Pro AVL MEA November–December 2025

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Editor’s Letter

As the final Pro AVL MEA edition of the year, we can see that 2025 was a year marked by consolidation and maturity for the regional AV industry, with major Saudi cultural investments taking shape, Dubai regaining its events momentum and Africa showing lots of new potential. That said, it’s more useful to look forward to where the industry is likely heading over the next 12 months, than it is to dwell on the past. 2026 looks set to be a year of precision and purpose, with companies fine-tuning their strategies and focusing on sustainability, interoperability and integration rather than expansion for expansion’s sake. A sign of this maturity is the evolution of the AV-over-IP narrative, which is finally translating into genuine convergence. Integrators and consultants are increasingly thinking in terms of systems rather than silos – a transition the technology has long promised. I suspect the AI hype may also begin to cool over the next six months, or at least

experiential and immersive are becoming so overused they’re arguably losing meaning. These may be qualities clients value, but what truly improves projects are reliability, support and integration quality. We’re seeing a similar story with AI in the media, a topic that Bubble’s Sadie Groom tackles in our business analysis feature on p86 – for the betterment of us all, marketers and manufacturers alike. When outside politics gripped the region in late 2023, there were concerns about knock-on effects. Yet, having recently spent time with distributors, integrators and manufacturers throughout Dubai, it’s clear that 2025 was a very strong year for business. And with the countdown to Saudi’s Vision 2030 accelerating, the opportunities ahead are looking more tangible – and, crucially, within reach. 2026 should be another good year for AV.

Email: sluckhurst@proavl-mea.com

Richard Lawn General manager rlawn@proavl-mea.com

Nick Smith Digital media manager nsmith@proavl-mea.com

Sue Gould Advertising director sgould@proavl-mea.com

Chris Yardley Video editor cyardley@proavl-mea.com

Carolyn Valliere Sales associate cvalliere@proavl-mea.com

Jack Stennulat Digital content creator jstennulat@proavl-mea.com

Caroline Moss Contributing editor cmoss@proavl-mea.com

Adrian Baker Production manager abaker@proavl-mea.com

Karen Wallace Editorial coordinator kwallace@proavl-mea.com

Marne Mittelmann Circulation manager circulation@proavl-mea.com

Bea Meikle News editor bmeikle@proavl-mea.com

Sue Su Guangzhou manager ssu@proavl-mea.com

Coca-Cola raises the bar with d&b

A major sound system upgrade has been completed at Dubai’s Coca-Cola Arena built from a range of cardioid line array systems from German loudspeaker brand d&b audiotechnik. According to the manufacturer, its deployment stands as a global testament to the power of its total broadband directivity control technologies.

A combination of GSL, KSL, XSL and SL-SUB products from the SL-Series, plus the latest Compact Cardioid Line Array (CCL), now delivers clean and consistent sound across the entire 17,000-capacity venue.

“Choosing d&b audiotechnik was about more than technology – it was about partnering with a brand that our team and our technical experts truly trust,” commented Mark Jan Kar, general manager of the Coca-Cola Arena in

Dubai and SVP of entertainment, content and programming for Legends Global (MENA).

“This installation represents the pinnacle of audio performance, ensuring that every seat in the house receives the same exceptional standard.”

Led by general manager of d&b’s Middle East office, Brad Maiden, and head of education and application support (EMEA), Steve Jones, the team worked closely with the arena’s sound crew and representatives from both Coca-Cola Arena and Legends Global to refine the system design. World-respected live sound engineer Marc Carolan (Muse) was then brought in to fine-tune the installation.

Carolan commented: “I’m very familiar with GSL and KSL systems in arenas, but being

part of a permanent installation and having the time to really listen and refine things – without my production manager shouting at me – has been great. Steve and the whole team have done a fantastic job. The system is worldclass.”

Jones added: “In an arena, controlling sound is notoriously difficult. That’s why the SL-Series is so valuable: its signature cardioid behaviour ensures that as you move to the sides or behind the arrays, levels drop off consistently across all frequencies. Despite the CCL’s compact size, it still delivers cardioid control down to the lowest frequencies, which is remarkable. It slots in perfectly with the larger SL-Series cabinets, meaning we can provide effective cardioid solutions for any space,

maintaining intelligibility and clarity from front to back.”

The new solution is designed with multiple levels of coverage that can be activated or deactivated as needed by the multipurpose venue, enabling flexible control for any type of event. The main system was finessed using d&b’s ArrayProcessing software, while a complete Milan network was implemented for control.

“This upgrade ensures we can compete with the world’s top venues – not only in terms of sound quality for artists and audiences, but also in the efficiency with which we deliver events,” concluded Jan Kar.

www.dbaudio.com

NEP Group acquires Seven Production

Expanding its presence and live production services in the Middle East, NEP Group has acquired Seven Production, an independent film and broadcasting production company based in Dubai. The move aligns with the group’s current growth trajectory in the region, which has seen a new fleet of local mobile units, plus the recent hires of Waleed Isaac as president for NEP Middle East and Asia and Mohammad Hammoud as chief commercial officer.

“For NEP, this is an exciting expansion in a high-growth market that taps into Seven Production’s deep experience and knowledge,” said Martin Stewart, CEO of NEP Group. “This partnership marks a significant investment for us in the Middle East, allowing us to deepen and expand our support for broadcasters, leagues, rightsholders and producers who need a trusted partner equipped to meet their demands.”

The group reported that the addition of Seven Production will make NEP Middle East and Asia one of the largest companies of its kind serving broadcasters, production

companies, sports leagues and federations, event organisers and government entities in the region.

Through the move, the company will continue to offer a wide range of live production services including outside broadcast (OB) trucks, satellite trucks, flypack systems, connected production facilities, a network of studios in the Middle

East, 4K/HD ENG broadcast cameras and equipment, and wireless solutions. These will be supported by other services such as crewing, live webcasting, host broadcast support and systems integration.

“We’re thrilled to welcome Seven to the NEP family – our companies are a perfect match,” commented Isaac. “Culturally, we share having a strong focus on listening to

our customers and shaping our approach to innovation based on what our customers need. We also understand their need for consistent international delivery with localised expertise. This deal positions us to deliver that seamlessly from day one. Together, NEP and Seven will bring together the best of the best in terms of our people, technology and 360 services to our clients.”

Seven Production will become a part of NEP’s Middle East and Asia regional grouping, with Pierre Tabet continuing as managing director of the NEP Middle East business.

“I’m proud of our employees and what they have accomplished as part of the Seven team,” remarked Tabet. “Joining NEP will add global resources and support for our engineering talent and open up even more business with international clients. We see this as a great fit and an excellent step forward for us, the industry and the region.”

www.7production.net

www.nepgroup.com

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Shure launches Dubai Experience Zone

Shure MEA has unveiled its Experience Zone in Dubai, a multifaceted training hub in the Middle East designed to showcase audio solutions in real-life scenarios. The manufacturer said that the facility reflects the region’s preference for advanced AV technologies in response to meeting spaces, digital governance and modern learning environments.

“The Experience Zone will demonstrate how audio can empower sector-specific needs,” commented Antony Lovell, sales director, Shure MEA. “By immersing visitors in real-world scenarios, we’re not just showcasing products –we’re demonstrating how Shure solutions are shaping communication experiences.”

The facility focuses on three key sectors of the region’s digital industry. In unified

communication, the focus is on integration with conferencing platforms, supporting the Middle East’s meeting spaces. In government, Shure highlights systems that

Africa’s first Q852 lands in Congo

DWR has facilitated the first purchase of a DiGiCo Quantum 852 in Africa to its client in Congo. The sale was orchestrated by Glue It Sticks’ Bizala Tshingalu, otherwise known as Mr B, an experienced and passionate sound engineer both in live enviroments as well as the studio.

Despite being based in South Africa, Tshingalu’s strong ties to the Congolese market paved the way for the sale. He was contacted by a church gearing up for the Full Adoration worship event, which

The sale was secured by DWR’s Kyle Robson, who explained that he had originally suggested Tshingalu look at multiple Quantum models to achieve the end goal in the most cost-effective way.

“They were firm in their decision, they wanted the best,” said Robson. “It is going to be a special experience for every sound engineer sitting behind the Quantum 852.

Working with Mr B has been an incredible experience, he shares the same excitement and passion I have for audio.”

spurred the investment. “He asked me what the best mixer in the world was and I didn’t hesitate – the DiGiCo 852 was the only answer,” noted Tshingalu. “With the research and assistance from DWR Distribution, we managed to get the go-ahead to pursue the purchase.”

The church had already invested in two DiGiCo S21s, with previous consoles including an Allen & Heath SQ-7 and an X32. The new Q852 will be leveraged for larger events and tours, alongside festivals.

Robson also spent a few days with the audio engineer providing intensive training.

“The 852’s larger screens and extra controls streamline workflow on the console while keeping true to the DiGiCo feel we all know and love,” said Robson. “It’s something I really appreciate and love with DiGiCo – once you understand one of the SD/Quantum consoles, you understand them all.”

www.digico.biz

www.dwrdistribution.co.za

have been designed to provide clarity and confidentiality for official proceedings and public addresses. In education, solutions are showcased for classrooms and lecture

halls, enabling interactive, technology-driven learning both in-person and online. The space is divided into four demo spaces mirroring real-world environments. Compact and easy-to-deploy solutions are showcased in small rooms, while medium rooms feature scalable systems designed to grow with organisational needs. Larger rooms demonstrate setups engineered for coverage and flexibility in complex settings, while the auditorium illustrates solutions tailored for large audiences. These immersive setups allow visitors to not only hear the difference but also to experience how Shure’s products adapt to various applications.

www.shure.com

7Hertz debuts The 1 Sound Experience

Beirut marked the first stop of the 1 Sound listening sessions recently hosted by 7Hertz. Titled The 1 Sound Experience, the events are also set to take place in the UAE, with dates coming up in Dubai introducing the brand’s systems to industry professionals across the Emirates.

The Beirut sessions were hosted on a rooftop in the heart of the city, with US-made 1 Sound loudspeakers unveiled to the region in a series of private, invitation-only sessions. Handpicked guests – including audio professionals, consultants, hospitality leaders, interior designers and architects – all had the opportunity to experience the brand first-hand.

The manufacturer’s Cannon Series C4, C6 and C8 loudspeakers were demonstrated, paired with the SUB12 12-inch reflex subwoofer. Attendees were also able to experience the sonic qualities of the Contour Series CT28.

The listening sessions’ private atmosphere enabled guests to freely explore the venue at their own pace. Among them was Woody Naufal, owner and CEO of Beirut-based AV rental company Wicked Solutions. “I find it difficult to even put it into words, it gave me goosebumps,” remarked Naufal on the demos. “Experiencing this level of sound quality – with such emotion surfacing throughout the demonstration – is a remarkable example of what sound should truly be.”

Celebrated DJ, producer and industry veteran Said Mrad commented: “This is the best sound I have ever heard. I was blown away – listening to the Cannons was exceptional and the CT28 gave me the feeling of being in an arena, not on an open rooftop in the middle of the city.”

1 Sound was represented at the launch by its global sales executive, Leonardo Dani. “7Hertz is launching 1 Sound in Beirut for the very first time and I’m excited to witness people’s reactions as they experience our sound quality," commented Dani. "With the expertise and market knowledge of our partner, I am confident we’ll achieve remarkable results very soon.”

7Hertz said that the launch represents more than just another product showcase, with CEO and founder Joe Khadra citing the event as a milestone for the company: “The region deserves access to great sound without compromise – pure, unfiltered audio. We’ve always been committed to delivering pristine audio experiences and seeing seasoned industry professionals lost for words confirms that we’ve brought one of the finest audio brands to the region.”

www.1-sound.com

www.the7hz.net

L–R: DWR’s Kyle Robson with Bizala Tshingalu of Glue It Sticks

L–R: Joe Khadra of 7Hertz, 1 Sound’s Leonardo Dani and Rami Bou Hadeer of 7Hertz

Harman powers bold club sound

Arch Hotel Bahrain has implemented a sound system anchored by JBL, Crown, BSS, Soundcraft and AKG technologies for its new club environment. The solution was provided by Masterpiece, in partnership with Harman Professional Solutions, with the aim of providing immersive, high-impact and reliable sound that engages a younger demographic to the venue.

Operating multiple properties across the region, Arch Hotel is a prominent player in Bahrain’s hospitality sector. The AV team, led by senior sound engineer Ajeesh KP, has

extensive experience using Harman solutions across previous projects.

“I can confidently say that my experience with Harman Professional audio products has been exceptional,” said KP. “This positive track record was a primary reason why, when our management planned to launch a new club in Bahrain, my first choice for audio solutions was Harman Professional.”

The audio setup comprises 18 JBL SRX910LA line array elements supported by SRX910LA AF array frames, paired with 12 of the manufacturer’s SRX928S subwoofers

DAS reignites its presence in Egypt

Spanish manufacturer DAS Audio recently held a dedicated showcase event in Cairo, in collaboration with its newly appointed Egyptian distributor Al Fanny. The event served as an opportunity for the company to reinstate its position in the local market after nearly a decade of limited presence, with the goal of re-establishing the brand and introducing key product lines. Held at Al Bashari Villa, the showcase drew a diverse crowd including sound engineers, rental companies, musicians and systems integrators, and featured product demonstrations, presentations and live performances.

The occasion began with an overview of the company’s global activities and future direction, followed by a technical presentation led by Miguel Augusto, tech support at DAS. Attendees experienced demos of the manufacturer’s flagship EVENT and ARA series, followed by a two-hour live music set with both a band and a DJ using the DAS systems, complete with food, cocktails and networking.

On display were the EVENT-210A and EVENT-212A line arrays with EVENT-218A subs, complemented by the ARA-P28 and ARA-P12 point source models and SARA subs. “We knew the EVENT series would

make a strong impression, but the ARA series really caught people’s attention –even with its higher price point,” noted Ignacio Chuliá, DAS’s export area manager, EMEA who played a key role in the event.

According to feedback gathered during the evening, attendees appreciated the handson format of the event as well as the audio demos. Speaking during the showcase, Khaled El Kassas, who runs a family business in Alexandria supplying systems for hotels and events, commented: “We’ve been investing in DAS for years. I came specifically to hear the ARA series and was impressed by the clarity, compact size and power. The SARA sub has great impact and the cardioid design is ideal for our work. What I heard today is exactly what my clients want for concerts and social events. We hope to make a purchase soon.”

Magued Salama of Distingo Music Store, which recently began expanding into installations, also spoke highly of the system’s practicality: “The ARA’s compact design and sound quality are impressive. It’s not a budget product, but you get exceptional performance for the size. The cardioid feature and built-in health check are valuable additions and

aiming for bigger size, but for better impact,” noted KP.

All products have been selected to address different acoustic zones and applications within the property. The JBL SRX900 Series was chosen to provide controlled coverage in the main club space, while the VRX models were used for more intimate rooms and the PRX models handled side fill and onstage monitoring. “Each model is performing exceptionally well in its respective area, consistently delivering quality beyond our expectations,” added KP.

He noted that acoustic considerations for the hotel’s architecture were addressed early in the project planning. “With the help of the JBL Venue Synthesis and Performance Manager applications, I was able to navigate the situation smoothly and achieve excellent results.”

for the low end. In smaller zones, the team deployed VRX932LAP loudspeakers and PRX912 monitors, along with PRX918XLF subs and Crown XTi 4002 amplifiers to round out system power.

Signal distribution and tuning are handled by a Soundcraft Si Expression 1 console, dbx DriveRack PA2 and VENU360 processors, and a BSS BLU-100 DSP unit, while AKG D5 S microphones assist stage performances.

“We focused on achieving powerful, clear audio performance while keeping the sound system compact and efficient. We’re not

The installation also benefitted from the long-standing services provided by Masterpiece. “They have consistently delivered amazing sales and service support since 2019,” confirmed KP, who also said that new system has been well-received. According to KP, the new system has been well-received: “The feedback from our valuable customers has been absolutely amazing. They’ve commented that they haven’t experienced punchy sound quality like this in any other hotel in Bahrain.”

www.masterpieceproav.com pro.harman.com

the control software is unlike anything I’ve used before. It offers full monitoring and control, which is a big plus for our growing installation work.”

Michael William, a freelance sound engineer with over 20 years of experience working with top Egyptian artists, added: “The 110° horizontal dispersion is perfect for corporate and shallow rooms. A simple setup – just two tops and two subs – can cover a large space. The cardioid design really helps keep sound focused, which

is crucial for corporate gigs. It’s powerful, compact and easy to set up.”

“We are definitely on the right path in Egypt,” Chuliá concluded. “We’ve found a distributor that believes in the brand, and I’ve now seen first-hand the real market potential here – particularly for the EVENT and ARA series, which are in high demand.”

www.alfanny.com www.dasaudio.com

BAHRAIN EGYPT

L–R: Al Fanny’s MD Rami Lucas with Ignacio Chuliá and Miguel Augusto of DAS Audio

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Riedel acquires hi human interface

Riedel Communications has bolstered its growing portfolio of broadcast, event and production technologies through its acquisition of hi human interface (hi) from Broadcast Solutions. Launched in 2018, hi is a browser-based, platform-independent control layer designed to enable operators to manage a wide range of devices, including baseband routers, multiviewers, video and audio mixers, and third-party SDN controllers.

Stefan Breder, CEO of Broadcast Solutions Group, said that the deal is the culmination of years of successful partnership between the two manufacturers: “hi is a truly exceptional solution with a bright future ahead and we believe that Riedel has the global reach and resources to fully unlock its enormous potential as a product.”

Thomas Riedel, founder and CEO of the Riedel Group, added: “hi has become a benchmark for intuitive control in the industry. This proven control solution perfectly complements our portfolio and will give our customers unprecedented freedom to shape and operate their workflows exactly as they envision.”

Riedel and hi have already demonstrated their integration capabilities, with hi

working hand in hand with the MediorNet media infrastructures and SmartPanels for routing, device control and workflow management in various high-profile deployments. hi is also fully integrated for Riedel StageLink audio routing and tally control with SimplyLive video production solutions, with further integrations across the Riedel portfolio already in development.

“Riedel has believed in and championed hi since its inception,” said Tamás Szanto, product owner – hi, Riedel Communications. “hi will remain an open, manufacturer-independent platform. What’s changing is the backing of Riedel’s global organisation, which means accelerated development, wider availability and a new level of support for customers worldwide.”

www.riedel.net

Glensound proves reliable at depth

TURKEY

Renowned for its reliability in broadcasting circles, Glensound’s Beatrice technology is now enjoying critical acclaim when adopted for scientific and industrial projects. The Cubic Kilometre Neutrino Telescope (KM3NeT) deep-ocean research project being carried out by Turkish offshore survey and engineering company Derinsu Offshore is the latest.

neutrinos in water or rock in the vicinity of the detector. The position and direction of the optical modules and the time of arrival of the light on the photomultipliers inside are recorded with high precision. As a result, the properties of the particles, including their trajectory and energy, are reconstructed from these measurements.

Designed to detect and study neutrinos from distant astrophysical sources as well as from our own atmosphere, the European research infrastructure hosts Cherenkov neutrino telescopes at the bottom of the Mediterranean Sea. Arrays of thousands of optical sensor modules detect the faint Cherenkov light in the deep sea from charged particles originating from interactions of

Advanced Rotative Active Heave Compensation (RAHC) winch systems were used to safely lower and retrieve sensitive equipment placed at great depths on the ocean floor. The project’s pods resting on the seabed were restricted to movements of just 50mm. Specified in providing reliable communication between the RAHC and different task points on Derinsu Offshore’s boat, Optimus Prime,

Kazakh college chooses AREC

Kyzylorda College of Architecture and Business in Kazakhstan has introduced new AV systems from Adena to support teaching, meetings and events. The installation was delivered through distributor STEPLine. Following recent investment from a regional developer, the institution modernised its facilities with new lecture halls, auditoriums and a conference room. The upgrades aimed to improve the teaching environment and broaden accessibility, including for students with additional needs.

Dante-based Glensound Beatrice intercom units played a significant role in the operations.

Turkish distributor Radikal supplied an extensive suite of Glensound Beatrice technologies for the Optimus Prime vessel, as managing director Sarp Yelkencioglu explained: “The Beatrice D8+ was selected over the standard D8 to provide seamless communications and added flexibility for the project. The boat’s intercom system was integrated and connected to the analogue inputs of the D8+ 8-channel desktop intercom in the main survey room via a Dante network configuration.”

Various device outputs routed audio signals over a Dante network in a star topology to and from a Beatrice Mix 32 mixer, set up with a mix-minus configuration of 16-8-8. In addition, both audio recording and public announcements were routed through the same high-density unit. The bridge, client room and ROV control area were all equipped with D4 4-channel desktop intercoms. Normally associated with theatrical back-of-house applications, B2 portable 2-channel beltpack intercoms ensured that the team, including the deck and winch operators, were always connected.

“Demonstrating consistent uninterrupted communication, low-latency audio and intelligibility under challenging conditions, Glensound’s Beatrice technology has added another notable reference,” added Yelkencioglu. “Not only has Beatrice proven its reliability in the world of broadcasting, but it has adopted itself within critical scientific and industrial projects.”

www.derinsu.com

www.glensound.co.uk

www.radikaltr.com

To support these aims, the college selected Adena’s AREC LS-300 media stations and CI-T21H IR auto-tracking cameras. The LS-300 is a 3-channel system that records audio and video sources in both mixed and individual formats. It can automatically compile recordings and be controlled through multiple options without requiring extra equipment or licences. At Kyzylorda College, the units are integrated with computer sources, AREC cameras and a BXB UFO audio system to produce ready-to-use recordings for students and staff.

The CI-T21H is an infrared tracking camera with 10x optical zoom. It uses IR positioners that can be attached to microphones or worn by speakers, allowing the camera to follow the presenter without the need for software or facial recognition. At the college, the AM-600 necklace positioner is typically used, enabling the camera to remain focused on the main speaker during lectures or events.

www.a-dena.com

The hi team at Riedel headquarters

KAZAKHSTAN

Unilumin sponsors Al Hilal SFC

SAUDI ARABIA

One of the most decorated sports clubs in Saudi Arabia, Al Hilal Club Company has appointed Unilumin Sports as its exclusive stadium LED display technology sponsor. Through the collaboration, the manufacturer will leverage its LED technologies to enhance the match day experience for Al Hilal Saudi Football Club fans.

“Al Hilal is arguably the biggest club in Asia; it has millions of fans across the region. Unilumin is honoured to bring our LED technology to Kingdom Arena. We’re so

NOTA 142.

proud to be blue,” commented Felix Chen, sports director of Unilumin.

Esteve Calzada, the CEO of Al Hilal Club Company, expressed his happiness at signing a sponsorship with Unilumin Sports. He believes that the brand’s digital solutions will enrich the experience of fans attending Al Hilal matches and help maximise the benefits of stadium screens, which serve as one of the club’s communication channels with its fans and sponsors.

www.uniluminsports.com

The Ultra Compact PoE Amplifier.

Built to Expand.

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Imagine Communications buys Pixel Power WORLD

Imagine Communications has reached a definitive agreement to acquire Pixel Power, a wholly owned subsidiary of Rohde & Schwarz.

The acquisition broadens Imagine’s live production ecosystem and playout offerings via integration of Pixel Power’s softwaredefined platforms, while enabling Rohde & Schwarz to focus on its core operations in test and measurement, technology systems and networks and cybersecurity.

Through the deal, Imagine will maintain Pixel Power’s UK-based development team, combine the company’s existing support with Imagine’s care and services team, and fully

support all current global customers and the installed base for Pixel Power’s platforms.

“We are confident that Imagine is the right home for Pixel Power’s continued growth and expansion,” said Thorsten Sauer, CEO of Pixel Power and VP media solutions at Rohde & Schwarz. “This move allows us to focus more deeply on our core operations and customer base while ensuring that we pass the reins to a new owner who cares deeply about our customer base and will take the business to the next level.”

John Mailhot, senior vice president – product management, Imagine Communications, added: “This acquisition enhances our ability to deliver innovative, business-driving solutions for our

& Schwarz.”

Pixel Power’s deputy CEO, James Gilbert, commented: “This alignment not only opens up exciting new opportunities to scale our innovation

Rohde

L–R: Esteve Calzada of Al Hilal Club Company with Johnson Ruan of Unilumin

Powersoft integrated into Jetbuilt

Powersoft and Jetbuilt have partnered to integrate the Italian manufacturer’s comprehensive product catalogue into the Jetbuilt platform. The collaboration aims to simplify workflows and provide enhanced product information for consultants, integrators and end users.

“We are proud to welcome Powersoft into Jetbuilt’s growing ecosystem,” said Paul Dexter, chief executive officer and founder of Jetbuilt. “Our shared commitment to innovation and efficiency will help integrators deliver projects with greater speed, accuracy and confidence.” The integration will enable users to gain direct access to up-to-date specifications,

pricing, availability and warranty details.

Integrators can also customise Powersoft products within the Jetbuilt database

to reflect specific labour, shipping, tax and pricing structures. Once configured, these details are stored within the

company’s catalogue, with the aim of eliminating repetitive data entry, reducing errors and accelerating future project development.

“Our partnership with Jetbuilt allows integrators to spend less time on administration and more time creating exceptional audiovisual experiences,” commented Mitch Rauch, US sales director for Powersoft. “With our catalogue built into the platform, they can work faster, more accurately and always with the latest product information.”

www.jetbuilt.com

www.powersoft.com

Sonic selects Biamp for Naif University

University for Security Sciences (NAUSS).

Sonic was responsible for designing the complete system, working alongside a local systems integration partner as well as the project consultant to ensure the solution aligned precisely with specifications and the university’s operational requirements.

The deployment was aimed at enhancing speech intelligibility, enabling effective public announcements and ensuring acoustic privacy across both meetings and administrative facilities. Taking these requirements into account, the Biamp PA system features 48 ceiling speakers and four surface-mount loudspeakers, powered by the TesiraFORTÉ AI amplifier with DSP.

Rounding off the solution is a Biamp sound masking system featuring a Dante networked audio controller, as well as 52 volume controllers and active emitters.

According to the team, the new system has achieved improved speech privacy in meeting rooms and offices, while minimising noise disruptions, particularly in sensitive administrative zones. Furthermore, the solution integrates with the university’s existing AV infrastructure via Dante and offers opportunities for future expansion.

“This project at NAUSS demonstrates the strength of Biamp’s scalable audio technologies in large educational institutions,” remarked Ravindra Jagadeesha, business development manager – KSA, Sonic Electronics. “With our local partner’s support, we ensured flawless execution, precise configuration and client satisfaction from start to finish.”

www.biamp.com

www.sonicelec.com

Sonic

Channel 31 upgrades with Ikegami

Channel 31, a nationwide television channel based in Kazakhstan’s former capital city Almaty, has chosen Ikegami cameras for integration into the production facilities at its headquarters. Five HDK-73 camera chains have been purchased, each including a BSF-300L base station and OCP-500 control panel. Four VFL-P700A 7-inch HD LCD viewfinders also form part of the investment.

Launched in October 1992 as TRC 31 Channel and rebranded in April 1993, Channel 31 is a family-oriented entertainment channel transmitting news, entertainment programmes, TV series and sitcoms of its own production in Russian and Kazakh, as well as features from studios around the world.

Ikegami Tsushinki sells broadcasting equipment to the Kazakhstan market through its Tokyo-based distribution partner, E-Globaledge Corporation. “This is an order from a new client rather than a renewal from an existing customer,” commented Shinya Adachi, section manager of Department 2 at E-Globaledge’s ES Division. “The chief engineer of Channel 31

expressed high praise for the excellent quality of Ikegami products. In addition to our existing customer base of state broadcasters, we have successfully expanded into a new market with this independently owned network. The project raises our expectations for further growth in the Kazakhstan market.”

Channel 31’s interest in HDK-73 cameras stemmed from the successful experience of broadcast industry colleagues and positive reports in the broadcast-related news media. Tests conducted at the channel’s main studio confirmed the HDK-73’s high video quality and ease of operation. The Channel 31 team were particularly impressed by the camera’s inherent versatility, including a powerful signal processor offering advanced detail correction with independent horizontal and vertical correction of red, green and blue signals, plus anti-moiré filtering.

www.31.kz/kz www.e-globaledge.com www.ikegami.co.jp

Ross Video purchases ioversal

Marking its expansion into experiential technologies, Ross Video has acquired ioversal, a developer of audiovisual production workflow technologies and the creator of the Vertex platform. With decades of expertise in media servers and interactive control systems, the ioversal team strengthens Ross Video’s ability to deliver end-to-end live production solutions.

The Vertex AV production suite has been leveraged for high-profile installations worldwide including interactive exhibits, live entertainment, large-scale productions and projection mapping projects. The platform provides the tools to unify video, audio, lighting and control into one solution to create, manage and automate experiences.

“Vertex gives our customers a powerful new way to tell their stories,” said David Ross, CEO, Ross Video. “It also extends our live production solutions into the experiential world, opening creative possibilities that inspire audiences everywhere.”

Ross Video said that the acquisition underscores its commitment to broadening

its portfolio across broadcast, sports, entertainment and live events, with the aim of offering customers a unified toolkit that combines live video production with experiential AV.

“Joining Ross Video is a natural next step in our journey,” noted Jan Hüwel, co-founder of ioversal. “Ross shares our passion for empowering customers and our belief that innovation should always serve creativity.”

Fellow ioversal co-founder Martin Kuhn added: “Together, we’ll be able to bring Vertex to an even wider audience and unlock incredible new possibilities for experiential media. We are deeply proud of what our team has built and are excited to be part of the Ross Video family.”

Ross Video plans to introduce the Vertex production suite through a series of upcoming demos and showcases, with the aim of highlighting the platform’s creative potential and integration within the manufacturer’s ecosystem.

www.ioversal.com

www.rossvideo.com

Abu Dhabi’s Etihad Arena recently played host to the Harry Potter Film Concert Series, a live experience featuring the first two films from the franchise projected on a 12m screen while a full symphony orchestra performed the John Williams Grammy-nominated scores live in sync. Creative Technology Middle East (CTME), in partnership with Proactiv Entertainment, delivered the technical outfit for the two-day production, deploying a range of AVL systems to bring the magic of the beloved film to life. The audio team designed and prepped the rig for plug-and-play deployment, with the aim of providing consistent clarity, transparency, power and coherence across the venue.

Sixteen d&b audiotechnik XSL arrays were deployed per side for mains, supported by SL-SUBs in a ground sub array configuration. Y10P cabinets provided front fill coverage, with AL90 units used for out fill. A DiGiCo Quantum 338 Pulse handled mixing, with SD-Racks running on an Optocore loop. A Luminex GigaCore 10 network switch carried

Dante distribution and control throughout the system.

Two Panasonic PT-RZ31K projectors delivered images of Harry Potter and the Philosopher’s Stone and Harry Potter and the Chamber of Secrets onto the towering screen,

supported by a dedicated Netgear M4300 network core rack for video delivery.

On the lighting front, CTME’s team designed a setup using over 50 moving head lights, including Ayrton’s Rivale Wash, Diablo S profile and Levante S Wash fixtures, alongside Cameo

ZENIT W600 units and Astera AX5 TriplePAR lights. All luminaires were controlled via grandMA3 NPU L and grandMA3 Light consoles. Backstage, the company deployed a comprehensive communications system featuring 15 Riedel Bolero wireless beltpacks with antennas and 10 Motorola R7 UHF radios to keep every department in sync. The coordination extended to dedicated rehearsal spaces equipped with d&b M6 monitors and D20 amplifiers.

Project manager Riaan Gomes led a 12-person crew, including specialised audio, video, lighting and communications engineers, to realise the production. “The Harry Potter Film Concert Series was not just a celebration of film and music – it was a showcase of flawless technical execution that brought the wizarding world to life in Abu Dhabi, proving that sometimes the most powerful magic in live events happens behind the scenes,” said Gomes.

www.ct-group.com/me

Three of the five Ikegami HDK-73 cameras in the main studio

Procom showcases Astera in Dubai

Drawing a significant gathering of industry professionals, Procom Middle East recently hosted UNPLUGGED: The Astera Experience at the distributor’s experience centre in Dubai. Welcoming lighting designers, cinematographers, event professionals and tech enthusiasts, the event included an intensive exploration into Astera’s battery-powered and wirelessly controlled LED lighting ecosystem.

Led by the manufacturer’s product specialist and head of Astera Academy, Jesper Sørensen, the day was structured into two sessions, with a focus on educating attendees on the capabilities Astera fixtures bring for film, broadcast and live events applications.

The first part of the seminar focused entirely on the Astera ecosystem, demonstrating the features of a single platform where every fixture, from tubes to spotlights, is controlled within the same wireless environment.

The ecosystem’s foundation is its control structure, built around two key components: the AsteraApp mobile application and the

AsteraBox, ART7. This unified approach has been designed to simplify complex setups and remote programming.

“I think it’s important that the ecosystem is understood, but also what capabilities and what people can do with the whole ecosystem, because no matter what light you are looking at when it comes to the Astera products, everything fits within the same ecosystem,” explained Sørensen.

A key technical highlight was the detailed review of the Titan LED engine, with the presentation emphasising the importance of high CRI, tunable white light and colour consistency across the entire product range which are critical factors for cinematic and broadcast quality assurance.

During the second half of the session, attendees had the opportunity to gain hands-on experience with the brand’s latest products. Professionals worked directly with the Quik family, Lunabulb, QuikSpot and QuikPunch fixtures. According to Procom, excitement was notably high for the newly shipping SolaBulb.

Adamson amplifies

Tamer Hosny in Bahrain

Egyptian superstar Tamer Hosny recently graced the stage of the Beyon Al Dana Amphitheater at the Exhibition World Bahrain, backed by an Adamson sound system deployed by Riffa-based Showtech Productions.

Reflecting on the productive atmosphere, Sørensen stated: “We just finished an incredible event here at Procom. We had two sessions where a lot of industry professionals came and I’m super happy with all the feedback, the questions and the passion that people share for what we do in this industry.

“All in all, the day was simply just incredible. All the passionate people that we have in our industry is what makes me and also Astera thrive and move forward. I’ll be looking forward to coming back to Procom Middle East next year.”

www.astera-led.com www.procom-me.com

NMK gets interactive in Dubai

NMK Electronics recently held its annual NMK Interactive event at the JW Marriott Marquis Dubai. The gathering drew more than 600 systems integrators and partners from across the UAE, Qatar, Oman, Kuwait and Bahrain.

The production team sought a sound system that could provide both consistency and efficiency while maintaining clarity across the large, open amphitheatre. They selected Adamson’s E-Series for its balance of power and practicality, while its rigging system and truck pack design was optimum for reducing setup time as well as minimising emissions and transport costs, a key advantage for touring crews travelling across the region.

The final Adamson setup, designed by Showtech to provide coverage throughout the venue, included a main PA system of 12 E15 line arrays, with four SpekTrix

units per side for down fill. Front fills were courtesy of 12 Metrix loudspeakers, four stacks of three high, and a further seven as well as 18 T21 ground subs in FB Mode. The system was driven by Adamson E-Racks alongside Lab Gruppen PLM 20K44 amplifiers.

According to the team, the final result was a powerful and dynamic soundstage that brought Hosny’s vocals and instrumentals to life. Engineers noted that the system’s flexibility allowed them to adapt seamlessly to the venue, ensuring clear intelligibility and deep, controlled bass response that enveloped the crowd without distortion.

www.adamson.ai

www.showtechbahrain.com

Themed “Music from Around the World”, the 2025 edition combined live performances, cultural showcases, awards and prizes.

“NMK Interactive goes beyond showcasing technology, it’s about bringing people together,” said Nicolas Cox, MD at NMK Electronics. “Together with our partners, we are not only shaping projects, we are shaping the future of the AVLC industry.”

The event also highlighted the distributor’s portfolio across audio, video, lighting, communication, infrastructure and control with various global manufacturers showcasing their latest technologies.

The NMK Awards for FY24–25 recognised projects delivered by systems integrators across the region. Integral Polymedia Systems (UAE) received the award for

Direct Source Technologies was recognised for Custom Boardroom Integration of the Year. Auditorium Project of the Year went to AVI-SPL and Scope Information Systems took home the award for Hybrid Learning Solution of the Year. Royal Technology Solutions was awarded Background Music Solution of the Year and Al Mahbara Digital AV Systems (Almoe Group) was recognised for Foreground Music Solution of the Year. Alec Technologies won the award for Immersive Experience Solution of the Year, with IT Works taking Experience Center Solution of the Year. Sector awards were also presented. Advanced Integration Technology (AIT) was recognised for its work in the government sector, while Omnix International received the award for the corporate sector. AVI-SPL was named winner in the finance and banking category, with Oxford Systems Integration awarded for hospitality. Alpha Data PJSC won for its work in aviation and Absons IT took the real estate award.

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MGG unleashes L-Acoustics K2 at Toyota Innibos

SOUTH AFRICA

The recent Toyota Innibos Lowveld National Arts Festival in Nelspruit welcomed 78,000 festivalgoers for three days of theatre productions, music and lifestyle shows, and performances by some of South Africa’s top artists. This year’s instalment was backed by MGG Productions’ newly acquired L-Acoustics K2 sound system, which the technical production company had invested in from DWR Distribution as part of its expansion into various market sectors.

“Expanding the L-Acoustics inventory is an important investment in our future capabilities,” explained Gunther Muller, MGG project manager. “The K2 system enhances our ability to serve clients across diverse market sectors whilst maintaining the technical excellence that has defined MGG for 25 years.”

For this year’s festival, MGG faced the complex challenge of delivering pristine audio coverage across the venue’s challenging layout at Hoërskool Bergvlam. Having provided audio services for Innibos for several years, MGG has built a deep understanding of the event’s requirements and audience expectations.

Dean Parker, MGG’s head of audio, detailed the venue’s unique acoustic challenges:

“Despite being situated on a sports field, the stage angle combined with off-axis grandstand, multiple VIP areas and surrounding tents demanded a sophisticated approach to sound distribution, with complex coverage requirements across the entire audience area.”

L-Acoustics Soundvision software was leveraged during the system design phase for venue modelling and coverage optimisation.

Parker’s team imported the venue layout and stage configuration, then used the software’s prediction capabilities to address the complex acoustic challenges. According to the team, the software proved particularly valuable for assigning amplifiers, loading FIR filters and

making real-time adjustments during the event setup.

The final design comprised L-R hangs of 12 K2 enclosures with three KARA II down fill speakers per side. Ten SB18 subwoofers were flown in two side-by-side hangs of five units each behind the arrays. Out fill coverage was provided by nine V-DOSC enclosures per side with three dV-DOSC down fill units, supplied by Gearhouse South Africa. The low-frequency foundation consisted of a delay arc of 24 KS28 subwoofers in 12 stacks of two units. Three delay towers of KARA II –configured with six, six and nine enclosures, respectively – delivered coverage throughout the 9,500m² audience area.

Networking was handled through LS10 switches and P1 processors running on MilanAVB. The team cited how this network-based approach required only power and network connections for each amplifier location, eliminating the need for traditional AES/EBU or analogue cabling infrastructure, making the installation more cost-effective, quicker and streamlined than conventional approaches.

The integration of SFP modules in the LS10 switches enabled fibre-optic connections to LA-RAK amplified controllers positioned on either side of the stage.

“The K2 system delivers exceptional performance throughout the entire production

process,” Parker said. “From rigging through to live mixing, the system consistently supports our objectives. The integrated networking with LS10 switches and P1 processors significantly reduces setup time and complexity.”

It was noted that the technical crew, comprising experienced L-Acoustics users, found the system’s operation seamless throughout the event. DWR’s solutions architect Kyle Freemantle also provided onsite technical support.

www.l-acoustics.com www.mgg.co.za

Pulse elevates sound for Yubi Dubai

Pulse Middle East has delivered a custom-designed audio system comprising Martin Audio loudspeakers, Powersoft amplifiers and Xilica control for Yubi Dubai, a cosy new venue located in One Central. The goal was to provide high-quality sound that complements the Japanese-inspired open lounge bar’s intimate setting while maintaining flexibility for different types of entertainment.

According to Pulse sound engineer Hassan Makki, the client sought a highly distributed system that wasn’t intrusive yet had enough headroom to deliver loud background music and comfortably support mid-level DJ performances when needed. Furthermore, it was imperative that the sound stayed contained in the venue, without disturbing neighbouring spaces in the busy business area of One Central.

Taking these considerations into account, the team installed a selection of Martin Audio loudspeakers. CDD12B and CDD8B models have been implemented for the main indoor areas, reinforced in the lower frequencies with SX210 dual 10-inch and SX115 single 15-inch subwoofers. For the outdoor seating area, the British brand’s A55TB speakers have been installed to provide consistent coverage while blending in discreetly with the environment.

Powering this setup are Powersoft Quattrocanali 4804 DSP+D and Quattrocanali 8804 DSP+D amplifiers, chosen for their energy efficiency and Dante connectivity which keeps the rack compact and the system scalable. At the heart of the system, a Xilica DSP manages control and optimisation, while the entire setup is networked over Dante audio, providing signal distribution and scalability. The system is complemented with Pioneer DJ equipment to support performances and DJ sets.

“Powersoft’s DSP+D amps are extremely efficient and run rock solid on Dante, while Xilica gives us the fine-grained control to tailor sound for each zone,” explained Makki. “Together they give the venue flexibility and reliability without overcomplicating the system.” Makki cited the system’s easeof-use for staff, particularly with the Xilica Lucia wall controller which enables the venue team to adjust volumes across the venue’s zones and switch between different sources with ease.

“The client is thrilled with their new sound system,” concluded Makki. “The solution has met the

objective of filling the space with warmth and clarity without feeling overpowering. The owners have told us multiple times about feedback from guests on how good the atmosphere feels, and that’s the best validation we could ask for.”

www.martin-audio.com www.powersoft.com www.pulse-me.com www.xilica.com

Al Arabiya gets new Riyadh studio

SAUDI ARABIA

Al Arabiya, one of the leading news channels in the Arab world, recently embarked on a mammoth project to build a new studio for its sister channel Al Hadath in Riyadh’s Diplomatic Quarter. The broadcaster turned to longtime systems integration partner, First Gulf Company, to bring its vision to life, deploying a range of Ross Video solutions for the facility.

Dubai-based Al Arabiya offers a wide range of content that spans hourly news, business, sports, talkshows and documentaries. Its sister channel Al Hadath was launched as a dedicated political news broadcaster, providing comprehensive coverage of regional and global events.

The building of the new studio naturally faced significant challenges, with an ambitious eightmonth deadline before its official launch date and a studio design concept that included some of the longest U- and L-shaped Furio camera rails in the world.

Al Arabiya’s relationship with Ross dates back to 2007 when it first invested in an HD vision

mixer from the brand. Since then, the channel has relied on Ross for various broadcast solutions, including at its main Dubai studio in 2019.

For the new studio in Riyadh, Ross provided five Furio rail-based robotic camera systems, along with three CamBot free-roaming

pedestals, chosen by the team for their precision and flexibility. The Furio systems were installed on rails stretching over 40m, in U and L shapes, reportedly making it the first installation of its kind in the region. Due to the studio floor’s tight elevation, the

setup required careful planning and precise installation.

According to the team, the new integrated camera robotics system enables the broadcaster to automate a wide range of dynamic shots with accuracy, enhancing the company’s overall broadcast quality and providing a future-ready solution.

“The Ross team put in countless hours. They spared no effort executing the design and mitigating risks to make sure everything worked perfectly,” noted Raed Bacho, senior broadcast manager, Al Arabiya.

“The dedication and cooperation among all stakeholders were key to hitting our deadlines and meeting the management’s vision. When it comes to challenges, Ross Video is where you go. Their knowledge, experience and responsiveness made all the difference and added value to bringing our vision to life.”

www.rossvideo.com

Keenfinity unveils Dubai experience centre

Keenfinity Group has opened the doors to its newly renewed and redesigned office in Dubai where it represents a portfolio of its brands, including Bosch Security Systems, Dynacord, Electro-Voice, RTS and Telex.

Located in the city’s Dubai Airport Free Zone neighbourhood, the facility was recently

with an official launch event welcoming over 100 of the company’s partners, clients and industry friends.

The office features a new experience centre designed as a hands-on space to showcase the group’s integrated solutions, including access control, video systems, public address and conference technologies. It will also be used to

Koltech strengthens Robe fleet

Be’er-Sheva-based rental company

Koltech has expanded its inventory with the purchase of 24 Robe ESPRITE moving lights, taking its stock of the Czech manufacturer’s fixtures to more than 150 units.

Founded in 2007 by Yossi “ZakZak” Bendavid, Koltech is regarded as one of Israel’s most dynamic lighting rental specialists. A lighting designer himself, ZakZak describes the ESPRITE as “a great all-round workhorse luminaire and a professional-level spot fixture which is the lightest, brightest and most efficient currently available in its class”. He and his team, including designers such as Mor Avitan, were particularly impressed by the ESPRITE’s framing shutters, gobo selection and uniform, hotspot-free beam. “The optics offer a seriously quality look,” said ZakZak, noting that adaptability is

host scheduled trainings, workshops and client demonstrations, enabling visitors to experience Bosch products live in action.

The group said that it sees Dubai as the “gateway to the Middle East” and that having a regional outpost there allows the company to be closer to its partners and clients to understand their needs in real time, while enhancing access to its solutions.

“Keenfinity Group carries forward the Bosch legacy – with a customer-centric approach, greater agility and an even stronger commitment to our customers and partners. Your trust is our promise and your success is our mission,” remarked Mustaq Raza, the company’s managing director for the Middle East.

www.keenfinity-group.com

essential in Israel, where events are often confirmed at short notice and require rapid technical solutions. Distributor support was

another factor in the purchase decision.

“The relationship we have with Danor Systems is brilliant,” he explained, adding

that Koltech now works almost exclusively with Robe moving lights.

Operating from Israel’s largest southern city, Koltech employs 20 full-time staff supported by freelancers and delivers lighting for concerts, festivals, corporate events and cultural projects across the region. Koltech has frequently been among the first in Israel to adopt Robe technology. It was the first company in the country to stock the Pointe, the LEDWash 800 and, more recently, the TetraX rotating LED batten. In 2024, the company also invested in LEDBeam 150s, while its first Robe acquisition dates back to 2012 with the MMX Spot – still in active service. “Any fixture still working well after 10 years of active service is great value and a testament to the quality engineering of Robe products,” added ZakZak.

www.robe.cz

inaugurated

L–R: Koltech’s Yossi “ZakZak” Bendavid and Mor Avitan

HORIZON VHA

Vertical Horizontal Line Array

VHA 406N/ND

Line Array

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» Class D 800W for LF / 400W for HF amplifier

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» 1 x 1.4” neodymium compression driver with 2.5” coil

» Dimensions (H x W x D): 612 x 360 x 397 mm / 24 x 14 x 15.6 inch

» Weight: 31.8Kg / 70 Lb

VHA 118SN/SND

Subwoofer

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» Dimensions (H x W x D): 611 x 711 x 720 mm / 24 x 28 x 28.3 inch

» Weight: 61.2 Kg / 135 Lb

VHA 112SN/SND

Flyable Subwoofer

» Self powered bass-reflex cabinet

» Class D 1600W amplifier

» 1 x 12” woofer with 3” coil - neodymium

» Dimensions (H x W x D): 612 x 360 x 397 mm / 24 x 14 x 15.6 inch

» Weight: 26.3 Kg / 58 Lb

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09 Profesyonel upgrades Marriott Hotel

TURKEY

Marriott Hotel Şişli has enhanced its meeting and event facilities with a comprehensive AV systems upgrade delivered by Istanbul-based integrator 09 Profesyonel. The project encompassed the hotel’s ballroom, meeting rooms, foyers, lobby and restaurant, with 09 Profesyonel managing consultancy, design and integration from start to finish.

“Marriott required a solution that aligned with its global standards while providing flexible, user-friendly control and advanced technology integration across various spaces,” explained 09 Profesyonel founder Eray Özay. “Our goal was to deliver the best technology in the most practical and intuitive way, particularly focusing on the ballroom and meeting areas.”

Given that the AV installation would need to be carried out while the hotel remained fully operational, work was carefully phased to minimise disruption. The scope included a divisible ballroom, capable of splitting into

three sections, a meeting room divisible into two, two smaller meeting rooms and shared spaces such as foyers, the lobby and restaurant.

For visual systems, Epson laser projectors were chosen for all meeting and ballroom

Optimal Audio chosen for Midrand pub

SOUTH AFRICA

Malt – Barrel & Fire, a modern gastro pub chain in South Africa, recently opened a new location in Midrand which has been outfitted with an audio system comprising products from Allen & Heath, Optimal Audio and Wharfedale Pro. Situated by the Waterfall Estate with the Mall of Africa nearby, the new space builds on the experience that has been nurtured with the chain’s other stores in Fourways, Silver Lakes and Queens Corner.

Local distributor Audiosure worked in partnership with THD Audio to design an audio system to match the Midrand venue’s intricate décor details and picturesque setting. With aesthetics being a key consideration for the project, the team worked to deliver a system that could provide wide and flexible coverage across the space without dominating walls with large brackets and obtrusive speakers.

Optimal Audio loudspeakers and subwoofers were chosen to support the aesthetic and technical requirements, Wharfedale Pro amplifiers drove the wattage and Allen & Heath provided the infrastructure backbone of the system.

The wrap-around outside balcony features Optimal Audio’s Sub 6 subwoofers paired with sets of Cuboid 5 TXB speakers, chosen for their IP54 rating, making them suitable for covered outdoor use. Pairs of the Cuboid 5TXB subs have been used extensively across the venue in both portrait and landscape orientations to take advantage of their 130° x 120° (HxV) coverage. Inside the venue, the Cuboid 5TXBs are paired with the manufacturer’s larger Sub 10 subwoofers. The loudspeakers are driven by Wharfedale Pro DP amplifiers, with some DSPPA Audio ceiling speakers covering service areas like the bathrooms. A Wharfedale Pro DP-4065 and a DP-4035i provide all the wattage to run the entire venue in just 2U of rack space. The DP-4065 drives four channels

with 1,100W available at 4Ω on each output with the DP-4035i also adding another four outputs of 765W at 100V line to drive a combination of power requirements across the speakers.

Lastly, the Allen & Heath AHM-16 16x16 audio matrix processor interfaces with an IP6 controller at the front door for simplified control over a TCP/IP network, ensuring that every space and room in the venue gets local volume control, source selection and preset recalls directly from the IP6 controller.

www.audiosure.co.za

spaces. In the ballroom, a 10m-wide main screen was reconfigured using two Epson PU-1007 projectors with Edge Blending to deliver a seamless, display. AMX N2600 series AV-over-IP encoders and decoders form the backbone of the video infrastructure,

JBL

enabling fully network-based signal management. AMX Varia touchpanels provide intuitive control interfaces for staff across the venue.

On the audio side, the hotel’s existing setup was expanded into a centralised Dante network linking all rooms, with BSS BLU series processors integrated for flexible, streamlined event management. Shure wireless microphone systems and antenna distributors were deployed in all divisible halls to ensure reliable coverage and performance.

“Delivering this project for Marriott’s flagship property in Şişli stands as a significant reference point for us,” commented Özay.

“With this integration, we successfully merged Marriott’s high standards of quality with cutting-edge technology, reinforcing 09 Profesyonel’s commitment to excellence in the AV integration sector.”

www.09profesyonel.com.tr

elevates Osama Ben Zaid Mosque

EGYPT

Audio Technology has delivered a JBL Professional and Crown sound system for the Osama Ben Zaid Mosque in Cairo as part of an extensive audio upgrade. Aligning with Egypt’s commitment to honouring Islamic heritage and enhancing spiritual infrastructure, the mosque upgrade is aimed at ensuring sermons, recitations and

ensuring sonic separation from the main hall. Outside, AWC159 loudspeakers support overflow gatherings and seasonal events. The system is powered by Crown XLi and CDi Series amplifiers.

“The goal for this project was to create a sound environment that reflects the dignity of the space,” said Mario G Abadeer,

prayers reach every corner of the venue with clarity and balance.

Situated in New Cairo, the Osama Ben Zaid Mosque sought a multizone system that could handle varying acoustic conditions while preserving the dignity of the space. Taking these considerations into account, Audio Technology installed JBL’s CBT 70J and CBT 100LA-1 loudspeakers in the main sanctuary, with the aim of delivering broad horizontal dispersion and consistent tonality.

The manufacturer’s CBT 50LA-1 speakers were installed in the women’s prayer hall to provide dedicated coverage while

design and pre-sales division head at Audio Technology. “With the JBL CBT and AWC speakers, we achieved intelligibility and coverage across every prayer area, both indoors and outdoors, without disrupting the mosque’s architectural harmony.”

According to the team, since installation worshippers have experienced greater comfort and connection during services thanks to even SPL and high speech clarity across all zones.

www.audioteceg.com

www.crownaudio.com

www.jblpro.com

JBL CBT units have been installed in prayer spaces

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RØDE announces Dante integration

RØDE has entered into a partnership with fellow Sydney-based manufacturer Audinate. The collaboration will see the integration of Dante’s networking technology into a range of products across The Freedman Group brands, including RØDE, Mackie and

Lectrosonics, with the aim of advancing connectivity for creators and audio professionals worldwide.

Dante has been designed to deliver uncompressed, multichannel digital audio and video with near-zero latency over standard Ethernet connections. Highly regarded for its routing capabilities, reliability, interoperability and scalability, it has become an industry staple in broadcast studios, live production, content creation and commercial installations around the world, and is used in thousands of professional products.

The new partnership will enable native Dante integration across future RØDE product lines, supported by new interfaces engineered to simplify advanced audio networking for creators without compromising flexibility or fidelity.

Delta Waves educates Saudi SIs

SAUDI ARABIA

Delta Waves and Sennheiser, with support from Venuetech, recently delivered an exclusive workshop for systems integrators across Saudi Arabia. Taking place at the Delta Waves HQ in Riyadh, the event brought together industry professionals to experience the brand’s latest collaborative audio solutions.

Participants were able to explore Sennheiser’s TeamConnect Ceiling Solutions with TruVoicelift technology, designed for speech reinforcement in large spaces. Also showcased was the SpeechLine

EVH Events expands

EVH Events has invested in a range of new products from Absen, ADJ and Prolyte, provided by DWR Distribution for use across large-scale and corporate events in South Africa. The new company is the corporate division of PartyBros, which was launched in 2022 by brothers Emil and Etienne van Heerden.

PartyBros was established as a dry hire company filling a gap at parties and weddings and has since evolved into a comprehensive event solutions provider. The brothers began collaborating with other suppliers to work on larger setups and now also offer solutions for corporate events, product launches, conferences, exhibitions, festivals, sports events and concerts.

Digital Wireless series, Control Cockpit and MobileConnect. Attendees were particularly impressed with the TeamConnect Bar system's function as an all-in-one device combining audio and video for a professional setup.

“Workshops like this bring Sennheiser solutions to life for our partners,” said Alice Macaluso, Sennheiser’s brand manager for Delta Waves. “It’s one thing to hear about product features, but it’s another to experience how they transform communication spaces. The level of engagement we saw from

attendees shows the demand for reliable, futureproof audio solutions in the KSA.”

Fadi Costantine, technical sales manager at Sennheiser, noted the value of uniting manufacturers, distributors and integrators together under one roof during these sessions: “By sharing insights and practical knowledge, every partner walks away not only familiar with the technology but also confident in delivering meaningful audio experiences to their clients.”

Abdulrahman Melhem of Delta Waves concluded: “Knowledge transfer is just as important as product delivery. This workshop was a great opportunity for integrators to get hands-on experience, ask practical questions and leave with the confidence to implement Sennheiser’s ecosystem in their upcoming projects.”

With growing interest already expressed in project integrations, Sennheiser and Delta Waves said that they are poised to expand training opportunities further across the region in the coming months.

www.deltawaves-ksa.com

www.sennheiser.com

www.venuetech.ae

L–R:

With the aim of meeting visual requirements for projects, EVH Events has purchased an Absen NT3.9W LED screen consisting of 120 panels, alongside Prolyte trussing for structural support for both indoor and outdoor stages. The visual upgrade also includes ADJ Focus Beam and Focus Flex LED moving head units.

DWR’s Duncan Riley commented on the brothers’ journey: “There are very few people who start a business from the ground up and,

ChamSys adds Arkaos to its portfolio

ChamSys has acquired Arkaos's software and product portfolio, including MediaMaster, GrandVJ and KlingNet. The move brings the Belgian developer into the ChamSys group, expanding its position in pixel and video control while reinforcing the goal of providing a unified lighting, pixel mapping and media playback solution.

The first step in this integration will be the release of ChamSys MediaMaster 25, a major update to Arkaos's MediaMaster 6 software. It will be supported by a new range of MediaMaster servers. It has also been confirmed that existing MediaMaster users will be able to continue with their current

licences without added cost, with future updates offering an integration path into the ChamSys ecosystem. Customers will also gain access to the UK manufacturer’s 24/7

global support, documentation and training resources.

The Arkaos team, including general manager Tony De Prins, will join the UK company to

for me, it’s inspiring to see them grow. We need the younger generation to start taking over and it’s good to see passionate people wanting to do what we do. Emil and Etienne have taken off and I think they’re in mid-flight, so now it’s all about the long haul. I look forward to many years growing with them.”

www.dwrdistribution.co.za

www.evh-events.co.za

ensure continuity of development and support.

“ChamSys has been a trusted partner for years,” said De Prins. “Joining forces will strengthen our efforts in a multitude of ways and result in very real benefits in modern production control. You can look forward to some very impressive things happening.”

ChamSys founder Chris Kennedy concluded: “By unifying MediaMaster with ChamSys control systems, we are giving users seamless, powerful and reliable control from a single platform, eliminating workflow complications and technical barriers.”

www.chamsys.co.uk

SOUTH AFRICA

DWR’s Robert Izzett and Duncan Riley, Emil and Etienne van Heerden from EVH Events and DWR’s Callan van Zyl

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Renkus-Heinz welcomes Rahul Mankar

MEA

Expanding its global presence, Renkus-Heinz has welcomed Rahul Mankar as regional sales manager for the Middle East and Africa (MEA). He brings to the role 17 years of sales experience, having worked in various strategic, decisionmaking roles with a particular focus on audiovisual experiences within the luxurytech space.

“This role represents a strategic opportunity to channel my passion for sound in partnership with a visionary leader in professional audio by ensuring the right loudspeaker technology is applied and implemented to the right environments,” said Mankar. “I look forward to driving growth across the MEA region by delivering audio solutions for large venues and acoustically challenging environments.”

Renkus-Heinz said that Mankar’s proven track record in driving growth and establishing businesses across the GCC and India make him the perfect candidate to expand the company’s presence in MEA.

In his new position, Mankar will work closely with Karan Kathuria, director of sales and business development for APAC and MEA, and the wider sales team to help deliver Renkus-Heinz’s global goals.

Kathuria commented: “Renkus-Heinz endeavours to deliver exceptional customer experience in MEA, actively pursuing initiatives in the region. One such initiative

is to onboard Rahul Mankar as regional manager. Rahul brings years of experience in pro audio and has successfully established some renowned brands in MEA. We are confident of realising our vision of delivering more advanced solutions in the region with Rahul.”

www.renkus-heinz.com

Jan Tarakji to lead AVAIL MEA Trading

GCC

AVAIL International Group has officially announced the launch of AVAIL MEA Trading, a new division focused on projectbased professional AVL distribution in the MEA region. To lead this new chapter, the Dubaibased company has appointed Jan Tarakji as sales director, working across the expanding GCC market.

Boasting over 22 years of industry experience, Tarakji has earned a strong reputation across the UAE and GCC. He has worked closely with international brands and distributors, holding roles in sales leadership, brand management and market development, bringing both commercial and technical expertise.

At AVAIL MEA Trading, he will focus on building a sustainable distribution

network, strengthening sales and customer relationships and expanding the company’s presence across Saudi Arabia, Qatar, Kuwait,

Tarakji emphasised that his approach centres on customer engagement, project collaboration and technical excellence, with the goal of seamlessly connecting global manufacturers and regional professionals.

“I believe in growing through strategic partnerships combined with local expertise,” Tarakji said. “AVAIL MEA Trading will stand as a reliable, agile and forward-thinking distributor –supporting both brands and clients with professionalism, innovation and commitment.”

d&b names Jaakko Kaivonen

as CEO WORLD WORLD

d&b group has announced that, effective 1 January 2026, Amnon Harman will step down as CEO, handing over the role to Jaakko Kaivonen, who currently serves as CRO. The company said that the leadership transition has been prepared to ensure continuity and marks an important step in the brand’s next phase of growth.

Harman will remain closely connected to d&b as a shareholder. After ensuring the transition until the end of the year, he will join the supervisory board in January. “I am convinced that with his experience, international perspective and deep understanding of our customers and culture, Jaakko is the right CEO to lead d&b into a strong future,” noted Harman. Kaivonen joined the company as CRO earlier this year, where he has been responsible for global sales and customer activities. d&b said that during

Shure taps Shetty for MEA and APAC

MEA

Shure has appointed Ekta Shetty as senior sales director for MEA, India, Southeast Asia and Pacific. Based in the manufacturer’s Dubai office, she will be responsible for driving growth, strengthening distribution and channel partnerships, and advancing the brand’s go-to-market and marketing initiatives across the regions. Shetty will lead the sales management, market development, channel marketing and customer experience teams across Dubai, India, Singapore and Australia. Shure said that her appointment underscores the company’s commitment to strengthening

its presence and accelerating growth in these important markets, while expanding new opportunities in the collaboration and conferencing sector.

She brings over 15 years of international leadership experience in the AV and UC industries, including her previous tenure at Barco, where she successfully led sales and marketing across MEA and APAC.

“With her strong sales and marketing expertise, extensive experience and deep network within the AV and UCC industries, we are confident that Ekta will make a significant contribution to our growth and

this time he has strengthened the company’s international market presence and deepened collaboration with customers and partners. Furthermore, the manufacturer cited Kaivonen’s international outlook, proven ability to lead dynamic growth and clear focus on sustainable development as key qualities needed to guide the business into its next phase.

“I would like to thank Amnon for his trust and close collaboration during my time at d&b so far,” remarked Kaivonen.

“d&b has a unique culture, outstanding people and a strong product portfolio. I look forward to working with our customers, the management team and all colleagues to shape the next phase of our development – with a focus on innovation, market proximity and sustainable growth.”

www.db.group

Industry veteran Mike Case has joined PK Sound as director of global network and partnerships. He will report to CEO Jeremy Bridge and lead the company’s growing international network in further expanding the brand’s profile and reach.

Case is backed by a strong history of establishing new technologies and advancing leading brands, including positions at Yamaha Commercial Audio and Digidesign, now known as Avid, as well as d&b audiotechnik.

“PK Sound has developed the most exciting and relevant new technology I’ve seen in years, with the power to significantly change the way people work in this industry,” said Case. “This is a young, talented and passionate team full of exciting potential and I look forward to realising that together with our partner network.”

www.pksound.live

Avientek takes on Absen and Ribbon

Dubai-based distributor Avientek has announced new distribution partnerships with both Absen and Ribbon Communications in the Middle East.

Through its alliance with Absen, Avientek now serves as the authorised distributor for the LED manufacturer across the region. The partnership was officially launched at an event held at the Fairmont Doha in Qatar, which brought together partners and key industry figures to celebrate the announcement.

“We’re excited to officially welcome Avientek as our value-added distributor in the Middle East,” said Absen Middle East MD, Alina Yuan. “Their passion, expertise and strong market

presence make them the perfect partner to grow with.”

Valiyaparambil Manu, director of Avientek, added: “We are excited to leverage this collaboration to create value for both our team and Absen, while reaching a wider audience and enhancing customer engagement.”

Avientek’s partnership with Ribbon Communications marks its official entry into security solutions, expanding the distributor’s portfolio to include Microsoft voice solutions, voice security, IP optical, data centre interconnect and switching technologies.

“Ribbon’s advanced solutions in real-time communications, security and cloud-native

technology complement our commitment to providing practical and effective solutions for our partners and customers,” noted Manu.

Rafael Vicent, senior channel account manager at Ribbon Communications, remarked: “This partnership extends Ribbon’s regional presence and brings our Session Border Controllers, IP Optical and Data Centre Interconnect solutions to a wider

MediaCast and Densitron team up

EAST

MediaCast has been appointed as the official distributor for Densitron, a manufacturer of Human Machine Interaction (HMI) and display technology, in the Middle East and Turkey.

As Densitron’s first distribution partner in the locales, MediaCast will offer the manufacturer’s hardware solutions and its Intelligent Display System (IDS) platform.

“MediaCast’s commitment to excellence in hardware distribution, combined with professional services and technical expertise, will significantly enhance our ability to serve customers in the region,” commented Dan Hinton, partnerships manager at Densitron. “For broadcasters and AV professionals, this means faster access to our products, expert local guidance and the assurance that their projects will run smoothly.”

The agreement also strengthens the manufacturer’s ability to deliver end-to-end

Linea

UK amplifier and DSP solutions

manufacturer Linea Research has appointed Audiosure as its exclusive distribution partner for South Africa. The alliance further expands the global reach of Linea Research, leveraging the distributor’s regional network to strengthen the brand’s presence in the local market. The Johannesburg-based company supplies a range of technologies across touring, installation and commercial applications. Through the agreement, Audiosure will provide customers with direct access to the manufacturer’s full range of amplifiers and processors, as well as offer support and aftersales service on the ground.

“We’re thrilled to bring Linea Research into the Audiosure family,” commented Greg Payne,

director at Audiosure. “Their commitment to cutting-edge innovation, reliability and sonic excellence aligns perfectly with our mission to provide world-class audio solutions to our partners and clients across Southern Africa.”

Linea Research sales and marketing manager, Martin Hildred, remarked: “Audiosure are an ideal partner for us in South Africa – a knowledgeable and highly professional team with strong market presence and a proven track record. We are confident this collaboration will further strengthen our brand and provide excellent local support for our customers.”

www.audiosure.co.za

www.linea-research.co.uk

services to customers via MediaCast’s capacity to provide training, pre-sales consultancy and post-sales support.

“Partnering with Densitron marks an exciting step in expanding our portfolio of leading broadcast and AV technologies,” said Peyman Dadpanah, business director, MediaCast.

audience. With these technologies, Avientek is well-positioned to provide secure and adaptable communications infrastructure to enterprises, service providers and government organisations.”

www.absen.com

www.avientek.com

www.ribboncommunications.com

Astera has appointed Procom Middle East as its exclusive distributor in the GCC. The partnership aims to expand the manufacturer’s footprint by leveraging Procom’s extensive AV and lighting distribution network.

“The team at Procom has the regional knowledge, technical expertise and passion for lighting that perfectly align with our brand values,” said Sebastian Bückle, chief sales officer, Astera. “Together, we aim to bring unparalleled service and support to professionals seeking high-quality wireless lighting systems in the region”

Charbel Zoghbi, commercial director at Procom, added: “Astera’s solutions, including their comprehensive range of practical accessories

“Densitron’s innovative hardware and IDS solutions are a natural fit for our customers, many of whom are seeking ways to improve efficiency and user experience in their operations. With our technical expertise and new Dubai experience centre, we can showcase these solutions in action and provide customers across the Middle East and Turkey with the confidence, knowledge and support they need to fully maximise Densitron’s technology.”

www.densitron.com www.mediacastsys.com

and rigging tools, complement our existing offerings and meet the growing demand for flexible, reliable and high-performance lighting systems in the GCC. We look forward to building a strong and successful partnership.”

To commemorate the alliance, an Astera Open Day at the Procom Experience Center provided a hands-on showcase of the brand’s latest solutions. In future, Astera’s full product line will be available for demonstration, where customers can see the technology and get insights directly from the distributor’s technology specialists.

www.astera-led.com

www.procom-me.com

L–R: Audiosure’s Greg Payne and John Greaves

L–R: Absen’s Charley Wang, Valiyaparambil Manu of Avientek and Alina Yuan from Absen

Martin Audio partners with Republik

Martin Audio has appointed Istanbulbased Republik Pro AVL as its new Turkish distributor. The partnership aims to maximise the full strength of the manufacturer in the region, leveraging Republik’s strong local network. The distributor was set up earlier this year with the aim of bringing brand-focused distribution back to the Turkish pro audio market.

Already aware of the British brand’s long history and global reputation, one of Republik’s founders, Kemal Yener points out that Martin Audio was well respected, but not always well represented: “Engineers knew the sound, but inconsistent distribution meant limited stock and support. We see a lot of room to rebuild that confidence and their wide product range fits our plans perfectly.”

The distributor’s engineering and technical teams have already undertaken factory training in High Wycombe and are working through the online

certifications for DISPLAY 3, VU-NET and iKON amps. Furthermore, Republik has committed to running focused training and building a social presence as well as rolling out a B2B e-commerce platform to simplify ordering and support.

“Bringing Martin Audio back to full strength in Turkey is both a challenge and a privilege,” said Yener. “We’re building a truly independent, service-driven distribution model and I can’t wait for audiences here to experience that unmistakable Martin Audio sound.”

Martin Audio EMEA account manager, Andy Duffield, concluded: “Republik Pro AVL offer a fresh perspective on pro audio distribution in the Turkish market. I very much look forward to working with Kal and the team.”

www.martin-audio.com www.republik.com.tr

SAW makes waves in South Africa

Stage Audio Works (SAW) has announced an exclusive agreement with Waves in South Africa, focused on the brand’s first fully integrated hardware product: the eMotion LV1 Classic live mixing console.

“We are committed to helping churches and other organisations embrace the latest technology; technology that makes a real impact on their operations and their community,” said Nathan Ihlenfeldt, group CTO of SAW. “Waves LV1 Classic combines world-class audio quality with a practical, approachable workflow, and we’re proud to offer this product to our market alongside our current offerings, ensuring the latest technology is always backed by the expertise and support SAW is known for.”

Noam Raz, general manager at Waves Live, commented: “Waves is excited to partner with Stage Audio Works in bringing the LV1 Classic and Waves Live ecosystem to South Africa. SAW’s deep experience in worship environments and their track record of innovation and top-notch customer support make them the ideal partner to ensure churches and venues can unlock the full potential of our technology.”

SAW will provide hands-on demonstrations, training programmes and nationwide support to customers to ensure that venue teams gain the knowledge required to fully leverage the product ecosystem.

www.stageaudioworks.com www.waves.com

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L–R: Martin Audio’s Andrew Duffield, Kemal Yener of Republik and Bradley Watson of Martin Audio

Moving through the motions

Dubai-based audio specialist Alice Macaluso chats to Bea Meikle about her passion for windsurfing and how it brings her a sense of calm alongside her busy work life

What does your role at Venuetech involve?

As brand manager at Venuetech, I work across both the technical and commercial aspects of several key audio brands we represent, including Meyer Sound and Sennheiser. As a distributor, Venuetech offers a full spectrum of services across the Middle East – from systems design to technical support and training – and I support these projects from multiple angles. Whether it’s working alongside our partners or collaborating with our in-house teams, my role is ultimately about helping bring special audio experiences to life.

How long have you been windsurfing and what first sparked your interest?

I’ve been windsurfing for about 10 years now. It all started quite unexpectedly. I was sitting on a beach in Sardinia, reading a book and occasionally watching the windsurfers out on the water. A man – who turned out to be a seasoned windsurfer – approached me and simply asked, “what are you waiting for?” He must have noticed me watching and sensed my curiosity. That one question was all it took. It gave me the nudge I needed to give it a go and I’ve never looked back.

Where have you windsurfed and is there a destination that stands out?

This hobby has taken me to some incredible places around the world – from beaches across Europe like Greece, Sardinia, Sicily and the Canary Islands, to the Middle East and Africa, including South Africa, the UAE and Oman. Each destination has its own personality. The water conditions, wind strength and local atmosphere all make each spot unique. One place that really stands out is Masirah Island in Oman. It’s very remote and life there moves at a slower, calmer pace. Even the simplest things are done with intention, without any rush. The tide really dictates everything – it decides when you can get in

the water and you just follow its rhythm. That connection to the natural environment – being attuned to its cues – is something I really value. It’s not just a windsurfing spot; it’s a place that brings perspective. There’s something incredibly grounding about that.

Do you prefer to set out on lakes or the sea?

Definitely the sea. The vastness and unpredictability mean I’m never fully in control, which keeps things interesting. The waves do their thing, the wind changes its mind and I just try to keep up without looking too lost.

I’m still learning how to handle larger waves – every break and beach has its own set of challenges. But that’s what makes it so engaging. While I still take plenty of falls, at least saltwater helps you float a bit more easily!

What are some of the most challenging aspects of the sport?

Facing a wave taller than you can be intimidating. In those moments, your only option is to commit fully, hit it with speed, knowing the landing might be rough – or you might not land at all. But that’s part of the process. Each time, you aim to fly a little higher and land a little softer. No matter how many times you fall, you get back up, better prepared for the next attempt.

What do you find most beneficial about being on the water?

Being on the water forces you to let go of total control. It’s a constant, silent conversation between you, the wind and the sea. You have to read the conditions in real time and constantly adjust your approach. Things change quickly out there – a gust can suddenly jump by 8 knots – so it sharpens your awareness and keeps you fully present. And despite all the unpredictability, there’s a calm to it; even in the chaos, there’s a rhythm.

How does it help you unwind from work and daily life?

When I’m out on the water, everything else fades away. It’s one of the few times I feel completely present, its just me, the wind and the sea. It’s a form of active serenity. My head clears without me even trying and I come off the water feeling lighter, more grounded and usually with a few new scratches, of course!

Why is it important to have an outlet like this?

Having a passion outside of work – whether it’s windsurfing or something else – gives you a much-needed reset. For me, it helps me step outside my usual bubble, which I really value. Each session brings a different challenge: sometimes it’s just staying upright, other times it’s trying not to swallow half the sea! Whatever the goal, it keeps me focused and in the moment and helps put everything else into perspective.

Alice Macaluso

Macaluso on the waters of the Persian Gulf in Dubai

Alice Macaluso

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Investing in the future of projection

Epson considers projection to be a technology of the future and wants to make sure everyone understand why, writes Simon Luckhurst

A space capable of hosting such demonstrations is of course essential to this, but so are key members that can effectively nurture that message. For Epson, its people have as big a part to play as the technology itself.

“Many of my colleagues have 10–15 years of AV industry experience,” Harrison furthers. “Some come from other display technologies, some from network solutions, but all bring valuable expertise. That local knowledge, combined with our global engineering resource, ensures customers receive the support they need, whenever they need it. I won’t say we can offer 24/7 support, but our customers know we’re here when they need us, because not everyone works 9–5.”

Partnerships also remain central to Epson’s regional strategy. “We don’t sell our projectors directly, we rely on world-class distribution partners,” Harrison explains. “We’ve just appointed a new distributor in Johannesburg [DWR], and we’ll be supporting them at their upcoming product launch. Whether it’s distributors, systems integrators or end users, our goal is always the same: to fully support the customers using our

market, the new space serves as both a proving ground for ideas and an acknowledgement of the manufacturer’s long-term commitment to the professional display market. Its opening comes at a time when some people have been questioning the future of projection and whether the all-mighty LED might one day replace projectors entirely. Epson is staking its future on that not being the case. And it’s backed up by solid reasons.

“We’ve created a space that allows customers to really understand the benefits of projection in the right environment,” explains Lee Harrison, head of projector sales for Epson’s highbrightness range. “Too often demonstrations happen in the back of a warehouse, with dust and noise making it impossible to show what projectors can truly achieve. Here, visitors can see our products in all their glory, test ideas and take part in hands-on training.”

This investment is unique in the region, Harrison believes. “As far as I’m aware, no other display manufacturer has made this level of commitment into the Middle East. Epson sees this market as vitally important, not just the UAE but right across the GCC, Turkey, Africa and the CIS. We have offices as far south as Cape Town and as far north as Istanbul, and this centre is one of only a handful worldwide that gives our customers a dedicated environment to engage with projection.”

Since opening, the Innovation Center has quickly established itself as a busy educational and demo hub. Epson runs two training sessions a week, typically hosting 10–12 participants in each, covering both the professional installation and rental

not just designing hardware. That input constantly shapes our firmware, software tools and even product features.”

Harrison points out that this flow of information from customers to engineers is one key area he feels differentiates Epson. “When I look at our products, I can see where features have come directly from customer input –whether it’s adjustments to firmware or entirely new tools that make setup and alignment easier. That cycle of listening, refining and delivering makes a huge difference, because projection is not static. It keeps evolving, and we want our customers to evolve with it.”

The centre’s role as a customer touchpoint, therefore, goes well beyond training, and this feedback from visitors alone has reinforced the value of a tangible local presence. “Customers have been genuinely excited to see Epson’s investment as a physical entity,” says Harrison. “Time and again, people come in, smile and say how amazing the space is. It sends a clear signal that we are serious about projection in this market.”

The response has also helped counter a narrative that projection is being eclipsed by other technologies. “One thing we hear all the time is that projection is dead,” Harrison admits. “But that couldn’t be further from the truth. Projection remains one of the most flexible and powerful display methods available, and this space helps us show people what is possible – whether that’s massive immersive environments or delicate, precise installations.”

feat Harrison argues would have been impossible with other types of display technology. Immersive environments are a particular growth area, with Epson’s projectors powering some of the world’s largest installations both regionally and internationally.

“Projection gives you the ability to put an image anywhere, on any surface,” Harrison says. “That flexibility is unmatched, and it’s why we continue to see demand for immersive experiences.”

Looking to the future, Epson remains committed to continuous innovation rather than rapid product churn. Nevertheless, there are interesting developments on the way, Harrison teases. “Next year at ISE, we’ll be launching some exciting new products that demonstrate where we’re heading as a manufacturer. I can’t say too much yet, but it reflects our ongoing investment not just into buildings and spaces like this, not just into our staff but also into the future of projection technology.”

www.epson.ae/projectors

L–R: Zane Cretten, Lee Harrison, Matt Horwood and Husam Alzughayyar

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From basement to beacon

Once home to laser tag and line dancing, a forgotten basement in Secunda has been reborn as a fully fledged performance venue

FEW PEOPLE WOULD LOOK AT A LONG-DISUSED basement in the coalfields of South Africa’s Mpumalanga and immediately envisage the potential for a viable future cultural venue, let alone a fully equipped performing arts theatre. But in Secunda, a town better known for petrochemicals than any kind of performance programme, that’s exactly what has taken shape.

Spearheaded by Lake Umuzi Waterfront developer Johan Rosslee and arts organiser Alma Swart, and brought to life with assistance from DWR Distribution and South African technical consultant Pieter-Jan Kapp, better known as Kappie, the Umuzi Teater has re-emerged from a concrete shell to become a fully kitted out auditorium ready for musicals, community shows and corporate events.

“This was far from a logical place to build a theatre,” reflects Kappie. “It’s a blue-collar town with little existing infrastructure for the arts. When I saw the basement – which was plagued by low ceilings, had no raked seating and just one flickering fluorescent light – I was very honest about the challenges ahead. But Johan was clear – this was something he really wanted for the community. Once you meet him, you quickly understand that when Johan sets his mind to something, it soon gets done.” Kappie’s involvement followed a referral from artists who had worked with Swart, with whom he had previously collaborated at the KKNK Festival in Oudtshoorn. Having relocated to Secunda, Swart was determined to bring a proper performing arts space to the town, particularly after the inaugural Umuzi Arts Festival was forced to use makeshift venues in 2024, as that was all that was available. With Rosslee providing both the funding and construction expertise, and DWR handling the technology integration, the plan was set in motion – albeit not without hesitation.

Once the go-ahead was given, transformation of the interior space quickly progressed. “Johan is a builder by trade, so he and his team could make changes on the fly,” explains Kappie. “He basically reconfigured the entire shell to match the technical guidelines we provided. I’ve never worked with a developer who could respond that fast.”

From the outset, DWR Distribution served as the complete technical supplier. “We were approached by Kappie to support him on this project,” explains DWR’s Kevin Stannett. “From the very first site visit, we offered assistance and advice where needed. Kappie provided a basic inventory list, and then myself and Richard Smith from our audio team selected products based on years of theatre experience, budget, performance and user friendliness. We then coordinated, installed and commissioned the entire project.”

The finished venue now offers tiered auditorium seating for approximately 380, geared around an 8.5m x 7m stage and a modest but highly functional technical infrastructure. Bound by the constraints of the building, headroom still remains limited – a major constraint that shaped the venue’s lighting design. “There’s no way to get a proper 45° angle on the front lights,” Kappie explains. “So instead of fewer powerful fixtures, we had to go with a greater number of units offering flatter coverage and wider beams.”

The primary lighting system includes eight ADJ Encore Profile 1000 Colour fixtures, 20 Longman F4 UP RGBW PARs (45°), six ADJ Focus Spot 7Z LED moving heads and six Phoenix COB 60° LED cyc bars. These are distributed across custom side lighting bars and FOH positions, supported by a DWR-manufactured motorised 8.5m main curtain track and mounting infrastructure.

Control of the lighting fixture comes via a grandMA3 onPC Command Wing XT, supplemented by an MDR DMX splitter and extensive DMX and powerCON cabling. All fixtures are mounted using slimline 300kg-rated half couplers with safety slings and distributed over dedicated 8- and 10-way lighting bars. A Le Maitre MVS Hazer and haze fluid stock round out the atmospheric tools. The audio system, likewise, attempts to balance discreet visual impact with strong coverage of the wide audience area while mitigating the low ceiling height. “The biggest challenge we had to deal with was the very low roof height and the room acoustics,” confirms Stannett. “But our close working relationship with Kappie meant we could meet in the middle between performance and price. Budget was a key factor, but we were still able to deliver a system that’s fitfor-purpose and easy for the local team to manage.”

At its heart are two flown RCF NXW 44-A full-range loudspeakers, paired with two SUB 18-AX subwoofers and complemented by NX 910-A boxes used for monitoring or fills. Front fill is available as needed but not permanently installed. An Allen & Heath SQ-5 digital mixer forms the control centre, linked to two of the manufacturer’s AB1608

Pieter-Jan Kapp, aka Kappie

stageboxes, providing 16 inputs and eight outputs each. Six RCF ART 912-A wedges offer foldback onstage.

“The RCF system proposed by DWR looked deceptively simple,” admits Kappie. “It was just two mains, no obvious array, but the boxes are packed with clever tech, and the result was great.”

Microphone support includes four Sennheiser e835 handhelds, a full Sennheiser Evolution Wireless Digital system with handheld and beltpack transmitters, MMD 935 capsules and four headset mics. Additional wired dynamic and condenser microphones include Audix D-series drum kit models, Sennheiser e904 instrument mics and Audix ADX51 condensers. Signal routing is handled by 10 Klotz passive DI boxes, and all cabling is high-grade XLR and Neutrik

“There’s no permanent technical team yet,” adds Kappie. “It’s being supported remotely by a few guys from nearby Springs, and Alma’s managing operations for now. But they’ve

Clever deployment of equipment means that lots can be achieved at Umuzi despite its simple infrastructure

The intimate venue is a passion project aiming to bring more arts back to Secunda

What everyone had to work with

Signature sound on the strait

Aesthetics and performance fuse to create a seamless, multi-zone AV experience along the banks of the Bosphorus

SET

ALONG THE BOSPHORUS WATERFRONT IN ISTANBUL’S historic Karaköy district, the Peninsula’s first Turkish property occupies a peerless location with sweeping views across the Golden Horn and beyond. Anchoring the Galataport development, the hotel marks the Peninsula brand’s 12th opening and brings with it the group’s signature blend of heritage design, cuttingedge technology and meticulous service. From the glamour of the rooftop Gallada restaurant to the serenity of the waterfront herb garden, AV has played a defining role in shaping the guest experience.

Appointed as AV consultant, Turkish solutions provider Asimetrik delivered a turnkey technology package that spans audio reinforcement, control and visual solutions. As one of the country’s largest AV integrators, Asimetrik was a natural choice for the project. Its long-standing relationship with the Turkish Investor Group gave it a deep understanding of the hotel’s ambitions, as well as the trust to deliver a world-class solution without compromise.

“The group has a very detailed specification standardisation, and we worked with them to introduce new technologies, adapt existing blueprints to the conditions in Istanbul and work in harmony with the impressive interior architecture,” explains Asimetrik marketing manager Kübra Nur Kaymak. “We achieved the perfect balance between discreet installation and sound quality, with absolutely no compromises.”

Although The Peninsula Istanbul broke ground in 2019, Asimetrik’s early challenge was convincing stakeholders to adopt Q-SYS as the venue’s BGM and evacuation backbone, despite its lack of EN 54 certification.

“We presented a redundant Q-SYS architecture directly to the fire controller, demonstrating how it could meet the project’s safety and performance requirements,” explains AV systems engineer Efe Arar.

“Although 80% of the property relies on a separate EN 54-compliant EVAC system, in key public zones we integrated high-quality Bose ceiling speakers with GPIO-triggered ducking to receive signals from the fire alarm system.”

With the four buildings spread across the site, Asimetrik implemented a decentralised architecture based on multiple Q-SYS Core processors – including 510i and 110f models – each selected according to the processing needs of its respective zone. Networked audio and flexible routing played a central role in enabling seamless integration across the hotel’s diverse functions.

A hallmark of the Peninsula brand’s ethos is its refusal to compromise on comfort or design. The Istanbul property comprises four architecturally distinct buildings – three of them heritage structures – interlinked by a unified interior design language. Each of the 177 rooms and suites features bespoke furnishings and Turkish accents, alongside in-room technology and digital concierge

access. From the vaulted ceilings of the former passport office to the Ottoman-inspired mother-of-pearl motifs in guest rooms, every detail sparks a conversation between past and present.

That same philosophy extended to the AV integration, with L-Acoustics loudspeakers delivering premium reinforcement across key guest-facing areas. “We were tasked with designing an audio system that could elevate the ambience while remaining practically invisible,” continues Arar. “In high-end hospitality, integration is not only about sound quality. Sometimes even more important can be its discretion and design harmony.”

In the hotel’s grand lobby, Asimetrik installed 14 L-Acoustics 5XT point source loudspeakers along the balcony forehead, supported by six SB15m subwoofers and four X4i loudspeakers on the terrace, with LA12X and LA2Xi controllers providing amplification. Ascending from the lobby to the fourth floor, guests arrive at Gallada, which is headed by celebrity chef Faith Tutak. This intimate

The Gallada rooftop terrace

indoor space features four wall-mounted X4i speakers, while the terrace installation comprises 48 additional X4i units with four SB15m subwoofers, tuned to deliver warmth across open-air dining zones.

Next door, a vibrant cocktail bar is energised by 12 5XT loudspeakers and three SB15m subwoofers. On the fifth floor, the VIP terrace offers a heightened level of sonic luxury with eight 5XTs and two SB15m units covering the secluded outdoor space. In the fourth building, the hotel’s main ballroom serves as a venue for weddings, conferences and gala events. The brief called for powerful, full-range sound with minimal visual impact. Asimetrik concealed 10 Syva column speakers and 20 Syva Low subwoofers within ceiling cavities and mirrored closet spaces, with amplification from nine LA4X controllers across two control rooms. Managing the acoustics around the ballroom’s large mirrors posed

one of the more memorable challenges. “The low frequencies were so effective that they initially caused the mirrors to vibrate,” recalls Arar. “We retuned the system to dampen resonance while maintaining rich and natural audio reinforcement.”

Even the herb garden, located on a top-floor terrace, features six of its own X4i speakers to create a tranquil soundscape amid the flora.

Across the wider property, Asimetrik deployed extensive QSC and Bose Professional equipment to support day-to-day operations.

The Q-SYS backbone includes Core processors, SPA and CX-Q series amplifiers and a range of I/O peripherals and network interfaces. Bose DesignMax, FreeSpace and RoomMatch loudspeakers ensure consistent coverage in corridors, back-ofhouse areas and outdoor zones, including the waterfront gardens. A standout exterior element is the use of 158 FreeSpace 360-P II in-ground loudspeakers across the outdoor perimeter. These audio systems are complemented by new visual solutions from Extron and Barco in the training rooms, meeting rooms and ballroom. “Hotel management was very specific on the performance criteria of the visual systems,” notes Asimetrik VP of sales and marketing Görkem Çelikbilek. “The information screens, visual integration and system management were solved with Extron and connect to Q-SYS seamlessly. The projector spec implied a wide range of applications, from cinema to corporate. The best solution was Barco – their projectors adapted easily to the required colour gamut and cinematic performance.”

System control is handled via Crestron touchpanels distributed across both service and FOH areas with wireless access via iPads running the Crestron app. Interfaces have been customised to streamline usability, giving each department a tailored experience while the AV team retains full access. Preset modes allow seamless transitions between ambient settings and performance scenarios. In the lobby, audio and lighting levels are adjusted automatically throughout the day, with fades timed to maintain ambience and continuity.

Since opening, The Peninsula Istanbul has hosted numerous high-profile gatherings, including the TOGEM-DER “Cemre Bazaar” attended by First Lady Emine Erdoğan, as well as private events for international organisations and football teams. Throughout these occasions, the Asimetrik system has affirmed its ability to combine fidelity, flexible control and intuitive operation.

“This project required us to push beyond the conventional AV brief,” concludes Arar. “It was about crafting mood, supporting design integrity and delivering technology that works invisibly in service of hospitality.”

With the hotel now operating as a flagship for Peninsula’s future ambitions in the region – and accolades from design and travel publications alike – Asimetrik’s contribution has helped ensure that The Peninsula Istanbul not only looks and feels extraordinary but sounds it too.

www.asimetrik.com.tr

The spacious lobby

Four for the price of one

Alpha Acoustics has designed a speaker setup that caters to the needs of all the denominations that meet at the Sharjah Worship Centre

FAITH CAN BE EXPERIENCED IN DIFFERENT WAYS –from high-energy services to more sedate worship focusing on the spoken word. So, what happens when a church building is shared by various denominations who are all looking for something different from the venue’s sound system? Alpha Acoustics has designed a multipurpose speaker setup for the Sharjah Worship Centre that covers the entire spectrum, from speech to a full band and high SPLs.

“The UAE government has benevolently provided an area in each emirate to the Christian community so they can have their own places of worship,” explains Joe Mathew, MEAI product specialist for Czech Republic speaker and amplifier manufacturer Alpha Acoustics. Sharjah has a vast collection of churches, ranging from Russian Orthodox to Anglican. The Sharjah Worship Centre is shared between five churches that use the venue on a weekly basis, with an additional four churches that use the space for special events. The Church of South India (CSI), the Indian Pentecostal Church (IPC), the Assemblies of God, Church United and a new-generation church called the Apostolic Church hold regular weekly services. Mathew describes the Pentecostal Church as high SPL, with lively, high-energy services, while the CSI has an 80-member choir and the Apostolic Church has contemporary music and a full band.

The centre was built collectively so that each church could use the space at different times and share the venue at the weekend with services running from early in the morning until late at night. “I got talking with Bishop Shan [Mathew, senior pastor at Church United] and he was telling me about the speaker system in the building that was over 20 years old with huge wooden boxes that were hung horizontally, so we started a conversation with the Sharjah Worship Centre Council as they were looking for someone to design a new system that would suit the needs of everyone who worships in the centre. They were concerned that if they installed a sound system designed specifically for the highenergy Pentecostal services, then the CSI wouldn’t be able to use it, for example. We needed to design a PA system that was multipurpose. We initially considered either a powered or passive system, but we knew that the system was likely to get pushed to its limits.”

to fill the front area with high SPLs, so we moved the line array further back and positioned two KITE 10 speakers for front fill on top of the stage.” The front-fill speakers cover the first two rows with the main line array covering the rest of the space, with an

additional delay stack positioned around 25m back from the edge

And it’s not just the energy levels of each service that vary – the CSI church choir sits on the right side of the sanctuary among the congregation rather than on the stage. “The choir mics and condensers were all in the line of fire, but with the new right-side front fills, the CSI choir can listen to themselves without any

Meanwhile, the Pentecostal Church band uses the coaxial monitors on the stage as well as in-ear monitors. “We’ve provided the main pastors and the singers that don’t use in-ears with two KOMPACT 12A coaxial speakers. The delay is so perfect that

The main line array consists of three Alpha Acoustics KROSS 7 speakers each side

space was acoustically challenging but we’ve also managed to reduce the slapback that was coming back onto the stage.”

The venue is not only used for weekly services but also for conferences and special events. For tuning, the team selected an Alpha Acoustics KONTROL FIR48 4-in/8-out matrix along with five DAMP 4.1500HD and two DAMP 2.2800HD amplifiers with built-in DSP, with each of the tops receiving their own signal. “On the FIR48, there is a facility where the engineer can mute anything that they don’t want to use, so if a choir has more condenser mics, they want to hear themselves a little louder or use floor monitors, then the main sound engineer, Mr Kumar, mutes the front field right, for example. The venue also has a curtain that can be pulled across the room just in front of the delay fills, so Mr Kumar can mute delay 1 and delay 2 left and right and just run with the front fills and the line arrays. Or for other services he can just leave

via his laptop so everything is connected and networked.”

After several site visits, structural tests and various planning meetings, the installation went ahead without a glitch. “Our friends at ESJAY, which is a technical services company, helped us get the line arrays up and in place in 12 hours and that was a first for us at Alpha Acoustics,” smiles Mathew. “We’d sat and choreographed the whole installation in terms of timing, with everything installed and commissioned in less than a week. We also want to thank our Middle East distributor Signaux Technologies who made sure everything was in stock and arrived on time. It was a great team effort – we’re a newer brand in the market and to have the Sharjah Worship Centre Council place their trust in us was something very special.”

With the Alpha Acoustics team staying onsite during the first full weekend of services using the new setup, testimonials from all the churches and pastors are nothing but exemplary. “We were looking for the best option after many years of using the old system and I’m glad Alpha Acoustics was able to deliver what they had promised – a system that can handle anything we needed,” says IPC pastor Rev Dr Wilson Jospeh. “It was our biggest desire to hear our choir and the spoken word, loud and clear. Our services sound full with this new system,” adds CSI vicar Rev Sunil Raj. But the last word goes to Bishop Shan: “When we invited Alpha Acoustics to design our upgrade, something told me we have the right guys on the job. They not only designed a great system but installed it in record time and supported our various congregations with their personal requirements. The KITE 10 and KROSS 7 speaker boxes delivered far more than what their data sheets proclaimed. I personally love the tonal quality of the system, its ability to deliver high SPL output and uniform audio

www.alphacoustics.com www.esjaygroup.com

Clarity meets Versatility

L–R: Alpha Acoustics’ Stephen Mathew, Thulasi Das and Joe Mathew

Sunset sound

Escobar taps Maktabi Tech to elevate audio quality at its Palm Jumeirah and One Central locations

DUBAI’S HOSPITALITY SCENE HAS BECOME SO saturated that embarking on a successful venture these days demands more than an attractive venue. Ambience is now key, and audio plays a critical role in shaping the guest experience. For Escobar, a Latin-inspired bar and lounge with outposts on Palm Jumeirah and at One Central, that meant rethinking its sound system from the ground up. Tasked with delivering a solution that matched both performance expectations and aesthetic requirements, Maktabi Tech designed and installed new L-Acoustics sound reinforcement solutions at both venues – marking the Saudi integrator’s first major hospitality projects since branching into the UAE. “The Palm Jumeirah venue was already open and operational, but they’d outgrown the original system,” explains Dominic Chambers, who heads the integrator’s newly formed Dubai division. “It was originally designed for light background music, but as the venue got busier, the owners needed something that could handle more dynamic content. They came to us looking for a complete change and were happy to trust us based on our proven success in the Kingdom.”

Working within the constraints of the existing infrastructure, Maktabi Tech repurposed the existing cabling, deploying eight L-Acoustics X8 point-source loudspeakers as front L-R and surround fills, supported by four SB15 subwoofers. LA4X amplifiers handle the power, while control is managed via a Q-SYS Core 8 Flex integrated with the venue’s fire alarm system, with processing handled at the amplifier level. Despite the modest scale, the results were immediate. “They’ve now got what’s probably the best-sounding system on that stretch of beach for a venue of that size,” says Chambers. “The sound is clear, powerful and immersive without being overpowering – exactly what you want in a barlounge that bridges dinner and nightlife.”

Encouraged by the results, Escobar’s management brought the integrator on board for its second venue at One Central,

located near Dubai World Trade Centre. This time, the team was involved from shell and core, with complete control over AV design. Again, L-Acoustics was selected, but with the X8i install version of the loudspeaker.

“We opted for the X8i this time, which is the install version of the touring X8. The X8 wasn’t available with the short lead time for the Palm deployment,” notes Chambers. “One Central is a much narrower venue, with a bar that stretches round the corner

L-Acoustics X8s provide the main reinforcement at both locations

The spaces required an uncomplicated but superior quality solution

and seating along the external perimeter. There were concerns over audio leakage, so we agreed to position the X8is along the perimeter pointing inwards. It wasn’t optimal, but it was the best compromise given venue requests and a difficult ceiling space.”

The setup again included SB15 subs, LA4X amplifiers and Q-SYS Core 8 Flex. Bose mushroom-style speakers were also deployed for the terrace, where architectural constraints made other options unfeasible. “As a new build, we were fortunate to have full control over the infrastructure at One Central,” adds Chambers. “That allowed a more tailored approach, while maintaining brand consistency between the two venues.”

The decision to standardise on L-Acoustics was a collaborative one. Listening sessions were arranged at distributor NMK Electronics’ Dubai facility. “When clients hear the difference for themselves, it removes the guesswork,” says Chambers.

you compare like-for-like, especially with newer compact models, the gap isn’t as wide as people think. And the quality often means you need fewer speakers, which balances out the cost.”

Q-SYS was again used for control and integration, including emergency muting tied into the fire alarm. “It’s a clean, modern install,” Chambers continues. “But we were careful not to overcomplicate things. Simplicity is crucial in hospitality – staff need to operate the system quickly and intuitively. The venue is controlled with an iPad on the local network using a custom UCI we built. It lets the team move through the venue adjusting volume as needed. Sometimes, you only know how loud something should be when you’re in front of the speaker.”

While the two venues differ in layout, both share a common design philosophy: delivering a polished, premium AV experience

that supports the brand’s identity and future growth. For Maktabi Tech, these projects mark a significant milestone. “They’re not huge installs, but they’re exactly the kind of reference projects that demonstrate our capability,” says Chambers. “High-quality, detaildriven, client-focused work that speaks for itself.”

The Escobar venues also play a strategic role in positioning the company as a contender in the UAE’s next wave of AV upgrades. While many regional integrators have turned their focus to Saudi Arabia in recent years, Chambers believes that shift has created a gap in the UAE market. “A lot of the major entertainment venues here were built 10–15 years ago and haven’t had significant AV upgrades since,” he notes. “Those systems are now at the end of their life. At the same time, there’s a renewed appetite among operators to refresh their offering and differentiate with technology. That’s the opportunity we’re going after.”

Maktabi Tech’s approach is not limited to AV. The Dubai office is part of a wider plan to offer full-service solutions encompassing design, integration, content creation and long-term maintenance. “Rather than just coming in to hang some speakers and then leaving,” says Chambers, “we’re focused on relationships, training and rapid support. If something goes wrong, we’ll have a technician onsite within the hour. That level of service is still rare in the market.”

The company’s work in Saudi has also shaped its UAE strategy. “In Saudi, we’ve delivered everything from government boardrooms to visitor management platforms integrated with catering and access control,” says Chambers. “That integrated thinking – where AV, ICT and building operations overlap – is now what more UAE clients are beginning to ask for.”

While the integrator is keeping future project details under wraps, Chambers hints at several large-scale developments in the pipeline, including entertainment, hospitality and events. “Escobar is only the beginning,” he says. “We’ve got some exciting things coming up that we think will really make a statement about who we are and what we can deliver.”

www.maktabitech.com

The terrace at Escobar Palm Jumierah

A monitoring upgrade at Dubai’s Al Fannan Studio has brought a new level of precision to Jamal Al Baloushi’s productions

DUBAI’S AL FANNAN STUDIO HAS STEADILY GROWN over the past 17 years from grassroot into a professional facility serving music and postproduction work across the region.

Founded in 2008 by guitarist-turned-producer Jamal Al Baloushi, the space has evolved from modest beginnings into a multiroom space with professional infrastructure, analogue outboard and, most recently, a cutting-edge Genelec monitoring system delivered by GSL Professional.

Like many in our industry, Al Baloushi’s journey into studio ownership was fuelled by passion rather than business ambition. “I started as a guitarist, but I had a very strong passion for recording and production,” he explains. After taking courses in music production, mixing and mastering, he sought out guidance from more experienced engineers, including influential local figures such as Andy Ward, a former SAE Institute lecturer and founder of DXB Academy, and producer Braa Al Qassab, who assisted with the studio’s original technical setup. Another colleague, Gustave Miranda, provided crucial help in configuring soundcards and

followed in 2013. The layout today comprises a main control room, a high-SPL live room, a small vocal booth and a third space offering greater ambience, well-suited to recording strings and other acoustic instruments. “I wanted a space where I could handle any type of project,” Al Baloushi says. “From intimate vocals to big live arrangements, the rooms give me that flexibility.”

Technically, the studio has grown into a well-specified hybrid environment. Alongside a Mac Studio running Pro Tools and Cubase, audio equipment includes a Tascam MU-1000, two Universal Audio Apollo UAD-2 Quad interfaces, dbx iEQ-3, Tascam US-16x08 8-channel USB audio interface and a variety of analogue outboard processors.

“I like to use analogue preamps and gear to capture warmth at the source, then bring it into the DAW for mixing,” Al Baloushi explains. “That way, the sound already has quality before you start adding plugins. For me, that’s the best of both worlds.”

For years, monitoring at Al Fannan was handled by large 3-way JBL speakers; however, Al Baloushi increasingly found them inadequate for evolving needs. “They were not truly flat,” he recalls. “Any monitor that adds its own flavour is cheating the

engineer. You need to hear the pure sound so you can be sure that your mixes translate well everywhere. With the old system, what I heard here didn’t match what I was hearing on other sources, like the car or on a hi-fi. It was frustrating.”

His long-term solution was Genelec. “I had been looking at Genelec for more than seven years,” he says. “I’d heard them in many other studios, at training sessions and demonstrations run by GSL. Monitors are the number one investment in any studio, so I took my time before making such an important decision. Once I decided on the 8361As, I knew I’d made the right choice.”

The difference, he says, was immediate. “It’s a huge change –I’d say 300% better. Now I can hear every detail, and when I finish a track and play it back elsewhere, it sounds the same everywhere. That confidence is priceless.”

The Genelec 8361A, part of the manufacturer’s The Ones series, was also the exact model Al Baloushi had previously trained on, making the transition a familiar one. “I already knew how they sounded from other studios. Bringing them into my own space was like completing a circle,” he says.

In addition to supplying the monitors, GSL Professional also provided extensive support. “GSL have been very supportive, from in-house training to tuning the system onsite,” notes Al Baloushi. “Even 12 years ago, when I first visited their showroom, they guided me with honest advice. Their support is the same for every customer – always professional, always helpful.”

Today, Al Fannan Studio focuses on music production projects rather than hourly rentals. Musicians and vocalists are brought in on a project basis, while Al Baloushi spends much of his own time composing in Cubase, then moving to Pro Tools for recording, editing and mastering. “When you have passion, you forget the time,” he smiles. “I can spend the whole day in here experimenting or learning something new, and never get fatigued. That’s what keeps the studio alive.”

For Al Baloushi, the addition of Genelec monitoring marks the fulfilment of a long-standing ambition. “Now I can finally trust what I hear,” he concludes. “I’d recommend Genelec – and GSL – to any studio that wants accuracy and consistency.”

www.genelec.com

www.gslprofessional.com

L–R: GSL Professional’s Abboud Aljuneidi and Al Fannan Studio owner Jamal Al Baloushi

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

The ace in the pack

Mood Media GCC has delivered a fully integrated AV and signage ecosystem, adding a touch of sparkle to Riyadh’s Solitaire Mall

ADDING EVEN MORE LUXURY TO DOWNTOWN RIYADH, Solitaire Mall has recently emerged as the newest landmark on the capital city’s retail and lifestyle map, combining open-air design with high-end finishes and immersive digital experiences. Envisioned as a next-generation mall concept, the development demanded an AV infrastructure that would not only elevate its visual identity but could also deliver seamless communication, ambience and branding across every public zone. For a project of this scale and ambition, a key requirement was that the solution had to be conceived not as bolt-on technology, but rather as an architectural and experiential foundation.

Located near King Abdulaziz Road, with views of the King Abdullah Financial District, Solitaire Mall spans more than 60,000m2 in total area. Working alongside key manufacturer partners, the full AV scope was designed and integrated by Mood Media GCC, which worked closely with the mall’s consultants and interior design team to develop a digital ecosystem that balanced high-impact performance with architectural discretion.

“The client wanted more than just displays and sound systems,” explains Mood Media GCC general manager Terry Boden. “They were seeking to implement a digital layer that would define the visitor experience from the moment shoppers approach the site.” At the heart of the project are two colossal displays referred to as “giga screens” that are mounted to the façades at Solitaire Mall’s Bay 5 and Bay 16. Measuring approximately 32m x 22.5m and 32m x 27m respectively, the displays cover a combined area

of 800m2 and are constructed using custom triangular corner-cut modules to align with the gem-inspired mall architecture. Both are made from P8 LED IP66-rated panels capable of delivering 10,000 nits of brightness at resolutions exceeding 3,800x2,800 pixels.

“The two giga screens were not sourced as a single, branded product, but rather are fully custom-engineered P8 outdoor LED systems,” explains Boden. “We selected and specified each component – the LED modules, driver ICs, power and control systems – to create a unique triangular, corner-cut cabinet structure that met the extreme environmental and brightness requirements.”

Key elements include high-brightness SMD3535 LED chips, MBI5124 driver ICs and industrial-grade power supplies, all integrated into Mood’s custom P8 outdoor platform. “These screens were designed not only for digital signage purposes but as permanent architectural identifiers. They are fully integrated with the cladding, built to last and highly visible from key approach roads.”

The engineering effort behind these façades was considerable, Boden notes. Integration required millimetre-level precision, with steel substructures verified in stages to ensure alignment within an 8mm tolerance across the full screen dimensions. Any deviation risked breaking the visual continuity and damaging the LED modules themselves. “That was one of the most intense parts of the process,” Boden recalls. “It was essential that the LED modules sat flush with the cladding and there was no room for error. At this scale, even a slight misalignment becomes highly visible.”

The angular giga screens were assembled from custom triangular corner-cut LED modules and withstand extreme environmental conditions

The LED system continues across four pedestrian bridges spanning the mall’s internal boulevard. Because these bridges are exposed to the open-air environment, each was constructed using Absen AW Series P2.5 outdoor-rated LED panels mounted on custom aluminium sub-frames to integrate cleanly with the bridge architecture. They create what Boden describes as a digital visual corridor, connecting various zones with curated content and seasonal storytelling. All four bridges are managed through a single OmmaSign cloud-based content management system, allowing Mood’s CMS team to schedule, synchronise or independently operate each screen from a central dashboard. The bridge LEDs shift from tenant advertising to festive animations or promotional takeovers, depending on the time of year.

A further visual highlight is found at the North Plaza, where a P2.5 custom 90° corner LED installation is made from Absen AW Series P2.5 outdoor panels. For this, the panels were precisioncut at 45° angles on each side to create a seamless L-shaped screen. Absen’s weather-rated AW Series provides the fine pixel pitch and high brightness required for daylight viewing, says the general manager, while the custom geometry enables striking 3D anamorphic content in one of the mall’s busiest congregation zones. The plaza sits adjacent to the development’s wind tower, with the display acting as both a digital sculpture and a social media magnet. “It’s a statement piece,” says Boden. “We’ve seen it generate huge engagement because the 3D content makes people stop, record and share. It becomes part of the experience rather than just a screen on a wall.”

Internally, the signage network continues across 19 lobby screens and eight interactive e-directories. For these, the team used LG 75-inch commercial signage displays with custom enclosures for the lobby screens – all of which are running onchip CMS powered by OmmaSign. Eight further bespoke digital

One of four pedestrian bridge LEDs forms part of a visual corridor spanning the internal boulevard

wayfinding kiosks are strategically placed throughout the mall, with each fabricated from painted aluminium cladding around a reinforced internal steel frame with integrated air-conditioning and front-access service doors. The kiosks house custom 49-inch outdoor-rated PCAP touch displays paired with an AOPEN Core i7 media player to deliver high-resolution interactive content.

The directories provide navigation and event information, while the lobby displays host a rotating mix of brand messaging, mall promotions and ambient content. All visual systems are again tied into a hybrid OmmaSign CMS that combines local media servers for robust playback with cloud-based scheduling, control and analytics. This structure allows mall operators to execute

environments. Heavily called on models encompass QSC’s AD C4T WH and AC C2T 2-way ceiling speakers and AD S162T WH full-range 70V/100V column surface speakers. In outdoor areas such as the North Plaza, speaker positioning and DSP calibration had to account for open-air reverb, reflective surfaces and fluctuating noise levels from footfall and seasonal events. Power availability also shaped parts of the AV strategy. In some locations, infrastructure limitations required redesigned system layouts that could operate efficiently within restricted electrical parameters. Mood therefore worked closely with the project’s MEP consultants to ensure that all systems could be supported sustainably, with redundancy built in for key operational zones. Environmental durability was a further constraint when it came

DESIGNED & ENGINEERE D IN THE UK SINCE 1968 DESIGNED & ENGINEERE D IN THE UK SINCE 1968

Eight bespoke e-directory kiosks offer interactive navigation via outdoor touch displays

A letter from America

Like an urban InfoComm, Nashville’s noise is music to the ears of sound system manufacturers. Dan Daley listens up

NASHVILLE’S FAMED MUSIC ROW IS MOSTLY GONE.

The pair of avenues that once housed recording studios and record label offices now looks more like Shanghai, lined with glass and steel office and condo towers. The labels have moved downtown, where even taller, glassier skyscrapers populate the city’s rapidly changing skyline, and the recording studios… well, that’s another column for another time.

But there is still one place where music dominates. The city’s main entertainment district, a five-block stretch on Broadway ending at the Cumberland River, has transformed from a seedy array of bars and tourist traps 20 years ago into a country music Disneyland. There are still plenty of bars and tourist shops, but they’re dazzling, noisy, pricey shrines to the growing number of country music stars whose names are plastered on their marquees. Jason Aldean, Luke Bryan, Blake Shelton, Garth Brooks and Eric Church, as well as rocker Jon Bon Jovi and (relatively) recent country convert and rapper Post Malone, all have licensing deals on the strip. (It’s not like you’ll actually see any of them there other than the occasional, calculated photo op.) It’s where visitors to the city spent much of the US$11.2bn the city took in last year from tourism. This is all

imported money – Nashville residents have a relationship with Broadway similar to that of New Yorkers with Times Square: they simply do not go there, ceding it to the tourists. But something else is happening there that’s of great interest to the live sound business. All of these monikered venues are competing on installed sound as well as celebrity status, and the companies that make those systems have noticed. The biggest names are there – d&b audiotechnik (Bourbon Street Blues & Boogie Bar) and L-Acoustics (Garth’s Friends in Low Places). But the sheer scale of the strip has opened up opportunities for a range of other brands. The Italian RCF (Jelly Roll’s Goodnight Nashville) and Canadian PK (Malone’s Posty) marques are represented as well as Spain’s DAS Audio (Luke Bryan’s 32 Bridge). Ironically, few American brands have managed to make the cut, though QSC is installed at Kid Rock’s Big Ass Honky Tonk and John Rich’s Redneck Riviera. These clubs have become flagships in that category of venue. It is, in effect, a kind of urban InfoComm, a showcase for manufacturers and integrators to invite prospective customers and clients down for beer and a listen.

It’s a rare opportunity, as this category of music venue continues to contract, a trend precipitated by the Covid

A letter from Europe

pandemic and continued by the growth of high-ticket touring that sucks up consumers’ entertainment dollars, leaving little for the neighbourhood pub stages. And in an odd twist, listeners can compare the sound of the same songs from venue to venue, as the musicians work from common playlists ginned up by requests from patrons and radio, performed by a crew of grafter musicians who rotate through the clubs.

The sheer number of venues needing quality sound in this compact location means there are ample opportunities for a multitude of brands. That’s critical at a time when the number of brands dominating the live sound market – the so-called contract rider-friendly ones – can be counted on one hand. As the owner of one integration firm pointed out to me one evening downtown: “You don’t always have to live in ‘riderfriendly world’ and, oftentimes, you can blow out your budget trying to do that and not need to.”

Nashville’s Lower Broadway may be properly denigrated as a lager-drenched theme park. But the patrons are having fun and spending freely while the sound systems are getting a workout and a marketing effort that no intentional campaign could ever have dreamed up.

The advent of stereo in the late 1950s was mystifying, rarefied and confined to the few. Phil Ward explores the parallels with today’s immersive world

THE CONCEPT OF THE AUDIOPHILE WAS WELLestablished by 1959. A BBC documentary of the time is called Hi-Fi-Fo-Fum and if you think that sets a withering, patronising tone you should listen to the voiceover: “There is a man in Wimbledon who will go on adding to his equipment until he can hear the sigh of the conductor as the piccolo misses its entry… is it a religion or a disease?”

These “high priests of flawlessness” are seen fussing and fiddling over labyrinthine wires and frequenting a new kind of shop, one that sells all the kit and is staffed by characters in duffle coats with goatee beards and horn-rimmed spectacles. “Do they like music or are they in love with equipment?” the programme asks. In due course, a breakthrough called stereo – pronounced “steer-reo” – is heralded as “three-dimensional reality”, and this is where we notice how perceptions are recalibrated over the years. Just as listeners to Edison’s demonstrations of the phonograph weren’t sure – imagine – of the difference when confronted with AB comparisons between the recording and the real thing, live onstage and hidden behind a curtain, it was possible in the late 1950s to portray stereo in exactly the same terms as we describe spatial audio today. Life copies art but also, eventually, it copies marketing hyperbole.

That documentary film was directed by John Schlesinger, who went on to make Billy Liar, Midnight Cowboy and many other Hollywood corkers. No doubt the liars and cowboys of hi-fi consumer retail were a great inspiration. But the year is significant: the culture of “high fidelity” is clearly reaching a critical mass because it’s not only attracting the attention of BBC documentary makers. In 1959, the magazine Tape Recorder was launched, combining consumer interests with professional issues (inside vol no 6, July: “The Art of Tape Editing”; “Tape Decks analysed”; “This is Copyright”; “Recording Nature’s Sounds”). Within a decade, it would evolve into Studio Sound, the complete trade package. Back then, fidelity was a studio matter. It could only be attempted in the hush, firstly, of a recording session and, later, the kind of home with the right amount of aspiration and pipe tobacco. There was virtually no such thing as concert sound; a couple of cinema columns if you were lucky. Nowadays, the full quest for as many dimensions as possible has reached the stage, the auditorium and the box office, where an increasing number of tickets are being sold next to a poster somewhere upon which you will find the word “immersive”.

In Paris recently, the famous escalators running up the outside of the Pompidou Centre were appended by d&b audiotechnik’s compact E-Series loudspeakers to deliver sounds and voices collated by Icelandic noise-pixie Björk and processed by Soundscape and SPAT Revolution, the FLUX:: Immersive spatial algorithm now owned by Harman Professional and partially developed by the Institute for Research and Coordination in Acoustics/Music (IRCAM) based beneath this very building. Björk’s Nature Manifesto was “a haunting, immersive presentation” on the theme of endangered and extinct species, many of which used to work in Radio Shack.

The World of Hans Zimmer – An Immersive Symphony has just wowed them at the Metronom Theatre in Oberhausen, Germany – 22,000 fans at 15 sold-out concerts – using a combination of spatial audio and Sennheiser’s Spectera wideband wireless system, before setting off around the world. And, in Stuttgart, Kraftwerk continued their campaign for real audio with a 270° Soundscape system, once again deployed as if it really were a studio production by FOH engineer Serge Gräfe, the “fifth member”.

Tape, of course, is history. Then again, aren’t we all?

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IBC2025 – AV or not AV? That is the question

Richard Lawn reports from the halls of the RAI Amsterdam

AS TRADITIONAL RADIO AND TV BROADCASTING budgets stagnate at best, IBC has benefitted from the increasing AV and broadcast convergence and a new generation of broadcasters catering for esports and social media platforms. However, a recorded decline in annual footfall this year suggests that some exhibitors are either saving their marketing budgets or prioritising the Mediterranean-adjacent ISE in early

The global media, entertainment and technology communities returned to the RAI’s 15 exhibition halls in Amsterdam to confront pressing industry challenges while seeking new opportunities. “IBC2025 has delivered real business outcomes with overwhelmingly positive feedback from attendees,” commented IBC’s chief executive officer, Michael Crimp. “What struck me most was the sense of optimism and purpose – exhibitors, visitors, speakers and partners all came here to shape the future of our industry. We look forward to continuing the journey together next year.”

Critical trends and issues driving change across the media landscape were addressed by initiatives such as the AI Tech Zone, immersive experiences, over-thetop (OTT) and streaming. Many of these were dealt with during the three-day IBC Conference in the RAI Auditorium Complex in addition to show floor theatres.

and lightest to date at 165g. The SimplyLive family was also extended together with a SimplyLive Production Suite Flex licensing model, RiView video review system, RiMotion replay bundle and Venue Gateway 1612 Advanced.

A standout feature of IBC2025 was the debut of Future Tech in Hall 14, a dynamic new hub for emerging technologies and collaborative projects. Visitors explored live demonstrations of generative and agentic AI, immersive and interactive media, cloudnative workflows, private 5G networks and sustainable innovation.   4K, 6K and 8K cameras and monitor formats were previewed on booths including ARRI, Blackmagic Design, Canon, Grass Valley, Panasonic, Sony and Ikegami. Following on from last year’s migration to the traditional audio hall (8), Ross Video rolled out Carbonite HyperMax and the NRG compact routers that extend the life of SDI operations – perhaps a new tradition now for the Canadian brand, with an acquisition announced ahead of the European exhibition. This year, audio production software developer LAMA was brought on board to enhance Ross’s live mixing solutions.

Like Ross, Riedel has revealed a penchant for acquiring talented companies on the eve of the show. For 2025, the German brand introduced the team from hi human interface A bemused Thomas Riedel watched as his puppet stole the limelight during the Bolero Mini launch. Integrating technology developed for the RefSuite managed sports production package, the wireless intercom beltpack is Riedel’s smallest

German companies in general were industrious in the runup to IBC2025. Compatible with the XC3, XD3 and XS3 IP cores, DHD’s Routing Web App for management and control was debuted alongside the RM1 audio production system in a desktop unit. Positioning itself as a full-service media solutions provider, Stage Tec unveiled the On Air modular IP-based console for the radio market. Promoting their own WOW factor, the Berliners also highlighted the NEX:T axio IP-based audio I/O and processing platform, together with the software-based Multiviewer Format Converters and IP Gateway video processing. Lawo introduced its upgraded Home management platform, including the Home Audio Shuffler app. With former Home core licences ceasing to exist, flexible control requirements of a specific install can now be scaled up with version 4.x and Home Passes.

Calrec launched its latest and largest Argo M control surface to date with 48 faders together with Argo v1.4 ImPulseV cloud-based DSP processing software. Heralding from the same Audiotonix stable, Solid State Logic demonstrated a range of updates to its System T architecture, including the IP-native MPL Dante-enabled 16-8 stagebox. Additionally, technology partnerships were announced with Dolby, Jünger Audio, New Audio Technology and TiMax for streamlining the creation of NGA content with the integration of third-party control surfaces and processing platforms. Wheatstone paired the LXE and DMX consoles with Blades and the virtual Glass LXE alongside the Wheatstream Duo streaming appliance and the Neuron audio processor.

Audio-Technica, Deity, DPA, Lectrosonics, Microtech Gefell, Schoeps, Sennheiser, Shure and Wisycom attracted new and traditional broadcasters seeking wired and wireless microphone technologies,

while Clear-Com (Arcadia), Pliant (CrewCom) and RTS showcased their latest IP comms. It’s one year since the launch of the Spectera bidirectional wideband wireless platform, but Sennheiser is refusing to rest on its laurels during its 80th anniversary year. In addition to Spectera, demonstrations were provided for the SoundBase RF planning tool, Neumann and Merging 7.1.4 immersive setup and Ambeo 2-way channel spatial audio. Twenty years older, centurion Shure highlighted a microphone array for capturing audio in broadcast and media production. Delivering eight channels of audio via Dante or AES67, the steerable DCA901 isolates sound and minimises ambient noise. While IBC attracts new legions of broadcasters operating in esports, podcasts, TikTok and YouTube, traditional radio and television budgets and visiting engineers continue to decline. If there is an elephant in the room, it is perhaps the AV shadow left behind when ISE bid Amsterdam adios in 2020 for Barcelona. The convergence of AV and broadcasting technologies continues to accelerate and the challenge for the IBC organiser will be maintaining a relevance with its declining broadcast base. With bespoke AV solutions being the driving force for those corporations, financial institutions, stadiums and museums coming to the RAI, Barcelona continues to turn more IBC heads.

And the departure of many corporate heads after day three questions the need for a four-day show, down from the previous five days only after returning from the pandemic.

2025 Dates: 12 – 15 September

2026 Dates: 11 – 14 September

Venue: RAI Amsterdam

Total exhibitors: 1,300 (1,350 in 2024)

Attendance: 43,858 (45,085 in 2024)

Contact: www.ibc.org

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From the show floor

Kari Eythorsson, Clear-Com:

“IBC is still a vital exhibition because it puts existing customers and new projects in the same room. It seems there are now three tiers of attendees: the casual users and operators who want to touch the latest kit but won’t necessarily be making the purchase themselves; decisionmakers scoping real projects; and a growing group looking for where the industry is heading in 3–5 years. Ten years ago, 2110 was the hot topic. Now the talk is software on servers and virtualised tools.”

Henry Goodman, Calrec:

“Remote production is the hot topic here now, but it isn’t new for us. We launched the RP1 more than a decade ago. While Covid sped things up, the driver now is competitiveness and efficiency. Legacy kit can’t deliver the agility broadcasters need, whereas IP lets you redeploy people and resources, control surfaces remotely and create more content with the same headcount. Part of the challenge is maintaining tight real-time comms between vision, audio and production when teams are distributed, which is where our Argo, Type R and ImPulse platforms come in.”

professional AV market in recent years, Visionary is making a debut here at IBC to test the water. Apart from traditional broadcasters, we have met many of our distributors from Europe in addition Amsterdam to meet. In contrast, we have met few end enterprise customers such as Netflix provide valuable input

Jan Eveleens, Riedel:

“We’re seeing our own booth traffic grow even if overall IBC attendance looks fairly flat. The customer mix has broadened –streamers now behave like broadcasters and ask different questions because they aren’t tied to legacy processes. There’s been a huge shift from hardware boxes to software systems that interoperate on-prem or in the cloud. Hype cycles come and go – remember 3D and 8K – so we’re cautious about buzzwords. For viewers, HDR delivers a bigger visible step than more pixels, and most consumers are already at ‘good enough’ on resolution. That reality is increasingly shaping what gets prioritised and funded.”

Ade Abt, AJA:

“I’ve watched the show evolve since I first visited IBC in 2013. In previous years, I had more discussions with TV station broadcasters and OB truck guys. Today, I meet an increasing number of OEM developers wanting to know how to integrate our products into their complex workflows. IBC was not an AV show 10 years ago but, with AV and broadcast convergence, AV specifiers are everywhere. ISE is very AV-focused with videowalls, presentation systems and audio networking, and all this technology exists today at IBC because AV has been utilising IP networks such as AES67 and ST 2110 before broadcast.”

Jeff Moore, Ross Video:

“We are not exhibiting exclusively for broadcasters, because a lot of our business interests are in other market sectors including education, sports and financial institutions. Ten years ago, these visitors were not as evident at IBC. Although corporate video has been around for a long time, it is more sophisticated today with the rise of event centres, meeting spaces and remote productions. These users want to produce their own content at the highest level but have different requirements to a broadcaster.”

five years are cloud and ST 2110, because they are transformative and will make us work differently. The fear factor of storing video in the cloud or transmitting video anywhere over the network is now over. When I look at the broadcast and AV sectors, fixed installations demand faster frame rates and higher resolutions, so they don’t need cabling. Bandwidth, latency, speed and reliability are the main considerations, but ease of use is also vital.”

Peter Passian, Telos Alliance:

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GITEX Global 2025

Setting the stage for major changes in 2026, GITEX Global continued a familiar trend by growing significantly again this year

THE 45TH EDITION OF GITEX GLOBAL MARKED A turning point for the Dubai event. Held for the final time at the Dubai World Trade Centre (DWTC) before its relocation to Expo City in 2026, this year’s outing brought both familiar scenes and signs of change. While the organisers again claimed record attendance figures and swelling exhibitor numbers, the story for the pro AV sector was more mixed, with several long-time exhibitors quietly bowing out and others questioning whether the format still suits their needs. Attracting upwards of 200,000 visitors and more than 6,000 exhibitors, GITEX remains a colossal beast. All 26 halls of the DWTC were called into service, and while crowd density was slightly slower to build on the first day, it didn’t take long for the venue to reach its usual level of chaos. Once again, traffic jams and parking bottlenecks spilled out across Sheikh Zayed Road, while long security queues and full-to-capacity cafés became an unofficial part of the event experience. With GITEX now spinning out multiple regional editions in Germany, Morocco, Nigeria, Singapore and Vietnam, some are beginning to ask whether the core Dubai show risks dilution. While the overall footprint of the event continues to grow, the story for AV felt more fragmented. The GITEX audience is broad, the location premium and the costs substantial. There’s no guarantee that the right people will come to your booth, or that they will even know what they’re looking at. But there is exposure to new sectors and, for some, that is enough. Notable AV regulars including Epson, NMK Electronics and Shure were, however, absent from the show floor, choosing instead to focus their efforts on Saudi Arabia’s increasingly dominant SLS Expo.

A few other familiar names reduced their presence or opted for partner support only. For most, the decision comes down to budgets and relevance. GITEX isn’t an AV show in the traditional sense but, for brands seeking visibility across a wider tech audience, the payoff can still be worth the gamble. Still, there was plenty for AV fans to see.

Manufacturers Barco (ClickShare), Crestron, Extron and Q-SYS all returned with dedicated booths, while prominent local distributors such as Almoe/Abcom, Avientek, AV Pro, FVC, Masterpiece, Thomsun and Venuetech took sizeable booths that allowed them to provide dedicated areas to each of the AV brands they carry. Q-SYS went notably bigger this year, with a prominent spot in Hall 4 replicating elements

L–R: Alain Boone, Thomsun’s Mikhail Sujan and Nexo’s Gareth Collyer

of its ISE walkthrough format with guided demos of meeting room automation and control systems. There was also a notable rise in international brand representatives making the trip over to Dubai this time following positive outcomes in 2024.

Crestron returned with its regional team, greeting a steady stream of visitors over the five days by the entrance to Hall 2. “GITEX is not strictly an AV show, but there’s no other trade event of this scale in the region worth supporting,” reflected Robin Van Meeuwen. “Most visitors to our stand were existing customers, and although a few new faces showed up, the show’s high cost makes measurable return vital.” Avientek, Thomsun and Venuetech all held steady with multi-brand booths across Halls 1–4, showcasing a range of conferencing, loudspeaker, control and LED solutions. UC provider FVC had a similarly encompassing booth in Hall 12, where for the first time, it placed a greater emphasis on pro audio, having recently added Fohhn as the latest brand to its distribution catalogue.

Not everyone comes looking for new customers. For Powersoft, represented on the Thomsun stand, the focus was on visibility and engagement. “Our main goal is to connect with local partners and spark new relationships, especially with IT-focused consultants and integrators,” said Varun Jagger. “The scale is impressive and the exposure is

The Avientek booth displayed a range of Sennheiser’s newest products

As is typical at GITEX, the aisles were packed for the entire five days

But there is a real mix of people from Africa and Asia and a noticeable appetite for infrastructure.” Down in Hall 1 on the Masterpiece stand, Harman Professional’s Jamie Blakemore noted that while the diversity of visitors is a strength, the layout still creates challenges. “I do have mixed feelings about how mixed up the hall plan is,” he commented. “It brings in people with a specific purpose, but you miss some of the flow that draws new customers to your stand.”

Nexo’s Alain Boone was more direct: “The show brings strong regional attendance every year, especially from the GCC, but our competitors are scattered across multiple halls. Grouping us together would create a stronger impression and make the show more navigable.” Yamaha used its presence to full effect, with the booth functioning as a brand showcase and lead generator. “People here might not know what we do in pro audio, but they likely already know the Yamaha name and that opens doors,” said Yamaha Gulf’s Kazuya Yoshimura. “We use the booth as a teaser and invite serious prospects to our UAE experience centres for deeper demos.”

Represented on the Venuetech booth, Sennheiser Middle East’s Fadi Costantine added some historical perspective, having attended GITEX for the past eight years. “Every year the show keeps growing,” he commented. “There’s real anticipation now for the move to a new venue. People are ready for a change, both in layout and in experience.”

Taking part for very first time, Brad Maiden from d&b audiotechnik summed up the shift in tone across the industry down on the Avientek booth. “It’s no longer about single verticals or isolated markets. Everything is converging, and GITEX reflects that,” he noted. “Whether you’re in pro AV, UC or IT, this is one of the best shows in the region for bringing those conversations together.”

These attributes, ultimately, are what defines GITEX from an AV perspective. It’s not about seeing everyone you know, it’s about being seen by people you don’t. For integrators, distributors and manufacturers alike, the show presents an unpredictable but often rewarding blend of business development, brand awareness and regional visibility. Many

are hoping that the 2026 move to Expo City will allow for a better visitor experience, with improved traffic flow, clearer sector segmentation and more space for growing stands.

Whether GITEX will continue to be the best-fit platform for professional AV remains to be seen. The growing ecosystem of adjacent regional shows suggests that the centre of gravity may shift further over the next few years. But for now, Dubai still draws the biggest crowd.

GITEX Global (now named GITEX 5.0) returns next year from 7–11 December 2026 at Dubai Expo City.

www.gitex.com

L–R: Matrox’s Alberto Cieri, Johnny Hickman and Cecilia Wills with Abcom’s Deepthi George and Matrox’s Daniel Collin

The Crestron Electronics team on a dedicated booth by the entrance to Hall 2

The Masterpiece and Harman Professional teams

Sennheiser at 80: still setting gold standards

Sennheiser CEO Dr Andreas Sennheiser reflects on the company’s 80-year legacy, innovation and its decade-long journey to launch Spectera

IN PURSUIT OF ENGINEERING INNOVATION, FEW pioneers look back. In the latest development for this thirdgeneration business, former joint CEO Daniel Sennheiser has become chairman of the board of directors, while brother Dr Andreas Sennheiser assumes sole responsibility of the CEO position.

One year on from the launch of the Spectera wideband wireless system and Andreas continues to look ahead. However, the brand’s 80th anniversary this year is a useful reference of how far they have come since the brothers assumed joint responsibility for the company in 2014.

“I believe that every great innovation or invention has been created by geniuses who never acknowledged that problems exist, or were unaware of the problems that lie ahead,” begins Andreas. “Ten years after establishing Sennheiser, my grandfather Fritz admitted that he wouldn’t have started the company if he had known how difficult it was at the outset. That statement still rings true, because you’re in a state of bliss when you commence a project. That initial excitement overcomes the difficulties you inevitably encounter.”

Despite all the critical acclaim, awards and sales orders that Spectera is now amassing, the previous 10 years of R&D tested the nerves of the Sennheiser pair. Inheriting a rich legacy of family engineering and international sales success, the brothers would have been forgiven for playing a conservative role and risking little. “Every generation has its challenges to develop a company and take it to the next level and, as a multi-generational company, there is also something to preserve. However, there’s also something to radically renew,” muses Andreas.

The upbringing and long-term values of the brothers are aligned,

look back and see how far you’ve come when you are walking up a hill towards the summit. However, in our pursuit to enable creative freedom in audio and video, Sennheiser has been building the future of audio for eight decades. Our milestones include the first interference tube shotgun microphone for the film industry with the MD 81, which was first shown at a tradeshow in 1954 and was followed by the first wireless microphone for TV use [Labor W] in 1957 and the first audio headphones for music playback in 1968.”

In addition to preserving ageless classics including the MD 441 and MD 42, the brothers are determined to continue innovating to fulfil the next chapter in the company’s evolution. “When we look at the three generations, my grandfather was the founder and

L–R: Co-CEOs Daniel and Dr Andreas Sennheiser

Live audio engineers applaud the space-saving benefits of Spectera

the inventor. It was my father Jörg who realised the importance of customer relationships across the globe, and so he founded subsidiaries with a closer network towards end users. Daniel and I are focusing more on the digital enablement of our technology and products. That innovative spirit my grandfather injected into the company has been passed on over the decades and continues to thrive today.”

None of the innovation and growth would have been possible without the secure financial foothold that Fritz built from humble beginnings in a newly emerging post-war West Germany. A combination of Fritz’s hard work and ingenuity and Jörg’s customer-focused drive created the solid basis of the family-owned company. As a result, the focus on creating long-term value with customers superseded the requirement to publish short-term quarterly reports or compromise with banks. Furthermore, the CEO claims that increased creativity has been the result of the mental freedom that their employees have always enjoyed within the selffinanced operation.

The sound finances built by the Sennheiser family continue to gain the respect and trust of their customers, Andreas further explains: “By managing the supply chain and remaining in control of our manufacturing processes, we have always maintained quality and delivery. This is especially relevant during turbulent economic times. For example, when the new trading tariffs were announced, we shipped stored products to the US at the lower

the brothers’ 11-year stewardship. “Sonova Holdings is a very professional partner in the consumer sector and, having delegated that arm of the business to them, Sennheiser has been allowed to focus solely on the professional user and those who make a living from or retain a strong passion in audio. By increasing our investment in R&D, we have paid more attention to the growing Pro Audio, Business Communications and Neumann business units, which are characterised by different customer groups, requirements, product life cycles and market dynamics.”

The acquisition of Klein & Hummel monitors in 2005 served as a prelude to the creation of the Neumann unit. “We started a new chapter for monitors with immersive formats, of course, including Dolby Atmos and Sony 360 in larger installations. In doing so, we demonstrated the power of the Sennheiser brand, because Klein & Hummel was almost unknown before outside German-speaking countries. When a studio features a lineup of Neumann microphones from the U47 to the most recent ones, having monitors of the same brand retaining the same quality makes it a natural fit. Since adding Merging Technologies, we have strengthened our portfolio.”

internally to ensure our products have platforms that can be used more. The three divisions are not isolated because there is a commonality of engineers who work on fundamental technologies such as ST 2110 network technology.”

Following the development of the Neumann KU 100 binaural recording dummy head in Germany and advanced audio algorithms by a dedicated team in California, Sennheiser has pioneered immersive audio since the turn of the Millennium. The pursuit of immersive excellence serves as another example of the company’s lengthy audio passion with little returns. “It was only with the emergence of AR and VR technology that we realised we could incorporate our immersive audio algorithms into 3D computer game goggles,” says Andreas.

The quote “engineers need room for crazy ideas” was once attributed to Fritz. Today, his grandsons try to balance this creative freedom with business sense. Despite committing 8% of the company’s turnover to R&D each year, Andreas admits that risks need to be mitigated: “By starting with a hypothesis and refining it over time, you reach a point where the hypothesis becomes a certainty. We usually run two or three R&D projects of a similar small size concurrently, but not all of these will reach the finishing line. If you look at the failures including wasted time, wasted effort and wasted money, engineers become afraid to take risks. You simply need to know when you have reached a dead end and stop pouring money into something that is not working.”

Ten years in the making, Spectera gained momentum despite the huge resources spent with no return in that time: “Initially, only two people worked on the project for several years. When we became aware of the huge commercial opportunities, we elevated the project to the next stage by increasing our investment in manpower and resources. It is less of a risk to invest when a project appears more likely to succeed. With customers increasingly providing feedback, Spectera is becoming an ever-

With the goal of capturing, processing and playing back audio in the best possible way, Ambeo became the resultant platform, coming to life with the initial development of a VR microphone that remains in production. Commercially, three strands of development resulted including the automobile industry, collaborations with film production companies adopting Dolby Atmos and applications using Neumann mixing and content production.

Just as Sennheiser’s engineers work together across the three divisions, the company was early to collaborate with other brands to enhance the user experience. “To enhance customer values, it’s necessary to strategically collaborate with others including Crestron, Q-SYS, Xilica and Yamaha, for example,” Andreas explains. “Whether it’s a sound engineer operating a mixing console or a meeting rooms systems integrator, our aim is to encourage companies to work closer together for the greater good of the customer. By staying close to our customers and seeing what they need, we aim to provide the tools for them to perform their workflows in a more simplified way.”

In just 11 years, Andreas and Daniel have made their mark on Sennheiser’s history. Bringing unique skillsets to the table, their shared passions, single vision and abundant courage will continue to steer the Sennheiser brand on its upwards trajectory. Sometimes, a glance towards the past can project a path into the future.

www.sennheiser.com

Sennheiser’s headquarters in Wedemark

Prof Jörg Sennheiser with the innovative Orpheus

Engineered for efficiency

Arbane Groupe’s Mathieu Pobeda details how APG Audio has taken its flagship line array in a new direction

AFTER MORE THAN A DECADE OF FIELD SUCCESS, APG Audio’s original Uniline line array system has earned its place in the rental market. Launched in 2010 as the industry’s first modular solution with mix-and-match flexibility, it appealed to users seeking scalability without investing in separate product families. Five years later, APG launched the Uniline Compact, a small “line source” whose aim was to offer maximum versatility for the widest range usage. But with changing expectations in the live sound industry, APG parent company Arbane Groupe recognised it was time for something new.

The result of a multi-year development process, the new Uniline Max is not an attempt to chase headlines or compete on sheer scale, explains Arbane Groupe technical director Mathieu Pobeda. Instead, it reflects a clear-headed response to changed market needs – a system built for the mid-sized rental firms, production houses and venues that increasingly form APG’s core customer base. These clients prioritise reliability, clarity and ease of use over raw SPL.

“The reality is that the majority of our industry thrives on more humble events,” explains Pobeda. “Uniline Max is about giving our users a serious performance tool that’s simple, efficient and versatile. The people we’re catering for don’t want complexity, they just want something that works. The goal was to modernise the original solution in all regards –visually, acoustically and operationally.”

Although the original Uniline platform is still highly respected, its angular aesthetic and complex rigging had begun to show their age. “What we wanted was to serve the specific needs of mid-sized rental firms and production houses, clients who want the power and flexibility of a premium system without the infrastructure overhead. Scenographers don’t want visible systems anymore and, as crews have got smaller, everything must to be faster and easier to manage.”

Given Uniline Max came from the need to modernise the look, simplify deployment and better match the expectations of today’s operators, extensive user feedback was vital from the outset.

“We began this simplification by unifying the controller/amplifier platforms to standardise the user experience and promote crossrental within rental inventories,” Pobeda recalls, referencing a visit to a London client that quickly helped solidify his determination.

“She loved the sound of Uniline – the clarity and the dynamic range – but told us it was too difficult to rig with a small team. That was a wake-up call. We heard over and over again that our systems sounded fantastic but were becoming too complicated to deploy.”

One of the first changes, therefore, was to streamline the system architecture. While the original Uniline included four interchangeable modules, Uniline Max simplifies this down to two: a full-range main cabinet and a 21-inch LF extension.

“Modularity sounds good on paper,” adds Pobeda, “but, in practice, too many options mean more rigging, more amp channels and more headaches. For the kind of customers we’re targeting, simplicity ultimately wins. A significant part of that simplification came through user feedback.”

Having two separate rigging systems for different modules also drove up costs and complexity. “In this segment, you’ll find everything from well-equipped companies to tiny outfits with limited gear. We had to design for both. Crews now are smaller and productions leaner, so we needed a system that two people could handle efficiently.”

A complete rethink of the mechanical design was crucial –considering everything from rigging to transport hardware.

“We built the rigging system for Uniline Max as a sort of exoskeleton, separate from the cabinet body,” explains the technical director. “That means that if we ever need to update or replace a mechanical component, it doesn’t affect the acoustic enclosure. It also makes recycling much easier at the end of life, which is of increasing importance for our customers, and a core value for us.”

This focus on sustainability became another guiding principle. Gone is the polyurethane construction material common in previous parts of the system. In its place is high-pressure ABS plastic, produced using precision injection moulding. “It’s better for manufacturing consistency and far more environmentally responsible,” says Pobeda.

Despite the operational emphasis, Uniline Max is no slouch on the technical front. A key innovation lies in its coaxial mid-high arrangement. “We’ve been using coaxial designs since the APG 3000 and 6000 series,” recalls Pobeda. “But for Uniline Max, we completely redesigned the waveguide and phase plug to control path length and directivity even more precisely.”

L–R: Arbane Groupe’s Mathieu Pobeda, Frederic Grelier and Hugo Payen

The full-range main Uniline cabinet with Unirack

A new single 21-inch subwoofer completes the system

The result is Pobeda’s self-designed and newly patent-pending SIGMA waveguide, which emits both mid and high frequencies through a single horizontal slit.

“That alignment helps maintain consistent directivity and reduces phase issues. It’s a simple but effective concept,” he explains.

“The first thing our test users noticed was how smooth the horizontal dispersion felt, even at longer throws.”

Unlike most competitors who start from theoretical acoustics, Pobeda took a more practical path.

“The first constraint for customers is the truck,” he notes. “We started with the physical dimensions – what fits in transport vehicles – and then designed the waveguide around that.”

The result is a gently curving internal geometry with minimal energy loss and clean phase alignment between cabinets. Creating that result required detailed software simulation. “We only needed four waveguide iterations thanks to today’s acoustic prediction tools,” says Pobeda. “But unlike the waveguide, for the rigging system you can’t rely on software. You need to build everything and physically test it. Mechanical ergonomics – how the system feels and handles under load – can’t be accurately simulated. So that’s where most of our prototyping efforts went.”

One other major breakthrough came in the form of a hybrid rigging system that supports both tension and compression.

“This allows us to offset the natural compromise of having the system’s rotational point deeper inside the cabinet, rather than at the front,” he furthers. “Other brands make that compromise too, but our solution lets us retain the horn-loaded sound performance we want without sacrificing usability.”

While many brands chase maximum SPL and throw distance, Uniline Max is instead tuned to real-world priorities. “We want balance, punch, clarity and coverage, but also ease of use, manageable weight and responsible energy use. These are as, if not more, important.” Power distribution is a key example. The system’s amplifier racks were designed around common 32A single-phase connections, avoiding the

the default to suit venues and crews without high-power infrastructure.”

Similar thinking applies to service and logistics. “A lot of our choices were informed by truck dimensions,” he admits. “It sounds unromantic, but if your boxes don’t pack well, everything suffers – storage, transport costs, load times, everything. We started with those constraints and built upwards.”

As technically accomplished as Uniline Max is, Pobeda lights up most when discussing the team behind the product. “While I brought some discipline and experience gained from decades of loudspeaker design when I joined the company five years ago, the whole team has really levelled up,” he says. “We’ve built Uniline Max together, and that team spirit extended to every part of the company – from design and production to supplier coordination and customer service.

“Our production supervisor told me he was proud to see a product that clearly considered the needs of the people on the factory floor. That kind of feedback is gold. It’s easy to design a great-sounding system. It’s much harder to make one that’s great to build, ship, service and recycle.”

All in all, Uniline Max came together in 18 months, a remarkable achievement given the depth of development. Some technologies, like the amplifier platform, had been prepared years earlier, but development of the system was fast-tracked thanks to Pobeda’s clear vision and close team coordination.

The result is a solution that not only reflects APG’s technical expertise but also its maturity as a company. “It’s not the most powerful system in the world. But it’s honest, effective and built with care,” the technical director concludes. “And I think our users feel that. We maxed out every part of the process.”

www.arbane-groupe.com

When milliseconds matter

With AV increasingly taking on a mission-critical role in real-time decision-making environments, Kramer’s Nahum Aharon explains why future-ready systems need more than just speed

command and control sector is being transformed by an infrastructure boom central to the region’s smart city ambitions and megacity growth. Governments and enterprises are investing heavily in transportation networks, utilities and smart city platforms, creating both the need and the opportunity for resilient AV-powered control rooms. Once considered specialist environments, command and control centres are now missioncritical nodes within smart infrastructure.

The scale of this transformation is significant. The Asia Pacific smart cities market is projected to expand at a compound annual growth rate of more than 30% between 2025 and 2030, rising from US$459mn in 2024 to over US$2bn by the end of the decade. Demand for supporting technologies – including sensors, displays and communication infrastructure – is growing in parallel, with Asia Pacific and neighbouring territories accounting for nearly a quarter of global deployment. Control room AV is no longer a peripheral concern; it is becoming the foundation for real-time collaboration and operational responsiveness across a wide range of sectors.

These systems are being embedded in high-stakes environments. From traffic management hubs monitoring the movements of millions to emergency operations centres designed to coordinate disaster response, control rooms must process and visualise complex information under pressure. In national security, utilities and critical infrastructure, the defence system integration market continues to act as a bellwether for broader trends, with AV deployment in this category expected to maintain double-digit growth well beyond 2025. In every case, reliability is nonnegotiable. AV systems must be designed to perform flawlessly, because any lapse in visibility or control can have immediate operational consequences.

Speed remains a core requirement. In mission-critical environments, latency is not just a spec sheet metric – it’s a functional barrier between incident and intervention. Operators must receive visual and data inputs with minimal delay to maintain situational awareness. While industry terms such as “zero” or “near-zero” latency are often used loosely, the real priority is achieving imperceptible millisecond-level response times across all visualisation and control layers. From surveillance feeds to interactive dashboards, ultra-low latency ensures that decisionmakers see events unfold in real time and can respond without delay.

This is an area that will only grow more important as automations and AI integrations proliferate across workflows and critical processes.

Security also remains a central concern. As a result, for many government and defence organisations, cloud deployments are simply off the table; everything must be hosted on-premises in

closed, air-gapped networks. However, in corporate and multi-site scenarios, cloud platforms are increasingly recognised as both highly secure and operationally flexible. Cloud deployment allows secure remote access, granular permissioning for integrators and staff, and streamlined updates. Both approaches demand rigorous encryption and authentication protocols. Moving forward, with quantum computing on the horizon, organisations must anticipate threats and prepare to adapt security frameworks accordingly.

Content management and control platforms play a central role here. AV control rooms today are as much about software as they are about display hardware. The ability to manage permissions, monitor performance, coordinate sources and scale up deployments without rebuilding infrastructure is critical to longterm viability. Some environments demand fully closed systems; others value the ability to connect globally. Both require reliable, adaptable back-end control layers that can support varying levels of integration.

Visualisation itself has also evolved. The shift from tiled LCD videowalls to direct-view LED has reshaped the visual landscape of the modern control room. LED panels allow for seamless large-format displays, modular servicing and higher brightness in environments that demand constant operation. Instead of replacing entire screens, operators can now swap individual LED tiles, reducing downtime and maintenance costs. Alongside this, software-based multiview tools allow inputs to be rearranged dynamically, with operators toggling between full-screen incident feeds, dashboard overlays and multichannel views as needed. As operational scenarios shift, so too can the visual hierarchy. Access and control interfaces – keyboard, video and mouse (KVM) technology – has evolved beyond the rack-mounted switches of the past. Today’s IP-based KVM systems allow

operators to control multiple servers and sources from a single workstation with minimal physical interaction. Mouse roaming, role-based access control and integrated user authentication make it easier for operators to move between information sources quickly without compromising security. This not only improves response time but also reduces clutter and cognitive load in busy control room environments.

Data routing is no longer a one-way channel either. Dual streaming has become a key capability – delivering a highresolution live feed for operators and a lower-resolution stream for archival, training or remote monitoring. This ensures that critical visual data remains available in its highest fidelity onsite, while also enabling broader access and efficient storage without overloading the network. In emergency scenarios, where every pixel matters, this ability to manage resolution by use case is vital. Power management and sustainability are also high on the agenda, particularly for control centres that run 24/7. Reducing per-unit power draw across hundreds of displays and devices can translate to meaningful cost savings and energy reductions. Energy-efficient LED displays, intelligent power scheduling and lowpower AV appliances are becoming standard, driven as much by operational budgets as environmental policy. In many government bids, sustainability has now become a core metric.

Looking ahead, control room AV is set to become even more dynamic. AI-enhanced codecs, which optimise video delivery by compressing smarter rather than harder, are allowing higher-quality visuals over existing infrastructure. Interoperability will also remain an essential part of future planning, particularly in environments where long-term systems must remain extensible. Standardsbased infrastructure allows for incremental expansion, even if proprietary systems may sometimes offer better performance for a specific scenario. The key is flexibility: designing systems that don’t lock operators into a particular format but allow them to adapt over time.

Despite the proliferation of virtual interfaces, one element of control room design continues to hold firm – the human-machine interface. Physical buttons and tactile controls still play a role in high-stakes environments. When seconds count, muscle memory often beats touchscreens. A hybrid approach, blending digital interfaces with physical inputs, ensures that operators retain full control no matter the circumstances.

As the pace of urbanisation and infrastructure investment continues across the region, the role of AV in command and control will only grow. Systems must now be designed not only to deliver information but to do so securely, efficiently and in real time – empowering operators to make fast, confident decisions in the moments that matter most.

www.kramerav.com

A Kramer-equipped command and control centre

The main control room at the government’s Municipality of Ramat Gan in Israel

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NEWPRODUCTS

Quantum takes flight

WEIGHING ONLY 23kg when housed in a custom Peli case, DiGiCo’s newest and smallest desk brings Quantum features and performance to any venue. Joining the manufacturer’s flagship Quantum852 large-format desk, the Quantum112 is a single-screen, 12-fader desk that is DiGiCo’s first true flypack mixer. Designed to fit within a rugged and robust Peli Air 1637 case, the console, when packed, qualifyies as a standard checked bag option on most flights. But despite its ultra-compact form factor, the Quantum112 is still every bit a Quantum in terms of its pedigree.

Based on the latest seventh-generation FPGAs, the desk offers 80 input channels with 24 aux/subgroup busses, L-R/L-C-R master busses and a 12x8 matrix, all with full channel processing. Twelve control groups plus two solos are also available.

connections (16 analogue inputs and eight

“Our new Quantum112 is a brilliant illustration of the idiom, ‘Good things come in small packages,’” said DiGiCo managing director, Austin Freshwater. “We originally tasked our R&D team to create a rackmountable Quantum console to replace the SD11, which is now 14 years old, and they absolutely outdid themselves. Not only is rackable, but it’s also small and light enough when cased to be under the magic size and weight numbers when

Sporting a 17-inch, 1,000-nit, high-brightness multitouch screen with both a meterbridge and soft quick select buttons for speedy and intuitive operation, the Quantum112 is additionally equipped with 18 individual TFT channel displays to provide clear user feedback and interaction. Beneath the main display are a dozen newly sourced 100mm touch-sensitive faders, selected for their smooth movement and precise control.

The desk incorporates all the usual Quantum features such as Mustard Processing channel strips (20), Spice Rack plugin-style native FPGA processing options (six) and Nodal Processing (24). Twelve graphic EQs are further available, as are eight FX Rack slots.

Other highlights include Stadius 32-bit ADC and DAC conversion, dual DMI slots and a host of versatile I/O options, including Dante (64 channels in and 64 channels out at both 48kHz and 96kHz), MADI (redundant or single), optional optics, AES and local

Neutrik Ultra High-Speed HDMI® Cables

“The initial brief really challenged our team, driving us to research new materials, optimise design techniques and inversely shrink topologies while increasing performance,” confirmed DiGiCo head of research and development, Michael Aitchison. “Our previously smallest console, the SD11, weighs 24kg without packaging, and 73kg when flight-cased, so it wasn’t a proper flypack product. The new Quantum112 is nearly 70% lighter, but still incredibly solid and far more powerful. We’re extremely proud with how it has turned out and suspect that our customers will be quite pleased with it, too.”

www.digico.biz

DiGiCo adds to the Quantum range with its first flypack mixer

Calrec adds more faders to the Argo M

CALREC HAS expanded its family of Argo M control surfaces with the addition of a 48-fader console. Completing the Argo M range and the Argo family, the new console enables broadcasters to utilise the extra fader count while still embracing its space-saving design.

The Argo M delivers all the familiarity of Calrec’s flagship Argo platform in a streamlined 24-, 36- and new 48-fader footprint. They have been designed to maximise desk space with fullsized fader strips and intuitive controls built for the most demanding productions. With plug-andplay ST 2110 and cloud connectivity, the Argo M is said to give immediate high-performance control, so broadcasters can focus on creating outstanding content at scale.

With up to 356 channels of internal DSP, the Argo M features built-in analogue and digital audio I/O and GPIO, three modular I/O expansion slots and a MADI I/O port via SFP. The ability to connect to an ST 2110 networked environment and to an existing Calrec ImPulse core alongside other Argo surfaces means it can quickly create multi-console IP environments, while connectivity to ImPulse, ImPulse1 and ImPulseV means additional external DSP paths can be easily added as production demands change.

With seamless ST 2110 integration, touchscreens that can switch between metering, and intuitive UI control and support for immersive formats up to 7.1.4, the Argo M provides a compact and portable IP mixing solution designed to meet the full spectrum of live broadcast production demands.

Meanwhile, the manufacturer’s 48-fader Argo S console is sporting a new software update.

V1.4 introduces enhanced routing strip functionality that enables users to view every fader’s routing simultaneously on the touchscreen and switch rows of physical controls to other strip modes such as EQ, Dyn or Pan. It also enables the Argo Q to support two sets of custom wild panels per section.

A new Tiles feature allows fully customisable up-stand meter layouts with thumbnails, while the mix-minus workflow has been streamlined, enabling any bus to feed a channel’s mix-minus output rather than just the auto-minus. It also adds the ability to select a different output when fader closed to when it’s open and allows users to “interrogate” the console to access routing information of busses being used for a path’s main output. Additional updates

include DAW control of MIDI on the Argo platform, improved NMOS control, enhanced status updates and monitoring, and seamless integration with Calrec Connect.

Finally, Calrec has also added Apollo+ and Artemis+ to the True Control ecosystem, while

Stagetec expands its portfolio

COMPLETELY REDEVELOPED from the ground up and based on latest technologies, On Air from Stagetec is a modular console solution designed specifically for the needs of modern production environments – from radio stations and theatres to AV and broadcast applications. The console provides a compact design with flexible control options either via onboard hardware and touchscreen controls or via a browser-based interface for remote-control operation. With native IP integration, PoE operation and seamless setup and workflow, On Air is suitable for spaceconstrained installations, self-operated setups and centralised control rooms. Whether in studios, OB vans or decentralised production environments, the console is said to bring

Expanded IP support

AIMING TO strengthen integration with broadcast networks, Audinate has expanded Dante support to enable ST 2110 and AES67 configuration directly in Dante Controller. It has also added 96kHz sample rate support and broader ST 2110 network compatibility. Audinate says the enhancements strengthen Dante’s role in bridging audio and video workflows across modern broadcast networks and give broadcast teams more flexibility in how they manage ST 2110-30 and AES67 audio flows. Core configuration tasks such as defining flow parameters and adjusting PTPv2 clock settings can now be completed directly in Dante Controller without the need for Dante Domain Manager. Meanwhile, more complex systems can continue using Dante Domain Manager to automate configuration, apply global policies and coordinate settings across subnets, while also taking advantage of expanded device-level control. Dante now

also supports ST 2110-30 AX, BX and CX conformance levels, ensuring interoperability with systems and equipment operating at higher sample rates.

In addition, features such as the ability to assign flows within a broader multicast address range, define custom RTP payload IDs and specify PTPv2 clock DSCP values are all designed to improve compatibility with third-party devices, support a wider variety of network designs and provide long-term flexibility as systems scale and evolve. Meanwhile, Dark Mode generates email notifications when devices go offline and provides advanced log filtering to quickly identify issues, device importance ranking within sites, signal presence indicators for transmit and receive channels, and detailed latency charts for the previous 30 days. Finally, the manufacturer has also announced that AI-Media and SyncWords have joined the

Type R has been updated with off-air record, enhanced GPIO talkback, monitor selector follow, mix-minus bus user labels and a large DSP pack with 32 aux busses.

www.calrec.com

that are said to bring Stagetec’s proven system expertise from the audio world into the video domain – IP-based, flexible and fully integrable into existing workflows. The first products in the new range include a software based Multiviewer, Format Converter and IP Gateway: all components are CPU/GPU-based and controlled via a central, browser-based Stagenet interface for seamless operation. Instead of fragmented standalone solutions, Stagetec has created a consistent platform that unites audio and video, with the aim of making professional video technology easier and more efficient than ever, whether in theatres, broadcast studios or AV setups.

www.stagetec.com

maximum scalability, intuitive operation and futureproof technology.

In a new category for the German company, three Video Line products have been unveiled

48-fader Argo M

Simple switching

AMC BALTIC has introduced the DCA series of “modern-looking”, compact Class-D power amplifiers, available in 200W (DCA 200) and 400W (DCA 400)

amplifiers offer simple switch controls for input sensitivity, ground lift and low-cut filter, and they also have over-current and over-temperature protection including audio

power variations. Suitable for live music, background music and conference sound systems, the models have been designed as a replacement for AMC endof-line A series (A 100 and A 200) power amplifiers.

The new versions feature two outputs that can be configured in parallel, stereo or bridge modes, and are capable of driving both 4Ω and 8Ω speakers. The DCA

limiter and variable speed cooling fans. The amplifiers have been designed with Phoenix input and output connectors for fast and more cost-effective installation.

Both units have a 20Hz–20kHz frequency response, a total harmonic distortions (THD) of 0.1% and a signal-to-noise ratio of >100dB.

www.amcpro.eu

Extron ships 8K distribution amplifiers

EXTRON HAS expanded its family of 8K solutions with the release of two HDMI distribution amplifiers that add audio de-embedding and embedding functionality.

The DA2 HD 8K AE extracts 2-channel LPCM audio from an 8K HDMI input and converts it to analogue, while the DA2 HD 8K AI accepts analogue stereo input and embeds it onto the HDMI output as 16-bit LPCM audio at 48kHz. Both units provide two HDMI outputs and are designed to simplify integration in environments where audio processing is required alongside 8K video distribution.

The HDCP 2.3-compliant devices incorporate Extron’s EDID Minder Plus technology, which supports extended memory blocks for displays using EDID and DisplayID. This enables reliable management of advanced formats, including

5K and 21:9 aspect ratio content. Additional features include HDMI 2.1 data rates up to 40.1Gbps, HDR, Deep Color up to 12-bit, 3D, HD lossless audio, input cable equalisation, output muting and continuous HDCP verification via Key Minder. The AI model also offers audio gain and attenuation adjustment and provides +5 VDC, 250mA power on each output for external peripherals.

Engineered for commercial AV applications, from presentation venues to esports arenas, the DA2 HD 8K AE and DA2 HD 8K AI aim to provide integrators with reliable, high-performance options for processing and distributing highdata-rate HDMI signals to both standard and ultra-wide displays.

www.extron.com

SOUND CONTROL Technologies (SCT) has released its USB-AMV adapter, a compact signal converter that merges HDMI video and USB into a single USB-C connection with DisplayPort Alt Mode and audio support. With the rise of USB-C and DP Alt Mode in devices such as Cisco’s Codec EQ and Room Bar Pro, Neat’s Bar Gen 2 and Logitech’s MeetUp 2, AV and IT teams are looking for a way to connect legacy two-cable HDMI/USB systems to these

ListenWIFI

LISTEN TECHNOLOGIES has announced the release of a major update to its wireless audio platform, ListenWIFI, with version 3.2. Introducing enhanced performance, expanded network compatibility and key usability improvements, the update is said to be the most substantial enhancement to the ecosystem since its launch and is aimed at supporting more robust deployment in demanding environments such as houses of worship, conference venues and enterprise facilities.

Among the headline improvements is increased support for complex IT infrastructures. Version 3.2 now ensures seamless streaming across firewalls and Network Address

new single-port, USB-C devices. Most extension kits and tabletop interfaces weren’t designed with DP Alt Mode in mind, leading to compromises in performance or functionality.

While most modern laptops already support DP Alt Mode over USB-C, AV endpoints have lagged behind due to high development costs and limited compatibility. SCT’s USB-AMV helps close that gap, by providing a clean, reliable way to interface with these devices using existing HDMI and USB

sources, ideal for BYOD and BYOM environments. The adapter merges HDMI and USB into one uncompressed USB-C DP Alt Mode output and supports full-bandwidth AV signal transfer with uncompressed video and audio. It has a compact, plug-and-play design and is compatible with a wide range of DP Alt Mode-capable codecs and video bars.

www.soundcontrol.net

Translators (NAT), enhancing the platform’s flexibility in secure and restricted networks. Security has also been bolstered with critical patches, including protection against the high-profile RegreSSHion (CVE-2024-6387) vulnerability affecting OpenSSH servers. Delivering tangible improvements for both integrators and end users, the ListenWIFI mobile apps now feature more transparent permission requests in line with Android and iOS standards, while a new QR code zoom function improves channel access from a distance. The Wi-Fi Audio Receiver has also received a notable upgrade with the addition of a dedicated language button, simplifying multilingual navigation in live settings.

To further assist integration partners, Listen Technologies has introduced mobile app SDKs that allow developers to embed ListenWIFI capabilities into custom applications. The ListenWIFI Manager Software has also been refined, offering a more efficient firmware update process and smoother overall system operation. Customers are encouraged to update all system components – including server, receiver, manager software and mobile apps – to the latest versions in order to benefit from the full suite of 3.2 enhancements.

www.listentech.com

REDUCING CLUTTER and speeding up installation, Just Add Power has introduced the MC-TX1-RACK, a rackmount unit that combines three MaxColor encoders in a single 3U chassis to streamline AV-over-IP deployments. Supporting 4K60 4:4:4 and all audio formats, the MC-TX1-RACK adds an Audio Return Channel (ARC) for 2-way audio integration.

Front-facing ports and Power over Ethernet (PoE) simplify access and remove the need for separate power supplies. By centralising three encoders in one chassis, the unit reduces potential points

of failure and makes troubleshooting easier, improving reliability in both compact and largescale systems. Built on the MC-TX1 MaxColor encoder, it is the first in the lineup to integrate three encoders without sacrificing performance. The MC-TX1-RACK sits within the MaxColor ecosystem and is designed to be paired with Just Add Power decoders.

www.justaddpower.com

Glensound shows its Dark side Disguise

THE DARK8MAI line from Glensound has gained two additions: the Dark2MAI with two inputs and the Dark4MAI with four. Designed to be used as throwdown interfaces wherever microphones or line inputs are required, the units follow the rest of the line in having dual redundant internet connections, over fibre or copper. The boxes can be locally powered, but many applications will use PoE (Power over Ethernet). This is sufficient to provide 48V phantom powering for condenser microphones. The 2- and 4-input boxes use the same circuitry as the rest of the range, providing high-quality, low-noise,

high-dynamic-range capture, suitable for any application from interviews to orchestral music. Meanwhile, the Dark22M is a compact 2-in/ 2-out device. With the same audio quality, network flexibility and power agility as the rest of the range, this adds return or confidence feeds, and the ability to mix and gain control on the device to tune performance to the situation. Like all Dark devices, it can be controlled over the network using the GlenController Windows app, or by any suitable device controller using UDP.

www.glensound.com

DHD Audio broadcasts from anywhere

DESIGNED TO bridge the gap between podcast and broadcast, DHD Audio has released its latest version of the RM1 all-in-one portable audio production and broadcast system. Incorporating features of the original model plus additional tools and options that enable deep integration with studio-based DHD systems, the latest RM1 Pro focuses on added capabilities for remote production, including tighter connectivity at a host broadcasting centre.

Targeted at applications including remote or onsite broadcast contribution, live news production, web radio and podcasting, the RM1 Pro can operate as a voice booth, a workstation or from a flightcase. Housed in a 210mm x 185mm x 44mm (WxDxH) desktop unit, the 1kg RM1 Pro’s compact design promotes its use in restricted spaces. With connection to either a wall outlet or USB-C linked power source, the production system allows core control networking when exchanging logic commands with other DHD devices for talkback or on-air signalling. With access to individual DHD Toolbox configurations, an RM1 Pro user interface can be tailored to any workflow. Behaving like a standard DHD Series 52 core device ensures that additional software and features can be licensed when required. Additional features include AD/DA interfacing, audio preamps, 48V phantom power for condenser microphones, audio mixing, EQ and signal dynamics processing. AutoMix mode

DESIGNED TO cut programming time and free production teams to focus on creativity, a significant upgrade has been released by Disguise to its AI-powered workflow assistant for Designer Pro, Ask AId3n. Now powered by Google’s Gemini 2.5 Pro, the updated Ask AId3n can execute complex instructions via a chatbased interface, from configuring LED screens for a specific venue to sequencing an entire show timeline. The assistant can also build reusable custom tools from user commands, stored in the Disguise Cloud for use across future projects. The platform is aimed at easing the setup of concerts, theatre productions, corporate events and virtual productions. Tasks such as creating layers and keyframes for each beat of a music track or preparing awards ceremony video sequences with section breaks for multiple categories can now reportedly be completed in seconds. Users can review and edit the generated Python code or instruct the AI to “fix it” when adjustments are needed. Ask AId3n is available now as a plugin for all Designer Pro users via the Plugin Gallery in the Disguise User Guide. Claiming a 175% increase in generative graphics power, the GX 3+ is Disguise’s most powerful media server. Built on NVIDIA’s Blackwell GPU architecture, the latest addition to the company’s

GX range includes a two-year Notch playback licence to unlock the full capabilities of Notch 1.0 for generative content playback, from advanced ray tracing and real-time global illumination to complex geometry, physics simulations and multimachine rendering. Showcasing the latest Notch capabilities, the GX 3+ comes with a selection of ready-to-use Notch Blocks created by Disguise’s Creative Services team.

The GX 3+ can reportedly handle 40% more video layers when compared to the GX 3, which Disguise says allows for the creation of more complex video compositions in real time. Featuring 96GB of VRAM, the GX 3+ eliminates previous memory bottlenecks and helps bring Notch 1.0’s deterministic, sparse grid solvers to even bigger canvases. To achieve lower video output latency, users can run their content engine of choice locally on GX 3+ with Disguise’s RenderStream Local infrastructure; this is critical for live IMAG, AR overlays in broadcast or interactive effects in immersive installations where precise timing impacts audience experience. The GX 3+ also supports ST 2110 video output via IP VFC, as well as ST 2110 video capture, enabling seamless integration into IP-based production environments.

www.disguise.one

Teamwork makes the dreamwork

automatically balances incoming audio channels, conforming background audio to a preset level. Avoiding echo and feedback, there are n-1 mixminus clean feeds on all the return channels when connecting external guests. Allowing operation from a PC, tablet or a smartphone, or from a Streamdeck via the API, the control screen can be supplemented by a browser-based interface.

Bringing a level of accessible control to its digital audio mixing and production systems, the Routing Web App is designed for use with its standard XC3, high-capacity XD3 and XS3 DHD IP cores, and all DHD mixers able to run version 10.4 firmware. DHD says the Routing Web App makes the process of assigning and managing incoming sources and output ports fully transparent and easy to view and control.

An HTML5-based web application, the app runs directly on the web server integrated within the processing core. It can be accessed by an authorised operator or technician using any modern browser, and allows the core’s entire I/O channel configuration to be controlled locally or remotely. Individual crosspoint matrices can be created and displayed graphically or as an I/O list, and matrices are storable as presets. The Routing Web App expands the range of DHD Web Apps to six, joining the Assist App, Labels App, Snapshot App, System App and Views App.

www.dhd-audio.com

WITH A collaboration that combines bestin-class hardware and software together to bring customisable control and flexibility to its popular conferencing solution, MVI Audiovisual’s EasyConf software ecosystem now supports Audio-Technica’s ATUC-50 Digital Discussion System. Audio-Technica’s ATUC-50 and ATUC-IR are designed for plug-and-play functionality with a choice of wired or infrared wireless systems, or a combination of the two. All options provide 24-bit/48kHz uncompressed digital audio and can be combined to provide for a maximum of 500 participants.

MVI AudioVisual’s EasyConf software offers a customisable control interface for the ATUC-50 with features for agenda, speech time and voting control and participant identification. The

integration gives EasyConf knowledge of delegate seating position, vote casting and microphone operation, and all conference system features can be controlled from the same customisable interface. Meanwhile, EasyConf Connect extends the possibilities of the ATUC-50 by allowing delegates to join a meeting with their own device, turning an iPad or laptop into a virtual conference device that can be used to join remotely.

The Netherlands-based developer’s software suite also incorporates EasyCam software, designed for flexible livestreaming and meeting recording and boasting fully automated camera control system to show all active speakers.

www.audio-technica.com

www.mvi-audiovisual.com

Shaping Sound Barcelona 1965

As we enter a new decade shaped by 60 years of innovation, Ecler presents EclerPLEX — an advanced AV platform that connects Ecler hardware and software, allowing real-time processing, system deployment, and integration with third-party devices.

Intuitive design

Flexible and scalable modular architecture EclerCLOUD integration

E icient real-time DSP processing

Explore EclerPLEX live at ISE 2026 – Booth 7B300

Coms to the cloud

RTS INTERCOMS has announced the launch of RVOC (RTS Voice Over Cloud), a cloud-based intercom solution aimed at revolutionising communication in mission-critical industries, including broadcasting, live events, corporate enterprise and healthcare. RVOC combines scalability, mobility and security without the constraints of traditional intercom systems. Built on Amazon Web Services (AWS), RVOC operates as an Infrastructure as a Service (IaaS), allowing organisations to deploy and scale effortlessly in their own AWS environment using Infrastructure as Code (IaC) through AWS CloudFormation templates. Supporting up to 2,400 non-blocking ports, RVOC integrates with RTS hardware like ODIN, KP series

Studio Technologies shows face

DESIGNED TO transport one or two contact closures independently or over a standard Ethernet network, Studio Technologies has created two interoperable interfaces. Housed in lightweight, aluminium, tabletop enclosures,

the Model 394 GPI and 395 GPO Interfaces support two general-purpose inputs (GPI) and two general-purpose outputs (GPO) respectively. Providing both data and PoE, each model incorporates a 100BASE-TX (100Mb/s) Ethernet interface and utilises Dante media networking technology for configuration using the STcontroller application.

www.studio-tech.com

keypanels and RVON networks. WebRTC-based connectivity enables low-latency, cross-platform communication, while advanced encryption and authentication ensure security. The RVOC Edge mobile app functions as a virtual keypanel, allowing seamless collaboration from anywhere. With cloud-based controls, REST API support and automated deployment, RVOC is described as a future-ready intercom solution. Meanwhile, the manufacturer has unveiled its HRF Series headsets. Designed for seamless communication in fast-paced, high-pressure environments, the headsets come with the new Flip-To-Mute feature, making muting as easy as flipping the boom up. Re-engaging is just as simple – flip it back down and you’re live again.

In high-pressure production environments –especially sports – there’s no time to fumble with mic controls. Based on the proven HR-1 and HR-2 designs, the HRF-1 (single-ear) and HRF-2 (dual-ear) have been designed for fast-paced production crews where seconds count and silence matters.

Finally, the NOMAD wireless intercom has also been launched. It comes with full-duplex audio,

RTW is in touch with its TMxCore

BASED ON RTW’s TouchMonitor TM7/TM9 technology, the TMxCore metering platform supports evolving workflows in broadcast, postproduction and immersive audio. Unlike traditional integrated meters with built-in screens, TMxCore is a standalone box that can connect to any external display via DisplayPort or over a local network in any network browser. This gives users complete freedom to choose screen size, resolution and placement, whether integrated into a broadcast console or connected to large wall displays. Features include RTW’s latest broadcast and pro audio metering platform, a set of AI-assisted tools for advanced speech intelligibility analysis and a fully compliant suite of loudness and metering instruments. Supporting stereo, surround and immersive formats including 5.1, 7.1.4, 9.1.6 and 22.2, the TMxCore platform is network-ready with RAVENNA, AES67, ST 2110 and Dante options in addition to traditional AES and analogue I/O options. To date, Calrec has become the first OEM partner to integrate TMxCore into its Argo audio mixing console. By embedding TMxCore directly into the control surface, Calrec provides its users with RTW’s advanced loudness and metering

seamless multi-site roaming and a durable design. With IP65-rated hardware, redundant fibre and copper connectivity, and glitch-free ST 2022-7 support, NOMAD provides “a future-ready solution for real-time coordination”. It offers wireless freedom with licence-free DECT-based connectivity for extended range and security; scalability that supports up to 120 access points per system; an integrated AEC speakerphone and enhanced sound processing; continuous operation with simultaneous charging and an 18-plus hour battery life; and seamless integration with RTS Digital Matrix via OMNEO, Dante and AES67.

www.rtsintercoms.com

technology as a seamless part of the workflow.

Specifically designed for RTW’s TouchMonitor 5 and TouchControl 5 platforms, a Network Display feature now allows users to display metering or monitoring in a standard web browser, independent of

Riedel unveils ultra-light Bolero Mini

DESCRIBED AS the company’s lightest and flattest wireless intercom beltpack to date, the Bolero Mini from Riedel Communications has been designed to deliver “maximum mobility with minimal footprint”. It combines Bolero’s wireless performance and audio clarity with a discreet form factor that weighs less than a smartphone, making it suitable for stage talent, rigging crews and anyone who is looking for freedom of movement.

The beltpack is powered by the manufacturer’s ADR technology which provides reliability in challenging RF environments and optimal performance in high-pressure, visibility sensitive settings like theatres, live music venues and broadcast facilities. In addition, it incorporates advanced 5G filter technology for greater resilience in today’s crowded spectrum,

mitigating interference from high-output 5G cell towers.

At just 165g and 28mm thin, the Bolero Mini can be clipped to a costume, worn under a jacket or strapped to a harness. Its low-profile silhouette and black-grey housing help it stay out of sight and out of the way.

Despite its compact size, the Bolero Mini can be deployed in all three network modes for maximum versatility. In Bolero Integrated mode, it operates seamlessly within Artist intercom environments, unlocking the flexible routing, intelligent redundancy and extensive I/O connectivity that power some of the world’s largest productions. This mode supports networks with up to 250 beltpacks, accommodating up to 10 beltpacks per antenna through intelligent bandwidth management. Bolero Standalone Link offers plug-and-play

the device’s onscreen content. Effectively adding the functionality of an entirely new product without additional hardware, Network Display depicts real-time audio measurements remotely within the local network.

www.rtw.com

simplicity, ideal for smaller productions, temporary projects or when Bolero needs to connect to other systems without an Artist matrix. For standards-based IP workflows, Bolero Standalone 2110 (AES67) allows users to build an SMPTE ST 2110/AES67 network with no Artist required. Connecting to standard Bolero IP-networked antennas, the Bolero Mini integrates effortlessly into any Bolero wireless system and is available in both 1.9GHz DECT and 2.4GHz versions.

This streamlined Bolero features four programmable buttons, dedicated volume controls and a small push-pull connector. It also includes Bluetooth for headset or smartphone connectivity, as well as intuitive Touch&Go NFC registration.

www.riedel.net

VINTAGE AUDIO specialist Warm Audio has expanded access to its WA-47 and WA-87 R2 studio microphones with the introduction of the WA-47jr Studio Essential, WA-87jr and WA-87jr Studio Essential models. Each is built around the same professional capsules as their flagship studio counterparts and engineered to recreate the sound profiles of the classic ‘47 and ‘87-style studio microphones.

Both the existing WA-47jr and the WA-47jr Studio Essential are modelled after the flagship WA-47 tube mic and Warm Audio says they offer the same sonic character in a modern, transformerless format. At the heart of each mic is Warm Audio’s vintage-accurate K47-style capsule. The WA-47jr features a dualbackplate K47-style capsule and offers modern flexibility with three selectable polar patterns (cardioid, omni, figure-8), a –10dB pad for capturing loud sources and a 70Hz high-pass filter for reducing unwanted low-frequency noise. Meanwhile, the WA-47jr Studio Essential retains the same core tonal profile with a singlebackplate version of the K47-style capsule in a fixed-cardioid design. Similarly, the WA-87jr and the WA-87jr Studio Essential recreate the tone of the ‘87-style studio microphone. The WA-87jr features a dual-backplate K87style capsule and, like the WA-47jr, it boasts the same three selectable polar patterns, a –10dB pad and a 70Hz highpass filter. The WA-87jr Studio Essential again simplifies the design with a singlebackplate version of the same K87-style capsule and the same ultra-low self-noise, wide dynamic range and fully discrete signal path of the jr.

www.warmaudio.com

Shure unveils first digital array mic for broadcast

DESIGNED FOR precise, experiential audio capture in sports, studio and live event production, Shure has unveiled the DCA901 planar array microphone. With digitally steerable lobes and onboard DSP, engineers can isolate sources, reduce ambient noise and maintain total control over the mix.

As the first product in Shure’s new Arqos portfolio, the low-profile, all-black DCA901 replaces traditional workflows and complex setups with a streamlined, high-fidelity solution. The manufacturer claims that advances in immersive experiences and multichannel audio mean that previously elusive elements including talent dialogue and on-set or onfield movements can now be captured. Minimising crowd noise and bleed, the digitally steerable lobes isolate voices and action. Providing wider coverage than analogue sources, the CA901 delivers up to eight isolated channels of high-fidelity audio and can simultaneously capture 5.1 and stereo conversion. A set of real-time digital tools –including integrated DSP with automixing, EQ, compression and delay – can instantly deliver consistent audio with minimal post-processing. Reducing complexity and onsite setup time, the DCA901’s digitally steerable lobes can replace multiple shotgun or parabolic mics. Combining audio, power and control into one source, a single-cable Dante or AES67 connection simplifies routing and reduces cable infrastructure. Remote control

capabilities allow the adjustment of pickup zones without onsite intervention, while also supporting REMI workflows and alternate feeds with flexible routing.

A collaboration between Shure and EDGE Sound Research in live football broadcasting follows the movement of players, referees or the ball, individually or in combination, in real

Planning for success

BUILDING ON the success of the Sennheiser Room Planner, the manufacturer has released a free online tool for simple configuration of its wireless microphone solutions. Named Wireless Planner, the tool reportedly offers customers switching to a new SpeechLine Digital Wireless or EW-DX microphone system a quick and easy way to decide on the right Sennheiser solution and how best to configure it when designing for education, corporate or live environments. The system has been designed to help customers who are facing tight timelines to quickly complete a Sennheiser wireless microphone setup. The step-by-step, webbased interface allows users to select channel count, receivers, transmitters, batteries, chargers and antennas to meet their specific project requirements.

time. Pairing the DCA901 with Virtual Sound Engine software is revealing moments once buried in the mix.

The manufacturer has also announced that its ShurePlus Channels is now Wireless Workbench Mobile, a next-generation tool for audio professionals seeking seamless management of Shure wireless systems while on the move. The app, available for free on Android and iOS, delivers new tools, including guided alerts and mobile frequency coordination. Wireless Workbench Mobile’s frequency coordination capabilities are currently reserved for iOS and will be available for Android phones in 2026. Designed for speed and precision, Wireless Workbench Mobile delivers wireless control away from the rack or laptop, enhancing productivity and facilitating fast decisionmaking to keep users one step ahead. Customers can assign clean frequencies using built-in coordination tools for reliable setup. The platform provides flexible access via iOS mobile devices for real-time control and connectivity, helping engineers stay ahead of any issues. Users can organise their workspace with tags, colours and favourites, set custom alerts and receive guided steps to resolve issues before they impact the production. The layout highlights critical channel data with new search components, side-panel alerts and clearer labelling for faster navigation and easier scanning.

www.shure.com

After completing a setup using Wireless Planner, users will receive a full summary of their design, including a system overview, itemised Bill of Materials, product names, spec sheets and article numbers. To ensure that every

project detail meets the user’s specifications, additional support from Sennheiser’s technical and sales teams is also available as needed.

www.sennheiser.com

Focusrite adds Windows on Arm support

FOCUSRITE HAS announced full Windows on Arm compatibility for all generations of its USB audio interfaces. Native Arm64 drivers are available to download from the Focusrite website.

The move is said to bring the quality and reliability that Focusrite users have come to expect to both ASIO and non-ASIO applications running on a new generation of Windows laptop and desktop PCs.

Focusrite Control and Focusrite Control 2 control software applications are also now supported on Windows on Arm systems, enabling remote control of select features. The company is planning to further support Intel, AMD and Arm-based Windows systems, with future driver updates continuing to improve performance across all platforms.

www.focusrite.com

WA-47jr Studio Essential

DCA901

Mixing and bussing

studio-quality sound to the stage. Features include Virtual Soundcheck, Metro remote access, live multitrack recording and playback, while Studio One Pro and Capture integration provide scalable I/O and routing flexibility.

Users can set up 16 FlexMixes as auxes, subgroups or matrix mixes to match any workflow. Four dedicated effects busses add reverb and delay without affecting monitor mixes, while four subgroups simplify processing for drums and vocals. With 24 DCAs, group control is said to stay intuitive, flexible and fast. The 64x64 bidirectional audio interface allows users to record individual channels and routing to plugin racks. With StudioLive, any of four available sources can be patched to any channel. Customers can instantly switch between analogue inputs or digital returns (AVB, USB or SD card) at the push of a button and route audio freely to networked devices or a computer.

Additional benefits include the ability to create a custom fader layout with the user layer for fast access to critical channels, while soft patching routes the same source to multiple channels for parallel processing or simultaneous FOH and monitor mixing. User profiles and permissions give administrators full control so they can lock access to EQ, dynamics, gain staging, scenes, projects and level limits to keep less experienced operators on track. PreSonus’s XMAX-Remote preamps provide analogue tone with digital recall, while studio-grade 32-bit floating-point DSP is said to deliver smooth, precise processing. Low-jitter clocking and 115dB AD/DA converters are also included.

www.presonus.com

Audient corrects the room Up the wall for multi-zone control

DEVELOPED IN collaboration with audio technology manufacturer Sonarworks, the ORIA Mini from Audient is described as a compact, yet powerful room correction system designed to give music creators, producers and studio owners the confidence to trust every mix. The ORIA Mini delivers professional-grade acoustic calibration in a dedicated hardware device – no software needed, no CPU strain, no latency and no second-guessing.

Powered by Sonarworks SoundID Reference, the ORIA Mini is an inline hardware DSP solution that integrates between an existing audio interface and speakers. It measures and corrects the acoustic imperfections of any space and applies corrective calibration

directly via its onboard DSP. This is said to ensure accurate, reliable monitoring without relying on plugins or system-wide software. With 32-bit converters, 127dB dynamic range and support for up to 2.1 speaker systems, the ORIA Mini allows users to load up to four unique calibration profiles onto the hardware and switch between them instantly for a speedy workflow. With Sonarworks, customers can also create calibration profiles that simulate different playback environments like a car or mobile phone to check how their mixes will translate to other systems, all without leaving the desk.

www.audient.com www.sonarworks.com

DAD adapts to Dante

DIGITAL AUDIO Denmark has announced the adaptation of Dante firmware version 4.2.7 for its 128-channel Dante SRC card and Thunder | Core products, supporting ST 2110-30 and AES67 enhancements to the current Dante implementation. The Dante firmware update will deliver broader ST 2110-30 and AES67 support, addressing key broadcast requirements. This will be standard for all products shipped from 1 October 2025 and will be free of charge. The updated Dante SRC card is compatible with all card slot-based Penta and DAD products.

The new functionality requires the use of Audinate Dante Domain Manager to enable

EXPANDING THE Sonance

Professional ecosystem, the Wall-M wall-mounted controller is the first product from Sonance since the company’s acquisition of Blaze Audio. It natively pairs with Blaze by Sonance PowerZone Connect amplifiers (firmware 1.8+), requiring no external drivers or additional hardware, and builds on the Blaze Wall-S1 single-source controller with advanced multi-zone functionality to provide control of up to eight zones per amplifier, including source, volume and mute. Optional PIN lock, multilevel access and auto-revert timers are included for security, and its UI is customisable with adjustable screen themes, brightness, button backlight and rotary encoder navigation. Meanwhile, the Wall-M is firmware-updatable to support new features and extend product lifecycle. Designed specifically for integrators, the PoE-powered controller aims to deliver

multi-zone audio control in commercial spaces with installer-friendly setup and an intuitive interface for end users. It is available in matte white and matte black, with models offered for both EU and US installations.

www.sonance.com

and manage the ST 2110 functionality. Once it has been set up, it supports multicast flows, configurable RTP transmit port, configurable multicast address prefix, advanced PTPv2 clocking settings, configurable packet time 1ms/125us and configurable RX latency.

The unit firmware updates are available from the DAD Support website and work across any units that feature expansion card options: AX Center, AX64, AX32, Penta 720 and Penta 721s as well as for upgrade of the native Dante implementation of AX64, AX Centre and Core 256.

www.digitalaudio.dk

Great news from Tabatha

OPTIMISED AND tailored for the implementation of AI in modern TV newsroom productions, Tabatha is the latest module in Ideal Systems’ “Alice” cloud integration platform. Aiming to increase productivity by reducing content search times and increasing search accuracy, Tabatha enables users to search for any highlight across all news and sports genres without requiring contentspecific training. Developed out of a need for integration with both legacy broadcast systems and new media content management systems, it provides an enterprise integration layer for launching AI-assisted workflows, assisting with the creation of news content in

legacy newsroom environments with minimal integration. It also enables management and control of multiple AIs within the same workflows even if they are from different AI providers, providing different billing models and full API level audits of all actions. While Tabatha can integrate with many AIs depending on customer requirements, it launches with a native integration of Comcast Technology Solutions’ VideoAI. Ideal Systems says VideoAI is already used by some of the largest broadcast, media and entertainment companies in the world.

www.idealsys.com

CallMe anytime

RØDE HAS unveiled CallMe, designed to transform remote content creation for the RØDECaster Pro II and RØDECaster Duo. Developed in partnership with UK-based broadcast solutions company Vortex Communications, CallMe delivers ultra-low latency, studio-quality remote connectivity through seamless integration of Vortex’s CallMe Codec capability.

CallMe enables creators to connect remotely over Wi-Fi or Ethernet, without reliance on intermediary software, complex setups or additional gear. Powered by CallMe’s secure, fully integrated SIP IP audio connectivity, users can now immediately connect to another RØDECaster Pro II or Duo. They can also connect to a guest contributor using a browser-based interface, by sending an invite via email or QR code.

calling. CallMe provides support for two remote contributors (two CallMe channels) and unlimited RØDECaster-to-RØDECaster and Web-to-RØDECaster audio calls. Finally, CallMe Pro offers multi-guest support (three CallMe Channels), a fully integrated IP

CallMe is available in three flexible tiers. CallMe Lite is available for free via a firmware update and supports one remote contributor (one CallMe channel), offering up to 10 hours of RØDECaster-toRØDECaster audio calls per month along with a five-hour trial of Web-to-RØDECaster

audio codec with third-party interoperability and advanced SIP calling with full protocol support.

Finally, the manufacturer has announced that its Wireless Micro is now available in red, orange and blue.

www.rode.com

Dragonfly SMPTE

LEMO SMPTE

SmartBeam

RØDECaster Pro II

Waves Audio releases InTrigger plugin

DESIGNED TO make drum triggering faster, easier and more accurate, the InTrigger plugin from Waves Audio includes a hit detection engine that reportedly saves producers and engineers hours of manual tweaking, by handling ghost notes and mic bleed, without manual threshold settings or editing.

InTrigger’s two-step workflow is said to simplify drum replacement: in step one, the system analyses the performance. By clicking the Learn button, InTrigger’s algorithm automatically detects and categorises the drum hits. In step two, users assign a new sample. The Humanise knob shapes each hit’s envelope and dynamics,

Lawo updates .edge platform

WITH 11 freely selectable firmware images, system software v3.2 for Lawo’s .edge helps users simultaneously combine gateway functionality with processing right at the network’s edge. Users are now able to leverage JPEG-XS encoding/decoding alongside essence transport, as well as SDI<>IP and IP<>IP processing such as colour correction, frame synchronisation and 3G UHD Gearboxing. In conjunction with the manufacturer’s HOME platform, .edge enables multiviewer heads based on proxy feeds it generates and the Dynamic Receiver parameter setting in the HOME Multiviewer app to ensure that each PiP/tile uses the smallest possible picture resolution at the highest quality.

Meanwhile, mc2 v12.2.0 is said to bring a host of additional productivity features and workflow refinements to the mc2 mixing platform. These

include enhanced integration with VSM workflow control systems through Audio Matrix Control via the HOME API, enabling tighter, more responsive routing operations. Channel Display management has also been improved with the ability to select up to three different Mini Displays per screen for more at-a-glance information. A newly introduced standard 7-Band EQ module now includes three dynamic bands, offering more detailed and precise audio shaping, especially in demanding live environments. Furthermore, fader user buttons now allow operators to switch banks and layers directly from the fader panel, reducing navigation time during live productions.

Radio v8.2 includes the introduction of the 96kHz XL licence, which brings enhanced DSP capabilities to Lawo’s radio consoles, along with switchable compressor modes that can operate in either automatic or manual settings.

so one sample reacts differently every time and delivers a natural, expressive feel across the song. Users can also stack up to eight sample layers to give drums greater depth and impact. InTrigger also includes a licence for Cosmos, Waves’ AI-powered sample manager, integrated directly into the plugin with access to 1,400 curated one-shot drum samples. These can be used to streamline workflow by letting customers organise samples in context, all within one session. InTrigger Live is also included for use in real-time performance environments. Built for Waves’ eMotion LV1 Classic and SuperRack setups, this version supports manual threshold settings and up to four sample layers. It omits the Learn and Cosmos features for maximum stability onstage.

Introducing full immersive audio mixing capabilities across all SuperRack products, V15 of Waves’ SuperRack now supports 5.1.4, 7.1.4 and 9.1.4 immersive channel configurations. With support across SuperRack SoundGrid, SuperRack Performer and SuperRack LiveBox products, Waves says the update enables new workflows for cutting-edge immersive audio in both live broadcast and concert environments.

Using Waves’ collection of professional plugins, engineers can now craft immersive mixes for live broadcasts, livestreamed events and live concert audio, and, with SuperRack LiveBox or SuperRack Performer, they can also integrate immersive VST3 plugins from other manufacturers. The Waves Immersive Wrapper plugin is also now compatible with all SuperRack products; this means any Waves mono plugin can be transformed into an immersive processor. Immersive Wrapper is now also bundled with SuperRack LiveBox, giving sound engineers and creative artists access to a variety of plugins running natively on a single 2U rack-mountable device with Dante or MADI connectivity.

Finally, the manufacturer has announced that Immersive Wrapper, which until now enabled any Waves mono-compatible plugin to function as an immersive processor for multichannel and object-based mixing in Dolby Atmos and other immersive formats, now supports VST3 plugins from a wide range of third-party developers.

VisTool has also been updated with new features, including the expansion of the source assignment module, direct text input fields for faster configuration, improved touch handling

and refined visual feedback mechanisms for touchscreen operations. www.lawo.com

FOR STUDIO users, SSL has also introduced the Revival 4000, an all-analogue channel strip that recreates the signature sound of the 4000 B and E Series consoles. The unit combines a Jensen transformer-balanced mic preamp, the original B Series De-Esser and E Series VCA dynamics, enhanced with modern workflow options such as soft-knee defeat, fast attack and selectable release curves.

EQ flexibility is provided via SSL’s two most celebrated designs: the “Brown Knob” 02 circuit and the “Black Knob” 242 circuit, originally developed with Sir George Martin for AIR Studios. Additional routing options, re-routable filters, a balanced insert point and an external sidechain input bring contemporary versatility while maintaining the authenticity of SSL’s early1980s’ tone.

The manufacturer has also released version 6.1 of its SSL Live platform, introducing new features for immersive mixing workflows

alongside the launch of the Dante-enabled MPL 16-8 stagebox. The update is designed to give live sound professionals greater flexibility, control and performance, while streamlining connectivity across SSL Live and System T systems.

Live V6.1 delivers a major overhaul of the console’s generic OSC (Open Sound Control) interface, adding a new pan graphic that supports X-Y or X-Z touchscreen interaction, plus encoder and fader control for up to eight fader and eight switch functions. The changes enable

deeper integration with OSC-enabled immersive processing systems, including those based on the ADM-OSC standard. SSL has also enhanced its integrated Dante routing with resource ownership arbitration and a “Load with Owner Override” option, simplifying I/O and surface reallocation across consoles.

Accompanying the software release, SSL has introduced the MPL 16-8 stagebox, a rugged Dante-enabled unit with 16 mic/line inputs and eight line outputs. Designed for cost-sensitive projects, the MPL 16-8 provides single-console control support and is optimised for the SSL Live L100 Plus, L200 Plus and System T TCA platforms. The stagebox offers high-quality mic preamps with a gain range of +5dB to +60dB in 1dB steps, operation at 48kHz or 96kHz, and redundant Dante networking via etherCON RJ45 connectors.

Unified approach to AI

DESIGNED TO enable “smarter, faster and more adaptive media workflows from ingest to delivery”, Telestream’s Vantage AI builds on Vantage’s DNA of automating complex operations. The AI expansion is said to broaden the scope of what can be automated, unlocking immediate and practical efficiencies.

Vantage AI has been designed to take a different approach by delivering context-aware metadata that’s embedded into workflows and ready to trigger real actions, whether automating subtitles, accelerating searches or enabling smarter decisions. It is described as a unified approach to AI that will allow customers to streamline operations, enrich metadata and enhance QC, while maintaining full control over content, infrastructure and cost predictability.

Features include AI-Caption, which generates accurate, multilingual subtitles from audio with

options for human-refined or fully automated delivery; AI-Speech, which creates searchable metadata through transcription, content summarisation and sensitive language detection; AI-Qualify, which detects lip sync issues, subtitle overlap and spoken language mismatches, problems often missed by rule-based QC systems; AI-Vision, which detects logos, scene changes and ad break opportunities to automate segmentation and streamline content repackaging; and AIWorkflow, which uses natural language prompts to create media processing workflows to accelerate production cycles while reducing errors.

The manufacturer has also updated its Argus platform with the introduction of real-time video, audio and caption playback from active alarms, allowing engineers to isolate service issues instantly. Argus provides single-pane-of-glass observability across OTT, satellite, cable, IPTV

and DAA environments. Sentry, Inspector Live and Surveyor probes feed into Argus for centralised fault detection and diagnostics.

Meanwhile, Prism has been expanded to simplify SDR/HDR monitoring and camera shading with enhanced 3D LUT support that enables precise HDR/SDR colour conversions and eliminates the need for external LUT boxes. This is said to streamline live production workflows with easier feed monitoring and setup. Updates to the patented HDR toolset include enhanced luma-

Sound Devices updates 8-Series and Astral Wireless

FEATURE AND firmware upgrades for the 8-Series mixer/recorder and Astral Wireless product lines have been announced by Sound Devices.

V11.0 adds several requested features to the 8-Series CL-16 linear fader control surface, including the new Waveform Display, Speed Shuttling ±32x, Advanced Navigation Tools, Fader Calibration and increased Channel Color options for customisability.

Theory refreshes Automator software

THEORY PROFESSIONAL has announced a new version of its Automator software. Following the introduction of Automator for the manufacturer’s ALC-1809 loudspeaker controller, AutomatorIP provides the ability to deploy Theory and third-party loudspeaker surround sound systems (up to 7.1 or 5.1.2) on its 8-channel DLC-250.8 loudspeaker controller platform.

Developed for integrators deploying surround systems for corporate/executive board rooms,

or immersive retail and commercial spaces, AutomatorIP runs on a connected PC. The interface walks installers through a simple five-step system configuration. According to the manufacturer, with a single DLC-250.8, up to 7.1 or 5.1.2 Theory or third-party surround systems can be configured from start to finish in just 15 minutes.

AutomatorIP key features also include optimised bass management and intelligent power management. With neither microphones

WITH ITS latest v6.11 software release, TiMax has announced an overhaul of its OSC implementation. The update means TiMax SoundHub now supports a range of

OSC dictionaries, enabling out-of-the-box compatibility with third-party control solutions such as QLab, Space Controller and Nuendo. In addition, the company has introduced

The manufacturer has also streamlined the nomenclature of Astral Wireless to more accurately reflect its growing ecosystem of wireless receivers, transmitters and microphones –specifically the Astral ARX32 (previously A20-SuperNexus), Astral ARX16 (previously A20-Nexus) and Astral ARX8 (previously A20-Nexus Go).

www.sounddevices.com

nor cables required, the software has been designed to makes configurations of even complex systems as simple as possible.

www.theoryprofessional.com

a TiMax SoundHub dictionary to enable advanced, bespoke integrations with SSL System T and SSL Live consoles; Atlas Show Control’s software platform for programming, synchronising and automating complex live events; and Grapes 3D Audio Control plugin. The update also introduces an enhancement of the integration between TiMax SoundHub and TiMax panLab’s version 1.3.

With aligned integration between TiMax and third parties dependent on mutual recognition of referenced coordinates, SoundHub utilised its Scaling Surfaces feature to bridge any divide by converting normalised coordinates to the absolute coordinate space. In addition to supporting a range of OSC dictionaries, TiMax says incoming OSC messages can also be manually mapped to TiMax SoundHub commands.

www.timaxspatial.com

qualified CIE chart controls and expanded False Color modes for both artistic and technical review.

Four-port PTP redundancy, in-band test signals and dual-leader configurations for high-availability timing across IP, SDI and hybrid systems have been added to the SPG9000. These new features include ancillary test sequences, such as closed captions over both SDI and ST 2110-40, with the aim of enhancing commissioning workflows and compliance checks.

Finally, Vantage now integrates directly with next-generation media platforms, including Mimir, Iconik, Embrace and Broadteam, to advance interoperability across modern media supply chains. The integrations enable media organisations to automate critical workflows, scale operations on demand and connect cloud and on-premises environments

www.telestream.net

Two for TrueSonic

CUSTOM DESIGNED musicians, DJs and venues searching for professional sound in a portable format, the TrueSonic family from Alto Professional has expanded with the introduction of the TS108C and the TS112C column array systems. Both all-in-one systems are powered by Class-D amplification to deliver wide dispersion without the footprint of traditional box PAs. Both also boast four DSP application-specific modes as well as an app-controlled mixer, 2-band channel EQ and reverb, a balanced XLR mix output and wireless control with the Alto Pro app. The units are also capable of Bluetooth streaming from a variety of popular music apps.

Weighing 15.9kg and with an assembled height of 1.86m, the TS108C features a max SPL of 123dB and 600W peak power. It boasts an 8-inch subwoofer and six 2.75-inch column array speakers to deliver 100° x 30° coverage. It also features a 3-channel built-in mixer with dual combo inputs. The larger TS112C weighs 24.1kg and stands 2m tall when assembled. It has a max SPL of 127dB and 1,200W peak power from a 12-inch subwoofer and eight 2.75-inch column array speakers. Coverage is wider at 110° x 30°, while the unit has a 5-channel built-in mixer with dual combo inputs.

www.altoprofessional.com

Waveform Display on the CL-16

Vantage AI

DESCRIBED AS “the most versatile multi-tool in your road case”, the VIO W12T from dBTechnologies is a high-performance 12-inch coaxial active monitor developed to address the evolving technical requirements of stage monitoring and distributed sound reinforcement across a variety of deployment scenarios.

Purpose-built to perform as a wedge, the W12T features a 12-inch/1.3-inch coaxial neodymium transducer housed behind a rotatable 60° x 40° horn, delivering 138dB SPL (AES75). This configuration is said to provide directional precision and point source coherence for “highly intelligible” performance in short-throw and tightly controlled zones, while remaining adaptable to a range of deployment scenarios via optional rigging hardware. The design makes it suitable for

dBTechnologies launches the VIO W12T KGEAR takes to the seas

selectable high-pass filters (60–120Hz) allows for precise contextual tuning.

For remote control, monitoring and integration, the W12T features native RDNet support via

professional use, the enclosure features a polyurea-coated wooden cabinet, a rugged wraparound powder-coated metal grille and recessed handle design. Weighing 22.5kg and equipped

with M10 rigging points, the W12T integrates seamlessly with VIO W-series accessories –including the new SA-WT pole mount adapter and U-bracket – for secure flown and installed configurations.

According to the manufacturer, the VIO W12T delivers “clean, high-output monitoring with phase-coherent coaxial clarity and consistent VIO voicing”, making it suitable for a wide range of performance styles in demanding live environments. Its compact form factor, flexible mounting options and remote DSP control also make it a valuable asset in auxiliary roles such as stage wings for offstage talent or cue mixes, choir loft fills in houses of worship, side-stage or utility vocal monitoring, speech reinforcement zones, and broadcast or camera wing monitoring.

www.dbtechnologies.com

Small but mighty HK Audio heads out on the

THE SMALLEST

in EM Acoustics’ Reference Series, the R4 has an ultra-compact, 2-way passive design engineered to convey the performance and headroom of its bigger siblings in the most compact package possible.

Expanding EM’s application range below the R5, the company says the R4 is perfect as a front fill or theatrical delay, for reinforcement in a corporate or AV setting, or for deployment in houses of worship. Its enclosure contains two 1.3-inch voice coil 4-inch neodymium LF/MF drivers and a 1.5-inch voice coil annular HF compression drive unit, while the use of a ring diaphragm HF unit retains ultra-low harmonic distortion levels. Meanwhile, the HF drive unit feeds one of two alternate waveguides to deliver a consistency of response both on- and offaxis. As with other Reference Series models, the R4 is supplied with both waveguide options to provide flexibility for both rental users and installation customers. The wide dispersion is 120° x 70°, while the narrower 80° x 70° dispersion offers more

when combined with the FIR processing functions of EM’s Advanced System Amplifier range and its bespoke waveguide design, the R4 yields flat frequency and phase responses. Externally, the enclosure is coated with an impact and weather-resistant polyurethane finish and is available in both black and white as standard, with custom RAL colour matching options and permanent outdoor enhancements also available. www.emacoustics.co.uk

THE LINEAR 9 Long Throw Pack from HK Audio is described as a scalable system configuration that combines high SPL performance, long-throw precision and plugand-play usability. Developed with the needs of touring professionals and rental firms in mind, the setup offers a road-ready solution for applications where range, clarity and control are needed.

The pack consists of two Linear 9 210 LTA mid/high units and six Linear 9 118 Sub BA subwoofers. This configuration is designed to deliver extended horizontal coverage, high output and a tightly controlled low-frequency response in both mobile and installed environments.

The Linear 9 210 LTA has been engineered for clustered arrays and quick rigging, and features a constant-curvature design for consistent dispersion across the horizontal plane. It can be paired with an 18-inch dualvented bandpass subwoofer to provide depth and definition in the low end.

All components in the Linear 9 range are controlled via HK Audio’s DSP Control software, which enables remote access to EQ, delay, limiter, mute and preset settings. The full system can be managed from the FOH position via a stable network connection using etherCON. In addition, all Linear 9 models can now be upgraded for Milan audio

networking compatibility with a free firmware update. DSP Out allows users to integrate non-networked speakers into the same setup and apply uniform DSP processing, extending the value of existing loudspeaker stock while streamlining control.

www.hkaudio.com

AS PART of the K-array ecosystem, KGEAR has added the GH4 Marine and GH8 Marine loudspeakers to its portfolio of ultra-compact point source, arrayable satellite loudspeakers. Designed for the marine market and outdoor environments, the IP65-rated versions are built on the acoustic quality and design of the original GH4.

Incorporating a 4-inch full-range driver with a dual-coil neodymium magnet, the GH4 Marine is housed in a corrosionresistant stainless-steel enclosure. The 16Ω impedance makes it adaptable to a diverse range of system configurations, while the signature cabinet design promotes tightly controlled audio

dispersion, particularly in open-air or reflective marine environments.

Featuring an 8-inch full-range driver with a dual-cone design, the GH8 Marine inherits the acoustic principles of the GH4 and

can produce a maximum SPL of 129dB. To prevent energy loss and residual noise, its cardioid dispersion pattern ensures lower emission at the rear of the stainlesssteel enclosure and improved control.

Marine-grade accessories, including the K-WALL2LMINI Marine and a ground stake, provide a variety of rigging options.

www.kgear.it

JBL stays in control Quest takes up the challenge

HARMAN HAS announced the launch of the JBL Professional Control 400 Standard Coverage Series and Control 400 Premium Coverage Series Ceiling Speakers. The 15 new models join the Control 400 Enhanced Coverage Series introduced earlier this year. The three tiers have been designed to provide the optimal solution to support any commercial application.

The Standard, Enhanced and Premium Coverage Series share many core features, including sonic performance, reliability, installation features and a contemporary design aesthetic. The nine Standard models are designed to provide high-performance audio at affordable price points; the six Enhanced units include JBL’s Coplanar Radiation Boundary Integrator (CRBI) to provide a more even frequency response throughout the coverage area; while the six Premium speakers include JBL’s proprietary conical Radiation Boundary Integrator (RBI) technology to achieve coverage consistency for installations where audio quality and clarity are paramount.

The Control 400 Standard Coverage Series consists of the Control 412C/T 3-inch, Control 414C/T 4-inch 2-way coaxial, Control 416C/T 6.5-inch 2-way coaxial and Control 418C/T

8-inch 2-way coaxial. The Control 412C/T-VA 3-inch, Control 414C/T-VA 4-inch 2-way coaxial and Control 416C/T-VA 6.5-inch 2-way coaxial are for Life Safety Applications (EN54-24). The Control 414C/T Micro 4-inch 2-way ceiling speaker and Control 414CT Micro Plus 4-inch 2-way high-output ceiling speaker both come with a low-profile enclosure.

Meanwhile, the Control 400 Premium Coverage Series comprises the Control 442C/T 2.5-inch, Control 445C/T 5.25-inch RBI-equipped 2-way coaxial, Control 447C/T 6.5-inch RBI-equipped 2-way coaxial ceiling speaker, Control 447LP 6.5-inch RBI-equipped 2-way coaxial ceiling speaker with a low-profile enclosure, Control 440CS/T 6.5-inch RBIequipped 2-way coaxial ceiling speaker for high ceilings and the Control 447HC 8-inch ceiling subwoofer.

Terminal covers allow for convenient top or side cable entry and the reliable captive dogear design accommodates a variety of ceiling thicknesses, ensuring versatility for any environment. Most options include transformers to support both 70V/100V and low-impedance applications.

pro.harman.com

Neumann expands KH series

EXPANDING THE lineup with solutions optimised for stereo, surround and immersive audio production, Neumann has introduced five subwoofers to its KH series. The KH 805 II, KH 810 II and KH 870 II are joined by two audioover-IP variants – the KH 810 II AES67 and KH 870 II AES67 – offering scalable monitoring options for a wide range of studio formats.

Designed to deliver greater headroom and tighter low-end control in stereo setups, the KH 805 II builds on the success of the KH 750 DSP with approximately twice the output. Positioned as a match for the KH 120 II, KH 150 or KH 310 monitors, the sub is aimed at music production, editing and mastering environments requiring precise bass reproduction.

For multichannel applications, the KH 810 II incorporates bass management for up to 7.1.4 configurations and supports up to 11 connected monitors. It shares the same acoustic design as the KH 805 II, while the flagship KH 870 II doubles the output again, pairing with largeformat monitors such as the KH 420 for full-

DENOTED AS an evolution of weatherproof systems for commercial and hospitality applications, Quest has redesigned the MX loudspeaker series. Engineered for applications requiring extended low-frequency response, high output and clarity, the MX Series currently consists of three weatherproof surfacemount loudspeakers. A broad assortment of accessories promotes venue flexibility and ease of installation.

The 2-way, high-fidelity weatherproof models comprise 4-, 6- and 8-inch versions, for integrating seamlessly with each other to provide consistent, full-range coverage. The 50W-rated MX4 and 60W-rated MX6 models provide a dispersion of 150° x 125°, and the 80W-rated MX8 offers a narrower 140° x 110°. Housed in an IP55-rated ASA injection-moulded cabinet from UV-stabilised materials and with a corrosionresistant grille, the MX Series low-profile cabinets can operate over 16Ω or 70V/100V impedance. The compact, low-profile enclosure enables discreet wall or ceiling mounting, with the respective UB1X included or UB2X optional brackets.

The Melbourne-based manufacturer has also engineered a range of 4-channel power

amplifiers with DSP and network capabilities. The QXD Series features four variants including the QXD-1K 4x250W amplifier. Providing flexible bridged output options up to 2x500W, including 70V/100V capabilities, the QXD-1K features UMAC Class-D technology, ensuring low distortion, high efficiency and low power consumption. Featuring 32-bit/96kHz DSP with FIR/IIR filters, peak and RMS limiters, together with Quest speaker libraries, the 1U amplifier is fitted with a front-panel TFT display, an RJ45 network port and GPIO for local and remote control and monitoring capabilities. Like the QXD-1K, the QXD-2K is housed in a 1U chassis, but the 4x500W amplifier has been designed for higher-output installations at 8Ω, 4Ω, 70V or 100V. Housed in 2U chassis, the QXD-5K and QXD-10K models provide 4x1,250W and 4x2,500W Class-D amplification respectively. Designed for performance-critical installations, all four amplifiers are equipped with advanced protection features, fan-forced cooling, universal mains and a standby power consumption of under 0.5W. Optional expansion includes Dante/AES67 compatibility.

www.questaudio.com.au

scale immersive workflows in postproduction and studio settings.

In addition to analogue connectivity, Neumann has also introduced AES67-compatible versions of the KH 810 II and KH 870 II. Designed for broadcast and networked studio environments, the AoIP models support 12 AES67 channels and offer full compliance with ST 2110, ST 2022-7 redundancy, Ravenna, NMOS and Dante-generated streams. According to the manufacturer, this ensures futureproof system design and flexible interoperability across digital audio networks.

All five models are equipped with a built-in DSP engine and integrate with Neumann’s MA 1 Automatic Monitor Alignment system for full-room calibration, allowing users to tailor the entire monitoring setup, including analogue KH monitors, for optimal phase coherence and accurate low-frequency response. Each sub extends down to 16Hz.

www.neumann.com

MX Series

Ts15 maximises versatility

PK SOUND has introduced the Ts15 subwoofer, a low-frequency offering in the Trinity range of robotically controlled line source systems. The high-output, lowprofile enclosure has an operating range of 33–130Hz and peak SPLs of 136.5dB. It features a front-loaded, long-excursion 15-inch transducer in a bass-reflex design for clean and punchy output. A large vent enables high SPL performance with minimal port distortion. PK Sound’s proprietary VE platform single field-replaceable module located on the rear of the cabinet contains the 2,400W Class-D amplifier, control electronics and power supply. Onboard DSP and AVB end points are said to simplify setup and calibration while

optimising acoustic performance, all routed through Neutrik’s DR Series of IP65-rated connectors. Network-based Auto-Array via PK .dynamics software allows each Ts15 to recognise its position within the system for improved accuracy and simplifies advanced deployments including cardioid configurations and arc delays. Integrated rigging hardware allows for modules to be securely ground-stacked or flown as single units in a wide array of configurations via an optional Bracket Set. An M20 pole mount thread is also located atop the unit, and an optional Caster Kit is easily installed for portability.

www.pksound.live

Keep the noise down!

WITH LIVE sound engineers preferring to use the AES/EBU digital audio connectors of CEDAR Audio’s existing noise suppressors to minimise latency for concerts, festivals, conferences and other live events, the manufacturer has released the DNS 8S, a noise suppressor designed specifically for

paths anywhere within the audio chain. With its standard 4-pin 12VDC input in addition to universal mains power, it’s suitable for use in all live situations, such as theatres and places of worship.

Meanwhile, the manufacturer has also added two processes to its CEDAR icons suite

Next GEN processing

DEBUTING IN Meyer Sound’s ASTRYA-140 screen channel loudspeaker, the Galileo Extended Networking platform – or GEN-1 –brings networked connectivity and onboard signal processing directly to the loudspeaker. While traditional sound system designs rely

transforms each loudspeaker enclosure into an intelligent node on the network. AES67-compatible and optimised for Milan integration, GEN-1 is capable of receiving an AES67 audio stream and performing full onboard processing, including delay and

on centralised DSP to manage processing before distributing signals to loudspeakers, GEN-1 shifts that model by embedding processing at the loudspeaker. Meyer says that this not only reduces cabling and rack requirements but also minimises points of failure and gives system designers greater flexibility in how they tailor systems to specific performance and budget needs. Delivering the processing power of a single Galileo Galaxy channel, GEN-1

EQ, as well as Meyer Sound’s proprietary U-Shaping and Product Integration tools. Configured and monitored via the manufacturer’s Nebra software platform, GEN-1 also delivers system telemetry over a network connection. As the platform evolves, Meyer says Nebra will enable additional control features and user-defined logic for network redundancy and failover.

www.meyersound.com

Hicon reaches the summit

SOMMER CABLE

live sound and broadcast where audioover-IP isn’t required. The DNS 8S offers the same setup, processing and remotecontrol capabilities that make previous DNS hardware simple to use, along with a high-quality AES/EBU breakout cable. This means that users can immediately connect its four XLR male plugs and four XLR female sockets to almost any other professional standard digital audio devices and be working within moments of unpacking. It is suitable for front of house, monitoring, liveto-air broadcasting and anywhere else where near-zero latency and retention of lip-sync is critical.

The DNS 8S also provides fail-safe AES3 audio bypass implemented in the form of hardware relays that immediately connect its inputs to its outputs in the event of a power failure or other significant disruption. This means that users can install it in critical

of plugins. Derived from the CEDAR Studio range, Auto Dehiss and Debuzz offer the same processing, but with new user interfaces that are said to make them quicker and easier to use. Auto Dehiss removes noise in real time without unwanted side effects. It can be used to remove tape hiss and other broadband noise when mixing and mastering, in post and when preparing user copies in libraries and archives. Debuzz removes buzzes and hums with fundamentals as high as 500Hz, and can eliminate unwanted harmonics across the entire audio spectrum. It will track wandering tones so that the problems don’t reappear if the fundamental frequency drifts and, unlike traditional filters, can restore the audio without unwanted artefacts and side effects such as limited bandwidth or the hollow sound introduced by comb filters.

www.cedaraudio.com

XLR connector to its Hicon Alp-Line XLR series. The HI-X3CFA-NXT (female) and HI-X3CMA-NXT (male) come with high-quality, gold-plated contacts for optimum signal transmission. The robust construction in a metal housing reportedly ensures increased durability, while the black silk matte finish is described as visually appealing.

The slim, ergonomic design is said to provide a comfortable feel, making it suitable for daily use in demanding audio, lighting and event technology applications.

The special clamping chuck design provides a pull-out force and, at the same time, facilitates installation. At the end of the connector, a flexible plastic cap with integrated kink protection protects the cable from bending stress. The cap’s rib structure means it can be fitted quickly and easily without any additional tools.

while a black replacement ring for alternative markings is also included. The connectors are suitable for cables with a diameter of 3–8mm. When matched with the SC-Binary 225 DMX cable, it can be used by ambitious lighting riggers and event professionals who need to rely on their equipment even at height.

www.sommercable.com

Tasker focuses on CPR approved products

OVER RECENT years, Tasker has gradually increased its range of CPR approved products so that it can provide solutions that are suitable for all applications in the audio and broadcast worlds. The manufacturer has recently released several cables that are compliant with the most advanced homologations needed worldwide. This is part of a broader approval programme that has already been scheduled up to 2030 and that aims to create a complete range of audio, video and LAN cables for all risk classes required by the new legislation. All of the company’s products are suitable for indoor and outdoor installations. For digital audio, Tasker has unveiled a new range of multipair cables, ranging from two to 12 pairs. The TSK908 CPR Cca is suitable for multiple operating situations such as control of complex lighting systems or connecting to thimble control desks.

For video applications, the company’s 12G-SDI cables are suitable for video signal at 4K

resolution at distances between 40–100m. Available with CPR homologation for medium (Cca) and high (B2ca) fire risk classes, the TSK1078, TSK1079 and TSK1080 are suitable for broadcast installations.

For local area network, video-over-IP over 1GHz and DMX signals, the Cat7a C723 CPR B2ca allows customers to install a single versatile cable that can be used for a wide range of applications.

All the manufacturer’s products are highly shielded, featuring an inner aluminium foil on the pairs and a second foil on the total grouping followed by a dense tinned copper braid shielding. The external sheath, made of a special low-smoke, zero-halogen material, means that the cables are suitable for fixed installations in outdoor environments in direct contact with atmospheric agents.

www.tasker.it

Klotz multiplies its quality multicores

SPECIFICALLY CREATED for multiamplifier systems, the pre-assembled Klotz LP164XY1S 16-channel speaker multicore cable is compatible with all multicore speaker cables with Socapex connectors. Elaborately constructed and capable of replacing up to two 8-channel speaker cables, the LP164XY1S ensures reliable signal transmission over long distances and reduces setup times. The multicore serves as the foundation for the latest LP164XY1S series, which comprises 16 conductors with bare copper strands (class 6, VDE 0295), each with a conductor cross-section of 4mm². Ensuring maximum tensile strength even under extreme conditions down to –40°C, a cold-resistant PVC outer jacket is stabilised with an additional Vectran textile braid. Designed to meet stringent legal requirements in theatres, multipurpose halls, tradeshows and production facilities, the EC1-1225G5 6-channel high-flex EnergyCore is

a power multicore cable for multiple AC power circuits distributed over long distances. The flexible EC1-1225G5 features 12 2.5mm² power conductors of high-purity Cu-EPT1 copper and two 2.5mm² PE protective conductors. The dual 2.5mm² grounding in the EnergyCore ensures effective power transmission, with each of the 12 cores made of finely stranded, bare copper

stability while maintaining high flexibility down to –30°C. For connector options, the multicore can be assembled with either a 16-pin Harting HAN 16ES or a Socapexcompatible RMP419AR. The EMC6 MF power multicore cables were developed for event,

Robe creates a profile

JOINING ROBE’S T-Series and specifically created for theatre and broadcast environments, the T3 Profile has been designed for long-throw applications. Over 31,250 lumens (integrating sphere) emanate from the T3 Profile’s 1,400W MSL (Multi-Spectral-Light) LED engine, offering user-selectable – CMY, RGB or individual colour emitter RGBAL – colour control for nuanced colour work. Colour features include a DataSwatch virtual colour library, factorycalibrated whites, an extensive 2,700–8,000K CCT range, lamp selectable tungsten emulation and MCE multicoloured effects directly from the LED engine. It has a virtually controlled CRI of 80–95+, while UpLift handles can be attached and removed to improve portability.

The iPAINTE LTM comes with a 170mm front lens but weighs 30kg. The optical design

features a 2:1 field ratio, enhanced with a 3–52° zoom range – narrowing the iris allows coverage from 2–52°. In long-throw mode, using patented xR7 technology, this fixture provides ultra-tight beams from 0.7–2° without any of the intensity loss usually associated with engaging an iris.

Said to solve remote power issues for all environments, the PowerDolly weighs 80kg and has a load capacity of up to 200kg for all types of kit, including lights, audio and AV equipment. For all-round environmental protection, the PowerDolly has IP65 ingress protection; for touring and location work, the unit has an IK07 impact protection rating. Selected for safety, longevity and extra stability, the LiFePO4 battery within the PowerDolly delivers long-lasting 5,000Wh power, generating 2,000W for 2.5 hours or over 300W for 16 hours.

Following the initial SVOPATT launch, demand increased for a streamlined model. The SVOPATT Classic can be used as either a scenic element, as a dynamic light curtain or as part of a “pixel matrix” combined with other “pixel”-style fixtures. The SVOPATT Classic has

a Socapex-compatible RMP419AR (male/ female) in the EMC6RMF version or Harting HAN 16ES (male/female) in the EMC6HMFT version.

Developped for mobile applications, the EMC8HMFT is an 8-channel variant with a 16-pin Harting HAN 16E. The lightweight and flexible power multicore cable features 16 2.5mm² power conductors and a 4mm² PE protective conductor. The 4mm² grounding added in EnergyCore ensures maximum protection for 16A operation.

www.klotz-ais.com

nine individual modules, each with six 40W RGBA multi-chips that deliver over 12,500 lumens of output and 132,500 lux at 5m. With a fixed 4° beam angle, each module supports quick-swap diffusers, so the beam spread can be tailored to all design requirements, individually or across the entire fixture.

The IP65-rated FOOTSIE1 MC comes with 24 4W RGBW or RGBA LED multi-chips, increasing to 48 for the FOOTSIE2 MC. The fixtures have a low-profile, 52mm-high design and are said to produce smooth colour homogenisation closer to the source. A self-contained cable tray removes any loose laying cables and reduces trip hazards, reportedly resulting in a cleaner-looking installation with quick and easy connection between fixtures, including various angled corner pieces.

www.robe.cz

Cameo introduces AZOR SP2 IP spot profile

CAMEO HAS expanded its AZOR series with the launch of the AZOR SP2 IP, a compact IP65-rated spot profile designed for both indoor and outdoor use. Equipped with a 300W LED light source delivering 11,100 lumens, the fixture combines a powerful output with a versatile effects package in a weatherproof housing.

Offering a 3–51° motorised zoom, the unit also integrates CMY colour mixing with linear CTO, and an additional colour wheel

featuring eight dichroic filters. A rotating gobo wheel with seven replaceable glass gobos, overlapping prisms, two frost filters and motorised framing blades on four levels provide extensive creative possibilities. The framing shutters can rotate by ±60° for precise beam shaping, while the fixture’s 360° pan and 270° tilt add dynamic movement options.

Optimised for both live and broadcast use, the AZOR SP2 IP includes adjustable

PWM frequencies up to 25kHz for flickerfree camera performance. Control is offered via DMX512, RDM or wirelessly through an integrated W-DMX iDMX adapter, with an OLED display and onboard controls simplifying configuration.

Housed in a durable metal and ABS chassis, the fixture weighs 24kg and is designed for reliable operation in ambient temperatures from –10°C to 45°C. IP65 protection ensures resistance to dust and water, making the fixture suitable for demanding environments such as outdoor theatres, open-air festivals and architectural installations.

www.cameolight.com

THE MAVERICK Storm 1 Flex is the latest addition to Chauvet Professional’s Maverick range. It is an IP65-rated, high-powered spot/ beam/wash combination fixture with a 520W LED source, CMY and CTO colour mixing to create a wide palette of colours, an animation

REPRESENTING THE latest development in the Sharpy line and incorporating several updates aimed at improving output, colour control and reliability, Claypaky has introduced the Ultimo Sharpy, a compact IP66-rated beam moving head designed for use in high-demand production environments.

The Ultimo Sharpy is built around a newly developed 250W ultra-high performance short-arc lamp, delivering a luminous output of 100,000 lux at a distance of 20m. The fixture maintains a compact footprint similar to the original Sharpy while incorporating advanced optics to produce a sharp, halo-free beam. According to the manufacturer, the lamp offers a lifespan of up to 6,000 hours in “Pro mode”, which includes dimming algorithms designed to reduce operational stress during low-intensity cues. Motion features include fast tilt, infinite pan rotation and updated motor control.

wheel, two gobo wheels, two layerable prisms, large zoom range and lightweight aluminium/ magnesium housing. Other features include 16-bit dimming of the master dimmer for smooth control of fades, CRI and CTB filters on the colour wheel for added flexibility, one rotating and one static gobo wheel and a tight 2.6° narrow beam angle for focused air effects. The fixture includes seven rotating and 10 static gobos, along DMX, CRMX, sACN and Art-Net. An integrated sun shield protects the optical path from sunlight when the fixture is off, while a USB-C slot is included for software uploads. Meanwhile, the Strike Saber 10 is an IP65 10-cell batten that can be used as a blinder, footlight or tunable warm-white wash. It has an emulated “red shift” to mimic incandescent fixtures, while 16-bit dimming control provides smooth fades. The fixture is pixel-mappable for intense chase and strobe effects and has a built-in NFC chip. It also includes an easy-to-use OLED display, adjustable Pulse Width Modulation (PWM) and RDM (Remote Device Management) for added flexibility. The 5,959-lumen unit has a colour temperature (at full) of 2,792K, a CRI of 92.9, a TLCI of 91, a 20.9° vertical and horizontal beam angle and a 25.1° horizontal and vertical field angle.

www.chauvetprofessional.com

ETC HAS introduced two additions to its architectural portfolio, the Navis 50 luminaire and the Response 0-10V Gateway R3. Both are designed to enhance flexibility, reliability and integration for modern lighting environments.

The Navis 50 is the latest in ETC’s Navis series of architectural fixtures, delivering a 600-lumen output in a compact 2-inch aperture. Available in fixed white options from 2,700–5,000K, with a 90+ CRI, it also features ETC’s patented Fade to Warm functionality on the 3,000K variant to mimic the red-shift of incandescent dimming. Multiple beam angle options (15°, 25°, 40° and 60°) and damp-location rating make the luminaire suitable for offices, hotels, restaurants and other demanding spaces. Engineered to operate exclusively with ETC’s F-Drive RX system, a single driver can power

and control up to 240 Navis 50 fixtures via lowvoltage Cat6 cabling, simplifying installation and enabling scalable designs.

Alongside the luminaire launch, ETC has released the Response 0–10V Gateway R3, the latest evolution of its power control solutions. The R3 brings enhanced electrical isolation to all 24 channels of 0–10V sink control, ensuring robust performance in retrofit and new installations alike. It supports both sACN and DMX protocols, with user-defined signal precedence, and is UL 924 listed for integration with Directly Controlled Emergency Luminaires. With flexible configuration, customisable dimming curves and control via ETC’s Concert software or its onboard interface, the DIN-rail-mounted R3 gateway is said to offer precision and reliability for critical applications.

www.etcconnect.com

The fixture also supports a Sharpy Emulation Mode, allowing it to replicate the behaviour and timing characteristics of the original model. In terms of colour control, the Ultimo Sharpy features a true CMY mixing system in place of fixed colour wheels. This is supplemented by a 14-colour wheel and a frost filter for beam-to-wash transitions. Dual rotating prisms can be controlled independently or layered with gobos and frost for more complex mid-air effects.

Weighing 19.5kg and measuring 534mm in length, the fixture is designed for ease of rigging in tight or overhead spaces. Its IP66 rating makes it suitable for outdoor use, while the 140mm front lens allows for consistent beam clarity across long distances.

www.claypaky.it

Navis 50

Maverick Storm 1 Flex

Bard-approved lighting

INSPIRED BY Shakespearean theatre, Martin Professional says its ELP MANET 8f LED stage and studio Fresnel blends tungsten warmth with high-efficiency LED performance. Debuting the company’s next-generation light engine, the fixture adopts a six-colour engine featuring red, green, blue, amber, lime and cyan LEDs, to deliver a TM-30 Rf of 95 and a CRI score of 98. Its fully linear colourtemperature control spans 1,850–12,500K in 50K increments. Meanwhile, its 8-inch Fresnel lens delivers soft-edge fades that Martin claims are free of artefacts, while the

9–50° zoom system offers precise lumen control. Standard anti-reflective barn doors enable beam shaping and eliminate glare. Despite delivering over 13,000 lumens of output, the ELP MANET 8f boasts a sub30dB noise rating. In addition, the unit’s integrated manual zoom and optional poleoperated yoke allow for quick and easy focusing from stage to studio, an intuitive menu and control options, including NFC compatibility with the Martin Companion Mobile app that simplifies setup and operation.

pro.harman.com

GLP launches Matrix Eye LED blinders

GLP HAS introduced the first fixtures in its new Matrix Series with the release of the Matrix Eye 2 and Matrix Eye 4. Designed as part of a modular cluster system, the fixtures can be mechanically linked into larger seamless lighting units, offering a flexible approach to stage and event design. Both models employ RGBAL LEDs with GLP’s iQ.Gamut colour algorithm to deliver high-efficiency output and accurate colour rendering. With a CRI above 90 at 6,500K, the fixtures replicate the behaviour of traditional DWE tungsten blinders, including a realistic warm dimming curve, while adding the versatility of modern LED technology. The Matrix Eye 2 houses two LED engines, producing up to 19,650 lumens with a 100° field angle, while the larger Matrix Eye 4 doubles the output to 39,300 lumens from four LED engines. Each head provides ±20°

Long-throw lighting

EXTENDING THE company’s Paragon Series, the IP54-rated Paragon LT is a long-throw LED profile luminaire from Elation designed for large productions and stadium shows. Incorporating a number of proprietary patents, the Paragon LT boasts full output even with framing or animation engaged. It has variable TruTone CRI control that allows adjustment from CRI 70 to CRI 93, a dimming system that claims to boost brightness by 4% and a Turbo Mode to deliver up to 20% more output. The luminaire reportedly uses the largest rotating gobo wheel in Elation’s history, as well as re-engineered frost and zoom systems that cut noise by up to 10dB. At the heart of the Paragon LT is a 1,300W variable CRI white LED engine delivering an output of up to 52,000 lumens. It has a 200mm front lens and a fast zoom range from 3.7–48°, as well as providing a full FX suite: three gobo wheels (two rotating, one fixed), a full animation wheel, overlapping dual prisms, dual frosts and a high-speed iris. Its indexable

High Five

pan adjustment, while both fixtures carry an IP65 rating for indoor and outdoor use.

Control options include DMX, RDM and GLP’s iQ.Mesh wireless protocol, with multiple channel modes and high-resolution dimming curves. Pixel rotation and mirroring effects are built in, while fan speed, PWM frequency and output modes are user configurable. Constructed from lightweight yet durable materials, the Matrix Eye 2 weighs 9.5kg without its yoke, compared to 13.5kg for the Matrix Eye 4. Both can be clustered via a dedicated alignment and linking system, making them suitable for touring applications and fixed installations alike.

GLP says that the Matrix Series is designed to offer maximum performance at a costeffective entry point, ensuring fast return on investment and competitive rental rates.

www.glp.de

THE D3 family from UK lighting and visual control manufacturer Avolites is a five-strong family of control products powered by Avolites’ Titan software. Designed to deliver intuitive programming and operation for multiple

full-blackout framing system provides beam shaping and detailed shutter cuts, while its profile lens can be swapped for a Fresnel wash or PC beam lens.

Combined with a variable linear CTO, Elation says the Paragon LT features its fastest and quietest CMY colour mixing system to date; available as an option, the SpectraColor colour mixing system uses a CMY + RGB mixing array in combination with the variable CTO to deliver an expanded colour range. Its Ultra Dimming system allows for precise low-level control and operates at a refresh rate of 25kHz. For noise-critical environments, a range of lownoise modes minimise distractions for quieter operation. Paragon LT’s specialised theatre mode further reduces sound by slowing specific motors to decrease audibility and resonance. This can be remotely activated, allowing the fixture to adapt to specific situations as the performance requires.

www.elationlighting.com

across all sectors. The console has a mixture of USB-A and -C ports for file transfer, device control and systems integration.

The D3 Wing adds 20 faders to both consoles to provide more physical control during live

lighting solutions, the D3-010, D3-110, D3 Wing, D3 Core and D3 Touch aim to make lighting and visual control more widely available to a greater range of operators, technicians and projects.

The D3-010 is a self-contained, entry-level console that can handle up to eight universes of DMX control without needing a laptop and offers full programming via 10 faders, three encoder wheels and 12 Macro buttons. Pitched to clubs, mobile rigs and events, as well as freelancers wanting to travel light, an external monitor can be added to access Avolites’ Titan processing and a D3 Wing expand the surface with more faders if needed. The D3-110 features 24 DMX universes of control and an inbuilt touchscreen, and is designed for festivals, gigs, performance and dance shows, plus rental and touring fleets

playback as well as during cue stacking and speed programming. Occupying minimal real estate, it brings more flexibility to the control space for media layers and effects, without needing to replace the console. Meanwhile, underpinning the D3 series, the 1U rackmounted D3 Core processor runs Avolites’ Titan software to bring greater versatility and control practicality to installations, remote-controlled shows and space-challenged locations. Finally, the D3 Touch is a pre-configured plug-andplay Titan remote control interface for use with any D3 product, enabling non-technical staff to switch on/off anything from looped show playbacks to house light presets and architectural schemes.

www.avolites.com

Grass Valley expands LDX range

GRASS VALLEY is introducing a series of new live production technologies, including a compact addition to its cinematic camera lineup, a next-generation replay platform and expanded software-defined workflow capabilities built on the AMPP OS architecture. The announcements reflect the company’s continued drive to combine hardware with cloud-native infrastructure for scalable, futureproof production environments.

Headlining the camera lineup is the LDX C180, a compact version of the flagship LDX 180 large-imager model launched earlier in the year. Built around the same 10K Super 35 Xenios sensor developed in-house, the C180 is optimised for Steadicam and PTZ applications, bringing cinematic depth-of-field and high dynamic range to faster-paced live production settings. Its compact form factor is said to allow creative teams to capture moments with a new level of “drama, intimacy and impact”.

The full LDX 100 Series has also received several upgrades. A new UHD/HDR option has been added to the LDX 110, while all models now support cable-less roaming

and low-latency contribution via RF and 5G integration from Vislink. A redesigned

being introduced for installations requiring dedicated 12G connectivity instead of

control for precise HDR and SDR shading, and an optional Optical Low-Pass Filter helps mitigate interference from coarse LED walls without compromising detail or contrast. A new 12G-SDI XCU Cradle is also

ARRI lowers data rates

CREATED TO replace the Alexa 35, the Alexa 35 Xtreme from ARRI incorporates higher frame rates, a next-generation, high-quality codec that reduces data rates, much longer prerecording times, lower power consumption and improved Wi-Fi capabilities. The Alexa 35 Xtreme is available as a new camera or as an upgrade to existing Alexa 35 cameras.

Delivering frame rates of up to 660fps, the Alexa 35 Xtreme reportedly removes the need for a secondary high-speed camera on most shoots. The result is said to be streamlined production workflows, time and money savings, and highspeed footage that matches seamlessly with standard-speed shots in postproduction. The new main processor is equipped with more and faster on-board memory. Frame rates up to 330fps retain the camera’s full 17 stops of dynamic range, while a new Sensor Overdrive mode allows

frame rates up to 660fps at a dynamic range of 11 stops.

The Alexa 35 Xtreme is complemented by ARRICORE, ARRI’s next-generation RGB codec designed to deliver the camera’s high image quality at a more accessible cost by reducing data rates. Flexibility in post is provided, since sensitivity, white balance and tint are not baked in. On-set and post workflows remain consistent with existing Alexa 35 codecs and drives. The ARRI Look File ALF4, ARRI Textures, metadata, the MXF wrapper and audio will behave in a familiar way. ARRICORE is launching in beta to actively engage users and drive rapid enhancement of its capabilities through direct feedback. Most third-party tools that already support the current Alexa 35 codecs will also support ARRICORE.

www.arri.com

Complementing the camera updates is Production Replay X, a softwaredefined platform designed to streamline multicamera ingest, instant replay and highlight creation. Built on AMPP OS and

natively integrated with the manufacturer’s Framelight X media asset management system, the solution enables operators to access, edit and publish content with minimal delay, all within a unified

Also showcased are new features within AMPP Automation, including the launch of the Ignite Protocol Core. This provides native support for over 60 third-party device integrations, offering operators centralised, cloud-based control over hybrid production infrastructures. Finally, the manufacturer has released updates to its Playout X and Framelight X platforms. Playout X’s new features include multi-region resilience, newsflash controls, AMPP Control enhancements and fast-turnaround editing direct to playout, while Framelight X now brings tighter integrations with Mync, EDIUS, Ayrshare, Signiant, Aspera and MASV, enabling faster ingest-to-publish workflows and seamless collaboration across locations.

www.grassvalley.com

Marshall zooms in on the action

THE CV355-27X-ND3 optical zoom NDI (NDI HX2, NDI HX3) camera from Marshall Electronics incorporates a professional-

crispness from ultra-wide to long telephoto shots. The NDI video-over-IP protocol allows for high-quality, low-latency video to

simultaneous outputs with stereo audio embedding.

The CV355-27X-ND3 reportedly operates with exceptional lowlight sensitivity, providing a clear picture in variable and challenging lighting conditions, including houses of worship, live events and other dynamic indoor and outdoor lighting environments.

www.marshall-usa.com

Deeper AI integration

BUILDING ON its first-generation VC-TR40 AI camera, Lumens has deepened its AI integration with the VC-TR41 PTZ camera, integrating additional capabilities to automate media production and delivery workflows. When connected to the Lumens LC300 series 4-channel media processor, the VC-TR41 can be set in either Presenter or Audience Tracking mode. In presenter mode, cameras will track the presenter’s movement across a stage area. In audience tracking mode, the VC-TR41 will focus on any audience member who engages with the presenter by standing. This also automatically switches the media processor to capture the audience member’s involvement. Meanwhile, its Intelligent Director mode is designed to support automated video production, which Lumens says is much sought-

after in the education, judicial and meetings sectors.

Like its predecessor, the VC-TR41 is a 20x HD PTZ with motion-tracking, Zoom certification and compatibility with the CamConnect multi-camera voice-tracking system. It sports IP, HDMI, SDI and USB ports for AV transmission and device control, and is optimised for integration with Panopto and Kaltura content management systems and major video delivery platforms for live and on-demand streaming and secure media archiving.

Finally, the manufacturer has announced that its VC-TR60A is now certified for Microsoft Teams to deliver streamlined integration and fully autonomous functionality.

www.mylumens.com

Panasonic releases Next Gen remote camera controller

WITH THE creation of the AW-RP200GJ remote camera controller, Panasonic Connect aims to streamline operations for large-scale, multi-camera productions. The AW-RP200 builds on the AW-RP150 predecessor and introduces a suite of features including macro capabilities, dual joysticks and enhanced support for complex multi-camera workflows.

The macros allow operators to automate sequences and complex tasks including the control of multiple cameras simultaneously or executing preset actions with a one-touch execution. Combining efficient production with minimal staffing, operators can manage other cameras while a macro is running.

In addition to the primary joystick for pan, tilt and zoom or focus, the AW-RP200 features a second joystick on the left side. The dual setup enables simultaneous control of different functions, offering multitasking and

highly responsive operation. The controller includes 20 customisable buttons, each

AJA adds conversion and IP video solutions

DESIGNED TO streamline signal flow management across broadcast, production and pro AV environments, AJA Video Systems has released two mini converters. The IP25-R connects SMPTE ST 2110 networks with 4K SDI/HDMI infrastructures, while the UDC-4K provides 12G-SDI/HDMI conversion, 4K /UltraHD/2K/HD scaling and frame synchronisation.

For output to baseband 12G-SDI and HDMI 2.0 devices used for confidence monitoring, playout and routing, the IP25-R seamlessly de-encapsulates and converts SMPTE ST 2110 video, audio and ancillary data with frame-accurate synchronisation. Delivering low-latency video up to 4K DCI (4096x2160p60), the IP25-R includes dual 10/25GbE network ports, two HDMI 2.0 outputs and four 12G-SDI BNC outputs.

The UDC-4K includes features that have been engineered to streamline signal flow management, including an integrated colour LCD display and button control panel to save teams configuration time and reduce cable clutter. Active cooling and front-to-back airflow are integral, together with SDI VPID and HDMI Infoframe HDR signalling management, and a built-in EDID emulator.

Bridge Live 12G-4 simplifies the accommodation of connectivity types, resolutions, frame rates, formats and protocols. Combining multichannel UltraHD support to the Bridge Live line of IP video devices together with a Desktop Software v17.6 update has resulted in improvements for AJA’s KONA IP25 SMPTE ST 2110 I/O card. The high-density IP workflow solution supports a range of applications from multichannel video transport and contribution to direct-to-audience streaming, remote production and distribution encoding. Four bidirectional 12G-SDI ports are included for encoding, decoding and transcoding within

with a built-in LCD for clear mode indication. Functions such as camera selection, preset recall and macro execution can be quickly accessed and accurately performed, while up to 200 PTZ cameras can be controlled for large productions.

With its web-based configuration, operators can configure device settings via a connected PC browser, allowing for batch assignment of IP addresses and camera IDs. Reducing setup time for large systems, the interface supports macro creation and custom button mapping. The AW-RP200 offers flexible 3G-SDI input and supports IP video input via NDI High Bandwidth and SRT. Video feeds from a LANconnected camera input are monitored directly on the built-in LCD or via SDI OUT.

pro-av.panasonic.net

Desktop Software v17.6 expands the capabilities of the AJA KONA IP25. With the update, the next-gen IP video and audio PCIe I/O card with 10/25GbE network connectivity, enabling multichannel UltraHD and uncompressed bidirectional SMPTE ST 2110 workflows, includes Video+Key playout/TX per SMPTE ST 2110-20:2022 for combining programme video with keyed graphics and titles. The release adds KONA IP25 support for up to 4:4:4 12-bit 4K and selectable multiple ST 2110-30 audio

the 1U enclosure. The device can convert video between SDI and standard IP video codecs and protocols, including H.264, H.265, NDI, SRT, RTMP and HLS.

streams per video mode for routing up to 16 channels. www.aja.com

Ikegami admires the view

DESCRIBED AS a major addition to its range of viewfinders, the VFE-P711AD from Ikegami is a 7-inch, high-resolution OLED model compatible with all UNICAM-XE and UNICAM-HD cameras. Designed for indoor and outdoor broadcast production applications and based on the established VFL-P700AD LCD viewfinder, the OLED version combines chroma rendition with high brightness and contrast ratio to provide clear visibility even in environments with intense ambient light. The fast response time of the

These include fixed and hinged field hoods, a studio hood, an above-camera viewfinder mount, cables and a carrying case. The VFE-P711AD supports digital interfacing to a UNICAM-XE camera or can be connected via a VFC-700i5 analogue cable to any camera in the UNICAM-HD series. The viewfinder can also be used as a field monitor for an external 3G-SDI feed. Power can be sourced directly from the camera or external 12V DC, allowing standalone operation. Energy consumption is approximately 12W.

OLED panel is said to enhance the operating experience, especially when capturing content in high frame rate mode where precise focusing and framing are important. An integrated waveform monitor and vectorscope plus audio level metering further enhance the VFE-P711AD’s operability in the field. The viewfinder also incorporates two front-facing green/red tally indicators plus a rear-facing red tally. All accessories that fit the existing VFL-P700AD LCD model are compatible with the new OLED viewfinder.

The viewfinder is available in four different versions: Pack S with standard attachments for mounting on a portable camera head with ENG lens; Pack A allowing enhanced pan/ tilt operation on a portable camera head with ENG lens; Pack B allowing enhanced pan/tilt operation on a system expander (SE-U430) for box lens applications; and Pack C for enhanced pan/tilt operation on a studio camera head (UHK-X750/-X650).

www.ikegami.co.jp

THE KE8980MR 4K quad-display KVM-over-IP multiview receiver from ATEN is described as a high-performance solution designed to redefine how operators monitor and control IT infrastructure in mission-critical environments. Supporting multiview access windows for up to 16 physical and/or virtual servers across four displays at a single workstation, operators can freely position server windows across four screens, resize them as needed and overlay multiple server windows to create a customised monitoring layout.

To ensure intuitive and uninterrupted workflows, the KE8980MR features ATEN’s Boundless Switching MX, allowing users to switch between systems in real time by simply moving the mouse cursor across displays or windows, eliminating the need for manual switching.

During active monitoring, the KE8980MR can switch to Operation Mode, featuring Panel Array that displays up to 108 servers in a 6x6 layout for centralised management and streamlined oversight. Simultaneously, it highlights a selected server with ultra-low-latency performance on a dedicated screen, to provide precise, real-time control without compromising visibility of the overall server environment. It is ideally suited for high-pressure environments such as broadcasting, air traffic control, surveillance and other critical operations.

Aiming to meet the growing demands of large-scale, high-performance digital signage applications, the manufacturer has also introduced the VE8962 True 4K HDMI-over-IP extender. Delivering 4K 4096x2140@60Hz 4:4:4 HDMI AV transmission with ultra-low latency over both Ethernet and fibre optic networks, ATEN says the VE8962 ensures reliable longdistance AV-over-IP with LAN/optical failover for continuous system availability across a range of applications, including airports, transit hubs, stadiums, university campuses and exhibition centres.

Boasting advanced compression and upscaling, it transmits HDMI, audio, USB, IR and RS-232 over a single cable. It has power redundancy with both DC and PoE, network redundancy via LAN and fibre, and operational redundancy supported by drag-and-drop web GUI management and control system integration. The VE8962 also supports audio embedding and de-embedding, enabling audio to be integrated into the HDMI stream or extracted for separate delivery. In addition, the VE8962 supports videowall configurations of up to 80 displays in both portrait and landscape orientations, while its daisy-chain capability allows up to 30 receivers to stream from a single source without the need for additional network switches.

www.aten.com

DESIGNED FOR indoor fixed installations where both performance and efficiency are essential, ROE Visual has unveiled an LED display series named Meru. Available in 500mm x 500mm and 500mm x 1,000mm panel sizes with 1.9mm and 2.6mm pixel pitches, Meru reportedly combines precision engineering with energy-efficient operation to suit corporate, public and broadcast environments.

The panels are engineered to a structural tolerance of just 0.05mm, ensuring a flat, seamless surface. Front-mounted magnetic modules allow tool-free servicing, while a wall-mountable frame and modular design streamline installation. A micro-adjustment system further simplifies panel alignment. Optional dual power redundancy provides continuous performance for mission-critical applications, supported by EMC Class B certification for safe operation in complex

environments such as airports and control rooms.

With a 7,680Hz refresh rate, Meru is equally suited to direct-view applications and in-camera use. The display is described as delivering “vivid colours, deep contrast and smooth gradients”, while its energyefficient power supply helps reduce long-term operating costs.

www.roevisual.com

THE 2U iVAM2-MPEG SRT monitor from Wohler can decode MPEG SRT MPEG2, H.264 or H.265 HEVC transport streams, at bitrates up to 35Mbps. The unit parses out MPEG transport

streams and presents operators with PID (packet identifiers) tables, allowing for independent selection of audio and video PIDs for decoding and monitoring. Overlays on the video display

allow for monitoring of closed captions and subtitles embedded in the MPEG transport stream. Audio monitoring for AAC, Dolby Digital+ and MP3 is supported. The unit provides two

4.3-inch LCDs for an easy-to-operate touchscreen interface complemented by a built-in webserver, enabling operators to configure presets, upgrade the unit and view audio meters remotely. The manufacturer has also introduced an optional 12G-SDI re-embed feature, to re-embed 16 audio channels chosen from any connected audio source in the 12G-SDI BNC output. Available on the iAM1-12G and iVAM1 and iVAM2-12G monitors, the feature is available via software activation.

www.wohler.com

Eclipsing others with the G3 Epson expands projector lineup

THE ECLIPSE G3 from Christie is a 6DLP projector that offers true HDR performance and represents the third generation of Christie’s Eclipse technology. Designed for high-end applications like home theatres, planetariums and themed attractions, Christie says the Eclipse G3 delivers a degree of detail and depth of colour not possible with any other projector. With up to 20,000,000:1 sequential contrast ratio – 100 times Rec. 2100 contrast performance – the company claims it can display true black without any residual light and has a colour gamut of

~98% of the Rec. 2020 colour palette. It supports up to 120Hz 2D and active 3D at up to 60Hz per eye at native 4K resolution. With this latest generation of Eclipse technology, the 30,000 ANSI lumen Eclipse G3 is capable of maintaining full brightness for 50,000 hours, and is described as more refined with built-in RGB pure laser illumination and a streamlined, easier-to-install form factor.

www.christiedigital.com

EPSON HAS introduced new projector models designed for venues ranging from lecture halls and galleries right up to immersive digital signage applications. At the forefront is the EB-L890E, a 3LCD laser projector specified

Also making its debut is the EB-L690SE, a compact short-throw laser model offering 6,000 lumens with 4K Enhancement technology. With a 0.5–0.7:1 throw ratio, 1.4x optical and motorised zoom, focus and lens

for large spaces such as conference rooms and auditoriums. Delivering 8,000 lumens of colour and white brightness, it reportedly ensures vivid images even in bright environments. The projector offers WUXGA resolution with 4K Enhancement technology, alongside flexible installation options including a 1.6x optical zoom, wide lens shift and 360° mounting capability. Connectivity covers HDMI, HDBaseT and wireless casting via Apple AirPlay 2, Miracast and Epson’s iProjection, while built-in geometric correction and optional accessories such as the ELPEC01 camera enable multiprojector configurations.

shift, the unit can project large images from short distances, suiting space-constrained installations such as simulators, galleries and meeting rooms.

Completing the lineup is the LightScene EV-115, Epson’s digital signage projector designed to merge lighting and display. Capable of projecting onto almost any surface while simultaneously functioning as a spotlight, the LightScene series creates immersive environments for applications spanning retail, décor and digital art.

www.epson.com

EB-L890E

Blackmagic makes a connection

BLACKMAGIC DESIGN has released its Camera ProDock, which adds professional camera connections to iPhone 17 Pro and iPhone 17 Pro Max. The dock works with the Blackmagic Camera app to add support for external timecode, genlock, audio and SSD recording, transforming an iPhone into a production tool that fits seamlessly into highend studio and on-set environments. Genlock ensures that every frame of video is captured in sync with other sources, such as cameras and switchers, preventing issues like dropped frames. It also lets customers shoot LED walls without distracting flickering or tearing, which is important for virtual production. When customers are shooting with multiple cameras, timecode allows each camera to start and stop recording independently. DaVinci Resolve then uses the recorded timecode to sync the shots from all cameras, so filmmakers don’t need to waste time sorting and manually aligning thousands of shots.

The dock is designed to accommodate a wide range of accessories, from audio recording to external storage and remote controls. It features three USB-C ports for lens and camera control accessories, and high-speed external SSDs for recording. The power management system ensures everything can run at the same time, while powering an iPhone. There are 3.5mm connections for microphones and headphones, and a full-size HDMI output for on-set monitoring.

IP tools come to yellobrik

The Cintel Scanner G3 HDR+ 8/16 has been designed to support 8mm HD and 16mm Ultra HD film scanning. It features a completely new optical assembly that allows customers to get higher-resolution image scanning of these smaller formats, in particular for scanning archived, historical footage. The model retains the same capstan drives, real-time HDR film scanning and includes 8mm and 16mm film gates.

LYNX TECHNIK has added three products to its Series 5000 and yellobrik ranges designed to expand signal distribution, fibre efficiency and IP conversion in broadcast and AV workflows. The DVD 5410 is a 12G-SDI 1x8 distribution amplifier for the Series 5000, supporting all formats up to 12G-SDI. It can reclock or pass signals transparently, with strong return loss for 4K video. An optional power fail relay maintains

continuity during outages, while integration with LynxCentraal enables remote monitoring and error reporting.

The OCM 1800 yellobrik is an 18-channel CWDM multiplexer/demultiplexer, capable of transmitting or receiving up to 18 signals over a single fibre. Operating across 1,270–1,610nm wavelengths, it requires no power and installs into a standard rack, offering an efficient way to increase fibre capacity without new infrastructure.

part of a turnkey solution, the platform is designed to optimise the design, simulation and documentation process of projection environments and enables teams to walk

The RGB LED grid array illumination source is designed to work with a sensitive imaging sensor and ensures customers’ priceless film is never exposed to unnecessary thermal stress and colour fading effects of traditional scanner lamps. The new light source also provides an additional 3.5 stops of HDR, while a new film inspection mode allows customers to see how the original film actually looks compared to the scans the new light source produces.

Finally, the manufacturer has announced DaVinci Resolve 20.2 and Blackmagic Camera 9.8 public beta which add support for Apple ProRes RAW, including footage captured with the new iPhone 17 Pro, and ProRes RAW HQ file formats. In addition, future updates for Blackmagic Camera and Blackmagic Video Assist 12G will also add both ProRes RAW file formats.

www.blackmagicdesign.com

The third addition, the CDE 1922 yellobrik, provides bidirectional conversion between 3G-SDI and SMPTE ST 2110 IP networks. Supporting up to four HD streams (two SDI to IP, two IP to SDI), it handles uncompressed video, audio and ancillary data, with full redundancy via ST 2022-7 protection switching. Built-in NMOS support streamlines device discovery and connection management.

www.lynx-technik.com

through, interact with and collaborate on projects in real time.

Users can import any drawing and instantly project it to real-world dimensions using simple reference points, automatically adapting to any space and enabling users to navigate through the projected plan in true scale, regardless of the size of their physical room. Combined with centralised control covering content management, automation and its communication with projectors, software and other devices, VIOSO says EXAPLAN functions as a centralised dashboard for the entire visual system. With true scale projection of CAD layouts in real space allowing teams to walk through and interact with designs together, VIOSO says the software aims to bridge the gap between conceptual planning and technical execution, reducing miscommunication and helping to avoid expensive mistakes.

www.vioso.com

DEVELOPED AS a companion application for its SP Grid platform, SP Grid Viewer from Stage Precision is now available as a free download in the App Store. The iOS app provides technicians, operators and creative teams with live access and control of their custom-built SP Grid interfaces directly from an iPhone or iPad.

Designed for use in high-pressure environments such as live events, immersive installations and remote system monitoring, SP Grid Viewer supports full-screen user interfaces, portrait and landscape modes and secure connection options. The app allows professionals to connect to the Grid Studio server remotely and maintain control of existing SP Grid deployments from mobile devices. SP Grid is described as a “Swiss-army knife” for digital productions, offering tools to create and route custom control panels, system states, triggers and monitoring solutions across distributed setups. The new Viewer app extends that ecosystem, enabling mobile system management without adding workflow complexity.

www.stageprecision.com

Camera ProDock

Lightware simplifies workflow

THE FREE-TO-DOWNLOAD USB20 1GBe configurator is a Windows-based software tool from Lightware that speeds up USB pairings in a range of systems, including the UCX Series, as well as HDMI-TPN, HDMI-OPTN and UBEXPRO20 devices. It has been created to help both AV and IT professionals pair USB endpoints quickly, automatically discover devices, manage connections consistently, and easily monitor and integrate with control systems.

Designed specifically for Lightware devices with USB 2.0 over Ethernet capacity, the software provides a clean, user-friendly interface.

operating modes (Virtual Hub, MSA or Single Port). Auto-discovery of all Icron-enabled Lightware devices and peripherals is said to simplify the process even further by reducing the need for manual pairing and complex cabling.

According to the manufacturer, there’s no longer any need to rely on spreadsheets or external documentation to understand the connection topology. Graphical topology view provides a visual map of how USB devices and hubs are connected, making pairing devices easy, as well as quickly identifying connectivity issues.

The tool can be used to help prevent IP conflicts and device misconfigurations thanks to DHCP and IP validation that provide conflict-free networks. For large rollouts, the export/import of full configurations via editable JSON files results in standardised deployment at scale. It’s also ideal

Technicians can assign device roles (LEX, REX or BiDi), configure settings and choose from USB

for replicating setups or restoring earlier states, helping to reduce workload. This feature will be

particularly beneficial in universities, boardrooms and corporate workspaces where multiple rooms and many different elements are involved. Thirdparty integration is also fully supported thanks to the built-in REST API, providing direct access to device status monitoring.

The manufacturer has also unveiled the latest firmware update for its whole Taurus product family (including TPX, TPN and the standalone UCX variants). A new security feature called Remote System Logging enables Taurus devices to automatically forward system logs to an external, centralised server, such as SIEM system, in standard syslog formats (RFC3164 or RFC5424). This removes the need to store logs locally, allowing for easier monitoring, analysis and long-term storage. The update also gives administrators simplified visibility into device activity across networks without having to manually access each device individually, making it easier to troubleshoot, detect anomalies and spot suspicious behaviour. This solution will be particularly beneficial for security-sensitive sectors such as banks, government and defence.

Finally, the manufacturer has also integrated Microsoft Teams Rooms into its Taurus universal matrix switchers. As a result, Taurus UCX and TPX users will reportedly benefit from easier content sharing and flexible connectivity options, as well as leveraging the power of USB-C.

go.lightware.com

MATROX VIDEO has introduced its Origin Fabric, a low-level C++ SDK that enables asynchronous media content sharing across applications using the most efficient available transport method. This foundational transport technology from the Matrox Origin framework is being introduced as a forthcoming standalone offering for OEM customers and media application developers.

Key features include automatic routing between sources and destinations, including shared memory for local high-speed transfers, TCP for maximum compatibility or RDMA for low-latency, high-bandwidth networked systems. The SDK supports multiple producers for the same content stream with automatic failover, eliminating single points of failure

According to the manufacturer, the SDK delivers the same scalable, resilient media fabric layer as Matrox Origin, allowing developers to improve performance and interoperability without fully rearchitecting their existing platforms. It addresses a critical need in modern media workflows by enabling vendoragnostic, asynchronous transport across cloudbased, distributed and microservice-oriented environments.

and ensuring continuous service without custom failover logic. It also functions as a transport layer that seamlessly connects multiple applications across different vendors using logical, content-centric routing, making it ideal for distributed, microservice-oriented and cloud-based media workflows.

video.matrox.com

DESIGNED TO reduce cost and complexity, Vizrt’s Viz Engine 5.4 delivers multiplatform graphics from a single workflow and streamlines adaptive design, HDR and simultaneous outputs. Viz Engine 5.4 can be applied in applications ranging from stadium-wide LED walls to immersive studio backdrops with productions currently up to 8K from a single Viz Engine with a fibre connection. With adaptive graphics that flex to any aspect ratio, one design can cater for broadcast, OTT and social simultaneously with multiple formats running in parallel in one workflow.

With HTML5 integration, any live web content such as sports scores or election results can be pulled directly into the graphics and transmitted on-air in seconds. Support for Unreal Engine 5.4 and 5.5 enables hyperrealistic virtual sets and richer visual detail. An automated lens calibration reduces setup time without requiring specialist skills, and the latest rendering options provide more effects.

With the latest release of the Viz Arena 6, AI-powered advancements have been introduced to simplify keying and to speed up live augmented reality graphics and virtual advertising sports production. The virtual advertising and AR graphics solution includes features for simplifying the workflow of operators when integrating AR graphics into live broadcasts. With AI calibration, AR graphics and virtual ads are locked to the field, regardless of camera movement, with graphics getting to air 10x faster. The Sports Intelligent Keyer uses ambient learning to intelligently separate foreground from background, with minimal manual input required. In live sports, action in the control room mirrors the action on the ground. Counting on a reliable system that eases time-consuming and complex tasks means producers can scale quality production –without scaling costs or complexity.

www.vizrt.com

Taurus UCX

Skip the spin to win

Sadie Groom, CEO of Bubble Agency, explains why responsible, honest and intelligent PR and journalism are vital in the age of AI

FOR AS LONG AS I’VE BEEN IN THE PR INDUSTRY –and yes, it’s been a while – the demise of my profession has been declared with surprising regularity. Fifteen years ago, we were told: “PR is dead! SEO is the only thing that matters.” Then came the rise of social media: “PR is dead! Find the influencers!” Three years ago, with the launch of ChatGPT, the chorus grew louder: “PR is dead. Now the robots will write everything for us, for free!” And yet, here we are. The robots are very much among us – and PR has never mattered more.

In the old search world, visibility meant mastering SEO. Entire industries grew up around backlinks, keyword density and metadata, with marketers pouring tens of thousands of dollars a month into clawing their way onto page one of Google, or paying for the privilege.

But that playbook is already going out of date. A recent report from research firm Gartner 1 predicts that by 2028, traditional search will lose half its share to AI tools as people increasingly turn to chatbots and generative platforms for answers. Instead of 10 blue links, users now receive polished, easy-to-read and (mostly) wellresearched responses.

And here’s the crucial shift: those answers aren’t pulled from your “About Us” page or that blog post masquerading as thought leadership, ghostwritten by an eager intern. They’re stitched together from credible, third-party sources – content that’s timely, fact-checked and subject to editorial oversight. In other words: news outlets, analyst reports and trade publications, like Pro AVL Asia and Pro AVL MEA . Because here’s the reality: LLMs (large language models) don’t care what you say about yourself. They care what others say about you.

A 2025 Muck Rack study of more than 1m AI citation links found that 89% came from earned media –journalism, trade press and independent reporting – while branded content barely registered. Another analysis 3 from PR platform PRsay showed that editorial media drives 61% of all LLM content about brand reputation, while corporate websites were cited in fewer than 5% of cases. Research by the Content Marketing Institute found that up to 84% of B2B decision-makers consult trade publications. The takeaway is simple: if you want to show up in AI-driven search results or on an SI’s or procurement officer’s shortlist, you need third-party validation. That blog post you spent weeks polishing? It might boost your CEO’s ego but it’s unlikely to move the needle on your relevance with LLMs.

Trade media: the unsung hero of the AI era

Trade publications may not dominate social media feeds but, in the AI age, they’ve emerged as unlikely power players. They are trusted, respected and, most importantly, indexed heavily by AI systems looking for credible voices. This is especially true in B2B markets. In industries from security and IT to media technology and AV, decisionmakers rely on trade press not just for product updates but for context, analysis and independent validation. These outlets provide the “receipts” that algorithms and executives alike recognise as proof of credibility.

Take the AV industry as an example. Trade publications may not have the mass reach of the Wall Street Journal But, within the industry, they are read religiously by integrators, consultants and end users making multimillion-dollar decisions. When AI models scan for “trusted voices” in the sector, those same outlets feed into the knowledge base.

None of this means you should abandon your corporate blog or branded content efforts. They still matter for brand voice, customer education and SEO in the near term. But let’s be honest: branded content often reads like… well, branded content. AI knows this. Studies of LLM outputs show that corporate blogs and promotional sites are cited in fewer than 5% of brand reputation queries.

Why? Because algorithms, much like humans, can smell the spin. The website content you lovingly polished may charm your CMO but, since it wasn’t published or validated through a credible third party, it won’t shape the answers people are reading, or the models generating them.

So what’s the practical takeaway for marketers staring down this AI-driven future?

• You can’t buy your way into authority. AI rewards credibility. To show up in AI answers, you need earned visibility across trusted outlets.

• Newsworthiness matters more than noise. LLMs are trained to filter out puff pieces. If your announcement isn’t genuinely newsworthy, it won’t stick.

• Storytelling wins over keyword stuffing. Both people and algorithms respond to real narratives. Boring feature lists won’t get you far.

• Repetition builds repetitions. A steady drumbeat of credible mentions, especially in the run-up to major events such as ISE and InfoComm, builds the kind of reputation equity that both machines and humans respect.

• Think audience and algorithm. Write stories that engage real readers and stand up to algorithmic scrutiny.

The future of search won’t be won by louder selfpromotion. It will be won with credibility. If you’re responsible for brand visibility, the mandate is clear: show up in the outlets your audience and the algorithms trust. That means investing in real PR. Work with professionals who cultivate journalist relationships, pitch meaningful stories and translate jargon into narratives worth reading. Because, in the end, the future of search will belong to the brands trusted enough to be cited.

www.bubbleagency.com

1. www.gartner.com/en/newsroom/press-releases/2023-12-14-gartner-predicts-fifty-percent-of-consumers-will-significantly-limit-their-interactions-with-social-media-by-2025

2. www.muckrack.com/blog/2025/08/13/what-is-ai-reading

3. prsay.prsa.org/2025/07/28/news-articles-and-who-they-quote-influence-ai-generated-content-study-finds/?utm_source=chatgpt.com