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ProAVLAsia September–October 2026

LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION September–October 2026

ECU’S INNER-CITY VISION The Perth university unveils a CBD campus driven by AV

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HKJC UPDATES RACE DAY EXPERIENCE

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MUMBAI’S WHISTLING WOODS

PADEL TAKES OFF IN JAKARTA JBL AT 80

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UNICA. UNICA. THE THE CLOUD-BASED CLOUD-BASED AMPLIFIER AMPLIFIER PLATFORM. PLATFORM.

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Contents

Volume 25 Issue Five

September–October 2026

Editor’s Letter There’s a definite sporting theme to this issue, perhaps underlining just how profitable this sector is becoming – and the increasingly sophisticated audiovisual requirements that come with it. Combining elements of tennis and squash, padel – which originated in Mexico and is now sweeping the globe – has taken off in Indonesia, with Padeloom joining more than 400 courts across Jakarta. Padeloom distinguishes itself with high-quality BGM and paging systems across its six courts, lounge areas and restaurant (p.46). Crystal Sports G, a similarly premium tennis club with an upmarket spa and café, has opened in Bangkok with a sophisticated networked audio system among the

NEWS 4 News 16 Distribution 20 Appointments 22 Special report HK Audio 24 Smaller projects main design criteria (p.42). Meanwhile, the long-established Hong Kong Jockey Club has upgraded race day with a major renovation of its Champions Connection building, which links Sha Tin’s two grandstands. The result is an immersive environment designed to transform the arrival experience (p.44). Alongside these new developments, we are pleased to profile two venerable names in audio in this issue. JBL is celebrating 80 years of iconic loudspeaker production this year, including five decades under the Harman umbrella (p.70). Not far behind the US giant, Montarbo has chalked up more than six decades of Italian audio design and is now embarking on a new era (p.66).

Email: cmoss@proavl-asia.com

FEATURES 40 Play X Shenzhen 42 Crystal Sports G

44 Hong Kong Jockey Club 46 Padeloom Jakarta 48 Whistling Woods 52 COVER Edith Cowan University 58 Mumbai’s Prithvi Theatre BUSINESS 60 Letters 62 InfoComm Asia show report 64 Powersoft’s transducer technology 66 Montarbo profile 70 JBL at 80

NEW PRODUCTS 73 The industry’s most

comprehensive product news

POWERING DOWN 98 A coustic Arts’ Sunny Chhibber hits the road

Yuvaraj Parmar

Carolyn Valliere

Simon Luckhurst Senior reporter

Editorial coordinator

Karen Wallace

Bea Meikle

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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.

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COVER: Edith Cowan University

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NEWS

Bose Professional acquires Fulcrum Acoustic WORLD

Forté acquires Vega Global WORLD

L–R: John Maier of Bose Professional and Fulcrum Acoustic’s Stephen Siegel and Dave Gunness

Bose Professional has acquired Massachusetts-based loudspeaker manufacturer Fulcrum Acoustic, adding the company’s portfolio of loudspeakers, amplifiers, immersive audio and active acoustics technologies to its professional audio offering. Founded in 2008 by Stephen Siegel, Dave Gunness and Chris Alfiero, Fulcrum Acoustic is known for integrating digital signal processing into loudspeaker design from the earliest stages of product development. Its portfolio includes around 130 products, featuring technologies such as Passive Cardioid Technology and Temporal Equalization (TQ), which are designed to improve directivity, low-frequency control and transient response. Fulcrum Acoustic systems have been deployed in a range of venues including stadiums, theatres, performing arts centres, houses of worship and nightclubs. The company supplied more than 1,000 loudspeakers for Houston’s NRG Stadium

during the 2026 FIFA World Cup, while its systems are also installed at the Rose Bowl. Under the acquisition, Fulcrum Acoustic will continue to operate as a standalone brand. Its engineering, manufacturing and project support operations will remain in Whitinsville, Massachusetts, while gaining access to Bose Professional’s global resources and distribution network. “We’ve admired Fulcrum for years – the products of course, but also the way their team approaches the customer experience,” said John Maier, CEO of Bose Professional. “They’ve earned one of the most respected names in performance audio the honest way: great engineering and a habit of showing up for their customers. Our job now is to protect what makes Fulcrum special and put our full scale behind it, so more people around the world get to hear what this team can do.” Siegel, cofounder and president of Fulcrum Acoustic, commented: “From our first

conversations, it was clear Bose Professional understood what Fulcrum is and why it works. Our customers choose Fulcrum for the engineering, the craft and the way we stand behind our work – none of that changes. Now we get to bring that work to a global audience at a much faster pace than we could on our own.” Gunness added: “I’ve spent my career chasing the same problem: making loudspeakers behave the way physics says they shouldn’t. That work continues in Whitinsville. And a few ideas that have been waiting in my notebook for years just became possible.” The acquisition is Bose Professional’s first since becoming an independent company in 2023. Furthermore, the news follows the brand’s recent announcement confirming its plans to rebrand as 802 LABS early next year. www.boseprofessional.com www.fulcrum-acoustic.com

Mackie and Watts launch M&W Pro Audio WORLD

A new professional audio manufacturer has entered the market with the launch of M&W Pro Audio, a company founded by industry veterans Greg Mackie and British audio engineer Peter Watts. The brand made its industry debut at InfoComm 2026 in Las Vegas, where it unveiled its first products, the D24 and D32 digital mixing consoles. Headquartered in Seattle, M&W Pro Audio brings together strategist and company founder Mackie’s long-standing experience in developing audio products with British audio engineer, programmer and company cofounder Watts’ background in analogue and digital console design. According to the company, the launch follows five years of development work focused on creating a new generation of digital mixing systems built around advanced DSP processing, touchscreen operation and proprietary microphone preamp technology. The company’s first products, the D24 and D32, are aimed at live sound applications including houses of worship, theatres, concert touring, corporate AV and nightclub installations. Both mixers employ large-format touchscreens in place of many traditional hardware controls, providing direct access to channel processing, routing and system management functions.

L–R: Jay Schlabs, Ron Koliha, Peter Watts and Phil Bunch of M&W Pro Audio M&W Pro Audio says the touchscreen-based architecture is intended to improve workflow, increase operational flexibility and provide greater visual feedback. The software-driven platform has also been designed to support ongoing feature development and updates throughout the life of the products. “I’ve never stopped gathering ideas about how to make live mixing easier,” said Mackie. “The D24 and D32 are the culmination of decades of experience and four solid years of translating my ideas into a more intuitive, easier workflow. My goal was to create a touchscreen mixer ‘done right’. We believe we have accomplished this, but it took years of design, review, redesign

Headquartered in Minneapolis and founded in 1974, Forté has announced its acquisition of APAC systems integrator Vega Global. The workplace communication and collaboration solutions provider now adds to its international presence, including established office locations in Hong Kong, mainland China, India, Japan, Taiwan, Thailand, Singapore, Korea, Vietnam, Australia, the Philippines, Malaysia, Macau, New Zealand, Indonesia and the United Arab Emirates. Serving corporate, education, government and other AV segments, Forté also has operations in the US, Ireland, Germany, Sweden, the United Kingdom and Mexico.

and final design. The electronic control surfaces found on the D24 and D32 gave us opportunities that are simply not possible with physical faders that employ small display screens.” Watts added: “I am excited to rejoin Greg Mackie in this new venture. It has given me a chance to unveil a microphone preamp design that I feel is a step above any currently incorporated in other mixers. I also believe that our collaboration on the D24 and D32 GUI and workflow has set a new standard for ease of use that, I’m confident, will open numerous creative opportunities for our clientele.”

With its new presence in Asia, Forté now serves customers in more than 70 cities and 22 countries worldwide, making it the largest global footprint in the industry. “Multinational organisations need strategic partners who can deliver consistent communication and collaboration experiences wherever their people work and do business,” commented Forté chairman and CEO, Jeff Stoebner. “With Vega Global now part of Forté, we provide customers with the scale, speed and local expertise they require to enhance productivity across the globe.” With the addition of Vega Global and its 750-plus professional staff led by Steven Medeiros, Forté has enhanced its capabilities to serve global customers. “Joining Forté is a strategic opportunity to expand what we can offer customers around the world,” added Medeiros, who will serve as CEO of Forté Asia. “Equally important, Forté shares our commitment to customer service, innovation and people-first collaboration, making this a strong cultural fit and the right decision for our employees, customers and partners.” www.ourforte.com www.vega-global.com

www.mwproaudio.com

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NEWS: BUSINESS

Indian rentals invest in EAW INDIA

India’s rental market is seeing further investment in EAW systems, with Audio Design and Reynold’s Sound & Lighting Services expanding their inventories with combinations of line arrays, column arrays and subwoofers. Audio Design has committed to 100 EAW loudspeakers, supplied by Indian distributor Pink Noise Professionals. The order comprises 40 ADAPTive Series enclosures and 60 loudspeakers from the NTX, RSX and SBX ranges. The investment builds on more than three decades of EAW use by Audio Design, which began with the manufacturer’s KF Series. The company also invested in NTX210L, NT206L and SBX218 systems through Pink Noise Professionals in 2025. The expanded inventory will support

concerts, festivals, corporate events and other live productions. Reynold’s Sound & Lighting Services’ investment includes NT Series line arrays, ADAPTive column arrays and SBX Series powered subwoofers. The systems will be deployed across concerts, touring productions, corporate events, festivals, houses of worship and hospitality venues. Felix Remedios, owner and managing director of Reynold’s Sound & Lighting Services, said the decision was driven by the systems’ sound quality and operational flexibility. “Having experienced the systems firsthand, we were impressed by their clarity, musicality, consistency and overall sonic performance,” he noted. Remedios also highlighted the systems’ self-powered, plug-and-play operation,

L-Acoustics expands education in China CHINA

As part of its global Education Partner Program, L-Acoustics recently completed a four-day professional audio training course at the School of Music and Recording Arts at the Communication University of China. The course introduced 12 students to professional sound system design and immersive audio workflows, combining classroom learning with practical training. The programme covered the fundamentals of L-Acoustics systems before progressing to the company’s L-ISA immersive sound technology.

the certification process to become L-Acoustics Certified Education Trainers. Daniel Lee, application engineer, L-ISA – APAC, and François Montignies, education and scientific outreach at L-Acoustics, were also present to support the course and assess the instructors against the company’s education standards for teaching quality, technical knowledge and content delivery. Montignies said the programme was intended as professional education rather than product marketing, with a significant emphasis on brand-independent audio

The Communication University of China is one of L-Acoustics’ Education Partner Program institutions in the APAC region. The initiative aims to bring professional training, certification pathways and industry practices into higher education, giving students exposure to real-world audio workflows before entering the industry. The course was led by Hu Nan, marketing director at RacPro, and Wang Shuhang, lecturer at the School of Music and Recording Arts. Nan delivered the opening day, covering the fundamentals of the French brand’s systems and the course structure, while Shuhang led the remaining three days, focusing on L-ISA immersive audio. Following the programme, both instructors completed

fundamentals. Alongside product-specific training, students were introduced to broader concepts including systems design, spatial audio, deployment methodologies and audience experience. The course forms part of the manufacturer’s wider education strategy, which works with universities and higher education institutions to develop practical skills alongside academic study. According to L-Acoustics, the programme is designed to familiarise students with professional audio systems, workflows and certification standards before they begin careers in live sound, theatres, fixed installations and immersive productions.

Audio Design founder Navneet Wadhwa was awarded by EAW’s James Bamlett at a Pink Noise Professional event integrated DSP and flexible deployment configurations, while crediting Pink Noise Professionals with providing technical support during the evaluation. Pink Noise Professionals founder Vikram Yadav added: “Reynold’s has made a strategic investment in EAW’s future-ready

technology, designed to meet the evolving demands of the professional rental industry.” www.audiodesign.in www.eaw.com www.pinknoisepro.com www.reynoldonline.com

Sennheiser named Formula E sound provider WORLD

Formula E has announced a multiyear partnership with Sennheiser, which will become the ABB FIA Formula E World Championship’s official sound provider. The collaboration will see Sennheiser’s professional audio solutions and Ambeo immersive audio technology integrated across the global electric racing series, with a focus on developing more immersive broadcast and fan experiences. The partnership will explore advanced audio capture and encoding workflows for viewers watching Formula E on different devices, while also supporting the capture of the soundscapes associated with the championship’s GEN4 era. The agreement will also cover onsite fan zones and VIP hospitality areas. “Sennheiser is the perfect partner to help us redefine the audio landscape of our championship,” commented Dan Cherowbrier, CTO, Formula E. “Their professional audio technologies and workflows, particularly the Ambeo immersive ecosystem, provide a uniquely dynamic setting to explore the future of sound in racing. This collaboration is a vital proof point in how we connect real-world audio innovation with practical application, bringing fans closer to the action through natural, three-dimensional sound.” The technical partnership will extend across Formula E’s broadcast and trackside

operations, with Ambeo providing the main platform for immersive audio development. The technology is designed to support the capture, processing and reproduction of three-dimensional sound. “At Sennheiser, we are driven by the ambition to bring advanced audio technologies into real-world applications and this collaboration gives us an exciting opportunity to rethink the role sound can play in electric racing,” said Andreas Sennheiser, CEO of the Sennheiser Group. “Great visuals deserve equally compelling sound and we see real potential to define the sport’s unique acoustic character through dynamic in-car and trackside soundscapes. Ultimately, this partnership is about learning, exploring and helping to shape the future of how live sport is experienced.” Kai Detlefsen, manager, Ambeo at Sennheiser, concluded: “Ambeo enables the capture, processing and reproduction of natural, three-dimensional sound, supporting more immersive and emotionally engaging listening experiences. Within Formula E, Ambeo solutions will allow viewers at home to feel more closely connected to the dynamic racing environment and to their favourite teams.” www.sennheiser.com

www.l-acoustics.com

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NEWS: BUSINESS

RCF secures trademark victory

CHINA

RCF has secured a favourable final judgement in China in a trademark infringement case, marking a significant step in the professional audio manufacturer’s global brand protection programme. The Intermediate People’s Court of Ningbo City, Zhejiang Province, upheld an earlier ruling that found Ningbo S&A Electronics had infringed RCF’s registered trademarks through the unauthorised use of the “RCF” and “rcf” marks in online promotions. The court ordered the company to cease using the trademarks and to compensate RCF for economic losses and legal expenses. “For RCF, trademark protection is not only a legal matter,” said Gioia Molinari, director of marketing and PR at RCF. “It is a direct

commitment to the people who choose our products and rely on the authenticity associated with our name. This judgement confirms that the exploitation of our brand will not be tolerated. We will continue to take decisive action worldwide to protect our assets, our partners and the integrity of the professional audio market.” RCF said genuine products are developed through an integrated engineering process encompassing acoustic research, transducer design, electronics, mechanical engineering and software development, supported by quality control throughout production. The company noted that counterfeit or unauthorised products can affect reliability, safety and long-term performance.

As part of its wider anti-counterfeiting efforts, RCF encourages customers to purchase equipment through authorised distributors and dealers, verify products using the company’s security hologram and serial number verification system, and register products through the MY RCF portal.

The manufacturer said it will continue monitoring global marketplaces and work with international authorities to prevent future trademark infringements. www.rcf.it

J-Live invests in Gujarat’s first Q852 INDIA

Gujarat-based rental company J-Live is expanding its console inventory with a DiGiCo Quantum852, becoming the first company in the state to invest in the flagship model and reportedly only the fourth rental provider in India to deploy one. Supplied by Hi-Tech Audio & Image, the console will be used for concerts, sporting events, corporate productions, government functions and destination events across Western India. The investment comes as live events continue to expand beyond India’s main metropolitan markets, with Ahmedabad hosting a growing range of productions. “Gujarat is witnessing remarkable growth across concerts, sporting events, destination celebrations, business summits and public-sector initiatives,” said Malvik Bhavsar, director of J-Live. “Artists, engineers, promoters, corporate clients, government agencies and even wedding

L–R: Bhadresh Bhavsar, Hitesh Bhavsar, Dhyey Bhavsar, Shrey Bhavsar and Malvik Bhavsar from J-Live with Nirdosh Aggarwal of Hi-Tech Audio & Image planners are demanding production standards that are increasingly aligned with global benchmarks.”

Bhavsar added that the Q852 would allow the company to support larger productions and more complex workflows while

meeting increasingly demanding technical requirements. Rajan Gupta, founder and CEO of Hi-Tech Audio & Image, said: “Regional markets across India are now investing with the same confidence, vision and ambition historically associated with the world’s most mature live entertainment ecosystems. Companies like J-Live are helping redefine what is possible outside traditional metro markets.” Nirdosh Aggarwal, managing partner of Hi-Tech Audio & Image, added: “Today’s production environment demands speed, flexibility, resilience and absolute confidence under pressure. The Quantum852 was engineered precisely for those conditions.”

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NEWS: BUSINESS

Q-SYS opens Beijing experience centre CHINA

Expanding the brand’s presence in China, QSC has unveiled a new experience centre in Beijing, providing customers, partners and consultants with a dedicated space to explore the brand’s systems across a range of application environments. Located in China World Office Tower 1, the Beijing Experience Center provides a permanent location for demonstrations, customer engagement and technical training in the region. Measuring approximately 170m2, the facility showcases the

manufacturer’s solutions in real-world scenarios, including corporate boardrooms, higher-education classrooms, hospitality venues and entertainment spaces. Visitors can experience technologies including Q-SYS VisionSuite and Q-SYS RoomSuite alongside integrated partner solutions. “The opening of the Q-SYS Beijing Experience Center marks an important step in the continued growth of Q-SYS in the APAC region,” said Duncan Savage, vice president and general manager, APAC,

QSC. “It provides a space for customers, partners and consultants to engage with the Q-SYS platform and helps empower them to apply these solutions across a range of environments.” The experience centre also includes a dedicated training facility designed to deliver practical, application-focused sessions led by technical experts to support the company’s training curriculum. www.qsys.com

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InfoComm Asia to relocate to KL MALAYSIA

InfoComm Asia has announced it will move to Kuala Lumpur, Malaysia, for its 2027 edition, with the exhibition taking place at the Malaysia International Trade and Exhibition Centre (MITEC) from 28–30 July 2027. The move follows six editions in Bangkok and positions the event closer to one of Southeast Asia’s key technology and business hubs.

Organisers say the show will bring together the region’s professional AV community, with a focus on sectors driving investment across Southeast Asia, including data centres, live entertainment, hospitality, retail and enterprise. The conference programme, speaker lineup and first exhibitor announcements are expected to be released over the coming months. According to the organisers, the event will continue to provide a platform for manufacturers, systems integrators, consultants and end users to explore the latest developments and network with stakeholders from across the region. MITEC, Malaysia’s largest trade and exhibition venue, has previously hosted major international exhibitions and offers more than 50,000m2 of exhibition space, reflecting the growing importance of Kuala Lumpur as a destination for regional technology events.

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NEWS: BUSINESS

Yamaha holds Beijing masterclass CHINA

Yamaha has held its first Live Sound Mixing Masterclass in Beijing, co-organised by the School of Music and Recording Arts of the Communication University of China, Yamaha Music & Electronics (China) and EZPro. Kosuke Saito, product manager for digital mixers at Yamaha Corporation, delivered a keynote presentation titled “Defining Sound Through the User Interface”, while Russ Long, field marketing engineer for pro audio at Yamaha Corporation of America, spoke on the topic of “Inside the Live Mixing Techniques of Top Engineers”.

broadcasting and product development. Since joining Yamaha in 2018, he has worked closely with many renowned engineers across the US. Through systematic research and interviews, he has studied the working methods of many top mixing engineers. “This was my first time in China, and in fact my first time speaking in front of more than 100 people,” explained Saito. “The events we normally attend are usually small-scale activities for indoor users, so it is rare to see 500 people gathered in one venue. That

SNL Pro strengthens TT+ Audio inventory INDIA

Kosuke Saito joined Yamaha in 2005 and has been involved in digital mixing console development since 2010. He has contributed to the development of Yamaha’s CL, QL, RIVAGE PM and DM7 series digital mixing consoles. From 2021–2023, he was based in the UK as part of the R&D team and is currently entrusted with decision-making regarding all functions across Yamaha’s digital mixing consoles. Russ Long has more than 30 years of industry experience, spanning studio recording, live sound reinforcement,

made me a little nervous, but I was truly delighted to see so many people come to listen to our presentations today.” Long added: “It was an excellent event, and what surprised me most was how engaged everyone was. No one was whispering to each other or leaving in the middle of the segment. Whether it was my presentation or Kosuke’s, everyone was completely focused. That made the atmosphere feel very special.” www.ezpro.com www.yamaha.com.cn/products/proaudio

Indian rental company SNL Pro | Sound & Light Professionals has expanded its largeformat sound reinforcement capabilities with an investment in TT+ Audio’s GTX Series, reportedly marking one of the most extensive GTX deployments by a single rental company in South Asia. The Mumbai-based company, which provides technical reinforcement for live and televised events, has already deployed the system on its first live production. The investment includes GTX 12 and GTX 10 line array modules, GTS 29 dual 19-inch subwoofers and XPS 16KD DSP amplifiers, along with rigging and transport accessories. According to TT+ Audio, the expanded inventory is designed to support large-scale touring productions and live events requiring high output and scalable sound reinforcement. Manish Mavani, founder and director, SNL Pro, said: “We are investing aggressively in the future of live experiences in India. The GTX Series represents the absolute pinnacle of contemporary audio engineering globally and this move ensures SNL Pro is now setting benchmarks, not chasing them.” The purchase builds on a partnership of more than 20 years between SNL Pro

and Hi-Tech Audio & Image, TT+ Audio’s distribution partner in India. “We are proud to stand beside SNL Pro as they architect a brand-new standard for live sound in India,” commented Rajan Gupta, CEO and founder, Hi-Tech Audio & Image. Federico Lugli, international sales manager at RCF, added: “India continues to be one of the most dynamic live event markets in the world, with productions growing in both scale and technical sophistication. SNL Pro’s investment reflects a clear commitment to advanced touring technologies and marks an important milestone for TT+ Audio in India. With the GTX Series now supporting one of the country’s leading production companies, we expect it to play an increasingly important role in international touring productions and major live events across the region. We are proud to support SNL Pro together with our long-standing partner, Hi-Tech Audio & Image.” www.hitechavl.com www.rcf.it www.snlpro.com www.ttaudio.com

Symetrix launches Cognio across Asia ASIA

Symetrix is taking its Cognio DSP platform into two key Asian markets, with distribution partners Alphatec Audio Video and Mercoms hosting launches in India and Malaysia respectively. In Mumbai, Alphatec introduced Cognio to Indian consultants, integrators and end users, highlighting its decentralised architecture, which distributes processing, control, Dante audio and web-based access throughout an AV system. The platform also incorporates Symetrix’s DesignOps workflow for system setup, installation and maintenance. “Alphatec is delighted to bring forth this revolutionary technology from Symetrix to the Indian AV ecosystem,” said Devasis Barkataki, managing director of Alphatec Audio Video. “The Cognio platform with its plethora of advantages will go a long way in supporting AV designers and integrators deliver world-class, hassle-free solutions in tighter timelines.”

workstations provided an opportunity to explore the platform. The event also included one of the first ballroom-scale deployments of the Symetrix C20 processor, with Cognio used throughout the venue to demonstrate its capabilities. Mercoms director Steven Chan said Cognio’s architecture was a key attraction for the Malaysian market: “Cognio has a very big advantage over other DSPs in the market. It’s highly scalable with decentralised processing capabilities and its approach to system design through the Cognio software sets it apart.” The Malaysia launch was attended by Symetrix VP of sales and marketing Tylene Hawley and VP of engineering and product management Ben Olswang, who met with local customers and partners during the event. In Malaysia, Mercoms marked its appointment as Symetrix’s exclusive distributor with a launch and technology showcase at Le Méridien

Petaling Jaya. Around 80 industry professionals attended presentations, demonstrations and hands-on sessions, while Cognio DesignOps

www.alphatec.co.in web.mercoms.com www.symetrix.co

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NEWS: BUSINESS

MultiDyne obtains MRMC assets WORLD

MultiDyne Video & Fiber Optic Systems has acquired the assets of Mark Roberts Motion Control (MRMC). As part of the transaction, the former has established MultiDyne Robotics and Motion Control, a new company that will maintain the MRMC brand. The acquisition brings MRMC’s core technologies, intellectual property, manufacturing capabilities and key engineering expertise into the MultiDyne organisation, creating a combination of complementary technologies that extend MultiDyne’s reach to the beginning of the content creation chain. “This acquisition represents a natural and highly strategic extension of our business,” said Frank Jachetta, CEO of MultiDyne. “MultiDyne has long been focused on the transport, processing and management of video, audio and data signals. MRMC places us at the point of image acquisition itself, allowing us to participate in a much broader portion of the production workflow. Together, our technologies create a powerful end-to-end ecosystem for content

Frank Jachetta of MultiDyne creators, broadcasters and live production professionals worldwide.” Unlike many industry acquisitions, the MultiDyne and MRMC product portfolios have

virtually no overlap. Instead, the two companies serve many of the same customers, channel partners and markets with complementary technologies. MultiDyne’s fibre-optic transport,

camera interface and signal processing solutions are widely used throughout professional production environments to move video, audio and data across complex infrastructures. MRMC’s robotic camera systems, tracking solutions, motion control rigs and automated production technologies complement those workflows by controlling the physical movement, positioning and automation of the cameras themselves. Neil Maycock, a member of the MultiDyne leadership team, will run MRMC as managing director. “Our priority is ensuring continuity for customers, partners and ongoing projects while creating a strong foundation for future growth,” he said. “We see tremendous opportunities to expand the reach of MRMC technologies through MultiDyne’s global sales channels, customer relationships and long-term investment strategy.” www.mrmoco.com www.multidyne.com

Hexogon Group makes major Panasonic investment APAC

Hexogon Group has bolstered its APAC rental and staging fleet with the addition of 100 Panasonic PT-RQ45K projectors. The company has made the investment to support its work in large-scale events, projection mapping and immersive productions across the region.

operational familiarity and reliability that are important for rental and staging applications.” The fleet expansion follows the group’s monumental projection mapping work in Singapore last year. For the SG60 celebrations and United Overseas Bank (UOB)’s 90th

Headquartered in Singapore, with a presence across APAC, Hexogon Group specialises in audiovisual, lighting and multimedia show integration. The latest addition builds on the company’s existing Panasonic RQ35 fleet, which has been used for large-scale projection mapping and live event projects. “Our existing Panasonic RQ35 fleet has supported many large-scale projection mapping and live event projects across the region,” commented Adrian Goh, CEO at Hexogon Group of Companies. “By adding the PT-RQ45K, we can expand our high-brightness projection capabilities while maintaining the

anniversary, Hexogon Group was involved in A Show of Unity, a projection mapping display on UOB Plaza 1 that achieved three Guinness World Records including Largest Light Output in a Projected Image, Longest Architectural Projection-Mapped Display and Highest Projection Image on a Building. The PT-RQ45K is Panasonic’s 42,000-lumen 4K 3-chip DLP laser projector designed for live events, rental and staging applications. The addition of the projectors expands Hexogon’s high-brightness projection fleet for upcoming regional productions. ap.pnd.panasonic.com www.hexogonsol.com

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03.08.2026 16:15:03 26/08/2026 15:59

NEWS: BUSINESS

NAMM builds global momentum WORLD

NAMM has confirmed that the 2027 NAMM Show will return to Anaheim, California, from 26–30 January, with the main exhibition running from 28–30 January, as the association continues to develop the event as a year-round global business platform.

The announcement follows three years of changes that have broadened the show’s focus beyond a traditional trade exhibition, with greater emphasis on digital engagement, education, creator participation and international attendance.

More than 60,000 people from 122 countries and territories attended the 2026 edition, including over 8,650 international visitors. Europe accounted for the largest share of overseas attendance, followed by Latin America and East Asia, with China, Japan and Brazil among the most strongly represented markets. NAMM president and CEO John Mlynczak said the show’s evolution reflects changing priorities across the music products industry. “For NAMM member companies and attendees, success means measurable outcomes, qualified business leads, meaningful partnership discussions and media influencer exposure that extends throughout the year,” explained Mlynczak. “The NAMM Show is the only platform where companies can make a profoundly physical statement to a global audience of tens of thousands of media, influencers, creators and both international and US business attendees that enhances their critical business narrative.”

Creators, performers and influencers now represent more than a quarter of attendees, while creator-generated content from the 2026 show attracted around 70 million social media views. NAMM has introduced dedicated Creator Lounges and Creator Studios to support this audience. Digital engagement has also grown. Ahead of the 2026 show, the online exhibitor directory attracted more than 150,000 unique visitors, while the official mobile app recorded 31,000 downloads and more than 330,000 launches. Education will remain a key feature in 2027 after more than 250 professional development sessions were held this year, covering business strategy, live sound, recording, music education and emerging technologies. The 2027 edition will continue to combine education, networking, live performances and product exhibitions as NAMM develops its role as an international meeting point for the music products industry. www.namm.org

Rise announces 2026 mentoring cohorts ASIA

Rise has announced the mentor and mentee pairings for its 2026 global mentoring programme, with professionals from Australia, New Zealand, APAC and India among 125 participants selected worldwide. The six-month initiative supports career development across the broadcast and media technology sector through one-to-one mentoring, networking events, workshops and industry-led sessions. Each mentee receives a minimum of two hours of dedicated mentoring each month. While the programme includes shared international sessions, each regional cohort will follow a tailored programme reflecting local priorities and challenges. The programme is supported by sponsors including Ross Video, Vizrt, Appear, Qvest, BBC, Sky, ITV and Arqiva.

commented Carla Maroussas, global programme mentoring manager at Rise. “We are excited to support their journeys as they collaborate, thrive and accelerate their career growth in the coming months.” Deborah Cross, operations director at Rise, added: “Each year, the Rise Mentoring Programme continues to demonstrate just how transformative mentorship can be for everyone involved. It is incredibly rewarding to see mentees grow in confidence, develop new skills and expand their professional networks, while mentors also gain fresh perspectives and meaningful connections through the experience.” “Building on the incredible success of our past cohorts, this year’s participants form

a truly global network that reflects our deep commitment to diversity and inclusion,”

www.rise-av.com

MTE and IMSD host AV tech conference MALAYSIA

Around 200 systems integrators, rental companies and dealer partners gathered in Puchong, Malaysia, for the inaugural MTE x IMSD AV Tech Conference, hosted by Mahajak Trio Electronic (MTE) and IMS Distribution (IMSD). Held at the Four Points by Sheraton, the event combined product launches, brand announcements and technical presentations, with a focus on professional audio, display, conferencing, broadcast and AV-over-IP technologies. “The inaugural MTE and IMSD AV Tech Conference reflects the strength and maturity of the professional AV market that MTE and IMSD have cultivated in Malaysia,” said Justin Nguyen Khanh Dung, regional sales manager at Keenfinity Group. “At Keenfinity, brands such as Electro-Voice and Dynacord are only as strong as the partners who represent them locally and this event demonstrated precisely the technical depth and long-term commitment we value in a distribution partner.”

The morning session, titled The Signal, featured Shure, Electro-Voice, Dynacord, Unilumin and HH Audio, covering wireless microphone systems, installation loudspeakers, amplification, LED displays and portable audio. Unilumin was also formally added to the MTE and IMSD portfolio through the presentation of a distribution certificate.

The afternoon session, The Shift, focused on conferencing, broadcast and AV-over-IP, with Televic, AVer, Visionary Solutions and Telycam presenting technologies for corporate, education and live event applications. A two-hour exhibition and networking session followed the presentations, allowing attendees to view demonstrations and meet representatives from participating manufacturers and distributors.

The event highlighted a portfolio spanning professional audio, LED display, conferencing, AV-over-IP and broadcast technologies, with MTE and IMSD positioning technical education, demonstrations and channel engagement alongside product supply. www.imsd.com.my www.mahajaktrio.com

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NEWS: DISTRIBUTION

Beetech takes on XTA and MC² JAPAN

Martin Audio appoints Shanghai Univision CHINA

Martin Audio has welcomed Shanghai Univision (You Shi Wei Xin) as a distribution partner in China, joining established distributors Sino Huifeng and Guangzhou Guidance. The partnership will focus on corporate, education and government markets.

in AV and IT distribution, with expertise in complex system deployments. “By integrating the Wavefront Precision WPS series, TORUS 820 constant curvature array and O-Line modular micro line array into our portfolio, we will provide a more comprehensive total solution to vertical

Takayuki Ozaki of Beetech and XTA’s Richard Fleming shake hands on the deal

XTA has appointed Beetech as the exclusive distributor for its XTA and MC² brands in Japan, with the partnership covering distribution, servicing and marketing of both product ranges across the Japanese market. Beetech is part of the Bestec Audio Group, which has more than 30 years’ experience in the professional audio industry. To support the launch of the partnership, XTA sales and applications manager Richard Fleming visited the distributor’s headquarters to deliver product training and onboarding for the company’s sales and technical teams. “I really enjoyed spending time onboarding the team and seeing firsthand how adding XTA and MC² to Beetech’s impressive portfolio of consoles and loudspeakers will serve as a powerful combination for new and existing customers.

“With the company’s heritage, experience and resources in sales, tech support and marketing – alongside its core market alignment across processing, console switchers and amplifiers – we strongly believe this move will strengthen our presence in the territory.” Takayuki Ozaki, CEO of Beetech, commented: “We are honoured to have the opportunity to distribute the products of XTA and MC², two globally recognised innovators in the professional audio industry, in the Japanese market. Leveraging the technical expertise and customer support capabilities we have developed over many years, we are committed to building a strong partnership with XTA and MC² and delivering new value to the professional audio market in Japan.” www.xta.co.uk

The partnership was unveiled during a customer event in Beijing Shanghai Univision will serve as the sole distributor for Martin Audio’s Wavefront Precision WPS series, TORUS 820 constant curvature array and O-Line modular micro line array. “Shanghai Univision has a proven track record of success in the enterprise and AV installation market in China. We are excited with our new partnership and look forward to providing our full support to the Univision team,” commented David Wong, director of sales at Generation AV, Martin Audio’s APAC representatives. Based in Shanghai, with regional hubs in Beijing and Shenzhen, Shanghai Univision specialises

markets across China,” said Frank Xiao, general manager, Shanghai Univision. Dom Harter, managing director of Martin Audio, added: “Martin Audio has built a strong reputation in China for high-performing audio solutions across many vertical markets. The technical expertise within the Shanghai Univision team is second to none and we are confident they will have many successful Martin Audio installations coming soon across China.” www.generationav.net www.martin-audio.com

GLP partners with StageKraft AUSTRALIA

Expanding its presence in the market, GLP has appointed StageKraft as its official distributor in Australia. Under the agreement, StageKraft will provide Australian customers with access to GLP’s product range, alongside technical support, demonstrations, training, spare parts and after-sales service. “We are delighted to partner with StageKraft,” said Søren Storm, sales director for Asia Pacific at GLP. “We have the utmost trust and confidence in their expertise, professionalism and commitment to customer service.”

For StageKraft, the agreement represents the first step in building a portfolio of entertainment technology brands for the Australian market. Eli Malka, cofounder and sales director of StageKraft, commented: “Our vision for StageKraft has always been to partner with manufacturers that genuinely drive the industry forwards and few have done so as consistently as GLP. Launching with a brand of this calibre sends a clear message about who we are and where we are headed.” L–R: Søren Storm of GLP, StageKraft’s Davey Taylor and Eli Malka and Udo Künzler of GLP

www.glp.de www.stagekraft.com.au

dBTechnologies returns to Sri Lanka SRI LANKA

Marking the brand’s return to Sri Lanka’s professional audio market, dBTechnologies has appointed Mike Audio as its exclusive distributor for the country. Based in Colombo, Mike Audio has established itself in Sri Lanka’s professional audio sector through its work across the retail and installation markets. Under the agreement, the company will provide local access to the full dBTechnologies product portfolio, supported by sales, technical assistance and after-sales service.

The appointment forms part of the manufacturer’s strategy to expand its distribution network across APAC while strengthening its presence in Sri Lanka through a local partner. Manuele Poli, head of sales APAC at dBTechnologies, commented: “I’m very happy that dBTechnologies is finally back in Sri Lanka with a very strong distributor such as Mike Audio, a true long-standing company in the pro audio industry in Sri Lanka. dBTechnologies has a big potential to be very successful in this country and thanks

to our new distributor we believe that this can now happen sooner rather than later.” Shane Joachim, director at Mike Audio, said: “dBTechnologies is a brand we’ve long respected for its innovation and build quality. We’re proud to bring it back to Sri Lanka and give our customers direct access to the full

range, backed by proper local sales, service and technical support. This is a partnership we’ve been working towards and we’re looking forward to growing it together.” www.dbtechnologies.com www.welovemusic.lk

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NEWS: DISTRIBUTION

Cadac reappoints Hesed INDONESIA

L–R: Digigram’s Samuel Defour with Kraengkrai Kusoljaviyakul and Chuthintorn Bhanyotin from System Plus Corporation

System Plus adds Auvitran THAILAND

System Plus Corporation has been named as a distributor for Auvitran in Thailand by Digigram Asia, expanding the Thai distributor and integrator’s portfolio of audio networking solutions. The appointment forms part of Digigram Asia’s strategy to strengthen its distribution network across Southeast Asia, with a focus on partners experienced in networking technologies including AES67, AVB and ST 2110. The Singapore-based company also distributes Digigram soundcards and audio-over-IP gateways, alongside Axel Technology and Barix. “Digigram Asia is seeking best-fit distribution partners for each Southeast Asia country, particularly dealers with experience and knowledge in networking technologies,” said Samuel Defour, Digigram Asia’s head of technical solutions. “The agreement with

Expanding the distribution of its CM-System live mixing ecosystem in Asia, Cadac Consoles has reappointed Hesed Kharis Indonesia (Hesed) as its exclusive distributor for the region. The Jakarta-based professional audio specialist returns as Cadac’s distribution partner following the launch of the CM-J50 console, extending a long-standing relationship between the two companies.

“Hesed has a deep understanding of the Indonesian professional audio market and a reputation for delivering premium system solutions,” said James Godbehear, director of marketing and business operations at Cadac Consoles. “Their focus on technical excellence and long-term customer relationships aligns fully with Cadac’s values; we are delighted to be working with Hesed again.”

System Plus Corporation will enhance both our branding and increase our sales within the fixed installation business.” System Plus managing director Chuthintorn Bhanyotin said demand from business partners for Auvitran’s wallplates and I/O connectors prompted the company to add the brand. “Our clients, especially in the hospitality business, demand extremely stable and rugged products, and having tested Auvitran’s products, our engineers are assured that they can specify them with confidence,” she said. “My clients know the brand works and we will use it for our own projects but, more importantly, we will grow our network of dealers and systems integrators with this brand.” www.auvitran.com

Dene Dave Laoh of Hesed Kharis Indonesia with the CM-J50

www.facebook.com/systempluscorp

A&L Group expands portfolio SOUTHEAST ASIA

Through the agreement, Hesed will oversee sales, marketing and technical support for the CM-System portfolio across the Indonesian market. In addition, customers in the region can arrange demonstrations of the CM-System through the distributor. According to Cadac, the appointment follows an extended period of consultation during the development of its CM-System ecosystem, with Hesed closely involved in discussions around the platform’s direction.

Dene Dave Laoh, managing director of Hesed, commented: “CM-System represents a major evolution of the Cadac platform. The advances in hardware design, fibre-based infrastructure and system flexibility, together with Cadac’s continued focus on sonic performance, made renewing our partnership a clear decision.” www.cadac-consoles.com www.hesedindonesia.com

LEA and NSL Group join forces NEW ZEALAND L–R: Michelle Yeo, Eugene Yeo and Yeo KimSan of Acoustic & Lighting, AtlasIED’S Glenn Lin and Benjamin Lee from Acoustic & Lighting

Acoustic & Lighting System (A&L Group) has expanded its distribution portfolio in Southeast Asia through new partnerships with Montarbo in Vietnam and AtlasIED in Malaysia and Vietnam. Italian professional audio manufacturer Montarbo has appointed A&L System Vietnam as its exclusive partner for the country, with the distributor set to bring its product portfolio to sound professionals, event companies and systems integrators. “We are honoured to represent Montarbo, a brand with a long history and pedigree, and look forward to growing together with the brand to serve and support the Vietnam market,” commented Miss Ngan of A&L Vietnam’s pro audio division. Separately, AtlasIED has appointed Malaysia-based A&L Group to distribute its commercial audio and security solutions across

Malaysia and Vietnam. Headquartered in Selangor, A&L Group has more than 35 years of professional AV experience and operations across Southeast Asia. “AtlasIED blends a 90-year legacy of quality with innovation, making it a global leader in commercial audio,” said Eugene Yeo, group general manager, A&L Group. “This aligns with our vision. As large-scale infrastructure opportunities expand rapidly across our region, partnering with AtlasIED allows us to elevate our expertise and capture this growing market.” Glenn Lin, director of sales for APAC at AtlasIED, added: “The team at A&L Group shares our vision for top-notch client support and high-quality engineered solutions.” www.acousticnlightinggroup.com www.atlasied.com

NSL Group will assume distribution of LEA Professional in New Zealand, bringing the manufacturer’s portfolio to the local market and giving local AV integrators access to the brand’s cloud-enabled amplifier platform. NSL Group specialises in professional audio and commercial AV technologies, supplying products to the installation market throughout New Zealand. “New Zealand deserves the highest-quality technology and customer service, and LEA Professional delivers exactly that,” stated Carl Win, COO of NSL Group. “LEA has demonstrated its commitment to innovation and customer care; they are exactly the kind of team we want to partner with.” The appointment forms part of LEA Professional’s strategy to expand its global presence while strengthening the availability of its products across Oceania.

David McKinney, managing director of Generation AV, which will collaborate with NSL Group as an authorised partner of LEA Professional, commented: “LEA and NSL Group make an excellent partnership in every way. When two strong forces come together like this, it’s exciting to imagine what’s possible in the New Zealand market.” www.leaprofessional.com www.nsl.co.nz

www.montarbo.com

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26/08/2026 16:00

NEWS: APPOINTMENTS

Ayrton reshapes global leadership team WORLD

Celestion has appointed Torben Müller as business development manager

Jeff Shoebridge assumes the position of business development manager at Boxlight Australia

Ayrton has announced a series of leadership changes, with Michael Althaus promoted from global sales director to CEO as the stage lighting manufacturer restructures its management team. Althaus has led Ayrton’s global sales operations since 2017 and has been with the company for more than a decade. “It’s a great honour to step into the role of CEO at such an important moment in Ayrton’s journey,” commented Althaus. “Knowing Ayrton now for 25 years and having grown with this company over more than a decade, I’ve seen firsthand what makes Ayrton exceptional – the passion of our people, the strength of our culture and our relentless drive for innovation. My focus will be on building on this legacy while shaping the next chapter of growth together with our teams and partners worldwide.” Massimo Bolandrina has been appointed global sales director, following 15 years in sales-focused roles at ClayPaky. In addition, Matt Hallard’s position as European sales director has also expanded to cover additional territories in Europe and North Africa.

L–R: Massimo Bolandrina, Chris Ferrante and Michael Althaus Ayrton founder Yvan Peard continues in his role as CTO, overseeing product development. Meanwhile, Christopher Agius Ferrante, Ayrton’s CEO since 2017 and VP of Golden Sea, has moved to lead Golden Sea Holdings, which oversees Golden Sea’s foreign brands. “This is an enormously exciting time at Golden Sea and Ayrton,” said Ferrante. “I’ve loved being part of the daily fabric at Ayrton. While I’ll certainly miss that, it’s essential we implement a structure

Proel appoints Foti as co-CEO WORLD

L–R: Giacomo Sorbi welcomes Alessio Foti

Rafael A Nevares serves as president for Pro Audio Technology and Theory Audio Design

Proel has appointed Alessio Foti as co-CEO and a member of its board of directors, joining existing CEO Giacomo Sorbi as the manufacturer enters its next phase of development. Foti joins Proel from the Adam Hall Group, where he spent nine years as global BDM before becoming VP of international sales. “As co-CEO, my goal is to lead global sales, both directly and together with our team, to bring the company into the MI and pro world. The global market demands fast, intelligent responses; we are ready to provide them,” commented Foti.

capable of delivering strategic planning, seamless integration with our mother company and results through the collective strengths of the group. This new structure will make that possible.” Joining Ferrante at Golden Sea Holdings from Ayrton are Chunyan Hou as integration and legal director, Xulin Liang as corporate strategy and operations specialist, and Muzi Lui as ESG analyst. www.ayrton.eu

Andy Legg to lead Void global sales WORLD

Netgear Enterprise names Surajit Sen as head of enterprise business for APAC

Simon Godfrey returns to IAG as global sales director for the professional audio division

The appointment forms part of the company’s next phase of growth, centred around product development and international expansion, with Proel planning further investment in research and development, and products and technologies developed in-house due to be introduced in the coming months. “I firmly believe that leadership has real value when it is capable of sharing responsibility, expertise and vision,” said Sorbi. “From today, a new version of Proel begins. Renewed leadership. A bolder strategy. A new energy.”

Bringing more than 30 years of commercial and technical experience, Andy Legg has joined Void Acoustics as global sales operations manager. Legg began his career as a freelance sound engineer before spending seven years at The M Corporation. He cofounded Absolute Music in 2003 and, as commercial director, helped develop the business into a UK omnichannel professional audio and musical instrument retailer. Most recently, Legg served as EMEA market manager for the retail vertical at Harman

Professional Solutions, and he also continues to work as a sound engineer. In his new position, Legg will support Void’s global sales operation and its international partners and customers. “I’ve admired the brand for years, so the opportunity to join a company that designs and engineers its products in my hometown of Poole was one I couldn’t pass up,” he said. “Despite being an established global manufacturer, Void has the ambition and enthusiasm of a startup. Dance music and loudspeakers have always been two of my biggest passions, so I’m excited to help take the Void sound beyond the dancefloor to an even wider audience.” Sam Brandon, managing director at Void Acoustics, commented: “It’s great to welcome Andy to the team. He brings a wealth of experience, a real understanding of our industry and shares our commitment to delivering exceptional audio solutions. As we continue to grow internationally, he’ll play an important role in supporting our partners and helping us build on the momentum we’ve created.” www.voidacoustics.com

www.proelworld.com

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NEWS: APPOINTMENTS

Brigham Milne joins AVI-SPL Australia

d&b welcomes Thailand sales manager

As part of its global expansion into Australia, AVI-SPL has appointed Brigham Milne as managing director for the region. Brigham boasts extensive leadership experience across the AV, electronic security and technology integration industries. At AVI-SPL, he will lead the establishment and growth of the business’ Australian operations, responsible for building a local team, developing strategic customer and partner relationships, and delivering the company’s solutions through a model tailored to the Australian market. “Australia is a key strategic market for AVI-SPL as we continue to expand our global footprint,” commented Jeff Faber, senior VP – international, AVI-SPL. “Brigham’s leadership experience and deep understanding of the local market make him the ideal person to lead our efforts in the region.”

d&b audiotechnik has appointed Jatuporn Rattanachirasuth as sales manager for Thailand. Based in Bangkok, he will be responsible for growing d&b’s business in Thailand, working closely with the company’s regional APAC team and local partners to strengthen customer engagement and support continued market development.

AUSTRALIA

THAILAND

Brigham remarked: “I’m excited to join AVI-SPL at such a pivotal time in its growth. I look forward to building a local team that combines global expertise with a deep understanding of customer needs in this market.”

Rattanachirasuth joins from Sennheiser Electronic Asia, where he spent more than a decade leading sales and business development in Thailand. He brings more than 25 years of experience in professional audio and technology sales across the distribution and systems integration sectors. “I am excited to join d&b audiotechnik APAC,” said Rattanachirasuth. “I look forward to working closely with our partners and customers to strengthen relationships and deliver impactful sound solutions across a wide range of applications.” Anna Kovyza, senior commercial director, d&b audiotechnik APAC, added: “We are pleased to welcome Jatuporn to d&b audiotechnik. His deep industry experience and strong understanding of the Thailand market will be a valuable addition to our APAC team.”

www.avispl.com

www.dbaudio.com

M&W Pro Audio builds leadership team WORLD

M&W Pro Audio has appointed Phil Bunch as chief executive officer and Jay Schlabs as chief revenue officer as the professional audio manufacturer builds its leadership team following its global debut at InfoComm 2026. Bunch brings more than three decades of experience in professional audio manufacturing, operations and global supply chain management. He previously served as vice president of global operations at Tectonic Audio Labs and president of Phase Group, with earlier roles at Eastech and Esoteric Audio covering engineering, product development, manufacturing and supply chain operations.

Phil Bunch

“When Greg reached out and asked me to take the lead at M&W Pro Audio, it was an opportunity I simply couldn’t pass up,” said Bunch. “Building a company alongside Greg Mackie, Peter Watts, Jay Schlabs and the outstanding team is both exciting and rewarding.” Schlabs has more than 20 years of experience in professional audio sales and channel development. He previously held sales and marketing roles at Mackie Designs and inMusic brands, followed by nine years as senior director of e-commerce at PetSafe Brands. “M&W Pro Audio is being built by some of the most respected names in the industry and the opportunity to help shape a new company from

Jay Schlabs the ground up is incredibly compelling,” said Schlabs. “I am excited to join the team and help build strong relationships with our customers.” www.mwproaudio.com

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NEWS: SPECIAL REPORT

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Strong alone, unbeatable together – HK Audio’s LUNAR and PORTABLE SUB form a coherent, scalable system for professional sound reinforcement With LUNAR and PORTABLE SUB, HK Audio introduces a new generation of flexible sound reinforcement solutions that combine high performance, intuitive operation and maximum system compatibility. Designed for professional users who value fast setup, reliable performance and consistent sound quality, both series offer a powerful and scalable approach to modern portable sound. The LUNAR series comprises three full-range loudspeakers with 10-inch, 12-inch and 15-inch woofers. Thanks to their versatile design, they can be used as standalone full-range systems, stage monitors or top cabinets in combination with a subwoofer. The PORTABLE SUB series expands the HK Audio Portable Sound family with two high-performance subwoofers featuring 15-inch and 18-inch drivers. They are optimally matched to LUNAR and also integrate seamlessly with HK Audio POLAR MK2 and SONAR systems. Together, LUNAR and PORTABLE SUB form a coherent, scalable system for DJs, solo performers, live acts, mobile entertainers and professional sound reinforcement.

Voice and subwoofer operation are stored directly in the loudspeaker and can be selected intuitively. The control concept is designed for maximum clarity. All important functions are logically arranged and directly accessible, without confusing menu structures or unnecessary technical complexity. This makes LUNAR especially practical in demanding day-to-day applications, where fast operation and reliable results are essential.

Flexible connectivity and wireless stereo A combination of Mic/Line input and Bluetooth audio streaming provide flexible options for connecting different signal sources. True Wireless Stereo also enables two LUNAR loudspeakers to be linked wirelessly to create

LUNAR: powerful sound at the touch of a button The LUNAR series stands for powerful, precise sound and deliberately straightforward operation. Developed for DJs, live performers and professional sound reinforcement, the system is particularly convincing wherever fast setup and dependable performance are essential. Carefully tuned presets provide convincing results at the touch of a button, allowing users to focus on their performance instead of navigating complicated menus. LUNAR loudspeakers can be ready for use within a very short time, with no elaborate configuration required. Integrated presets for Music, Monitor,

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a genuine stereo system. When additional low-frequency extension is required, LUNAR can be combined with PORTABLE SUB subwoofers to achieve greater impact and acoustic volume.

of configurations while maintaining a precise and controlled bass response.

Powerful and precise

Both subwoofers provide 1,400W peak amplifier power and a maximum sound pressure level of 131dB. The combination of powerful amplification, optimised acoustics and integrated 24-bit DSP technology produces a defined, articulate low end with substantial punch, even at high levels. The DSP automatically adapts the subwoofer to the selected setup and optimises impulse response. An integrated stereo preamp makes it possible to build 2.1 systems without additional external components. Practical features include Input/Thru connections, gain control and a polarity switch for adapting the system to different placement and operating conditions. The stable wooden enclosure provides a clean, dry bass response while offering the durability required for regular transport and live use.

LUNAR combines high output capability with accurate, transparent reproduction. A powerful 32-bit DSP with FIR filtering and phase correction provides clear sound, precise dynamics and a balanced tonal response, even at high levels. The loudspeakers can be deployed as full-range systems, stage monitors or top cabinets above subwoofers. With three available woofer sizes, the series offers a suitable solution for different applications and audience sizes while maintaining a consistent operating concept throughout the range.

PORTABLE SUB: maximum compatibility and controlled low end The PORTABLE SUB series provides the powerful and controlled low-frequency foundation required for modern portable sound systems. The two models – PORTABLE SUB 115 A with a 15-inch woofer and PORTABLE SUB 118 A with an 18-inch woofer – are designed for use with LUNAR, SONAR and POLAR MK2. Preset selection allows the subwoofer to be matched to the relevant loudspeaker series at the touch of a button. This ensures coordinated, phase-stable interaction between the components without additional configuration. The result is a fast, reliable and reproducible setup. For use with systems from other manufacturers, a General preset with low-pass filter is available. This enables the PORTABLE SUB models to be integrated into a wide range

High output with precision

Made in Germany Both LUNAR and PORTABLE SUB are manufactured at HK Audio’s facility in St. Wendel, Germany, according to high-quality standards. Strict production controls ensure consistent workmanship and reliable performance over the long term. HK Audio underlines its confidence in the durability of the systems with a five-year manufacturer’s warranty after product registration. With LUNAR and PORTABLE SUB, HK Audio delivers professional sound without unnecessary complexity: switch on, select the appropriate preset and start performing. Powerful individually and even more convincing as a system, both series combine flexibility, compatibility and Made-in-Germany quality in a highly practical package. www.hkaudio.com

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LV1 Classic: Live mixing console by Waves.

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NEWS: PROJECTS

Shenzhen stadium scores with Powersoft

CHINA

The newly renovated Shenzhen Sports Center Stadium has reopened as the city’s first Grade-A professional football venue, featuring a high-performance audio system powered by 66 Powersoft Quattrocanali amplifiers designed to deliver clear, reliable sound to all 45,000 spectators. Located in Shenzhen’s Futian District, the stadium has undergone a comprehensive refurbishment, bringing its infrastructure and operational capabilities to international standards. Designed primarily for professional football fixtures,

the venue demanded an audio system capable of combining speech intelligibility, operational reliability and efficient long-term management. Powersoft distributor and systems integrator EZPro supplied the main audio equipment while also undertaking feasibility studies, AV system design, technical guidance, commissioning, tuning and operator training. At the heart of the installation are 66 Powersoft Quattrocanali 4804 + Dante amplifiers, providing a total of 264 channels to drive

more than 300 loudspeakers throughout the venue, including 252 EAW KF210 line array cabinets covering the spectator seating and field of play. The amplifiers are connected via a dedicated Dante network spanning four amplifier locations, with two equipment rooms supplemented by two additional amplifier racks mounted on the stadium catwalk. A Dante-enabled digital mixing console completes the signal chain, while EZPro’s proprietary EZCloud management platform provides centralised monitoring of the audio system alongside other building systems. One of the project’s biggest challenges was the client’s request for a decentralised amplifier layout. By positioning amplifiers closer to the loudspeakers, the design reduces cable losses while maintaining damping factor and overall audio performance. However, the approach also imposed strict limitations on amplifier size and weight. According to the project team, Powersoft’s compact 1U Quattrocanali platform proved ideally suited to the application, combining high power density with low weight and reduced heat generation. The efficient design also lowers cooling requirements and operational costs while simplifying installation in the restricted catwalk locations.

Built-in DSP and Powersoft’s ArmoníaPlus software also streamlined system commissioning. The software’s Chinese-language interface, combined with EAW loudspeaker presets, enabled rapid tuning and simplified operator training. Integrated monitoring functions, including impedance and temperature monitoring, have also been incorporated into EZCloud to provide automatic fault alerts and fast routine system health checks. Safety and reliability were key priorities throughout the project, with the client setting demanding standards for equipment installation and day-to-day operation. The resulting system ensures clear audio reaches every seat while providing operators with comprehensive monitoring tools to maintain performance throughout major sporting events. According to the stadium’s technical team, the combination of Powersoft’s efficient amplifier platform and close collaboration between the manufacturer and EZPro has resulted in a robust, futureproof installation capable of supporting Shenzhen’s growing ambitions as a host city for elite football. www.eaw.com www.ezpro.com www.powersoft.com

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24 PRO AVL ASIA September–October 2026

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High SHINe amon audio in Se Soun louds monit accur PTS produ rehea and fu rehea produ broad Acco PTS R lacke The m toget tourin The redes Eleme monit Heath priorit simpl The sales along “Whe

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NEWS: PROJECTS

PTS Seoul prioritises clarity with HK Audio SOUTH KOREA

High-profile K-pop artists including SHINee and singer-songwriter Lee Sora are among the performers benefitting from an audio upgrade at PTS Rehearsal Square in Seoul. Supplied and installed by Sama Sound, the project features HK Audio loudspeakers and Allen & Heath personal monitoring systems, selected for clarity and accuracy. PTS comprises three spaces for different production requirements: Room A for artist rehearsals, Room B for broadcast productions and full run-throughs, and Room C for concert rehearsals. The facility also supports music production, live performance preparation and broadcast workflows. According to Jong-hun Park, team leader at PTS Rehearsal Square, the previous location lacked space for large production teams. The move brought multiple rehearsal spaces together while providing better access for touring productions. The six-month project also allowed PTS to redesign its technical infrastructure. HK Audio Elements loudspeakers and PR:O 12M monitors were selected alongside Allen & Heath ME personal monitoring systems, prioritising accurate monitoring rather than simply increasing output. The installation was led by Sama Sound sales representative Dabin Kim, working alongside product manager Jason Moon. “When PTS were planning this upgrade, they

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tried to consider three important factors. First was the clarity of the sound system, the second was the power of the setup and the third consideration was the feedback from artists.” Moon said the project also carried personal significance. “PTS is recognised as one of the country’s leading rehearsal studios; I

grew up watching rehearsal and performance videos filmed here,” he noted. “It was an honour for our team to be involved. What made the project especially rewarding was that PTS prioritised sound quality above everything else. Rather than focusing on budget, they wanted to achieve the best-possible result for the artists.”

The installation includes eight HK Audio E835 column loudspeakers, four E115 SUB D subwoofers and 14 PR:O 12M monitors, alongside Allen & Heath ME-1 and ME-U personal monitoring systems. These complement existing DiGiCo SD8 consoles and DiGiRack systems, Electro-Voice loudspeakers and Sennheiser microphones. A MADI audio network is also used, while the portable HK Audio and Allen & Heath systems can move between rooms. “The most important factor was the clarity and this HK Audio system has definitely matched our expectations,” noted Park. “Many of the artists who rehearse here have exceptionally good ears, so meeting their expectations was one of our highest priorities. Everyone says the sound resolution has significantly improved. Before, sounds were muffled, but now each instrument is clearly distinguishable. The compact footprint is also a huge advantage because it delivers excellent resolution and energy from a very small system.” Moon added that the Allen & Heath ME system allows performers to create and adjust their own monitor mixes, giving musicians greater control during rehearsals. www.allen-heath.com www.hkaudio.com www.samasound.co.kr

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NEWS: PROJECTS

Meyer Sound optimises Montarbo goes on tour Mumbai’s Otters Club CHINA

Montarbo’s Nettuno line array system has been deployed on the national tour of A Chinese Ghost Story: Lanruo Rebirth, providing audio reinforcement for the contemporary theatre production as it travels across China. The tour opened at the Anhui Baixi Grand Theatre in Hefei before continuing to venues in Hangzhou, Wuhan, Xi’an, Nanjing and Hubei Theatre. Combining theatre, music, dance, projection, LED walls and immersive technologies, the production required an audio system

INDIA

The OTR Bar at Otters Club in Bandra, Mumbai, has upgraded its audio system with a Meyer Sound solution designed to deliver consistent coverage while meeting the venue’s aesthetic requirements. The project replaced the bar’s existing sound system with a compact installation capable of supporting both background music and live entertainment. Installation took place while the hospitality venue remained fully operational, requiring the integration team to minimise disruption to daily activities. The existing false ceiling also presented challenges, with limited clearance requiring careful rigging and cable routing to preserve the venue’s interior design. Systems design was completed using Meyer Sound’s MAPP 3D prediction software to model room acoustics, loudspeaker placement and coverage before installation. The design was intended to provide uniform audio coverage while maintaining a discreet visual footprint. The installation comprises three ULTRA-X20 loudspeakers, two UP-4slim loudspeakers for fill coverage, one USW-210P powered subwoofer, two USW-112P powered subwoofers and a Galileo GALAXY 408 processor for system management and optimisation.

The installation, including rigging, wiring, commissioning and cable management, was completed in approximately five days. The project was led by Star Professional Audio’s Ajay Cordozo alongside Suren Gamre, Sajjad Waghela and Neil Dharmai in collaboration with the Sun Infonet team, including Jeremy Rana and Yatin Tawde. “While the dimensions and surfaces of the room were not ideal for sound reproduction, the installation team’s choice of ULTRA-X20 speakers was excellent,” noted Roger Drego, proprietor of Star Professional Audio. “The compact size of the units complements the room’s décor and the SPL levels produced are impressive. “Given that the OTR Bar hosts live entertainment, speaker positioning was critical to ensure maximum intelligibility throughout the audience area. Although management had restrictions regarding subwoofer placement to prioritise guest seating, the performance of the ULTRA-X20s remains amazing.”

capable of delivering consistent coverage and intelligibility across a range of theatre environments. The production team selected the Montarbo Nettuno L28 line array system, paired with Nettuno S181 subwoofers, as the tour’s audio solution. According to the company, the system was chosen for its ability to provide consistent coverage and clarity for dialogue, music and sound effects throughout each performance. The modular design of the Nettuno L28 enabled the system to be adapted to the varying layouts and acoustics of each venue while maintaining even sound distribution for audiences. The system was also required to reproduce speech alongside the show’s musical score and sound design, ensuring all elements remained balanced across the performance space. The project was supported by ZOBO, Montarbo’s exclusive distributor for Greater China, which oversaw systems design, installation and technical support during preparation for the opening performances at the Anhui Baixi Grand Theatre. The deployment highlights the use of Montarbo’s Nettuno series in large-scale touring theatre productions, where flexible system configuration and consistent performance are required to accommodate multiple venues while supporting dialogue-driven performances alongside music and immersive sound design.

www.meyersound.com www.rogerdrego.com

www.montarbo.com

www.suninfonet.net

Brompton drives digital art HONG KONG

Brompton Technology’s Tessera LED processing was used to display German visual artist Kim Asendorf’s PXL DUO POD at Art Basel Hong Kong 2026, supporting an interactive installation presented by New York and London-based contemporary art gallery Nguyen Wahed. The work formed part of Zero 10, Art Basel’s global initiative focused on digital-era art. The installation comprised two LED screens positioned side by side, each displaying an evolving system of colours, movement and pixel structures. Visitors could interact with the work using a control pad to rotate the forms, zoom in and adjust the camera angle. For the Hong Kong presentation, a ROE Visual Topaz 2.6mm LED system was driven by Brompton’s 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units. The processing chain was used to reproduce the artwork’s individual points of light, colour palettes and deep black backgrounds, maintaining detail as the visuals changed.

Asendorf’s relationship with Brompton began at Art Basel Miami Beach, where his Raster und Spektrum work was presented as part of the inaugural Zero 10 programme. Following a demonstration

at Brompton’s London headquarters, Brompton processing was specified for the Miami Beach presentation, where Fuse Technical Group provided technical management and introduced the project

team to Absen. Absen LED panels were subsequently paired with Brompton processing. “I had the chance to bring Kim, along with the artist Leander Herzog, to visit Brompton in London and it was a great opportunity to see artists connect with a technology behind the display,” said Matthew Ward from Fuse Technical Group. “Kim’s work relies on subtle differences in colour, extremely deep blacks and the clear separation of individual pixels.” The project highlights the role of LED processing in digital art, where colour reproduction, contrast, motion and pixel definition form part of how an interactive work is experienced. Asendorf’s PXL ecosystem continues to develop, with PXL DEX, PXL POD and PXL NET currently featured in an exhibition at NODE in Palo Alto. www.bromptontech.com

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GTX 7C | GTS 16C CARDIOID LINE ARRAY SYSTEM

The GTX 7C pushes cardioid performance into a new class of precision. Its front and rear transducers are independently driven and DSP-shaped via the XPS platform, creating a controlled, broadband frontal radiation that stays clean and predictable in real venues, making it perfect for theaters, auditoriums, and acoustically challenging venues. Rear energy drops by an average of 22 dB, preserving clarity on stage and unlocking higher usable headroom in any venue. Add the GTS 16C subwoofer for a full-range cardioid system with uniform directionality from top to bottom.

ttaudio.com

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NEWS: PROJECTS

Custom Void fits The Norm Bangkok THAILAND

The Norm Bangkok has opened with a bespoke multizone audio system from Aura Visual System. The setup combines customfinished Void Acoustics loudspeakers with an Allen & Heath control platform to deliver venue-wide coverage while complementing the rooftop destination’s Scandinavianinspired interior design. Located on the 42nd floor of Dusit Central Park overlooking Lumphini Park, the venue has been conceived as a modern social club with four distinct spaces – the Main Area, Egg Bar, Terrace and Whispering Room – each requiring different audio characteristics while maintaining a consistent sound throughout the venue. Aura Visual System designed the installation around an Allen & Heath AHM-32 audio matrix processor with Dante networking, allowing independent control of indoor and outdoor zones, flexible source routing and simplified operation via two CC-7 touchscreen controllers and custom control stations. Outside, the terrace system combines two Void Acoustics Air Vantage V2 loudspeakers, two Venu 218 V2 subwoofers and five Cyclone 8 loudspeakers to provide full-range coverage while maintaining controlled dispersion in the open-air environment.

Indoors, 12 Venu 8 and two Venu 14 loudspeakers are paired with two Venu 115, two Venu 118 and two Venu 208 subwoofers to deliver even coverage and balanced low-frequency performance throughout the venue. Rather than using standard finishes, the indoor loudspeakers were manufactured in a bespoke Vintage Antique wood finish with raw metal grilles to integrate with the venue’s timber, stone and leather interiors. The installation was supported by acoustic modelling and system simulation, with Aura Visual System paying particular attention to loudspeaker placement, zone transitions and room acoustics before carrying out final tuning to achieve consistent SPL and frequency response across the venue. The system is powered by seven Void Bias series amplifiers and incorporates a Netgear network infrastructure and Allen & Heath Dante interfaces to manage audio distribution throughout the venue. “This is the first project in Thailand to feature Void Acoustics with this level of bespoke craftsmanship – from custom natural wood finishes and aluminium detailing to seamless integration with the venue’s architecture and iconic furniture,” said Alfonso Martin, CEO of Aura Visual System. “The loudspeakers don’t simply

disappear; they belong in the space. Having also performed here as a DJ, I know how special the experience is. The sound, the atmosphere and the panoramic views over Lumphini Park come together to create something truly memorable.” According to the Aura Visual System team, the completed installation provides seamless coverage across all four zones

while allowing the venue to adapt its soundscape from daytime hospitality to evening DJ performances. www.allen-heath.com www.audinate.com www.auravisualsystem.com www.netgear.com www.voidacoustics.com

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A ne puttin of its the lo Antuo deplo seat Kiva The recen cultur Distri incorp four b rehea L-Ac was r buildi use o and S consi keepi the a “In t the o to the said Racp was a facto delive footp

NEWS: PROJECTS

Spot the speaker with L-ISA CHINA

A new cultural complex in Shenzhen is putting immersive sound at the centre of its performance spaces while keeping the loudspeakers largely out of sight. The Antuoshan Public Cultural Center has deployed L-Acoustics’ L-ISA in its 1,000seat grand theatre, alongside a discreet Kiva II system in its 500-seat concert hall. The Antuoshan Public Cultural Center recently opened as the first large-scale cultural complex in Shenzhen’s Futian District. The more than 100,000m2 facility incorporates a grand theatre, concert hall, four black box theatres, study rooms, rehearsal studios and recording suites. L-Acoustics certified provider Racpro was responsible for the audio systems, building on the venue owner’s previous use of L-Acoustics at Futian DreamWorks and Star Theatre. The brief called for consistent coverage and clarity while keeping loudspeakers hidden to preserve the architectural design. “In the grand theatre, we knew from the outset that L-ISA would be central to the experience we wanted to create,” said Xia Zhushan, vice general manager, Racpro. “In the concert hall, where space was at a premium, the compact form factor and discreet profile of Kiva II let us deliver full-range coverage with no visible footprint.”

Racpro used Soundvision to model loudspeaker positions and coverage before installation. During the build, the team identified interference from the steel sound bridge and worked with the contractor to modify the structure, maintaining the predicted high-frequency performance.

The grand theatre’s L-ISA system comprises five hangs of four A15i, configured with two Focus and two Wide elements. Panflex directivity is used to target coverage zones, while 26 X8 provide audience surrounds and four overhead X12 create the height layer. Two additional A15i Wide cover remaining areas.

Nine 5XT are recessed along the stage lip, with seven more in the orchestra pit. Low-frequency reproduction comes from two KS28 per side flown alongside the main hangs, plus one KS28 per side on the ground. Fourteen X12 provide stage monitoring. Processing includes two L-ISA Processor II units, while amplification comprises five LA4X for the frontal Scene, three for height, seven for surrounds, two LA12X for the subwoofers and five LA2Xi for fills. The concert hall uses 12 Kiva II in two hangs of six, two SB15m for low-frequency extension, 10 5XT embedded in the stage and four X12 for monitoring. Five LA4X power the main hangs and subs, with two LA2Xi handling the front fills. The system was put through its first major test during opening night performances by pianist Lang Lang, conductor Lin Daye and the Shenzhen Symphony Orchestra. “The concert brought together so many maestros and, through L-ISA, we were able to ensure they sounded clear, natural and dynamic – yet with almost no trace of traditional sound reinforcement,” commented Zhushan. www.l-acoustics.com

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NEWS: PROJECTS

DAS Audio powers Cambodian venues CAMBODIA

NSR Professional has completed a series of AV integration projects across Cambodia, deploying DAS Audio systems in government, financial, education and hospitality venues. The installations demonstrate the company’s continued activity in the country’s integration market, with solutions designed for auditoriums, assembly halls, theatres and multipurpose event spaces. One of the projects saw the auditorium at Cambodia’s General Department of Taxation equipped with EVENT-26A line arrays, EVENT-115A subwoofers and ALTEA-412A loudspeakers for delay coverage. The venue is used for meetings, conferences, training sessions and official events. A similar EVENT Series configuration was installed at Hattha Bank’s auditorium, with the addition of EVENT-M210A stage monitors to support presentations and corporate events.

In the education sector, the auditorium theatre at Australian International School Phnom Penh was fitted with EVENT-26A,

Herrington International School Cambodia adopted a different approach, combining ALTEA-415A point source loudspeakers with

EVENT-115A and EVENT-M210A systems to support school productions, concerts and presentations.

EVENT-115A subwoofers and EVENT-M210A monitors for its auditorium, which hosts academic events and performances.

Christie illuminates Ujjain installations

INDIA

Two large-scale lighting and sound installations in Ujjain are being illuminated by Christie RGB pure laser and 1DLP laser projectors, delivering projection mapping across Rudra Sagar Lake and the Mahakal Lok Lotus Pond. The multimedia installations were conceived and executed by CS Direkt Events & Exhibitions as immersive visitor experiences. Since its launch, the Rudra Sagar water-screen mapping show has attracted more than 20 million visitors. At the lake, three Griffyn 4K50-RGB projectors create panoramic visuals across three synchronised water screens spanning approximately 90m. Configured for long-throw projection, the system projects imagery across a fountain stretch of almost 100m. The installation extends into the Mahakal Lok Corridor, where two Griffyn 4K35-RGB projectors display content on a retractable screen at the Lotus Pond, while three 4K22-HS 1DLP laser projectors illuminate a 10m-high statue of Lord Shiva. The projection systems are integrated with fountains, lighting and audio to deliver synchronised multimedia shows. “The visual component of this project demanded exceptional brightness, precision and reliability in a highly challenging outdoor setting,” said Sanjeev Pasricha, group CEO,

CS Direkt. “The Christie Griffyn and HS Series projectors gave us the performance and flexibility needed to create panoramic imagery across the water screens and at the Lotus Pond, while maintaining dependable performance in difficult site conditions.” The project presented several technical challenges, including long projection distances, high temperatures, dust, humidity, fluctuating water levels and restrictions on permanent infrastructure within the heritage site. To overcome these constraints, the Griffyn 4K50-RGB projectors were mounted on floating weatherproof platforms and housed in custom environmental enclosures. “With no permanent mounting infrastructure permitted due to heritage preservation regulations, the floating platforms and custom housings were essential to achieving technical performance, minimal visual intrusion and ensuring long-term dependability,” Pasricha explained. According to Christie, the projection systems are synchronised with programmable fountains through a centralised show control system, enabling frame-accurate playback across the installation.

NSR Professional has also completed a hospitality installation at the Sun & Moon Riverside Hotel in Phnom Penh. The property’s main ballroom now features ARTEC-320 loudspeakers, VANTEC-218 subwoofers and DX-1000I amplification to accommodate conferences, corporate meetings and social events. According to NSR Professional, the projects reflect increasing demand for purpose-built audio systems across a range of application sectors in Cambodia. “Every space has specific requirements, from government auditoriums to school theatres or event ballrooms,” explained Nop Sovannroth, managing director of NSR Professional. “Our goal is to design systems adapted to each application, selecting the most suitable solution according to the use, architecture and needs of each project.” www.dasaudio.com

HOTA upgrades with Elation AUSTRALIA

An Elation Professional lighting system has been selected to upgrade the main theatre at Australia’s Home of the Arts (HOTA), replacing its entire moving light inventory to support an increasingly diverse programme of touring productions and live events. Located on Queensland’s Gold Coast, HOTA hosts theatre, dance, opera, comedy, live music and visual arts across its 17-hectare precinct. The venue’s previous moving light system had reached the end of its operational life and no longer met the technical expectations of contemporary productions. The upgrade saw the installation of 16 Paragon M profile luminaires and 16 Proteus Rayzor 760 wash/effects fixtures, supplied by ULA Group and procured through Krank’d Productions. The project was led by HOTA’s head of lighting Luke Farrow. According to HOTA precinct general manager Chris Dignan: “As the demands of live performance continue to evolve in the industry, it is essential that our technical infrastructure evolves with them. This upgrade gives HOTA a future-ready lighting solution that meets the expectations of today’s world-class touring productions, while

supporting our long-term ambition to attract bigger, more ambitious shows.” The Paragon M fixtures were selected following a competitive shootout and now form the backbone of the theatre’s profile lighting system. Eight units have been installed in the overhead rig, while a further eight are positioned on FOH lighting bridges. The fixtures provide beam, framing and gobo capabilities, while interchangeable lens options allow them to operate as wash fixtures when required. Farrow commented on the Paragon M’s capabilities: “Its brightness and beam quality have significantly enhanced the visual impact of our productions.” Complementing the profiles are 16 Proteus Rayzor 760 IP65-rated fixtures. The luminaires feature Elation’s SparkLED technology and are used across a variety of productions ranging from theatrical performances to contemporary live music events. Supporting the installation are two Netron EN12i Ethernet-to-DMX gateways and Obsidian Control Systems BS10 button panels, providing control and distribution for the venue’s house lighting infrastructure. www.elationlighting.com

www.christiedigital.com www.csdirekt.com

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NEWS: PROJECTS

Gracia Auvindo enhances Arena Lakeside INDONESIA

Previously an overgrown pond in Jakarta’s Kemayoran district, Arena Lakeside has been transformed into a hospitality landscape. Balancing ecology with leisure, the site recently opened its doors to several restaurants including Massilia Cucina Italiana and Seribu Rasa. In addition to attracting travelling motorists, the scenic outpost is also a hit with the locals, including neighbourhood audio specialists Gracia Auvindo. The audio solution demanded a balance including value engineering, optimum BGM qualities and unobtrusive aesthetics. The resultant Tannoy SAT3 loudspeaker system specified by Gracia Auvindo was reported to tick those boxes without compromise. Almost invisible to the eye in the recesses and corners of the indoor restaurant, six lower frequencies by two wall-mounted Sat 25W 2.5-inch passive full-range satellite Sub Slimline 6.5-inch subwoofers. speakers provide uniform 265° x 265° Powered by a Lab Gruppen 2402 240W coverage throughout the room. Extending dual-channel amplifier, diners in the outdoor the frequency response below 200Hz, the patio area are addressed by three Ecler diminutive speakers are augmented in the eMOTUS 5OD cabinets. With IP65 protection ADV_2026_ProAVL_190x135mm_Soggetto_19RS115.pdf 1 22/07/26 12:12

against dust and water, the compact speaker conceals its ports located behind a rubber cover. The integrated power selector switch allows a choice of high- or low-impedance operation and the nominal impedance of 8Ω provides loss-free audio transmission over

short distances. Ecler IC8 speakers have been discreetly inserted into the ceilings of the VIP rooms for higher-power performance. Complementing the 10 existing locations across Jakarta and Bekasi, the neighbouring Seribu Rasa restaurant at Arena Lakeside Kemayoran blends Indonesian and Southeast Asian cuisine. Inside the dining comfort is enhanced by the natural vibe of the location, as well as the sound design created by Gracia Auvindo. The same Tannoy SAT3 loudspeaker solution has once again been integrated into the 130-seat main dining area. Additionally, three exclusive private rooms, each accommodating up to 10 people, can receive their own dedicated source of music from wall-mounted Ecler eMOTUS 5OD enclosures. Lastly, an outdoor stage in front of the lake features a dBTechnologies portable system comprising Opera 10 cabinets and a Sub 615 subwoofer, alongside a Midas M32R console. www.graciaauvindo.com

NEXO fits the Hype in Penang MALAYSIA

Hype Clothing Co has installed a NEXO sound system at its new Carnival Mall store in Seberang Perai, Penang, with the project completed by Johor Bahru-based AV technology specialist Audience Lab. The installation marks one of Audience Lab’s first projects since its appointment by Audio Solutions as NEXO’s strategic audio partner for Southern Malaysia. Founded in Malaysia in 2012, Hype has expanded its retail presence with the new Penang

The installation comprises six NEXO ePS8 loudspeakers, powered across a nanoNXAMP4 Powered TD Controller and an NXAMP4X1Mk2 amplifier. The system also includes two NEXO eLS600 subwoofers. Audio sources include a WiiM Ultra Music Streamer, Relacart P2 wireless microphone system and AlphaTheta Pioneer XDJ-AZ DJ system, all connected via a Yamaha MG10XU 10-channel mixing console.

outlet, where the audio system has been designed to support the in-store customer experience. “Designed to complement the store’s modern architecture and elevate the customer experience, NEXO ePS delivers exceptional clarity, consistency and immersive sound throughout the space,” said Audience Lab managing director Shao Ming Teo.

Joe White, Asia and Australia business development manager at NEXO, said: “Audience Lab have done a great job with the installation which once again proves how ePS hits the perfect balance of performance, visual appeal and cost efficiency.”

19RS115 The next performance benchmark

CMY

A new 19” version of our iconic multi-spoke basket. 20% more Sd, 35% more Xvar, combined for 62% more swept area — surpassing our 21” woofers. Now the extension and output of bigger, hard to move cabinets is available in a standard truck pack. If you have the port area to handle it.

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IP55 WATER STOP GRILLE & CIRCUITRY PROTECTION B&C weather treated transducers

AISI 316 stainless steel hardware

Rotomolded enclosure with UV resistance additives

Stainless steel water-stop grille

Aluminium frame for securing the water repellent fabric Three acoustically transparent PP water-stop layers to dissipate water jets

GO FAR BEYOND STANDARD CABINET PROTECTION. SHADOW 142L, 108CT, 112CT, 112HC/HCT, and 114S/ST rely on an advanced multi-layer weatherproofing system engineered directly into the cabinet design. From an outer hydrophobic water-stop grille that repels water without dampening acoustic performance, to internal moisture barriers, waterproofed driver cones, and UV-resistant rotomolded enclosures, moisture never gets a chance to touch critical components. This robust IP55-rated protection system ensures that whether you are specifying point-source models like the 108CT, 112CT and 112HC/HCT, line array modules like the 142L, or low-end reinforcement with the 114S/ST subwoofer, your installation delivers high speech intelligibility and long-term reliability in stadiums, theme parks, cruise ships, or indoor pools. No matter what nature throws at it.

www.fbt.it

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NEWS: PROJECTS

Star PAC chooses Shure ADPSM

V s

SINGAPORE

Growing RF demands at The Star Performing Arts Centre in Singapore have prompted an upgrade to Shure’s Axient Digital PSM (ADPSM) in-ear monitoring system. The venue moved from its previous Shure PSM1000 system to address RF challenges and maintain reliable coverage across live performance environments. “Previously, when we were using the PSM1000 system, we were working with two different frequency bands. It was challenging to secure enough clean RF spectrum for productions with high channel-count requirements,” explained Keiji Numayama, manager, audio of The Star Performing Arts Centre. “Coverage could also become an

issue when performances bring in large stage sets and multiple LED panels across the stage.” The ADPSM system integrates with the venue’s existing Shure ADX wireless microphones through ShowLink. ShowLink and Spatial Diversity provide remote monitoring of battery levels, audio quality and RF performance, while enabling simultaneous adjustments to multiple bodypacks. “ShowLink has been a real game-changer and so has Spatial Diversity,” noted Numayama. “Monitoring has improved significantly. Instead of checking each bodypack individually, we can now monitor battery levels, audio quality and RF

L–R: Syafiq Misari, Alistar Faizal, Keiji Numayama and Daniel Loh from The Star Performing Arts Centre’s technical team performance remotely. That is extremely useful during live shows and being able to make changes to multiple packs at the same time means we can react much faster.” The transition required minimal changes to existing procedures, while Singapore-based systems integrator Electronics & Engineering (E&E) supported the deployment.

“Since we’re still operating within the Shure ecosystem, our overall workflow remains unchanged. The biggest improvement is the ability to monitor and manage the system remotely,” Numayama concluded. www.enepl.com.sg www.shure.com

K-array blends into Bar Danro JAPAN

Situated in Tokyo’s Ebisu neighbourhood, Bar Danro has implemented a K-array sound system to deliver high-resolution sound without compromising its carefully designed interior. Conceived around a luxury vintage concept, Bar Danro combines a hidden speakeasy with an upscale hotel lounge. Seeking a system that would preserve the space’s visual integrity, interior design firm cafe.co approached local integrator Surd, whose team has more than 15 years of experience with K-array. With the interior already complete, Surd focused on introducing the audio system without leaving a visual trace. “K-array was the right solution from the outset,” noted Keita Kawakami, sales executive at Surd. “The products gave us the freedom to be creative with placement

Image courtesy of Yuma Yoshitsugu

because their form factors are so discreet and the acoustic results exceeded what we had initially anticipated.”

The main bar area features Vyper KV25 II line array loudspeakers alongside Rumble KU26 subwoofers, with the system designed

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to create a pronounced music presence at individual tables. A Vyper KV25 II is also installed at the entrance at a height of 160cm. In the two VIP areas, Surd used Lyzard KZ1 I miniature line array speakers and Truffle KTR24 compact subwoofers to maintain speaker invisibility. GC5 and GC3 ceiling speakers cover the remaining spaces, including restrooms, kitchen and corridors. Five amplifiers distribute audio across the zones. Bar staff manage the main area, while VIP guests control their own environments. Surd also applied a calibration methodology using measurement microphones to achieve consistent coverage despite reflective surfaces, changing occupancy and ambient noise. www.cafeco-design.com www.k-array.com

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NEWS: PROJECTS

Villa Records keeps sound discreet SOUTH KOREA

When Seoul-based furniture and architectural designer Seungbin Lim created the new Villa Records showroom in Namsan, every detail was carefully considered. To support his vision of a space where audio enhances rather than dominates the architecture, Sama Sound supplied and installed a discreet loudspeaker system combining Genelec and NNNN loudspeakers throughout the three-storey venue. “We have a lot of open space and large windows, so the aim was to keep everything clear and minimal,” explained Lim. “I d idn’t want to impact the aesthetic of the showroom with too many loudspeakers on the walls, so I told Joo that I wanted the system to be as minimal as possible. Just like the interior, simplicity was key.”

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Seungbin Lim Genelec cabinet was rejected because it drew too much attention, so Lee moved it to an external corner wall. “Originally, we wanted to position the speaker in the centre of the room, but it turned out to be too eye-catching,” explained Lee. “So, we moved it to the external wall in the corner of the room. Architecturally, it helps draw visitors towards the curve of the space, while remaining visually discreet. With just a small loudspeaker in that location, the sound dispersion is perfect, and it covers the entire room.”

Back on stage. More than ever.

Sama Sound product manager Joo Lee designed a system featuring a single Genelec 4420A Smart IP installation loudspeaker on each of the first two floors, with each unit selected in a different colour. “Seungbin was very keen on natural sound,” noted Lee. “He wanted visitors to still hear the air and the character of the room itself. We weren’t creating a critical listening environment; the system is there to provide atmosphere, so a single loudspeaker on each floor was enough.” The lower level features two Comium 30 studio monitors from Norwegian brand NNNN. The boundary loudspeakers use walls or ceilings as acoustic amplifiers, enabling higher SPL and lower bass extension. “We felt NNNN was a natural match for the furniture brands on the lower level,” said Lee. “I also wanted to surprise people who hadn’t encountered the brand before. The black and white finishes work particularly well within the space.” No additional acoustic treatment was required, with the furniture providing sufficient absorption. Speaker placement was also carefully considered. On the middle floor, a central position for the

Nettuno L28 marks Montarbo’s comeback to the stage with a newly designed, compact linearray. 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. The result is a system that supports the showroom atmosphere while remaining largely invisible. “I’m extremely pleased with the result,” concluded Lim. “Joo implemented an [Allen & Heath] AHM control system that allows both me and my staff to adjust the audio easily from our phones whenever needed. And in terms of design and sound quality, it’s exactly what I wanted.” www.genelec.com

Adaptive headroom goes beyond expectations, while onboard presets simplify the system by reducing the need for external processing.

montarbo.com

www.nnnn.no www.samasound.co.kr

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NEWS: PROJECTS

Sonos Libra elevates Aether’s rooftop sound THAILAND

Sonos Libra has designed and integrated an Adamson and Allen & Heath audio system for Aether, a rooftop bar located on the 44th floor of Dusit Central Park in Bangkok. Overlooking the Chao Phraya River, Lumphini Park and Bangkok skyline, Aether was developed as a dining and entertainment destination with the audio system incorporated into the architectural concept from the outset. Sonos Libra worked alongside the venue’s architects and project designers from the concept development stage to integrate the Adamson system throughout the outdoor space. A central challenge involved incorporating Adamson loudspeakers into two large sculptural speaker structures that form a prominent part of the venue’s design. Sonos Libra conducted acoustic simulations before installation to assess loudspeaker positioning, coverage angles and system performance, while working with the design team on the selection of materials and structural elements.

“At Aether, the audio system was more than just a technical component – it became part of the architectural design itself,” explained Sonos Libra sound engineer, Phoom. “From acoustic simulations and material selection to loudspeaker

The weatherised Adamson system comprises IS10P-W, IS7C-W and IS5C-W loudspeakers, supported by IS219P-W subwoofers. XG4 and XG2 amplifiers provide power for the system, which was designed to maintain coverage across the rooftop environment. System processing and control are handled by an Allen & Heath AHM-16 audio matrix processor equipped with a Dante audio networking card. The networked setup provides audio management across the venue and allows for future expansion. According to Sonos Libra, the completed installation closely matched the coverage and performance predicted during the acoustic simulation stage. The integrator also reported positive feedback from the client regarding the system’s performance and its integration into the venue’s architectural design.

positioning and structural integration, we worked alongside the design team from the earliest stages to ensure the venue’s bold architectural vision could be realised without compromising the level of audio performance we set out to achieve.”

www.adamson.ai www.allen-heath.com www.sonoslibra.com

Coda chosen for Guiyang Olympic Sports Centre CHINA

Zhejiang Tongbo Vision Technology (Tongbo) has completed the installation of a Coda Audio sound system at the new indoor arena within the Guiyang Olympic Sports Centre in Guizhou province, China. The 80,000m2 venue, which accommodates up to 12,000 spectators, has been developed to expand the region’s capacity for international sporting events and large-scale entertainment productions. It officially opened by hosting the second AIBA World Cup Boxing event of the year, featuring more than 200 bouts across six days. Rather than relying on temporary rental systems for major events, the arena has been equipped with a permanently installed professional audio system designed to support a wide range of applications, including sporting competitions, live commentary, ceremonies and concerts.

According to Tongbo, the brief called for consistent audio coverage and high speech intelligibility throughout the venue, even during noisy sporting events. The company said the installed Coda Audio system delivers uniform sound pressure levels and clear vocal reproduction while also providing the flexibility required for sports competitions, large-scale ceremonies and international performances. Tongbo designed the system around 48 APS arrayable point source loudspeakers, 24 HOPS12i-Pro high-output point source loudspeakers and four G515 loudspeakers, powered by LINUS DSP amplifiers. The integrator also revealed that plans to supplement the installed system with additional temporary sound reinforcement for the opening ceremony were abandoned after

David Webster, global head of sales and marketing for Coda Audio, said: “Tongbo continue to expertly deploy Coda Audio systems for a wide variety of prestigious installations across China to maximum effect. We’re very proud to see our products installed at venues which feature such high-profile national and international events.”

venue management evaluated the permanent installation during rehearsals. Furthermore, Tongbo provided technical support throughout the event. The company added that the permanent installation will reduce the need for temporary audio rentals at future events, lowering equipment transport, setup and commissioning costs while enabling faster preparation for international competitions and performances.

www.codaaudio.com

Matrox Video and VRi score the vote SOUTH KOREA

South Korea’s nationwide local elections presented a major broadcast graphics challenge, with Visual Research Inc.

(VRi) supporting coverage across SBS, YTN and MBN using its Karisma Illuzon augmented reality (AR) and virtual studio platform. Working

with long-term technology partner Matrox Video, VRi delivered real-time election graphics and data visualisation for the broadcast. Broadcasters were required to visualise results for 7,782 candidates across 2,335 constituencies while maintaining uninterrupted coverage. Across the three networks, broadcasts totalled 41 hours, with some systems operating continuously for more than 16 hours. VRi deployed six Karisma Illuzon systems based on its real-time graphics engine. The platform generated interactive 3D maps, candidate comparison tools, live vote-count displays, data-driven infographics and AR studio elements. Karisma Illuzon incorporates physically based rendering technology to create realistic lighting, reflections and shadows, allowing graphics to blend with live studio environments. Each system was equipped with Matrox DSX LE4 SDI I/O cards, providing low-latency video

input and output to synchronise live camera feeds, graphics rendering and on-air outputs while integrating with the existing broadcast infrastructure. VRi said all six systems operated continuously throughout election coverage. The company also noted that systems could be configured and made broadcast-ready in approximately 80 minutes using pre-validated hardware configurations. “Matrox Video has been part of VRi’s broadcast DNA for over 25 years,” said Charles Kim, CEO of VRi. “When we built Karisma Illuzon, we knew we needed a video I/O foundation that broadcasters could trust unconditionally and Matrox Video was the clear answer. In 25 years of live deployments, that trust has never once let us down.” video.matrox.com

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NEWS: PROJECTS

Nova Range elevates HKJC’s Genso HONG KONG

As part of the Hong Kong Jockey Club’s (HKJC) redevelopment of Sha Tin Racecourse, AV consultant Nova Range has delivered an integrated audio, video and broadcast solution for Genso, a Japanese-inspired restaurant designed to immerse visitors in the atmosphere of race day while providing a flexible venue for dining, live entertainment and community events. Developed alongside the renovated Champions Connection building, the restaurant combines distributed audio, low-latency race broadcasts and a dedicated performance, education and training space, keeping guests connected to the action on the track. A key requirement was synchronised live race coverage. Rather than using the club’s conventional television distribution system, Nova Range worked with HKJC’s in-house broadcast department to distribute native SDI feeds directly from the racecourse control room. The SDI signals are routed to the restaurant’s equipment room before being distributed using Evertz SDI distribution amplifiers to more than 100 Samsung displays. Blackmagic Design HDMI converters provide the final connection to each screen. “Because the restaurant directly overlooks the racecourse, the client wanted guests to view the races in real time,” explained Andy Mok, design consultant at Nova Range. “We

took the SDI feed directly from the control room and distributed it to every television throughout the restaurant.” Audio throughout the main dining areas is managed by HKJC’s existing Q-SYS infrastructure, providing background music

and control while integrating with the racecourse’s public address network. Staff can adjust audio locally, while the system can also be managed centrally for race announcements and venue-wide messaging.

Spanning four tiered levels, the irregular floorplan required multiple audio zones. Q-SYS AD-S6T loudspeakers cover larger dining areas, while AD-P6T pendant loudspeakers were selected for the ramen and dessert bars. Audac WX502MK2/O

weather-resistant loudspeakers extend background music and race commentary to the outdoor terrace. “The available speaker locations varied considerably,” Mok explained. “We divided

the restaurant into smaller zones so we could optimise the loudspeaker layout for each area.” The Genso Community space provides a multipurpose venue for live music, workshops and streamed events. Its video system includes a Unilumin Umate Umini P 0.9 LED wall, Panasonic AW-HE20 PTZ cameras and controller, and Blackmagic Design ATEM equipment. Audio comprises a Yamaha DM3 digital mixer, Shure SLX wireless microphones and P3RA in-ear monitoring, with a d&b audiotechnik system featuring 16C loudspeakers and Bi8 subwoofers. Mok said the building’s unusual layout and evolving brief required close coordination during construction. “There were a number of design changes and the building’s shape is quite unusual,” he explained. “We had to carefully consider how to conceal the loudspeakers and cabling while maintaining consistent coverage throughout the space. That required close coordination with the designers and contractors onsite.” The Genso installation forms part of the wider redevelopment of Sha Tin Racecourse, alongside Nova Range’s AV systems for the neighbouring Champions Connection which we have covered as a larger project on page 44. www.hkjc.com

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The new PX-Series 38 PRO AVL ASIA September–October 2026

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NEWS: PROJECTS

Martin Audio takes Noa from day to night

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VIETNAM

Noa by Hybrid Dining Club in Nha Trang, Vietnam, has deployed a Martin Audio sound system designed by local systems integrator B-Star to support both fine-dining and nightclub operation from a single integrated audio platform. Located in one of Vietnam’s leading coastal tourism destinations, the venue transitions

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from a restaurant during the day to a DJ-led nightlife destination in the evening, requiring an audio system capable of automatically adapting to two distinct operating modes. Rather than installing separate systems, B-Star designed a networked solution that allows the venue to switch between background music and high-energy club

sound while maintaining consistent audio quality and simple operation for staff. The indoor system comprises 16 Q10 units, two Q12 and two Q15 loudspeakers, supported by eight Q118 subwoofers. The outdoor restaurant area is equipped with four Q12, two Q15 loudspeakers and two Q118 subwoofers to provide coverage across the open-air dining space. The loudspeaker system is powered by five iKON iK41-Dante and three iKON iK42-Dante amplifiers, providing Dante networking and centralised system management. System processing is handled by an NST Audio D48X DSP processor alongside a Martin Audio DX0.6 system controller for loudspeaker optimisation and protection. For mixing duties, the installation includes an Allen & Heath SQ-5 digital mixing console for live performances and DJ events, alongside an Allen & Heath QU-5 console for day-to-day venue operation. “The client’s primary requirement was to create a sound system capable of supporting two completely different operational scenarios while remaining extremely simple for the venue staff to use,” explained Ita Pham, CEO and lead system engineer at B-Star. Before 9.00pm, the indoor and outdoor loudspeaker systems operate as one

unified system, delivering background music throughout the restaurant. Then, after 9.00pm, the entire system changes into two completely independent zones. “The objective was to create an enjoyable atmosphere earlier on in the evening while allowing guests to dine and converse naturally,” noted Pham. “Then in the evening, the outdoor restaurant continues operating with pleasant background music at moderate levels, while the indoor area transforms into a full-scale nightclub featuring live DJ performances and significantly higher sound pressure levels.” Pham said that the engineering objective was to not only achieve operational flexibility, but also to ensure that the audio quality remained high in every operating mode. “Even when the nightclub is running at high output levels with DJs performing, the system continues to deliver outstanding clarity, powerful low-frequency performance and uniform coverage throughout the venue,” he stated. “Once the installation and system tuning were completed, the client was extremely satisfied with both the operational flexibility and the overall sound quality delivered by the Martin Audio system.” www.b-star.vn www.martin-audio.com

CMY

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FEATURES: HOSPITALITY

Playing with the best

Sue Gould travels to Shenzhen to visit the latest venue to open under the growing Play House brand HEADQUARTERED IN CHENGDU, THE PLAY HOUSE GROUP HAS experienced dramatic expansion across China in recent years with the launch of venues such as Play House and Bottle Live Club. The group now operates over a dozen venues, its most recent launch being Play X, a five-room superclub in Shenzhen which is attracting both national and international attention. Hosting EDM, live performance, art and experiences under one roof, the company’s goal of creating an all-in-one entertainment complex appears to have been achieved – with a NEXO Alpha+ system at the heart of its main EDM room, Play House. “It’s a brand-new concept that radically differentiates itself from traditional EDM venues,” explains Play X CEO Jeff Huang of the 1,000-capacity space. “Conventional EDM clubs lack premium live shows, while here we can host large-scale international concerts with stunning stage presentations.” According to Huang, since opening in May there have been queues around the block as hopeful clubbers wait to gain entrance. Xiuli Liu, executive managing director from Guangzhou-based Hertz Audio, has partnered with NEXO in China for almost two decades, witnessing major changes in the entertainment industry alongside continuously rising client requirements. Negotiations with the Play House Group commenced a few years ago, with a formal partnership finally agreed in 2025.

“It was the launch of Alpha+ that really accelerated our cooperation with NEXO,” Liu explains. “There is a high level of respect and recognition in China for NEXO; it’s seen as a top-tier brand. Its fully optimised soundfield delivers a strong, immersive experience but avoids high SPL output, so guests experience a powerful punch rather than harsh volume spikes when dancing.” The core challenge that the Hertz team faced at Play X was its multifunctional programming. On a typical day, soft background music segues into live vocal evening performances before picking up the pace with international live bands and finally a shift into high-energy EDM parties. For Huang, an audio system capable of rendering different sound sources and isolating vocal tracks and electronic music separately was critical. “It comes with a steep price tag but the Alpha+ system produces spectacular surround sound,” he says. “I’ve asked numerous guests about the acoustic performance and they’ve all responded by saying that the sound quality is excellent.” Joe White, NEXO’s business development manager, Asia and Oceania, is happy with the manufacturer’s long-standing relationship with Hertz. “Hertz have a reputation for being involved with world-class installations in China so, when they came to us with this project, we immediately knew that Alpha+ would fit perfectly,” he says. Hertz’s design was passed onto the manufacturer’s engineering support team in France, and an engineer flew out to fine-tune the

NEXO’s focus upon the launch of Alpha+ was to install it into venues such as Play X

One of two NEXO Alpha+ hangs in the main EDM hall system. Two hangs of Alpha+ speakers, each comprising an M210 2-way active main module and a B218 bass module, form the main system in Play House, with a pair of NEXO P18 point source speakers providing outfill supplemented in the low frequencies by two L18 sub bass units. A total of 14 NEXO PS15-R2 and four PS10-R2 point source speakers and two RS18 sub bass units provide consistent reinforcement throughout the large space. “The sound quality and the power in here is on another level; Alpha+ is a box that can just keep on giving and giving and you’re never going to reach its limits,” says White, emphasising that Play X is its first club deployment in China. “This is a milestone for us because when we launched Alpha+, a big focus was to get it installed into venues exactly like this. We’re very proud of this installation because we believe there’s a large potential with venues here. It means a club owner will have a system that they know they can depend on, and they’re not going to have any issues with. Whether it’s a DJ or a live band playing, the Alpha+ can easily cover the whole spectrum.” Further P18 and L18 models have been installed in the 300-capacity Golden Face live hall and similarly sized Le Baron hip-hop room. Hertz has also installed a quantity of speakers from its own Landor brand across the complex. Liu is full of praise for the French manufacturer. “Most audio equipment only suits a single usage scenario and is unable to fit an all-round application, but NEXO offers a comprehensive product lineup to fully satisfy all demands,” he says. “After-sales service, timely product upgrades and stability, along with high operational efficiency, all ensure our ongoing long-term cooperation into the future.” Adds White: “We are very pleased with the installation at Play X because we’re seeing how quickly Alpha+ is being adopted by venues like this around the world. We have many more to come.” www.nexo-sa.com

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AMPLIFIERS • LOUDSPEAKERS • LIVE SOUND

ENGINEERED TO RULE THE VENUES !!

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FEATURES: LEISURE

Serving up the best The tennis courts, walkways and public areas are fitted with Ecler IC6 ceiling speakers

Richard Lawn discovers how Powersoft is increasing efficiency and flexibility at a new Bangkok health and wellbeing destination

AS A LEADER IN EXPERIENCE-DRIVEN LIFESTYLE destinations in Thailand, KE Group widened its portfolio in 2018 with the internationally acclaimed Crystal Sports tennis courts. The group’s collection of world-class venues now includes Crystal Sports G in Bangkok’s Ekkamai-Ramintra district. Designed to be more than just a sports facility, the lifestyle space demanded a quality background music system to integrate sporting, health and interactive social elements. “Audio was as important criteria of the design package, with a high-performance BGM system stipulated at the outset,” explains System Plus Corporation managing director, Chuthintorn Bhanyotin (Mam). Commissioned to design, supply and install the audio system in 2025, Mam and her team analysed the blueprints of the vast complex. In addition to covering five full-size tennis courts, an evenly dispersed audio solution was required for the public areas and peripheral outlets including Alva Café and Beach House and Let’s Relax Spa. Ibiza-inspired Alva is the first café and beach house to open on Pradit Manutham Road. Serving coffees, snacks and sharing plates 18 hours a day, the relaxed ambience is boosted by DJ music and a busy bar. A Bose Professional DesignMax loudspeaker design incorporates three DM8S enclosures augmented by dual DM10S-SUB subwoofers for higher SPL events and two DM6C ceiling speakers for regular BGM. A Klark Teknik DW 20BR Bluetooth audio receiver allows guests to play their own content during private events. Let’s Relax Spa is a soothing retreat with earth-tone colours, greenery, warm lighting, gentle curves, comfortable furniture and natural materials, installed with an extensive Ecler IC6 ceiling speaker solution. “Ecler is an established brand in retail and hospitality, and the client was impressed by the demonstration and the unobtrusive aesthetic of the enclosures,” continues Mam. Let’s Relax can host Bluetooth-compatible devices with another Klark Teknik DW 20BR audio receiver and a 5.0 ES9028Q2M D-A system also supplied. The five tennis courts, connecting walkways and public areas have been fitted with the same Ecler IC6 speakers and Bluetooth connectivity. A requirement to stream music between zones

System Plus Corporation’s Chuthintorn Bhanyotin (Mam) goes in to serve means that music played in Alma during DJ sets can be output to the tennis courts when required. Adding value and saving costs is a rare concept, but the Powersoft solution integrated into Crystal G’s audio design combines the two. “Music is broadcast to the tennis courts, public area and café via Powersoft’s Dynamic Music Distribution [DMD],” explains MI Engineering’s Natthapong. Having assisted System Plus Corporation with some of the design and the supply of four Powersoft Mezzo 604 AD and 602 AD amplifiers, the benefits were clear. “Distinguished by its half-rack, 1U chassis, Mezzo possesses several advantages, including auto setup, a one-touch-button solution that matches the speaker’s requirements by applying a HPF, limiter

Alma’s VIP dining room is equipped with Bose Professional DesignMax ceiling speakers

and gain adjustment with a single press of the rear-panel button,” explains Powersoft business development manager, SEA, Jinfu Chen. “With the long cabling distances between the amplifiers and some of the public zone speakers, Powersoft’s active damping control technology greatly compensated for incurred signal losses. With Power Factor Correction (PFC) reducing the current draw on the mains, the amplifiers operate at a higher efficiency.” When a Mezzo amplifier is connected to a column speaker, 100V line setup or subwoofer, power sharing technology is automatically triggered. “We previously installed more amplifiers but, with power sharing, the power from one single Mezzo 4-channel amplifier can efficiently share the balance of its 600W between all the rooms,” continues Chen. “With DMD inherent within the amplifier, the venue was able to bypass traditional DSP and zone control technology by routing various music sources to the identified zones. This represents a cost saving of around 25–30%, and the venue staff can easily operate the audio parameters.” With an ability to route the signal directly over the Dante network to the amplifier, Powersoft’s ArmoníaPlus software played its part, including programming a customised GUI. “Scene selections are set within the Scheduler according to the time of day for manual selection within DMD,” says Chen. “The Powersoft DMD multisource audio distribution solution integrates a routing matrix, a network switch and DSP within the Mezzo amplifier. DMD groups speakers into zones, so that one or more sources can be assigned and managed from the wall-mounted panel in Alma or from a synchronised wireless device hosting the Sys Control app.” Presets made in DMD’s software minimise the number of points where failures can potentially occur. In addition to simplified workloads, future loudspeaker network expansion can be easily created. “Systems integrators can bypass hardware that normally requires terminations,” explains Natthapong. “With the source selected, including the DMD, the audio can be transmitted to any outputs from the touch of an interface.” Whether on court or relaxing, Crystal G’s members continue to be impressed by the investment in professional audio technology. In time, the accountants will also be reassured by the cost savings that the added investments are making. www.mi-engineering.com www.powersoft.com www.systempluscorp.com

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FEATURES: LEISURE

Race day reimagined

Bea Meikle visits HKJC which has combined immersive AV, interactive technology and environmental storytelling to help the race club attract a new generation of visitors FOR MORE THAN FOUR DECADES, SHA TIN RACECOURSE has been at the heart of Hong Kong’s racing culture. Every season, hundreds of thousands of visitors pass through its grandstands to witness some of Asia’s most prestigious horse racing events, cementing the Hong Kong Jockey Club (HKJC) – which manages the racecourse – as one of the region’s most recognisable sporting institutions. Yet while the racing itself remains timeless, the expectations of its clientele continue to evolve. To broaden the racecourse’s appeal beyond its traditional audience and encourage a younger generation, HKJC embarked on a major renovation of its Champions Connection building that connects Sha Tin’s two grandstands. Once little more than a circulation space guiding racegoers from one side of the venue to the other, it has been transformed into an immersive environment where architecture, digital storytelling and audiovisual technology combine to create an entirely new arrival experience. The transformation brought together the expertise of several partners. “The brief we received was to provide an immersive AV experience that integrated into the architecture and interior design to becomes one holistic, cohesive digital landscape,” explains Andy Mok, design consultant at Nova Range. “Uniplan provided the overall digital concept and content design, we designed the AV system to deliver the customer experience and Vega Global was responsible for the installation.” That ambition becomes apparent upon entering the three-storey building. Nearly 300m² of Absen LED technology transforms the concourse into an everchanging digital landscape. Flexible Absen TSC1.25M P1.5 LED displays wrap seamlessly around structural columns on each level, while bespoke Absen NX2.5 ceiling displays stretch overhead on the top floor to create a digital canopy guiding visitors through the space. Rather than simply displaying promotional content, the LED surfaces become part of the architecture itself, surrounding guests with animated visuals of horses and nature that evolve throughout the day. Powering this are Novastar H Series LED processors, while eight AV Stumpfl Pixera media servers distribute content across the building under the management of ISAAC show

control software. Together, the systems ensure every display remains synchronised. Unlike many large-scale AV projects, Champions Connection wasn’t conceived from individual technologies but around the experience HKJC wanted to create. “The technology should disappear and visitors should simply enjoy the experience,” says Mok. Level one’s Hall of Fame is an interactive installation celebrating some of HKJC’s most celebrated racehorses. Motion sensors trigger horse images on LED screens to react to individual movements while a carefully designed soundscape recreates the atmosphere of the digital stable. Nova Range specified Samsung QH98C 98-inch professional displays for the Hall of Fame, allowing interaction with digital content, while six Samsung The Frame Pro displays throughout Champions Connection present artwork and visitor information. BrightSign media players synchronise content across the screens, providing the flexibility to update experiences as the venue evolves. Rather than relying on conventional background music, the objective was to create an environmental soundscape to complement the visuals and subtly reinforce the relationship between horse racing and the natural world. “The goal was to make the sound feel

Custom Absen panels have been installed on the ceiling

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natura sound hear in reprod from t To a the ba with a speak platfor Racec a cent says M Com Profes loudsp accura LED c quite u immed which audio A Da the ve the m loudsp conten disrup Altho single contro scene contro allowin power interfa HDMI and di signal Deliv consid install within had to inspec simult bigges combi the ra constr The Workin Range to ma within modu design they w

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natural,” explains Mok. “If visitors hear birds, the sound comes from the loudspeakers above. If they hear insects or ambient nature, those sounds are reproduced lower down, as though they are coming from the surrounding landscape.” To achieve this, the consultant retained QSC as the backbone of the distributed audio system, with a range of Q-SYS AD-C6T-LPZB ceiling speakers implemented throughout, extending the platform already deployed across much of Sha Tin Racecourse. “Using QSC meant we could maintain a centralised control platform across the venue,” says Mok. Complementing the distributed system are Bose Professional EdgeMax EM180-LP directional loudspeakers, specified for their ability to accurately localise sound effects alongside the LED content. “The directional loudspeakers are quite unique,” Mok notes. “They allow visitors to immediately identify where a sound is coming from, which strengthens the connection between the audio and the visual content.” A Dante network transports audio across the venue, ensuring synchronisation between the media servers, interactive displays and loudspeaker systems while allowing future content changes to be implemented with minimal disruption. Although Champions Connection appears as a single immersive environment, a sophisticated control infrastructure operates quietly behind the scenes. Crestron provides centralised touchscreen control over the building’s dedicated AV zones, allowing staff to manage audio routing, display power and system operation from a single interface. Lightware TPX transmitters distribute HDMI signals between the interactive computers and display systems, helping maintain reliable signal transport throughout the installation. Delivering this immersive experience proved considerably more challenging than the finished installation suggests. Because the structure sits within a live racecourse, construction schedules had to fit around race meetings, strict client inspections and multiple contractors working simultaneously within confined spaces. “The biggest challenge wasn’t a single issue; it was the combination of everything,” says Mok. “Because the racecourse remained operational, our construction windows were very limited.” The architecture itself also presented challenges. Working closely with the interior designers, Nova Range refined the curvature of the LED columns to match the surrounding finishes while remaining within the physical constraints of the flexible LED modules. “We went back and forth with the interior designers because they had a specific radius they wanted to achieve,” says Mok. “At the same

time, the LED panels have fixed dimensions, so we worked together to refine the final geometry.” The large-scale ceiling installation on the top floor required equally close collaboration. Existing sprinkler heads, mirrored ceiling panels and structural services left little room for conventional LED modules, prompting Nova Range to work with Absen to develop custom-sized display sections using Absen NX2.5 panels measuring approximately 54m2 that integrated cleanly into the architecture without compromising image continuity. Construction was further complicated by Hong Kong’s record-breaking rainy season. “There was some water leakage during one of the heavy storms,” says Mok. “Some panels were damaged, but Absen’s team came to site and managed to repair many of them rather than replacing everything. This was another huge advantage of working with Absen on the project.” Throughout the works, sections of the LED installation were repeatedly removed and reinstalled to accommodate client inspections and ongoing construction, adding another layer of complexity to an already demanding programme. With the installation now complete, Champions Connection has become a key part of HKJC’s wider strategy to modernise Sha Tin Racecourse. Beyond race days, the space is regularly used for workshops, exhibitions and hospitality events, demonstrating how the investment has extended

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FEATURES: SPORTS

L–R: Daru Luhur Sasmito from Kairos Multi Jaya, Padeloom operations manager Didan and Kairos Multi Jaya’s Damaran Kristanto

An RCF PL8X ceiling speaker solution handles the waiting and café area

Courting audio excellence Richard Lawn visits Padeloom, an upmarket facility which is catering to a new sport sweeping across Jakarta PADEL, ONCE A NICHE, REGIONAL GAME COMBINING elements of tennis and squash, has seen a global explosion, growing into an international professional spectator sport. With over 400 courts now open across the Indonesian capital, Jakarta has become a major Asian hub for padel. Memberships include professional coaching, racket and ball rentals and match nights in indoor air-conditioned comfort, while another integral part of the package is the provision of post-game social spaces. Previously the headquarters and broadcasting studios of NET Television in the South Jakarta district of Semanggi, Padeloom has joined the growing ranks in becoming an exclusive padel court. Developer and owner PT Raga Prima Gelora contracted Kairos Multi Jaya in August 2025 to design and install a BGM and paging system for the club, which features six indoor padel courts. In addition, higher-volume BGM systems were commissioned for the two lounge areas and a restaurant. “As a sport that is currently in vogue among Jakarta’s younger-demographic audience, padel courts are seemingly popping up throughout the Indonesian capital,” comments Kairos Multi Jaya system designer Damaran Kristanto. “Whether playing or socialising, their members enjoy hi-fi-quality background music.” A Symetrix Prism 8x8 Dante processor lies at the core of the BGM system. Audio sources and zoned volume controls are managed from the interface of a Symetrix ARC-WEB 2 browser-based visual user interface on the smartphones, tablets or computers of the duty managers. Source inputs are fed via Cat6 connections to an Allen & Heath CQ-12T mixer in the reception area and out to a Cisco SG200-26 Gigabit smart switch in the rack of a rear ELV (extra-low-voltage) room. The BGM system is overridden by fire safety evacuation notices, and general announcements can be made by the receptionist using an Audio-Technica PRO49QL gooseneck microphone with AT8668S anti-shock microphone stand. A further three AT-One channels are available for coaching and private events in other zones. Controlled by Symetrix ARC-2e wall panels, each of the two VIP courts are reinforced by dual RCF Compact M 08 speakers

and a Silver Crest CS Pro 200 18-inch subwoofer powered by a Powersoft Quattrocanali 4804 DSP+D amplifier. In addition to the BGM, members wishing to stream music from their own devices can take advantage of the dedicated Bluetooth connection made available by an Audinate Dante AVIO analogue input adaptor. Inside the VIP Premier Lounge, a pair of RCF WMR 60T wall-mounted speakers powered by two Powersoft Mezzo 604 AD amplifier channels provide full-range stereo fidelity. The SPLs are limited to a comfortable BGM level across the four main indoor courts, allowing the players to focus on their game. This is provided by four bracket-mounted Silver Crest 8-inch speakers powered by a Powersoft Quattrocanali 2404 DSP+D 4-channel amplifier. Meanwhile, in the lower-ceilinged reception, waiting and café areas, an RCF PL 8X 8-inch ceiling speaker solution has been applied, powered by the remaining two channels of the half-rack Mezzo 604 AD amplifier. The Le Baron cigar lounge on level two receives its own dedicated music sources including one from an AlphaTheta XDJ-AZ 4-channel DJ system. Like the VIP courts, this higher-SPL zone is catered for by a pair of RCF Compact M 08 speakers supplemented by a Silver Crest CS Pro 200 subwoofer. Powered by another Powersoft Quattrocanali 2404 DSP+D amplifier, the upstairs Ecoute restaurant is also reinforced by a pair of RCF WMR 60T enclosures. Sound reinforcement in the outdoor Dragonet courts and Pilates studio foyer is provided by RCF BD 42 bidirectional sound projectors. Providing ease of orientation in commercial and industrial applications, the dual 5-inch transducers are housed within an IP55-rated cylindrical plastic body that is fixed into position on a U-bracket. The toilets are catered for by RCF PL 8X ceiling speakers powered by a Powersoft Mezzo 324 AD amplifier. With a Silver Crest PS-002 power conditioner providing one-touch sequencing, the Kairos Multi Jaya audio design dictated that Klotz MC 2000, LY215 and LY225 speaker cabling should be used throughout. Having opened in late 2025, Padeloom’s membership has flourished. “Their members come here to work out, have fun and

Duty managers can control BGM parameters from a Symetrix ARC-WEB 2 user interface relax, and the musical ambience we have provided has enhanced their experience,” declares Kristanto. “We didn’t face many challenges, but it was tricky trying to test and commission the audio system while other contractors were onsite. Ultimately, we were required to work evenings and nights when other contractors were absent.” Like the audio systems it designs and supplies, Kairos Multi Jaya appears to work effortlessly, round the clock. www.kairosmultijaya.com www.powersoft.com www.rcf.it www.symetrix.co

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FEATURES: EDUCATION

May the fourth be with you Continually pushing the boundaries of film and media production education, Whistling Woods International has embraced immersive as the fourth content experience platform. Caroline Moss goes on campus

CTO Chaitanya Chinchlikar is also vice president, business head and head of emerging media at WWI SITUATED WITHIN MUMBAI’S SPRAWLING FILM CITY complex, Whistling Woods International (WWI) is one of Asia’s leading centres for film, communication and creative arts education. Founded in 2006 by filmmaker Subhash Ghai, the institute immerses students in the same technologies, workflows and environments used across the entertainment industry, incorporating all aspects of professional filmmaking. WWI has been responding to the fast-developing immersive environment over the past decade, recognising it as the fourth major content experience platform after cinema, television and OTT, transitioning audiences from passive viewers to active participants. And there have been some exciting developments to reflect this. One of these stems from WWI’s close partnership with Sony, which includes serving as a beta-testing site for new releases. The campus houses the first few Spatial Reality Display (SRD) units in India, featuring Sony’s stereoscopy technology which reproduces spatial images in 3D without the need for special headsets or glasses. Sony was the first major partnership that WWI CTO Chaitanya Chinchlikar arranged back in 2011, giving students the opportunity to work with 4K HD and 3D stereoscopic content creation while providing the manufacturer with extensive user feedback and access to the next generation. Kickstarting the partnership 15 years ago and inaugurated by Sony Corporation president Sir Howard Stringer, the Sony Media Technology Centre (SMTC) at WWI became only the third in the world after similar centres in Hollywood and the UK. SMTC is now in its fourth incarnation, incorporating the Sony Cinema Line of high-end cinema cameras. Another example is a workflow development partnership with motion capture (mocap) specialist Qualisys, leading to the company’s first commercial deployment of mocap in a Hindi feature film, Munjya. The institute is also a beta-testing partner for Sennheiser and Neumann. Recently, Chinchlikar became one of a few people outside of Sennheiser to beta-test its in-headset Apple Vision Pro sound mixing tool which allows engineers to mix multichannel and spatial formats on headphones, eliminating the

WWI’s Sony Media Technology Centre is headed up by Sundaresan Malatur

need for a physical studio. And, in 2024, a collaboration with Intel and Samsung facilitated an 8K livestream of the Paris Summer Olympics at WWI. “We worked closely with Intel, which had built out the entire workflow and created a new codec for media coding,” explains Chinchlikar. “The workflow entailed taking in raw 8K, compressing and encrypting it, sending it over the open internet for decryption at WWI’s end and playing it back on an 8K Samsung display.” Stressing that WWI is not a production house, Chinchlikar explains that these mutually beneficial tie-ins provide manufacturers with valuable feedback while enabling staff and students to try out new and emerging technology without major investment. “We’re a private establishment, without government funding,” he explains. “So, for example, when we wanted to work in VR, [telecommunications giant] Jio came in to fund the Whistling Woods Jio VR lab, and out of that emerged our entire cinematic VR workflow and a VR livestreaming workflow – which was deployed at the IPL cricket tournament – leading us naturally to an immersive ecosystem working with technologies such as volumetric capture and photogrammetry.” Other real-world projects that have given students valuable experience include a seven-year project with the Mumbai Metro Rail Corporation (MMRC) to produce a series of 360° VR documentaries detailing the construction of the Mumbai Metro Line 3. “We looked at how you shoot non-fiction in India, creating a docuseries on an ongoing project: how do you plan your shoots; how regularly do you go and film; what do you shoot; and so on,” says Chinchlikar. Such collaborative projects also allow WWI to develop high-quality workflows indigenously: “Rather than rely on expensive technology brands like Stype or Mo-Sys for elements like camera tracking and lens tracking, one of our faculty built a virtual production workflow with a metadata transfer protocol at its base. This allowed us to build out a camera tracking system, a lens encoder, treadmill and turntable encoders and integrate them with mocap to create a universal virtual production/mocap workflow. An

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FEATURES: EDUCATION understanding of immersive workflows then enabled us to build out a photogrammetry pipeline as well as a 3D printing pipeline.” Chinchlikar, a man who wears multiple hats and is simultaneously vice president and business head of WWI and CTO and head of emerging media, is all too aware that WWI has to be five years ahead of the commercial industry, well before mainstream adoption. “Our students need to know what is coming next,” he continues. “We incubate companies that are owned by our alumni; for example, we’ve built a strong markerless mocap workflow using visual AI and pose estimation out of the lab, and a 3D printing company which looks at uses outside of the typical applications.” WWI is also heavily invested in ambisonics 360° surround sound and spatial audio recording and mixing, both for VR and for integration into traditional film and entertainment audio workflows, investigating how multidirectional audio can elevate narrative storytelling. A major inspiration is the Sphere in Las Vegas, which Chinchlikar has visited on extensive travels to expand his technical knowledge: “We have much to learn from workflows like the one

An Allen & Heath Avantis console handles FOH in the 5th Veda auditorium

One of the DAW studios has a new Audient console and a PreSonus 5.1 system

deployed at the Sphere – technologies such as beamforming and beam steering and vectorised audio. While we’re working with first-order ambisonics in depth already, we are also studying second-order ambisonics to understand how it can work, even though it’s not at our doorstep yet.” WWI’s pioneering of immersive audio really took off in 2013 when it designed and built India’s first Auro-3D mix theatre, the 5th Veda auditorium. While the format enjoyed significant popularity, particularly in the South Indian cinema market, the global standardisation of Dolby Atmos eventually demanded a pivot. In 2025, WWI restructured the room alignment and converted the room to a certified Dolby Atmos mix stage. The system has been

upgraded with Pulz Audio CSX110, CSX12 and CSX15 models for the surround, rear and overhead channels. There is also a new FOH system of five-per-side Meyer Sound Tigra-W line array speakers, with two more for centre fills and four 600-HP active subwoofers, and an Allen & Heath Avantis console. “We have a music production, composition and performance programme and students perform here all the time, so they need to be heard in the best-possible quality,” explains Chinchlikar. The room is also installed with a Harkness silver screen and Sony SXRD projector for stereoscopic 3D projection. Rather than identically equipping all five of its 5.1 DAW studios, WWI has varied the hardware to reflect India’s real-world postproduction industry. Avid work surfaces are ubiquitous, but one of the rooms boasts a new Audient ASP 4816 analogue recording console and another is equipped with a Yamaha 02R. Students also encounter different monitor brands from room to room, including Genelec, PreSonus, Adam Audio and JBL. This deliberate lack of uniformity encourages students to rely on their ears and an understanding of signal flow. “We want them to get comfortable with the brands and recognise a difference between the monitors,” explains Chinchlikar. All DAW studios can access isolation booths for solo instrumentalists, vocalists and small ensembles as well as a dedicated Foley suite. Students also have access to a Dolby mix studio installed with a Martin Audio surround sound system and a Harrison Series 12 digitally controlled analogue film console. When WWI opened in 2006, its main focus was to educate India’s next-generation filmmakers in the latest technology that was becoming available in the world’s most prolific film industry. “We started with film because that’s our core, but the goal was always to diversify into the four verticals: narrative arts, communication and management, creative arts and performing arts,” says Chinchlikar, reeling off the available programmes on the undergraduate and master’s degree pathways, which include acting, music, composition, cinematography, direction, editing, producing, screenwriting, sound, visual FX, production design, animation, video

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FEATURES: EDUCATION

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The Harrison console in WWI’s Dolby digital surround mix studio

The 5th Veda auditorium has been upgraded to a Dolby Atmos Pulz Audio system with a Meyer Sound line array games, fashion, visual communication design, advertising, journalism, events, PR, sports and esports. Also in the pipeline is a one-year diploma created in conjunction with AVIXA, encompassing pro audio, AV, operations and engineering for location-based experiences. “This is aimed at people who want to look at a structured pathway for permanent installations such as museums,” he continues. “There are 50-plus museums and location-based immersive AV experiences being planned in India so the opportunities are immense.”

Head of sound recording and sound design Rakesh Ranjan, who’s been at WWI since the beginning, explains another recent development sparked by a downturn in the music recording industry. “We’ve introduced a location music production module for our master’s degree students, teaching production sound for indoor concerts and outdoor events,” he explains. This is another area WWI is exploring in partnership with AVIXA. “There are now so many people working on live events with sound and lighting, visual imagery for LED walls and projection mapping,” continues Chinchlikar. “We want to develop these disciplines, and AVIXA provides the perfect channel to get things going.” WWI is not only keeping up with the rapid pace of technological innovation, it actively participates in its development, operating as both as a technology incubator and an educational institute. Students – currently a total campus strength of around 1,100 – collaborate across disciplines, gaining hands-on experience with

professional cameras, lighting systems, audio consoles and postproduction software while working on projects that mirror real-world workflows. “The key is merging rather than looking at things in individuality,” Chinchlikar concludes. “When you look at a discipline as part of a whole, it enhances the learning process: how photogrammetry is linked to VR is linked to virtual production and from there to 3D printing, or how production design is linked to gaming and how both can be enhanced by spatial reality displays. Students now have an immersive workflow and can see how their education can be enhanced.” The result is an environment where emerging talent can experiment with cutting-edge technologies while developing the collaborative skills demanded by today’s film, broadcast and immersive media industries. www.whistlingwoods.net

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FEATURES: EDUCATION

The striking INFiLED LED wall at ECU City Campus’ main entrance

Delivering a downtown debut In February, Perth’s Edith Cowan University (ECU) unveiled its first comprehensive, inner-city site. Richard Lawn reports from ECU City Campus

SPANNING 65,000M2 ACROSS 11 LEVELS, THE WORLDclass education, research and creative industry spaces opposite Yagan Square are the result of a collaboration between the Australian Government, the Western Australian Government and ECU to deliver Perth’s first comprehensive CBD (central business district) university campus. Setting a further precedent, a significant portion of the AU$853mn budget was dedicated to AV technology. Paving the way towards the construction phase in 2022, ECU appointed Multiplex as head contractor. National architectural firm, Lyons, international architects Haworth Tompkins and Perth-based Silver Thomas Hanley all collaborated to transform the highly ambitious design plans for ECU City into a world-class reality. From the initial groundbreaking to welcoming the first influx of students in just four years, the two main AV contractors working under Multiplex’s supervision bolstered their in-house resources to execute an AV rollout never before witnessed in Western Australia. Appointed by Multiplex as ECU City Campus services manager, Elijah Steele led the construction technology team in executing the enormous AV integration. Having previously served as senior projects manager and operations manager with Australia’s largest

AV contractor Diversified – formerly Rutledge Engineering – Steele understood the complexities confronting an AV contractor on a major project. Among many references during his 10 years at Diversified, the Perth Optus Stadium was his largest. The enormity of the ECU project soon dawned on Steele. “From Multiplex’s perspective we were managing many subcontractors, peaking at around 900 workers per day onsite. For the AV a single contractor was insufficient, so we decided to create a multi-contractor model but with fewer subcontractors managing their own scope as we believed this would avoid delays.” Diversified was initially appointed to implement the performance AV and elements of the stage engineering. Having enjoyed a healthy working relationship with ECU since its inception in 2005, Vizcom Technologies was then commissioned to assume general AV responsibilities for the teaching spaces. “This project was driven by AV,” assesses co-founder and systems specialist David Jones. “Our focal point was Multiplex, but we also engaged directly with our long-term client. Elijah Steele fully understands the AV contracting business and he drove the other subcontractors to prioritise completing the AV installation on time. Multiplex were very hard taskmasters, and with good reason, because I’ve seen houses take

Multiplex ECU services manager Elijah Steele

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FEATURES: EDUCATION longer to build in Perth. We normally work directly with clients, so it was a step up to work on a big site under Multiplex and integrate with other trades. Apart from the six subcontractors we appointed during the works, our in-house team undertook most of the tasks including the engineering, programming and technical drawings.” Ultimately, the two subcontractors drafted up to 90 personnel onsite each day. “For Perth, that’s a significant portion of the available workforce engaged on one single project,” notes Steele. “However, the scale of the project was a primary concern because we had to manage, structure and deliver within a compressed timeframe. One of the key strategies we implemented was a Multiplex-led initiative known as factory acceptance testing [FAT].” To fulfil FAT compliances Vizcom built a replica classroom offsite, incorporating working elements of the AV components. This included the design of a detailed user interface that would be tested and refined before implementation. The client also used the FAT process to educate its leadership team and demonstrate how teaching was changing from traditional lecturing to more collaborative, pod-based learning environments. In parallel, Vizcom built pilot classrooms at two campuses and began testing them in the real world to encourage feedback. ECU’s dedicated City Campus technology team, led by Phil Ferreira, oversaw the internal technology programme along with providing specifications, standards, advice and requirements to the construction technology team to ensure the infrastructure and provided AV aligned with the university’s requirements. Having approved UT Consulting’s original AV design two years earlier, Vizcom and ECU’s technology team worked collaboratively to redesign the brief to support new ways of teaching and learning, ensuring it would be 100% network based. “When ECU brought in new project managers, they wanted it to meet the design standards of their other campuses,” says Jones. “Following our appointment in late 2023, we created whole sandboxes and converted our office into a live demo to work on client acceptance testing. Software designer Michael Pugliese and his team continued to conduct multiple rigorous tests, while others in the ECU project team started to deploy specified hardware onsite once the client had signed off the various proof-of-concept systems.” Beyond the FAT modelling, the real world awaited. Ultimately, Vizcom would bring 541 AV-enabled spaces with over 4,500 network-connected devices online. This included 500 professional displays, 420m2 of bespoke LED walls, over 100 Crestron Flex VC endpoints, 127 Sennheiser TeamConnect ceiling microphones connected to Q -SYS audio and Crestron NVX AV-over-IP control networks. Once the designs had been agreed, Multiplex required that the design brief was set and could not deviate.

L–R: TAG’s Bryan Davidson, UT Consulting’s Tom Carrie and Vizcom’s Scott Wrightson, Troy Todd, Michael Pugliese and David Jones at ECU City Campus

A tot Cam

Given the scale and complexity of the project, the Multiplex team prioritised deadlines for the core Crestron and Q-SYS systems. These were followed by the secondary systems, and peripheral items were given extended timelines. “Multiplex decided to bring the delivery forwards for certain parts of the building,” explains Steele. “Allowing Vizcom to commission the rooms early, we provided three levels with temporary power and independent networks. Ultimately, we handed over some spaces around 14 months before practical completion.” Over the three-year construction cycle Multiplex progressed upwards, in doing so opening the lower levels for the two AV contractors. “It created logistical headaches because we had to manoeuvre around other contractors to deliver finished pieces of hardware for installation onto a building site,” recalls Jones. “You had to consider the procurement of equipment and the logistics of delivering when you could not physically install for another six months.” With the campus built over underground train lines and over a bus terminal, the rooms could have suffered from vibration. “Everything is anchored to the structure around isolation units,” explains UT Consulting senor consultant, Tom Carrie. “The acoustic treatment is

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Fourteen digital spaces are equipped with learning pods

Dual Panasonic projectors in CC.1N.500 can switch from teaching to cinema mode

The main foyer is reinforced with L-R hangs of Martin Audio

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O-Line

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A total of 127 Sennheiser TeamConnect ceiling microphones are installed throughout ECU City Campus

both intricate and takes up a lot of vertical space, with a slab, a 400mm void, an acoustic ceiling and another ceiling above that. This added four flights of stairs per level.” As a result, Vizcom had to customise the installation of all the projector brackets. “In the rooms with acoustic restraints we had to use seismic isolators and some creative thinking,” assesses site manager Dean O’Sullivan. “We often had to install Unistrut frames that allowed us to come back once the first ceiling was closed, enabling us to mount the final bracket that supported numerous Epson and Panasonic projectors. This process added a lot of complexity with the tracking and timing of our works.” The north, south and central sections of ECU were each assigned dedicated Multiplex managers, who approved when rooms could be fitted once a section was completed. “This often led to a requirement for more manpower,” continues Jones. “All the sub-trades contributed to complete their works in time to facilitate the hardware installation. The network contractor did

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A lecture podium with a charging station for the Sennheiser EW-DX wireless handheld system

O-Line speakers

most of our cabling, but we routed the microphone, loudspeaker and coax cabling.” Contracted before ECU’s network had been confirmed, Multiplex supported Vizcom’s own network deployment. “We tested our own switch onsite in advance to prove that our AV system operated on our network,” Jones emphasises. “We had to prove that these systems worked in isolation. Although it was our job to make the system work on the main network we had to start commissioning before the client network was live, otherwise we would not have maintained the strict schedule.” The rooms vary considerably in scale and scope. Collaborative studios including the first-level 1N.500 in the North Building serve as multipurpose lecture theatres. Fitted with dual Panasonic projectors, the mode can switch from teaching to cinema when the central projector kicks in, whereby a programmed Q-SYS preset file in the Core 110fx triggers Dolby Atmos surround sound. Capable of accommodating between 100 and 200 students, a teaching space at the front of the stage incorporates all the AV presentation equipment, including a main touchscreen and touchpanel for MS Teams video conferencing together with Sennheiser EW-DX wireless MMD853 handheld and ME2 lapel mics. “Throughout the project we were challenged by the limited ceiling cavity space for cabling and mounts,”

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FEATURES: EDUCATION explains project manager Scott Wrightson. “The cabling had to be precisely routed because of the secondary ceiling and the acoustic levelling with all the aluminium ceiling tiles. We installed Sennheiser TeamConnect Ceiling 2 [TCC2] and TCM mics parallel to each panel into all the learning spaces, including eight TCC2s in CC.1N.500. Q-SYS DSP maintains the camera tracking for the presenter at the front as well as audience tracking, when it can switch to either zone depending on the speaker. In addition to the ceiling speaker system, a 7.1.2 QSC AD-S surround sound system provides a movie theatre scenario.” A total of 101 Teams-enabled meeting rooms are equipped with a wall-mounted touchscreen, Crestron AirMedia wireless presentation gateways, Sony displays and Jabra soundbars. Lecture rooms are provided with a mix of Crestron, iPad and Dell control tablets installed with personalised content, documents and files and facilitated logs. For conferencing, Q-SYS integrates the video cameras and audio together with BYOD (bring your own device) capability, allowing wireless conferencing to be conducted from a laptop installed with MS Teams. In addition to the 51 learning areas and teaching spaces, 14 digital learning spaces distinguish themselves with pods that encourage student groups to collaborate and share content. AV functionality is controlled from a facilitator station but, when the room is turned off, the students have access to the individual functionalities within a pod. As well as Crestron AirMedia wireless presentation gateway technology, Lightware USB-C connectivity is ubiquitous for content delivery and charging.

Daktronics LED ticker tape displays are installed inside campus and on the building’s exterior “ECU required that HDMI or any other connectivity could not be used,” says O’Sullivan. “We specified Lightware UCX matrix switchers and laptop cables as standard because they understand the current market, their cables cover all the bases and, as a contractor, they don’t let me down. With some brands, three out of 10 cables usually fail on this sort of scale.” Demanding military planning, the extensive inventory of hardware destined for the 541 rooms was ordered and delivered for installation. “From a distribution perspective, it is easier to manage any project – but particularly on this scale – with fewer suppliers providing standardised products,” explains Jones. From the outset, Vizcom opted for best-in-class products including racks from Altronics, Chief, Crestron, Epson, Lightware, Martin Audio, QSC, Samsung, Screen Technics, Sennheiser, Sony and Vogels. “The equipment had to arrive onsite and on time, so working with trusted manufacturers and distributors – including Amber Technologies, Midwich, TAG and ULA Group – was a key logistical issue,” he continues. “The main suppliers further supported Vizcom by warehousing equipment locally, until it was required onsite. Without those partnerships, we could not have fulfilled the works schedule. For example, we have enjoyed a strong partnership with ULA for the past three years because it is an Australian company which provides local support with its bespoke architectural design LEDs, including the large INFiLED LED in the ECU City foyer.” Enter purchasing officer Sammie Powell from the Vizcom procurement department. “Without Sammie, it would not have been possible to supply 500 Sony display screens onsite at the right time,” states Jones. “When you’re waiting for rooms to be ready and there’s no storage available, you must deliver when those rooms become available, otherwise inventory can walk offsite. The technical elements of the project were important, but the partnerships with the suppliers, UTC, Multiplex and others made this successful.”

A QSC AD-S 7.1.2 surround sound system is installed in the CC.1N.500 space In addition to the build side, Tristan Simpson from UTC was tasked with referencing changes from the original client brief to room types, technology and software. “This involved cross-checking multiple spreadsheets and schedules with an extensive list of variations from the original signed-off requirements,” says Carrie. “A lot of design validation milestones had to be monitored and met by heavy-hitting business accountants.” The subcontractor management teams were all co-located on the same floor as Multiplex, which would assign rooms to the Vizcom engineers as soon as they came online. “Once onsite, we would connect and terminate all the devices in the room,” explains O’Sullivan. “The code and scripts for the device configurations were then deployed, which was relatively straightforward for the standard rooms. With the amount of programming we were conducting, Q-SYS significantly simplified and sped up the process. Minor room configuration changes were made based on the actual room with IP addresses. The longest part of the commissioning process was the audio tuning.” Towards the apex of the project, the first-level rooms required commissioning when levels six and seven were being installed. “AV contractors are always the last ones onsite, which means we are always working within a highly compressed time limit,” recalls Jones. “Michael Pugliese was very frustrated when doing the voice lift tuning because every time he tried to activate it, somebody would use a hammer drill several storeys above. Considered one of the best programmers in the world by Crestron, Michael’s ability to scale the codebase was key to the project’s success, enabling his team to commission rooms in a single day rather than over a week. As the project neared completion and multiple rooms became available simultaneously, the commissioning team performed exceptionally well, maintaining a smooth and efficient process between handover and witness inspections.” No expense was spared for the music rehearsal studios, including the provision of dual grand pianos. Acoustic treatment was required to keep ambient noise below 33dB and was measured by acoustic firm Marshall Day upon completion. Within the padded plate of the wall, a dual cavity has three sheets of fireproof Gyprock on either side. Additionally, heavy-duty doors were designed to limit and absorb any external background noise. These rooms consist of an audio source that can also be connected via Bluetooth for output to QSC AD-SAT 8-inch speakers. In addition to the standard rooms, Vizcom added a bespoke touch to venues including the Paula Huston Auditorium, which is fitted with eight cameras, six screens, projectors and floor-toceiling mounts for displaying in five different directions. As well as the 100 teaching rooms, Vizcom installed complex AV systems in the boardroom. Jones recalls that extensive coordination with multiple stakeholders was needed for this one room before eight Q-SYS auto-tracking cameras and two Sennheiser TCC2 mics covering up to 26 people around one table were integrated. Four horizontal and three vertical displays can be deployed in addition to the front dual 85-inch displays, depending on room orientation. Students and visitors arriving at the main entrance of the campus are confronted by a 420m2 INFiLED LED wall. A favourite

meeting point, the stepped area is occasionally used as a teaching space and for hosting events. UT Consulting worked with challenging geometry and acoustic surfaces including wooden floors, the huge LED screen and wall-to-ceiling glazing to provide intelligible speech and music. “We conducted simulations in EASE and looked at different scenarios before Tristan specified a Martin Audio O-Line solution,” confirms Carrie. “The two hangs of 14 cabinets produce an excellent Speech Transmission Index, a consistent SPL and an even frequency response from front to rear. On the first level we supplemented the ceiling speakers under the bulkhead with pole-mounted Martin Audio CDD8 speakers behind the O-Line arrays. Diversified also installed Martin Audio CDD5 enclosures with SX112 subwoofers powered by QSC CX-Q D amplifiers in the same space as part of the show relay system.” Showing a mutual respect for one another’s workmanship, Vizcom collaborated with Diversified when required. “Our contracts were immense, so neither company could have conducted both,” admits Jones. “The Diversified Q-SYS platform controls their spaces, for which they created a teaching mode, and this serves as an integration point into our teaching facilities, allowing a bidirectional streaming of audio and video between the theatres and teaching spaces. Presentation, show and teaching modes can all be activated from a Q-SYS 7-inch touchscreen, with relay feeds received from any of the performance spaces.” Witnessing the first draft of students entering the rooms and engaging with the AV capabilities provoked an emotional response from Jones: “Despite the enormous pressure, I am extremely proud of how our team delivered a job of this scale. Not only did they deliver at a very high level, they also built strong relationships with the builder, client, consultants, suppliers and other trades throughout the project. To come out the other side of something this big with those relationships stronger than when you started says a lot about the kind of people they are.” Steele is adamant that collaboration was key to the project’s success: “It was intense, but it was more of a sustained high pace than extreme peaks. Looking back, the project was a success because of early planning, clear strategy, strong collaboration and having the right people in place.” And Ferreira agrees wholeheartedly: “The facilities are integrated, best-in-class and show what can happen when clients collaborate closely with those contractors that are at the forefront of their industry but are also willing to challenge outcomes and ensure alignment with their own vision and requirements.” With ECU City Campus destined to be a major nucleus for Australian and international students of creative industries, performance, business and technology, Vizcom’s legacy looks set to play a part in helping them acquire better opportunities for decades to come. www.ecu.edu.au/about-ecu/our-campuses/ecu-city-campus www.multiplex.global/au www.utconsulting.com.au www.vizcom.com.au

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FEATURES: ENTERTAINMENT

Sound legacy

The theatre’s 180-seat auditorium

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Kunal Kapoor has run Prithvi Theatre since the 1980s

Caroline Moss visits a Mumbai venue which combines an unimpeachable pedigree with a laser focus on the development of Hindi theatre

Ansa

Tucked down an alley in the upmarket Mumbai enclave of Juhu Beach, away from the bright lights of Bollywood, the intimate Prithvi Theatre supports Indian drama and stagecraft, offering aspiring stage artists, technicians and researchers a well-equipped venue at an affordable cost. Founded in 1978 as a subsidiary of the Shri Prithviraj Kapoor Memorial Trust and Research Foundation, the theatre honours the man it’s named after: Prithviraj Kapoor, forefather of Indian cinema and patriarch of the Kapoor dynasty that has been prominent in the movie industry ever since. In 1944 he founded the touring Prithvi Theatres company, bringing productions to far-flung corners of the subcontinent. But by the late 1950s, cinema had largely replaced this tradition, providing an alternative to costly tours involving large troupes and heavy equipment. All was not lost, though. Prithviraj’s son, Shashi Kapoor, merged Prithvi Theatre with Geoffrey Kendal’s Shakespeareana, another touring company that carried Shakespeare to India’s towns and villages. Shashi married Kendal’s daughter Jennifer – sister of British actress Felicity – and this union gave Prithvi Theatre a permanent home on the land Prithviraj had leased in 1962. A small theatre operated from the plot until his death a decade later, when Shashi bought the plot and rebuilt the theatre in its present form. Today,

A d&b L-C-R system has been installed along the theatre’s proscenium

Prithvi Theatre when it opened in 1976

the theatre has grown to fill that land, absorbing even the cottage Shashi built there for his family, and is now equipped with technical facilities, rehearsal rooms and workshop spaces. The theatre is run by Shashi and Jennifer’s son, Kunal Kapoor, who stepped in during the 1980s to run the theatre with his sister, eventually bringing in his own children as well. “Although this is now the fourth generation of the family that’s been involved with Prithvi, it still feels as though we’re continuing my grandparents’ ethos of bringing theatre to India and making it accessible,” he says. “The entire concentration is on the performance, and the experience the audience gets from it.” Although the main studio theatre has had a sound system since it was built in 1978, there’s still an emphasis on natural acoustics. “The original wall speaker system was designed for background and effects and was never meant for amplifying voices or instruments,”

Kapoor continues. “They were positioned on the side walls and the imaging was all wrong. So I moved them and hung them over the proscenium above the stage.” With a background in advertising, having directed over 1,000 commercials, Kapoor has extensive experience of working in studios and is familiar with a wide range of audio equipment. However, a turning point for the theatre’s acoustics was when a sound engineer visiting from the US helped out with a play with musical content. “The play was about a club singer who was using a mic as a prop, with a live band,” he recounts. “In rehearsals it sounded terrible, so I asked if I could bring Ashish, the engineer, in. He moved the speakers to the front and balanced everything by ear. It sounded incredible. When the vocalist sang in character as the club performer, she sang through the mic. When she put it down to act, everything else was acoustic. Afterwards, the musicians came up

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FEATURES: ENTERTAINMENT to me to say how good it sounded – they could hear the difference. That feeds back into the audience: if it sounds natural, if you can understand what’s being said or sung, the audience responds differently, and that feeds back into the performance itself. When you amplify badly and make things loud, the audience pulls back, but if it’s done well, they lean in and engage. That’s what you want.” Inspired to find a new sound system for the theatre, Kapoor started looking at speaker brands, eventually deciding on d&b audiotechnik after conversations with director Leslie Lean and his team at Ansata, the manufacturer’s Indian distributor. “Leslie and his guys were very forthcoming and easy to engage with,” he says. “Although d&b speakers are great, and that was the technology we wanted, we also needed to know that the people supplying them were going to be there for us. Who you’re buying your equipment from is also so important – we need to know the support is there.” Ansata has installed the auditorium with three d&b 10S-D 2-way loudspeakers from the xS-Series to form an L-C-R system, with two 18S-SUB subwoofers for the LFE, powered by a 25D

An open-air café increases accessibility at the theatre complex

Ansata’s Prathamesh Shah

amplifier. Due to the size of the theatre and the nature of the performances, a major requirement was that the system should be as unobtrusive as possible. The subwoofers have been recessed into the walls. “We had to lift them up off the ground as the stage – which is constructed entirely from wood – would have amplified the bass,” explains Ansata’s application specialist, Prathamesh Shah. Ansata installed the system in time for Prithvi’s annual festival, with positive feedback reported from the participating theatre companies. Audio is relayed through a small Yamaha console installed with soundcards. The Prithvi Theatre is a non-profit entity depending on the patronage of individuals and corporates committed to the development of the performing and fine arts, and Kapoor is keen to credit ticketing agency BookMyShow for making the purchase possible. “BookMyShow handles all our ticketing,” he explains. “They came to us back in the 1990s about offering online ticketing, and we were one of the first theatres to do this. They’ve

been a great supporter and gave us a corporate donation which enabled us to buy these speakers. My father used to say that very few of our contemporaries actually put money back into the industry they profit from. But BookMyShow does that.” The theatre puts on over 640 performances a year, including plays in Hindi, English, Marathi and Gujarati as well as live music and dance, averaging about 84% audience attendance across 180 seats. Three Mondays a month are kept for technical rehearsals and maintenance, while on the fourth Monday the Symphony of India Orchestra performs chamber pieces and quartets. The theatre is closed for around 20 days each October for annual painting and maintenance before reopening in early November with a festival spanning two weekends. Kapoor is encouraging visiting groups to make the most of the system. “I’ve been pushing theatre companies to create soundscapes more effectively,” he says. “One English company that toured here did this brilliantly – we added extra speakers for a 5.1 setup that felt genuinely immersive. There was one moment with characters supposedly calling to each other from two cliffs, and you could really hear that effect.” Prithvi Theatre’s mission to develop and educate actors and theatre technicians extends to audiences as well. No entry is allowed after the third bell and there is an ongoing effort to discourage mobile phone use. Complimentary tickets are issued at the venue 15 minutes before showtime, making performances accessible to all, and there is no main gate to the theatre compound as such, just an open space that draws people into an alfresco café which leads to the performance areas. “Groups can access Prithvi equipment and property easily, and we invite them to make the theatre their home for the days they perform here,” says Kapoor. The new d&b audio system at Prithvi Theatre is just the latest in a series of upgrades designed to keep the original aim of its founders true, almost five decades later. www.dbaudio.com www.prithvitheatre.org

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BUSINESS: COMMENT

A letter from America

The technology enabling one-person performances has never been more powerful, but Dan Daley argues that the inherent legal risks are growing just as quickly

THE ARRAY OF TECHNOLOGY PLATFORMS THAT CAN turn a single musician into an entire orchestra is remarkable. From looper pedals that can act as robotic sidemen, playing parts the lone leader taps out onsite, to the kind of SMPTEled backing tracks once reserved for the highest echelon of global touring shows, anyone can now closely emulate the godfather of that unique category, Ed Sheeran. However, while you pack your kit with the requisite gear that now powers one-man bands, best to read the fine print on some of it, lest some copyright holder’s barrister deposits a subpoena instead of a fiver into your busker’s hat. That’s the message found on the advertisements for some of that gear now. For instance, JBL’s rather spectacular Bandbox, which adds features like integrated AI-powered stem separation to the ability to set up and be heard on any street corner or city park, carries a cautionary caveat. “For non-commercial use only,” it begins, ominously. “It is your responsibility to know and abide by copyright laws in your country, and your use may require permission from the copyright holder(s). Review terms associated with use of prerecorded or licensed music and streaming services, before using Bandbox.” It’s that stem-splitting capability, what reviewer Paul White in Sound On Sound called “a real winner for those who use

backing tracks”, that likely prompted the advertisement’s caution, as it allows digital surgery on prerecorded content that could create IP infringements IRL. That’s not a new problem – the capacity to mess with a music artist’s work has been available ever since nonlinear audio has been around, and the arrival of AI has taken both that capability and the pushback against it to new heights. However, the imbroglio is migrating from the studio to the street corner. Technically, buskers playing cover songs for money are infringing on copyright if they do not have a public performance licence, which virtually none of the many who do this bother to secure, if they’re even aware of it. That’s because it’s a largely overlooked transgression, by the performing rights organisations that control those licences, the copyright holders themselves and pretty much everyone else. In fact, in the US, busking is often even protected as free speech. However, those ad hoc street performances often wind up distributed online before the last notes fade away, opening a door that any lawyer would notice. Like mid-century American bank robber Willie Sutton, widely quoted as saying he robbed banks “because that’s where the money is”, lawyers as a class tend to do the same, looking at the top end of any civil litigation with the intent of scoring the

greatest payday. In various verticals they will eventually run out of targets, but music remains a fecund field, one where massive lawsuits by major labels against AI companies Suno and Udio for training on copyrighted works, and a US$322mn judgement against Anna’s Archive for data scraping, which awaits almost certain legal appeals (if they could ever find the defendant) have pushed settlements into the billions of dollars. Digital originality in the park could create a trail that leads from a cool toy in Guitar Center back to a deep-pocketed multinational on the other side of the world. Music-related lawsuits have always been around, but the digitally enhanced litigious waters around copyrights have become more shark-infested than ever. Finding and identifying infringements has taken on the patina of a television crime procedural, data detectives combing the internet for evidence. It’s clear that the barristers vetting JBL’s advertising are aware of the potentially dire possibilities more technologically advanced busking can create. Their language is intended to keep the imaginations of their colleagues at bay, or at least keep the legal responsibility for any infringements on the user, not the tools the performer uses. For now, you should still be safe playing at home. But keep your mobiles muted. You never know who’s listening.

A letter from Europe

Phil Ward compares the latest trend of technology-free, acoustic gigs to the rise in technology that doesn’t require artists to be present at their own concerts THE LAST THING THE PROFESSIONAL AV INDUSTRY needs right now is a craze for candlelit, acoustic concerts. Can you imagine: “Oh, leave all the gear on the truck, Dave, it’s one of those new-age gigs.” They may be light as a feather on Mother Earth. But they render all of us redundant. And yet, here they are. “Candlelight” is a trademarked event promoter operated by New York-based Fever, a specialist in “curated private events and customised group experiences”, with a smartphone travel recommendation platform called Secret Media Network as a side hustle. All over the world, from intimate hideaways to UNESCO World Heritage Sites, these guys are sneaking in and planting thousands, I mean thousands, of candles to cast an eery illumination over a series of irredeemably quiet musical performances. Lumos is another culprit, having cornered a market in mainly the house of worship sector in the UK and the Netherlands, although at least they have the decency to attach a few piezo microphones to a violin or two. Where they hide the speakers in St Mary’s Parish Church, Ross-on-Wye is probably an ecclesiastical matter.

The typical package is a string quartet, acoustic guitar or piano, tickling out cover versions of anything from Coldplay to the soundtrack of The Lord of the Rings, making the most of natural amphitheatres and atmospheric locations. You may spot the odd microphone and – safety officers take note – the candles are battery-powered LEDs, not naked flames. But, on the whole, they remove the need for most of the stuff on full display at InfoComm in Las Vegas during June. Well, if some people are going to ditch the technology in favour of the artists and their vibrations, the least we can do is ditch the artists in favour of the technology. The trend for giant screens began as a necessity when stadium, arena and festival dates grew so big that a solution was needed to prove you were at the right concert. And it’s already 20 years since Associated Press reported on the rapid growth of simulcast concerts, with a host of names including the Rolling Stones, Bon Jovi and Green Day transmitting shows to up to 850 cinemas in one evening while they thrashed it out somewhere else. “Fans can gather together to see them nationally, but in a very local and personal way,” said

Dan Diamond, VP of Digital Programming for Big Screen Concerts. But over the years it has become clearer that there is a logical conclusion to the use of sophisticated video, one that makes its own contribution to the environment as well as answering one previously unthinkable question: how can we perpetuate the biggest acts beyond the grave? It’s not a matter of how “virtual’ bands like Gorillaz, or the existentially ambivalent K-pop phantoms, project themselves into the venue. It’s a matter of how ageing icons like Abba – and now Kiss – get to establish a legacy that keeps them forever young and available to sell tickets. The answer, which is to don a motion-capture suit and run through the set for the sensors so that your 3D digital replacement can be painted onto them, seems now to be a late career option. Ozzie Osbourne went for it, just in time. Once completed, you can perform all over the globe, night after night, without even breaking into perspiration. Rings of Power, indeed. Some of this was supposed to be a way out of Covid. Instead, people are gathering together to dim the lights. Fair enough, but if they ever try it with Kraftwerk there’ll be trouble.

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BUSINESS: SHOW REVIEW

InfoComm Asia 2026

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Richard Lawn reports on a scaled-back yet positively received and productive exhibition as InfoComm Asia calls time on the QSNCC DESPITE A SMALLER FOOTPRINT, AN INFECTIOUS energy created by healthy visitor traffic guarantees InfoComm Asia’s position as an annual event on the global AV tradeshow calendar. Geographically located between the economic powerhouses of China and India, the timing of the show also falls conveniently between InfoComm China (April) and InfoComm India (September). Taking on these populous nations can be expensive and time-consuming for many AV suppliers, so InfoComm Asia has become a viable alternative. In addition to its side attractions, Bangkok is business-friendly for distributors, manufacturers, consultants, systems integrators and end users. AV professionals from Cambodia, Hong Kong, Indonesia, Malaysia, Laos, the Philippines, Singapore, Vietnam, Southern China and India are further attracted by relatively relaxed border controls. For exhibitors, a three-day event bypasses the need for multiple roadshows while, for visitors, access to vendors and partners from APAC without travelling to Barcelona or Las Vegas during an age of soaring air fares and political unrest undoubtedly appeals. The 2023 relocation to the Queen Sirikit National Convention Centre (QSNCC) should have served as a catalyst for growth. Conveniently close to downtown but away from the bustle of Sukhumvit, the modern purpose-built halls have been positively received by exhibitors and attendees alike. The two halls drew systems integrators, consultants, buyers, influencers and end users to experience the technologies currently shaping AV. AI has taken centre stage in smarter workspaces, education, retail, entertainment, corporate collaboration and other verticals, transforming how AV solutions are designed, deployed and experienced. Innovations will create new opportunities for business across APAC, and AVIXA is anticipating the industry to grow from US$123.1bn this year to over $150bn in 2030. In his opening address, outgoing AVIXA CEO Dave Labuskes commented: “The equipment is a means to that end. What we are building as an industry is the experiences of being human and connecting those experiences around the world.” A total of 123 exhibitors pledged allegiance to the show floor, and most departed Bangkok content that the show delivered a favourable ROI. However, InfoComm Asia continues to emphasise

UC and VC technologies, digital signage, conferencing solutions and projection at the expense of audio and lighting technologies. Previous big draw exhibitors including Barco, Christie, Crestron, Epson, Panasonic, Philips Professional Displays, Samsung and Sennheiser opted out of the 2026 edition. Some companies held their own offsite gatherings and, in doing so, unfortunately diverted many visitors away from the show floor, particularly on day two. However, new growth could be observed, with 36 debutants including N-Labs and Riedel together with the return of Extron. One level above, the InfoComm Asia Summit offered a comprehensive programme led by 60 industry experts and thought leaders. Covering a wide range of critical topics, the 37 conference sessions provided attendees with knowledge to navigate the evolving pro AV landscape. The bulk of the exhibitors declared their commitment to the 2027 event before departing. Despite having emboldened its sphere of influence beyond Southeast Asia to Australasia, India,

the Middle East, South Korea and Taiwan, the organiser will be working hard to convince existing and new exhibitors to join them in Malaysia for InfoComm 2027, having successfully cemented Bangkok as its Asian hub for the past seven years. In what is perhaps a bold decision, InfoComm Asia relocates to the Malaysia International Trade and Exhibition Centre (MITEC) in Kuala Lumpur in 12 months’ time.

2026 Dates: 2027 Dates: Venue: Total exhibitors: Attendance: Contact:

15 – 17 July 28 – 30 July Queen Sirikit National Convention Centre (QSNCC), Bangkok 123 19,681 www.infocomm-asia.com

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From the show floor

Manish Kehelpannala, Evertz: “This is our fourth InfoComm Asia and it has turned out to be an unexpectedly good show in comparison to previous years. We didn’t do any extra marketing before the show but our brand presence is getting stronger in the region and people are increasingly perceiving us as an AV solutions provider. Evertz has been setting the trend to combine broadcast and pro AV technology and as a result we see more broadcasters attending the show. We are excited about the show going to Kuala Lumpur because that is a key market for us and we have committed to 2027.”

Arthur Soh, Powersoft: “InfoComm Asia is a regional show and, as a manufacturer, we exhibit at non-local shows because they provide us with an opportunity to meet new customers. Despite having their own InfoComm shows, we meet lots of Indians and some Chinese here because everybody loves Bangkok. Judging from the attendance on the first day alone, the return on investment has been met. Although Kuala Lumpur is a great city, it’s very different to Bangkok. However, I believe the market needs a tradeshow in Malaysia because we haven’t had one there for years, and the 2027 edition should stimulate players in the Malaysian market.”

Steven Chen, Mercoms Systems: “I attend InfoComm Asia because Bangkok is a lot of fun and the exhibition represents the perfect chance to meet many partners, attend educational discussions and learn more about the market. The show has decreased in size and some suppliers and manufacturers are hosting their own events outside the exhibition centre, which can be good or not so good. Generally, I think the onsite events here at the QSNCC are excellent and well organised, offering great networking between visitors and manufacturers. Moving to Kuala Lumpur next year is positive for the Malaysian AV community and, as a local distributor, we will consider exhibiting.”

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BUSINESS: SHOW REVIEW

From the show floor Colin Farquhar, VITEC: “Since VITEC acquired Exterity in 2021, we have become a bigger organisation with the inclusion of Datapath, so it is important to share, support and develop what we offer. Our enlarged team of professionals in the Philippines, Thailand, Japan and Sydney is providing local support and sales capabilities. The decision to host drinks and canapés on the booth helped pull in new visitors, who looked at our technologies and pondered how certain solutions could fit into their applications. It’s reassuring when they return and ask detailed questions, and our team is here to support that process.”

Ryan Lau, Riedel: “We are exhibiting at InfoComm Asia for the first time because we want to better penetrate the Thai market and work closer with our customers and partners. It draws an audience from Indochina, including Vietnam, which is experiencing a lot of growth. Although we would love to show our full portfolio, we decided to test the market with a small shell scheme. We may upgrade at the next InfoComm with a larger booth to showcase a wider product portfolio. Having held a lot of good discussions with high-quality customers over the past three days, InfoComm Asia has been a successful exhibition for Riedel.”

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Hemal Bhati, N-Labs: “N-Labs has been exhibiting at all the major international shows and we are making our debut here at InfoComm Asia. The visitors appear open-minded to looking at new brands they are unfamiliar with and we have received a very good response to our loudspeaker system designs. In comparison to ISE or NAMM, this is a small exhibition, but what it lacks in size, it makes up for in quality. The audience has been highly targeted with decision-makers we would wish to meet, some of whom we hope to be appointing as new distributors in Southeast Asia.”

Lloyd Sluiter, Audac: “The 2025 edition was a great success and this year has exceeded our expectations. Approximately 35% of the visitor badge scans are from Bangladesh, India, the Philippines and Indonesia, confirming that this is an international event. It’s reassuring to meet visitors who are unfamiliar with our brand. We were slightly surprised about the move of the show to Kuala Lumpur for 2027 as we would prefer to keep it in Bangkok, which is excellent commercially and in terms of location. As much as InfoComm Asia would like to explore new markets, we still feel that Bangkok is a better option.”

Sutat “Pok” Kohkiat, Fuzion: “InfoComm Asia appears to be maturing, with visitors eager to see what new products and technologies are being showcased, including AI. Because this year is our 25th anniversary, Fuzion is familiar in the Thai market and as a result we don’t see many new faces, but it’s important for our suppliers to meet international visitors. As a Thai distributor representing multiple brands, we are eager to educate our customers and visitors with these new ranges. With the show going to Kuala Lumpur next year we won’t be exhibiting, but I’m interested to explore how the Malaysian market is faring.”

Hana Hussain, Yamaha Malaysia: “Tradeshows provide us with the opportunity to acquaint ourselves better with visitors and showcase our products and solutions. At InfoComm Asia we are covering both the entertainment and non-entertainment markets with our Rivage and Digital Mixer console showcase, the latest DXR and CXR mk3 loudspeaker series, the DME DSP platform and the ADCR conference system. We have met many existing customers and, despite the show being slightly smaller, we have experienced highquality traffic. Having staged InfoComm Asia in Bangkok since 2019, it’s a positive, refreshing move to relocate to Kuala Lumpur, and Yamaha is looking forward to exhibiting at the MITEC next year.”

Chuck Smith, RDL: “InfoComm Asia cannot be measured by its attendance figures because it is the quality of attendees that makes this show special. The networking opportunities really excel here, and we are finding opportunities for new distribution in countries where we have little presence. We learn more about new distributors and systems integrators and they learn more about our products and are seeking the confidence to specify them into their system designs. We have met a good share of consultants designing major hotel projects who knew about RDL but wanted to understand more. The relocation to Kuala Lumpur in 2027 will spark new opportunities and, with the current growth in the Malaysian hospitality market, it seems like a positive step.”

Patty Wanzer, Aurora: “Although InfoComm 2025 was great, this year has been even better with the hosted buyer programme, which helped our booth a lot. Qualified visitors came to learn about Aurora in 10-minute segments, yet no one stayed less than 20 minutes. Although we see multiple nationalities, there seemed to be an uptick of visitors from Malaysia and a few more from Vietnam. Change is always good, and I am excited about exhibiting in Kuala Lumpur next year because staying in the same location may make this redundant for some attendees. We do not have sales partners in Malaysia, so next year’s show provides us with an opportunity to find some.”

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Breaking the bottleneck

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Audio amplifiers have evolved greatly, while transducers really haven’t – Powersoft sees this as an opportunity to close this gap FOR MOST OF THE PROFESSIONAL AUDIO INDUSTRY, the transition to Class-D amplification has already happened. Racks that once upon a time demanded huge amounts of space, weight and power consumption have steadily shrunk into compact, efficient platforms capable of delivering enormous output with relatively modest electrical and thermal demands. Such innovation is actually quite rare in an industry where many of the core technological developments remain practically unchanged since their century-old inception. But one major part of the professional audio chain in particular has remained surprisingly resistant to change, explains Powersoft co-founder Claudio Lastrucci. “On the one side, you have amplifiers that are now approaching 95% efficiency,” he says. “On the other side, you have a

products represent further attempts by Powersoft to rethink how loudspeakers behave when designed specifically around the capabilities of Class-D amplification, DSP and control systems rather than the assumptions of legacy analogue architectures. From Lastrucci’s perspective, it’s not an idea that has emerged overnight. Even before M-Force, Powersoft was already questioning whether conventional moving-coil loudspeaker designs were still the best match for increasingly sophisticated Class-D amplifier platforms. “IPAL [Integrated Powered Adaptive Loudspeaker] was our first attempt to make a conventional moving-coil transducer more appropriate for use with a Class-D amplifier, while still using conventional transducer technology,” he recalls.

MM-Force has been released following more than two decades of research and development transducer that, if you are lucky, may reach around 3%. The bottleneck today is no longer the amplifier; it is the loudspeaker.” Such was the rationale that initially prompted the Italian manufacturer towards the creation of the moving magnet technology that made its initial loudspeaker offering, M-Force, possible. Now, further evolution and refinement of the ethos is forming the basis of MM-Force and Spixel, two new transducer technologies now emerging following more than two decades of research and development by the Powersoft team in Scandicci. Debuting publicly for the first time at the recent InfoComm 2026 in Las Vegas, the

That eventually led to M-Force, an earlier Moving Magnet transducer technology based on a push–pull motor architecture that attracted considerable industry attention for its low-frequency performance. Although commercially niche, the project established many of the concepts that would later evolve into MM-Force. “M-Force received very positive attention, although it was not a huge commercial success as it was quite extreme in terms of size, performance, weight and even acoustic output,” Lastrucci admits. “But the core concept, matching new amplification technology with a new type of transducer, was something we were keen to pursue, optimise and refine.”

Powersoft split that research into two separate development paths around seven years ago – one focused on low-frequency applications through MM-Force and the other concentrated on high-efficiency mid-high reproduction with Spixel, both connected by a common engineering principle: High Motor Strength. For MM-Force, the objective was not simply to make a louder subwoofer. The company instead focused on several increasingly interconnected challenges facing modern AV deployments: reducing cabinet size, improving efficiency and cancelling vibration while maintaining meaningful low-frequency output. With hospitality, residential, retail and corporate environments demanding increasingly discreet audio systems, physical integration has arguably become as important as SPL. Conventional compact subwoofers often create a difficult compromise between output, cabinet stability and installation flexibility, particularly when mounted inside walls, ceilings or architecturally sensitive spaces. “When you design for very small cabinets with high acoustic output, the transducer and the cabinet can also be subjected to very high stress in terms of vibration and system stability,” Lastrucci furthers. “One of the requirements for a new low-frequency transducer was that it had to be fully balanced, avoiding the propagation of vibration into the cabinet and the surrounding installation environment.” MM-Force solves this challenge using a balanced mechanical architecture in which moving elements counteract each other internally, significantly reducing transferred vibration. At the same time, the configuration allows the transducer to remain unusually low profile for its size, permitting integration into applications that would normally struggle to accommodate conventional low-frequency systems. “It can fit into walls, ceilings and designs that must remain within reduced-depth wall- or flush-mount constraints,” explains Lastrucci. “For the same amount of SPL, we can achieve a cabinet design that is roughly a quarter of the volume.” The reduction in cabinet size has implications extending beyond simple aesthetics. Smaller enclosures affect logistics, transportation, rigging, installation flexibility and architectural integration, with all areas becoming increasingly important as AV systems move further into multipurpose commercial and lifestyle

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BUSINESS: TECHNOLOGY environments. “In touring, for example, nobody wants to move 500 boxes around the world if the same result can be achieved with fewer boxes,” Lastrucci notes. “Logistics are a major issue.” The brand-new MM-Force transducer platform will initially launch in balanced 8- and 10-inch variants, with the manufacturer positioning the technology as a scalable low-frequency building block for third-party speaker manufacturers. “It can be considered as a platform, not just a single transducer,” explains Powersoft global marketing and communication manager Francesco Fanicchi. “Manufacturers can integrate MM-Force into multiple product formats and design

the MM-Force design requires dramatically lower quantities of rare-earth materials than comparable conventional low-frequency systems. “For the same performance, it uses about 1/10 of the rare-earth materials,” says Lastrucci. “These are materials that are expensive, complex to produce, associated with environmental concerns and vulnerable to supply constraints.” Joining MM-Force across the rest of the sonic spectrum, Spixel explores many of the same ideas via a very different type of transducer. Designed as a highly efficient 2.5-inch mid-/high-frequency driver operating from 100Hz up, the device combines unique moving-coil topology with extensive

Spixel is a 2.5-inch mid-/high-frequency driver operating from 100Hz up cabinets according to their acoustic targets. They can use two units, four units, six units or more depending on the application.” Having been incorporated into the Powersoft Group last year, K-array looks set to become one of the first manufacturers to commercialise the MM-Force technology and the Spixel transducer with the release of the Keystone-KST110 and Dragon-KX2. Powersoft stresses, however, that the technology is not intended as a proprietary ecosystem limited to certain partners. Beyond performance gains, increased sustainability was another key engineering consideration for the team, which claims that

amplifier-side optimisation and system intelligence. Lastrucci claims the technology can achieve around 10 times the efficiency of comparable conventional transducers, largely because the loudspeaker and amplifier are designed to operate as a tightly integrated system rather than as isolated components connected by a signal cable. “This goes far beyond conventional equalisation,” notes Lastrucci. “It is about the amplifier knowing precisely what is happening in the transducer domain.” Embedded electronics inside Spixel communicate information about the transducer directly to the amplifier, allowing the system to automatically optimise its behaviour according to the device

connected. Spixel also incorporates integrated optical technology, reinforcing Powersoft’s wider ambition to make loudspeaker systems increasingly aware, communicative and responsive within larger AV environments. “The amplifier recognises the transducer, asks what it needs in order to perform at its best and then drives it accordingly,” Lastrucci continues. “The goal for the system eventually is to be complex under the hood, but simpler for the user to operate and easier to get the best performance from.” This “systems-level” thinking increasingly appears to define Powersoft’s current broader direction. Beyond amplification and transducer design, the company has also been investing heavily in sensing and environmental monitoring technologies such as its patented AnyMATE, which was introduced at ISE earlier this year. The concept allows distributed sensors throughout an installation to continuously monitor deployed system behaviour and environmental conditions in real time, then feed the information back to the audio system. “Systems today still do not generally have much knowledge of what is happening in the room, venue or environment,” says Lastrucci. “With distributed sensing, you can have continuous, real-time measurements of the deployed system performance and potentially optimise it over time.” Taken together, the introduction of MM-Force and Spixel suggests that Powersoft sees the future of professional audio less as a collection of separate components and more as an interconnected ecosystem in which transducers, amplification, DSP and sensing technologies continuously inform and optimise one another. Whether the technologies achieve widespread adoption remains up to the market, but the company is convinced that the next major leap in professional audio performance will come not from amplifiers alone, but from rethinking the entire system surrounding them. Moreover, as per its innovative DNA, Powersoft plans to lead such a transition from the front. www.powersoft.com

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Sales

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Revitalising an Italian icon L–R: team Montarbo – Gianluca Di Stefano, Salvatore Curcio, Letizia Buti, Federica Pederzoli, Vincenzo Manuel Gismondi and Leonardo D’Andrea

Richard Lawn visits Italian pro audio manufacturer Montarbo which, with a history spanning more than six decades, has embarked on a new, dynamic era SINCE ITS FOUNDATION IN 1962, MONTARBO’S direction has meandered. Old and new users from varying cultural backgrounds all have their own opinions on who and what Montarbo is, but applications engineer Vincenzo Manuel Gismondi sums it up succinctly. “Essentially, we are a startup with over 60 years of experience,” he says. The chapter currently being written in the company’s extensive chronicles dates to the final month of the last decade, when the RCF Group acquired its fellow Italian pro audio manufacturer. In addition to the enormous potential for raising the brand’s profile, the RCF Group CEO Arturo Vicari attached a great sentimental value to the transaction. “It’s a historic brand that has contributed to the evolution of the music and professional audio industry in Italy and around the world,” he said at the time. “For anyone who, like me, has followed the development of this market over the years, elite brands such as Montarbo have a special significance and therefore represent a wonderful opportunity for us to increase the value of our group.” Having built amplification systems as Super MB, Elettronica Montarbo was founded by Sergio Montanari in 1962. In a short space of time, the then-revolutionary products helped to transform the electronic music scene in Italy and beyond. A flood of bold designs broke out of the company’s Bologna industrial unit during the 1960s and 1970s including a 6-channel powered mixer housing a 100W power amplifier within its portable metal case. Devoid of mechanical friction, the integrated magnetic memory

Leonardo D’Andrea returned to the Montarbo fold in 2026

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Sales and marketing director Salvatore Curcio echo unit required no cleaning or maintenance. With the lid doors doubling as supports when opened, Montarbo raised the standard for decades to come. With the rise of electronic rock and roll, concerts and venues demanded increasingly powerful sound reinforcement systems to cater for increased audience sizes. Unveiling the world’s first active loudspeaker in 1965, Montarbo then added quadraphonic mixers and bass amplifiers with separate head units. During the 1980s, the company became one of the first developers of software-assisted effects processors. Keeping it in the family, Sergio increasingly handed responsibilities to the next generation of Montanaris including daughter Maria and son Maurizio. Having been based in Bologna for 50 years, the headquarters of Elettronica Montarbo relocated to Recanati in the Marche region

in 2013, with R&D and assembly remaining in Bologna. The surprising sale of the company to musical instrument distributor EKO Music Group proved to be nothing more than a six-year punctuation mark in Montarbo’s history. Now operated and managed by AEB Industriale, part of the RCF Group, Montarbo has assembled a small but highly capable team that is charting an upwardly mobile course. “Acquiring Montarbo was never simply about preserving a historic name,” says AEB Industriale general manager, Giovanni Barbieri. “With a thorough understanding of the legacy and long-established brand values of Montarbo, several senior members of the current team pertain to the EKO Music Group and Electronica Montarbo eras. It was about creating the conditions for the brand to thrive again by combining its heritage with AEB’s

engineering expertise, product development capabilities and long-term industrial vision. Every investment we have made, from people and technology to international expansion, reflects our commitment to making Montarbo a competitive player in today’s professional audio market.” Born in Germany to Sicilian parents and a resident of the Marche region, global sales leader Salvatore Curcio has worked with Montarbo since the EKO Music acquisition. With over 20 years’ experience in international sales and marketing of consumer electronics, musical instruments and professional audio, Curcio is leading a highly organised team into battle. “Having supported technicians and musicians for over 60 years, Montarbo remains a pioneering pro audio brand, which gives a value to what we are doing now,” states Curcio, who is charged with locating distributors and sales partners to help build the brand. “The solid foundation of Montarbo’s heritage is our engineering. Our product designs are determined by professional users deploying our technology for their everyday, real-world applications. We created a rich legacy based on reliable mixers and innovative active speakers long before our competitors emerged. Rather than promote this history, we are determined to make the brand relevant again with new solutions that provide our customers with real value. By levelling up with our customers, we will grow together.” Having also joined Montarbo when the brand transitioned to the Marche under EKO Music, Vincenzo Manuel Gismondi’s determination to drive the brand is matched by long working hours and a steely resilience. After his Montarbo career was temporarily derailed during the pandemic, Curcio discovered him working as FOH engineer for an Italian rental company in 2024, and he rejoined Montarbo two months later, having finished the tour he was committed to. “I’m determined that Montarbo returns to its rightful place in the market,” states Gismondi. “It is challenging and it pushes me to my limits but, during the past two years, our R&D engineers have created 20 new models.” Gismondi is proving to be the vital connection between Montarbo’s customers and the design

Pro Audio meets PoE

The sound quality of professional loudspeaker systems. Now with a single network cable.

Designed for IT-friendly installations, Fohhn‘s Dante PoE platform combines native Dante audio networking, Power over Ethernet, DSP control and monitoring. The product family ranges from ceiling solutions to full-range speakers, subwoofers and a system with Fohhn Beam Steering Technology. Elevating PoE with the performance, design and customizing options that define Fohhn.

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BUSINESS: COMPANY PROFILE engineering team. The catalyst in the next round of software and hardware product development is sparked by Montarbo’s users across a wide range of disciplines, who provide daily feedback. Monthly meetings with the R&D team assess current product development and evaluate future opportunities. “Because all our development is retained in house, we have a licence to re-engineer new ideas,” Gismondi continues. “When they work, we deploy them in the real world, where they take on a new persona. Salvatore has done an incredible job at uniting the entire team as one tight unit which works 24/7 when required. During some weekends, for example, I will send a text to Salvatore with an idea, and he will text me back with his thoughts. This is the new mentality of Montarbo, and this is how we develop new products. These texts led to the birth of the Nettuno and MiniBO series.” Signifying the onset of Montarbo’s new professional era, the Nettuno series has laid down a significant marker in modularity. Capable of building an entire product structure, the current Nettuno 10, 20 and 50 loudspeakers are complete PA systems composed of multiple cabinets. “Whether it’s a setup for one, two or theoretically an infinite number of speakers, our customers have multiple options with Nettuno,” explains Gismondi. The system has further evolved with the creation of a double 18-inch subwoofer. “Nettuno tailors for those rental companies wishing to make full use of one cabinet, regardless of scale or whether their customers want a line array, point source speaker or wedge monitor,” he adds. “We want to offer rental companies 100% Montarbo-branded loudspeaker systems for various staging requirements.”

The Nettuno L28 is Montarbo’s first active line array system

then developed. That question is often a catalyst, after which we channel time and resources.” Following a distinguished career at General Music, industry veteran and area sales manager Leonardo D’Andrea was part of the Montarbo team from 2005–2010. “The brand was highly regarded by the market, and I learnt so much from working under Maurizio at the time,” he recalls. An approach by Curcio in 2025 witnessed D’Andrea returning to the Montarbo fold at ISE 2026. “The opportunity was too good to ignore and it’s like being reunited with an old friend,” he says. “AEB has made great investments in research, product development, new technology and recruitment, so my focus is to introduce the brand in the correct manner to the global market.” With the brand renowned in some parts of the world for its iconic mixing consoles, D’Andrea reveals that some customers still request a Montarbo rather than a mixer. “Montarbo is synonymous with sound quality, reliability and best-in-class product design, but the times are changing and technology is moving,” he asserts. “Approaching the pro audio market with the Montarbo brand name requires our business partners to possess a similar passion as ourselves. Ultimately, if you’re not convinced by what you are doing, you cannot convince others.” Currently enjoying healthy team collaborations, D’Andrea is actively travelling to transform the brand’s export fortunes. “Italian musicians and orchestras playing concerts in the Middle East back in the 1960s and 1970s often toured with Montarbo, and the region became one of our biggest markets,” he explains. “When AEB Industriale acquired the brand, up to 40% of Montarbo’s exports were shipped there, but this

A Montarbo Nettuno wedge monitor in use at the Ancona Jazz Summer Festival 2026 The MiniBO-5M is a hybrid loudspeaker with Bluetooth and wireless stereo playback capabilities that can be used for conferences or in fixed installations courtesy of its multiple mounting options. Gismondi is excited by this smaller-format polypropylene enclosure weighing just 4.4kg. “It is only the beginning for this point source family but, by introducing active speakers into the fixed installation market, the 5.25-inch 2-way model will change mindsets. Our customer feedback ensures that this is the start of its journey.” As Montarbo’s first-ever active line array system, the Nettuno L28 is Gismondi’s proudest development to date. “With my background in rental, a lot of my knowledge and experience has been poured into what will be the new flagship in Montarbo’s portfolio,” he claims. “We stood outside on freezing winter days listening to prototypes of these speakers before tuning them to our taste. During the spring and summer, we have been actively demonstrating the L28 at concerts throughout Italy including DJ events and jazz festivals.” From MI to live professional audio and fixed installations, Montarbo is creating a complete portfolio. With a nod to its established MI heritage, the company has developed the B and R Series, while the Creator Series of studio, reference and multimedia monitors has been specifically developed for content creators and DJs who rely on audio interfaces. “Striking a balance between in-house engineering, myself and external user feedback really starts as a question,” reveals Gismondi. “We always ask how we can engineer a speaker to become a sellable product. By starting with a dialogue, we remain challenged and motivated. From a question from an inspired customer or one of our own R&D team, products are

A Nettuno L28 flown system at a DJ festival in Tenuta Moroder, Italy is changing and we are increasing our market share in Asia and Europe. With a powerful blend of youthful energy and experience in the company, we are well-poised to expand.” Montarbo’s current catalogue has been completely updated under the stewardship of AEB Industriale. “A rich history ultimately counts for little because if you don’t have the right products, you cannot go forwards,” says Curcio. “That is why our R&D expertise is a very valuable commodity. Likewise, the Made in Italy logo is an important legacy, but I don’t think it necessarily adds value like it did in the past. The value comes from the design and how that product is perceived by a customer. Rather than focus on the aesthetics or the technology, we carefully assess how it will assist professionals in their daily work. Ultimately, whether you’re a rental company, a TV broadcast studio or a venue, everyone is running a business, and we are obliged to deliver for their businesses.” Renowned for innovation and quality, the Montarbo brand will always have the support and dedication of an older generation of nostalgic customers. Following a recent L28 demonstration in Rimini, however, Gismondi is firmly looking towards the future. “My heart lifted as I overheard comments from different generations remarking how good the system sounded,” he says. As the link between the market and the in-house designers, Gismondi and his colleagues have made that vital connection between Montarbo past, present and future. Montarbo’s MiniBO-5M was a good fit for Carnesa in Rome

www.montarbo.com

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Basilica S.Maria Maggiore - Roma (Italy)

Kobra-KK52 I

Large worship spaces and historic halls often present complex acoustic challenges: long reverberation times, uneven sound dispersion, and reduced speech intelligibility. The Kobra-KK52 I is designed to deliver clear, natural, and evenly distributed sound while blending seamlessly into the architecture. Featuring 8 × 2” neodymium woofers, selectable 16 Ω / 64 Ω impedance, and controlled vertical

Untitled-2 4

dispersion, the KK52 I ensures precise coverage and exceptional intelligibility for speech, music, and multimedia applications — all within an elegant stainless-steel design with minimal visual impact.

www.k-array.com

26/08/2026 16:11

BUSINESS: COMPANY PROFILE

Built to last

James B Lansing (front centre) with the Lansing Manufacturing workforce

JBL’s VerTec line array system defines its commitment to live sound

JBL has spent eight decades shaping the way the world hears sound. Richard Lawn looks at the milestones, innovations and personalities behind the iconic brand BORN JAMES MARTINI IN 1902 TO AN ILLINOIS COAL mining engineer, James Bullough Lansing was one of 13 offspring, developing a fascination for all things electrical and mechanical at an early age. Before reaching his teens, James had built a small radio transmitter from scratch, the signals it emitted strong enough to alert naval personnel at the Great Lakes Naval Station. Having established James B Lansing Sound in the aftermath of World War II, its founder sadly passed away just three years later, leaving a debt of some US$20,000. New owner William Thomas secured the brand’s future courtesy of a company life policy. Marketing its loudspeakers with “Jim Lansing Signature Sound” emblazoned boldly on the pot structures, the James B Lansing Sound company became a significant force in the marketplace, eventually leading to a rebranding using Lansing’s initials, JBL, whose orange logo has been synonymous with audio ever since. As the consumer hi-fi movement got under way in the mid-1950s, industrial designer Robert Hartsfield created the JBL Paragon, which would stay in production for almost three decades. Meanwhile, pioneering work on theatre systems provided the basis for a thrust into the professional sound business. JBL’s rise in the professional market can be largely attributed to an astute observance of market changes combined with the ability to capitalise on them with innovative products. The rise of the electric guitar in the 1960s generated significant demand from musicians demanding individual loudspeaker components, including the D Series of extended range drivers. With Sidney Harman’s 1969 acquisition of JBL, Harman Professional would assume the role of brand custodian for almost 50 years. Harman’s recognition of potential vertical markets including broadcasting, recording, cinema, touring and installed sound contributed to its success as it differentiated itself from the competition, sowing seeds that would allow it to become a market leader over the next three decades. In addition to pioneering studio monitor systems, JBL targeted tour sound loudspeaker development for large-scale arena and stadium concerts with the 375 compression driver and next-generation MI drivers with 4-inch coils. Together with high-strength epoxy adhesives and Kapton coil formers, JBL raised output and power handling to new levels, becoming the dominant supplier of tour sound companies. The fact that leading global

the introduction and evolution of the VerTec and VTX line array systems that continue to define JBL’s commitment to live sound. But perhaps the most significant rise in all JBL’s five market segments has been in installed sound. From the Control Contractor Series to the Precision Directivity Series, the company’s design philosophy appeals not only to architects and consultants whose main criteria include ergonomics and aesthetics, but also to installers who appreciate the ease of integration and resultant cost savings. Globally, JBL enclosures deliver uniform coverage and intelligible announcements to shopping malls, airports, motels and convention centres. The brand’s dominance isn’t restricted to voids in niches, walls and ceilings – this family of loudspeakers extends onto dance floors, houses of worship, theatres and stadiums too.

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L–R: Harman’s vice president and head of sales, APAC Nick Screen with Harman president Brian Divine touring companies continue to rely on JBL transducers and woofers to meet their current touring standards is a testimony to this engineering excellence. The Cabaret Series, credited as the first full line of PA systems for musicians, helped establish the portable sector as the largest of JBL’s five product divisions over two decades. These were replaced by the SR and MR Series, offering a more pro audio and portable approach, which in turn gave rise to the SRX and VRX Series. The advent of the polypropylene EON Series in the mid-1990s continues three decades on. Revolutionising the plug-and-play concept and arguably setting a new benchmark in portable sound, EON incorporates built-in amplification, patented Differential Drive woofers, titanium diaphragms, neodymium magnets and toroidal transformers. JBL continues to supply touring production companies with industry-standard components and to appear on technical riders. The Bi-Radial horns and bass bins, together with the Concert Series of the 1980s, gave rise to the Horn Loaded Array (HLA) 3-way system in the mid-1990s. However, it’s been

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JBL PRX One portable speakers deployed for panel discussion

JBL Control 24AV poolside on the 57th floor of the Marina Bay Sands Hotel in Singapore

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It’s a pity that the rise of JBL wasn’t witnessed by James Bullough Lansing. However, the unswerving passion, commitment to excellence and the legacy he left in place for William Thomas, Sidney Harman and, most recently, Samsung Electronics to develop the brand has been bolstered by subsequent generations of R&D engineers and technicians employed in the Northridge, California headquarters and Harman-owned factories around the world. Since acquiring Harman International Industries in March 2017, Samsung has allowed Harman to function as an independent subsidiary by focusing on hi-fi, car and professional audio. As the anchor brand of Harman Professional, JBL continues to dominate the retail, touring rental, portable installation, live and cinema verticals. Elevated to president of Harman Professional Solutions strategic business unit in 2020, Brian Divine has been exposed

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to some of the most turbulent economic years in the brand’s history. Rather than succumbing to the weight of JBL’s legacy, Divine is enjoying overseeing a team dedicated to creating new opportunities. “We all respect the brand at this 80-year milestone because JBL continues to design and manufacture transducers and pioneer acoustic designs,” says Divine, who commenced his pro audio career with Crown amplifiers in 2002. “To survive and go forwards, we need to keep innovating. We may do things differently at Harman Pro, but the Samsung acquisition reaffirms how audio remains a staple of what we’re known for and what we care about. Audio is at the core of the DNA at Harman Professional and I don’t see that changing.”

JBL EON700 are popular choices for smaller live performanes three decades after launch The company’s Northridge headquarters, where JBL manufacturing continued into the mid-1970s, clocks up 50 years this year. Experiencing a devastating 6.7 magnitude earthquake in 1994, the site has also experienced a series of positive seismic changes over the half-century. With JBL manufacturing taking place in plants around the world today, the campus remains Harman’s Global Center of Acoustic Excellence – a hub for the management teams, R&D and engineering labs facilitating rapid prototyping and reliability testing. Besides seven anechoic chambers, Klippel testing labs and listening rooms, a 1,400m2 experience centre showcases JBL and other Harman innovations. The formal atmosphere of the pre-Samsung era has also been toned down. “Contrary to popular belief, we function more like a small boutique company with fewer layers of management these days,” explains Divine. Joining the JBL family in 2021, APAC sales director Nick Screen agrees. “Having worked for SME companies in the past, coming to JBL was a massive change initially. Like most people, I always considered Harman as a corporate entity but, when you peek behind the veil, JBL is equally, if not more, passionate about innovation.” According to Divine the R&D teams and manufacturing plants work more closely together than ever before. “By designing everything in-house, we maintain quality control and design for manufacturing. For example, if we didn’t custom design and build the VTX transducers ourselves, we couldn’t develop the VTX speakers. This the core of the brand and we’re going to

bring more development in-house, including some of the highly specialised metal rigging parts.” JBL’s close working relationships with Harman Professional stablemates Crown amplification and BSS signal processing has seen the technologies of both incorporated into its housings. Accordingly, software development has taken control and monitoring out of the cabinets and onto the PC screen. With the live production and touring verticals of JBL’s business “doing better than ever”, Divine is a staunch believer in continued investment: “Rather than vying one brand against the other, product development continues to embrace system design. The brands remain iconic and continue to retain great value, but traditional brand boundary restrictions have been removed because only one team is required to develop the electronics when developing solutions.” Software development continues to take increasing priority to enhance the user experience. In recent years, Harman Professional’s software engineers have focused on application-specific, workflow-based software solutions including the Venue Synthesis and Performance Manager software for the rental production verticals. “We cannot manufacture every component for a venue, but we can create one cohesive interface by designing natively with third parties and integrating other technologies within platforms such as BSS Soundweb Omni,” continues Divine. “Ease-of-use familiarity has become a central focus. If you don’t understand how a product operates, you won’t invest in it. Similarly, if a product or technology is difficult to adopt or integrate, you will hit resistance owing to lost time and revenue.” Looking to the future, Divine is optimistic as he witnesses a larger investment in audio by operators and venues that traditionally placed a precedent on video and lighting. “The audio experience can transport a patron beyond their seat, and our customers are increasingly aware of how an experience becomes lopsided without the correct audio setup,” he says. “It is very satisfying to witness audio designers demanding our tools, including Flux:: immersive technology.” With the latest wave of portable JBL loudspeakers incorporating consumer technologies, some observers have speculated that the simplification of engineering may have come at the detriment of audio quality. “We all use consumer products in the home or car, where we enjoy a simplified experience,” comments Andy Flint, SVP of global product, engineering and strategy for Harman Professional. “Apps, Bluetooth connectivity and similar technologies bleed into the professional industry, so the challenge for JBL is how to adopt these for a room of 500 people using their mobile phones. That simplified experience is something we want to provide as a value-added service, but it requires added technological investment if it is to work in a professional environment.” Outside the Northridge headquarters, Divine enjoys the arts, theatre and sporting events. Witnessing the enjoyment that JBL loudspeakers give both patrons and artists naturally makes him feel proud. “Knowing you have played a small part behind the scenes adds a sense of excitement to any event for me.” Signals transmitted, emotions received. www.jblpro.com

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

Reliable transmission KLOTZ AIS focuses on flexibility, robustness and versatility with several additions to its portfolio KLOTZ AIS has released the CP7ERER1P, described as a flexible yet robust Cat7 patch cable, designed to ensure reliable signal transmission in demanding outdoor and live environments. Equipped with the Neutrik etherCON TOP IP65 Cat6a RJ45 connector (NE8MXRB-TOP), the CP7ERER1P can be flexibly configured for both standard RJ45 and etherCON connections by simply sliding back the etherCON housing. This makes it suitable for use as either an etherCON or standard RJ45 cable, ensuring reliable signal transmission even in different patch panel and network environments under harsh live conditions. Thanks to its abrasion-resistant, chemically resistant and low-temperature flexible PUR outer jacket (down to –40°C), the cable is suited for professional touring and event applications. It supports analogue and digital signal transmission up to 600MHz and complies with Cat7 according to ISO/IEC 61156-6. It is suitable for bandwidths up to 10Gbit/s and Class-D, -E, -EA and -F applications – including 10Base-T, 100Base-T, 1000Base-T, 10GBase-T, Token Ring, FDDI, ISDN and ATM, as well as audio and lighting networks such as EtherSound and DMX control systems. It is available in a wide range of practical lengths and can therefore be used both as a compact patch cable and as a standard connection cable.

Meanwhile, the HD01PC25 hybrid cable has been specially developed for mobile use. It features a robust, flexible soft PVC outer jacket, making it suitable for connecting active speakers, dimmers, colour changers and scanners – both in demanding live settings and fixed installations. This hybrid cable enables the transmission of audio or lighting control signals and the required power supply through a single cable. With an impedance of 110Ω, the double-shielded signal line is suitable for transmitting analogue audio signals as well as digital AES/EBU and DMX signals. Thanks to its effective shielding made of aluminium foil and dense copper braid, along with a conductor cross-section of 2x0.22mm², the cable can provide interference-free transmission over long distances, even in environments with electromagnetic interference. A drain wire for ground connection also makes it easier to assemble with XLR or TRS connectors.

The RC5HH High Flex is a durable Cat5e network cable designed specifically for mobile applications. The reelable cable comes with an H-Series RJ45 connector, while its stainless-steel housing provides protection against mechanical stress. When used with the supplied silicone rubber protective caps – or when mated with compatible connectors – the system achieves an IP65 protection rating, making it suitable for dusty, damp and demanding outdoor environments. The H-Series RJ45 connector is fully compatible with standard RJ45 chassis connectors, allowing seamless integration into existing network and audio infrastructures.

1 Sound Exterior wood finishes Adamson VGx / VGd / VGo Advatek PixLite Mk3 v3.14.0 AJA Video Systems Io Xpand Analog Way CorePlay Tetra / Aquilon Cmini APEX CloudPower v2.0 ARRI ALEXA 35 Live Xtreme Astera QuikBeam 8-Unit QuikCase Kit AtlasIED FP-4T / FP-6T / FP-8T Atomos Sumo PRO-19 Audinate Dante AVIO Install 4-Ch Analog Input Audio-Technica D50 / ATSP-30DP Avolites Prism Barco I65 Biamp Devio UCX Blackmagic Design Media Dock Ultra Bolin Technology R9-L420N / KBD Plus Bose Professional ShowTime STS118E BSS Omni 600, 300 and 200 Series Calrec ImPulseV update Cameo OPUS H6 IP / OPUS SP6 IP Celestion PXT6000 Christie XP Series LED / Spyder-S 6.1 Clear-Com Avalon DAS Audio MIA Series DHD audio DHD Discovery Dynacord SONICUE v1.6 EAW NT208L / NT116S ETC Foundry DIN Relay 12 Extron TLS 835M / TLS 1035M FaitalPRO HF1440 Fulcrum Acoustic Fulcrum One update Genelec 9402A / Aural ID 2.1 Gravity SP 5322 B HK Audio POLAR 8 MK2 JBL VTX B35 / VTX B35G K-array Keystone KST110 KLANG:technologies KOS 6 KLOTZ AIS CP7ERER1P / HD01PC25 Kramer MTX3-44-PR-PRO KV2 Audio ESD Series certified IP55 L-Acoustics Digital Construction Lightware GVN-HC-TX220AP / GPIO-Button-10S Logic System AT Series Lumens VC-R32 MA Lighting grandMA3 onPC DMX-key starter Magewell Director Plus 4K Matrox Video Maevex MGX Series Montarbo Nettuno T12 / Nettuno T15 Optimal Audio Column Series Outline ISAAC update Palmer spree Pliant Technologies CrewCom Flex Powersoft MM-Force / Spixel PTZOptics Horizon Hub Q-SYS Q-SYS RoomSuite Collaboration Bar RDL RU-BTLA / RU-RN44 RME ADI-2 Pro EX RØDE Sonaura / RØDELink II Roland VC-1SC-4K Sennheiser TCC M Plus / DeviceHub update Shure MXA925 / MXA901 v6.9 Sommer Cable Mercator Cat.6a (C6AFU) Symetrix C20 Tasker C402 series / C302 series Theory Professional SR-221.3 TT+ Audio GTX 7CP Violet Audio dMix 128 Vitec Diamond-IP OG Vizrt AI Keyer Waves Audio Hear Technologies Dante-WSG XS Wheatstone VMX Williams AV Infinium Flex Bundle Wisycom PFL Portable RFoF Box Xilica Dynamic Voice Lift / Designer v4.12

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Tasker pairs up IN THE fast-paced world of live production, where reliability and speed are critical, multipair cables remain an essential backbone for audio and lighting distribution. A key distinction in analogue multipair designs lies in the shielding. Cables built with individually shielded pairs using red copper spiral shielding provide protection against crosstalk and electromagnetic interference. These constructions are available in configurations ranging from two to 52 channels, with a conductor cross-section of 0.22mm2. Within this category, Tasker offers the C402 series, without an overall shield, designed to maximise flexibility and ease of handling for mobile applications, and the C302 series, with an additional overall braided copper shield, suitable for enhanced noise immunity in more demanding environments. Entry-level digital multipair cables, like the TSK802 series, feature 0.14mm² conductors and aluminium foil shielding on each pair, providing a lightweight and cost-effective solution for DMX and AES/EBU applications, supporting up to 24 channels. However, more advanced solutions are now gaining attention. The TSK702 multipair cables feature individually shielded pairs with copper foil and larger 0.22mm² conductors. These designs combine

improved electrical performance with enhanced mechanical robustness, while maintaining flexibility thanks to soft PVC outer jackets. These solutions are particularly suited for pre-made systems and touring applications, where repeated handling and coiling demand superior durability. Further up the range, high-performance digital multipair cables, such as the C802 series, incorporate red copper spiral shielding on each pair, providing signal integrity without the need for an overall shield. These cables are ideal for complex stage environments where multiple digital signals must coexist without interference. For fixed installations, compliance with fire safety standards becomes a critical requirement. The TSK902 series is CPR-rated, Cca class and specifically engineered for permanent installation in public venues. These designs typically feature solid conductors with larger cross-sections, aluminium foil shielding on each pair and an overall tinned copper braid. Combined with LSZH (low smoke zero halogen) outer jackets, they provide enhanced fire performance, low smoke emission and suitability for both indoor and outdoor use. www.tasker.it

Sommer retains its shape BOASTING A tight bending radius of less than 20mm, Sommer Cable’s Mercator Cat.6a (C6AFU) high-flex patch cable has been designed for flexible, highperformance connections in Gb and 10Gb environments, including narrow patch panels, data cabinets and touring racks. Measuring 6mm in

diameter including a PVC jacket, the braided shield S/FTP construction and AL/PT foil shielding for each pair provide shielding of all wire pairs to ensure a bandwidth of up to 500MHz. Equipped with compact 25mm RJ45 connectors and a transparent 50mm heat-shrink tubing for individual labelling, the cable offers an optional retrofit with a Neutrik etherCON cable connector guard. Complementing the German manufacturer’s existing network product line, the Cat.6a S/FTP high-flex patch cable is available in various lengths and is complemented with a durable PUR jacket.

Integrating eight conductors within one durable jacket, the manufacturer has also released the SC-Octave Tube stereo microphone cable. Ensuring a linear

C6AFU

transmission with added flexibility, the four audio conductors for the stereo pair each consist of 72 super-fine wires. Meeting complex studio demands, each stereo pair is supplemented by two control conductors, one anode wire and one heating voltage wire. A full shielding made of spiral copper braid plus AL foil protects the signals from electromagnetic interference. Measuring 6.5mm in diameter, the PVC jacket is said to be durable and flexible. The SC-Octave Tube is available by the metre or as a ready-made connection cable. www.sommercable.com

SC-Octave Tube

Audinate increases channel density for AVIO Install AUDINATE HAS expanded its Dante AVIO Install family with three analogue adaptors designed to simplify Dante integration in installed audio environments. The additions comprise Dante AVIO Install 4-Ch Analog Input, 4-Ch Analog Output and 2-Ch In/2-Ch Out Analog models, providing higher channel counts for connecting amplifiers, DSPs, line mixers and other analogue equipment to Dante networks. A key feature of the new adaptors is the inclusion of dual switched Ethernet ports, allowing up to four units to share a single network connection through daisy-chaining. The approach is intended to reduce switch port requirements, minimise cable runs and lower network infrastructure costs in larger installations. Designed specifically for fixed installations, the adaptors utilise Euroblock connectors for permanent wiring and include mounting hardware alongside the Dante AVIO ClickGrid system, enabling installation beneath shelves, on rack rails or attached to structural elements. As part of the wider Dante ecosystem, configuration and routing are handled through Dante Controller, while integration with Dante Director and Dante Domain Manager provides additional capabilities including remote monitoring, access management and system

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diagnostics. According to Audinate, the new models are suited to applications ranging from meeting rooms and classrooms through to campus-wide audio distribution systems. The manufacturer has also announced new OEM partnerships with Angekis and Bolin to bring native Iris technology directly into the firmware of select PTZ camera models from the two brands. With a simple free upgrade to the latest firmware on the Angekis Saber X and Bolin B2 camera lines, customers can instantly link their now Iris-enabled cameras to the Iris platform. This unlocks a suite of features accessible through a single browser or app window with no additional hardware required. www.getdante.com

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Hear Technologies simplifies connection to SoundGrid

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DESCRIBED AS an affordable way to connect Dante audio networks directly to Waves SoundGrid systems, Waves has announced the Hear Technologies Dante-WSG XS, a compact Dante-to-SoundGrid bridge that brings the technology to a smaller form factor and lower price point. Designed for live sound, broadcast and installed audio applications, the device supports 64 channels of bidirectional audio between Dante and SoundGrid at 44.1kHz and 48kHz sample rates, or 32 channels at 88.2kHz and 96kHz. For Waves LV1 Classic users, the Dante-WSG XS provides a compact option for expanding into Dante-based workflows, while also offering Dante connectivity for wider SoundGrid deployments including LV1 and SuperRack systems. The half-rack unit is aimed at applications where space is limited, including flypacks, portable production systems, houses of worship, touring rigs and compact installations. Measuring 220mm x 42mm x 227mm (WxHxD), the Dante-WSG XS weighs 1.36kg and can be mounted on a rack shelf or installed using optional rackmount accessories. Control of Waves plugins directly from a Midas HD96 console is now possible

following the addition of ProLink support to Waves SuperRack SoundGrid and SuperRack Performer. The integration establishes a direct connection between the HD96 and SuperRack, allowing engineers to manage selected plugin parameters using the console’s Touch and Turn encoder rather than relying on an external keyboard and mouse. Among the new capabilities is snapshot synchronisation, enabling console snapshots to automatically recall corresponding SuperRack snapshots. Session management is also integrated, allowing show files loaded on the HD96 to automatically load the associated SuperRack session. Additional enhancements include automatic plugin rack focus when channels are soloed, helping engineers quickly access the relevant processing chain. Time-based Waves plugins, including delays and tremolos, can also synchronise automatically with the console’s global tempo. According to Waves and Midas, the integration is intended to reduce the need to switch between control surfaces and screens during live productions, creating a more unified workflow. www.waves.com

RME adopts a new look RME HAS added the ADI-2 Pro EX to its portfolio, a reference AD/DA converter, USB interface and headphone amplifier that builds on the design of the ADI-2 Pro FS R Black Edition. Offering the same functionality as the previous model, the ADI-2 Pro EX all-inone converter sports a redesigned chassis and offers enhanced output performance and additional comprehensive hardware protection. Like the ADI-2 Pro, the ADI-2 Pro EX combines a high-end, studio-quality AD/DA converter, a dual headphone amplifier, a multi-format converter (AES, SPDIF, ADAT) with monitoring features, a DSD recording and

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playback converter in addition to an AD/DA front end for audio measurements with up to 768kHz sample frequency. Matching the ADI-2/4 Pro look, the larger chassis includes improved cooling efficiency, and is further distinguished by chrome feet. Other features include a lockable USB-C connection, TS trigger output for synchronised power control of external equipment or amplifiers, and channel-independent DC circuit protection. Preventing wrong polarity and overvoltage condition, the advanced PSU protection features fuseless active circuitry. www.rme-audio.com

THE INFINIUM Flex Bundle combines FM, Wi-Fi and Auracast broadcast audio technologies in a single solution, helping venues support more listeners without choosing a single listening platform. By pairing the Infinium controller and FM+ transmitter in a single rackmounted package, the bundle delivers FM, Wi-Fi and Auracast audio streams that enable assistive listening, language interpretation, audio description and other guestlistening applications. Guests can listen using hearing aids, cochlear implants, smartphones, Auracast-compatible devices or venue-provided receivers. The Infinium T1 Transmitter with Outdoor Enclosure extends Auracast broadcast audio beyond a building’s walls, enabling delivery of assistive listening, language interpretation, audio description and other audio services in outdoor environments. The package includes an Infinium T1 Transmitter and an IP66-rated enclosure designed to protect against dust and high-pressure water exposure while maintaining the same low-latency audio performance used throughout the Infinium platform. It is suitable for stadiums, outdoor performance venues, transit stations, campuses, theme parks and other large outdoor venues that require accessible audio. The transmitter is also available in black. The Auracast Headphone Receiver (BA-HR1) provides a simple way for venues to offer Auracast audio to guests without compatible personal devices. Designed to deliver the volume and intelligibility required for assistive listening compliance, it supports inclusive listening for all guests. Unlike many Auracast listening solutions, the receiver connects directly to Auracast broadcasts without requiring a smartphone, app, assistant device or complicated setup process. It automatically discovers nearby channels and allows guests to quickly select and listen to their preferred audio stream, providing a dedicated listening option for venues that supply devices to their guests. Infinium’s Enhanced Scale & Management (ESM) features expand the platform’s ability to support large and complex Auracast

SP-5000 deployments. ESM allows integrators to organise transmitters into arrays, apply settings across multiple transmitters simultaneously and manage deployments through a centralised web-based interface. The system reportedly supports virtually unlimited transmitter expansion across rooms, zones and facilities. Finally, the TeachLogic SP-5000 is a vertical line speaker array that brings large-venue sound technology into the classroom. Using two speakers where traditional classroom audio installations often require four or more, the SP-5000 is said to deliver clear, intelligible speech and a more uniform sound field throughout the room. Wide horizontal audio dispersion helps ensure every seat receives consistent audio coverage without gaps or hot spots, helping students hear instruction more clearly, regardless of where they sit. www.williamsav.com

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Symetrix targets simpler AV deployments

Violet Audio unveils dMix 128 VIOLET AUDIO has announced the addition of full SMPTE ST 2110-30 audio-over-IP support and key AMWA NMOS standards, bringing broadcast network audio workflows to the dMix 128 digital mixer platform. Beyond modern television facilities, broadcast centres, esports venues and large-scale AV systems, SMPTE ST 2110 and NMOS workflows traditionally required broadcasting infrastructure investments. With this latest update, Violet Audio has integrated the same capabilities available within a compact, affordable digital mixing platform. Designed for live production, broadcast, streaming, installed sound and hybrid production environments, the dMix 128 software includes support for SMPTE ST 2110-30 (professional uncompressed PCM audio-over-IP), NMOS IS-04 (device and stream discovery), NMOS IS-05 (for connection management) and NMOS IS-08 (audio channel mapping). To support these new capabilities, Violet Audio has developed a dedicated Streams management interface that allows users to receive, transmit, clock, discover, connect and

manage network audio streams directly from the mixer’s browser-based control environment. As broadcasters, production companies and systems integrators continue transitioning from traditional point-to-point audio architectures to flexible IP-based infrastructures, the addition of SMPTE ST 2110-30 and NMOS enables the dMix 128 to integrate seamlessly into contemporary production ecosystems. With the addition of SMPTE ST 2110-30 and NMOS, the feature set of the dMix 128 includes 32 mic/line in, 24 line out, MADI I/O, 128 mixing channels, dual redundant PSU, 0.3ms latency, over 300 channels of redundant AES67 networking, 64x64 CoreAudio/ASIO drivers, FPGA-based signal processing, advanced matrixing, integrated effects and browser-based control. The Streams interface presents the receiving and transmitting of streams, clocking information, stream status, channel counts, sample rates, PTP synchronisation status and routing information. www.violetaudio.com

Calrec broadens ImPulseV options CALREC HAS expanded its ImPulseV virtualised audio mixing platform with new DSP configurations and licensing options aimed at broadcasters adopting cloud-based and distributed production workflows. The company has introduced 96- and 140-path DSP packages alongside the existing 256-path version, providing additional deployment options for smaller productions while retaining the same feature set across all configurations. Each supports full processing on every path, dynamic allocation of DSP resources and immersive audio formats up to 7.1.4. Alongside the new processing options, Calrec has added shorter licensing terms of one year, 12 weeks and four weeks. The

move is designed to give broadcasters greater flexibility to scale resources for temporary projects, seasonal events or changing production requirements without committing to longer-term infrastructure investments. ImPulseV forms part of Calrec’s wider virtualisation strategy, supporting remote, distributed and hybrid production environments that combine on-premises and cloud-based resources. According to Calrec, the new options are intended to reduce barriers to adopting virtualised workflows while allowing broadcasters to match processing capacity more closely to operational requirements.

DESIGNED AS a bridge between USBequipped devices and IP networks, the Symetrix C20 Smart Processor combines DSP, audio transport and control within a single platform for meeting spaces, classrooms and other AV installations. The device supports 64 Dante transmit and 64 Dante receive channels alongside eight channels of acoustic echo cancellation, 32 playback channels and eight recording channels, with processing up to 96kHz. An 8x8 USB-C audio bridge with HID synchronisation enables straightforward integration with conferencing and computing devices, while media playback and recording are supported via a USB-A port. Designed around Symetrix’s Cognio platform, the processor incorporates an integrated web server that enables system

control from personal devices, while compatibility with TC Series touchscreens, WC Series remotes and third-party control systems extends deployment flexibility. Support is also provided for JSON-RPC, Lua scripting and an extensive driver library for external device integration. Additionally, the processor features dual 1Gb Ethernet ports, supports multiple independent Signal Flow Spaces on a single system and can be mounted on a surface, under a table or in an equipment rack. Typical applications include conference rooms, educational facilities and government installations requiring audio routing, acoustic echo cancellation, playback, recording and device control from a single processor. www.symetrix.co

Wisycom extends RF-over-fibre range WISYCOM HAS begun shipping the PFL Portable RFoF Box, a compact RF-over-fibre solution designed for broadcast, OB, location sound and live production applications requiring remote antenna deployment and flexible network connectivity. According to the manufacturer, the system extends antenna

and incorporates Ethernet connectivity for remote control and Dante workflows via a Neutrik opticalCON DUO interface. The unit can be powered from either mains or a V-lock battery, allowing deployment in fixed installations or portable production environments.

placement from around 100m to several kilometres over fibre, while simultaneously carrying additional data including Gigabit Ethernet, Dante, Shure ShowLink and Sound Devices NexLink return-channel information. The RF-over-fibre platform is also compatible with most third-party wireless microphone systems. Built around a dual-converter architecture, the PFL provides true diversity over fibre

The enclosure features dual N-connectors, integrated power management, temperature-controlled cooling and protected I/O designed for field operation. Three versions are available, including two models for wireless microphone diversity reception and one dedicated to IEM and IFB applications.

www.calrec.com

www.wisycom.com

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A NEW HIGH IN THE LOW END Designed and built in the UK, Ten Squared (Ten2) is a range of premium, low frequency loudspeakers. Engineered without compromise, they deliver consistently superior levels of performance in the most demanding professional sound reinforcement applications. All the time. Every time. 18, 21 and 24-inch models available.

Discover Ten Key Features that add up to a new standard in LF driver performance

celestion.com

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Cruising down the spree PALMER HAS expanded its River Series with the spree, an active USB-C stereo DI box that converts digital audio signals from laptops, smartphones and tablets into high-quality balanced analogue signals via USB-C. Designed for use onstage, in the studio and on the move, the spree enables the reliable and interferencefree integration of modern USB-C playback devices into professional audio environments. The Palmer spree converts the audio signal from a USB-C device into two balanced XLR outputs and, thanks to galvanic isolation, effectively suppresses ground loops and noise. High-quality digital-to-analogue conversion with a resolution of up to 32-bit and 192kHz provides detailed audio reproduction, making the spree suitable for both demanding live applications and studio use. The DI box features a switchable mic/ line output level, allowing it to be adapted to different mixing consoles, stageboxes or audio interfaces. A ground lift switch offers additional options for eliminating unwanted interference in complex setups. The features are complemented by a 6.3mm headphone output, which can be used for both direct

monitoring and as an additional analogue output. LEDs for Signal, Sync and Power provide a quick status overview at all times. The spree can be powered either directly via the connected USB-C device or via the supplied external mains adaptor. When running on bus power alone, it draws its power from the connected laptop, smartphone or tablet, meaning it is ready for immediate use even in locations without an additional power supply. If, on the other hand, the external mains adaptor is used, the integrated USB-C Power Pass-Through function allows the connected device to be charged simultaneously. This ensures the player remains reliably powered and ready for use, even during longer events. In addition to classic playback applications onstage, the spree is also suitable for content creators where it can function as a compact USB-C D/A interface. In combination with the integrated headphone output, it enables straightforward, high-quality audio output, without the need for additional drivers or complex hardware.

Clear-Com targets IP-only productions with Avalon REMOVING THE need for analogue connectivity, Avalon, a 1U intercom platform from Clear-Com, has been launched specifically for IP-based production environments. Developed for broadcast, live events and production applications, Avalon supports FreeSpeak wireless beltpacks, HelixNet digital partyline, V-Series user panels and I.V. Direct connectivity within a compact rack-mounted platform. Unlike systems designed to accommodate both analogue and IP workflows, Avalon focuses exclusively on networked deployments, providing a streamlined option for facilities operating solely over modern IP infrastructures. The platform employs a scalable licensed-port architecture, allowing users to activate capacity as required and expand systems over time without replacing hardware.

Support for AES67, Dante and Clear-Com’s I.V. Direct technology enables integration with a range of local and remote communication workflows. According to the manufacturer, the design is intended to reduce system complexity while maintaining the flexibility required for larger productions and installations. Expanded IP capacity and networking options are aimed at users operating across converged network environments. Avalon joins the company’s existing intercom portfolio alongside Arcadia Central Station, which continues to address applications requiring hybrid analogue and IP connectivity, front-panel control and support for legacy systems. www.clearcom.com

www.palmer-germany.com

Pliant adds frameless matrix IP intercom WITH THE introduction of CrewCom Flex, Pliant Technologies has released a complete matrix IP-based intercom solution. Freed from the limitations of traditional matrix hardware

frames, CrewCom Flex converges wired, wireless and virtual voice communication on a standards-based AES67/SMPTE ST 2110 backbone. For deployment in cloud-native or local infrastructures, the CrewCom wireless intercom system unites wired panels, desktop panels, wired beltpacks and browser- or app-based virtual intercom panels. CrewCom Flex includes ST 2022-7 redundancy compliance and has been designed for demanding productions and critical communication environments. It delivers a

complete communications ecosystem built for hybrid, remote, distributed and highly scalable workflows. At the core of the CrewCom Flex platform, the CrewCom CKP-16 Flex Main Panel and CDP-16 Desktop Panel combine the familiarity of traditional hardware with the flexibility and advantages of frameless distributed IP communications. Expansion panels can be added to create customisable user stations, and each panel or desktop panel functions as its own intelligent distributed matrix. Featuring integrated microphones and speakers, bypassing the requirement to communicate without a headset, CrewCom Flex beltpacks are available in 2-channel CBP-2 and 4-channel CBP-24 versions. The platform also includes the CrewCom

Flex Virtual Intercom browser-based VoIP communications solution. Available in 4-, 8-, 16- and 36-key virtual user configurations, the Flex Virtual Intercom can operate either as a standalone communications system or it can integrate within larger CrewCom Flex deployments. Accessible from PCs, Macs, tablets and mobile devices, it can be used by remote and distributed production teams. The latest platform integrates directly with existing CrewCom wireless intercom systems through CrewCom’s CXD-32CF 32x32 Dante/AES67 digital audio network interface. Featuring drag-and-drop tools, the CrewWare 2.0 software platform handles system configuration and management. www.plianttechnologies.com

RDL broadens connectivity portfolio PROFESSIONAL BLUETOOTH audio, Dante network interfaces and network-based volume control are among the latest additions to the RDL portfolio. The company has introduced its RU-BTLA Bluetooth Line-Level Audio & Format-A Interface alongside four Rack-Up Dante interfaces. Now in production and available to order, the RU-BTLA supports both Bluetooth LE Audio and Bluetooth Classic, offering wireless audio transmission at distances of up to 100m under ideal conditions. Designed for commercial AV installations, the interface provides balanced XLR, unbalanced RCA and Format-A outputs,

while supporting stereo or mono operation, remote pairing and configurable pairing settings. RDL has also expanded its Dante portfolio with four new Rack-Up interfaces. The RU-RN44 and RU-RN22 provide bidirectional mic/line-toDante connectivity in 4x4 and 2x2 configurations respectively, while the RU-RN40 converts four mic/line inputs to Dante channels and the RU-RN04 converts Dante channels to analogue outputs. Features include software-selectable gain, phantom power, filtering, compression and attenuation. www.rdlnet.com

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Sennheiser tightens Q-SYS integration CONFIGURING CEILING microphones directly inside Q-SYS Designer Software is now possible with the introduction of Sennheiser’s TeamConnect Ceiling M Plus, a microphone designed to reduce deployment complexity in larger collaboration environments. The TCC M Plus introduces PartnerLink, a new integration technology that allows supported AV platforms to configure and manage the microphone natively within their own workflows. Developed in collaboration with Q-SYS, the first implementation enables system designers to handle audio configuration, control and automation from within the Q-SYS environment rather than relying on separate setup processes. While the Q-SYS integration is the launch focus, Sennheiser says that PartnerLink will expand to additional platforms over time. The microphone also continues the company’s open ecosystem approach, supporting Dante and a range of existing third-party integrations. Designed for meeting rooms, classrooms and divisible spaces, the TCC M Plus combines dynamic beamforming with enhanced exclusion zones intended to improve speech intelligibility and camera tracking performance in more

challenging environments. The system is designed to adapt to changing room layouts and participant positions while simplifying zone configuration for integrators. Furthermore, the microphone integrates with Sennheiser’s cloud-based DeviceHub platform, providing centralised monitoring, configuration and diagnostics across multiple rooms, buildings and locations. The combination of simplified commissioning, flexible integration and remote management is intended to support organisations deploying collaboration technology at scale. The manufacturer has also provided further details of DeviceBridge, a local application that is intended to bring existing Sennheiser devices into DeviceHub environments. Installed on a local server, DeviceBridge is designed to expand compatibility for products that were not originally developed for DeviceHub while also simplifying cloud connectivity management. Initial DeviceBridge support is planned for TeamConnect Ceiling 2 and TCC M, with future compatibility expected to extend to additional products including SpeechLine Digital Wireless and EW-DX. www.sennheiser.com

DESIGNED FOR high-density RF environments, Audio-Technica has released the D50 digital UHF Wireless System. Featuring up to 224MHz of tuning bandwidth, depending on the region, the D50 enables flexible channel planning in complex RF conditions. Switchable antenna combining diversity and maximal ratio combining (MRC) true diversity modes reportedly improve signal reliability, while highdensity mode allows up to 63 simultaneous frequencies within a single 8MHz TV channel. A compact half-rack receiver is available in either a 2-channel (Audio-Technica Link) or 4-channel (Dante-enabled) version, supporting 96kHz audio, redundancy and PoE+ power. Transmitters in the form of handhelds with interchangeable Artist Elite capsule options, together with goosenecks and bodypacks, can operate for 9.5–17.5 hours on a single battery charge. Additional features include onboard spectrum analysis, AES256 encryption, integrated DSP and Wireless Manager software for monitoring and control. The ATSP-30DP builds on the recently introduced ATSP-30 ceiling speaker by adding Dante networking for integration with compatible devices, including the brand’s ATDM-1012DAN Digital SmartMixer. Supplied as an active/passive pair, the speakers are designed for small and medium meeting rooms and feature a 140° coverage angle for speech reinforcement, background music and video playback. The system supports discrete audio routing for zone-based applications, while onboard DSP settings – including 4-band EQ, delay, phase adjustment and sound presets – can be configured through the ATDM mixer’s Web Remote. The speaker is also compatible with AFMG’s EASE acoustic

modelling software and Audio-Technica’s Speaker Layout Tool for system design. Alongside the commercial audio release, the manufacturer has unveiled the 20 Series Control Application, a Stream Deck plugin that provides direct control of compatible USB microphones from Elgato Stream Deck devices. Compatible with the AT2020USB-X, AT2020USB-XP and AT2040USB microphones, the application enables users to mute or unmute microphones, adjust input gain and, for the AT2020USB-XP, control Automatic Gain Control (AGC) and Noise Reduction settings. Controls can be assigned to Stream Deck keys, dials or foot pedals using drag-and-drop configuration. Designed for streamers, podcasters, gamers and content creators, the software aims to simplify microphone control during live production and recording workflows, while complementing Audio-Technica’s existing USB microphone range. www.audio-technica.com

Shure brings AI processing to Microflex Advance

RØDE looks to the future

INTRODUCED AS the latest flagship model in the company’s Microflex Advance portfolio, Shure’s MXA925 Ceiling Array Microphone puts AI-enhanced audio processing at its heart. Designed for conferencing and collaboration environments, the MXA925 features a new processing platform with onboard IntelliMix DSP, including AI Acoustic Echo Cancellation, AI Denoiser and AI Deverb technologies. The system is intended to improve speech intelligibility in acoustically challenging spaces, helping to reduce the impact of room reverberation, background noise and changing speaker positions while requiring less manual tuning. The microphone also incorporates dual RJ45 network connectivity, remote monitoring and management through ShureCloud, and certification for Microsoft Teams and Zoom environments. Alongside the MXA925 launch, Shure has released firmware version 6.9 for the MXA901 Ceiling Array Microphone. The update expands support for voice-lift applications through discrete outputs in Steerable Coverage mode, while also introducing enhanced camera tracking via the Optimize Tracking feature.

SONAURA FROM RØDE is a studio-grade MEMS (Micro-Electro-Mechanical Systems) microphone technology resulting from a fiveyear collaboration with Infineon Technologies, a specialist in MEMS microphone technology. Available in a compact 4mm x 5mm form factor, Sonaura has a signal-to-noise ratio of 83dB and a self-noise measurement of 11dBA. Built on a newly developed low-noise ASIC, Sonaura reportedly offers robust SPL handling, high immunity to RF interference and a flat frequency response. It features Infineon’s Sealed Dual Membrane design which combines ultra-low self-noise with enhanced environmental robustness and reduces sensitivity to physical shock compared to conventional microphones. RØDELink II has been built for filmmakers, broadcasters and content creators, and draws on decades of UHF experience from Lectrosonics. It includes two

Additional improvements include new Automixer and Speech Gating Threshold controls, plus a fully flexible Automatic Coverage zone designed to support a wider range of room layouts and application requirements. Existing MXA901 installations can access the new functionality through firmware without requiring additional hardware. The manufacturer is also extending its IntelliMix Collaboration Portfolio by offering the IntelliMix Room Kits and IntelliMix Foundation System for Zoom Rooms. The update provides customers with consistent, high-quality audio capture to support more accurate inputs in Zoom AI. www.shure.com

transmitters and a single receiver, offering dual-channel operation for recording multiple sound sources at once. Each transmitter is paired with a broadcast-grade lavalier microphone featuring locking connectors. RØDELink II comes with 32-bit float onboard recording, allowing users to capture clear audio directly to a microSD card. A dedicated timecode I/O port makes it easier to accurately align audio and video, removing the need for complex postproduction adjustments. It features a rugged metal body designed to withstand the rigours of location recording, along with three removable lithium-ion batteries that deliver extended operating time in demanding environments. Complementing RØDELink II are a range of timecode and audio cables. These include the 3.5mm TRS to 5-pin and 3.5mm TRS to BNC timecode cables, both featuring locking connectors, professional-grade construction and right-angle designs for a compact, secure setup. Additionally, the 3.5mm TRS to XLRM and XLRM Splitter can be used for connecting microphones and audio sources to professional recording devices, with options for summing stereo channels or splitting them into separate XLR outputs. www.rode.com

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Biamp joins MDEP platform BIAMP HAS joined the Microsoft Device Ecosystem Platform (MDEP) programme, the standardised Android platform for enterprise collaboration devices from Microsoft. The announcement reportedly establishes Biamp as the first MDEP partner to bring a native professional DSP, with automated acoustic tuning and commissioning. The first Biamp product built on MDEP is an Android-based UC compute platform. Designed for hosting in Microsoft Teams Rooms or Zoom Rooms, the Devio UCX features three UC compute tiers and comes with integrated DSP. Offering enterprise-grade security with remote management capabilities through Biamp Workplace, the Devio UCX serves as the hub for the full Biamp peripheral ecosystem. Purpose-built for specific room requirements, the Devio UCX is a meeting room hub.

The Devio UCX 1000 is ideal for huddle spaces where a connected conferencing bar is required, while the Devio UCX 2000 is designed for larger rooms requiring microphone connectivity and a conferencing bar. For the most performance-driven spaces, the Devio UCX 3000 enables dual display support, enhanced processing power and advanced AI feature readiness. Available in tabletop or wall-mounted models, each Devio UCX system is equipped with a 10.1-inch Apprimo Touch 10 UCX Series panel that auto-pairs the moment it’s connected. The room automatically wakes when someone walks in. The Devio UCX provides device charging and switches instantly between a UC meeting and a laptop via USB-C. Allowing IT teams to plan room configurations before deployment, it is included in Biamp Workplace

Network discovery

Designer. When rooms go live, Biamp Workplace provides remote monitoring and management, including real-time device health monitoring, over-the-air firmware management and access to Biamp Launch report cards. With Workplace Control, Biamp has introduced the Unified AV Automation Platform. Built on the Biamp Workplace platform and running natively on TesiraFORTÉ X Series DSP hardware, Workplace Control can create event-driven automation without complex programming. Designers can discover Biamp devices, drag and drop them into a design with simple panel layouts and generate a complete control configuration in minutes. Transforming

architectural complexity of the venue, and the L-Acoustics team works with each client to set a realistic timeline before work begins. Digital Construction strengthens the first step of every design by making sure the model reflects the real room before any loudspeaker is specified. It works alongside the Soundvision tools and Architectural Drafting services

A single click opens the device’s web apps. Everything can then be seen at a glance: a local dashboard with IP, firmware, serial and connection status, plus favourites, search, filters and manual entries for other subnets. Any device’s web apps can be inspected straight from the tray or the dashboard without the need to type IP addresses into the browser. The display includes colour-coded status dots, optional auto-start and automatic updates. www.dhd.audio

Virtual mixing

WHEATSTONE HAS released its VMX virtual mixing platform, a server-based and web browser accessible for mixing in any environment on a

www.biamp.com

Capturing the building L-ACOUSTICS HAS released Digital Construction, a service that captures a venue exactly as it is built and delivers a verified geometric model ready for use in Soundvision. Digital Construction includes an onsite scan carried out by an expert L-Acoustics application engineer that includes stage areas, balconies and the spaces that connect them, using handheld LiDAR. The method records the room in

DHD HAS released DHD Discovery, designed to increase the efficiency of the manufacturer’s audio mixing systems during initial installation and subsequent configuration. The tray app runs quietly in the background using the Multicast DNS decentralised networking protocol to watch the network and show every DHD device the moment it comes online. This includes DHD cores, RM1 broadcast-from-anywhere interfaces and audio-over-IP devices connected via AES67/Ravenna or Dante.

AV systems into intelligent, automated environments, the no-code design workflow resembles the Tesira Flow Layout. Workplace Control includes a complete range of Apprimo Touch interfaces with 4-, 7-, 8- and 10-inch panels for in-room control. Biamp devices are automatically discovered through Workplace, and their control elements are directly imported into the Workplace Control Designer app. The app provides an integrated design environment for user interface design, programming and deployment.

A Soundvision view of a stage variety of devices, from recessed touchscreens in the studio to tablets in the ballpark. VMX can be installed on an existing server or a dedicated appliance and offers a selection of tiles, including basic utility mixers, a simple virtual mixing interface and complete virtual broadcast consoles. Virtual consoles are accessible through a web browser, making VMX suitable for quickly adding newsrooms, control rooms, voice track booths and remote mixing instances on demand, complete with backup mirroring synchronised in real time for instantaneous failover. The platform is AES67 compliant with an easy-to-install setup wizard. It forms part of Wheatstone’s Layers software-based broadcast suite for virtualising studio functions as an extension of the WheatNet IP audio network.

high resolution far faster than manual measurement and captures detail that less advanced methods like hand drafting or a P2P laser can miss. It is built for the scale of professional venues, where the short-range scanners found in consumer devices, limited to roughly 5m, cannot cover the space. The result is said to be a true-to-life record of the room as it actually stands. Each scan is verified and processed through a standardised workflow with quality checks at every stage. Clients receive two deliverables: a detailed point-cloud file of the venue for their own reference, and a simplified, Soundvision-ready model for acoustic simulation and system design. Post-processing scales with the size and

that L-Acoustics’ teams and partners already use, giving Certified Providers, AV consultants and venue owners an accurate as-built reference. The benefit is clearest in renovations, older buildings and venues without reliable documentation, where verified geometry reduces the risk of late surprises, such as unexpected ceiling structures, rigging constraints or sightline conflicts. An accurate model of a venue also outlives a single project. The same as-built data supports future upgrades, clearer communication between stakeholders and the growth of the L-Acoustics venue database that designers draw on worldwide. www.l-acoustics.com

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PRODUCTS

Reaching its peak APEX HAS released a firmware and software update for its CloudPower installation amplifier range. V2.0 introduces support for multiple user profiles with

configurable access rights for administrators. The number of groups available across a CloudPower network has been increased to 36, enabling additional zoning and system management options. Speaker preset functionality has been updated to allow multiple amplifier channels to be included within a single preset, allowing settings for multi-driver loudspeaker systems to be stored and recalled together. Standby

mode has been revised to reduce power consumption and provide a 3s startup time. V2.0 also enables Bluetooth functionality for ACW series remote controllers connected to a

Outline’s ISAAC gets an upgrade OUTLINE HAS updated its ISAAC multiplatform control application, which introduces enhancements to the EQ filters section, including new filter types, improved graphical representation and a zoom function for more detailed adjustments. Dialogue functions have been added to the Input and Output Patch assignment sections, providing feedback following user actions. A “ripple” feature has also been introduced, allowing multiple channel elements to be cascaded recursively. Users can now report Newton-related issues

directly from within ISAAC through a dedicated form on Outline’s website. A Newton “status dump” function has also been added, allowing users to export device parameters to a file for troubleshooting. The latest update provides a summary of key changes to the software’s “About” box. Users can view recent updates directly within the application without needing to access separate versions of log files released alongside software updates.

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CloudPower network, allowing audio streaming from compatible devices. According to APEX, the update includes a restructured codebase intended to improve performance. The release also adds several requested features, including revised rotary encoder response and the ability to adjust input sensitivity. www.apex-audio.be

Fulcrum Acoustic enhances Fulcrum One FULCRUM ACOUSTIC is expanding the capabilities of its Fulcrum One software platform with new acoustic simulation and auralisation features designed to help users evaluate system performance before deployment. The release adds expanded acoustic mapping and analysis tools alongside binaural auralisation capabilities that allow users to preview loudspeaker system designs and immersive audio mixes over headphones. Room Auralisation mode enables users to listen to a loudspeaker design from any position within a virtual model, using environmental data to simulate performance within the acoustic space.

Mix Auralisation mode allows object-based mixing projects and Fulcrum’s active acoustics technology to be auditioned over headphones

before entering a live venue environment. Processing takes place locally on the user’s computer and does not require dedicated

hardware, while compatible head-tracking headphones can be used to enhance immersion. The update builds on Fulcrum One’s role as a unified workflow platform, enabling users to model environments, design systems, evaluate performance, optimise designs and manage supported hardware from a single application. According to Fulcrum Acoustic, the new tools provide integrators, consultants and system designers with improved visibility of coverage, speech intelligibility, time alignment and overall listening experience before installation. www.fulcrum-one.com

KLANG expands console integration with KOS 6

Xilica adds Dynamic Voice Lift to Designer v4.12

DIRECT CONTROL from SSL Live consoles is the standout addition in KOS 6, the latest operating system update for KLANG’s immersive in-ear mixing platform. The free firmware release expands integration options across the KLANG ecosystem, adding native SSL Live support that allows engineers to access immersive mixing functions directly from the console surface. The integration also enables routing configuration, personal mixing management and per-channel EQ control from within the SSL environment. KOS 6 additionally introduces ADM-OSC support, enabling external immersive audio systems and compatible mixing consoles to communicate directly with KLANG processors through standardised spatial audio control protocols. The update also brings support for the recently launched KLANG:1 and KLANG:1pro immersive processors. For KLANG:1pro users, Dante patching to third-party devices can now be handled directly within KLANG:app, removing the need to switch between separate software environments. Workflow improvements include new Action Buttons that provide one-touch access to commonly used functions such as snapshot recall, mix loading and show preparation tasks.

XILICA HAS announced the release of Dynamic Voice Lift, a feature in Xilica Designer v4.12 that brings adaptive speech reinforcement to large meeting spaces, classrooms and auditoriums. Traditionally, voice lift systems rely on fixed speaking positions or multi-zone microphone outputs to deliver consistent audio reinforcement. With Dynamic Voice Lift, Xilica systems automatically adapt in real time to the position of the active speaker, enabling clear, balanced speech reinforcement across the room, even when using single-output ceiling microphones such as the Sennheiser TeamConnect Ceiling Medium and Sennheiser TeamConnect Ceiling 2.

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Dynamic Voice Lift supports environments where conversations move naturally around the room, including large boardrooms with distributed seating, classrooms with both instructor-led and student participation and flexible spaces used for presentations, discussions and workshops. Key benefits include consistent intelligibility regardless of speaker location, more inclusive communication with every participant heard equally, no need to stand in specific locations or switch presets, and greater room flexibility with one setup supporting multiple use cases. www.xilica.com

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A redesigned settings interface consolidates device configuration into a single view, while Batch Snapshot Editing allows parameters including gain, panning, mute states and Tone Filters to be adjusted across multiple snapshots simultaneously. Also new is compatibility with Bitfocus Companion, allowing KLANG processors and KLANG:app to be controlled from Stream Deck devices and other control surfaces. www.klang.com

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V1.6 expands SONICUE control and DSP capabilities VERSION 1.6 of Dynacord’s SONICUE sound system software introduces Automixer and Ducker functionality for IX Series networked DSP amplifiers, bringing processing features previously associated with the company’s MXE5-64 Matrix Mix Engine directly into the amplifier platform.

allowing audio and video systems to be managed through a common interface. SONICUE Control has also gained native support for Android hardware, allowing customised control panels to run directly on Android tablets and touchpanels. Separate versions are available for fixed-installation

The Automixer uses a gain-sharing algorithm with adjustable response characteristics, while the Ducker automatically attenuates background sources in response to microphone activity. The update also broadens integration capabilities through new TCP, UDP, WebSocket and PJLink protocol blocks within the TaskEngine environment. This enables direct communication with a wider range of third-party devices, including projectors and Visionary Solutions AV-over-IP products,

control surfaces and mobile devices, providing an alternative to dedicated hardware controllers. Additional improvements include the ability to change loudspeaker modes without disconnecting amplifiers, enhanced drag-anddrop functionality within Panel Designer and TaskEngine, and the addition of new demonstration projects for system design and programming. www.dynacord.com

Celestion tackles directivity trade-offs with PXT6000

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CONTROLLED DIRECTIVITY and smooth frequency response have traditionally involved a compromise for loudspeaker designers; however, Celestion claims to have eliminated that trade-off with the introduction of its PXT6000 compression driver. The driver is built around the company’s new patented Planar eXit Technology (PXT), a wave-shaping approach developed using advanced mathematical modelling, which is said to deliver a highly coherent rectangular

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pressure wave that enables both precise directivity control and an exceptionally smooth frequency response from the same device. The design is based around a deep-drawn titanium diaphragm and has been engineered to reduce throat resonances that can colour the sound of conventional compression drivers. Celestion also states that the coherent wavefront improves efficiency and intelligibility when multiple devices are arrayed together by reducing interference effects and power loss. Alongside the new wave-shaping technology, the PXT6000 features a compact cast-aluminium waveshaper with a rectangular 165mm x 20mm exit intended to improve loading and off-axis performance. The driver utilises a neodymium magnet assembly and a 3-inch edgewound copper clad aluminium voice coil. Specified at 240W continuous power handling, with a nominal rating of 120W and an impedance of 8Ω, the PXT6000 covers a frequency range from 500Hz–20kHz and is aimed at high-end professional sound reinforcement array applications. www.celestion.com

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PRODUCTS

Controlled behaviour THE HF1440 from FaitalPRO combines a 1.4-inch exit with an 86mm voice coil, an annular Ketone Polymer diaphragm and a neodymium magnetic circuit capable of generating a flux density of 2.2 Tesla. The result is described as a compact large-format compression driver delivering 120W AES power handling, 109dB sensitivity and an operating bandwidth extending from 700Hz–20kHz. Engineered as a complete system rather than as a collection of individual components, the large annular Ketone Polymer diaphragm was selected to combine stiffness with controlled internal damping, providing fast transient response while maintaining smooth behaviour across the

M Atlas+Fyne IsoFlare Series driver’s operating range. The large 86mm voice coil increases thermal capacity and long-term power handling, while the optimised neodymium magnetic circuit provides control of diaphragm movement, even under sustained high-power operation. Covering frequencies up to 20kHz, the HF1440 combines high-frequency detail with the authority expected from a large-format compression driver, offering a balanced solution for applications where both output capability and sound quality are equally important. www.faital.com

Adamson unveils VGx DESCRIBED AS the largest and most powerful full-range addition to the Vergence Group, Adamson has announced the arrival of the VGx. Capitalising on the transducer, wave-shaping and amplification technology first introduced with the VGt, the VGx uses three M140 midrange transducers and three NH3-V-16 high-frequency compression

VGd drivers on a newly designed 3° coaxial mid-high assembly, resulting in 1.5dB extra headroom per element, compared with the VGt. A new 18-inch driver with a dual wound voice coil provides low end, while the ND13-S used in the VGt now provides low-end support and directionality as a sidefiring driver in the VGx.

The VGx exhibits 22dB of rear rejection across its entire bandwidth. Omni presets are also available. A new Class-D amplifier module powers the VGx, with two full bridge channels devoted to the low-frequency section, and four half-bridge channels powering the remaining devices, ensuring plenty of headroom across the board. The manufacturer is also releasing two new subwoofers. The VGd is a large-format subwoofer enclosure and the largest subwoofer enclosure in the Vergence Group. Designed to keep up with the high-output capabilities of the full-range products, the VGd is a dedicated cardioid subwoofer and comes with two SD21.5 transducers front-loaded, as well as two SD18 transducers rear-loaded. To complement the VGd, the VGo uses the same technology and transducers but in a single-driver format. Both subs include onboard Class-D amplification, have built-in rigging and can reproduce audio to 27Hz.

ATLASIED HAS added to its Atlas+Fyne IsoFlare Series. Featuring low-insertionloss transformers suitable for 70V or 100V applications, the models come with a weather-resistant, IP44-rated enclosure. The additions include 4-, 6- and 8-inch models, along with a separate 8-inch model with narrow dispersion, specifically for higher ceilings, and an 8-inch subwoofer model for extended bass performance. Available in black and white, the series now includes the FP-4T 4-inch Premium IsoFlare pendant, FP-6T 6-inch Premium IsoFlare pendant, FP-8T 8-inch Premium IsoFlare pendant, FP-8THC 8-inch Premium IsoFlare pendant for high ceilings and FP-8ST 8-inch Premium IsoFlare pendant subwoofer. The company has also announced the expansion of its Atmosphere digital audio platform with the introduction of the Atmosphere AZP amplifier series. The models feature onboard DSP with integrated speaker tunings,

flexible matrix mixing and loudspeaker management tools, including EQ, crossovers and limiters. A built-in message player further enhances system functionality for paging and announcements. Power share technology allows total amplifier power to be allocated across channels in 5W increments, extending system design options. Dual network ports provide flexible deployment options for control, monitoring and Dante audio, while streamlining system integration and configuration. The AZP series also includes full sound-masking capabilities, with onboard signal generation, scheduling and commissioning tools, along with Cat-based speaker connectivity for simplified installation of AtlasIED sound-masking loudspeakers. Available in a 1U form factor, the 4- and 8-channel configurations are available in 150W or 300W (selectable Lo-Z or Hi-Z) per channel. www.atlasied.com

DAS unveils MIA platform MIA-S110

term durability. The company said all of its loudspeakers can now be customised for both indoor and outdoor applications, with typical lead times of 3–4 weeks. The expanded offering provides additional finish options for projects where loudspeakers are required to complement architectural aesthetics while being installed in outdoor environments. www.1-sound.com

DAS AUDIO has introduced the MIA Series, an installation platform comprising loudspeakers, amplification, processing and control tools designed to operate within a single environment. The range includes seven passive coaxial point source loudspeakers and two low-profile subwoofers. Models span 5- to 12-inch formats, with varying output levels and coverage patterns for applications ranging from distributed audio to installations requiring greater output and directivity control. The MIA-X5 and MIA-X6 provide 120° conical coverage, while the MIA-X8 offers 110°. The MIA-X10 and MIA-X12 are available with 70° x 50° or 110° x 60° coverage patterns via rotatable waveguides that can be adjusted to suit installation requirements. The MIA-X5 and MIA-X6 feature a nominal impedance of 16Ω, allowing up to eight loudspeakers to be connected per channel when used with the recommended INTEGRAL-MA matrices. Low-frequency support is provided by the MIA-S110 and MIA-S115 subwoofers. Their low-profile band-pass enclosures can be installed horizontally or vertically, while the

MIA-S110 also supports wall mounting via an optional accessory. The accompanying INTEGRAL-MA range comprises six amplified matrices with 2- and 4-channel configurations, delivering between 250W and 750W per channel at 4Ω. Each unit combines Class-D amplification, DSP, an audio matrix and 4x4 Dante/AES67 connectivity, enabling signal routing, zoning, priority management and output processing from a single platform. Factory presets incorporating FIR filters and limiters have been developed for each MIA model, enabling different loudspeakers from the series to be combined within the same installation. System configuration, control and monitoring are managed through ALMA software. The INTEGRAL-MA1002, MA1502, MA2004 and MA3004 also feature an integrated web server with ALMAweb for browser-based management. The matrices support low-impedance, 70V and 100V systems and can be integrated with third-party platforms via OSC and GPIO. www.dasaudio.com

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www.adamson.ai

1 Sound adds outdoor wood finish option

EXTERIOR WOOD finishes are now available across the entire 1 Sound loudspeaker range through the company’s Custom Shop programme. The new finish option is designed for permanent outdoor installations, allowing integrators to specify wood finished loudspeakers for projects exposed to the elements. According to 1 Sound, the exterior wood treatment draws on traditional structural building techniques from countries including Japan and Norway, with a focus on long-

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NEW EVENTT30A

The EVENT-30A is a compact, high-performance, self-powered line array system designed for professional environments where power and precision are essential. Delivering 2000 W peak power and up to 138 dB SPL, it combines a lightweight, robust design with Smart Self-Tuning technology that automatically identifies each cabinet’s position in the array and loads the correct preset, reducing setup time and configuration errors. Its 24-bit DSP with FIR processing ensures exceptional clarity and phase coherence, while the built-in Wi-Fi chip allows easy firmware updates via a web-based interface, keeping the system always up to date. More info at www.dasaudio.com Measured Maximum Linear SPL at 1m according to AES75 standard using 18dB crest factor M-Noise.

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PRODUCTS

HK Audio announces POLAR expansion

Montarbo says it’s time for “T” SUITED FOR a wide range of professional applications, Montarbo’s Nettuno T12 and T15 loudspeakers can be deployed as small PA systems for DJs, corporate events, conferences and compact live shows, or as a fill reinforcement element for larger productions. In addition, its footprint and voicing promote its use for stage monitoring. The Nettuno T12 active 2-way point source enclosure incorporates a 12-inch ferrite woofer with a 3-inch voice coil and a neodymium compression driver with a 1-inch exit and 1.75 -inch voice coil. Driven by a 1,000W RMS Class-D amplifier with integrated DSP, the full-range

model delivers controlled output to a maximum of 134dB SPL, while its 60° x 40° dispersion reportedly provides focused coverage and consistent clarity. Allowing quick adaptation to different stage layouts, eight DSP presets – including FIR processing and tuned waveguiding – facilitate ease-ofuse setup as a main PA, front fill, out fill or stage monitor. Incorporating the same design features as the T12, the T15 is a 15 -inch higher-powered speaker. Operating within a frequency response range of 55Hz–17.2kHz (–6dB), the T15 can produce a maximum SPL of 135dB. www.montarbo.com

HK AUDIO is expanding the POLAR MK2 series with its most compact model to date. The POLAR 8 MK2 portable all-in-one column system has been designed specifically for smaller applications, including rehearsal rooms and conferences. Inside the column element, six 2.5-inch neodymium midrange drivers operate in a specially developed Curved Column arrangement. This design reportedly combines even sound distribution with

Nettuno T12

Leading the line EXTENDING THE Newport Series, EAW has added the NT208L line array and NT116S subwoofer for touring, live production, installation and outdoor festival applications. Removing the need for external amplifier racks, the Newport Series combines integrated Class-D amplification within a lightweight enclosure. The NT208L is a dual 8-inch active line array delivering a maximum SPL of 141dB and low-frequency extension to 50Hz. It incorporates a 2,000W Class-D amplifier and a field-adjustable horn offering 80°, 95° or 110° coverage. Providing a selection of four horizontal coverage profiles through tool-free adjustments, the NT208L enclosure features EAW’s Adjustable Horizontal Directivity (AHD). The NT116S 16-inch subwoofer reportedly provides 50% greater air displacement than

NT208L a 15-inch driver and includes 4,000W of peak onboard power. An optional rigging accessory enables the NT116S to be flown with the NT206L line array or deployed as a standalone low-frequency solution. Accessible via the rear panel, the subwoofer features a selectable Cardioid Mode, which directs low-frequency energy towards the audience area while reducing energy onstage.

The enclosures are constructed from Baltic birch, steel and aluminium. Dedicated rain shields are available to protect the amplifier and input sections during outdoor deployment. In addition to the new OAA software, the Newport Series products are included in EAW’s Resolution software libraries for professional 3D SPL modelling and detailed room optimisation. www.eaw.com

Genelec expands UNIO monitoring ecosystem WITH THE introduction of the 9402A system management device for audio-over-IP networking, Genelec has expanded its UNIO monitoring ecosystem. Complementing the existing 9401A model – which already supports Ravenna, ST 2110 and AES67 protocols – the 9402A provides Dante and AES67 compatibility for Genelec’s range of Smart Active Monitors and subwoofers. Compatible with all formats from stereo to 9.1.6, the 9402A promotes flexible, scalable and futureproof monitoring solutions. Providing a bridge between traditional AES/ EBU signal paths and fully networked AoIP infrastructures, the 9402A supports up to 16 channels of digital audio via a DB25 connector. With additional dedicated AES/EBU outputs on XLR for subwoofer integration and auxiliary stereo monitoring, the 9402A enables flexible routing and monitoring via in-room loudspeakers and professional headphones. The 9402A supports high-resolution audio with sample rates up to 192kHz and bit depths up to 32-bit within the digital domain, without any loss of quality during the conversion process. Through its tight integration with Genelec Loudspeaker Manager (GLM) software, the

9402A allows entire system calibration, including subwoofer alignment and support for bass management. Increasing the low-frequency SPL

output, the subwoofer output enables Smart Active Subwoofers to be chained. Providing compatibility with 22.2 and other high-channelcount immersive formats, channel capacity can be expanded with the addition of 9402A devices. Supporting modern streaming control integration, the 9402A deploys Gigabit Ethernet low-latency operation and support for broadcast-grade redundant network connectivity. Additional data security is enabled by Dante Media Encryption, using AES 256-bit key-protected audio transport to the 9402A. Enabling routing across IP subnets, between buildings or wide-area networks, the audio is transported between AoIP and AES/ EBU formats using low-latency OSI Layer 3 technologies. The compact 1U rackmount 9402A format is further enhanced with Genelec’s proprietary Intelligent Signal Sensing (ISS) technology, which minimises power consumption during idle periods. Aural ID 2.1 brings a series of usability and performance improvements to Genelec’s binaural headphone monitoring application, while Smart IP Controller 2.0 is a redesigned mobile app for controlling Smart IP loudspeaker systems.

wide dispersion angles of 120° x 45° (HxV), creating a uniform sound coverage in acoustically challenging environments. Minimising unwanted vibrations, the metal-reinforced 8-inch Birch plywood subwoofer is fitted with a low-resonance plastic enclosure. The integrated 1,200W Class-D amplifier offers high power reserves. Promoting individual sound preferences, the developed CONTOUR control provides audio parameter adjustments between the DJ, Music and Voice presets. Internal 24-bit DSP is complemented by a multiband limiter that intervenes specifically in critical frequency ranges. As a result, the overall sound is said to remain stable at maximum volume. Integrating two mic/line inputs and aux/ Bluetooth 5.0 audio streaming, external audio sources can be directly connected. Using True Wireless Stereo (TWS), two POLAR 8 MK2 units can be paired wirelessly and operated as a true stereo setup without any additional cables. A carry bag for the column elements and a transport case for the subwoofer are included as part of the package. www.hkaudio.com

www.genelec.com

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PRODUCTS

K-array debuts Keystone and Dragon BORNE OUT of the innovations in Powersoft’s new MM-Force and Spixel technologies, K-array is bringing them to market in the form of the Keystone KST110 architectural subwoofer and Dragon KX2.

Keystone KST110 The Keystone KST110 is aimed at hospitality, corporate and marine projects where conventional low-frequency systems are too large or visually intrusive. Available in both on-wall and in-wall versions, the ultra-slim design employs MM-Force moving magnet technology, which uses an inertially balanced architecture to minimise vibration transfer into surrounding structures. Despite weighing just 6.6kg, the KST110 delivers up to 119dB peak SPL with a frequency response extending down to 40Hz. An aluminium chassis, black and

white finishes, custom RAL options and an optional marine-grade version further position the product for design-sensitive installations. Joining the subwoofer is the Dragon KX2, the most compact loudspeaker in K-array’s Dragon family. Designed to blend into architectural environments with minimal visual impact, the loudspeaker is built around Spixel driver technology, combining a 2.5-inch full-range driver with dual passive radiators in an enclosure weighing less than 1kg. The IP65-rated loudspeaker delivers a peak SPL of 116dB and frequency response down to 110Hz, while a 100° x 100° conical dispersion pattern is intended to provide consistent coverage across hospitality and corporate and residential applications. Weather resistance also allows deployment in covered outdoor environments. The Koral KO102 combines line array directivity and point source performance within a single enclosure, providing flexibility for system designers and installers across a range of applications. The loudspeaker is equipped with six 3.15-inch woofers and a 1.1-inch tweeter, delivering a frequency response of 125Hz–18kHz, a peak SPL of 128dB and a rated power handling of 360W. In line array mode, the KO102 provides 10° x 90° (VxH) coverage, while point source mode expands coverage to 60° x 90° (VxH). A dedicated switch manages the contribution of the system’s components according to the selected configuration, allowing Koral

to adapt its acoustic behaviour and deliver a more open and evenly distributed sound field. Constructed from stainless steel, the enclosure features a fully flush grille and supports both on-wall and recessed mounting options, enabling integration into architecturally sensitive environments. The KO102 is suitable for hospitality and corporate installations, including centre-channel applications. Its outdoor-rated, stainless-steel construction also allows deployment in exterior environments where durability and discreet installation are required. www.k-array.com

The return of Logic System FOLLOWING THE relaunch of Logic System, Chris Scott and Jason Baird have unveiled the first product offerings. Designed as high-output, 2-way point source loudspeakers, the AT Series currently consists of 15- and 12-inch models. Loaded with a 15-inch ferrite LF woofer with a 3.5-inch voice coil with a 1.4-inch exit, the AT15 enclosure marries a titanium diaphragm ferrite compression driver onto a diecast 80° x 60° (HxV) HF horn that maintains pattern control down to below the 1.2kHz crossover point. The rotatable horns allow the AT15 to be deployed in either portrait or landscape orientation. Housed in an 18mm Baltic birch ply cabinet and finished in a dark grey polyurea coating, flexibility of use is enhanced with 12 M10 inserts, a pole mount and pocket handles. Modelled on a contemporary industrial design, the AT12 distinguishes itself with a 12-inch ferrite woofer with a 3-inch voice

Dragon KX2

Powersoft unveils MM-Force and Spixel POWERSOFT HAS expanded its audio technology portfolio with two OEM technologies. MM-Force is a balanced, ultra-low-profile moving magnet lowfrequency driver available in 8- and 10-inch formats, while Spixel is a compact 2.5-inch high-efficiency full-range driver. Both solutions have been designed to provide OEM partners with access to a complete audio technology ecosystem rather than individual components. MM-Force combines motor strength with an ultra-shallow physical footprint of under 80mm in depth. This profile fits within installation standards that would ordinarily rule out subwoofer integration. The 8- and 10-inch driver features a dual coil configuration, a square carbon fibre reinforced polymer piston that maximises radiating area within its footprint and a robust design rated for operation in harsh environments and demanding conditions. The driver’s moving parts are engineered to offset one another dynamically, achieving vibrationless operation at the transducer level. This means that even a single-driver enclosure operates without the mechanical vibration that would ordinarily require additional structural reinforcement or dampening. The combination of moving magnet topology with high motor strength design reportedly

Integrated into the driver is Powersoft’s AnyMATE technology, enabling onboard speaker identification, real-time monitoring and visual diagnostics via an LED indicator coupled with a translucent dustcap. As a result, loudspeaker manufacturers integrating Spixel can reportedly offer their customers an increased level of system

MM-Force delivers significant advantages in power efficiency and material economy compared to conventional moving coil approaches. Spixel takes the high motor strength philosophy underpinning Powersoft’s IPAL technology, which was originally developed for high-efficiency, low-frequency reproduction, and extends it to the full frequency range in a compact format. The driver achieves a low-frequency limit of 100Hz, an extended bass response, which enables direct coupling with subwoofers at a single, low crossover point and materially simplifies overall system design for loudspeaker manufacturers.

Spixel intelligence and in-field serviceability compared with conventional transducers. The native AnyMATE/SpeakerMATE integration brings this capability without increasing system complexity.

AT15 coil, and an annular diaphragm neodymium compression driver mounted onto a 90° x 60° (HxV) rotatable elliptical HF horn that maintains pattern control down to the 2.2kHz crossover point. Combining 18mm and 15mm Baltic birch plywood, the AT12 features 12 M10 inserts, pole mount and pocket handles. A passive crossover and 8Ω nominal impedance allow two AT15s or AT12s to be driven by one channel of an LS8Q or LS12Q 4-channel amplifier, which also comes pre-loaded with EQ presets and limiter settings. Low-frequency extension is provided by a choice of two direct-radiating subwoofers. Both models incorporate 18-inch direct radiating woofers with 4-inch long-excursion voice coils, demodulation rings and vented ferrite motors. Both the AS218 dual 18-inch and AS18 single 18-inch models record a frequency response of –3dB @ 35Hz. Housed in 18mm Baltic birch plywood enclosures, both subwoofers are finished in a polyurea coating. www.logicsystem.co.uk

www.powersoft.com

86 PRO AVL ASIA September–October 2026

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FOCUSED SOUND. EVERYWHERE.

Characterised by high output, precision directivity and a compact, unobtrusive form factor, NEXO loudspeaker systems excel in a range of applications. Installers and services providers enjoy plug and play amplification and processing solutions, intuitive system design software and world-class support from a highly-experienced engineering team. Find out more at nexo.sa.com

Thinking. Inside the box.

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TT+ extends coverage DESIGNED FOR applications requiring tighter horizontal coverage and enhanced long-throw performance, the GTX 7CP from TT+ Audio extends the GTX 7C platform with a narrower linear resistive waveguide while maintaining the same active cardioid architecture, highoutput capability and DSP-driven directivity management. By concentrating high-frequency energy into an 80° horizontal angle, the GTX 7CP delivers higher SPL over distance than the standard 120° GTX 7C configuration. While combining GTX 7C and GTX 7CP modules can be recommended for specific venue geometries, arrays composed entirely of GTX 7CP modules are suitable when wide

horizontal coverage is not required, helping reduce unwanted reflections from side walls, nearby boundaries and reflective architectural surfaces. The GTX 7CP has been designed to give system engineers a more focused coverage option within the compact GTX cardioid family. The 80° waveguide helps project sound further while limiting excess energy outside the audience area. Combined with active cardioid technology, it reportedly minimises rear spill towards the stage, backstage areas and surrounding environments. The enclosure provides 140dB max SPL, 80° x 10° linear resistive waveguide, 22dB

Theory Professional reveals “Rock Concert-in-a-Box”

THE SR-221.3 from Theory Professional has been designed to provide highoutput and high-fidelity sound in midsized performance venues using a single loudspeaker. Dubbed the “Rock Concertin-a-Box”, it is the latest addition to Theory’s built-to-order SR Series of sound reinforcement loudspeakers and manifold subwoofers. The SR-221.3 integrates dual 21-inch, 3,600W low-frequency drivers, four 10-inch carbon fibre, high-output midrange drivers and a 5-inch-wide band ring radiator compression driver mounted on an axi-periodic horn. Capable of producing

a maximum SPL of 140dB and operating within a bandwidth of 27Hz–20kHz (–3dB), the SR-221.3 covers 170° x 60°. The unit comes in a compact form factor, with optional upgrades including custom paint finishes and weatherising on the passive units. Flexibility has been added in the form of ergonomic handles, multiple fly points, mount points, pole cups and a suite of accessories including SplitYoke multipurpose mounting brackets, caster kits and a dolly board. www.theoryprofessional.com

JB VT

average rear attenuation along with FiRPHASE and BMC processing. It comes with two 7-inch front and two 5.5-inch rear neodymium woofers and a 3-inch titanium dome neodymium compression driver. The speaker has been

designed to operate with XPS 16K amplifiers and is compatible with the GTS 16C cardioid subwoofer. www.ttaudio.com

Optimal Audio extends ecosystem with Column Series A COMPLETE installation kit in every box is one of the headline features of Optimal Audio’s Column Series, a pair of passive loudspeakers developed for commercial audio applications where speed of deployment and consistent results are key considerations. The range comprises the eight-driver Column 8 and 16-driver Column 16, both designed for environments including houses of worship, conference venues, hospitality spaces and concourses. Each model ships with a panand-tilt wall bracket, metal safety strap, rear panel connector cover and spare grille cloth for projects where the loudspeaker needs to be painted to match its surroundings. The Column 8 employs eight 2.2-inch full-range drivers within a 610mm enclosure, delivering 150° x 7° (HxV) dispersion. The larger Column 16 doubles the driver count in a 1.1m cabinet and narrows vertical coverage to 5°, providing greater control in larger and more acoustically challenging spaces. Both models are passive 8Ω designs with integrated 70V and 100V transformer taps and achieve an IP54 rating when fitted with the supplied rear connector cover, making them suitable for both indoor and sheltered outdoor installations. Black and white versions are available, with both cabinets designed to be paintable. The Column Series also integrates with the wider Optimal Audio ecosystem. Created to support SmartAmp-based system installs, SmartAmp Custom Configurator is a free desktop application (macOS or Windows) that opens up full DSP configuration for every SmartAmp installation. SmartAmp Custom Configurator 3.0 replaces the manufacturer’s previous configuration tool with a single application that manages firmware updates and gives installers full per-output control over routing,

Column Series

speaker presets, impedance, EQ, crossover, delay and limiter. Any input can route to any output, while each output can be assigned its own speaker preset, either from Optimal Audio and Martin Audio libraries or built for third-party loudspeakers. Meanwhile, the ZonePad VL1 is a passive wall-mounted volume controller that plugs straight into the SmartAmp GPIO port. It’s built from painted steel with a clear zone label area, and ships in two variants from launch. Customers can pair two VL1s with a SmartAmp 20 or 30 to get independent volume control across two zones, enough to handle basic multi-zone installations without a dedicated zone processor.

hard coat for long-term durability. The grille features acoustically transparent, liquid-repellent fabric to block water and debris without affecting frequency response, while conformal-coated circuit boards help seal electronics against dust and moisture. The ESD Series is available in two protection variants, both carrying the IP55 rating. The Weather-Proof (WP) variant uses steel metalwork with KTL cataphoretic anti-corrosion treatment, while the Marine-Grade (MG) variant specifies stainless steel hardware throughout. www.kv2audio.com

www.

www.optimal-audio.co.uk

88 PRO AVL ASIA September–October 2026

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KV2’s ESD Series certified IP55 THE ESD Series loudspeakers from KV2 Audio have been formally certified to IEC 60 529 – the international standard defining the degree of protection provided by mechanical casings and electrical enclosures. Following rigorous laboratory testing, KV2’s ESD Series has been certified to IP55. The enclosures are dust-protected, preventing harmful deposits from reaching internal components, and can withstand water jets projected from any direction without harmful effect. Built from Baltic birch plywood bonded with exterior-grade adhesive, the cabinets are finished with an abrasion-resistant, UV-stable polyurea

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PRODUCTS

JBL Professional extends VTX appeal WITH THE introduction of the VTX B35 and VTX B35G compact single-enclosure subwoofers, JBL Professional has added directional low-frequency control to touring and installed versions of the VTX Series. With an ability to be flown directly above VTX A12 arrays, the VTX B35 enables clean mixed-array configurations

arranged in a front-rear configuration, with two forward-facing drivers and one rear-facing driver. Resulting in predictable cardioid directivity, each section of the VTX is powered independently via dedicated Crown I-Tech HD amplifier channels. Bypassing the requirement for additional subwoofer cabinets, optimised presets

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particularly in applications where space for ground-stacked subwoofers is limited or unavailable. Reducing rearward energy while keeping low-frequency coverage focused on the audience, the VTX B35 integrates cardioid behaviour within a single-enclosure design. By eliminating the need for additional rear-facing cabinets, complex array spacing or field-built subwoofer configurations, the VTX B35 simplifies deployment. The VTX A12 can be suspended directly below the B35 without the requirement for adaptor frames. Supporting flown, standalone and hybrid deployment configurations across touring and installed applications, the B35 also integrates with A12 rigging accessories, including the A12 Array Frame and current A12 Suspension Bar. The interior design comprises three JBL Differential Drive 15-inch woofers

Cranking up GRAVITY HAS expanded its portfolio with the SP 5322 B speaker stand designed for sound and lighting applications. It features a built-in crank mechanism and automatic LockPin locking system for height adjustment. The stand supports equipment weighing up to 60kg, enabling controlled raising and lowering. The collapsible crank remains attached for setup adjustments. The LockPin system is designed to prevent uncontrolled movement and maintain the selected height position, while an additional locking screw secures the stand tube. An M10 threaded insert allows the SP 5322 B to be used as either a speaker or lighting stand, supporting mobile sound systems and medium-sized event productions. The stand has a foldable, double-braced construction with a zinc die-cast foot mount. Height adjustment ranges from 133–210cm.

create predictable rear rejection and forward-focused, low-frequency energy. Extending the LF down to 32Hz, the VTX B35 includes full touring-style rigging, while the B35G includes 16 M10 Quick Link eyebolts for fixed installations and ground-stacked applications. Both models share the same acoustic design, amplifier presets, performance characteristics and NL4 wiring. The VTX B35 Series also integrates with the complete JBL Professional software ecosystem, including Venue Synthesis, Array Link and Performance Manager. Constructed from outdoor-grade Baltic birch plywood, the units are finished with JBL’s impact-resistant DuraFlex coating, stainless-steel grilles, corrosion-resistant hardware and an IP55 rating. www.jblpro.com

It’s showtime BOSE PROFESSIONAL has released the ShowTime STS118E, an installation-grade 18-inch subwoofer designed to deliver deep, immersive bass for the manufacturer’s systems in indoor or outdoor environments. Built for permanent installations and performance-driven spaces, the ShowTime STS118E has been designed to provide the low-frequency impact required for musicforward and high-energy applications. Designed to match the voicing of high-output Bose Professional loudspeaker systems such as AMU, AMM and Forum, the ShowTime STS118E provides the controlled low end required to expand system capability without adding complexity. From venues that need more impact to outdoor spaces that demand reliability, the subwoofer integrates naturally with Bose Professional platforms, allowing designers to maintain control, consistency and predictability.

The 18-inch low-frequency driver delivers high-output bass, while the installation-grade enclosure supports both ground-stacked and suspended deployment. Integrated suspension points and removable feet provide flexibility to accommodate layout, sightlines and mounting requirements. A universal pole cup accepts both 35mm poles and M20-threaded poles for secure top-box mounting when needed. Designed with indoor and outdoor deployment in mind, the ShowTime STS118E features IP55 outdoor-rated construction for use in exposed and partially exposed environments. Available in black or white finish options, the enclosure integrates into a wide range of architectural and performance spaces. www.boseprofessional.com

AJA extends Kona and Corvid workflows with Io Xpand DESCRIBED AS a Thunderbolt 5-enabled PCIe expansion chassis designed to bring Kona and Corvid video and audio I/O cards to Thunderbolt-equipped laptops, AJA Video Systems has introduced Io Xpand. Targeting applications where portability and space efficiency are important, the chassis allows users to combine a Thunderbolt 5 computer with Kona 1, 4 or 5 cards to create a compact workstation for video capture and playback. Support is also provided for most Corvid I/O cards, enabling developers to build smaller-footprint systems around AJA’s PCIe hardware. Compatible with Thunderbolt 3, 4 and 5, as well as USB4, Io Xpand supports

Windows, macOS and Linux operating systems. The chassis accommodates full-height, half-length PCIe cards, including double-width cards and cards fitted with daughter boards. The chassis delivers up to 6,000MB/s of bidirectional PCIe bandwidth to the installed card. Additional features include Thunderbolt daisy-chaining via a second Thunderbolt port, a temperature-controlled cooling fan and a lightweight aluminium enclosure designed for portable deployment. Io Xpand will be available as a standalone chassis or bundled with Kona I/O cards. www.aja.com

www.gravitystands.com

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PRODUCTS

BSS unveils Omni 600, 300 and 200 Series MARKING THE introduction of video Designed for bandwidth-efficient AV capabilities within the BSS Soundweb distribution over shared LANs or WANs, Omni platform, BSS has added three the Omni 300 Series uses H.264 or H.265 scalable families of networked AV compression, and streams 4K60 4:4:4 solutions. Engineered to address specific video while simultaneously generating a application requirements, from low-latency secondary 1080p H.264 or H.265 video video to bandwidth-efficient streaming stream for third-party platforms. USB-C and network-routable USB connectivity, connectivity on both the encoder and the Omni 600, decoder supports USB video 300 and and audio for recording 200 Series and collaboration currently workflows, with make up conversion the Omni between Networked Dante audio AV portfolio. and USB AV All products (UAC and are configured, UVC). With managed and support for monitored through Dante AVH Harman’s AVX Suite interoperability software platform. and centralised Supporting 4K60 management through AVX Suite, Omni 200 Series the Omni 300 Series is suited 4:4:4 video, audio, control and USB 2.0 over Gigabit Ethernet, for meeting spaces, hospitality the Omni 600 Series delivers AV-over-IP in venues, retail environments and hybrid performance-critical applications. Featuring classrooms. Motion Wavelet Compression, the series Built around Virtual Network USB 2.0 Hub preserves image quality for fastmotion technology, the Omni 200 Series allows a video and detailed visual content with PC to communicate with USB devices at ultra-low, end-to-end latency. Virtual up to four remote endpoints over standard Network USB 2.0 Hub technology enables Gigabit Ethernet, supporting data rates up a single USB host to connect to devices to 480Mbps. Integrating with Omni 600 at up to four remote Omni 600 or 200 systems and supporting PoE+ powering, endpoints. Native support for Dante AVA the Omni 200 Series provides 2-channel and Dante audio, together with seamless Dante audio input and output at the switching, videowall processing, an open USB host endpoint to enable USB audio control API and enterprise-grade security, conversion (UAC) for conferencing and the series provides flexible system design, collaboration workflows. professional-quality AV presentations and www.bssaudio.com third-party integration.

GVN-HC-TX220AP

Lightware brings fully featured USB-C to Gemini GVN THE INTRODUCTION of the GVN-HCTX220AP expands Lightware’s Gemini GVN AV-over-IP range with a transmitter that combines video, USB 2.0, audio, Ethernet and up to 100W power delivery over a single USB-C connection. A secondary HDMI and USB-C host path is also provided for rooms that require support for multiple local sources, while configurable auto-switching allows the system to change between USB-C and HDMI inputs automatically based on signal presence or predefined priorities. Designed for 1G AV-over-IP deployments, the transmitter supports 4K60 4:4:4 video transmission with 3ms latency. Alongside USB-over-IP support for devices including webcams, microphones, speakerphones and HID peripherals, the unit also incorporates bidirectional USB audio connectivity. Additional features include an HDMI loop-through output for local monitoring, a stereo analogue audio port that can operate as either an input or output, dual RJ45 ports and an SFP cage for copper and fibre connectivity. For applications requiring audio networking, the GVN-HC-TX220AP-DNT variant adds bidirectional Dante connectivity for routing audio between USB, HDMI, analogue and Dante domains. The transmitter integrates with Lightware’s GVN Matrix Management Unit for centralised configuration, monitoring and

device management, and can be powered via PoE or PoE+. Designed to address the gap in hardware control interfaces, the GPIO-Button-10S is a dedicated tactile control interface that can be connected to any Lightware device equipped with GPIO ports and used as an input to trigger predefined control actions. Bypassing the requirement for a separate processor, the low-latency GPIO-Button-10S provides local control for simple, yet precise workflows. Up to two GPIO Buttons can be connected to six GPIO Lightware devices, including Taurus and MMX2 units. Each button uses one GPIO channel for the button press and two GPIO channels to drive the feedback LED, providing clear visual confirmation of activation. Enabling integrators to provide clear status feedback, the LEDs can display red, green or blue, with selectable continuous, slow blink or fast blink light patterns. Once installed, the buttons can be fully configured using Lightware’s LARA or Event Manager software, to support single, double or long presses when triggering distinct actions or sequences. Measuring 20.8mm in diameter, a single press of the button can start the projector, switch audio or activate preset lighting, without touching software menus. www.lightware.com

Analog Way expands CorePlay and Aquilon offerings ANALOG WAY has introduced CorePlay Tetra, a quad-output media server designed to simplify multi-output productions and help users deliver more from a single system. Built around an operator-focused workflow, CorePlay Tetra is intended for applications ranging from breakout rooms and multi-screen environments to large digital canvases. The media server combines quad-output playback capabilities with an emphasis

on operational simplicity and production efficiency. The manufacturer has also unveiled the Aquilon Cmini as the latest addition to the Aquilon range. Designed for live events and fixed installations, the compact processor brings the image quality, flexibility and reliability of the wider Aquilon platform into a smaller form factor. CorePlay Tetra

www.analogway.com

ALEXA to the Xtreme ARRI HAS unveiled the ALEXA 35 Live Xtreme, a camera that reportedly brings high frame rate output of up to 8x to live productions using traditional SDI workflows. Together with ARRI’s Live Production System LPS-1, the camera has been designed to enhance the creative options for producers and directors. The ALEXA 35 Live Xtreme comes permanently pre-installed with the existing High Speed License for ALEXA 35 and a

new High Frame Rate SDI License. When combined with the ARRI LPS-1 Fiber Camera Adapter and Fiber Base Station (and a standard slow-motion playout server such as SimplyLive or EVS), the camera outputs HFR at up to 8x in HD or 2x in UHD. Up to 4x HFR can be output via a single SDI connector, and higher speeds are split across both SDI outputs. Frame rates up to 330fps use the camera’s full dynamic range of 17 stops,

while a Sensor Overdrive mode enables frame rates up to 480fps at a dynamic range of 11 stops. Whatever frame rate is chosen for the slow-motion feed, the system simultaneously outputs a live feed for broadcast, allowing operators to switch between the programme frame rate and HFR in real time. A phase-blending feature provides control over motion blur and shutter effects in the live feed. www.arri.com

90 PRO AVL ASIA September–October 2026

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26/08/2026 15:32

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PRODUCTS

More dark arts from Blackmagic

EQUIPPED WITH the same high-speed media modules as Blackmagic URSA Cine cameras, the Blackmagic Media Dock Ultra provides high-performance storage that can be instantly removed. Created for editing media from URSA Cine cameras directly from the modules without copying files, in addition to recording from the HyperDeck ISO Recorder 100G, the media module can

include dual redundant power supplies. A single local cache of media can be shared and uploaded instantly to the Blackmagic Cloud without needing to be downloaded. Designed to bridge low-cost single link 10G Ethernet SMPTE-2110 connections into high-end redundant 100G Ethernet-based systems, the Blackmagic StudioBridge 10G PWR converter can connect and power up to eight 10G Ethernet 2110 IP channels. If the 10G Ethernet products use a single connection, then the Blackmagic StudioBridge 10G PWR will also bridge into the two 100G Ethernet connections for a redundant broadcast system. With four internal power supplies, it can provide each of the 10G Ethernet connections with 90W PoE++ power over managed IP broadcast networks. Building on the digital film features of the URSA Cine 12K LF, including the large-format

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Media Dock Ultra be unplugged when a live production ends. Capable of syncing to Blackmagic Cloud, one model features four 10G Ethernet connections and another incorporates two separate 100G Ethernet connections. The rack-mount design holds up to three Blackmagic Media Modules for network sharing. Marked by illuminated LED rings, each module has four M.2 flash memory cards in RAID 0. Featuring faster network speeds, front-to-back cooling and multiple fans for redundancy and quiet operation, all models

StudioBridge 10G PWR

RGBW 36mm x 24mm sensor, the URSA Cine 12K LF 100G adds faster networking for cinematic live production workflows. With 100G Ethernet for SMPTE-2110 live production high frame rate output up to 440fps, the camera can be transformed into a live studio camera when the SMPTE-2110 Live has been set in the menu. The URSA Cine Immersive 100G has been designed for live production with Apple Immersive Video. Featuring dual 8Kx8K RGBW sensors with 16 stops of dynamic range, the URSA Cine Immersive 100G uses 100G Ethernet to deliver the bandwidth needed to output live immersive video. Meanwhile, the URSA Live Encoder is a live processor module that compresses live immersive video into Apple ProRes for output as SMPTE-2110-22 IP video, allowing customers to combine the stereo, high frame rate image streams into a single 100G Ethernet connection. www.blackmagicdesign.com

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September–October 2026 PRO AVL ASIA 91

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26/08/2026 15:33

PRODUCTS

Zoom in with Lumens

Bolin adds more PTZ options

DELIVERING 1080P video up to 60fps, 12x optical zoom and simultaneous HDMI, USB 3.0 and IP output, the VC-R32 HD IP PTZ by Lumens offers a video solution for meeting rooms, classrooms, courtrooms, podcast studios and houses of worship. The model adds RS-422 control as well as RS-232 over IP. The VC-R32 is equipped with a 1/2.8-inch image sensor and a 72.5° horizontal field of view. Its wide-angle lens captures groups and room layouts, while the 12x optical zoom enables users to frame presenters and other subjects. Built-in Auto Framing automatically composes a balanced view of participants. Integrated with the Lumens CamConnect voice tracking solution, the camera is designed to provide a wide field of view while aiming to deliver a quiet and responsive PTZ movement.

BOLIN HAS expanded its PTZ production portfolio with the introduction of the R9-L420N camera and KBD Plus controller. Designed for live production environments, the camera combines a 1-inch sensor with advanced image processing to deliver 4K60 video and up to 20x zoom. It also supports 1080p capture at up to 120fps for productions requiring high-framerate recording. Hybrid autofocus combines phase-detection and contrast-based technologies to help maintain focus accuracy during live operation, while adjustable cropped outputs allow alternative framing options to be generated from a single camera image. For multi-camera productions, the R9-L420N supports LTC timecode and Genlock synchronisation. Built-in ND filters assist with exposure control, while connectivity options include dual 12G-SDI, HDMI 2.0, optical SDI and IP outputs. Support is provided for NDI High Bandwidth, NDI HX3, SRT, RTMP, RTSP, ONVIF and MPEG-TS workflows. Also joining the range is the KBD Plus PTZ controller, which combines camera control, monitoring and automation tools within a single interface. Built-in decoding allows operators to monitor up to four IP camera sources simultaneously, while low-latency video output is available via HDMI 2.0 and USB-C.

The camera delivers video simultaneously over HDMI, USB 3.0 and Ethernet, giving system designers the flexibility to support video conferencing, local display, recording and livestreaming within the same installation. Its IP output supports triple streaming as well as RTSP, RTMP, RTMPS and SRT protocols for integration with a wide range of production and distribution workflows. Users can store up to 256 preset positions for quick recall of frequently used viewpoints, while its Ethernet connection supports power, video, audio and control over a single network cable. The camera can be installed upright or inverted and is available in black or white to suit different room designs. www.mylumens.com

R9-L420N The controller features a 4-inch LCD touchscreen, a redesigned precision joystick and user-programmable buttons for customised operation. Support is provided for VISCA over IP, VISCA over serial, NDI, ONVIF and selected Panasonic and Canon control protocols. A future software update will introduce AI-based subject tracking, enabling compatible PTZ cameras without native tracking functionality to gain automated tracking capabilities through the controller. www.bolintechnology.com

Extron streamlines scheduling Barco expands I-series

THE I65 from Barco is a smartline projection platform built to bring reliable 4K UHD performance to a broader range of applications. Combining image quality with flexibility and ease of use, the I65 expands Barco’s I-series portfolio, offering a complementary solution alongside the I600. The manufacturer reports that while the I600 remains the go-to choice for multichannel applications, the I65 complements the portfolio by addressing more budget-conscious use cases. All I-series projectors support ILD lens compatibility which offers a complete interchangeable lens range, from ultra-short-throw to long-throw applications. A newly developed 0.35 snorkel ultra-short-throw lens extends the

platform’s capabilities, offering customers new possibilities in space-constrained environments. This reportedly allows users to standardise on one lens series across multiple setups, helping simplify logistics while optimising long-term value. The I65 comes with a compact and lightweight form factor which supports straightforward transport and installation, even with limited staff. Barco Pulse Lite software provides intuitive setup and control, while Barco Auto-alignment capabilities help ensure precise image positioning with minimal effort. Designed for use in museums, houses of worship, educational institutions, corporate meeting rooms and rental workflows, the I65 enables customers to deliver engaging visual experiences while keeping operational complexity and costs under control. The projector comes with integrated Intel Smart Display Module (SDM) and includes the ability to leverage IPMX (Internet Protocol Media Experience) in projection environments.

THE TLS 835M and TLS 1035M scheduling panels from Extron have been designed to offer a streamlined solution for smarter workspace management and complete the Extron scheduling system range. Working alongside Extron Wayfinding, status indicators and control systems users can book, check in, release or extend meetings from the touchpanel while viewing and scheduling meetings up to one week in advance. They integrate with calendar systems, support viewing and booking spaces and require no ongoing fees. The TLS 835M and TLS 1035M are reportedly simple to install and are designed for enterprise-grade security and performance. They feature capacitive IPS touchscreens with optically bonded Gorilla Glass and integrated red and green LED room-status indicators. The 8-inch TLS 835M provides a resolution of 1280x800p, 420 nits brightness and viewing angles of ±80° horizontally and vertically. The 10.1-inch TLS 1035M offers the same resolution and viewing angles, with 370 nits brightness. Both displays support 24-bit colour, LED backlighting with automatic brightness control

and Power over Ethernet (PoE) connectivity for power and data over a single cable. The manufacturer has also released version 1.8 of its EMS Quantum Ultra software alongside Quantum Ultra firmware 6.03, introducing live content preview, expanded videowall management and support for the latest Quantum IN4DTP3 and OUT4DTP3 cards. The update enables operators to view both live and static source content directly within the EMS interface while designing and recalling presets. Live preview is available on Quantum Ultra II systems equipped with IN4HDMI 4K Plus, IN4FOX3 and IN4DTP3 input cards, while both Quantum Ultra and Quantum Ultra II processors support picture file previews. Finally, the DTP3 T 322 D is a 2-input wallplate transmitter that extends USB-C and HDMI video, USB data, embedded audio, power and control signals up to 100m over shielded Cat6a cable. When paired with the Extron UPI 100 Power Inserter, it can deliver up to 100W of USB-C power delivery to charge connected devices.

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92 PRO AVL ASIA September–October 2026

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PRODUCTS

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ROLAND PROFESSIONAL A/V has added the VC-1SC-4K 4K 60p video converter/scaler to its portfolio to help streamline 4K video conversion and simplify screen setup of LED displays. Designed to match video sources to different screen resolutions with flexible size and position control, the VC-1SC-4K provides 4:4:4 10-bit processing and 12G-SDI/HDMI 2.0 support for cross-format conversion between HD and 4K sources. Housed in a compact metal chassis, the distribution amplifier offers simultaneous output from two SDI and two HDMI signal ports. Audio embedding and de-embedding with XLR balanced I/O is also supported. A dedicated multi-platform control app enables quick adjustment of screen resolution, aspect ratio and ROI (region

of interest) cropping. The signal monitoring feature shows the status of video and audio signals, and test pattern generators aid in configuration and troubleshooting. With the library function, setups can be stored and recalled offline and onsite, and data can be shared with installation team members. A dedicated control and monitoring app for iOS, iPadOS, Android, macOS and Windows is available. proav.roland.com

Christie goes on a mission THE XP Series LED display platform from Christie has been designed for mission-critical government installations, immersive entertainment venues and other professional applications. The models support P3 colour reproduction and come with a refresh rate of 7,680Hz. Built using flip-chip LED technology, the platform is designed to reduce energy consumption. Christie’s VividLife technology supports lowbrightness rendering, grayscale control and colour, and brightness uniformity across the display in both bright and low-light environments.

pixels without changes to the software environment. Two new frames expand connectivity options: a DisplayPort 1.4 Frame supporting background inputs up to 7,680x2,160 at 60Hz and an SFP Frame supporting 12G-SDI and HDMI 2.0 connectivity, with fibre support for long-distance signal transmission. The update also introduces a Configuration Manager, additional internal and external control options, testing tools, source monitoring for backgrounds and mix effects, and safeguards for live switching operations. The software enables background inputs to

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The range includes pixel pitches from 0.9–3.8mm and supports both flat and curved installations. The TAA-compliant platform is designed to meet procurement requirements for government and other regulated environments. Christie has also released Spyder-S 6.1, the latest version of its Spyder-S video processing platform. Spyder-S is available in configurations ranging from a single 1U frame to 16 linked frames, supporting canvases of more than 200 million

be rendered without consuming layers, while source mixing can be performed using a single layer. Built on FPGA technology and dedicated hardware, Spyder-S is designed for low-latency operation in applications including rental and staging, fixed installations, corporate events, broadcast environments, sports venues and large-scale entertainment productions. www.christiedigital.com

ATOMOS HAS released the Sumo PRO-19, a 19-inch 4K HDR monitor-recorderswitcher designed for on-set production. Combining HDR DCI-P3 monitoring, recording, camera control, switching and network connectivity in a single device, the Sumo PRO-19 supports EL Zone exposure monitoring. It records in Apple ProRes, ProRes RAW, Avid DNx and H.265 formats from SDI and HDMI sources, supporting up to 8Kp30 recording with 10-bit 4:2:2 capture. Connectivity includes two 12G-SDI inputs, two 3G-SDI inputs, a 12G-SDI output and HDMI I/O. Media can be recorded internally to CFexpress cards or externally via USB-C storage. The unit also offers touchscreen camera control for supported devices, including start/ stop, ISO, shutter, aperture, white balance and touch-to-focus functions. The device supports camera-to-cloud services including ATOMOSphere, Frame.io and Dropbox. Atomos’s AirGlu technology provides RF and Bluetooth timecode synchronisation between cameras and production devices. Recording up to four isolated camera feeds alongside a fifth programme output,

the device supports quad-view monitoring for multi-camera productions. The system also supports NDI HX3 transmission and reception over Wi-Fi and Ethernet for the transport of video, audio and metadata across networked production environments. Monitoring tools include EL Zone false colour, focus peaking, waveform, Log-toLUT viewing, frame guides, safe areas, anamorphic de-squeeze and HDR-toRec.709 conversion. Frequently used functions can be assigned to front-panel buttons. Audio features include dual XLR inputs with 48V phantom power, audio metering, gain control and frame-accurate audio delay. www.atomos.com

Magewell levels up WITH THE unveiling of its Director Plus 4K production and presentation system, Magewell has expanded its HDMI and IP input capabilities, 4K recording and streaming at up to 60fps, and enhanced connectivity options. Designed for portability in addition to end-to-end workflows, the broadcast-grade 4K production and presentation system ingests live AV feeds and media assets from a range of devices, networks and software platforms. Production tools include source switching, compositing, telestration and instant replay. The Director Plus 4K features four HDMI inputs, two USB inputs and support for up to 10 live IP sources, including SRT, RTMP, RTSP, NDI High Bandwidth and NDI HX3 streams. The platform can simultaneously process up to six 4K sources, comprising two HDMI, one USB and three IP inputs, or up to 16 1080p60 sources, consisting of four HDMI, two USB and 10 IP inputs. Output options include two HDMI interfaces, one USB-C connection, NDI HX3 and streaming formats. Enabling the transmission and reception of multiple network streams, connectivity options include 5G cellular, Wi-Fi and 2.5Gbps Ethernet. Supported by the Director Utility mobile application, plugins and API integration for third-party control systems,

the compact unit also incorporates a 7-inch touchscreen for local operation. www.magewell.com

September–October 2026 PRO AVL ASIA 93

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PRODUCTS

Vitec targets IP efficiency with Diamond-IP OG VITEC HAS introduced the Diamond-IP OG, an openGear-compatible encoder designed to support the transition from SDI to IP workflows while increasing channel density and reducing bandwidth requirements. Built for broadcast, production and enterprise video environments, the encoder can transport multiple HD signals or a single 4K stream over IP. By leveraging HEVC (H.265) compression, Diamond-IP OG is reportedly capable of reducing bandwidth consumption by up to 50% compared with traditional approaches, helping organisations maximise existing network resources.

where reliability and low latency are essential. Support for IP transport protocols is designed to improve resilience when delivering video across constrained or unmanaged networks, helping maintain reliable contribution feeds in demanding environments. Vitec noted that, as broadcasters and enterprise users continue to increase channel counts and migrate towards IP production, solutions that improve efficiency while reducing infrastructure demands are becoming increasingly important. The manufacturer positions the Diamond-IP OG as a tool to help

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Q-SYS expands collaboration portfolio QSC HAS unveiled the Q-SYS RoomSuite Collaboration Bar and Q-SYS Scheduling Panel, as well as announcing that Q-SYS now integrates into Microsoft Places as a data integration partner. The Q-SYS RoomSuite Collaboration Bar is a Windows-based device for Microsoft Teams Rooms, designed for simple configuration and deployment across common, repeatable collaboration spaces. This all-in-one solution, currently in the process of achieving Microsoft Teams certification, features four high-resolution 50MP cameras, a 16-element microphone array and integrated loudspeakers for fully integrated audio and video. It ships with a dedicated 10.9-inch touchscreen for meeting and device control out of the box. It supports up to four Q-SYS RoomSuite Table Microphone accessories, expanding audio coverage for larger or more flexible meeting environments and enabling participants to mute the call with a single button.

Built on the Microsoft Device Ecosystem Platform, the Q-SYS Scheduling panel (QSP-11) is certified for Teams and designed to make room scheduling and booking simple and intuitive. It integrates with any Q-SYS system through Q-SYS Reflect and can be easily installed on conference room exteriors, walls or glass surfaces. The Microsoft Places Data Integration partnership will accelerate integration between Q-SYS cloud-enabled solutions and Microsoft Places, with Q-SYS Reflect acting as a connective highway for data-rich insights from both native Q-SYS devices and verified assets from the Q-SYS Partner Ecosystem into the Microsoft Places environment, supporting insights into booking, space planning and workplace optimisation.

MTX3

The platform combines high-density encoding with native SMPTE ST 2110 support, enabling broadcasters and media organisations to integrate IP-based workflows without expanding rack space or network infrastructure. The openGear form factor allows users to increase channel capacity within existing deployments, addressing common space and scalability constraints in production facilities and broadcast operations. The Diamond-IP OG has been developed for live and mission-critical applications

engineering teams scale IP video workflows while maintaining image quality, operational flexibility and network efficiency. www.vitec.com

www.qsys.com

Matrox gets IPMX-ready THE MAEVEX MGX Series from Matrox Video is a lineup of IPMX-ready video encoders and decoders with USB support that is engineered to deliver 4K60 AV-over-IP distribution at a reported one-twentieth the bitrate of virtually all other pro AV codecs, significantly reducing network complexity and cost. The series enables organisations to achieve image quality and ultra-lowlatency performance while using far less bandwidth. This helps reduce network congestion, simplifies infrastructure and enables 20x the streaming capacity on the same network. Designed for control rooms, enterprise video distribution, medical environments and unified communication and collaboration environments where

performance, efficiency and interoperability are critical, the models are said to bring a high degree of flexibility to AV-over-IP deployments. They support both IPMX and Matrox IQ Mode, which can be used independently or simultaneously to meet different workflow requirements. When used between compatible Matrox Video devices, Matrox IQ Mode enables latency as low as one frame.

With Maevex MGX, a single input can be streamed simultaneously to multiple outputs and formats, including IPMX, RTSP, MPEG-TS and SRT. Single- and dual-channel models, including the Maevex MGX E1 and E2 encoders and Maevex MGX D1 and D2 decoders, provide deployment flexibility. Multiview and compositing capabilities are available on the Maevex MGX E2, D1 and D2, enabling users to combine and manage

multiple sources on both the encoding and decoding sides. The series supports H.265 4:4:4 for high-fidelity 4K60 video with accurate colour reproduction and fine detail, while also supporting H.265 4:2:0 and H.264 4:2:0 to accommodate a broad range of AV-over-IP workflows and network requirements. Integrated USB support for keyboard, mouse and webcam connectivity extends the MGX Series beyond traditional streaming. It enables remote workstation access, desktop capture and interactive collaboration workflows, allowing users to not only distribute content but also interact with it in real time. www.matrox.com

94 PRO AVL ASIA September–October 2026

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PRODUCTS

Kramer advances its ecosystem THE MTX3-44-PR-PRO presentation matrix from Kramer combines video switching, USB routing, DSP, Dante audio networking, amplification, multiview, videowall processing and H.264/H.265 streaming within a single platform. Joining the MTX388-PR-PRO, the solution has been designed to deliver hybrid-ready AV management for advanced presentation environments. The manufacturer has also expanded its KDS-17 ecosystem with the KDS-17 Lite, which enables organisations to deploy Kramer’s AVoIP platform in more cost-sensitive spaces while maintaining interoperability with the broader KDS-17 ecosystem. The manufacturer hopes this will help customers standardise AV-over-IP infrastructures more efficiently across enterprise, education and multi-room deployments.

MTX3-44-PR-PRO

Meanwhile, Kramer has added DAPI (Dante API Integration) to its Panta Rhei device-agnostic, IT-ready platform. DAPI allows customers to manage Dante audio workflows through integration with control systems. By allowing Panta Rhei Site Agent to function as a Dante Gateway, the capability automatically discovers Dante devices and exposes standardised APIs that simplify Dante routing, management and end user audio control across distributed AV environments. This integration enables organisations to more easily incorporate Dante devices into broader room automation and control workflows while simplifying centralised management and operational consistency across multiple spaces. www.kramerav.com

Avolites expands media control AVOLITES HAS introduced Prism, a media control platform designed to simplify the creation and management of dynamic visuals for lighting and video applications. Prism aims to provide an intuitive visual workflow that enables users to control media without requiring advanced programming knowledge. The platform is intended for productions where lighting, video and pixel mapping are increasingly integrated, but dedicated media specialists may not be available. Prism integrates with the manufacturer’s Titan lighting control platform through Synergy, allowing media and lighting to operate within a unified workflow. It can also function as a standalone media control system for live events, touring productions, theatres, clubs, museums, galleries, attractions and permanent installations. Key features include pixel mapping tools, timecode triggering, a Media Manager

supporting formats including HAP, NotchLC and DXV, AiM encoding for high-resolution playback, 10-bit colour support, adaptable surfaces, layers and regions, 17 blend modes, and output options including physical outputs, NDI and RTSP. Access to Prism is provided through the updated AvoKey Collection and Travel Collection, available in A1+, A2+, A3+, T1+, T2+ and T3 Bundle configurations. Depending on the licence, users can unlock one, two or three display outputs. Avolites announced that, later this year, Prism is also expected to add DMX pixel support, offering up to 1,024, 2,048 or 4,096 pixels depending on the licence tier. Pixels can be configured between one and four DMX channels, supporting applications ranging from intensity control to full RGBW operation. www.avolites.com

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September–October 2026 PRO AVL ASIA 95

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PRODUCTS

Vizrt keys into AI production EXPANDING ITS AI-driven production portfolio, Vizrt has launched AI Keyer – a software-based system designed to create virtual and augmented reality (AR) environments without the need for traditional green screen workflows. The technology uses AI models trained on a wide range of real-world footage and lighting conditions to identify and separate foreground subjects from their surroundings. This enables presenters and talent to be placed within virtual environments while maintaining natural movement, whether productions take place indoors or outdoors.

By removing the requirement for green screens, dedicated studio spaces and complex chroma keying setups, AI Keyer aims to simplify the creation of virtual sets and AR-enhanced productions. The system can also be used to insert AR graphics and virtual elements into live environments. Potential use cases include virtual backdrops for news and corporate presentations, remote participant integration for live events and town hall meetings, and the insertion of branded virtual graphics during sports interviews and coverage. www.vizrt.com

PTZOptics expands the Horizon platform

PTZOPTICS HAS expanded its Horizon camera control platform with a suite of tools designed to deliver unified management, tracking and control across its camera portfolio. At the centre of the development is Horizon Hub, a desktop application launcher that extends Horizon software capabilities beyond PTZOptics’ 4K camera range to support all PTZOptics cameras. The platform brings together camera control, voice tracking and device management functions within a single software environment.

A key component is Device Manager, which is designed to simplify camera discovery, configuration, monitoring and management across installations. The tool aims to streamline deployment and maintenance workflows, supporting environments ranging from single-room systems to larger multicamera installations. The expanded Horizon ecosystem also incorporates AI-assisted tracking technologies, including interactive auto-tracking workflows that enable operators to direct camera movements using natural language prompts. PTZOptics has also continued development of its voice-tracking capabilities, allowing camera positioning to respond to active speakers within a space. The platform integrates with a range of third-party audio systems, including solutions from Audio-Technica and Sennheiser, enabling audio-driven camera control for live production applications. Beyond automation features, the Horizon platform also provides centralised camera control for a variety of production and presentation environments. The software expansion reflects a broader industry trend towards integrated video ecosystems that combine camera hardware, automation, management and control tools within a single workflow. By extending Horizon functionality across its camera range, PTZOptics is positioning the platform as a unified solution for organisations seeking to scale video production and collaboration systems while reducing operational complexity. www.ptzoptics.com

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ADVATEK HAS released firmware v3.14.0 for its PixLite Mk3 pixel controllers, introducing Color Intensity Scaling, a pixeltuning feature that provides independent brightness adjustment for individual colour channels. The feature allows brightness scaling at the pixel output level, enabling users to balance white points and improve colour consistency across different LED types. Unlike Digital Current Control, which adjusts current at the pixel level when supported by the selected protocol, Color Intensity Scaling digitally scales pixel data before it is transmitted to the LEDs and can be used regardless of protocol support. When a colour channel is scaled, its maximum available output is reduced proportionally. For example, scaling a channel to 50% reduces the maximum output value available to that channel. This can be used to correct channels

that appear visually stronger than others, although it also reduces the number of available output levels for that channel. Firmware v3.14.0 also reorganises colour-related settings into a dedicated Pixel Color Tuning page. Advatek recommends using Digital Current Control first where supported, followed by Color Intensity Scaling for additional channel balancing. Gamma Correction can then be applied to refine mid-level colour performance and fades, while Dithering can be used to improve visible smoothness on lower-resolution outputs. The company suggests keeping at least one colour channel at full scale where possible and reducing stronger channels to match, helping to maintain the widest available output range while improving colour balance.

for schools, universities and other educational facilities. A lockable USB-C connector helps secure connections, while the aluminium

housing aids its durability. Anti-slip strips on the base keep the device stable on work surfaces, while integrated guide rails with a matching screw set enable mounting in racks or cases. The DMX-key starter completes MA Lighting’s “MA Starter Pack”, which also includes MA StartShow and a comprehensive e-learning programme designed to help users get started with grandMA3.

www.advateklighting.com

www.malighting.com

96 PRO AVL ASIA September–October 2026

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MA Lighting goes PC THE GRANDMA3 onPC DMX-key starter is aimed at the next generation of lighting designers and programmers. The USB device unlocks grandMA3 onPC software, providing access to 1,024 parameters via two DMX outputs. Compatible with PCs and laptops, the DMX-key starter connects via USB-C, allowing users to launch the grandMA3 onPC software and begin working without additional setup, configuration or networking knowledge. It is intended as an accessible entry point

26/08/2026 15:35

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ETC expands control options WIRELESS FIXTURE connectivity and distributed power control are addressed in two additions to ETC’s portfolio, with support for both entertainment and architectural lighting applications. The Foundry DIN Relay 12 is a standalone DIN-rail switching solution designed for work lights, house lighting, architectural loads and LED installations. The unit provides 12 independently switched channels with integrated DMX control and NFC-based configuration, allowing settings to be adjusted without applied power. Local override switches are included for commissioning and maintenance tasks. Built around standard DIN-rail architecture, the relay module can

be integrated into off-the-shelf enclosures or custom control cabinets. It uses the same relay engine found in ETC’s Foundry Switch

ASTERA HAS expanded its QuikBeam lighting range with the introduction of the

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For automated lighting users, select High End Systems fixtures can now be fitted with City Theatrical’s Multiverse Connect Module, bringing wireless DMX and RDM connectivity to Lonestar Prime, MegaPix and GigaPix fixtures. The compact module connects through the fixtures’ Universal Connect Module interface and enables wireless operation via the 2.4GHz Multiverse platform. RDM configuration can be handled directly through the fixture interface, while the IP64-rated module and mounting kit maintain suitability for outdoor use.

for live events, broadcast and film productions. Building on the QuikBeam luminaire introduced earlier this year, the new kit combines eight QuikBeam fixtures, eight PowerFlow AC power modules, 16 swappable QuikBrick batteries and two ChargingDocks in a single QuikCase. Despite doubling the fixture capacity, the case retains the same footprint as the brand’s existing 4-Unit PrepCase Kit. The package is intended to support both wired and wireless operation while streamlining transport, setup and battery management. It joins the manufacturer’s existing QuikBeam accessory options, including the 4-Unit PrepCase Kit and the 2-Unit BackPack Kit, while the QuikCase is also available separately for users wishing to reconfigure existing QuikBeam inventories. QuikBeam features a compact Fresnel design with a 13–60° QuikTurn zoom, the Titan LED

Engine and OutputGain technology. The fixture can operate using either a QuikBrick battery or the PowerFlow AC module, allowing users to switch between wireless and mains-powered operation. PowerFlow supports daisy-chaining multiple fixtures from a single power run using IP65-rated AC cables, reducing cabling requirements and enabling continuous operation at full output. QuikBrick batteries are hot swappable and can be charged via ChargingDock, USB-C or PoE, with integrated Ethernet support for sACN and Art-Net connectivity. According to Astera, the 8-Unit QuikCase Kit was developed in response to customer feedback following the launch of QuikBeam, with a focus on improving workflow for rental companies and production teams operating on tight turnaround schedules. www.astera-led.com

Cameo expands OPUS series WITH THE OPUS H6 IP hybrid moving head and the OPUS SP6 IP spot profile moving head, Cameo has extended its OPUS series to include a new performance class. The 600W, IP65-certified moving heads are aimed at rental, dry-hire and production companies seeking compact, high-performance and fully outdoor-ready spotlights. The OPUS H6 IP has been specifically developed for applications where a single fixture needs to handle as many tasks as possible. According to Cameo, this makes the model particularly suitable for dry-hire and rental stocks that need to be deployed economically and flexibly across a wide variety of productions. With its 600W LED white light engine delivering 22,000 lumens of light output, the OPUS H6 IP covers a wide range of applications thanks to its large zoom range of 1.8–53°. The continuous pan rotation enables dynamic movements and rapid position. With four prisms on two levels, the moving head can be used to create striking aerial effects and complex beam structures. Weighing approximately 30kg, the model also remains compact and easy to handle.

The OPUS SP6 IP also features a 600W LED white light engine with 22,000 lumens, but its primary emphasis is on precise lighting design in outdoor settings. Created to produce defined projections and controlled illumination, even under changing production conditions, the model comes with a fully lockable framing system with ±87° rotation to enable precise beam shaping, while the large zoom range of 3.5–53° makes both narrow, clearly defined spots and wide areas of light possible. The continuous pan rotation is said to expand creative freedom in terms of positioning and movement. It has a 165mm front lens, compact housing and a low weight of 31.5kg. Both new OPUS models are NFC-ready and compatible with the Cameo CONNECT app. This allows users to carry out configurations as well as service and maintenance processes in one place, reportedly offering a significant workflow advantage for productions with tight schedules, frequently changing setups and large equipment inventories. Both fixtures are supplied with a matching flightcase insert. www.cameolight.com

September–October 2026 PRO AVL ASIA 97

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POWERING DOWN

On the road Siddharth Chhibber

Track riding is one of three disciplines that Chhibber enjoys

Siddharth “Sunny” Chhibber of Delhi-based, pan-Indian distribution company Acoustic Arts tells Caroline Moss about his passion for the different disciplines of motorcycle riding What’s your role in the audio industry?

dramatic and spectacular landscape in the world. I love the cool, fresh mountain air, the blue skies and the winding roads that can take you up to altitudes of almost 6,000m. Whether it’s Uttarakhand, Himachal Pradesh, Jammu and Kashmir or Ladakh, every journey into the Himalayas is a humbling experience for me and brings a quiet reset. There’s a clarity and scale to these rides that stays with you for a very long time.

I am the founder and MD of Acoustic Arts which was set up in 1999. What began as a personal pursuit for exceptional sound has grown into a company that distributes cutting-edge AV equipment from some of the world’s most iconic brands, including Audix, Biamp, Cloud Electronics, GoldenEar, JL Audio, Powersoft and Void Acoustics. At its heart, our work is about delivering experiences. Great sound has the ability to transform how people connect – with music, with spaces and with each other. That idea continues to be the foundation of everything we do.

How do you prepare for a major ride? Each type of riding demands a different kind of readiness. Track days require intense physical conditioning and a finely tuned motorcycle, while long-distance touring is built entirely on reliability and attention to detail. Before any significant ride, I go through a meticulous inspection – tyres, brakes, suspension, fluids, battery and all critical systems. When you’re hundreds of kilometres from the nearest workshop, poor preparation can leave you stranded in the middle of nowhere.

What inspired you to get into motorcycle riding? I’ve been attracted to motorcycles for as long as I can remember. At 16, I got my first bike – a two-stroke Yamaha RD350 – and that really ignited my passion and love for bikes. I’ve ridden across the Himalayas in India and Nepal in a very different era – no smartphones, no GPS, just instinct, paper maps and a willingness to figure things out as they came. I think those journeys shaped me deeply. They taught me self-reliance, adaptability and the simple truth that life’s most meaningful experiences rarely unfold according to plan.

How does riding complement your professional life? Business demands long-term thinking: strategies that stretch months and even years into the future. Riding demands the opposite: being completely in the present moment. On a motorcycle, only the next corner, the next input and the next moment matter. Drifting into thoughts can leave you on the tarmac or in the gravel. That level of focus is almost meditative and incredibly cleansing. It strips away mental clutter and often returns a sharper, more grounded perspective when I step back into the office.

What type of riding do you enjoy, and what motorcycles do you own? My riding spans track, off-road and touring – three disciplines that challenge and reward in very different ways. Track riding refines precision and discipline. Off-road riding builds control, resilience and instinct. Touring, on the other hand, brings you back to the essence of why you ride in the first place. My bikes reflect that same philosophy of variety and purpose. They include three Ducatis, two Suzukis and motorcycles from Yamaha, Moto Guzzi, Triumph, KTM, Kawasaki, BMW and Aprilia. Each machine has its own character, and each one serves a distinct purpose.

Why is it important to have a passion outside of work?

Where do you enjoy riding the most? Without hesitation, the Himalayas. The Himalayan foothills begin about 250km from Delhi, opening up into some of the most

Chhibber with one of his three Ducatis

For me, motorcycling isn’t just a hobby, it’s a way of life. It keeps me physically active and fit, mentally clear and focused, emotionally balanced and positive. It teaches discipline without rigidity, freedom without chaos and focus without pressure. I couldn’t imagine a life without motorcycles. Above all, it serves as a reminder that the journey itself is the reward!

98 PRO AVL ASIA September–October 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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