI and USB 3.0. Network protocols include NDI HX, RTMP, RTSP and SRT, with 12G-compatible SFP+ fibre connectivity also provided. Audio connections comprise professional XLR inputs with 48V phantom power. The camera also features onboard TF card recording and front and rear tally lights. Rise 4K ships with PTZOptics’ Horizon Web browser-based interface, which provides camera movement and image adjustment

controls alongside presets, tracking, auto-framing and automation. Monitoring and matching tools include waveform, vectorscope and RGB parade displays. AI-based auto-tracking is also available for maintaining subject framing. The camera can additionally be integrated with the company’s Horizon Hub desktop applications for camera control, configuration and workflow management. Rise 4K is available to order now and is scheduled to begin shipping in Q4 2026. www.ptzoptics.com

WyreStorm expands KVM and meeting-room offering WYRESTORM HAS announced two 4K KVM extenders alongside a software update for its APO-VX20-UC meetingroom platform. In addition, the brand has outlined an integrated workplace solution incorporating Kingbox Speech-to-Text and Space365 Dock. The EX-40-KVM-H2 and EX-100-KVM-H2 extend 4K video, USB and control over a single category cable. Both support 4K60 4:4:4, HDMI 2.0, HDCP 2.3 and HDR10. The EX-40-KVM-H2 extends 4K60 video and USB 2.0 to 40m over Cat6/6a/7.

management, video routing and support for a 1,280x800/60H HDMI output resolution. USB routing and manual USB-host selection have also been added, alongside wireless conferencing configuration. The update also expands CEC control, allowing individual commands to be sent to the unit’s two HDMI outputs. Security additions include 802.1X authentication, access-code requirements and API control of SSH authentication, while Xyte Cloud MAC-address reporting provides additional device information for remote management.

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AV orting

Panasonic brings global shutter sensors to PTZ cameras CAPTURING FAST-MOVING planned through a future firmware subjects without the update. Both AW-UE210 and distortion associated AW-UER210 variants add with rolling shutters is the SMPTE ST 2110 and Dante key development behind connectivity as standard. Panasonic’s AW-UE200 and Panasonic is also extending AW-UER200, a series of its production workflow tools 4K PTZ cameras aimed at with new KAIROS control sports, live events and studio panels and updates for Image production. Adjust Pro. The AT-KP340 and The AW-UE200 and AT-KP330 provide 12 buses AW-UER200 are, according with 40 and 30 crosspoint to the manufacturer, the first buttons respectively, alongside PTZ cameras to incorporate large touch panels on each bus global shutter MOS sensors, row for access to snapshots, enabling fast-moving subjects macros and frequently used AW-UE200 to be captured without the functions. distortion associated with rolling Image Adjust Pro is gaining shutters. Both models combine the technology automatic colour matching, allowing colours with high-speed pan and tilt operation and a 22x from multiple cameras to be aligned with optical zoom, targeting sports, live events and a reference camera while reducing manual studio production. adjustment of gamma, matrix and colour The UE200 offers pan acceleration of 1,800°/s correction settings. An upcoming Q4 update for tracking fast-moving subjects, while variable also introduces enhanced virtual remote-control zoom speeds range from approximately panels and is planned to support the 0.5–120s from tele to wide. Both models also AW-UE200 and AW-UER200. incorporate automatic tracking and framing New colour adjustment functions are also directly within the camera. The AW-UER200 adds coming to the AK-UCX100 studio camera and a roll mechanism with a –200° to +200° range, AK-UBX100 multi-purpose camera. Color allowing the camera to produce vertical 9:16 Temp Blend uses colour-temperature data or horizontal 16:9 video using the full sensor. from LED walls and stage lighting to generate One-touch horizontal levelling is intended to an appropriate white balance, while Target simplify installation on angled ceilings and Color Correction provides individual hue and other difficult mounting positions, while an saturation adjustment for up to three selected 80° wide-angle lens provides coverage where colours. Chroma Suppression is designed installation space is restricted. to control colour shift and saturation when Compatibility with LED walls and reduced shooting highly saturated LED displays. flicker from stage lighting are also highlighted, www.panasonic.com while support for recording at up to 180fps is

ROE turns the tables with Sirius SIRIUS IS a frequency-tunable Multi-Mode IC driver from ROE Visual that will be integrated into the manufacturer’s LED panels. With the LED industry mainly relying on third-party, off-the-shelf driver ICs, the manufacturer has developed a custom, exclusive driver IC built entirely to its own film- and broadcastcentric specifications. Powered by Deepsky processing, the unified, proprietary ecosystem means that only ROE Visual users have access to true native bit depth without the workarounds common in standard industry panels. According to the manufacturer, it provides higher native bit depth, improved colour fidelity and HDR grayscale patterns along with zero banding, even at micro-luminance levels.

Operating with a 15.2kHz base refresh rate, the Deepsky system can adjust the base frequency to align with any camera’s specific frame rate and shutter angle. This is said to provide interoperability with a wider range of camera solutions, including complex rolling shutter systems. The Sirius IC blends three drive modes: PWM (Pulse Width Modulation), PAM (Pulse Amplitude Modulation) and Continuum, which is a new way of driving LEDs for ultra-low brightness. The result is described as deep blacks, clean fades and detail that survive from full sun to pitch dark. www.roevisual.com

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Its receiver provides four USB device ports, while audio de-embedding, RS-232 pass-through and bidirectional PoC are included for systems integration. The EX-100-KVM-H2 increases the extension distance to 100m, with a Long-Reach Mode supporting up to 150m. It also incorporates an HDMI loop-out at the transmitter for a local monitor or operator display. The APO-VX20-UC v2 software update adds further configuration and control functions. These include EDID and HDCP

Separately, WyreStorm is collaborating with Kingbox and Space365 on a workplace solution combining WyreStorm AV with Kingbox’s AI-powered Speech-to-Text technology and Space365 Dock for workplace monitoring and management. The latter two technologies are intended to bring meeting transcription and room/resource utilisation data into the same workplace environment. www.wyrestorm.com

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Ross extends A bolt from the blue Ultrix family WITH THE FR30, Ross Video has introduced the largest member of its Ultrix family of hyperconverged media infrastructure platforms to date. Increasing capacity, media processing power and workflow flexibility, the Ultrix FR30 extends the platform to enterprisescale broadcast, live production, sports, outside broadcast (OB), corporate and media environments. By consolidating multiple systems into a single softwaredefined media processing platform, the Ultrix FR30 combines high-capacity

BLACKMAGIC DESIGN has unveiled the UltraStudio Mini 12G family of Thunderbolt capture and playback products for broadcast use. The UltraStudio Mini Monitor 12G plays back to 12G-SDI and HDMI; the UltraStudio Mini Recorder 12G captures from 12G-SDI and HDMI; and the UltraStudio Mini Replay 12G supports both 12G-SDI capture and playback, but also includes independent 12G-SDI fill and key outputs as well as a dedicated 12G-SDI monitoring output. The replay model supports the live action replay features in DaVinci Resolve 20. All models work in SD, HD and Ultra HD video standards up to 2160p60. The UltraStudio Mini Recorder 12G is an input-only model for livestreaming using software such as Open Broadcaster. The

UltraStudio Mini Monitor 12G is an output-only model and can be used for monitoring playback from popular edit software. Dual 12G-SDI outputs support fill and key for broadcast graphics, automatically converting the alpha channel in graphics to a key output. The UltraStudio Mini Replay 12G is a 12G-SDIonly model that can both capture and play back at the same time. This makes it suitable for using computers as real-time AI processors or for live action replay with DaVinci Resolve.

Th All models include fast Thunderbolt 4 with video capture and playback plus power, all over a single Thunderbolt cable. Thunderbolt 4 provides high data speeds, giving enough bandwidth to handle high resolutions, deeper bit depths and advanced frame buffer formats such as 4:2:2:4 and 4:4:4:4. It also supports real-time conversion of alpha channels out to 10-bit 12G-SDI fill and key outputs. The UltraStudio Mini uses the DeckLink API, while the Thunderbolt link is bidirectional, so the UltraStudio Mini Replay 12G model can capture, process and output video in real time.

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Magewell expands Pro Convert IP range

routing, multiviewing, audio and video signal processing, media gateway functionality, production switchers, screen processors and control. Allowing customers to activate new functionality as requirements evolve while protecting existing infrastructure investments, advanced capabilities are enabled through software licensing. The FR30 extends the Ultrix family from compact 1U systems to the 30U platform supporting up to 576x576 UHD I/O in a single chassis, with the option to combine multiple frames for even larger deployments. Using the same interchangeable I/O, software architecture, licensing model and operational workflows across the entire Ultrix family, organisations can standardise on a single platform regardless of facility size. Reportedly reducing rack space, power consumption and cabling by up to 95%, the Ultrix FR30 lowers operating costs, reduces cooling requirements and builds infrastructure to scale as production demands grow. Supporting SDI, SMPTE ST 2110, NDI, Dante, SRT, JPEG XS and other industry-standard media formats within a single platform, the Ultrix family is transport-agnostic. Acting as a universal gateway between media transports, the FR30 promotes the transition to IP when required and simplifies interoperability across broadcast and IT environments without redesigning core infrastructure. www.rossvideo.com

TWO NEW members have been added to Magewell’s Pro Convert IP decoder family, providing the company’s first IP-to-12G SDI decoding solutions. The Pro Convert IP to AIO 4K is the standalone version and can decode popular IP streams up to 4Kp60 and provide simultaneous HDMI 2.0 and 12G-SDI outputs in full-screen or Multiview layouts, with support for HDR10 and HLG. It connects baseband presentation or distribution equipment into IP-based media networks and stays compatible with popular video formats and streaming protocols. The decoder supports HDR PQ/HLG and remote centralised management is via Control Hub or Zixi ZEN Master. Video preview, as a realtime stream or MJPEG picture, is available on the web GUI.

The ninth module in Magewell’s expanding Modator lineup, the Pro Convert IP to AIO 4K brings IP-to-12G-SDI decoding to centralised rack deployments. Designed for use in

the Magewell Modator 2U chassis, this hot-swappable module provides the same core decoding capabilities as the standalone version while enabling a higher-density installation for greater space efficiency. When used with the enhanced Control Hub management software interface, introduced earlier this year, a new preview function allows easy video monitoring in the web UI and via Control Hub. It decodes one 4Kp60 IP stream or up to four HD IP streams for a multiview output and is centrally managed via the Modator chassis, Magewell Control Hub or Zixi ZEN Master. www.magewell.com

Bridging SDI and HDMI

ENABLING SEAMLESS conversion to HDMI for easy connection to monitors, displays and projectors without signal loss or latency, Alfatron has introduced the 3GSDI-HD SDI to HDMI converter for use in professional broadcast, AV and video production applications. The converter supports signal transmission rates up to 2.970Gbit/s

and handles 720p, 1080i and 1080p resolutions. Compatibility is provided with SMPTE 425M, 424M, 292M and 259M-C standards, allowing the unit to be incorporated into professional SDI workflows. An integrated SDI loop output enables the incoming signal to be passed to additional

displays or equipment while simultaneously providing the HDMI conversion. Its compact form factor is intended for applications including broadcast racks, live events, control rooms, AV installations and portable production systems. www.alfatronelectronics.com

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The future is bright EPSON HAS unveiled the portable EB-L270F Full HD standard-throw laser projector for classrooms, meeting rooms and signage environments. It delivers 5,200 lumens of brightness with Epson 3LCD technology, while its 4.2kg body supports portability across multiple rooms, making it suitable for schools and businesses that require a bright, large-screen display in different spaces. Epson’s laser technology delivers up to 20,000 hours of maintenance‑free operation in normal mode or up to 30,000 hours in Eco mode. With a contrast ratio of over 5,000,000:1 and automatic gamma level adjustment, this projector aims to ensure text, graphics and

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video remain visible. Supporting image sizes of up to 310 inches in a 16:9 aspect ratio, the projector also supports 16:6 and 21:9 wide-screen projection which is commonly used for video conferencing in hybrid workspaces. Complementing its display capability, the EB-L270F also features a 16W speaker. The projector includes built-in wired network connectivity via an integrated RJ45 port, helping ensure fast, stable network performance for installations that prefer or require a wired connection. The EB-XQ2030B with the ELPLU06H lens is a small and lightweight 30,000-lumen 4K 3LCD laser projector weighing approximately 34.4kg and reportedly offering roughly half

EB-XQ2030B the size and volume of standard high-lumen projectors in its class. It has been designed for large-scale venues, rental staging and immersive environments where high brightness, image performance and a compact form factor are all essential. By combining Epson 4K Crystal Motion with 3LCD laser technology, the EB-XQ2030B is said to deliver image clarity and strong contrast, helping content look “sharp and compelling” even on very large screens. Its compact footprint also simplifies transport, handling and setup. The model comes with Epson’s patented Advanced Cooling Engine, while Intel SDM-ready connectivity helps streamline system integration. The shared lens platform across Epson’s product range also protects existing lens investments and

makes deployment more efficient for both partners and end users. The EB-870Ei is an interactive ultra-shortthrow laser projector designed for education and collaborative environments. It combines large, bright images, 4K Enhancement technology and interactive functionality. With its ultra-short-throw design, the EB-870Ei can maximise usable wall space while reducing shadows and glare, creating a more comfortable and effective viewing experience for teachers, students and teams. Built-in wireless connectivity and Apple AirPlay support make content sharing straightforward, while its interactive capabilities help turn a passive display into active collaboration. www.epson.com

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ETC gives Hog a hybrid upgrade OPERATING EITHER as a rackmounted console or as a DMX processor for another Hog console, ETC’s HPU+ combines standalone control with the ability to add 64 universes to an existing Hog system. Replacing the original HPU, the hybrid processor has been redesigned with a simplified mechanical construction intended to improve serviceability and durability on the road. Rear-panel I/O has

also been brought into line with ETC’s newer Hog consoles, adding etherCON connectors, opticalCON Duo fibre connectivity, an integrated LTC/SMPTE connection and TRUE1 TOP power input. In its rackmounted console role, the HPU+ is aimed at installations where a permanent hardware control surface is unnecessary, including cruise ships and theme parks. Alternatively, it can operate as a DMX

processor to expand the capacity of another Hog family console. Existing HPU units are moving into legacy status but will continue to operate and receive software updates.

The HPU+ is covered by ETC’s five-year warranty. www.etcconnect.com

grandMA3 takes the limelight

Cameo Connects the dots can issue factory-reset commands via NFC while fixtures remain switched off and inside their flight cases. The reset is applied when the fixture is next powered on, helping return equipment to a defined state before its next deployment. The software also supports cloud-based firmware management, checking for available versions online and enabling updates across multiple fixtures and models. Firmware workflows are based on the ESTA E1.37-4 standard and include checks for corrupted data, alongside mechanisms for aborting failed transfers and installations. Compatible fixtures also include recovery functions. At launch, Cameo CONNECT supports the ZENIT G2 series and 600W models in the OPUS series. The software and app are available as free downloads for Windows, iOS and Android.

MA LIGHTING has released grandMA3 software version 2.5, introducing workflow changes, stability updates and refinements to existing functionality, alongside fixes for issues reported by users. Among the new features is a Masters Window, which provides an overview of all master statuses, including Group Masters and Speed Masters, regardless of where they are assigned within the showfile. A new Locate function also enables users to find objects, including groups, sequences and pool elements, across showfiles without navigating through multiple pages or Executors.

FIXTURE PREPARATION, configuration, servicing and firmware management are brought together in Cameo Connect, a digital workflow solution for supported Cameo lighting equipment. Available as Windows software and an iOS or Android app, the platform is intended for rental, production, touring, warehousing and service applications. Cameo Connect allows users to prepare fixture configurations remotely, save settings as templates and share them with onsite teams. During setup, configurations can be transferred to compatible fixtures via NFC (Near Field Communication), without a wired connection or the fixture being powered on. The platform also provides service functions, allowing users to retrieve fixture information, configuration data and service details through NFC. This information can be compiled for support enquiries, reducing the need to manually gather serial numbers, display photos and log data. QR codes assigned to each supported model provide access to technical resources, including manuals, downloads, photometric data and DMX charts. The app also links to the relevant Cameo product page. For rental and warehouse operations, the app

manage the colour, brightness and effects of their stage lighting. The DotBar Pix1 is a compact strobe bar wall washer with electronic frost, designed for indoor and outdoor use. Reportedly consuming 70% less energy than traditional lighting fixtures, with no flickering, UV or infrared radiation, the model features two zones: Zone 1 with 384 RGB LEDs, individually controllable over 32 zones with 12 LEDs, and Zone 2 with 96 CW LEDs controllable over 16 zones with six LEDs. The white and coloured LEDs work seamlessly together, providing smooth dimming, dynamic macro-tracking and a wide range of strobe effects. The DotBar CYC1 is equipped with 144 LEDs divided into 48 LEDs for each primary colour: red, blue and green. The RGB LED technology

allows for a wide range of colour combinations, from soft pastel shades to intense, vibrant hues. Built for durability, the DotBar CYC1 is designed to withstand the demands of touring and frequent use. Its robust construction and reliable performance make the bar suitable for lighting professionals and stage designers. The manufacturer has also released the Neutron Series, comprising the Neutron-Bold, Neutron-Atom and Neutron-Dot. All three LED hybrid fixtures include high-power warm white and amber LEDs, a pixel-controllable RGB Aura backlight, a beam angle of 23°, 16-bit PWM dimming, an IP65 rating and come in a compact and lightweight aluminium housing. The coupling system allows users to connect the fixtures with each other and combine them on light bars, arrays or other imaginative shapes.

Building on the Phaser Recipes introduced in version 2.4, the latest release includes workflow additions and fixes for dynamic show programming. Version 2.5 also introduces a Channel Map within the Patch menu, enabling users to navigate fixture modes and types, and identify and select the required fixture profile. The update also includes changes to core functionality relating to system stability and operation. Alongside grandMA3 software version 2.5, the manufacturer has also released grandMA2 software version 3.9.63.10, which includes MA VPU, grandMA2 3D and MA Network Switch software. www.malighting.com

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THE DOTBAR Series from beamZ consists of a wall wash, strobe and stage wash. Each fixture has its own characteristics, but they form part of one modular system. All models come with an integrated coupling system, an adjustable bracket with up to 90° positioning, compatibility with the optional DotBar baseplate, DMX and standalone operation, a master/slave function, pre-programmed shows and adjustable speed.

The DotBar Bat1 is described as an energy-efficient outdoor or indoor wall wash light. Featuring 16 12W RGBW LEDs, it has been designed to transform the ambience of a stage with rich, vibrant hues. Equipped with 4-in-1 RGBW technology, the DotBar Bat1 offers seamless colour mixing, allowing users to create a wide range of visual effects. The control interface helps customers to easily

www.beamzlighting.com

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PROS

mix here 92% of exhibitors connect with their target audience. Every January, the people who make music happen pack the Anaheim Convention Center to geek out, connect and do a whole lot of business. It’s the one week where the whole industry shows up. Are you in? Audience

60,000+ show attendees $9.8+ Billion in buying power 122 countries represented 1,650+ exhibiting companies NAMM is THE place in the world to connect, reconnect and cultivate relationships in our industry. Without NAMM, progress would be tougher, slower and less effective.

The NAMM Show continues to be a fantastic opportunity to connect face-to-face with current customers and potential customers from all over the U.S. and the world.

Michael Gilreath, Fishman

Pat Redd, CMO Goldtop Marketing + Strategy

January 26–30, 2027

Anaheim Convention Center · Southern California · Exhibits Jan 28–30

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Chauvet dreams on THE OVATION Rêve family from Chauvet Professional continues to grow with the F2, E2, H2 and P2 IP, which all feature a new Rêve engine that reportedly brings an improved zoom range, advanced noise management and a new lightweight housing. The Ovation Rêve F2 is a mid-sized RGBACM Fresnel that has been designed to provide higher output, improved colour quality and greater versatility. The fixture comes with an easy-toadjust bracket and carbon-fibre composite housing, making it suitable for any lighting venue that requires high power, better whites, improved colouring and a competitive cost. The Ovation Rêve E2 is an RGBACM ellipsoidal that uses existing Ovation lenses and accessories, protecting customers’ investment while expanding their creative toolkit. Users can reportedly achieve flawless on-camera performance and theatrical fades with smooth dimming curves that deliver consistent, flicker-free output. The fixture has been developed as a future-ready lighting solution that combines compatibility and visual performance in one package. The Ovation Rêve H2 is a high-performance RGBCAM house light with an onboard DC failover switch, improved onboard controls and new mounting options. It has been created to provide colour quality and

COLORado PXL Curve 5

Ovation Rêve E2

high-output performance, giving designers the opportunity to produce rich, nuanced lighting for broadcast, theatre and worship applications. The Ovation Rêve P2 IP is an IP65-rated PAR fixture featuring an RGBCAM LED engine. It is a mid-sized fixture that replaces the E-910FC and reportedly offers higher output, improved colour quality and enhanced versatility. It comes with improved onboard

ChamSys rebuilds MediaMaster for 26.0 THE FIRST full production release of the media server platform since its acquisition by ChamSys in 2025 has been introduced with MediaMaster 26.0. The software has been rebuilt around a new user interface intended to simplify operation in studio and touring environments, alongside revised project and workspace tools for organising shows, media assets and layouts. Custom GDTF fixture export has also been introduced, while the

and sACN control alongside support for CITP and NDI. Alongside the release of MediaMaster 26.0, the manufacturer has also started production of its MediaMaster VS range of dedicated media servers. Three models are available, ranging from the 1U VS1+ with a single 4K output to the VS4+, which provides four 4K outputs and can be equipped with optional SDI/HDMI input capture cards.

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ChamSys Heads library is now incorporated into the MediaMaster LED Mapper to provide a pre-built fixture database for pixel-mapping applications. For larger productions, MediaMaster 26.0 supports up to 48 layers of 4K HDR media playback with blending and composition capabilities. Video and pixel mapping are combined within the platform, with Art-Net

Looking ahead, the forthcoming MediaMaster 26.1 release will add USB-MIDI support, further developments to the native SAGA codec and support for the CRA-compliant Sig-Net protocol. ChamSys is also working towards restoring native macOS support with MediaMaster 27.0.

controls and interchangeable narrow, medium and wide lenses, making it adaptable for a wide range of applications. The COLORado PXL Curve 5 is an IP65-rated RGBW arrayable batten featuring five independent motorised heads with zoom, pan and tilt, plus dual linear cool and warm white strobes per head for dynamic effects. Optimised for seamless side-by-side mounting, alignment pins keep spacing consistent across linked fixtures for cohesive looks on touring stages, theatrical productions and temporary outdoor events. Each head consists of a single 120W RGBW LED and two linear four-cell CW and WW strobe LEDs. The fixture brings quick and

quiet operation of 200° of tilt and 60° of pan per head plus DMX, SACN and Art-Net control for full flexibility. Finally, the new unrival App uses NFC and Bluetooth to streamline fixture setup, patching, diagnostics and firmware management, even when units are powered off. Designed for fast-moving production environments, it allows technicians to prepare and maintain fixtures anywhere, from the prep shelf to the final installed rig. It connects to powered fixtures via Bluetooth to run diagnostics or make adjustments to units that are already installed on truss or in the rig. www.chauvetprofessional.com

Colour mixing to the Xtreme ADJ HAS released the Vizi Xtreme moving head, which combines lime-infused colour mixing, an LED ring and 360° pan/tilt movement to provide lighting designers with a versatile tool for creating dynamic beam and wash effects. It features four 60W RGBL LEDs, with each LED individually controllable, a variable white light and a colour temperature range from 2,700–10,000K. The face of the fixture is surrounded by a ring of 48 0.5W RGBW LEDs arranged into six independently controllable zones. This halo-style LED ring can be used to generate ambience, flowing chases or high-energy effects. A motorised zoom system allows the fixture to transition seamlessly from a narrow 3° beam to a broad 45° wash, while 3-phase motors deliver rapid and precise movement. Optional 360° continuous pan and tilt functionality allows designers to create dramatic motion effects and fluid aerial patterns. The fixture is built for professional control environments and offers a full connectivity suite, including DMX with RDM, Art-Net and sACN. In addition to 5-pin DMX and RJ45 connections for wired control, it features integrated Aria X2 wireless technology, enabling cable-free DMX operation as well as wireless device management with over-the-air firmware updates and NFC configuration. Onboard setup and addressing are handled via a full-colour, 180° reversible LCD display with a six-button touch control interface on the base of the unit.

The Entour Pileus atmospheric effects generator uses standard water-based fluid to generate everything from dense, dramatic plumes of fog to a fine atmospheric mist that enhances the visibility of lighting beams without obscuring performers or scenery. The 1,500W heating element is capable of producing 1,700m3 per minute. Combined with a variable-speed dispersion fan, the machine offers control over both atmospheric density and coverage. Fog output and fan speed are independently adjustable from 5–100%, allowing users to create anything from subtle haze effects to room-filling bursts of fog. www.adj.eu

www.chamsyslighting.com

November–December 2026 PRO AVL ASIA 97

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NEWS: POWERING DOWN

From peaks to playback Sophie Guest

Nugen Audio’s Sophie Guest details how her various outdoor adventures help her to switch off, build confidence and find fresh perspectives Tell us about your current role

structured routine made me reflect on how much noise and distraction we accept in everyday life. Closer to home, a solo hike in Portugal’s Serra da Estrela became more adventurous than planned. The trail seemed to disappear, and I ended up climbing over trees and scrambling around to find my way. In hindsight, it probably wasn’t my wisest solo expedition. I did find the best wild raspberries I’ve ever tasted though, and saw more butterflies than I think I’ve ever seen in one place.

As the CMO and director at Nugen Audio, my role spans marketing strategy, brand development, product launches, partnerships and business development. I also oversee the team’s personal development plans and help shape the direction of the business. What I enjoy most are the people and the culture we’ve built, alongside the opportunity to work with a team at the forefront of technology in an industry I’m genuinely passionate about. Audio is a big part of my personal life too, through music and film.

What have you learnt from these experiences?

What do your leisure activities entail? I enjoy surfing, yoga, hiking, tennis and occasionally making questionable decisions involving obstacles, heights or poorly maintained mountain paths. I also provide plenty of my own slapstick comedy, usually by falling over something everyone else has navigated perfectly well.

What are some of the challenges you’ve taken on? I completed my first Spartan event in Portugal, with a brilliant group of women. There was considerably more climbing, crawling, mud and suffering than I’d anticipated, but it was a great experience. I even learnt how to throw a spear! The biggest surprise was discovering just how strong my fear of heights is. Halfway up an enormous A-frame obstacle, I was shaking so much that I think some people behind me decided it wasn’t worth attempting while I was on it! Getting over the top was a pretty big mental victory. I’m glad I did it, although I’m not sure I’ll be rushing to tackle another A-frame anytime soon. The Yorkshire Three Peaks was another memorable challenge. I joined a friend on what turned out to be the hottest day of the year, tackling roughly 24 miles and 1,600m of ascent across Pen-y-ghent, Whernside and Ingleborough.

It wasn’t really a bucket-list challenge. My friend inspires me with stories about her adventures and I wanted to explore a part of Yorkshire I hadn’t seen before. I like being active enough to say yes to opportunities like this, although I usually finish wishing I’d trained a little more.

What draws you to trying new things? I’m drawn to experiences that take me outside my comfort zone. It’s not necessarily about competition or being the best; I actually enjoy being a beginner and having no idea what I’m doing. There’s a concept called beginner’s mind, which is about approaching something with openness and curiosity rather than assuming you already know how it works.

How do you unwind when you’re not tackling a physical challenge? Surfing and yoga help me slow down and switch off. I also spent time at an ashram in India, where the silence and

When you do something unfamiliar or uncomfortable, you learn how you respond under pressure and discover you’re often capable of more than you expected. I’ve also learnt to take a breath, assess a situation and work out the next step rather than immediately panicking. Having interests outside work gives me a different perspective and reminds me to keep learning, including things I’m not necessarily good at yet. In a creative role, inspiration can come from unexpected places, whether that means experimenting with campaign visuals or approaching a problem differently.

What adventure would you like to take on next? I’d love to walk a section of the Camino de Santiago solo and I’d also like to try cycling as a faster way to explore than my usual hiking-and-falling style! I have my eye on Sun Moon Lake in Taiwan. The scenery looks beautiful and I love Taiwanese food, so it feels like the perfect combination of adventure, culture and a good bowl of soup. I love the connections that come with sharing adventures. People tell you about their own experiences, sparking ideas for things to try next. So, here’s a question for the AV community: what weird and wonderful experiences should I add to my list?

98 PRO AVL ASIA November–December 2026

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SCALABLE NETWORKING SIMPLIFIED.

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.

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