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ProAVLMEA November–December 2026

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

A CLOSER CONNECTION

CT creates an intimate setup for John Legend in Qatar

MDDI (P) 036/04/2026

TACKLING DIALOGUE INTELLIGIBILITY

PANASONIC MEA PROFILE

BLUE RHINE RETURNS TO DUBAI MALL

BEYOND THE BROADCAST STUDIO

www.proavl-mea.com

Singapore: MDDI (P) 036/04/2026

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DIGITAL MIXING CONSOLE

YOUR SYSTEM. YOUR WORKFLOW.

SCAN FOR MORE DETAILS

GLASS KEYS OVERCOME THE LIMITS OF CONVENTIONAL BUTTONS

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COMPACT, SHALLOW

SELECTED CHANNEL VIEW

TO REACH

TO VIEW YOUR WORK

WORK IN YOUR OWN LANGUAGE

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Contents

Volume 23 Issue Six

November–December 2026

Editor’s Letter AI already seems to be dominating our lives, and I can’t think of many in-depth business discussions I’ve had recently in which it hasn’t at least earned a passing mention. It seems quite disconnected, but one recent conversation that got me thinking about this in particular was whether sound designers should be considered artists. Behind the mixing desk, are they simply turning knobs to the correct positions for an optimal result, or are they shaping the character of a mix in much the same way a painter works a canvas? I suspect that most experienced engineers would recognise their work in the latter description. Our individual experience of sound is, after all, quite subjective. I think this distinction matters when we consider which parts of the job AI might take on. Technical knowledge helps an

NEWS 4 News 24 Appointments 26 Distribution 30 REPORT: Lost in the mix engineer understand what a system can do, but judgement develops through listening, experimenting and learning from experience and current trends. It brought back a comment by Phil Marlowe in our article on pp.34–35 called Who’s doing the work? Starting off as a technician, Phil thought he would remain in that role for his entire career – yet now he leads more than 150 people and oversees one of AVI-SPL’s key territories. If AI is soon to replace the technician, where does the gained experience and wisdom that moves our industry forwards end up coming from? Elsewhere, by the time you read this leader I will back in Dubai for (shockingly) the first time this year. After a particularly challenging 2026, the early indicators for 2027 are looking positive, and the industry is back setting its hopes on a successful season of events.

Email: sluckhurst@proavl-mea.com

FEATURES 32 A second life at Dubai Mall 34 INTERVIEW: AVI-SPL’s Phil Marlowe 36 C OVER: A closer connection for John Legend

38 Setting the pace at Barry’s gym 40 Hidden in plain sight at Joburg Theatre

BUSINESS 42 Letters 34 44 IBC2026 show report 46 T ECH Wisycom’s take on RF-over-fibre 48 PROFILE BeamZ 50 PROFILE Panasonic MEA 52 SPOTLIGHT DLC’s latest event offering 54 SPOTLIGHT Ross Video goes beyond 50 the broadcast studio

NEW PRODUCTS 57 The industry’s most

comprehensive product news

POWERING DOWN 82 Nugen Audio’s Sophie Guest

Yuvaraj Parmar

Carolyn Valliere

Caroline Moss

Karen Wallace

Contributing editor

Editorial coordinator

rlawn@proavl-mea.com

yparmar@proavl-asia.com

cvalliere@proavl-mea.com

cmoss@proavl-mea.com

kwallace@proavl-mea.com

bmeikle@proavl-mea.com

Nick Smith

James Boakes

Jack Stennulat

Adrian Baker

Marne Mittelmann

Sue Su

nsmith@proavl-mea.com

jboakes@proavl-asia.com

jstennulat@proavl-mea.com

abaker@proavl-mea.com

circulation@proavl-mea.com

ssu@proavl-mea.com

General manager

Digital media manager

Sales account manager

Video editor

Sales associate

Digital content creator

Published by:

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

Production manager

Circulation manager

Bea Meikle News editor

Guangzhou manager

LICENCES: Singapore: MDDI (P) 036/04/2026; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

PRINTING: Times Printers Singapore

COVER: John Legend

November–December 2026 PRO AVL MEA 3

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NEWS

CT expands CONNECTME26 UAE

Bringing together clients, partners, freelancers, manufacturers and industry professionals across three days in Dubai, Creative Technology Middle East (CTME) once again hosted its CONNECTME event, which, according to the company, was more than double the size of the inaugural 2024 gathering. The event turned CTME’s Dubai facility into an integrated technology environment. CONNECTME26 was a culmination of efforts between around 80 team members across the company’s technical departments and business operations, with development taking place over approximately eight weeks alongside the business’s day-to-day client operations. The gathering focused on live events, broadcast and systems integration, with showcases incorporating audio, video and lighting technologies from partners including Barco, Epson, Panasonic and ROE Visual. A central feature was a Main Control Room (MCR) built

around a SMPTE ST 2110 IP infrastructure, connecting displays, media servers, cameras, lighting, audio and control surfaces. The scale of the installation was matched by the breadth of technology on show, with CTME using the event to demonstrate how different disciplines and systems can operate as part of a connected production environment. The systems integration activation also included a demonstration of generative AI content running on LightAct servers. “The MCR demonstrated how increasingly complex productions can be designed and operated through shared infrastructure rather than isolated technical systems,” said Tom Stocks, head of technical at CTME. The infrastructure included 12 media servers, 32 LED displays, 14 projection systems, 70 digital signage displays and 24 cameras, alongside more than 900 lighting fixtures and 80 loudspeakers. Approximately

160 million pixels were managed across the system, with video and audio transported via SMPTE ST 2110 and Panasonic KAIROS providing centralised management and switching. The audio department presented d&b audiotechnik’s U-Series, making CTME reportedly the first rental provider in the region to carry the system, alongside demonstrations of L-Acoustics L-ISA and d&b Soundscape immersive audio platforms. Lighting demonstrations included Follow-Me tracking systems, GLP’s DigiFX functionality and Depence² visualisation, while the video department focused on LED, projection, media servers and IP-based production workflows. CONNECTME26 also introduced reCONNECTME26, a dedicated day for the freelance community supporting productions across the GCC. According to CTME managing

director Andy Reardon, the initiative was particularly relevant amid market uncertainty in the region. “Over the past six months, the industry has faced a number of challenges, with projects slowing and market uncertainty affecting many businesses across the region,” Reardon said. “It felt more important than ever to create a space where the industry could reconnect, share ideas and look forward together. Our freelance community plays a critical role in the success of our sector and reCONNECTME26 provided an opportunity to recognise that contribution while creating new opportunities for collaboration.” The event also brought NEP Group capabilities into the CONNECTME concept for the first time, reflecting the companies’ shared presence at the Dubai facility and creating further opportunities for collaboration. www.ct-group.com/me

Golden Sea takes stake in Follow-Me WORLD

Chinese entertainment technology group Golden Sea has acquired a majority stake in Dutch performer tracking specialist Follow-Me, bringing the manufacturer’s tracking technology into the group’s portfolio of live entertainment brands. Through the agreement, Follow-Me will retain its independent status while gaining access to Golden Sea’s R&D resources, manufacturing capacity and international network. Follow-Me, which is marking its 10th year of operation, develops fixture-agnostic tracking systems for live entertainment applications. Its portfolio includes the Track-iT automated tracking system and DELT∆, its latest manual performer tracking platform. The companies said the acquisition will cover applications spanning touring, events, theatre, broadcast, themed entertainment and permanent installations, combining Golden Sea’s expertise in entertainment lighting technology with Follow-Me’s performer tracking systems.

The partnership is also intended to expand the manufacturer’s access to new markets and customer groups, with Golden Sea’s engineering and manufacturing capabilities supporting the development and wider deployment of its tracking technology.

“Access to Golden Sea’s global engineering resources, facilities and international network provides us with the platform to deliver even more for our customers,” said Erik Berends and Marc van der Wel of Follow-Me. “Our partners, customers and employees will all benefit

from the momentum this brings to the live entertainment market.” Christopher Agius Ferrante, vice president Golden Sea, responsible for overseas subsidiaries, added: “This agreement truly underpins our strategy to architect a portfolio of complementary brands, each at the top of its game. We warmly welcome Follow-Me into the Golden Sea family.” Under the agreement, Follow-Me will remain headquartered in the Netherlands, with its existing team staying in place and plans to expand in the near future. Cofounder Erik Berends will continue as technical director, while Marc van der Wel remains managing director. Cofounder Gary Yates, who has been involved in building the company since its formation, will step down as director but will continue as an advisor to the board. en.goldensea.com www.follow-me.com

4 PRO AVL MEA November–December 2026

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NEWS

Planetcast acquires BroadStream WORLD

Planetcast has acquired BroadStream Solutions, adding integrated playout, captioning, subtitling and broadcast workflow technology to its global media services and distribution offering.

The acquisition will see BroadStream form the foundation of a newly established products division within Planetcast. The division will combine the former’s software portfolio with the latter’s media services and infrastructure, targeting linear, streaming and hybrid workflows. BroadStream’s OASYS Integrated Playout platform will form a key part of the new division, alongside solutions for time delay, captioning, subtitling and accessibility workflows. According to Planetcast, the combination is intended to allow broadcasters and content owners to connect capabilities across content preparation, playout, localisation, streaming and distribution. “BroadStream is a natural fit for Planetcast as we expand our product capabilities alongside our global services business,” said Sanjay Bhatt, CEO, Planetcast. “This acquisition brings

together BroadStream’s proven broadcast products with Planetcast’s services and global infrastructure to support customers across more of the content lifecycle. The combination creates new opportunities to connect these capabilities across content preparation, playout, localisation, streaming and distribution, while giving customers the flexibility to build solutions around their specific operations and growth plans.” BroadStream CEO David Bowes will lead the new products division, overseeing product strategy, development and go-tomarket activities. The company says the move will also support existing customers and partners during the transition. “BroadStream has always focused on where our customers want to go next and how we can help them get there,” said Bowes. “Joining Planetcast gives us a much broader portfolio, greater global reach and access to new resources. Together, we can build on the relationships and solutions we’ve established with our customers, introduce additional capabilities as their needs evolve and bring that same approach to new customers and markets around the world.” For Planetcast, the acquisition expands its offering beyond media services and distribution infrastructure into a broader portfolio of broadcast software products. The company added that the products division will support further product development and wider global availability of its media technology portfolio. www.broadstream.com www.planetc.net

WyreStorm powers hospitality education UAE

A new hospitality academy in Abu Dhabi is combining professional production facilities with plug-and-play meeting spaces, with WyreStorm technology supporting the AV infrastructure across the four-storey education facility. Abu Dhabi Hospitality Academy – Les Roches opened through a partnership between the Department of Culture and Tourism – Abu Dhabi and Les Roches. The academy combines Swiss hospitality education with Emirati heritage, aiming to develop the next generation of hospitality leaders. Abu Dhabi-based systems integrator Advanced Integration Technologies (AIT) delivered the integrated AV environment, designing the technology from the ground up as part of the newly developed building. The academy’s podcast studio supports interviews and curriculum-related content creation by students and teaching staff. The facility includes Canon cameras, Shure microphones and professional production equipment, with WyreStorm extension and matrix switching technology providing supporting signal infrastructure. Reliability was a key consideration, with the system designed to operate consistently in the background without interrupting recording sessions.

In the boardrooms and meeting spaces, the focus shifted to ease of use. WyreStorm presentation switching, wireless presentation and video collaboration solutions have been integrated with Crestron control and room cameras, allowing users to connect, present and collaborate without downloading software or requiring a complicated setup. Rather than applying a single AV configuration throughout the building, the installation was designed around the different requirements of the academy’s production and collaboration spaces. “We had a very clear requirement on this project: the technology had to be reliable, easy to use and ready from day one,” said AIT general manager Sayed Yammine. “The solution gave us the confidence to deliver that across very different spaces, from the podcast studio to the boardrooms and meeting areas. The overall result has been excellent and we are extremely satisfied with how the solution has performed.” The completed environment gives students and educators access to a dedicated production studio, while providing staff and executives with straightforward presentation and collaboration facilities. www.adv-technologies.com www.wyrestorm.com

Epson establishes MENA HQ SAUDI ARABIA

Epson has established a new MENA regional headquarters in Riyadh, expanding its presence in Saudi Arabia after more than 15 years of operating in the Kingdom. Located in the Olaya District, the regional headquarters will serve as a hub for customer engagement, collaboration and regional operations, while supporting Epson’s plans to strengthen local service levels, distribution relationships and its presence in sectors including education. Ryo Tachimori, vice president of business operations for Epson Middle East, Türkiye, Africa, Central and West Asia (META-CWA), will lead operations in Saudi Arabia as general manager. Suat Ozsoy, vice president of commercial operations for META-CWA, will serve as regional director, supported by Saudi Arabia country manager Husam Alzughayyar. Together, the team will oversee strategic direction, business operations, marketing and financial performance.

The move forms part of a wider investment programme across the META-CWA region, with Epson allocating more than US$13mn to facilities and infrastructure. Between 2022 and 2024, the company said its regional facilities investment increased by 28.6%, while personnel investment rose by 45%. “We are honoured to have been granted the official regional headquarters licence, marking a key step in establishing our RHQ in Saudi Arabia,” said Alzughayyar. “The foundation of our new regional headquarters in the Olaya District marks an exciting milestone for Epson as we continue to invest in the Kingdom.” The Riyadh headquarters will work alongside Epson’s Dubai headquarters as part of a wider regional network. Epson also plans to expand its channel partner network and market reach in Saudi Arabia, while enabling closer communication with its R&D operations in Japan. L–R: Suat Ozsoy, Ryo Tachimori and Husam Alzughayyar of Epson

www.epson.sa

6 PRO AVL MEA November–December 2026

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Unlock Flexibility，Elevate EEciency HCS-4895D Fully Digital Delegate Unit Powered by Software-Deened Hardware technology, the unit dynamically reconngures its roles and functions via exible license authorization—instantly switching between Chairman, Delegate, Dual Delegate, and VIP modes with on-demand suppoo for voting and simultaneous interpretation (SI).

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NEWS

AEQ equips Yas Marina press cabins UAE

AEQ OLYMPIA3 commentator units have been installed in the press cabins at Abu Dhabi’s Yas Marina Circuit, providing a combined commentator and intercom solution for sports broadcasting operations. Located on Yas Island, the 5,554m circuit has hosted the Abu Dhabi Formula 1 Grand Prix since 2009, alongside events including the FIA GT1 World Championship, V8 Supercars and the Gulf 12 Hours. The installation incorporates OLYMPIA3, which combines commentator unit functions with digital and IP-based technologies. The system supports large-scale events with hundreds of commentator positions as well as smaller production environments. A key feature is its ability to operate as both a commentator unit and an intercom panel. The Commentator 1 channel incorporates the functions and signalling required to operate as an intercom panel compatible with AEQ

intercom systems, removing the need for a separate panel at the commentator position. OLYMPIA3 also features a hybrid control system, combining local operation with remote management of commentator functions. AEQ’s OLYMPIA3-CU-CONTROL software allows units to be configured and managed remotely, enabling production teams to adapt each position to specific requirements. Intercom functions on the Commentator 1 channel remain under local control when operating as an intercom panel. Each commentator can independently select and listen to the audio sources required for their work. A video source can also be selected as a common reference for all three commentators, providing a shared visual reference alongside individually managed audio. www.aeq.eu

ISE 2027 expands as AV boundaries blur WORLD

As the show expands its focus beyond traditional AV into broadcast, content production, creative technology and other increasingly connected sectors, Integrated Systems Europe (ISE) will return to Barcelona from 2–5 February 2027 with an exhibition floor already 7% larger than 2026. Running under the theme When Worlds Unite, ISE 2027 will maximise its available footprint at Fira de Barcelona Gran Via, including the return of exhibition space at the East Access and a new Outdoor Structure at the South Access. The event will also expand into Hall 8 at Fira Montjuïc, which will host the returning Spark programme and EdTech Congress Barcelona on 3–4 February.

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

“The most interesting opportunities increasingly exist at the points where different disciplines meet,” commented Mike Blackman, managing director of Integrated Systems Events. Spark will return with a significantly expanded programme connecting the AV industry with professionals working across creative technology, immersive experiences, content, entertainment and gaming. Its 2027 edition will feature two stages, an immersive pavilion and live showcases across an enlarged show floor. The organisers are also introducing a Broadcast Enterprise Studio in Hall 4, powered by AVIXA TV, reflecting the increasing overlap between AV, broadcast, IT and content production. The studio will demonstrate technologies and workflows for enterprise content including podcasts, sit-down conversations and stand-up productions, with areas spanning cameras, microphones, lighting, switching, branding, captioning, AV distribution, streaming and editing. The show’s content programme will also grow for 2027. Its Megatrends programme will double in size, covering AI, robotics and machine learning, cybersecurity, smart spaces, sustainability and tradescape. Dedicated half-day summits will focus on digital signage, cybersecurity and control rooms, while the four-day CEDIA Smart Home Technology Conference will return alongside an expanded Open Content Programme. Three keynote sessions include former Google chief business officer Mo Gawdat, who will deliver the Tuesday Business Keynote, while Crestron will bring FC Barcelona CIO Miriam Ferrando to the stage on Wednesday. A Creative Keynote connected with ISE’s work with Casa Batlló has also been announced. www.iseurope.org

Harman brings clarity to Quba Mosque SAUDI ARABIA

Quba Mosque’s latest audio upgrade features a Harman Professional audio system to balance two competing demands: supporting worshippers across an expanded site while keeping sound reinforcement unobtrusive. Situated in Medina and considered one of Islam’s most significant places of worship, the mosque has deployed a system incorporating JBL loudspeakers, Crown amplification and BSS signal processing. Installed in partnership with HAV, the system is designed to provide consistent, intelligible coverage for daily prayers and large gatherings while preserving the mosque’s architectural character and atmosphere. The project follows the latest expansion of Quba Mosque under the King Salman Project, part of Saudi Arabia’s Vision 2030 programme. The development has increased capacity to up to 66,000 worshippers across 50,000m2, placing greater demands on the site’s sound reinforcement. A notable element of the installation is the use of JBL SRX906 line array loudspeakers in the mosque’s four minarets. According to Harman, Quba Mosque is the only mosque in Saudi

Arabia to deploy line arrays in its minarets. The systems provide focused, long-throw coverage for the call to prayer while controlling dispersion and limiting excessive reflections. Inside the mosque and surrounding areas, JBL CBT 70J Series column loudspeakers provide vertical coverage, while JBL Control and AWC Series models extend the system into auxiliary and outdoor spaces. BSS EC-8BV wall controllers and BLU-series DSP processors handle signal routing, equalisation, delay alignment and zoning. The processing has been configured to account for the mosque’s acoustics, with the aim of improving speech intelligibility and maintaining consistency between different areas. Crown XTi and CDi DriveCore amplifiers power the system, providing the required headroom for continuous operation during busy prayer periods. The installation forms part of the mosque’s broader modernisation as it accommodates increasing numbers of worshippers and pilgrims, while retaining the character of a site with a history stretching back to the earliest days of Islam. pro.harman.com

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NEWS

Neutrik welcomes EMEA partners to Dachau EMEA

Neutrik EMEA recently hosted a technical customer workshop at its Dachau office in Germany, bringing together customers and technical representatives from across EMEA and India. The event formed part of the brand’s 2026 customer programme and included a guided tour of the Dachau facility, technical presentations and discussions with engineering and product management teams. The workshop also provided attendees with information on upcoming product developments and the company’s technical roadmap. A key focus was the True1 Data Connector Series which has been designed for outdoor performance and is scheduled for official launch in November 2026. Attendees were given technical information on the connector range including etherCON True1 (RJ45), opticalCON True1 (Fiber Optics) and mediaCON True1 (USB-C) alongside other developments in the manufacturer’s product pipeline, with product managers from Neutrik’s headquarters in Liechtenstein presenting prototypes.

“It was a great event, with top technicians from across the EMEA region and India attending,” said Christoph Hellmuth, regional sales manager MEA and India, Neutrik EMEA. “Product managers from our HQ in Liechtenstein presented the latest innovations, giving attendees the opportunity to touch and feel prototypes of upcoming connector systems. The overall feedback from the participants was very positive. This is definitely not the last time we’ll do events like this in Dachau.” Biren Sheth, CEO of Rishabh Incorporated, Neutrik’s local partner in India, flew in for the workshop. “The technical knowledge imparted by Neutrik during the event was very good. They shared information on upcoming products, including different types of connectors, and the make and feel was very good.” Charbel Zoghbi from Neutrik’s UAE partner, Procom, was also in attendance: “It was a great introduction to the

L–R: Procom’s Charbel Zoghbi, Biren Sheth of Rishabh Incorporated, Neutrik’s Christoph Hellmuth and Robert Izzett from DWR Distribution products, with very important details that we need to know so that we can translate the same into our market later on. We’re looking forward to seeing these products being released in November.”

Also in attendance was Robert Izzett from DWR Distribution in South Africa, as well as representatives from across Europe. www.neutrik.com

SABC invests in Ikegami SOUTH AFRICA

Ikegami cameras are at the heart of a new studio upgrade at the South African Broadcasting Corporation (SABC), which has begun a multiyear transition to IP production at its main facility in Johannesburg. The broadcaster has acquired 14 UHK-X600 UHD camera systems through local distributor and systems integrator Harambe. The deal marks the first stage of a modular upgrade programme that will eventually extend across SABC’s 11 studios. The cameras will initially serve four studios covering news, presentation and production. The investment is part of a modular upgrade strategy shaped by funding constraints, according to Lesetja Lekgotho, GM technology operations (TV), SABC. “Because of the funding challenges, we decided to go on a modular upgrade approach and the camera is the natural place to start because it’s visible to the viewer’s eyes,” he said, adding that

L–R: Dr Vuyo Nyembezi, Michael Laetzsch and Lesetja Lekgotho with the UHK-X600 UHD camera this will be a rolling programme that will cover all the studios.

The wider infrastructure transition is being driven by SABC’s adoption of an Evertz ST 2110 core

router. The broadcaster is initially pursuing a hybrid approach to IP, with the new camera systems forming part of a broader move towards networked production. “Everything has to work with that, as we are building out IP capability from the inside out,” explained Lekgotho. The Ikegami relationship stretches back more than three decades, according to Michael Laetzsch, division manager, broadcast and professional video, Ikegami Europe. The broadcaster has also invested in 12 Ikegami UHL-X40 box cameras for the South African parliament. Installed over the summer, the 1.1kg units were selected for their compact form factor and ability to accommodate longer, higher-quality lenses than typical PTZ setups. www.ikegami.co.jp www.sabc.co.za

Prosistem unveils Istanbul experience centre TÜRKIYE

Turkish distributor Prosistem Group has opened a 600m² experience centre in Istanbul, providing a dedicated space for product demonstrations, technical training and collaboration with dealers, partners and customers. Located on the ground floor of the company’s premises, the new facility is part of Prosistem’s broader investment in its infrastructure, alongside a 550m² office and a 2,000m² warehouse in Istanbul. It replaces the distributor’s previous experience centre and is intended to provide access to Prosistem’s product portfolio in a working environment, allowing visitors to examine equipment, review technical specifications and experience systems in practical scenarios.

The centre incorporates demonstration areas alongside facilities for product and technical training, certification programmes and hands-on workshops. According to Prosistem, the space will serve as a hub for product demonstration, technical guidance and professional collaboration. The opening forms part of a wider development of Prosistem Group, which was restructured under the ownership of Yurder Ertekin in 2024. The group now comprises Prosistem Distribution, Prosistem Project, Concept Audio and YRD Technologies, covering professional audio, professional lighting, hi-fi and high-end audio, electronic equipment and corporate AV solutions. As of this year, Prosistem currently represents a portfolio of 25 global brands and operates a dealer network of more than 150 companies. Its distribution operation is supported by a central

technical service and authorised service centres across 44 Turkish provinces. The Istanbul experience centre also supports the group’s focus on technical training and dealer engagement. Prosistem stated that professional training is provided throughout the year, with its wider business model centred on technical service, after-sales support and solution-focused sales. The company’s 2026 strategy also identifies stronger project and installation support and increased B2B activity as areas of focus, with the experience centre providing a physical base for demonstrations and training as the distributor develops its dealer and project network. www.prosistem.com.tr

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DWR brings network training to Cape Town SOUTH AFRICA

The growing importance of reliable network infrastructure in live event technology was the focus of a recent training course presented by Kyle Freemantle at DWR Distribution’s Cape Town branch. Covering the principles behind designing and commissioning reliable networks, the session explored IP addressing, subnet masks, gateways, network topology and redundancy, helping attendees understand both how networks should be configured and why different protocols are required. “The session covered the key principles of designing and commissioning reliable networks,” said Freemantle. “Most importantly, it highlighted the critical role that robust

network infrastructure plays as the backbone of modern event technology.” Johnny Scholtz, branch manager at DWR Distribution Cape Town, added: “So much of what we do today relies on networking, yet people don’t always understand why they need to configure certain protocols or how everything fits together. We often work on muscle memory, so it was great to see those lightbulb moments when things started to make sense.” Scholtz added that there continues to be a strong appetite for training in Cape Town, with the latest session attracting local attendees as well as a participant from Namibia’s D&B Audio. www.dwrdistribution.co.za

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AZAM TV upgrades with Lawo

TANZANIA

A connected IP audio environment has been introduced aboard one of AZAM TV’s outside broadcast vehicles, with the East African broadcaster upgrading the truck around Lawo’s HOME management platform and mc² production technology. Implemented by German systems integrator Broadcast Solutions, the upgrade combines a 32-fader Lawo mc²36 MkII production console with A__stage80 and A__stage48 stageboxes, an A__digital64 audio-over-IP gateway and HOME-enabled control and management. HOME manages the truck’s IP infrastructure, automatically discovering and managing Lawo equipment alongside third-party devices. The platform supports interoperability across

SMPTE ST 2110, AES67 and Ravenna networks. Audio signals from microphones, commentary units and other sources enter the network through the A__stage80 and A__stage48 stageboxes, while existing AES3-based equipment is integrated through the A__digital64 gateway. This allows AZAM TV to retain existing technology while expanding its IP infrastructure. The mc²36 MkII provides access to networked resources as the main production console, with the IP-based approach reducing cabling requirements and providing flexibility during setup and teardown. “The installation of the Lawo mc²36 audio console marks a significant milestone in AZAM TV’s broadcast infrastructure,” said Raghvendra

Tiwari, HOD – technical, AZAM TV. “It provides a future-ready foundation for IP-based live audio production workflows, delivering greater operational efficiency, enhanced reliability and the flexibility

needed to meet the evolving demands of the broadcast industry.” www.lawo.com

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Shure brings IntelliMix Bar Pro to the GCC UAE

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Shure introduced its IntelliMix Bar Pro to the Gulf market recently at Read the Room: Experience Intelligent Collaboration, hosted with NMK Electronics at NMK Beyond in Dubai. Designed for medium and large meeting rooms, the Microsoft Teams Certified all-in-one video bar combines IntelliMix audio processing with IntelliMix View AI video framing. The system captures speech and visual cues to support AI-generated meeting transcriptions, summaries and insights. “As organisations increasingly embrace AI-powered meeting experiences, high-quality audio has become more critical than ever,” said Ekta Shetty, senior sales director for MEA, India, Southeast Asia and Pacific at Shure. “When every word is captured and transcribed with clarity, AI can generate more

accurate insights, drive greater efficiency and enable more productive interactions.” The event also featured Shure products including the MXA925 ceiling array microphone, SLX-D+, Microflex Wireless neXt with Fusion Mode, MXA901 and IntelliMix Foundation System. “AI is advancing at an incredible pace, fundamentally changing how we communicate and collaborate,” said Alex Kemanes, managing director, MESEA at NMK Electronics. “What has always set Shure apart is its understanding that great collaboration is not about one product, but the entire experience.” www.nmkelectronics.com www.shure.com

Choose simplicity that works. PRIMA delivers compact professional amplification with dependable performance, practical value, and all the qualities you’d expect from a Powersoft amplifier.

Delta Waves hosts Audac Day in Riyadh SAUDI ARABIA

Delta Waves recently hosted an Audac Day training event at its facility in Riyadh, bringing together systems integrators, AV professionals and industry representatives for a day of technical training focused on commercial and installed sound. Led by Naisvyn Lucas, head of AV presales at Venuetech, the session combined product demonstrations with practical training and design guidance around Audac’s audio solutions. Attendees were given an overview of the manufacturer’s latest product developments and system capabilities, alongside live demonstrations of the brand’s hardware in real-world conditions. A key part of the programme was a hands-on workshop covering the manufacturer’s control platform

AudacTouch. The session focused on configuration and control parameters, giving engineers and integrators an opportunity to work directly with the platform. Delta Waves said that the event was held in response to growing demand for audio systems that can be deployed and managed

across corporate, hospitality and commercial applications in the region. “Audac Day provided an exceptional platform to explore high-calibre audio solutions firsthand,” noted Abdulrahman Melhem, business development manager at Delta Waves. “The combination of live demonstrations and the

hands-on AudacTouch workshop delivered immense practical value, giving us clear insight into how these innovations can elevate upcoming projects across our portfolio.” www.audac.eu www.deltawaves-ksa.com

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NEWS

Prosound opens doors to AV community SOUTH AFRICA

More than 300 people registered for Prosound’s Rental Open Day in Johannesburg, bringing rental companies, freelancers, house of worship teams, students, theatre technicians and consultants together for demonstrations, networking and live entertainment. Held at Prosound’s Northlands Deco Park headquarters, the open format allowed visitors to move between demonstration areas at their own pace, getting hands-on with equipment and hearing systems in appropriate environments at realistic operating levels.

“Fresh off Mediatech our open day gave the Prosound team a chance to engage more deeply with the rental industry, allowing them to play with the gear and listen in the right environments and at the required levels,” said Prosound’s Justin Acres. “It was amazing to see so many old friends. Even more exciting was the amount of new faces eager to discover what we have to offer. The energy in the room said it all – our industry is in a very healthy place.” Audio demonstrations from DPA Microphones showcased 4099s for

close-miking, a 4055 capturing kick drum impact and a 2015 stereo pair adding kit ambience. Sennheiser showcased Spectera, headphones and beltpacks, while loudspeaker demonstrations included Electro-Voice and Meyer Sound systems alongside Meyer Spacemap Go. Visitors could also get hands-on with SSL Live L350 and L200 consoles. A dedicated AV Networking room featured technology from Turtle AV, Netgear AV, Ferrofish, Furman and Glensound alongside Dante-based equipment. Riedel Communications technology and wired and wireless Bosch conferencing systems were also available. Elsewhere, Dicolor LED displays were joined by ETC control and entertainment lighting technology, including the GigHog travel lighting console. Outdoor loudspeaker demonstrations took place hourly, with additional Electro-Voice and Meyer Spacemap Go sessions hosted indoors. As the daytime demonstrations wound down, the event moved outdoors for food and drinks before a live performance by Just6. The evening also included Sennheiser and Electro-Voice giveaways, with prizes including Sennheiser SoundProtex filters, Electro-Voice ZLX loudspeakers and stands, and EVERSE 8 and EVOLVE 50 systems. www.prosound.co.za

Sennheiser supports audio training UAE

Sennheiser Middle East has provided wireless audio equipment and technical expertise for a training programme delivered by Skill Tech Audio Engineering Institute in Dubai, giving students hands-on experience with RF coordination and wireless microphone systems. Held during September and October at Dr Head’s training centre, the programme was led by Skill Tech graduate and systems engineer Matthew Blankenburgh. Students worked with wireless microphone systems across handheld, headset, lavalier and gooseneck applications, covering practical RF setup and operation. Training included Sennheiser’s EW-DX system, with students learning to scan and coordinate frequencies, position antennas and route audio over Dante. “Working with professional equipment is an essential part of developing confidence as an audio engineer,” said Andy James Ward, founder of Skill Tech Audio. “Thanks to Sennheiser Middle East, Skill Tech Audio Engineering students get to work with a professional EW-DX system: scanning, coordinating frequencies, placing antennas and running audio over Dante, just as they will on real gigs. That kind of support is shaping the next generation of sound engineers in the region.” Ryan Burr, technical application engineer EMEA at Sennheiser Middle East, commented: “Understanding RF coordination and

management is an important skill for anyone working with wireless audio. We were pleased to provide Skill Tech’s students with equipment and technical guidance to help them understand these systems and approach wireless microphone setups with greater confidence. “Through academic partnerships, hands-on access to equipment and specialised

educational programmes, Sennheiser helps aspiring audio professionals develop their skills. This programme is a valuable opportunity to contribute to the next generation of audio engineers in Dubai and beyond.” www.sennheiser.com www.skilltechaudio.com

Rise AV launches global awards programme WORLD

Rise AV has launched the inaugural Rise AV Awards, a global programme recognising women, advocates and organisations across the AV industry. Entries are now open, with the first awards ceremony scheduled for May 2027. The programme spans technical, creative and business roles across AV, integration, production and live events. Fourteen categories are open to individuals and organisations worldwide, covering areas including early careers, technical achievement, operations, product innovation, sales, marketing, leadership and advocacy.

The awards include a Woman of the Year category, selected by the judging panel, while the Advocate Award is open to individuals of any gender. A Company Award for Investment in Women recognises organisations demonstrating measurable efforts to attract, develop and retain women. Sadie Groom, founder and CEO of Rise Diversity (AV and Broadcast), said: “If we want more women and more diverse talent to see AV as an industry where they can build a career, they need to see people like themselves succeeding. These awards are about celebrating those achievements, creating role models and making sure the incredible people already shaping our industry are seen.” The awards are open to the global AV, integration, production and live events ecosystem, with the ceremony set to be streamed online. Rise AV said the programme aims to highlight the range of careers available across the industry, where women account for 9% of the AV workforce. Entries close on 27 November 2026, with judging scheduled for January 2027. The shortlist will be announced at ISE, with the ceremony taking place in May alongside the Peerless Technology Showcase. “Sponsoring the Rise AV Awards is more than just putting your logo on a screen,” said Rachael Hamilton, managing director of Rise AV. “It’s about putting your brand behind the people and achievements you want to see more of.” www.rise-av.com

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THE LOW END YOUR SYSTEM NEEDS Introducing the ShowTime STS118E Outdoor Subwoofer

ShowTime STS118E is an installation-grade 18-inch subwoofer designed to match the scale and voicing of high-output Bose Professional systems. Combining performance-level low-frequency capability with streamlined installation features, STS118E makes it easy to deliver controlled, impactful bass for music-forward and high-energy applications in permanent indoor and outdoor environments. 18-inch low-frequency driver delivers high-output bass for performance-driven installed sound systems Installation-grade enclosure optimized for ground-stacked or permanent suspended installations Outdoor-rated IP55 construction for indoor and outdoor environments Integrated suspension points enable flexible mounting to accommodate layout and sightline requirements Universal pole cup supports both 35 mm poles and M20-threaded poles for secure loudspeaker mounting Seamless integration with AMU, AMM, and Forum systems

Learn more at BoseProfessional.com/STS118E © 2026 Transom Post OpCo LLC. All rights reserved. ShowTime is a trademark of Transom Post OpCo LLC. Bose is a trademark of Bose Corporation. All other trademarks are the property of their respective owners.

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NEWS

Alpha Acoustics opens Dubai experience centre UAE

Alpha Acoustics has opened a new 200m2 experience centre at Gulf distributor Signaux Technologies’ new facility in Dubai Production City, giving systems integrators, consultants and end users an opportunity to hear and compare its audio solutions. Already in operation, the centre was created to help customers evaluate the brand’s products through hands-on demonstrations. “The new space means customers can not only come to a place to experience the boxes and look at the solutions but also have a touch and feel,” explained Joe Mathew, Alpha Acoustics product specialist for MEA and India. “Being a newer brand in the region, it was essential that customers had their own proof of concept.” The new space encompasses an interactive commercial audio display that allows visitors to audition ceiling, wall-mounted and Dante-enabled column and pendant speakers individually, alongside discussions of software, specifications and potential applications.

Visitors then move to a programmed pro audio demonstration, with ProPresenter coordinating timecoded video and audio content across the loudspeaker systems, accompanied by an LG display and Klarity lighting.

L-Acoustics secures EN 54 certification WORLD

L-Acoustics has secured EN 54 certification for a portfolio of loudspeakers, amplified controllers and network products, allowing its systems to be specified for both sound reinforcement and voice alarm applications. The certification covers EN 54-24 for loudspeakers used in voice alarm systems and EN 54-16 for voice alarm control and indicating equipment. According to L-Acoustics, the certification enables consultants and integrators to design a single audio ecosystem where

The showcase includes the KIA410 line array with 21-inch KROSS subwoofers, a KLINE 8 passive line source and KBEAM12A and KFOCAL16 active beam-steering columns. Portable systems are also

available to audition, while a dedicated home cinema features the manufacturer’s KRYM series. Speakers installed throughout the reception, showroom and café provide further examples of the products in use. According to Mathew, demonstrations have been taking place almost daily. Training for technical and presales staff is planned following the official launch of Signaux’s new office, covering products and application software through its distributor network. Visits can also be arranged via the website. “For me and Signaux, this is a long-awaited dream to have a space where we can showcase our products and solutions, and give them an experience they won’t forget,” added Mathew. “It’s my desire that visitors will leave seeing that we have lived up to our tagline, ‘Redefine Clarity’.” www.alphacoustics.com www.signaux.ae

MGG adds second grandMA3

and Focus variants, and Xi Series coaxial models. Applications range from arenas and halls to auditoriums, lecture theatres, sports halls, meeting rooms and hospitality areas. EN 54-16 certification covers the LA7.16i, LA1.16i, LA4X and LA2Xi amplified controllers, as well as the LC16D network audio converter and LS10 Milan-AVB switch when integrated into the PAVA Facilities VACIE rack. This keeps amplification, processing, monitoring and fault reporting within the same platform.

The MGG team with their new gear SOUTH AFRICA

sound reinforcement and compliant emergency communication are required. The approach is particularly relevant to sports venues, where entertainment and voice alarm systems have traditionally been specified separately. L-Acoustics said its certified ecosystem can combine programme audio with the monitoring, reliability and fault reporting required for voice alarm systems. The certified loudspeaker portfolio includes the Kara IIi line source enclosure, Ai Series constant-curvature enclosures in Wide

“Our customers were already asking us to cover both jobs, because they could hear the difference between the two systems in their buildings,” said Germain Simon, director of product management, loudspeakers at L-Acoustics. “EN 54 certification means they no longer have to choose. The system that fills a stadium on a Saturday afternoon is the system that will speak clearly to that same crowd if it ever needs to be emptied.”

South African technical production company MGG has added a second grandMA3 full-size lighting console to its inventory, responding to demand for MA3 across larger productions while providing additional rental capacity and backup. Supplied by DWR Distribution, the console brings MGG’s total number of MA desks to 10. The purchase follows the company’s growth from founder Mark Gaylard’s original Zero 88 Leap Frog console into lighting, sound and AV. “To watch MGG over the years has been amazing,” said DWR’s Duncan Riley. “I’ve known Mark Gaylard, founder of the company, for such a long time, going back to when he was still at school and hiring gear from Cal Morris at Calite. It’s wonderful to see what he has achieved and how he has kept his head despite the growth.” Gaylard said the investment reflects MGG’s focus on equipment that can deliver value over the long term. The company has retained its MA2 consoles and invested in motherboard upgrades to extend their working life.

“We don’t have enough capital to do what we want to do so we have to be really careful about what we need,” he explained. “But things like getting a grandMA3 will give us a saving because we can still rent our other console out and do our shows. We’ve had times when we wanted to rent in an extra console and couldn’t because of a shortage in the country.” MGG technical manager Nardus De Lange said the console will expand the company’s capabilities as MA becomes increasingly common on major productions. “It’s a good purchase and we see it as an investment for future work,” he confirmed. “The industry uses MA and almost every large show is MA.” The additional console will also support MGG’s pre-programming operation, allowing shows to be prepared without removing an MA3 from the rental pool. www.dwrdistribution.co.za www.malighting.com www.mgg.co.za

www.l-acoustics.com

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NEWS

B 018 opens with d&b U-Series

LEBANON

Beirut nightclub B 018 has reopened boasting the Middle East’s first installation of d&b audiotechnik’s U-Series, with Lebanese distributor and systems integrator Seebeck Audio designing the new sound system around the venue’s distinctive underground architecture.

Originally opened in 1998, the bunker-like club was designed by architect Bernard Khoury and became one of Beirut’s best-known nightlife venues. Although the underground structure largely survived the 2020 Beirut port explosion, B 018 eventually closed in 2024. Khoury has returned to oversee the architectural integrity of the reopened venue, while Omran Gebran is responsible for its musical direction. Seebeck Audio, which has represented the German brand in Lebanon since 2000, was

brought back to provide the club’s audio system. “B 018 has a wide variety of music across all genres and believes that d&b sounds the best for them all,” explained Gebran. “We also took into consideration the maintenance and service of the system in the long term and for us, opting

capacity, while ensuring the best listening experience possible for everybody, in every type of use,” said Aoun. Having initially considered d&b’s existing point source systems, Seebeck switched to the newly introduced U-Series during the project’s development. Its selection allowed the integrator to increase the design from six to eight point source positions around the main club area. Eight U7 loudspeakers are arranged in a rectangle around the venue’s roof opening, supplemented by three U5s covering the ends of the space and four U3s serving the raised bar area. Low frequencies are handled by six Bi6-SUBs in the main area and two Bi10s at the bar. At the client’s request, all system inputs are analogue. Regional instability created additional logistical challenges during the installation. Seebeck worked with the client, d&b’s Middle East

operation and other contractors to prepare the infrastructure before the loudspeakers arrived, using ArrayCalc simulations and preparing the R1 configuration in advance. “As soon as the system cleared customs, it went straight to B 018 and was installed, tuned and ready to go in under 24 hours,” explained Aoun. For Wissam Shaheen, from d&b Middle East’s Education and Application Support (EAS) team, the venue holds a special place. “B 018 means so much to me personally, as it does to many others,” he shared. “Growing up in Beirut, it was my introduction to club life in the late 1990s and early 2000s. The Seebeck team did a tremendous job. Congratulations to everyone involved.” www.dbaudio.com www.instagram.com/seebeckaudio

for a renewed combination of d&b, Seebeck and Youssef Aoun was an easy decision.” Seebeck’s design had to accommodate a low ceiling, retractable steel roof and a requirement for the loudspeakers to remain as unobtrusive as possible. The DJ booth can also operate from either end of the venue, with presets created in d&b’s R1 software to provide the necessary flexibility. “They needed something reliable and powerful enough to work for the club at full

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NEWS

UAS expands DiGiCo investment UAE

University of the Arts Sharjah (UAS) has bolstered its professional audio infrastructure with a DiGiCo Quantum112 console, supporting practical, industry-led training and giving students access to the workflow used on UAS’s professional productions. The Q112 joins an existing Quantum225, which serves as UAS’s main FOH console for shows. The purchase provides an additional Quantum series platform for production requirements and classroom teaching. For second- and third-year students, the investment provides hands-on experience with DiGiCo software and workflows encountered in professional production environments. The university intends to develop familiarity with different DiGiCo platforms while introducing equipment progressively as part of their technical education. Gustav Van Rooyen, recently appointed audio tutor at The Academy of Performing Arts (APA) at UAS, said: “The Q112 enables us to help students work on different DiGiCo platforms. The more they are aware of the different platforms from DiGiCo, the more it will help them in their professional careers.” Van Rooyen noted that UAS’s approach is not simply to teach students how to operate equipment, but to build their understanding of how each system contributes to production. “We introduce each piece of equipment or platform gradually to help students understand what each piece of gear is doing and how to achieve their sound,” he explained. The Q112’s compact footprint allows UAS to bring the console into classrooms and smaller teaching spaces, while also moving it between venues and studios. This allows students to work through different mixing scenarios and acoustics. The console will be used across productions including musicals and acting shows, extending the learning environment into live performance. Its integration with UAS’s existing network infrastructure also allows the Q112 to operate as a monitor console onstage for musicals in the main theatre. The Q112 was provided by local distributor 7Hertz. UAS has worked with the company since 2022 across professional audio brands including DPA Microphones, d&b audiotechnik and DiGiCo, with the relationship including technical and after-sales support. “7Hertz has always taken pride in being part of success stories,

especially when it comes to educating and empowering future generations,” commented 7Hertz founder and CEO Chadi El Masri. “UAS is doing truly remarkable work by equipping students with the tools, knowledge and hands-on learning experiences needed to thrive in the industry. Providing access to world-class brands like DiGiCo has a significant impact on shaping the future of audio engineers and elevating the audio industry across our region.” www.digico.biz www.the7hz.net

PERFORMANCE Audio

w w w.masterpieceproav.com

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NEWS

MTC Jockey Club adopts Zixi MAURITIUS

Mauritian horse racing is set to expand its international broadcast reach following the deployment of Zixi’s software platform by the MTC Jockey Club, marking the company’s first direct installation in the Indian Ocean nation. The deployment follows a successful proofof-concept and will support the international distribution of live horse racing from the historic Champ de Mars racecourse in Port Louis. The platform was selected for its centralised monitoring capabilities, operational visibility, reliability and flexibility to support multiple transport protocols from a single platform. Although the club has used hardware encoders supporting the Zixi protocol for around a decade, the new deployment introduces Zixi’s software platform, including ZEN Master, to provide centralised orchestration and management of live feeds while supporting future international expansion.

confidence that every feed would arrive on time and that, if something went wrong, we would know exactly where to look. Zixi’s ZEN Master gave us that visibility from day one. The proof-of-concept removed any doubt and we are excited to build on this platform as we look to bring Mauritian racing to audiences around the world.” Marc Aldrich, CEO of Zixi, added: “The MTC Jockey Club is one of the great institutions of world sport, and we are proud that they have chosen Zixi to power their live racing workflows. This deployment demonstrates exactly what ZEN Master was built for: giving broadcast operations teams complete visibility and control over complex, mission-critical live events.” “Live horse racing is time-critical and unforgiving,” said Viraj Pabaroo, head of

broadcast operations at MTC Jockey Club. “We needed a platform that could give us the

www.mtcjockeyclub.mu www.zixi.com

TVU drives Zambia election coverage ZAMBIA

TVU Networks provided Diamond TV with a mobile contribution workflow for Zambia’s 2026 general election, allowing the broadcaster to connect up to 130 smartphones from election sites to a central production environment. The system enabled

Diamond TV to expand its field coverage without deploying a dedicated traditional transmission setup for every reporter. Covering activity across Zambia’s 226 constituencies presented a significant contribution challenge, with 8.8 million

registered voters taking part in the election. Reporters used the TVU Anywhere app on their smartphones to transmit live reports, interviews, polling-station updates and vote-count information over available mobile and Wi-Fi connections. In the cloud, TVU Partyline brought the incoming feeds together across six 5x5 gallery outputs, giving Diamond TV’s production team a structured view of multiple contributors from a central location. The gallery outputs were delivered through TVU Transceiver and routed into Diamond TV’s existing SDI production switcher. Three receiver paths were configured for audio de-embedding, while a Partyline host connected to the studio audio desk via USB allowed reporters to hear instructions from the director. During the election coverage, Diamond TV delivered 72 hours of live programming and managed a peak of 111 simultaneous smartphone feeds, with the workflow designed to support up to 130 sources.

“With TVU, our journalists were able to contribute directly from their smartphones while our production team managed the incoming feeds from a centralised control room,” explained Ephraim Chinga, senior manager IT, Diamond TV. “This allowed us to extend our reach across the country while maintaining the quality, coordination and control required for national election coverage.” The workflow also enabled Diamond TV to bring more localised election coverage into its live output while retaining its existing studio infrastructure. Abdalla Elhag, business development director, Africa at TVU Networks, said: “By turning smartphones into a coordinated contribution network, Diamond TV demonstrated how broadcasters can expand their editorial reach while making use of existing production infrastructure.” www.diamondtvzambia.com www.tvunetworks.com

NDI and Nvidia target multilingual AV WORLD

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

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

support multiple language experiences. This has the potential to significantly reduce bandwidth and distribution costs while making multilingual content accessible to far larger audiences.” The workflows support real-time translation, lip-synced dubbing and regional language adaptation, with potential applications including localised advertising. The technology is designed to integrate with existing broadcast and media production environments.

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

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

SYSTEM MANAGEMENT SUITE

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NEWS

Al-Aziz Al-Hakim Mosque upgrades audio setup

EGYPT

Cairo’s Al-Aziz Al-Hakim Mosque now features an integrated Harman Professional sound system designed to improve speech intelligibility across its worship and community spaces, while also supporting live broadcast applications. Located in Moqattam, the mosque hosts daily prayers, Friday sermons, and religious and community events. The installation was delivered by Audio Technology, Harman Professional’s local distributor, and combines JBL Professional loudspeakers with Crown amplification, Soundcraft mixing and BSS signal processing. One of the principal challenges was the building’s extensive use of stone and marble, which creates long reverberation times and can compromise speech intelligibility. Architectural features also restricted loudspeaker placement, requiring the system to provide consistent coverage while remaining visually discreet. Audio Technology based the main prayer hall system around JBL Professional CBT Series column loudspeakers. Using Constant Beamwidth Technology, the columns direct sound towards the congregation while limiting reflections from walls and ceilings. Outdoor areas are covered by AWC Series all-weather

loudspeakers, providing speech coverage without the use of conventional horn loudspeakers. Soundcraft digital mixing consoles provide control for prayers, religious events and live productions, while Crown XLS and CDi DriveCore Series amplifiers power the system. Signal processing and control are handled through a BSS Soundweb platform incorporating BLU-100 processors and EC-8BV wall controllers. The networked architecture provides centralised signal routing, time alignment between indoor and outdoor zones and preset management. This allows operators to configure the system for different types of events while maintaining consistent audio coverage across the site. “The project was unique because it combined a complete Harman ecosystem across professional audio, broadcast infrastructure and security systems while respecting the architectural identity of the mosque,” said Nermeen Iskander, marketing director for Audio Technology. “The JBL CBT loudspeakers provided the uniform coverage and speech intelligibility required for the main prayer hall, while the JBL AWC loudspeakers delivered natural sound outdoors. Combined with Soundcraft mixers, Crown amplifiers and the

EVS and Matrox Video partner WORLD

Software-defined production is at the centre of a new collaboration between EVS and Matrox Video, combining EVS’s orchestration and workflow management with Matrox Video’s Origin media processing framework. The partnership aligns with the European Broadcasting Union’s (EBU) Dynamic Media Facility (DMF).

“Broadcasters are increasingly looking for ways to make their production infrastructure more flexible and responsive to changing operational requirements,” said Dieter Backx, VP of control and orchestration at EVS. “Our relationship with Matrox Video brings together complementary expertise in orchestration and software-defined

The approach allows production resources to be deployed, configured and scaled according to operational requirements, rather than being permanently assigned to individual workflows or hardware. Matrox Origin provides a software-defined processing foundation for broadcast workloads on standard compute infrastructure, supporting open approaches including the EBU’s Media eXchange Layer and IPMX. As an OEM building on Origin, EVS can focus on orchestration, automation and operational functions. EVS’s production resource manager (PRM), part of its flexible control room offering, enables processing resources to be dynamically deployed and reconfigured for productions. Tactiq provides a workflow-oriented operator interface, while Cerebrum provides a unified control layer across SDI, IP, on-premises and cloud environments.

media transport and processing, helping us advance the DMF vision and explore new possibilities for more agile production environments.” “At Matrox Video, we believe broadcasters should have the freedom to build best-of-breed media systems without being locked into proprietary technology choices,” commented Alberto Cieri, senior VP of sales and marketing at Matrox Video. “Matrox Origin’s software-defined media framework enables broadcasters to realise the DMF vision today and together with EVS we’re making it easier to deploy the flexible, resource-driven production environments the industry has been working towards.” www.evs.com

BSS processing platform, the system gives operators the flexibility to manage different worship and community events from a centralised network.” The installation also supports live broadcasts of major religious events and provides scope for future expansion. According to Audio Technology,

feedback since completion has highlighted improvements in speech intelligibility and system operation, particularly during larger and multilingual gatherings. www.audioteceg.com pro.harman.com

Diversified targets managed services WORLD

Diversified has established a Global Managed Services Practice to bring its managed services capabilities together under a single organisation, with Rob Mello appointed vice president. The practice will focus on service delivery, client success and AI-enabled operations across media, workplace and experience technologies. It will align managed services strategy, delivery and client success globally while retaining regional expertise and specialised support. “We have an opportunity to move the managed services conversation beyond maintenance and support towards intelligence, optimisation and AI-enabled, continuous value creation,” said Tyler Affolter, chief revenue officer. “Rob’s experience building global practices and AI-infused, market-leading offerings gives us the leadership to accelerate that shift and help define where the industry goes next.” Priorities include establishing common standards for global delivery, supporting client adoption, performance and resilience, and incorporating automation and agentic AI into service operations for proactive monitoring, faster resolution and continuous optimisation. Mello brings more than two decades of experience in technology-enabled services, having held roles with NTT DATA, Orange Business Services and IBM. His experience includes creating new practices, developing service offerings and leading technology transformation initiatives.

Rob Mello will lead the new practice “Diversified has already redefined what’s possible in designing and delivering the world’s most complex technology environments,” said Mello. “Now we’re setting our sights on the next frontier: transforming how those environments perform, adapt and create value over time. By fusing our people, data, technology and partner ecosystem into a single intelligent system, we’re building a managed services model that doesn’t just maintain performance, it continuously elevates it.” www.onediversified.com

go.matrox.com

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NEWS

Ayrton tackles UAE Pro League Awards rig UAE

Turning the ballroom of Abu Dhabi’s Emirates Palace Mandarin Oriental into a football stadium presented lighting designer Alexander Kotov with tight rigging limits, a low ceiling and demanding broadcast requirements. His solution for the UAE Pro League Awards centred on 24 Ayrton Rivale Profiles and 46 Kyalami fixtures provided by the brand’s local distributor Procom Middle East. The awards were produced by No.1 Events & Productions, with Kotov, cofounder and technical director of Dubai-based Cueline, responsible for the lighting design. The concept transformed the ballroom with tribunes surrounding a playing field made entirely from LED flooring, connected to the main LED screen. “This was a prestigious event with an array of high-profile guests,” said Kotov. “There were senior officials, football stars, club representatives and, of course, the UAE Pro League chairman, H.E. Abdulla Naser Al Jneibi in attendance, so we needed a system that worked equally well for the VIP audience and for the broadcast cameras.” The venue imposed restrictions including load capacity, a roof height of no more than 6m and what Kotov described as an “unforgiving white ceiling”.

Image courtesy of No 1 Events & Productions

“With only 250kg per rigging point and with those points not located in our preferred positions, we had to make a couple of creative rigging decisions to get

every fixture where we wanted it,” Kotov explained. The Rivale Profile’s 4–52° zoom was particularly useful in the restricted space,

while its framing shutters helped control spill from the LED surfaces and laser performer. Kotov also used the fixtures as automated followspots, with Lumatrack tracking the two MCs. “Rivale was our key light – 360° – for all cameras and the audience,” added Kotov. “Its good CRI held up as broadcast key light and its speed of movement allowed the fixtures to work as automated followspots: the two MCs [Master of Ceremonies] were followed by a Lumatrack tracking system, so we could keep them well-lit for TV and broadcast wherever they moved, while keeping the content on the floor clean with very little light spill around them.” The 46 Kyalami fixtures were positioned behind performers, around the audience and above the LED screen, providing depth without obscuring the visual content. “The Kyalamis really proved their worth, giving us depth behind the performers at floor level, separating them from the top light without ever blocking the LED content, while the units around the audience and on top of the screen extended the same look across the whole room without intruding into the picture,” Kotov said. www.ayrton.eu

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November–December 2026 PRO AVL MEA 23

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NEWS: APPOINTMENTS

Soumsom to lead AEQ ushers in NMK in Saudi new leadership SAUDI ARABIA

AVAIL MEA has appointed Anton Siniaev as AV solutions architect

As part of a leadership transition, Tom See will assume the role of president at Creative Technology

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

NMK Electronics has promoted Rayan Soumsom to business operations director for Saudi Arabia, expanding his responsibilities as the distributor continues to develop its presence and local capabilities in the Kingdom. Soumsom moves into the position from his most recent role as head of business development. Prior to that, he served as group technical director, leading a team of 20 technical specialists across NMK’s regional offices. With more than a decade of experience in AV and systems integration, Soumsom has also been involved in the design of large-scale technology projects. “Saudi Arabia is one of the most exciting and ambitious markets in our industry, and I’m incredibly proud to take on this responsibility at such an important stage of NMK’s growth,” commented Soumsom. “Having worked across the technical, business development and customer-facing sides of our organisation, I’ve been fortunate to understand the business from several perspectives.” In his new role, he will take greater responsibility for NMK’s Saudi operations, focusing on operational development, local capabilities and relationships with customers and vendors.

WORLD

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

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

The appointment comes as the distributor targets opportunities created by continued development across Saudi Arabia’s entertainment, tourism, hospitality, education, sports and infrastructure sectors. “Saudi Arabia is a strategically important market for NMK and the wider Midwich Group, and building the right leadership structure is critical to our ambitions in the Kingdom,” said Alex Kemanes, managing director – MESEA at NMK Electronics. “Rayan brings a rare combination of deep technical knowledge, commercial understanding and strong relationships across the industry.”

Richard Burton has joined ETC’s sales force in the Middle East as field project coordinator

L–R: Lutz Rathmann and Anthony Zuyderhoff previously held positions including vice director global events and head of project management. Zuyderhoff is currently executive director of global sales and will take responsibility for coordinating the company’s primary customer-facing functions in his new position. “Our ambition is to make Riedel feel like one company at every customer touchpoint,” he commented. “That means connecting our commercial teams

more closely, bringing the right expertise to the table earlier and focusing less on individual products and more on the outcomes our customers want to achieve.” The changes coincide with the retirement of Product Division CEO Jan Eveleens at the end of 2026. Eveleens will subsequently continue working with Riedel as a consultant. “Lutz knows our customers, our technologies and the realities of complex live production,” said

Thomas Riedel, Riedel Group CEO. “Anthony brings the commercial perspective and market focus needed to translate that strength into a consistent customer experience. Together, they will help us connect our capabilities more effectively and make Riedel easier to engage with, easier to understand and stronger in the market.” www.riedel.net

24 PRO AVL MEA November–December 2026

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

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NEWS: APPOINTMENTS

Meyer Sound elevates McMahon

In his expanded role, McMahon will take a more organisation-wide view while continuing to oversee the functions that report to him. He will work closely with cofounders John and Helen Meyer, who remain involved in the company’s strategic direction and daily operations, with McMahon responsible for implementing the execution of that strategy across the business. “I’ve always thought of myself as a synthesiser,” noted McMahon. “We have experts across this company and my job is to bring their thinking together and help the pieces fit.”

WORLD

Ushering in a new phase of international growth for the company, and formalising a broader leadership remit, Meyer Sound has appointed John McMahon as chief operating officer. McMahon, who joined the loudspeaker manufacturer in 2006 following its acquisition of Level Control Systems, already oversees sales and marketing, R&D

and operations, and has been part of the executive team since 2008. “We push our products to perform at an extremely high level and we’re pushing ourselves to perform at that same level from a business perspective,” noted McMahon. “That means the way we operate has to scale with where we’re growing.”

Sonic Electronics welcomes new BDM UAE

Suresh Simeon has joined Sonic Electronics in the position of business development manager to contribute to the company’s continued market development and growth initiatives across its wider markets. Based within Sonic’s UAE team, Simeon’s focus will be on identifying new opportunities, developing strong customer and partner

relationships, and connecting market requirements with the right technology solutions. The distributor highlighted how its business development is built around understanding customer needs, developing meaningful partnerships and working closely with technology brands and internal teams to create the right solutions. Taking this into account, Simeon will work alongside Sonic’s commercial, technical and operations teams as the company continues to strengthen its presence across the region. “We are pleased to have Suresh join the Sonic Electronics team,” said Girish Nair, general manager, Sonic Electronics. “His enthusiasm for business development and the AV industry, combined with his focus on building strong relationships, will be a valuable addition to our growing team. We look forward to supporting him in this new role and to the opportunities and partnerships we can build together.” Simeon remarked: “I’m excited to begin this new chapter and take on the opportunity to develop new business, strengthen customer and partner relationships, and contribute to the continued growth of the company.” ae.sonicelec.com

www.meyersound.com

Tascam picks Tsunoyama for GM WORLD

Bringing more than 25 years of experience with TEAC Corporation, Takashi Tsunoyama has been appointed as general manager for Tascam. In his new role, he will oversee the division’s global business activities and support its continued growth across international markets. During his career with the company, Tsunoyama has held a range of leadership positions across international sales, business development and global operations. He relocated to Germany in 2017 to take up the position of export sales manager at TEAC Europe, where he contributed to the expansion of Tascam’s international business and strengthened relationships with distributors and partners across global markets. Following this, he assumed the role of managing director of TEAC Europe, where he led the company’s European operations for five years. “It is a privilege to lead the Tascam Division and build on the strong foundations established by our global teams,” said Tsunoyama. “Having spent the past five years working closely with customers and partners across Europe, I look forward to bringing that experience back to Japan and further strengthening the Tascam brand worldwide.”

His appointment comes as Tascam continues to develop its international operations, with Tsunoyama’s experience across both European and global markets expected to support the brand’s relationships with distributors, customers and partners worldwide. www.tascam.jp

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provides Lighting, Audio, LED Displays & AV equipment across Africa www.dwrdistribution.co.za | sales@dwrdistribution.co.za November–December 2026 PRO AVL MEA 25

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NEWS: DISTRIBUTION

Fulcrum Acoustic expands in Azerbaijan AZERBAIJAN

Fulcrum Acoustic has appointed ProAV as its exclusive distributor in Azerbaijan, expanding the US loudspeaker manufacturer’s distribution network in the region. ProAV specialises in installed audio and custom systems design, supporting projects across sectors such as conference, hospitality and large-format sports applications. Under the agreement, ProAV will represent the brand’s portfolio of professional audio solutions, including loudspeakers, electronics and immersive audio technologies. The distributor will provide local sales, systems design and technical support for customers across Azerbaijan. “ProAV’s solutions-based approach is a strong fit for how we work at Fulcrum,” said Val Gilbert, director of business development for export, Fulcrum Acoustic. “Their team has the technical

experience to understand the requirements of each project and design a system around them. Their work across a wide range of installed applications makes them well positioned to support Fulcrum customers throughout Azerbaijan.” Elshan Aliyev, owner of ProAV, added: “We needed a loudspeaker partner that could meet the performance demands of our most challenging installations. Fulcrum Acoustic fills that gap in our portfolio. After visiting the Fulcrum factory, we saw firsthand the outstanding standards behind how the products are built. That gives us confidence in specifying Fulcrum for the high-performance systems our customers rely on us to design.” www.fulcrum-acoustic.com www.proav.az

L–R: Elshan Aliyev from ProAV with Val Gilbert of Fulcrum Acoustic

Hive partners with DWR SOUTH AFRICA

Hive Media Control has partnered with DWR Distribution in South Africa, giving the local market access to its complete portfolio of scalable media playback and control solutions. DWR will initially hold local stock of selected Hive Beeblade media engines and modular enclosures, while providing access to the wider range for projects requiring different levels of performance and scale. The distributor will also provide specification, deployment, training and after-sales support from its operations in Johannesburg, Cape Town and Durban. “DWR has an outstanding reputation in South Africa, not just for the technology it supplies but for the expertise and support that sits behind it,” said Rory Jervis, chief revenue officer, Hive Media Control.

“They understand the types of ambitious visual projects Hive was designed for and have the technical capability to support customers from initial specification through to deployment and ongoing service.” DWR Distribution managing director Duncan Riley commented: “Hive is an exciting addition to the DWR portfolio and gives us a powerful, scalable and cost-effective media playback solution for our customers. We see strong opportunities across the markets we serve, particularly where customers need sophisticated media playback without the complexity and cost traditionally associated with high-end media servers.” www.dwrdistribution.co.za www.hive.run

WyreStorm appoints BSS Africa MOROCCO

Strengthening its presence in Morocco and creating a foundation for future expansion across North Africa, WyreStorm Technologies has announced a new partnership with BSS Africa. Through the deal, BSS Group with its Moroccan affiliate company BSS Africa will serve as a distribution partner for the brand in Morocco, making the company’s pro AV systems more accessible to customers, integrators and partners across the country. The partnership initially covers Morocco, with both parties also planning to explore opportunities for broader cooperation across North Africa. “Establishing the right local partnerships is an important part of how we support customers and

grow sustainably within a market,” said Hatem Bitar, regional sales manager – MEA and Southeast Europe, WyreStorm. “This agreement gives us a strong starting foundation in North Africa and we look forward to working closely with the BSS team as we develop new opportunities together.” Tareq Eid, CEO at BSS Group, added: “We are delighted to begin this partnership with WyreStorm. The agreement strengthens the range of professional AV solutions we can bring to the Moroccan market and creates new opportunities for us to support customers and partners across the region.” L–R: Mohammad Odeh and Tareq Eid of BSS Broadcast & Studio Solutions with WyreStorm’s Hatem Bitar

www.wyrestorm.com

Clear-Com welcomes Venuetech MIDDLE EAST

Clear-Com has selected Dubai-based Venuetech as its main partner for the Middle East, expanding the intercom manufacturer’s regional distribution network and access to systems integrators. Venuetech will support the distribution, demonstration and adoption of the brand’s professional intercom and communication portfolio across the region, with products also set to be showcased at its Dubai showroom. The AV distributor’s portfolio spans professional AVL, conferencing, control and networking, while its regional team provides systems design support, product demonstrations, technical training, after-sales service and maintenance.

It supports projects across corporate, education, entertainment, hospitality, HOW, government and large-scale venue environments. According to Samer Mouwanes, Clear-Com’s regional sales and BDM for MEA, Türkiye, Greece and Cyprus, the Middle East continues to be an important market for the company. “We wanted a partner with the regional reach, technical capability and customer relationships to support our continued growth,” he said. “Venuetech brings extensive experience across the professional AV market and a strong understanding of the customers and applications we serve. We are very pleased to welcome the team as our partner.”

Venuetech audio brand manager Alice Macaluso said: “Clear-Com has built an exceptional reputation in professional communications and its technology complements many of the markets and customers we already support across the region. We see a real opportunity to combine Clear-Com’s technology and experience with the relationships, technical knowledge and regional presence that Venuetech has developed over the years.” L–R: Clear-Com’s Samer Mouwanes with Alice Macaluso of Venuetech

www.clearcom.com www.venuetech.ae

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NEWS: DISTRIBUTION

GSL Professional takes on Void GCC

Building on its existing presence in the region, Void Acoustics has appointed GSL Professional as its distribution partner across the GCC, covering the UAE, Saudi Arabia, Qatar, Kuwait, Bahrain and Oman. According to Sam Brandon, managing director at Void Acoustics, the agreement will target further growth in new markets. “The GCC is a very natural market for Void,” he said. “There is significant investment taking place across luxury hospitality, residential, fashion, yachting

and nightlife, and these are exactly the types of environments where sound is becoming a more visible part of the overall design and experience.” Void head of EMEA Andy Rigler highlighted Saudi Arabia as a particular area of opportunity, while also pointing to potential in Qatar, Kuwait, Bahrain and Oman. GSL will provide stock availability, technical expertise, systems design, training, demonstrations and after-sales support across the six GCC markets. The companies will also work

“Void is a very distinctive brand with a strong identity and we see significant potential for it across the GCC,” commented Fouad Fowzi, CEO, GSL Professional. “The region continues to see major investment in high-end, boutique spaces, and there is growing demand for audio solutions that combine technical performance with strong design.” together on consultant and designer engagement, partner development and project support.

www.voidacoustics.com

LG partners with Audio Technology EGYPT

Expanding its professional display presence across Egypt’s growing digital infrastructure market, LG has partnered with Egyptian systems integrator and distributor Audio Technology. Audio Technology will serve as an authorised distributor and professional systems integration partner for the brand in the country, with the company handling projects from engineering and planning through to supply, installation and after-sales support. The partnership covers LG’s commercial and professional display portfolio. According to the Egyptian company, the collaboration will initially target major projects,

including Grade-A commercial office developments, retail hubs, hospitality venues, corporate headquarters and smart-building projects. “Partnering with a global powerhouse like LG marks a major milestone in our three-decade journey,” said Emad Adly, president, Audio Technology. “By combining LG’s cutting-edge display technology with our engineering depth as a master systems integrator, we are uniquely equipped to elevate visual experiences across Egypt’s most ambitious mega-projects.” The partnership was formally launched during a visit by the LG MEA team to Audio Technology in Cairo

Republik launches Allen & Heath TÜRKIYE

L–R: Republik’s Kemal Yener with Spyros Pappas from Allen & Heath

Republik has officially introduced Allen & Heath to its distribution portfolio in Türkiye, marking the partnership with a launch event for integrators, engineers, dealers and other industry partners at The Grand Tarabya in Istanbul. The event provided the Turkish market with its first opportunity to see the manufacturer’s dLive, Avantis, SQ, CQ, Qu and ZED ranges alongside the AHM processor under Republik’s distribution. The distributor also used the occasion to demonstrate how the brand fits within its wider professional audio portfolio. “Our business is not about selling boxes,” said Republik founder and managing director Kemal Yener. “It’s about bringing the world’s best brands to Türkiye with the support, honesty and real engineering they deserve. Representing a legend like Allen & Heath here is a great source of pride, but what excites us most is sitting at the same table

with the partners, integrators, engineers and users we’ll grow this industry alongside.” Republik’s distribution model combines stock availability with technical support, training and after-sales service. The company is also working to localise Audinate’s official Dante certification programmes into Turkish and become an official training partner. “A brand’s success in a new market depends as much on the distribution behind it as on the products themselves,” commented Allen & Heath’s EMEA sales manager, Spyros Pappas. “In Republik we’ve found a distributor that is genuinely focused on its channel and its partners and does the job the right way. That is exactly the foundation Allen & Heath needs to grow here with confidence.”

www.audioteceg.com www.lg.com/uk/business

Fane teams up with Sound Creations EAST AFRICA

Fane International is expanding its presence in East Africa through a new partnership with Kenyan distributor and systems integrator Sound Creations, targeting professional audio markets across seven countries. The agreement will see Sound Creations develop Fane’s business in Kenya, Uganda, Tanzania, Rwanda, Burundi, Ethiopia, South Sudan and the Democratic Republic of Congo, with further expansion across Africa planned. Fane said that the partnership is intended to go beyond distribution, with plans for a network of dealers, resellers, systems integrators, rental companies, consultants and OEM manufacturers supported by technical training, demonstrations, regional stock and after-sales support. The move comes as investment continues across East Africa’s professional audio sector. The companies will initially focus on a curated selection of Fane products aimed at professional audio customers and OEM manufacturers, while the manufacturer’s wider range of component

loudspeaker drivers will remain available on enquiry. “We are delighted to be partnering with Sound Creations as we grow Fane’s presence in East Africa,” said Mark Barnes, Fane International’s managing director. “Their technical expertise, market knowledge and established regional relationships make them an ideal partner for us. This is about much more than distributing products; it is about developing the market, supporting customers and building the Fane brand for the long term.” Sound Creations director Nipul Shah added: “Fane’s engineering heritage and product quality make it an excellent fit for the East African market. Our objective has always been to build brands, not simply sell products. Our existing network and technical capabilities give us a strong foundation to build from. This is just the beginning of an ambitious regional programme.” www.fane-international.com www.soundcreationsltd.com

www.allen-heath.com www.republik.com.tr

L–R: Fane’s Mark Barnes and Neil Barnes flank Nipul Shah of Sound Creations

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NEWS: DISTRIBUTION

Montarbo appoints Alpha Technologies SOUTH AFRICA

L–R: Audac’s Mark Asselberghs, Yurder Ertekin of Prosistem, Tom Van de Sande from Audac and Prosistem’s Eren Ertekin

Audac and Prosistem join forces TÜRKIYE

Strengthening its presence in Türkiye, Audac has appointed Istanbul-based Prosistem Elektronik as its exclusive distributor for the region. Under the agreement, Prosistem will offer local stock, presales consultancy, training and after-sales support for the brand’s products. The distributor has been operating in Türkiye since 2000, providing professional audio, lighting, video and hi-fi systems, and brings a strong nationwide dealer network, technical expertise and a focus on training and customer support. Both companies noted their shared solution-driven approach, focusing not only on products, but on selecting the right technologies for each project and supporting partners throughout the process.

“We are very pleased to welcome Audac to the Prosistem portfolio,” said Yurder Ertekin, CEO at Prosistem. “Its solution-oriented approach and broad professional audio portfolio align strongly with the way we support our partners and projects. We see great potential to further develop Audac in Türkiye.” Mark Asselberghs, international sales director at Audac, added: “Prosistem combines strong market knowledge with technical expertise, an established partner network and a clear commitment to education. These qualities make them a strong fit for Audac and we look forward to building a successful and long-term partnership together.”

Italian loudspeaker manufacturer Montarbo has expanded its presence in South Africa through a new distribution agreement with Alpha Technologies. The established AV distribution company specialises in audio, visual and automation solutions, with a strong focus on dealer support, training and after-sales service. Furthermore, Alpha Technologies brings key market expertise and an extensive presence across South Africa, including offices in Johannesburg, Durban and Cape Town. The agreement aims to enhance availability of Montarbo’s professional audio portfolio for customers and professionals across the country.

Alpha Technologies will support the growth of the brand across its key application areas, including live sound, touring, portable sound and installations. “Montarbo is a fantastic addition to our portfolio and gives us a strong offering in the portable professional audio market,” said Tiaan Hoogstad, marketing director, Alpha Technologies. “The combination of performance and value is a great fit for South Africa and we’re excited to grow the brand through our dealer network.” www.alpha-tec.co.za www.montarbo.com

www.audac.eu www.prosistem.com.tr

L–R: Tiaan Hoogstad of Alpha Technologies with Montarbo’s Leonardo D’Andrea

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November–December 2026 PRO AVL MEA 29

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NEWS: SPECIAL REPORT

Nuge

Lost in the mix

With loudness measurement now firmly established in broadcast, attention is turning to how much audiences can actually understand. More consistent intelligibility metering and greater control over dialogue could help, but the challenge begins long before a programme reaches the television

Jünger Audio’s Friedemann Kootz

RTW’s Thomas Valter

Freddy Vinehill-Cliffe from Nugen Audio

Yannik Grewe from Fraunhofer

A TELEVISION SOUNDTRACK CAN deliver all the impact its producers intended and still fall short on something more fundamental: allowing the audience to follow the conversation. Dialogue competes with music and effects, mixes travel through different production and delivery formats, and programmes are heard on everything from home cinema systems to tablet loudspeakers. Somewhere between the performance and the playback, words can become difficult to distinguish. Turning up the volume brings everything else up too. For an industry accustomed to measuring audio, this presents an awkward question. How do you put a meaningful number on whether somebody can understand what is being said? Loudness standards have established a

common framework for managing programme levels, but meeting those requirements does not necessarily make the dialogue clear. Manufacturers are now working towards a comparable approach to dialogue intelligibility, while next-generation audio offers the possibility of letting listeners find a balance that suits them. The distinction between loudness and intelligibility is important. “Loudness standards do not usually consider the dialogue separately,” explains Jünger Audio’s Friedemann Kootz. “Intelligibility is a topic that does touch this, of course, but I think we need to take a look at it separately.” For RTW’s Thomas Valter, the progress on loudness demonstrates the value of establishing a common approach, even if it hasn’t resolved

every issue. “But we have a standard, we have a common way to measure loudness, to display it and it’s accepted by broadcasters. So in that sense, it’s solved.” With intelligibility, even identifying the source of a problem can be far less straightforward. Valter lists performance, microphone capture, postproduction and domestic playback among the contributing factors. The move between channel formats adds further complexity, with encoding, decoding, upmixing and downmixing taking place along the way. Meanwhile, the dialogue itself may have to contend with a busy soundtrack. Kootz points to difficulties at both ends of the chain. Live recordings may take place in conditions that make clear speech difficult to capture, while even a carefully recorded and

mixed programme can sound very different in the studio from how it does in the viewer’s home. “We sometimes have productions where the aesthetics are quite different in the studio than the reality at the listening side,” he notes. For Nugen Audio’s Freddy Vinehill-Cliffe, the ambition to give television a cinematic feel is part of this tension. Television’s increasingly cinematic ambitions can bring that mismatch into focus. “A lot of TV shows now are feeling pressure to be really cinematic, and that means that they’re being mixed with a really wide dynamic range,” says Vinehill-Cliffe. “This actually isn’t conducive to the environment where most people are watching TV shows.” The engineer may recognise the difficulty without having the final say over the mix. Vinehill-Cliffe describes pressure from

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NEWS: SPECIAL REPORT

Nugen Audio’s DialogCheck v1.2 directors and producers seeking a powerful, cinematic soundtrack, with engineers not always empowered to challenge the resulting balance. Improving intelligibility can therefore require a creative discussion as well as a technical adjustment. At the other end of the chain, listening habits make the task harder still. “If you’re watching a TV series on your iPad on the train, is it really that surprising if you can’t understand what’s being said,” he adds. Both Vinehill-Cliffe and Valter also highlight television loudspeakers as a limitation. A mix prepared on a studio monitoring system eventually has to make sense through whatever the viewer owns. Fraunhofer’s Yannik Grewe also notes that many of these factors are beyond the production team’s control, including the listener’s playback equipment and hearing ability. “This is why dialogue intelligibility is a very complex topic, one which needs very many different parts to be investigated and improved,” he says. Fraunhofer’s work spans both production tools and delivery technologies. On the production side, the aim is to identify passages where speech could be difficult to understand, giving producers the opportunity to address them before delivery. Valter sees a benefit in making that assessment at several points in the production workflow, rather than waiting until the finished programme reaches quality control. Measuring during capture, postproduction and subsequent stages could help broadcasters locate where intelligibility deteriorates. As he explains, “you have, as a broadcaster, the chance to actually track the problems and solve them as early as possible”. “It’s important to be aware of the problem very early in the chain,” agrees Kootz. “If you’re producing with a standard channel-based system, then you should really take a look at your measurements and make sure that everything is working fine up to the end of the chain.” RTW’s cooperation with Fraunhofer stretches back more than a decade. Valter describes a progression from approaches based on loudness measurements towards AI-based analysis intended to assess intelligibility more precisely and accommodate different channel formats. In the implementation he describes, a downmix precedes analysis, allowing different formats to be assessed without

requiring dialogue to occupy a separate channel. Nugen Audio’s DialogCheck provides another application of Fraunhofer Institute for Digital Media Technology’s (IDMT) listening-effort technology. The plugin combines intelligibility measurements with a history display, helping engineers locate passages that warrant attention. It does not process the audio itself – the readings guide decisions about changes to the mix or source material. “It’s basically a mono block where you, as a manufacturer, do a down mix before,” says

products, they need confidence that the readings mean the same thing. Otherwise, introducing another meter may well just introduce another disagreement. “If different manufacturers are making different products to measure intelligibility, it’s only useful if those products all give you the same information,” says Vinehill-Cliffe. “If they’re giving conflicting data, that doesn’t help anyone.” To address this, Nugen Audio, RTW, Steinberg and Telos Alliance have formed the LEAP Meter Manufacturers Group (LMMG). Working with Fraunhofer IDMT, the group has developed an

Delivery targets are a further step, following agreement on the underlying implementation. “The next step is for the broadcasters, the streaming platforms and so on to reach a point where they decide what that number actually needs to be,” says Vinehill-Cliffe. In the meantime, a meter could have a useful role in the creative conversations. An engineer concerned that a particular balance is obscuring speech would have something more concrete to present to a director or producer. “It empowers the audio engineers because they can point at this number,” Vinehill-Cliffe explains. Keeping dialogue separately adjustable through delivery offers a further possibility. Grewe points to MPEG-H Audio and its support for audio objects. Dialogue can be carried as an object whose level the listener can adjust relative to the rest of the programme. “This means users at home can increase the volume of an audio object of the dialogue for better speech intelligibility,” he says. For Kootz, retaining that separation until the end of the chain is a compelling reason to adopt next-generation audio. It allows the audience to make an adjustment that would be unavailable through the television’s ordinary volume control. Asked what single change a broadcaster should make, he is unequivocal. “I think the best thing would be to switch to a next-generation audio format,” he says. “Personalisation is a very big factor in this.” The transition is nevertheless substantial. Kootz acknowledges that adopting new formats involves many stages and is a significant decision for broadcasters and producers. For

User interface screen for Nugen Audio’s DialogCheck Valter. “And that means that you can basically throw any channel format into it and it will work.” This allows different formats to be assessed without requiring dialogue to occupy a separate channel. Nugen Audio’s DialogCheck provides another application of Fraunhofer IDMT’s listening-effort technology, combining measurements with a history display to help engineers locate passages that warrant attention. The plugin measures rather than processes the audio, leaving the engineer to decide what needs changing. “We’re listening to the full mix and, within that, figuring out if there’s music that’s masking it or if sound effects are too loud, whichever it might be,” says Vinehill-Cliffe. “Even if someone’s mumbling, that’ll show up on the measurement as well.” Making such measurements available is only part of the work. If a postproduction facility and a broadcaster use different manufacturers’

implementation agreement for products using its LEAP AI-based intelligibility technology that establishes a common framework for how participating manufacturers implement and present their measurements. “We basically realised that we had different scales, different wording,” says Valter. Some called it speech intelligibility, some called it dialogue intelligibility.” The shared approach adopts Dialog Intelligibility Unit, or DIU, as the measurement unit, with readings presented on a scale from 0–100. Consistency between implementations should allow engineers and broadcasters to discuss results without first having to reconcile different manufacturers’ approaches. Agreeing how to measure intelligibility does not, however, establish what score a programme should achieve. That requires broadcasters and streaming platforms to decide how they want to use the measurement.

those working with conventional channel-based systems, his advice is to pay attention to measurement throughout the chain, checking that the programme continues to perform as intended through to delivery. Measurement and object-based delivery address different parts of the problem. One helps production teams identify passages that need attention; the other allows listeners to adjust the balance to suit their needs. Vinehill-Cliffe believes intelligibility meters could eventually become as familiar in postproduction as loudness meters, although their presence alone will not ensure clearer dialogue. As he acknowledges, “we make it, but we can’t guarantee that people are going to use it properly”. www.fraunhofer.de www.junger-audio.com www.nugenaudio.com www.rtw.com

November–December 2026 PRO AVL MEA 31

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FEATURES: INSTALLATION

A second life on screen A large-scale LED deployment originally installed during the Dubai Fountain renovation has found a new role across four EMAAR properties

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DESPITE THE LED DISPLAY ALONG THE DUBAI FOUNTAIN promenade completing its original assignment, there’s still plenty of work ahead for its panels. Installed as a digital hoarding during renovation of the attraction in mid-2025, the 440m-long screen has since provided the equipment for a different undertaking – a new digital advertising network spread across four disparate EMAAR properties. For Blue Rhine Industries, which delivered both projects alongside INFiLED, the transition required a fresh approach to installation. Equipment previously assembled into a continuous, 3m-high display needed to be adapted to individual locations, each with its own structural requirements, viewing conditions and access restrictions. Some screens would operate outdoors, while others would become part of the malls’ interiors, including double-sided displays suspended above shoppers. According to Blue Rhine, the completed network comprises 32 LED screens totalling approximately 900m2 across Dubai Mall, Dubai Hills Mall, Dubai Marina Mall and Sky View. Installation of the reused screens was completed in July 2026, with an additional screen expected to follow in the coming months. Blue Rhine and INFiLED delivered that original installation in just 60 days. Its purpose was tied to the fountain’s renovation, providing a digital surface along the promenade while work took place behind it. Redeploying the equipment across EMAAR’s estate has given it a continuing application beyond the temporary hoarding. “It’s a fantastic example of technological sustainability – reusing the screens and giving them another life,” explains Blue Rhine Industries CEO John V Joseph. The new project’s brief extended beyond finding suitable positions for the available panels. EMAAR wanted a network that could support advertising across its properties, with content adapted to different locations and audiences. The variation between the sites therefore had to be accommodated within a consistent approach to operation and presentation. “EMAAR wanted a connected DOOH network with easy content management, with a focus on colour and brightness,” Joseph

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The atrium’s portrait displays carry coordinated content beneath the mall’s skylights explains. “The screens vary in size, position and light conditions. Our job was to integrate and install each one, so the whole network performs as a single, adaptable platform within each location.” This screen flexibility allows EMAAR to make decisions about the timing and placement of content throughout the participating buildings. A distributed network offers multiple opportunities to reach visitors as they move through different spaces. “That means they can choose what content to show, to whom, when and where, wherever their target audience is inside the malls and buildings,” furthers Joseph. The LED panels themselves are from INFiLED’s MVmk2 Series, offering a 3.9mm pixel pitch, brightness of up to 4,500 nits and a 3,840Hz refresh rate. The manufacturer describes the pixel pitch as a balance between image detail and viewing distance, while the brightness capability supports visibility in areas exposed to high levels of natural light. Colour uniformity and contrast were also considerations across a network spanning different viewing environments. Furthermore, the MVmk2 cabinets benefit from a lightweight aluminium construction, with

Suspended portrait screens bring digital advertising into the mall’s high-level spaces

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FEATURES: INSTALLATION

A rear view reveals the curved support brackets and enclosure of a balcony-mounted display

The panels at their old home outside the Dubai Fountain

front and rear maintenance access providing flexibility across the installation positions. Delivering on EMAAR’s ambitions involved substantial work around the LED equipment itself. Blue Rhine acted as the integration and installation partner, taking responsibility for the physical infrastructure as well as installing, testing and recommissioning the screens. “Our scope also covered the surrounding infrastructure, so the screens can perform at their best, deliver long-term success and need minimal maintenance,” Joseph says. “This included the steel structures, the cladding, electrical and data cable pulling, termination, testing and commissioning.” The breadth of the scope is significant in a project involving existing buildings and multiple display formats. Reusing the LED cabinets still left the team with the task of supporting, connecting and finishing each installation in its new setting. The structures and cladding had to suit their surroundings, while power and data connections had to be brought to each position. Access for future maintenance also remained a consideration throughout the integration work. At Dubai Mall, the High Fashion hanging screens presented the most complex installation challenge thanks to their arrangement comprising three double-sided displays, requiring large structures to be transported through the mall and raised into their final positions. “We moved each 5m x 2m steel structure, with its LED cabinets already assembled, through the mall and lifted it to roof level as a single unit,” recalls Joseph. With the cabinets fitted before lifting, the team had to handle the assembled units both along the route through the building and during the lift itself. Joseph identifies this element as the most demanding part of the project, drawing on Blue Rhine’s experience of working at height and in busy public locations. The team was already highly familiar with Dubai Mall through installations including the Dubai Aquarium Screen and the Nike swoosh overlooking the Dubai Fountain. Its previous work also included a curved, coloured transparent LED display on the Nike store exterior, facing the mall’s internal shopping walkways. These projects have given the integrator vast experience of delivering prominent installations within the same operating environment. The new network nevertheless required a programme built around the properties’ daily activities. Installation work was carried out after mall operating hours, with teams continuing until 8am. Preparing each work area for the return of normal operations was part of that routine. “We cleaned the site after completing every installation activity and made sure there were no complaints or escalations from mall management,” says Joseph. This overnight working pattern allowed installation to progress around the demands of active retail locations. Across the project, the team had to accommodate the movement of equipment,

structural installation and commissioning within the time available, then leave the sites ready for their daytime use. Blue Rhine’s wider DOOH portfolio provided relevant experience. For Al Arabia’s entry into Dubai, the company delivered more than 100 digital assets, fabricating structures at its Umm Al Quwain facility and managing preassembled units for installation at live locations. Its work on BackLite Media’s Triple Crown on Sheikh Zayed Road involved installing LED screens and manufacturing and fitting the golden spiral cladding for three 22m digital unipoles.

Portrait advertising screens line the atrium balconies, alongside a suspended circular display Those projects also involved their own access and scheduling demands. For EMAAR’s network, the practical test was completing each installation to the requirements of both the client and the inspecting consultant. “We’ve received positive feedback from EMAAR, with installation approval granted for each following inspection,” concludes Joseph. “The Dubai Municipality-approved consultant also inspected the installations and issued completion certificates for each location.” The result extends the collaboration that began with the fountain hoarding, while giving the equipment a substantially different role and maximising EMAAR’s initial investment. A screen originally built along one promenade now supplies advertising displays across four destinations, supported by new structures, connections and installation work. For Blue Rhine, the panels were being reused, but each location still required its own solution to turn them into a working part of EMAAR’s wider network. www.brisigns.com www.infiled.com

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November–December 2026 PRO AVL MEA 33

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FEATURES: INTERVIEW

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Keeping pace with technology remains a priority as the scale and complexity of AV projects increase

Growing into the role As Phil Marlowe celebrates 20 years with AVI-SPL, Pro AVL MEA hears how a maturing Middle East market is changing the demands on its integrators SOON AFTER MOVING FROM THE UNITED STATES TO Dubai, Phil Marlowe was called in to look at a corporate client’s conference room that still wouldn’t work properly despite the efforts of three different AV suppliers. Each had sold the customer more equipment, leaving a credenza full of hardware and two different brands of ceiling microphone arrays. AVI-SPL rebuilt and commissioned the system using what was already there, but when its technician asked where to put the redundant equipment,

the customer panicked. Worried that his boss would discover how much money had been wasted, he wanted everything reconnected. “We ended up putting all of the unused equipment back in the rack and plugging it in so some lights blinked as the client was panicking,” Marlowe recalls. “That was the market in 2008, 2009 and 2010: clients just buying random systems, throwing them in and not configuring anything properly, ending with products not tested and systems not commissioned properly.” Sometimes doing everything right still doesn’t produce the expected result. It was a good lesson to learn early on, and an extraordinary illustration of the state of the market encountered in his early years in Dubai: customers willing to invest but not always equipped to assess what they were buying or whether it had been delivered properly. Celebrating 20 years with AVI-SPL, including more than 18 in Dubai, Marlowe has watched the region develop considerably since those early encounters. Customers have become more knowledgeable and far more sophisticated buyers of technology, while the processes governing AV delivery increasingly reflect its importance. On larger projects, dedicated testing and commissioning reporting has replaced the uncertainty of whether an installation would actually do what its purchaser expected. “We’re developing testing and commissioning documents at the beginning of large project deployments, sometimes up to a year before we’re even going to test and commission anything,” he explains. “These policies and procedures have been in place for years with other trades within the greater construction sector, but never filtered down to our level. And now they’re there.” Such scrutiny accompanies a more fundamental shift in what AV now contributes to a project. For the digital museums and experiential installations his team delivers, technology provides the attraction itself. “AV is frequently not the second- or third-tier system,” Marlowe explains. “In some cases, it is the primary objective. What, for example, is Sphere without the AV systems within it?” Meeting these rising expectations requires resources that extend well beyond the equipment list. During the pandemic, AVI-SPL faced the convergence of more than 80 active Expo 2020

Marlowe’s technical background continues to inform his approach to leadership

Building relationships has been central to Marlowe’s approach throughout his career

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projects with its work on Museum of the Future. While Expo had been postponed, the museum’s delivery timetable remained fixed, leaving the leadership team to divide responsibility for two substantial commitments. Marlowe took the museum, but recognised that additional technical support would be essential. “Museum of the Future is one of the very few projects I’ve worked on in the Middle East that actually committed to and kept to its original timeline. The date was fixed from the beginning,” he recalls. “I made one phone call to our chief operating officer, John Murphy. I said, ‘John, I need some help, I need seven techs. I need a strong team who can deliver with us.’ Within 48 hours, we had people on airplanes.” The reinforcements ended up staying almost six months, through the museum’s completion. Marlowe readily acknowledges the advantage of the international backing AVI-SPL provides, although sustaining the local operation also meant looking beyond the projects immediately in front of it. Around 22 service personnel had been recruited to operate and manage Expo installations; when the event ended, almost all moved into other divisions. Today, Marlowe puts the Dubai team at more than 160 employees, supported by around 90 additional subcontracted personnel. Asked about his biggest current challenge, his answer is immediate: continuing to scale. For someone who began as a technician, that means maintaining a connection between management decisions and the people who have to carry them out. “I understand what every person that works for me goes through every day, from a technician pulling cable to our engineering and programming teams, to our commissioners, rack fabricators and logistics,” he says. “My job as a leader is to try and alleviate any challenges or cut those challenges off before they cause stress and become a problem.” Over the past 18 months, this has involved strengthening management and supervision within individual departments, giving staff more access to guidance as the organisation expands. The need for such support is unlikely to diminish as the technical demands of projects continue to evolve.

AVI-SPL’s Dubai operation now employs more than 160 people, supported by additional subcontracted personnel Growth has also created room for a different kind of recruitment. Where a small team needed experienced people who could deliver immediately, a larger organisation can give newcomers time to develop. Marlowe describes a recent recruit whose speed in turning client data into a Power BI dashboard, assisted by Copilot, surprised his more established colleagues. “When we were small, we had limited spots for engineering or technicians, and I had to hire very senior applicants because I needed that person to be able to deliver and self-manage,” he recalls. “There wasn’t enough energy or resources to mentor and guide a young person. We’re now fortunate enough to have a team big enough to be able to bring in fresh graduates.” Marlowe’s recent anniversary has brought this responsibility home on a more personal level. At a celebration organised by colleagues, photographs surfaced Marlowe didn’t know still existed, prompting thoughts about the people who had invested time in him, long before he was running a regional business.

Reflecting on those two decades with AVI-SPL, he sees the company’s growth as closely aligned with the evolution of the Middle East market itself, as organisations increasingly view technology as a strategic enabler rather than a supporting function. But you never know what direction the industry might take you. “When I first started at SPL, I thought I’d be a technician for the rest of my life,” he reflects. Now, seeing young recruits arrive with their own abilities and ambitions, he finds himself considering how to better offer the patience and encouragement he once received. “It’s had me thinking a lot over the past month about what I need to do to ensure that I’m passing these benefits on,” he says. “While that’s something I think I do already, it’s also something we want to place increased emphasis on.” www.avispl.ae

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PAME Pg34-35 Phil Marlow.indd 35

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FEATURES: LIVE

A closer connection

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Creative Technology Middle East brings an intimate feel to John Legend’s sold-out concert in Qatar TURNING AN EXHIBITION HALL INTO AN INTIMATE concert venue was the central challenge for Creative Technology Middle East when John Legend performed at the Qatar National Convention Centre (QNCC) in September. With more than 3,800 seats sold across Halls 3 and 4, the production needed to bring the audience close to the performance while accommodating the infrastructure of an international touring show. Working for client Proactiv, CT supplied video, lighting, audio, rigging and communications, alongside technology for the reception and VIP areas. The touring team brought its operators,

with CT responsible for preparing the systems and infrastructure for their arrival. The programme combined Legend’s piano-led performances with stripped-back arrangements and personal anecdotes, placing the emphasis on the artist more than the production around him. “Our job was taking an exhibition hall and making it feel intimate,” explains Carlos Aguilar, head of video at Creative Technology Middle East. “Halls 3 and 4 are long, hard rooms, and we only had three days to turn them into a proper theatre experience.”

Backstage dimmer and power distribution racks support the lighting installation

The lighting control position, with a grandMA3 console alongside a screen displaying the fixture layout

Originally scheduled for April, the concert had been postponed until September, when it became part of Visit Qatar’s Hala Summer campaign. The uncertainty surrounding the event added another consideration to the build. Aguilar recalls “the looming threat of the show not happening”, with the team conscious of the responsibility involved in delivering it. For the CT video department, intimacy meant making the details of Legend’s performance visible throughout the room. Two 9m x 6m IMAG screens flanked a central 12m x 6m display, providing approximately 180m² of LED surface. These were constructed with more than 800 ROE Visual Black Pearl panels and fed with Brompton processing. “With John at the piano, we didn’t want anything fighting him for attention,” says Aguilar. “The IMAG was mostly live camera, nice tight shots of his face and hands, and the mini cams got us close without anyone in the way.”

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FEATURES: LIVE The camera package included Panasonic UC4000 4K cameras, while a Panasonic KAIROS system served as the primary multi-ME camera production platform, providing independent handling of camera sources, IMAG layers and screen outputs. Disguise media servers supplied playback and content outputs, supporting framing and colour management across the displays. “The system was designed to give the production team independent control of camera, IMAG and playback content across the LED surfaces, with the processing and media-server infrastructure maintaining consistent framing and colour throughout the show,” Aguilar furthers. This separation gave the operators control over the different visual elements, while the camera treatment kept attention on the performer. Close views of Legend’s hands and face allowed the screen coverage to follow both the piano playing and the vocal performance without requiring cameras to intrude on the stage. The scale of the LED installation could have made the screens the dominant feature of the room. Instead, the emphasis on live images gave their size a practical purpose, helping distant seats share the detail available to those nearer the stage during performances. Audio coverage inside the halls also presented a challenge. The room’s proportions required the system to reach listeners along its length while managing sound energy within the exhibition halls. To tackle this, CT deployed 14 d&b audiotechnik KSL cabinets per side, supported by two hangs of four SL-SUBs. Outfill coverage came from 12 XSL cabinets per side, with 44S loudspeakers providing lip fills and Y10Ps covering the outer front fill areas. “The room was narrower than it was long, so we needed to ensure that we had good coverage across the entire venue,” explains CT’s head of audio, Tim Cook. “The KSL and XSL really helped us achieve this, especially with ArrayProcessing, allowing us to maintain consistent coverage and performance throughout the space.” The directional behaviour of the main system was another factor. “We went with KSL because it’s cardioid,” he adds. “It keeps the energy pointed at the audience and not bouncing around the hall.” Front and floor fills served the audience closest to the stage, with tuning focused on maintaining a consistent balance of vocal

15 beltpacks for key departments. A further 12 radios were reserved for the artist’s team. “We looked after all the kit and infrastructure, so video, lighting, audio, rigging and comms, plus all the reception and VIP areas,” summarises Aguilar. “The tour came in with their operators, and we made sure everything was ready for them to plug in and go. Being the first live show in the region, there was an added layer of responsibility in pulling it off for everybody.” The touring production used an Avid VENUE | S6L console at FOH and piano from front to back. At FOH, the touring production used an Avid VENUE | S6L, while CT supplied a DiGiCo SD12 for wider system and production requirements. A DirectOut PRODIGY.MP handled core system matrixing and audio feed distribution throughout the venue. Shure wireless systems covered radio microphone and IEM requirements. Lighting required the team to balance the performance with the wider environment. Alongside a well-lit stage, the brief encompassed grandstands, signage and bookshelves, all of which needed attention without upsetting the overall balance. An MA Lighting grandMA3 full-size and grandMA3 light controlled fixtures from Robe, Ayrton and SGM, with Robe RoboSpot systems handling followspot duties. Beyond the auditorium, CT’s scope extended to the reception hall, outdoor arrival area and cigar lounge. Astera battery-powered fixtures, Cameo searchlights and architectural washes supported the treatment of these spaces, while wayfinding lighting helped carry the event through the building. This wider remit meant the installation was more than a stage package. The audience’s arrival and movement through QNCC formed part of the delivery, requiring supporting infrastructure outside the main performance space as well as coordination between departments inside it. Communications comprised 50 2-way radios across the production and a Riedel Bolero wireless intercom system with

Illuminated bookshelves and event branding carry the visual theme into the venue’s public spaces For CT, the three-day conversion brought together the technical demands of a large concert and the quieter requirements of a performance built around voice and piano. Camera coverage concentrated on small gestures, the PA addressed the long room and lighting connected the stage with the surrounding spaces. Across those departments, the task was consistent: giving a sold-out audience in an exhibition venue the sense of being close to the artist. www.ct-group.com/me

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FEATURES: HOSPITALITY

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Setting the pace

L–R: Bader Bukhamseen from Barry’s Kuwait, with Mohammed Siddiq from Yamaha Music Gulf, Ahmad Jaber from aDawliah Kuwait and Rajesh Venugopal from Yamaha Music Gulf

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aDawliah Electronics balances high-energy music reproduction with clear instructor commands at Barry’s first Kuwait gym FOR WELL-KNOWN FITNESS OPERATOR BARRY’S, sound is an essential part of the workout. Founded in West Hollywood in 1998 and now present in more than 20 countries, the company specialises in instructor-led classes that combine treadmill running with strength training. Its signature Red Room studios bring music and lighting into the experience, with high-energy playlists helping trainers set the pace through each 50-minute session. That format places particular demands on an audio installation. Music needs weight and impact, but participants still need to be able to hear the trainer’s next instruction. At Barry’s new Kuwait facility, Yamaha Music Gulf and local partner aDawliah Electronics were tasked with delivering that balance in a hard-surfaced studio with limited room for equipment. At the volumes associated with an intensive class, reflections can make the sound harsh, bass can become indistinct and trainer instructions struggle to cut through. The audio design therefore had to address both the energy of music playback and the clarity of speech. This lead the team to adopt a speaker arrangement that separated full-range coverage from dedicated low-frequency reinforcement. Seven Yamaha DXR10 mkII 10-inch powered loudspeakers serve the Red Room, with four installed at the front and three at the rear. Two DXS15 mkII 15-inch powered subwoofers sit on the floor between the treadmills, providing bass reinforcement within the available space. That positioning accommodated the subwoofers among the fitness equipment, while the front and rear loudspeaker deployment distributed coverage through the workout area. The aim was to maintain the impact expected of a Barry’s class without sacrificing clarity or allowing the sound system to dominate the room visually. Initial testing demonstrated capacity beyond the intended operating level. “The system was designed to hit 100dB, but during testing it reached 105dB with ease,” explains Ahmad Jaber of aDawliah Electronics. “It now runs comfortably below 98dB, giving Barry’s the headroom they need without sacrificing clarity.” Keeping instructors audible required more than loudspeaker coverage alone. Two wireless microphones feed the system, with

these oddly shaped spaces, with an XMV4280-D multichannel amplifier driving them in 100V mode. This extends the audio provision beyond the studio while allowing the supporting spaces to be managed independently. The MTX5-D handles routing and processing across the venue. Music is supplied by two laptops running Dante Virtual Soundcard, with a digital connection between the processor and the XMV amplifier forming part of the networked system. For everyday operation, three Yamaha MCP1 control panels and an iPad running ProVisionaire Control give staff access to the system, enabling

A horizontally mounted Yamaha DXR10 mkII blends into the studio’s dark interior above the mirrored wall compression used to keep speech levels consistent. The Yamaha MTX5-D processor’s Dynamic Feedback Suppressor helps control microphone feedback as instructors traverse the room, while its ducker automatically reduces the music level when they speak. This gives instructor commands space in the mix without requiring staff to make repeated manual adjustments during a class. The combination addressed the practical tension in the brief: music needs sufficient weight and level to sustain the workout’s energy, but participants must still be able to follow spoken instructions. According to the integration team, the completed installation has vastly improved instructor speech clarity and reduced feedback, alongside better music reproduction and more even coverage. Outside the Red Room, Yamaha VXH6 pendant loudspeakers provide background music in reception areas, the stretching room and the corridor. Their 120° dispersion supports coverage across

Ceiling loudspeakers extend background music coverage to the refreshment area outside the Red Room

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FEATURES: HOSPITALITY users to adjust volume and select sources independently for each zone. Preset recall also allows them to switch quickly between audio settings for different activities, reducing the need to make individual adjustments each time requirements change. The interface has been geared towards staff that don’t possess specialist audio knowledge. Engineers can also access it remotely to investigate issues and provide immediate support, complementing the controls available within the gym. For Jaber, the result meets the venue’s performance and presentation requirements. “The result is a crystal-clear, well-balanced soundscape which has transformed the gym atmosphere, making it sound as good as it looks,” he says. “The system is powerful, reliable and built to keep up with every beat of every workout.”

Two Yamaha DXS15 mkII subwoofers provide lowfrequency reinforcement from floor positions between the treadmills He describes the project as the first Yamaha installation for the Barry’s franchise. Barry’s operations manager Amira Moghaddam also highlights the quality of the sound throughout the Kuwait facility: “The Yamaha speakers have helped our space drastically by providing a well-balanced and high-clarity sound throughout the amenities.” The practical benefits emerge during a class: instructors can move around the room with feedback suppression supporting their microphones, speech automatically takes precedence over music and staff can recall settings as activities change. Alongside the Red Room’s low-frequency impact, those everyday functions help the installation support the people leading and taking part in each workout.

Gulf

The equipment rack houses the Yamaha MTX5-D processor, XMV4280-D amplifier, wireless microphone receivers and an MCP1 control panel

Loudspeakers mounted above the treadmills deliver music and instructor audio without occupying valuable floor space

www.adawliahstore.com www.barrys.com/studio/kuwait www.mea.yamaha.com/en/business/audio

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The Mandela Theatre is an opera-style room with a pronounced rake

Retrofitting hearing-loop coverage across three very different Joburg theatres called for careful design and discreet installation from the Prosound team FOR MOST MEMBERS OF THE AUDIENCE, THE NEW hearing loop systems installed across Joburg City Theatres will remain entirely invisible. There is no loudspeaker to see, no screen to watch and little for the production team to touch. Yet for a patron with hearing loss, the cable concealed beneath the seating can transform the experience inside its venues. A hearing loop must reach every intended listener consistently while leaving next to no trace on the auditorium. Achieving both becomes harder when the system is added to an existing theatre rather than designed into a new building. This was the challenge facing Prosound when Joburg City Theatres issued a tender covering the Mandela Theatre, Soweto Theatre and Roodepoort Theatre. Although the venues belong to the same organisation, their architecture, capacities and finishes offered little opportunity for a standardised approach. “The biggest challenge with this type of system is the installation itself,” says Prosound’s Charles Markotter, who oversaw the AV system design at each site. “You have to find a way of putting the cable in neatly and without being invasive.” Prosound’s association with Joburg City Theatres stretches back decades, including involvement in a major renovation at the end of the 1980s, when the company supplied the main PA, evacuation systems, backstage paging and audio tie lines. But the latest project addressed an entirely different aspect of the audience experience. Growing pressure from disability advocates and greater awareness of accessibility have put assistive listening higher on the agenda for public venues in South Africa. Hearing loops are particularly well-suited to theatres because they transmit performance audio directly to compatible hearing aids, reducing the distance,

An under-counter hearing loop assists visitors at a customer service point inside Joburg Theatre reverberation and background noise that can otherwise obscure speech. “There is definitely more interest in hearing loops and more encouragement from organisations representing people with disabilities,” observes Markotter. “Theatres, churches and similar public venues are among the places where people are increasingly looking at this type of provision.” The three auditoriums vary considerably in scale. The largest is the approximately 1,069-seat Mandela Theatre, an opera-style room with stalls, a balcony, side seating and a pronounced rake. Soweto Theatre accommodates approximately 436 people across stalls

and balcony levels, with an exposed concrete floor. Roodepoort Theatre has around 325 seats arranged on a single rake without a balcony. The objective in each room was not simply to place a loop somewhere in the auditorium, but to provide dependable coverage across the entire seating area. It is tempting to imagine an induction loop as a cable following the perimeter of a room. In a large auditorium, however, that arrangement creates an unacceptable difference between listeners close to the cable and those seated in the centre, as the magnetic field weakens with distance. Prosound instead worked with assistive listening manufacturer Contacta on phased-array designs comprising two interrelated loop circuits. “This was our first major Contacta installation in a South African theatre, so it was an important project for us and a valuable opportunity to learn more about the product and the brand,” explains Prosound technical sales and support representative Koketso Lamola. “Joburg City Theatres provided a clear specification, and although coordinating the work around both their schedule and ours meant that the original timelines had to change, we worked together to complete the installations successfully.” The cables pass repeatedly through the seating area, with the separate circuits creating a more even field while restricting overspill into surrounding spaces. “We are covering all the seats, rather than simply defining an area,” Markotter explains. “The two loops work together, and there is a very specific layout that has to be followed to achieve the required response.” The Mandela Theatre is home to one Contacta V34a Pro and one V22a Pro loop driver. Two V15a units serve Soweto Theatre, while a V22a Pro was installed at Roodepoort Theatre. In a new venue, flat copper tape can be laid before the carpet or other floor finish goes down, disappearing as the auditorium is completed. That option was unavailable in the three existing theatres. Prosound therefore used round cable and searched for routes within the existing architecture. At the Mandela Theatre,

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The c cabli exist

mobile is des chang audien Ticke listeni noise glazed Conta ticketi These directl projec Cont IR-RX2

SCALABLE NETWORKING SIMPLIFIED. Contacta V22a Pro and V34a Pro loop drivers power the phased-array system serving the Mandela Theatre rubber edging on the steps provided a concealed path that allowed the loops to pass behind every seating row. The room’s geometry added another layer of complexity. Its steeply raked side areas descend towards the lower seating, so the loop pattern had to follow an irregular route before returning to the equipment rack near the sound-control position. “Our team did a very good job across these venues,” Markotter says. “The more of this work you do, the more experience you gain and the better you become at finding the right approaches.” Not every space suited a permanent induction loop. Early discussions included the black-box venues within the theatre complexes, but their

These can be issued to visitors and allow staff to confirm that a loop is functioning without finding somebody wearing a telecoil-equipped hearing aid. Once commissioned, the systems need little intervention, although their effectiveness depends on the feed from the sound desk. A spoken drama using a few microphones may produce a much lower level than a fully amplified musical, so the operator must confirm that the signal is appropriately set for each production. “The most important thing is for somebody to check that what is being sent is usable and is neither too soft nor too loud,” explains Markotter. “After that, there is very little management required. In many ways, it is just like an amplifier driving a loudspeaker.”

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The Contacta RX30 portable receiver enables visitors without a telecoil-equipped hearing aid to access the loop system

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The connection point for the hearing-loop cabling installed discreetly within the existing auditorium mobile seating created a conflict. A fixed loop is designed around a defined coverage area; changing the position and orientation of the audience will undermine its performance. Ticket offices and bars can also be difficult listening environments, combining background noise with the barriers created by counters or glazed screens. Prosound therefore installed Contacta IL-K200-20 under-counter loops at ticketing and bar positions across the three venues. These transmit speech from a staff microphone directly to a compatible hearing aid, extending the project beyond the performance itself. Contacta IL-RX30 portable loop receivers with IR-RX2-DC5 charging stations were also provided.

Such simplicity is part of the design’s success. The technology remains virtually invisible to audience members who do not require hearing assistance, while for those who do, it can make the difference between merely attending a performance and participating in it fully. With the three installations complete, Joburg City Theatres is considering extending hearing-loop provision into some of its smaller performance spaces. For Lamola, that prospect reflects both the outcome of the work and the relationship developed while delivering it. “It was a pleasure working with Akona, Melanie and Lebo,” she concludes. “Their support and understanding throughout the project were extremely helpful, and the client is very happy with the completed work. We hope to continue working with Joburg City Theatres as it expands hearing-loop provision into some of its smaller performance spaces.”

Whether deploying a redundant or primary-only network topology, the MS8.2 Milan network switch is perfectly suited to simplify mobile, installed systems and spatial audio applications.

www.contacta.co.uk www.prosound.co.za

November–December 2026 PRO AVL MEA 41

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26/10/2026 16:53

BUSINESS: COMMENT

A letter from America

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

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

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

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

A letter from Europe

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

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

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

42 PRO AVL MEA November–December 2026

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

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26/10/2026 16:35

BUSINESS: SHOW REVIEW

IBC2026

Richard Lawn reports from the halls of the RAI Amsterdam

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

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

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

From the show floor

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

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

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

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

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

2026 Dates:

11 – 14 September

2027 Dates:

10 – 13 September

Venue:

RAI Amsterdam

Total exhibitors: Attendance:

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

Contact:

www.ibc.org

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

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

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

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

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

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

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

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BUSINESS: TECHNOLOGY

Going the distance

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

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

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

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

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

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The M

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

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

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

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

The MATF rear panel combines coaxial and optical inputs within the same centralised RF infrastructure

www.wisycom.com

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November–December 2026 PRO AVL MEA 47

PAME Pg46-47 Technology RF over.indd 47

26/10/2026 15:28

BUSINESS: COMPANY PROFILE

Focused on the future

Tron

The company moved into its current building in Almelo in 2020

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

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

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

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

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A full 270,0

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

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

The Grandbrothers benefit from a beamZ lighting setup

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

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

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

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OMNEO Communication Platform

What’s under the hood

IP-based media networking for PRAESENSA public address and voice alarm systems Can your network keep up with the complex demands of large-scale PAVA installations? Hundreds of channels over one standard IP network, scalable further with multi-VLAN segmentation, with IGMP handling traffic isolation automatically

e were

s Crystal-clear, perfectly timed audio at any scale

Low audio latency & synchronized playout Delay breaks intelligibility and coordination in critical environments.

High channel count Large sites need many simultaneous streams without any compromise.

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The OMNEO solution: a single platform for secure audio transport, control and device management.

Open, proven standards Unproven tech in life-safety environments is a risk no system integrator can afford to take.

Managing devices remotely across a large site is slow & error-prone without centralized control.

Security by design Modern PAVA installations connect critical infrastructure to IP networks, making cyber security a non-negotiable requirement, not an afterthought.

Full remote control and monitoring from one place, with automatic device discovery across multiple VLANs; no manual adding required

End-to-end encryption and role-based access control, built in from the ground up

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Transport protocol

Dante® / AES67 / SMPTE ST 2110

Control protocol

OCA / AES70

Network type

Standard Ethernet / IP

Max. devices

Up to 10,000

Latency

1–2 ms typical (OMNEO) · PRAESENSA configured for >5 ms (favors coverage over raw speed)

Playout synchronization

±1 ms across all devices

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High — multi-channel uncompressed

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Uncompressed, full resolution

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Full network path redundancy

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AES128 audio encryption + TLS control authentication; included natively, no separate subscription required*

Remote control

Full-function, all devices

Third-party interoperability

Any Dante® and AES67enabled device

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November–December 2026 PRO AVL MEA 49

PAME Pg48-49 Company Profile BeamZ.indd 49

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Pana LAB s wider The co to pro techni sector For c produ Trainin equipm install Sout Panas Media its com low pr “The unbeli of the and 1 shows and d busine about Sout African West skills organ under invest with th we are territo A lar becom during a proj appro soone Molloy to the integr “Bei explai stakeh consu with th sale – simply price’. within Follo contro

Image courtesy of Antonio Pagano

A local mindset with global backing Panasonic projectors powering Qatar’s NMoQ Museum

The Middle East and European teams at Mediatech in South Africa

The Panasonic Middle East team

Determined to shed the perception that it lacks a local presence, Panasonic is investing in people, partners and project support across MEA “THE BIGGEST MISCONCEPTION IS THAT WE’RE NOT here – and we definitely are,” declares Anthony Molloy, who is responsible for Panasonic’s projector and display business across the Middle East and Africa. “We’ve got boots on the ground, but we’ve also now got the power of the wider EMEA organisation behind us.” With Panasonic identifying the Middle East and Africa as important growth markets, correcting this perception has become a priority. Over the past 18 months, the company has expanded its regional team and channel while increasing engagement with consultants, systems integrators and end users. Behind these developments is closer alignment between its MEA and European professional AV operations. “Previously, things here were structured as a completely separate organisation reporting into the local Panasonic Middle East business,” explains Molloy. “There wasn’t the B2B focus that we have today, where the organisation has been structured specifically around the needs of the professional AV market.”

The move to more closely align with the manufacturer’s European operations gives Middle East regional personnel access to a much larger pool of technical, marketing and after-sales expertise. For customers and partners, the intention is to provide faster access to specialist knowledge and more comprehensive support throughout a project, while retaining a local point of contact familiar with the market. Molloy describes the resulting structure as a dual approach: regional personnel maintain direct relationships with customers, while the wider European organisation provides additional resources as required. “We have dedicated local resources on the ground in Dubai and Saudi Arabia, while also drawing on our European colleagues,” he says. “That is a real improvement on where we were previously.” While the European office provides important backing, it cannot replace a permanent regional presence. Panasonic’s local projector and display operation has grown from one person to a five-person team, including UAE sales and presales capabilities and a recently appointed salesperson in Riyadh.

“You can’t beat a local team,” he continues. “We’re the ones interfacing every day with local end users, systems integrators and consultants. Giving the customer network confidence that the sales, technical and marketing support is here is what we were perhaps missing before.” Saudi Arabia is an obvious target, given its investment in entertainment, museums and live events under Vision 2030. However, Molloy rejects the suggestion that this comes at the expense of Panasonic’s UAE business. “The UAE and Saudi Arabia are equally important, but for different reasons,” he says. “The UAE is a cultural hub. If you look at what is happening on Saadiyat Island, as well as the theme parks and other developments in Abu Dhabi, it will remain an important market for entertainment technology over the next five years. “We’re not focusing on Saudi just because everybody is talking about it. Its ambitions in live events, museums and entertainment are also in lockstep with what we want to do in the region. The UAE is a mature market where there is still considerable growth to come, while Saudi Arabia represents a completely new opportunity.”

50 PRO AVL MEA November–December 2026

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Getti

Panasonic has also widened its route to market. PRO LAB supports the manufacturer in Saudi Arabia and the wider GCC, while DWR is responsible for South Africa. The company has also worked with LANG Middle East to provide product training in Dubai for the freelance technicians operating its equipment in the live events sector. For customers, the broader network makes Panasonic products, expertise and support easier to access. Training also helps technicians understand the equipment before arriving onsite, reducing potential installation or operational problems. South Africa provides early evidence of this approach. Panasonic made its first major appearance at Mediatech 2026 within the DWR village, demonstrating its commitment to a market where it had maintained a low profile. “The feedback during and after Mediatech was unbelievable,” reports Molloy. “Immediately off the back of the show, Gearhouse refreshed its fleet of 10,000- and 15,000-lumen projectors with Panasonic. That shows that when you go into a market, put in the time and demonstrate that you believe in the region, the business is there. It demonstrated that we are serious about South Africa and the wider region.” South Africa is a starting point for Panasonic’s wider African ambitions, with plans to expand across East, West and North Africa by drawing on the language skills and experience available throughout its EMEA organisation. “You have to be there to support and understand the market, and you can’t do that without investing,” Molloy states. “We started in South Africa with the tremendous support DWR has given us, but we are definitely going to expand into the rest of the territory.” A larger regional team enables Panasonic to become involved earlier in projects. By engaging during consultancy and design rather than only when a projector is required, it can help customers select appropriate technology, identify integration challenges sooner and access support throughout delivery. For Molloy, this should produce systems better suited to their application while reducing uncertainty for integrators and end users. “Being involved in the design phase is imperative,” explains Molloy. “We need to address all the stakeholders within a project, whether that is at the consultancy, design or systems integration stage, or with the end user. High-end projection is a technical sale – it is more of a collaborative discussion than simply saying, ‘This is the projector and this is the price’. You need to understand where that projector fits within the overall system.” Following its acquisition in early 2026, Hive’s media control technology enables Panasonic to

s and sales, ps

participate in more of that conversation. It also gives customers and integrators projection and media control expertise through a connected ecosystem, potentially simplifying systems design, testing and support. “Previously, Panasonic might only have discussed the projection element,” says Molloy. “Now we can offer expertise across more of the ecosystem, including the media server, which is extremely valuable to both end users and the channel.”

Panasonic projectors bringing Petra to life as part of the Festival of Light Molloy emphasises that Hive will continue to operate independently and retain its brand-agnostic philosophy, with its technology able to support LED and other display products alongside Panasonic projectors. “Hive has brought us new perspectives,” he continues. “We are now becoming involved in conversations where projection might not initially have been considered – or, in some cases, where there may be no projection at all. For our customers, it is valuable to have a manufacturer that can discuss multiple parts of the system.” Panasonic is already involved in several high-profile regional projects, with details expected to emerge in the coming months. For Molloy, seeing the company’s name attached to more of MEA’s leading installations will be an important measure of the strategy’s success. “Panasonic is a well-established global brand, and it has been a shame that this hasn’t always been reflected in the Middle East,” he concludes. “We have already grown over the last 18 months, despite the regional situation, which tells me we are doing the right things. I’m convinced that, over the next two or three years, Panasonic’s name will become associated with some of the region’s key installations.” www.panasonic.com/mea

Back on stage. More than ever. Nettuno L28 marks Montarbo’s comeback to the stage with a newly designed, compact linearray. Modular and versatile, it delivers professional performance for both touring and installed applications. Through scalable design, 135.5 dB SPL and perfectly balanced coverage, Nettuno L28 integrates effortlessly into any space, delivering sound that embraces every listener. Adaptive headroom goes beyond expectations, while onboard presets simplify the system by reducing the need for external processing.

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COME VISIT US AT HALL 7 BOOTH 7H450

montarbo.com

Getting set up at Petra

November–December 2026 PRO AVL MEA 51

PAME Pg50-51 Company Profile .indd 51

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BUSINESS: TECHNOLOGY

More than the recording DLC Events is giving clients the ability to turn their stage into content in real time, by generating detailed summaries, video clips and event reports in minutes, whilst opening doors for its wider conference technology services

The customer portal interface “THERE’S NO SHORTAGE OF COMPANIES OFFERING conference equipment these days,” observes DLC Events’ Mark Breakspear. “Expanding services to include the latest solutions helps us stay ahead of the competition, especially when combined with the high level of client service we are known for.” The company’s latest addition gives it another avenue to demonstrate its specialised service offerings. Using an AI platform to process event recordings, DLC can deliver transcripts, summaries, branded reports and short video reels. The outputs give organisers material for delegates, media teams and internal records, with the level of detail chosen to suit its purpose. All deliverables are provided within minutes of the session closing onstage. This is relevant as the conversation around an event dramatically reduces in the days following. Hence to capitalise on media traction, immediate published content helps to continue the momentum. At a recent healthcare workshop in Dubai during WHX, the company equipped 11 tables with 10 push-to-talk microphones each. There was no PA system, and the microphones were there solely to capture the discussions. After the hour-long workshop, each table’s moderator was due to present its findings to the rest of the room. Around 10 minutes after table discussions finished, summaries were available for the moderators via a URL. They then went onstage to present their groups’ findings to the rest of the room. Executive summaries and key topics provided a reference for those presentations, helping bring the separate conversations back into the wider event. The recordings can also feed an online resource containing transcripts, summaries, quotations and key topics. More detailed session reports incorporate client branding and speaker biographies supplied in advance, while event reports draw together material from multiple stages and sessions.

An example of the end of day report delivered for a recent LIVEX conference That creates opportunities for delegates who cannot attend every discussion. Organisers can make the resource available through their event website, including a chatbot that answers questions using the session transcripts. Rather than search an entire recording, a delegate can probe what a particular speaker said about a topic. Video extends the service to organisers’ social channels. DLC can supply cameras or take an SDI feed from the existing production system and stream it straight to the platform. Breakspear explains that this allows short reels to be delivered minutes after a session, already incorporating pre-approved branding, intros/outros and captions for immediate publication on social channels. The additional onsite setup is relatively modest: a laptop, wired internet connection and recording equipment. DLC can

therefore offer the service alongside an incumbent AV supplier, an arrangement that is central to its appeal for the company. Breakspear cites a conversation about new services and solutions bringing opportunities from new as well as existing clients. “Interest in our AI content solutions opened doors that previously seemed closed. Getting that opportunity is vital because it allows us to properly demonstrate how everything works,” he says. “Our aim is to over deliver on experience and service.” There are boundaries to the offering. The solution relies on cloud processing, so it cannot serve clients whose policies prohibit content from leaving their internal network. Breakspear also acknowledges that a straightforward transcript or basic summary can likely be obtained more cheaply elsewhere. That raises an obvious question as AI tools become commonplace: why commission the service rather than process a recording yourself? “If you just want the transcript, there are free options everywhere,” he acknowledges. “If you want a basic summary, there are many domestic tools and platforms around. But it’s about the quality of the content that’s going to make the difference, as well as how it’s delivered.” The real benefit is the overall workflow, the quality of the finished output, the interface and the ability to deliver content in the client’s branding. “Plus, we can take everything off their hands, and let them focus properly on their event,” Breakspear adds. For DLC, developing the offering continues an approach that previously led the company into remote simultaneous interpretation during the pandemic – services that complement its conference expertise while giving clients a reason to reconsider what they need from their supplier. www.dlcevents.com

52 PRO AVL MEA November–December 2026

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Engineered for the Truth – Uniting Power, Performance and Precision

8380A SAM™ Main Monitor

genelec.com/8380a

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FEATURES: ANALYSIS

Beyond the broadcast studio

Corp

remai to the “Sta locatio sure e quality This betwe are lo comm mana time. form a altern way o “I th custom simply techni becau ways

With enterprise video assuming a more strategic role, Ross Video’s Nancy Diaz Curiel dives deeper into why global consistency, local flexibility and simpler operation are reshaping corporate AV requirements across EMEA THE CORPORATE STUDIO HAS LONG MOVED BEYOND an isolated room brought into service for the occasional executive address. Across EMEA, organisations are producing a growing range of live and recorded content for employees, customers, investors and partners. It is no longer uncommon for a CEO, town hall, hybrid event or financial presentation to address audiences across several countries, with little tolerance for technical failure or inconsistent production standards. For larger organisations, such events have become mission-critical to their business, and the expectations therefore placed on in-house AV departments have risen dramatically. Organisations want the polish and dependability associated with television production, but few want to recreate a traditional broadcast operation within every office. The challenge is to deliver professional results through systems that smaller, often multidisciplinary teams can operate confidently. For both manufacturers and integrators, this is changing the nature of the corporate conversation. According to Ross Video’s regional sales director for Corporate EMEA, Nancy Diaz Curiel, enterprise customers are increasingly beginning with the communications problem they need to solve rather than a list of products or technical specifications. “A few years ago, customers often started by asking about specific technical capabilities,” she explains. “Today, they are much more likely to begin with the challenge they’re trying to solve.” These challenges might include improving executive communications, producing more content with the same number of people or creating a corporate studio that will remain useful for the next five years. It has also brought more people into the decision-making process. Alongside the AV department, Diaz Curiel increasingly encounters representatives from corporate communications, IT, facilities and procurement. Each has different priorities, making

the wider business context as important as the underlying technology. “The conversation has become much less about the technology itself and much more about how technology enables better communications, greater efficiency and a stronger experience for both the people creating content and the audiences they are trying to reach,” she shares.

Diffe

Reliability without complexity

Nancy Diaz Curiel

This is despite the fact that corporate expectations of production quality have also risen considerably, and company-wide broadcasts are often now expected to possess the reliability and professionalism associated with television, even when put together without a conventional broadcast department. This is where Diaz Curiel sees a genuine convergence between broadcast and corporate AV. However, the two environments retain distinct operational requirements. “Customers aren’t asking for ‘broadcast technology’ for the sake of it,” she explains. “They’re asking how they can create more engaging, consistent and professional communications. Broadcast workflows and expertise are increasingly becoming the means to achieve that, rather than the end goal.” The caveat is that most corporate teams do not employ experienced broadcast engineers or large production crews. Their systems must therefore be intuitive and manageable while integrating with existing IT infrastructure and hybrid working practices. Automation and integrated workflows can reduce the operational burden, but the objective is not to turn enterprise users into broadcasters. “For us, success is when the technology fades into the background and customers can focus on their message rather than the mechanics of producing it,” says Diaz Curiel.

This requirement is also influencing the way corporate facilities are planned. Rather than investing in a system designed around a single use, customers want environments capable of supporting executive communications, training, live events and other productions. Flexibility is becoming central to both the initial design and its expected working life.

A framework, not a template For multinational organisations, flexibility must be balanced against the need for global consistency. Common platforms and operating practices can simplify management and support, while giving employees a comparable experience across multiple locations. That does not mean installing an identical system in every office. A studio in London may support different audiences and production requirements from facilities in Frankfurt, Dubai or Singapore. “The most successful approach is usually a framework rather than a template: a common technology foundation and operating model, with enough flexibility to adapt to local needs,” Diaz Curiel explains. Local infrastructure, culture and business priorities all influence the eventual design. One site might concentrate on executive communications, while another supports training, customer engagement or large-scale events. The underlying approach can

54 PRO AVL MEA November–December 2026

PAME Pg54-55 Ross Video Nancy.indd 54

Althou object the sa Europ mode often

26/10/2026 15:50

Robo

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Corporate AV is expanding beyond traditional meeting rooms into fully immersive spaces remain consistent without restricting each location to the same configuration. “Standardisation is not about making every location identical,” she adds. “It is about making sure every location can deliver the same level of quality and reliability.” This approach also reflects the closer relationship between AV and IT. Multinational businesses are looking beyond isolated installations towards communications infrastructure that can be managed across multiple sites and developed over time. Software-defined and IP-based workflows form a key part of that transition, offering alternatives to fixed systems that support only one way of working. “I think the most important point is that customers are not adopting these technologies simply because they are new or because they are technically interesting. They are adopting them because they create more flexibility and better ways of working.”

Different starting points Although customers across EMEA share many objectives, they do not necessarily begin from the same position. Diaz Curiel sees established European markets taking a considered approach to modernising mature AV estates, with discussions often centred on integration, standardisation,

efficiency and long-term sustainability. Parts of the Middle East present a different picture. Investment in new infrastructure can allow organisations to build production capabilities from the ground up, without the same constraints imposed by legacy systems. This creates opportunities to adopt advanced workflows at an earlier stage. “The Middle East is a particularly exciting market,” says Diaz Curiel. “There is significant investment in new infrastructure, digital transformation and world-class venues, alongside a strong ambition to deliver exceptional experiences. It is a region that is often willing to embrace new technologies and innovative ways of communicating, which creates great opportunities.” Despite the regional differences, Diaz Curiel believes customer expectations are becoming increasingly similar. Organisations want dependable systems that are easy to operate, can develop alongside their requirements and deliver consistent results at scale. The underlying change is that video is no longer regarded simply as a supporting technology. As more organisations treat their productions as business-critical communications, the distinction between the corporate AV system and the broader communications infrastructure becomes less clear. www.rossvideo.com

design

ainst ting

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Robotic cameras can help corporate teams deliver polished productions without a specialist crew

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

CREATE

CONVERGE

A joint venture partnership

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NEWPRODUCTS

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

Yamaha launches DM5 digital mixing consoles

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

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

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

ADJ Vizi Xtreme / Entour Pileus 81 72 AJA FS8 / OG-FiDO-4 Alfatron 3GSDI-HD 78 64 Amadeus Acoustics ART::Director v1.3.1 Arthur Holm D2 74 ATEN PresentON VP200 and VP201 76 AtlasIED GCK17 64 73 Atlona OmniStream+ Audio-Technica BP350ST / BP350ST-UL 60 Audiofocus CC210Wix / CC210Nix 67 Audix DP7X 60 76 AV Stumpfl Screen configurator beamZ DotBar Series 80 63 Biamp VenuePolar update / Community LVH-900 Blackmagic Design UltraStudio Mini 12G 78 BSS Soundweb Omni Touch Panels 66 Calrec Tyre RT / Apex M6 58 80 Cameo Cameo Connect CEDAR Audio Voxis 71 Celestion CDX1-1413 67 ChamSys MediaMaster 26.0 81 81 Chauvet Professional Ovation Rêve F2 and E2 DHD audio Version 10.4 64 59 DiGiCo Quantum638 Digital Audio Denmark ST 2110-30-Ravenna 59 DPA Microphones 6388 Core+ 60 EAW NT119S / NT219S / OAA v1.1 68 68 Electro-Voice EVIDn Epson EB-L270F / EB-XQ2030B 79 ETC HPU+ 80 Extron DTP3 T 321 / USB Extender xi Series 71 63 Focusrite Control 2 Harrison Audio Flex-10 66 74 HIVE Nexmosphere integration HK Audio DSP CONTROL V4.2 64 Hollyland Solidcom H1 62 KLOTZ AIS CAM-DB1 series / K12RM / EBOHM-NF 72 Lawo Stream Share (SSA) / HOME Logo Inserter 63 LDA Audio Tech Mini One 62 Lightware LARA Wizard update / Taurus v1.20.0 76 Logic System AC Series 68 73 Lumens OIP-N60D-ND Luminex GigaCore 026-1 / GigaCore S30-1 73 80 MA Lighting grandMA3 v2.5 / grandMA2 v3.9.63.10 Magewell Pro Convert IP to AIO 4K 78 Montarbo Nettuno W12 / Nettuno W15 68 Neumann KH 310 II / KH 350 / KK 104 A / KK 105 A 70 59 Neutrik DR Series NUGEN Audio Flexible subscriptions 63 Orban OPTIMOD Trio V.2 66 Panasonic AW-UE200 / AW-UER200 77 65 Pliant Technologies CXD-32CF / CrewWare 2.0 Powersoft ENEA PAVA 71 PPDS Unite 3000 Series 74 PTZOptics Rise 4K 77 RCF MMR 30T / EVOX J9 / EVOX J11 / X Series update 70 Riedel OnAir 200, 400 and 500 Series 73 ROE Visual Sirius 77 Ross Video Ultrix FR30 78 Sennheiser Spectera Base Station ZMAN 59 67 Shure WAVETOOL 4 / Microflex neXt Fusion Mode Sommer Cable HICON BNC 71 Sonance Professional Professional Series High Output 70 Soundcraft Signature Plus Series 58 SSL Odyssey / SolidPitch 58 Tasker TSK1170–TSK1176 / C283 / C284 / C290 72 Theory Professional PLC series 67 TiMax TiMax MCP / panLab v1.5 / 3D Panner update 65 Violet Audio DX16B / io44 83 Warm Audio/Sound Techniques Jude 62 Waves Audio V17 / Mix Unlock / Atlas Reverb 66 WyreStorm EX-40-KVM-H2 / EX-100-KVM-H2 77 Yamaha DM5 / DM5 Compact / RUio1608SB-D 57

www.yamaha.com/2/proaudio

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PRODUCTS

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

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

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

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

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

A 32-channel Odyssey

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

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

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

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

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

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

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

DIGIT additi AES6 to its series

www.solidstatelogic.com

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

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PRODUCTS

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

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

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

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

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

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

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

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

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

www.sennheiser.com

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

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

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

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

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

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

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

www.audixusa.com

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

BP350ST-UL

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

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

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

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MONEY CHANNEL FOCUSED ON THE

256 INPUTS | 128 BUSSES | 38 FADERS | SINGLE OR DUAL ENGINE www.digico.biz DiGiCo, No.5 The Distillery, Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845 600

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PRODUCTS

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

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

Venu critic

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

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

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

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

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

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

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

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

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

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

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

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

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

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PRODUCTS

Focusrite gets in control VenuePolar guides integrators through critical decisions

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

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

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

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

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

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

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

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

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

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

www.lawo.com

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

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

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

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

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

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

AtlasIED moves GLOBALCOM towards Dante

DHD expands broadcast platform

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

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

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

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

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

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

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

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

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

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

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

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

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

www.timaxspatial.com

www.plianttechnologies.com

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XLA SERIES Seriously over-engineered With flexible rigging options, including cardioid flown configurations, rugged construction, and tailored FIR presets, the XLA Series ensures unmatched clarity, precision, and power.

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wharfedalepro.com

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

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

Waves streamlines plugin workflows with V17

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

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

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

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

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

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

www.orban.com

www.waves.com

BSS Soundweb Omni adds the right touch

Harrison brings analogue DNA to Flex-10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Nettuno W15

www.montarbo.com

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

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

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

www.logicsystem.co.uk

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GTX 7C | GTS 16C CARDIOID LINE ARRAY SYSTEM

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

ttaudio.com

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Discover the system at Inter BEE 2026 | Nov.18 > 20 Makuhari Messe

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PRODUCTS

Neumann expands monitoring and wireless options

KH 310 II and KH 350

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

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

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

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

www.sonance.com

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

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

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

www.neumann.com

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

A play on Eight for Sonance Professional

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PRODUCTS

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

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

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

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

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

Full-fidelity sound

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

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

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

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

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

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

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

www.cedaraudio.com

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

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

OnAi

www.tasker.it

KLOTZ AIS adds solutions in the box CAM-DB1 series

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

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

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

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

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

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

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

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

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PRODUCTS

Riedel OnAir Headsets turn heads Lumens decodes Dante

OnAir 500 Series

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

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

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

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

Atlona brings USB into OmniStream endpoints

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

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

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

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

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

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

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Arthur Holm loses the hatch with D2

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

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

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

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

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

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

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

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

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Lyzard-KZ1 I

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

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

www.k-array.com

26/10/2026 16:39

PRODUCTS

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

Lightware expands room control

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

LARA Wizard

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

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

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

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

TPN-MMU-X100

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

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

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

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

76 PRO AVL MEA November–December 2026

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

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

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

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

matic EX-40-KVM-H2

AV orting

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

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

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

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

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

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PRODUCTS

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

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

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

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

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Magewell expands Pro Convert IP range

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

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

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

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

Bridging SDI and HDMI

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

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

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

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PRODUCTS

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

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

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

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

Media Server Technology for Next-Generation Visual Experiences

Kids’ Atelier | Atelier des Lumières

Modulo Player & Modulo Kinetic, All-in-one Media Servers for Creative Freedom

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3D Study • 2D+3D Mapping • Video Playback Interactivity & Tracking • Show Control

modulo-pi.com

ENDLESS POSSIBILITIES

November–December 2026 PRO AVL MEA 79

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PRODUCTS

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

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

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

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

grandMA3 takes the limelight

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

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

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

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

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

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

www.cameolight.com

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

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

www.beamzlighting.com

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

COLORado PXL Curve 5

Ovation Rêve E2

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

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

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

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

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

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

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

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

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

www.chamsyslighting.com

November–December 2026 PRO AVL MEA 81

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NEWS: POWERING DOWN

From peaks to playback Sophie Guest

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

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

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

What have you learnt from these experiences?

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

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

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

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

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

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

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

82 PRO AVL MEA November–December 2026

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OWN THE WHEREVER YOU TAKE EVOLVE, THE ROOM IS YOURS

ROOM MEET THE NEXT GENERATION: EVOLVE 3OM G2 | 50 G2 | 50M G2

A MAJOR LEAP FOR MOBILE CONTROL

Owning the room means making every single person feel you’re playing just for them.

QuickSmart App serves as the control center for EVOLVE G2. The latest 3.0 update delivers a complete UI overhaul and more functionality. Multi-speaker management, True Wireless Stereo configuration, and speaker grouping through an improved interface built for fast decisions in live environments.

The next generation of EVOLVE column systems give you everything to make that happen. More headroom for bigger rooms and fuller dance floors. A slim, lightweight design that blends into any space, travels just as easily, and is show-ready in moments. And the redesigned QuickSmart App puts full wireless control in your hand, with a cleaner, simpler interface and new pro features to dial in your sound.

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