Pro AVL MEA September–October 2025

20TH ANNIVERSARY OF TWO LANDMARK PRODUCT LINES YAMAHA HS SERIES POWERED STUDIO MONITOR, AND STAGEPAS SERIES PORTABLE PA SYSTEMS

Editor’s Letter

As we move into the final quarter of the year, the MEA industry braces itself for its busiest period. Beyond the usual flurry of live events as the weather cools, autumn in this region has become the launchpad for an intense season of international trade fairs, government-backed festivals and large-scale entertainment programmes. From the ever-expanding calendar of music, sports and cultural events to the steady flow of infrastructure and corporate projects, the demand for AV technology and expertise therefore continues unabated.

Yet while the spotlight often falls on spectacle – the size of a stage, the scale of a screen or the brightness of lights – it is often the bread-and-butter projects that keep order books steady and the industry moving forward.

the forefront. Governments across the Gulf are making it a condition of their national visions, and AV must demonstrate that it can deliver experiences which excite audiences while also reducing energy use, waste and long-term environmental impact. That balance – between creating ever larger, more ambitious events and proving our ability to do so responsibly – will define much of the work undertaken in the coming months. As the region steps into a new season of innovation and celebration, it is clear that sustainable practices are no longer optional. They are becoming a standard by which our industry will be judged.

Richard Lawn General manager rlawn@proavl-mea.com

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

Sue Gould Advertising director sgould@proavl-mea.com

Chris Yardley Video editor cyardley@proavl-mea.com

Carolyn Valliere Sales associate cvalliere@proavl-mea.com

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

Caroline Moss Contributing editor cmoss@proavl-mea.com

Adrian Baker Production manager abaker@proavl-mea.com

Karen Wallace Editorial coordinator kwallace@proavl-mea.com

Marne Mittelmann Circulation manager circulation@proavl-mea.com

Bea Meikle News editor bmeikle@proavl-mea.com

Sue Su Guangzhou manager ssu@proavl-mea.com

AVI-SPL joins 26North portfolio

AVI-SPL has announced that 26North Partners (26North) has acquired a controlling stake in the company from Marlin Equity Partners (Marlin) and other selling shareholders. Serving over 86% of Fortune 100 companies, AVI-SPL has more than 4,400 employees across over 70 offices worldwide and has completed in excess of 120,000 projects in approximately 100 countries.

26North said that AVI-SPL’s ability to deliver scalable solutions that are easy to use and have a measurable impact closely align with its investment philosophy. “AVI-SPL exemplifies the kind of business we seek out at 26North –resilient, essential and built for long-term growth,” explained Mark Weinberg, head of private equity at 26North. “It operates in an expanding market, holds a leadership position and serves a diversified, blue-chip customer base.”

John Zettel, AVI-SPL CEO, remarked: “We’re thrilled to partner with 26North. Their long-term

AVI-SPL’s John Zettel

vision and operational expertise make them an ideal partner as we continue to scale globally and deliver transformative solutions to our customers.”

The move marks 26North’s third investment by its private equity platform and is the strategy’s first transaction in the technology, media and telecommunications

support AVI-SPL through its Alpha Creation Team (ACT), which aims to deliver sustainable value, enhance operations and tap into a network of relationships across industries to foster partnerships and drive growth.

“AVI-SPL is at the forefront of redefining how organisations connect digital and physical spaces,” said 26North MD Tyler Sipprelle. “We’re excited to support AVI-SPL as it continues to scale organically and through strategic acquisitions to better serve customers around the world.”

Marlin MD Alex Beregovsky concluded: “AVI-SPL’s transformation over the past five years has been remarkable. We are proud of what we have been able to accomplish together and are enthusiastic to continue our partnership with the team, together with 26North, to support AVI-SPL’s next chapter of growth.”

www.26n.com

www.avispl.com

SLS delivers precision in motion for Nismo Z launch

Nissan recently introduced its latest Nismo Patrol and Nismo Z models to the region with a launch event in Dubai that extended beyond a traditional car unveiling. Combining live performance elements with an immersive installation, the production required a complex technical setup. SLS Production was appointed by creative agency The Hanging House as the event’s sole AVL provider, handling the full technical scope.

“This was one of the most dynamic and rewarding projects we’ve delivered,” said SLS project manager Shubham Yesale. “From the outset, we were responsible for the entire technical journey, from initial concept modelling through to final delivery.”

walkthrough provided by the client. SLS overlaid this onto a CAD model of the venue, translating creative renders into a viable plan with rigging calculations, safety checks and spatial planning. “Our task was to bring the design to life safely and efficiently, without compromising on intent and all within a tight build schedule,” Yesale explained.

Technical assessment was led by associate technical director Kevin Shyam, with associate sales director Theophilus Andrew as client liaison. SLS Production COO Howard Letch and associate technical director Praveen Kumar provided further support onsite. The installation was completed in just seven days, followed by

two rehearsal days. Rigging was achieved in a little over one-and-a-half shifts, with a core crew of 35 working across lighting, video, audio, stage mechanics and control.

Video formed the centrepiece of the launch, with 270m2 of INFiLED GX2 P2.5

LED deployed across dual 18m x 6m centre screens, two 8m x 3m split screens and a pair of 21m x 3m side screens, supplemented by 50m2 of 1.9mm panels in activation zones. Show control combined

Dataton and Resolume, with Watchpax and Watchmax servers managing playback and synchronisation.

Lighting design balanced theatrical impact with precision, featuring Robe Forte profiles, BMFLs, Tetra fixtures and Chauvet Color Strike Ms, alongside SGM P-5s and Ayrton Rivales. A circular automated truss above the stage, rigged with moving lights, strobes and

LED panels, created one of the event’s most striking effects, enhanced by laser sequences. For audio, SLS deployed 12 L-Acoustics Kara II tops with KS28 subs, powered by LA12X amplifiers and mixed through a DiGiCo S21. “We needed high-impact intelligibility with a tight visual footprint,” Yesale noted. “L-Acoustics gave us the clarity and headroom to do exactly that.” For Yesale, the defining element was collaboration. “The client’s requirements evolved, and we adapted in real time,” he said. “It’s a fine balance between creative agility and technical rigour.” With the final cue delivered and strike completed without issue, feedback from both The Hanging House and Nissan was overwhelmingly positive.

www.slspro.net

sector. The firm will

Blackmagic Design has everything you need for 2110 IP video systems!

Now you can build affordable live production and broadcast systems with SMPTE-2110 video! Blackmagic Design has a wide range of 2110 IP products, including converters, video monitors, audio monitors and even cameras! You get the perfect solution for integrating SDI and IP based systems. Plus all models conform to the SMPTE ST-2110 standard, including PTP clocks and even NMOS support for routing.

Build Professional SMPTE-2110 Broadcast Systems

The Blackmagic 2110 IP Converters have been designed to integrate SDI equipment into 2110 IP broadcast systems. The rack mount models can be installed in equipment racks right next to the equipment you’re converting. Simply add a Blackmagic 2110 IP Converter to live production switchers, disk recorders, streaming processors, cameras, TVs and more.

Conforms to the SMPTE-2110 IP Video Standard

Blackmagic 2110 IP products conform to the SMPTE ST-2110 standard for IP video, which specifies the transport, synchronization and description of 10 bit video, audio and ancillary data over managed IP networks for broadcast. Blackmagic 2110 IP products support SMPTE-2110-20 video, SMPTE-2110-21 traffic shaping/ timing, SMPTE-2110-30 audio and SMPTE-2110-40 for ancillary data.

Uses Simple 10G Ethernet for Low Cost

Blackmagic 2110 IP Converters are available in models with RJ-45 connectors for simple Cat6 copper cables or SFP sockets for optical fiber modules and cables. Using simple Cat6 copper cables means you can build SMPTE-2110 systems at a dramatically lower cost. Plus copper cables can remote power devices such as converters and cameras. There are also models for optical fiber Ethernet.

Incredibly Easy to Install

One of the biggest problems with SMPTE-2110 is needing an IT tech on standby to keep video systems running. Blackmagic 2110 IP converters solve this problem because they can connect point to point, so you don’t need to use a complex Ethernet switch if you don’t want to. That means you get the advantage of SMPTE2110 IP video with simple Ethernet cables, remote power and bidirectional video.

Audinate purchases Iris

Audinate Group has entered into an agreement to purchase US manufacturer Iris Studio, which specialises in AIpowered, cloud-based camera control technology. Through the acquisition, Audinate hopes to strengthen its video

platform capabilities while also bolstering its broader vision for interoperable control and management across the AV device ecosystem.

The US company provides a control-first video production platform that has been designed to enable users to manage cameras remotely. The Iris platform is currently enabled on a wide range of PTZ cameras on the market, with the company having partnered with 14 different camera manufacturers, such as Lumens, PTZOptics, Marshall, BirdDog, Telycam and AIDA. Beyond cameras, the Iris software has been engineered to be applicable to a variety of AV products, including encoders, decoders and vision mixers.

Audinate believes that the combination of Iris’s video production platform with the capabilities of Dante Studio will bring greater value to Dante customers across a range of markets, including corporate,

entertainment, sports, government, HOW, broadcast and education.

“The addition of Iris to the Dante ecosystem is a major step forward for the Dante platform,” commented Aidan Williams, co-founder and CEO, Audinate.

“Combining Iris’s broad applicability and cutting-edge remote production capabilities with powerful cloud-based management software like Dante Director will provide significant value for customers managing the millions of Dante-enabled devices in the field today.”

Following transaction completion, Iris employees will join Audinate and both teams will work in collaboration to continue to expand the capabilities of the Iris platform and to integrate its functionality with Dante products.

“At Iris, we set out to rethink AV device control – intelligent, intuitive and accessible from anywhere,” said Noah Johnson, CEO, Iris. “Partnering with Audinate gives us the scale, reach and deep AV expertise to accelerate our roadmap and bring our vision to the next level.”

www.audinate.com

Pandoras Box returns to its roots

Christie Digital Systems has confirmed the sale of its Pandoras Box product line to a newly formed team led by Daniel Schäfer, one of the original founders of coolux – the company that developed Pandoras Box before its acquisition by Christie in 2015. The agreement will see the media server platform return to the hands of those closely tied to its inception. The sale reflects Christie’s intention to focus on its core markets.

Joining Schäfer in the acquisition is AV consultant Daniel Kaminski and longtime Pandoras Box power user Andre Maier. Together, the trio brings more than five decades of combined experience with the platform in various capacities, from product development to show operation, and has pledged to further expand its capabilities.

“Our passion for Pandoras Box runs deep –more than 50 years combined,” commented Schäfer. “As a team, we bring knowledge

and experience as end users, customers, consultants and in technical operations. We’re eager to explore and expand its capabilities, providing the best real-time rendering engine and control system on the market for our customers.”

Christie president and COO Michael Phipps expressed his confidence in the transition, stating: “Pandoras Box users worldwide will benefit greatly from these three individuals’ ingenuity and expertise in software and hardware design and operations. I’m pleased with our strategic decision to sell the product line to this dedicated team.”

The sale includes the full Pandoras Box portfolio, including media servers, software, accessories, Widget Designer and AirScan. Pandoras Box customers can continue to reach Christie’s customer service for ongoing support during the transition.

www.christiedigital.com

L2 makes its Uzbekistan debut

An L-Acoustics L Series sound system was leveraged for Sevara Nazarkhan’s three soldout concerts at the 12,500-capacity Humo Arena, marking the first major deployment of the series in Uzbekistan. The L2 line array system was provided by the country’s first and only L Series partner, Yastreb-Sound.

One of the region’s most internationally recognised musical artists, Nazarkhan is known for blending traditional Uzbek music with contemporary arrangements and for collaborating with artists like Peter Gabriel and Sinéad O’Connor. For her solo concerts, the team sought an audio system capable of reproducing each musical detail in her intricate vocal arrangements and diverse instrumentation with precision and clarity.

The L-Acoustics system was provided to Yastreb-Sound by the manufacturer’s distributor, Sound Creations, which provided systems design consultation and technical support for the project. The expansive interior of Humo Arena presented significant acoustic challenges; the venue’s high ceilings and challenging sightlines required a system capable of maintaining clarity and impact across long throw distances while ensuring consistent coverage throughout the space.

The audio system centred on L-R L2 arrays, which delivered a 110° horizontal dispersion

frequency response was delivered through KS28 subwoofers in cardioid configuration. The complete setup was optimised using Soundvision software and managed through LA Network Manager.

Sound engineer Alexander Astakhov mixed the performances on a DiGiCo Quantum 338 console. “The L2’s design allowed us to achieve uniform coverage across the entire arena floor,” he explained. “The clarity and power were exactly what Sevara’s intricate arrangements required.”

Andrey Nikitin, international sales director at Sound Creations, commented: “This deployment showcases the potential for professional audio technology in Central Asia. YastrebSound’s investment in L-Acoustics positions them to support the region’s most ambitious entertainment projects.”

“The sound quality exceeded our expectations and represents a significant step forward for live sound production in Uzbekistan,” concluded Astakhov. “The L2 system preserved the emotional connection between artist and audience that makes live performance so powerful.”

www.l-acoustics.com

www.sc-electronics.com www.yastreb.uz

L–R: Andre Maier, Daniel Kaminski and Daniel Schäfer

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The Digigram Group has announced its acquisition of Wavely, a Lille-based company specialising in AI-enhanced acoustic surveillance solutions. The French group said that the move confirms its buildup strategy focused on critical audio – all applications where sound, noise and vibration carry high operational stakes. The amount of the transaction has not been disclosed.

Wavely was founded in 2017 by Nicolas Côté, Alexis Vlandas and Marion Gautier. The company has built its acoustic surveillance expertise to develop solutions that combine audio signal processing and AI. Designed to detect and localise anomalies, events or faults in complex industrial environments, Wavely solutions support industrial maintenance and safety applications as well as acoustic surveillance operations for household names in France and abroad.

“Integrating the Digigram Group is a thrilling opportunity for Wavely, that not only confirms the relevance of our innovative AI-enhanced solutions but also boosts our market presence,” remarked Côté. “Digigram’s contribution is a valuable leverage to support both our technical and commercial developments. This operation also reflects a shared culture of engineering excellence

Digigram welcomes Wavely Abcom expands with Kenyan branch

Abcom Distribution has announced the launch of a new enterprise located in Nairobi. Abcom Digital Kenya will cater to a wide range of sectors, including education, corporate, retail and hospitality, government and healthcare, serving as a hub for Kenya as well as the broader East Africa region, including countries such as Uganda, Tanzania, Rwanda and Ethiopia.

Through the regional outpost, the company will offer services beginning with consultation and solution design, followed by installation and systems integration, as well as hands-on training initiatives to ensure users can operate systems with confidence. The business will specialise in integrating new solutions with existing infrastructure, with the aim of providing a more cost-effective option for organisations to upgrade their systems without needing a complete replacement. Post-installation,

the Kenyan facility will offer ongoing support through remote assistance, onsite maintenance and warranty servicing.

In addition to other markets, Abcom Digital Kenya will provide AV systems for houses of worship, live events and entertainment venues, supporting immersive sound, video streaming and large-format displays.

The company said it sees large potential in the East Africa region, spurred by growing investments in education, infrastructure, smart cities and remote working capabilities. Abcom cited Kenya as a key growth opportunity due to its vibrant digital economy and growing demand for advanced AV and IT solutions, with many organisations currently struggling with outdated or inefficient systems sourced from unreliable vendors.

According to the brand, the entry into Kenya is both strategic and timely, allowing the company

and offers new growth opportunities for both teams.”

The purchase expands the Digigram Group’s headcount to nearly 80 employees worldwide with offices in France, USA, Singapore and Hong Kong. Through the acquisition, Wavely teams, brands, trademarks and premises remain unchanged.

The French group believes that the deal will enable it to accelerate its development and provide additional solutions to reinforce its critical audio strategy. From now on, Wavely teams will lean on a new platform for their logistics, manufacturing, marketing and commercial operations with the aim of accelerating their development and market reach.

Jérémie Weber, president of the Digigram Group, concluded: “This acquisition marks a significant milestone in our strategic growth, strengthening our capabilities and expanding our reach with solutions that address the smart analysis of critical signals. Together, we will deliver even greater value to our customers, partners and stakeholders.”

www.digigram.com

www.wavely.fr/en

to contribute to ongoing transformation efforts and meet rising demand for future-ready, locally supported AV systems. “At Abcom Digital Kenya, we are excited to be part of Africa’s growth story,” remarked Carolyne Onyango, general manager, Abcom Digital Kenya. “This is

NMK hosts Riedel training

NMK Beyond. Named “Mastering Riedel Stage Solutions”, the first session

was aimed at consultants and end users, while the second was targeted at systems integrators and rental and event professionals.

Riedel sales manager for North and East Germany Bernhard Bauer led the trainings, accompanied by the manufacturer’s UAE-based regional sales manager Abdul Hadi and NMK brand manager Varun Asokan. Over the course of the two days, the distributor welcomed around 70 guests, including from key regional companies such as Dubai Opera, Miral Experience, New York University Abu Dhabi, Sharjah Performing Arts Academy, Encore global, Evolution Events, mediaPro, SLS production and more.

Day one provided an overview of the brand’s intercom portfolio, followed by trainings on various topics and products such as the modern audio standard, smart panels, NSA configuration, Artist 1024, PunQtum, the Director software and how to configure fully integrated intercom systems.

The following day Bauer gave an overview of Riedel’s video portfolio before exploring the topic of video standards. He also gave insights into

more than just expansion – it’s a commitment to empower communities, support local industries and bring global-standard AV and IT solutions to East Africa and beyond.”

www.abcom.ae/africa/home

the brand’s systems including the MediorNet Family TDM, MediorNet IP, MediorNet Hybrid, MediaWorks, MediorMind and MediorNet TDM configuration. Both days culminated in a Q&A session.

NMK said that by hosting the hands-on session with Riedel, it can strengthen industry knowledge, deepen relationships with partners and ensure customers can confidently specify and deploy the brand’s products.

“These trainings are part of our ongoing mission to support the industry with not just the best technology but the expertise to use it effectively,” commented Asokan. “By bringing Riedel’s global know-how to our region, we help our partners stay at the forefront of innovation and deliver world-class solutions to their clients.”

www.nmkelectronics.com

www.riedel.net

NMK Electronics recently hosted two Riedel training sessions at its experience centre

Bose Professional connects and collaborates

Bringing together key stakeholders from across the professional audio industry, Bose Professional recently held its three-day engagement events in Dubai. The “Distributor Connect and System Integrator Connect: Audio Enthusiast Event” sessions aimed to strengthen partnerships, showcase audio products and celebrate company successes.

Hosted at Le Meridien hotel, Distributor Connect 2025 welcomed partners from the Middle East, India and Southeast Asia. Bose Professional CEO John Maier opened the event, with an emphasis on commitment to innovation and strong partner relationships. This was followed by a product demonstration led by Hans Vereecken, showcasing the brand’s recently launched solutions through an immersive setup designed to highlight their various use cases.

A celebratory Awards Night at Swingers was held in the evening, honouring the performance and dedication of distributors across MEA and APAC, followed by a relaxed networking session. The following day, attendees visited Bose Professional reference

projects in the UAE, offering a real-world showcase of the manufacturer’s solutions.

Nittin Dargan, regional director at Bose Professional, said that the event was the first time the company has brought together its MEA and APAC distributors. “Beyond

showcasing our latest products, this platform became a unique opportunity to learn from one another, exchange ideas and appreciate the richness of our diverse, cross-functional cultures. It’s moments like these that strengthen our global collaboration and

Hall Technologies acquires Atlona WORLD

Hall Technologies has announced that it has completed the purchase of substantially all the assets of Atlona, the US manufacturer of AV distribution, AVoIP, collaboration and control solutions. The acquisition will see Atlona officially become a division of the AV signal management, collaboration and visualisation solutions provider based in Missouri. Both companies believe that the agreement will result in a more comprehensive product portfolio, by offering technologies from both brands, as well as enhanced service and support for customers, and expanded global reach. Furthermore, both parties reaffirmed their commitment to quality, reliability and partnership going ahead.

“The acquisition of Atlona is a bold and strategic step that strengthens our position as a global leader in the pro AV industry,” commented Ken Eagle, CEO, Hall Technologies. “Atlona’s reputation for innovation, engineering excellence and global reach perfectly complements Hall

Oasis

remind us of the power of coming together as one team.”

The following day, the company hosted the “System Integrator Connect: Audio Enthusiast Event” at the Palazzo Versace Dubai. Over 250 systems integrators from the UAE attended the affair, which also provided an official launch for the company’s new offerings, with live demonstrations of the Veritas smart mixer amplifiers and Forum and DesignMax Luna loudspeakers.

The event aimed to bring the systems integrator community closer to the brand’s latest product developments and equip them with the insights and technical understanding required for projects.

“We’ve shared a longstanding relationship with our systems integrators, built through collaboration on many prestigious projects,” added Dargan. “With their continued partnership, we’re confident our newly launched products will achieve great success.” www.boseprofessional.com

Technologies’ customer-first philosophy and technical expertise. Together, we’re building a powerhouse that will deliver even more value, flexibility and forward-thinking solutions to our partners and customers around the world.”

Through the agreement, Atlona has welcomed Victor Baut to the team, with the

Known for its wide-ranging programming, from current affairs and business coverage to political interviews, Asharq News continues to invest in technologies that elevate both production quality and viewer experience. Building on the reliability and performance of ETC’s systems in Dubai, the Cairo team once again turned to the US-based lighting manufacturer. Despite the spatial limitations of the new site and the challenges posed by a prominent rear-facing window, the team achieved a visually sophisticated result through a mix of ETC fixtures, smart camera placement and the use of mirrors to optimise light distribution.

“Asharq News’ Cairo studio presented several physical challenges, but with ETC’s precision lighting tools and strategic creative direction, we delivered a clean, high-end visual outcome,” said Karim Abboud, lighting system manager at Oasis Enterprises. “The system is not only technically robust but also easy to control and flexible for future needs.”

aim of strengthening Hall Technologies’ presence and partnerships in key markets. “The acquisition of Atlona marks a pivotal moment for Hall Technologies and the AV industry at large,” stated Baut. “By bringing together two trusted and innovative brands, we’re not just expanding our portfolio – we’re creating a more powerful, unified force in pro AV. This move allows us to better serve our partners with deeper expertise, broader solutions and a renewed commitment to driving technology forward.”

www.atlona.com

www.halltechav.com

The studio features ColorSource Spot Jr and Irideon WLZ fixtures in white, supported by ETC’s Element 2 console, ETCnomad and Response Mk2 DMX Gateways for networking. The selected fixtures were reportedly chosen for their ability to provide consistent colour temperature, smooth dimming and userfriendly control.

The project was led creatively by Asharq News resources director Malek Obeid. Abboud noted that ETC’s system offered the precision control and flexibility needed to deliver a clean, professional result despite the spatial challenges of the studio.

Mark Larcombe, ETC regional sales manager, added: “We’re proud to see ETC systems continue to support Asharq News in delivering high-quality production environments. Oasis has done a fantastic job realising the design, and the Cairo studio is another example of how smart integration can elevate broadcast presentation standards in the region.”

www.etcconnect.com

www.oasismena.com

Asharq News has expanded its technical capabilities with a lighting upgrade at its Cairo studio, selecting ETC lighting and control solutions for the latest installation on the banks

of the River Nile. The upgrade was led by ETC’s regional partner, Oasis Enterprises, following a successful earlier collaboration at Asharq’s Dubai headquarters.

Harman creates a sonic Shangri-La in Jeddah

SAUDI ARABIA

A comprehensive Harman Professional sound system is elevating the guest experience at the Shangri-La Jeddah hotel, which has recently opened on Jeddah Waterfront overlooking the shores of the Red Sea. The hotel owner directly approached local Harman distributor Halwani Audio Visual (HAV) to provide the solution which comprises products from JBL Professional, Crown, Soundcraft and BSS. The project involved fitting the audio solution for six restaurants, the ballroom, hotel suites, VIP rooms and lobby.

The prestigious Shangri-La Main Ballroom, a popular venue for weddings and social events, features 96 JBL Control 300 Series ceiling speakers. These include a combination of 12-inch Control 322C and Control 312CS subs powered by Crown XLS DriveCore amplifiers, with DSP and matrixing handled by BSS.

The ballroom can be split into three sections or used as one, offering multiple orientations in the process. For each stage area, JBL Point Source AE Expansion series units were used as left and right speakers.

The boutique patisserie Copa located in the front lobby leverages CBT 70J-1 line arrays and Control C26T ceiling speakers for the indoor area, while AWC 62 units have been installed for the outdoor terrace. DriveCore amplifiers and BSS DSP are used for control and zone management.

The breathtaking views of Niyyali Restaurant, which overlooks the Red Sea and the Jeddah Corniche Circuit, have been enhanced with a sonic solution comprising Control 28-1L, Control C26T and Control 19CS loudspeakers. The units are driven by Control 19CS loudspeakers, DriveCore Crown amplifiers and BSS DSP for control and zone management.

An all-weather, DJ-ready system has been installed for Kaia Club, featuring Control 31WH units with marine grilles as main speakers and AWC 15LFs for sub-bass, supported by Control 28-1L cabinets with SS grilles for surrounding delays. dbx ZonePro digital signal processors and DriveCore amplifiers complete the setup. Additionally, a Pioneer DJ solution was provided.

An aesthetically blended signature audio system enhances the dining experience in the Waterfront Kitchen, with CRV speakers formed into a complete circle simulating a lifebuoy and distributed under the fishnet

ceiling. Sub-bass is handled by Control 19CS units hidden in the ceiling. BSS DSP was again used for control and zone management, alongside XLS DriveCore amps.

“Harman’s products allowed us to integrate a sophisticated audio system that complements the luxurious atmosphere of the hotel,” said Bassam Halwani, CEO, HAV. “The JBL speakers, Crown amplifiers and BSS signal processors have significantly elevated the guest experience by providing clear, highquality sound throughout the hotel.”

pro.harman.com

Almaty Theatre gets Kazakhstan’s first Q338 T

Almaty Theatre has made a significant investment in the first DiGiCo Quantum 338 T console in Kazakhstan, installed by Samat show technic. The theatre is highly regarded in the region for its nightly performances which span theatrical, dance and musical performance.

Sound engineer Roman Dvoretsky noted that a key requirement for the upgrade was to find a mixing console that is flexible enough to facilitate the theatre’s diverse range of performance styles.

“The heart of any musical theatre show is the console and, in our case, the DiGiCo Quantum 338 T,” noted Dvoretsky. “Sound designer, Mikhail Sokolik, who came to our theatre to design the musical Juliet, prefers DiGiCo consoles, so when there was a choice, we chose the Q338. There are a lot of functions that are very well-suited to working with complex shows, a high channel count and numerous commands.”

In addition to controlling audio, Dvoretsky sends commands directly from the console

Daktronics boosts Riyadh road safety

Completing the third phase of the city’s tunnel development project, 36 Daktronics LED displays have been installed in Riyadh Municipality to display critical information for motorists and drivers. Four different sizes of screens have been mounted above roadways and tunnels across multiple locations with the aim of enhancing safety for drivers.

All displays feature 15.8mm-pixel spacing to enhance image quality so that messages can be delivered clearly to connect with passersby. “These displays are a large step towards a smart city while using the latest LED technology,” said Ahmad Dahmash, Daktronics regional director for KSA. “We’re proud to continue providing Riyadh Municipality with the most advanced technology.” Daktronics’s Vanguard Control solution was integrated to control the displays and provide simplified operation. The system has been designed to provide control of traffic management software and comprehensive digital message centre networks.

www.daktronics.com

to simultaneously fire corresponding lighting, video and stage-automation cues. The sound engineer can also manage playback from the mix position, offering another layer of audio automation and reliability. The playback system is delivered by two computers,

networked to run in sync. When Dvoretsky sends a MIDI command from the console, each computer completes a variety of tasks, from starting playback or click, to time code and other commands. If one computer breaks, he can switch to the backup and

continue working from the other computer. Much of this automation is controlled via Snapshots.

“Automation is very helpful in providing a framework or structure to the show,” he said. “I have a single Snapshot that starts playback, timecode and a media command to the lighting console; it changes video content and assigns the necessary channels to the DCAs. I can then use the DCA faders to control the microphones of the performers that participate in that number.”

Another feature of the console that is appreciated by the team is its surface, with Dvoretsky noting that he likes being able to label each layer and immediately see where the drums and effects are.

“After using the DiGiCo, you can no longer imagine how you could work differently,” concluded Dvoretsky. “Now we have a Quantum 338, you can do everything in a second and see it all. It’s a real game-changer.”

www.digico.biz

AV Expo returns to Harare

The fourth edition of AV Expo Zimbabwe recently returned to the Exhibition Park Showgrounds in Harare. Regarded as the country’s only dedicated pro AV tradeshow, the event continues to grow in both scale and significance. Organised by local training centre Audio Academy Zimbabwe, the threeday showcase combines a regional product exhibition with an educational programme covering professional audio, broadcast, rigging, lighting, postproduction and live event technologies.

Last year’s edition attracted around 1,500 visitors and more than 50 exhibitors from across Zimbabwe and the wider Southern African region. Building on that success, the 2025 event placed a stronger emphasis on international participation, with a growing number of global brands and distributors joining the floorplan.

New names this year included international manufacturers Riedel and Lawo, along with South African distributor Prosound. They were joined by returning regional and local companies such as SoundStage Africa, Crossline Music & Video, Dollarbill Entertainment, Divine Concert Sound and representatives from Lupane State University. Staff from Sennheiser and Axel Tech also made the trip to Harare.

For founder Mbaki Nleya, who established the expo as an extension of Audio Academy’s training activities, the event’s purpose remains unchanged. “We’re a small show by global standards, but we’ve become an important meeting point for the region,” he explained. “There’s nothing else like this in Zimbabwe or the surrounding countries – not at this scale and not with this kind of focus.”

As in previous years, a key feature of the programme is its workshop schedule. “Training

remains a central focus for us,” noted Nleya. “Whether someone’s new to the industry or has years of experience, there’s always more to learn – and that’s what we want this show to be about.”

This year also saw the introduction of the Media Technical Awards, recognising excellence behind the scenes in the production industry. Spanning more than 10 categories, the awards aim to highlight the professionals whose work underpins Zimbabwe’s growing live events, broadcast and postproduction sectors. For many exhibitors, AV Expo offers a rare opportunity to engage directly with the country’s AV and broadcast professionals. Its rising profile has also made it an increasingly valuable platform for launching new partnerships and distributor relationships within the region.

www.facebook.com/avexpozw

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Lawo reaches a milestone in Africa

Lawo technology has been installed at Nairobi’s Radio 47 broadcast facility, reportedly making it the first fully IP-based broadcast centre in Africa. The project was carried out by Kigali-based Mediacity, a specialist in IP broadcast systems and Lawo’s regional partner.

“This wasn’t just an upgrade, it was a reinvention of how media can work – cleaner, smarter, faster and futureproof,” commented Fred Martin Kiwalabye, project manager and head technical engineer, Mediacity Ads. “Powered by Lawo and supported by visionary leadership, we’ve redefined the possibilities.”

Part of Cape Media, Radio 47’s new facility integrates radio, television, livestreaming and remote production into a unified system. The space leverages various broadcast technology from manufacturers, including AVT Audio Video Technologies, Cleanfeed, Genelec, Lawo, MultiCam Systems, OptiSign, PTZOptics, Telos Alliance and Voceware.

At the core of the installation is a fully IPnative broadcast infrastructure built on Lawo’s crystal broadcast consoles, Power Core DSP engine and RAVENNA/AES67-based audioover-IP networking. The integrated VisTool GUI software provides customisable touchscreen interfaces for control and visualisation of sources, meters and routing, helping operators stay focused and efficient even in complex, multiplatform productions. The workflow allows for full remote control and monitoring of all broadcast operations, designed to simplify day-

to-day production and enable greater flexibility for remote and hybrid teams.

Radio 47’s three new on-air studios each feature a crystal console which are networked to a centralised Power Core for managing audio routing, DSP processing and multiple studio operations from a single location.

CTME levels up the EWC

Creative Technology Middle East

(CTME) has delivered a visual spectacle for the Esports World Cup (EWC) opening ceremony in Riyadh’s ANB Area. Performances by US rapper Post Malone and Swedish DJ Alesso were elevated by technical components such as expansive LED installations, projection mappings and intricate lighting systems, all working in harmony to create an immersive experience for audiences.

At the heart of the visual extravaganza was a striking LED installation covering over 388m2. The stage floor comprised

195m2 of ROE Visual Black Marble 4.76mm panels, with an overhead triangular-shaped structure installed above featuring 121m2 of the manufacturer’s Vanish 8T panels that integrated into the venue’s automated ceiling system.

This dual-layer approach was designed to enable creative flexibility, with the floor panels mirroring the overhead displays and creating immersive environments that surrounded performers and the audience. Power and processing for the mammoth LED setup came from NovaStar H9 and Brompton SX40 systems, while all screen

To ensure compatibility with both legacy and next-generation equipment, the Power Core is equipped with modular I/O cards that handle analogue, AES3, Dante and MADI formats. This setup aims to enable Cape Media to futureproof its investment while still accommodating external sources and OB workflows. The system’s design also allows for expansion and remote integration. All studios, edit rooms and control points are connected via an AES67-compliant IP backbone, with full support for RAVENNA networking. This standards-based infrastructure has been designed to enable real-time, lossless audio transmission and operational freedom.

“This project proves that world-class broadcast infrastructure doesn’t have to come from outside Africa. It can be designed, delivered and supported locally with global standards in mind,” noted Jesse K Maxella, Mediacity CEO and Lawo representative for Rwanda and Africa.

Irene Wanjiku, head of production, Cape Media, added: “This system has revolutionised our workflow. What once took multiple teams, complex routing and manual effort is now seamless and intuitive.”

www.lawo.com

Lastly, CTME’s lighting team was commissioned to realise the design crafted by 22 Degrees’ Jon Kusner. The main rig comprised over 1,500 fixtures from various manufacturers, including 200 Elation Proteus Maximus, 182 Elation Pulse Panel FX, 111 GLP Impression X4 Bar 20, 191 Elation Pulse Bar L and 83 Ayrton Argo 6 FX luminaires.

A sophisticated networking structure was deployed to support the extensive setup, which featured over 250 active universes. The backbone consisted of 15 Luminex GigaCore 20t switches, complemented by over 60 LumiNode 12 and 100 LumiSplit 2.10 units for signal distribution.

routing and composition were managed through an Analog Way Aquilon RS4. Seven Disguise VX 4+ media servers served as the backbone of the system.

A scenic projection system featuring Panasonic PT-RQ50K units was used to transform the custom-fabricated geometric surfaces created by Simple Solutions into mountainous landscapes. Video specialist Visual Noise oversaw the complete video engineering workflow, which required individual calibration of each projection zone to blend scenic content across the handcrafted mountain topology.

Eight grandMA3 NPU L processing units were integrated into the network to provide enhanced power and system redundancy. Control was courtesy of a dual-setup monitoring configuration with Araneo and an active grandMA3 licence. All fixtures and followspot control systems were IP-streamed to the FOH position, enabling Will Gossett from 22 Degrees to efficiently call and manage followspots through integrated IP cameras and RoboSpot stations from Robe. Working closely with TAIT, the production team integrated 200m of Martin Professional’s VDO Sceptron LED lights into the set design. The manufacturer’s P3 system controller provided full control over the lighting elements, operated via the grandMA3 console for unified show control. The production was a collaboration between various companies, including MDLBEAST, CTME, Tait, Possible Productions, Visual Noise, 22 Degrees and Wieder Design Studios.

www.ct-group.com/me

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Radio 47 presenter Martha Oundo in the studio

Image courtesy of Bahati Mutembei, Reallex Films

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Procom brings the Ayrton experience to Dubai

Procom Middle East recently hosted the third edition of its Experience Ayrton event, held in partnership with the French lighting manufacturer. This year’s instalment once again took place at the distributor’s head office in Dubai, which features a comprehensive training centre, display area and interactive showroom, enabling attendees to get hands-on experience with Ayrton’s latest fixtures.

The event featured the UAE premiere of the new Stradale Profile, as well as a spotlight on the Rivale, Veloce, Argo 6 FX, Nando 502, Cobra, Kyalami and Mamba fixtures.

Participants benefitted from engaging hands-on product demonstrations and opportunities to meet and network with the Ayrton team in-person.

A highlight of the event was a keynote speech by renowned lighting designer Roland Greil, celebrated for his work on major international events like the Asian Cup opening ceremony in Doha, Qatar.

“The great turnout and positive responses we received this year truly underscore the immense interest in Ayrton’s innovative technology within our region,” said Rami Harfouch, managing director, Procom Middle East. “We were delighted to once again offer our clients and industry professionals an exclusive opportunity to experience the brilliance and versatility of Ayrton’s lighting solutions first-hand.”

www.ayrton.eu www.procom-me.com

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UAE-based audiovisual distributor

VUEAV has expanded its operations to Qatar, officially opening a new branch to better serve clients in the country. The move marks a key milestone in the company’s regional growth strategy with additional businesses and local entities planned for the near future. By establishing a physical presence in Doha, VUEAV can now provide faster access to equipment and end-to-end services within the country across its portfolio of brands –including Analog Way, AV Stumpfl and Pixera, Aurora Multimedia, Christie Digital, Klipsch Professional, MacroPix and Isaac, with more brands reportedly to follow. Furthermore, VUEAV will provide a dedicated local team offering both technical and logistical support

for customers, which will be headed by Sergio Silva, who possesses a strong background and experience of the AV markets in Qatar and Europe.

“This expansion is about bringing our team, product solutions and services closer to the market to help our partners deliver better AV solutions to their customers,” said Simon Smith, CEO, VUEAV. “With our approach rooted in consultation and collaboration, and with the support of our manufacture partners, and now with Sergio and the team in place, we are well-positioned to deliver the best audiovisual solutions and services in Qatar.”

www.vueav.com

Eleven Events and Action Filmz with JBL

Dubai-based Eleven Event Management and its sister company Action Filmz Productions have expanded their audio capabilities with a major investment in JBL Professional’s VTX A Series line array system. The deal was facilitated by local Harman distributor, Masterpiece.

The new equipment includes 24 JBL VTX A12 loudspeakers and 16 VTX B28 subwoofers, alongside loaded VRACK 4x3500HD and VRACK 12000HD amplifier racks. The companies also acquired eight JBL PRX One column PA systems for portable applications.

Headed by founder and CEO Crispin Dominic, Eleven Events has built a strong reputation across the UAE for delivering

full-service event production, encompassing LED screens, lighting, staging, rigging and sound. The addition of the VTX system represents a significant upgrade in its ability to service a range of productions.

“The JBL VTX line array has been a gamechanger for us,” said Dominic. “The clarity, throw and dynamic range it offers allow us to create immersive experiences like never before. Whether it’s a high-energy concert or a corporate gala, this system ensures every seat in the house gets flawless sound.”

www.11-11av.com

www.actionfilmz.com

www.masterpieceproav.com

Avenger hosts Oman dealers

Avenger Pro AV, alongside representatives from Ecler and RCF, hosted an Oman dealer meet at the Grand Millennium Muscat, welcoming approximately 50 industry professionals. The event highlighted the distributor’s core pro AV brand portfolio, which includes DTS Lighting, Ecler, Garvan Audio, OSD Audio, RCF and TT+ Audio.

Luca Ombrati, sales manager for Europe and the Middle East, opened RCF’s segment by recognising the company’s recent milestones and growth in the Middle East. This was followed by a detailed technical presentation by Michele Begotti from the manufacturer’s Engineering Support Group. A highlight of the showcase was the presentation of newly launched systems such as TT+ Audio’s GTX 7C line array, GTS 16C sub and GT 8

point source loudspeaker, as well as RCF’s SUB 9000 Series and KX Series.

Ecler’s session was presented by regional sales manager Jithin Jose, who covered the brand’s comprehensive range of audio systems, such as the Pulso interactive touchscreens, EclerPlux software, Aura and VIDA amplifiers, VEO-SWC 4K presentation and conferencing switcher and VEO-SWC44TH HDMI wireless transmitter. This was followed by a networking dinner, fostering partnerships and new connections.

Avenger Pro AV cited a strong turnout of attendees, including participants from outside Muscat, which it says reinforces the growing interest and momentum in the AV integration landscape across Oman.

www.avengerproav.com

Venuetech takes Spectera WMAS on the road

Venuetech recently concluded two roadshow sessions showcasing the Sennheiser Spectera system with wireless multichannel audio technology (WMAS). Hosted in collaboration with key industry players, the hands-on events aimed to elevate professional audio education in the UAE region.

The roadshow kicked off at New York University Abu Dhabi (NYUAD) where Venuetech, in partnership with NYUAD’s The Arts Centre, held a dedicated training for technical audio staff. Venuetech’s brand manager for Sennheiser, Alice Macaluso, led the session, offering an in-depth look at the Spectera system with WMAS. Participants were given the opportunity to engage directly with the technology, exploring its integration capabilities and use for both live and broadcast

environments. According to the distributor, NYUAD’s team showed curiosity and enthusiasm throughout the session.

Sonic delivers at Dukhan Air Base

Sonic Electronics has successfully completed a new audiovisual integration at the Dukhan Air Base VIP Hotel, providing a secure and future-ready AV environment tailored to meet the demands of official state guests and high-level dignitaries. The end-to-end installation encompasses video distribution, conferencing, projection, audio reinforcement and system control, all designed to support mission-critical communication and immersive presentation experiences.

High-fidelity audio is delivered via Biamp’s TesiraFORTÉ CI DSP and ALC-404AN amplified controllers to IC6-1082 ceiling speakers for more intimate spaces such as meeting rooms and ENT212 column arrays for larger rooms, including the main auditorium. Signal management is handled by Lindy HDBaseT extenders and Lindy’s 8x8 4K60 matrix, providing stable, long-distance signal distribution across the facility.

A Crestron CP4 processor paired with a 10.1-inch touchpanel offers centralised

“The Dukhan Air Base VIP Hotel required a solution that was both powerful and elegant –one that matched the prestige of its users while offering the reliability and flexibility expected in such an environment,” explained Roshan George, assistant regional manager at Sonic Electronics – Qatar. “We are proud to have delivered a system that enhances every aspect of the user experience.”

At the core of the solution is a Panasonic PT-MZ11KL laser projector boasting 11,000 lumens brightness, paired with a 278-inch MAJOR PRO-C motorised Screenint projection screen. For video conferencing, a Lumens VC-TA50 PTZ camera and Crestron HD-CONVUSB-300 HDMI-to-USB converter enable integration with leading VC platforms.

control of all AV elements at the venue, while a motorised Audipack projector lift and discreet mounting accessories ensure the system blends seamlessly into the hotel’s upscale interiors.

The complete solution is designed to support secure communications, polished presentations and impactful guest experiences, reinforcing the strategic importance of the VIP Hotel at Dukhan Air Base. “This was a project that demanded excellence at every level, including design, technology and execution,” added George. “We believe the results speak for themselves.”

www.sonicelec.com

The second session, also led by Macaluso, was organised for Dubai-based production company ARTES Events. This training explored

how Spectera can meet the performance standards for complex production landscapes. Venuetech cited the importance of hosting educational sessions such as these to empower audio professionals with access to new tools and knowledge through real-time engagement, hands-on product interaction and open discussion.

“The Spectera system represents a leap forward in wireless audio – designed for the real-world demands of today’s production environments,” said Macaluso. “At Venuetech, our goal is to ensure that industry professionals not only understand the technology but feel confident implementing it. These roadshows are about connection, conversation and hands-on discovery.”

www.sennheiser.com www.venuetech.ae

PRO LAB upgrades university AV

Imam Abdulrahman Bin Faisal University (IAU) has transformed its main conference hall with audiovisual solutions provided by Samir Group, AV&LC Division and PRO LAB. Tasked with enhancing the overall AV experience while maintaining a strict budget, the former selected products from various brands in PRO LAB’s portfolio.

The objective was to create a high-end, user-friendly AV environment that aligned with the university’s vision for innovation and excellence. “Our client aimed to have a ‘state-of-the-art’ design incorporating the latest technologies, all while staying within a defined budget,” explained Samir Group, AV&LC Division’s business director, Waddah Elrayyes. “We were able to meet this goal without compromising on quality or performance.”

To bring this vision to life, the company chose a selection of products from Prolights, ChamSys, Roxtone, DJ Power, Visual Productions, Alustage and Moveket. “We chose those brands for their reputation and the support extended by PRO LAB made it a seamless experience,” remarked Elrayyes.

According to the team, the collective impact of the selected PRO LAB technologies significantly elevated the auditorium’s capabilities, offering vibrant lighting and seamless audio integration to deliver a multifunctional space that caters to a wide range of events and presentations.

“Working with PRO LAB allowed us to achieve the perfect lighting design tailored to the site’s requirements,” noted Biju Abdul Latheef, national manager at Samir Group.

“The feedback we received from stakeholders, including clients, performers and audiences, has been fantastic. In fact, this auditorium is now being used as a design reference for future projects by the client.”

Rami Haber, CEO of PRO LAB, remarked: “Our collaboration with Samir Group, AV&LC Division on the IAU auditorium is a testament to what’s possible when vision, expertise and the right partners come together.”

Looking ahead, both Samir Group, AV&LC Division and the client are exploring ways to replicate the success of this installation in upcoming auditorium projects.

www.prolabllc.com

www.samirgroup.com

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Dirk Ulrich acquires Manley Labs

Manley Laboratories has announced its acquisition by serial entrepreneur Dirk Ulrich in an all-cash transaction that includes all operating assets of the company. The Californiabased manufacturer of professional analogue tube audio equipment will continue to operate from its existing headquarters, with co-founder and longtime president EveAnna Manley stepping aside from active duties but remaining involved in the transition process.

Ulrich is best known as the founder of Brainworx and Plugin Alliance, and a key shareholder in the Native Instruments Group, which also includes iZotope. A certified Gold Record producer and inventor of the patented TMT (Tolerance Modeling Technology) system, Ulrich’s return to running a professional audio company marks a new phase for Manley Labs, with a focus on preserving its analogue legacy while expanding its technological scope.

“Manley gear is part of the foundation of so many top studios around the world, and the reputation EveAnna and her team have built over decades is truly remarkable.

I was a fan and user long before this acquisition,” said Ulrich. “We intend to protect the Manley heritage while evolving with the needs of the next generation of music creators and audio professionals.”

According to Ulrich, operations at Manley will remain uninterrupted, with the existing team continuing to design and manufacture the company’s product portfolio in-house. Partnerships, including the longstanding collaboration with Universal Audio on UAD plugins, are unaffected by the change in ownership. The company will maintain production of its flagship products including the VOXBOX, Variable Mu compressor, Massive Passive EQ and Reference Series microphones, alongside new analogue and digital tools currently in development.

Founded in the late 1980s, Manley Labs has built a strong reputation among studio professionals and hi-fi users for the sonic quality and reliability of its hand-built gear. According to Ulrich, the goal is to support long-term growth while staying true to the company’s established values and customer base.

Aurras Group invests in grandMA3

SOUTH AFRICA

Cape Town-based technical production company Aurras Group has expanded its lighting control offering with the addition of two grandMA3 consoles. The business, founded in 2023 following the merger of TechX and Output AV, is led by Justin Heyman and Gareth Aitken and delivers services across lighting, audio, video, AV, power, staging, rigging and event supply.

With over a decade of experience each in live event production, Heyman and Aitken had frequently worked together before joining forces to create a new company focused on the Western Cape.

Their first investment in grandMA3 technology came last year, starting with a grandMA3 onPC command wing, followed by a grandMA3 light console. These were added to their existing grandMA2 onPC setup, reflecting a move towards more advanced control systems to meet growing technical demands.

Heyman, a longtime MA user, cited both familiarity and client requirements as key reasons for upgrading. “Many touring LDs request grandMA3 as standard and we wanted to ensure we could meet those expectations,” he said.

The grandMA3 light console was also the first to be permanently based in Cape Town. While other rental firms operate

units nationally, Aurras intends to keep its consoles local to support regional events.

The decision was made in consultation with the company’s lighting team, headed by Julian Schouw, to ensure the purchase

matched project needs. “We wanted systems that provided solid functionality without requiring extra capacity,” added Heyman.

www.malighting.com

Coco Dubai chooses Martin Audio

Overlooking the Burj Khalifia, the Coco Grill & Lounge has implemented a Martin Audio sound system, installed in partnership with local systems integrator Exacting Diseno Technical Services and PRO LAB. The upmarket establishment is owned by Naz Choudhury, whose unique concept is to integrate a shisha lounge with Dubai’s first Redemption Bar. It follows the operator’s initial launch of the Coco brand in London, with all operations being alcohol-free, upscale mocktail bars.

Lou Agha of Exacting Diseno Technical Services was engaged for the project via a consultant. “When the client asked what sound systems I used, he was pleased it was Martin Audio, as this was the brand he was using in London,” he noted.

After setting up a demo of various CDD and FlexPoint units at PRO LAB, he then quoted in various configurations. Agha recommended CDD6 for the venue’s low-ceilinged interior and 14 Blackline X8 for outdoor areas which combine a shisha lounge with a DJ as well as small combo live acoustic music with vocalists. With a Dante network serving as the backbone, the unit is divided into nine separate zones. The Blackline X8 cabinets are complemented by six SX112, while six pre-existing ADORN A55 have been refurbished and added – four on one side and two on the other. Another pair of ADORN A55 and single SX110 subwoofers welcome customers at the entrance, followed by six FlexPoint FP8 speakers and four SX112 subs at the dome area. Additionally, the client wanted the music to be extended to the restrooms and therefore

ADORN ACS 40TS ceiling speakers have been installed in those areas. The lounge features two non-smoking and three smoking areas, which all feature a range of CDD6 and SX110 cabinets.

Agha said that in order not to intrude on the general aesthetic of the lounge, the subwoofers are placed discreetly. “I used the SX110 rather than the SX210 because of space constraints,” he explained. “For that reason, I couldn’t put the SX210 on its side, so I separated them into pairs of the SX110.”

During the day, Coco’s background music operates off a Spotify playlist – common to both the London and Dubai locations –programmed by one of the venue’s DJs. Routing and DSP are managed by a Xilica FR1.

www.martin-audio.com

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Gearhouse splits beams with Robe and RJ

Johannesburg’s Gearhouse Splitbeam, part of the Gearhouse Group, has bolstered its lighting inventory with the addition of new Robert Juliat (RJ) and Robe fixtures.

Supplied by the manufacturer’s local partner, DWR Distribution, the purchase is part of an expansion of its lighting fleet, with the team making a concerted effort to modernise to LED sources.

Established 15 years ago by Alistair Kilbee, Gearhouse Splitbeam focuses on theatre and long-term rental, providing lighting, audio and AV requirements for various sizes of production, from small independent theatre shows to large franchise musicals.

The new investments include three RJ Arthur LT 800W LED 4–10° long-throw followspots, as well as 48 Robe ESPRITES with the High Colour Fidelity (HCF) LED engines installed and 22 Tetra2 and 22 iTetra2s. The company has also bought High Power (HP) transferable engines and a set of PC lenses for its Robe units to offer a choice of ESPRITE Fresnel or PC.

Kilbee cited the company as strongly “brandagnostic”, noting that the Robe investment was based on customer demands, including LD requests and technical rider specifications. “These are the fixtures that

people are asking for right now, so we need them onboard to ensure we can offer the very best service and standards,” said Kilbee.

The rental company already boasts three RJ Aramis spots and one RJ Cyrano followspot which HOD lighting Matthew Lewis said have served the team well over the years. This spurred Gearhouse Splitbeam to go for a spot which was the closest LED equivalent to the Aramis, which has been the optimum size and power for the venues the company usually works in. In turn, DWR’s Kevin Stannet suggested the Arthur LT.

“Arthur creates a beautiful beam onstage, which is crucial for us because the quality of the light on the stage is just as important as the brightness,” noted Lewis. “Added to that is the reliability of the units as well as the ease of use.”

The company also appreciates the support provided by DWR. “We essentially purchased the RJ units without having seen them which I think is testament both to the trust we have in Kevin and DWR,” Lewis concluded.

www.dwrdistribution.co.za

www.robe.cz www.robertjuliat.com www.splitbeam.co.za

University of Cape Town adopts Blackmagic Cloud

The University of Cape Town (UCT) has adopted a new cloud-based production workflow built around Blackmagic Design technologies, enhancing the delivery of digital content for its growing number of distance learning students.

Led by the university’s Digital Media Unit, which supports the Centre for Innovation in Learning and Teaching (CILT), the studio-based setup now integrates Blackmagic Cloud, DaVinci Resolve Studio and ATEM live production tools. The implementation is part of UCT’s commitment to deliver high-quality, inclusive learning materials at scale.

routing and backup recording for the programme feed.

The ATEM switcher records up to eight isolated camera feeds and generates a DaVinci Resolve project file that mirrors the live cut. That project, along with the associated media, is synced to Blackmagic Cloud, allowing the postproduction team to begin editing immediately using DaVinci Resolve Studio. A Blackmagic Cloud Store Mini 8TB provides local storage and speeds up access to proxy media.

Zerf highlighted how the system’s integrated talkback features helped resolve early

“I joined the team in 2023 and pushed for us to adopt the Blackmagic ecosystem. It made sense to streamline everything from recording to editing,” said Evan Zerf, head of the Digital Media Unit at UCT. “We wanted the space to feel safe and inclusive for students and staff alike. Everything, from the walls we painted to the technology, was designed to balance professional production standards with a welcoming educational experience.”

UCT’s production facilities comprise three studio spaces used for live production, visual podcasting and digital content creation. The control room uses an ATEM Television Studio HD8 ISO live production switcher to manage video feeds across the studios, with Blackmagic Studio Camera 6K Pros deployed throughout.

A HyperDeck Studio HD Plus handles audio

communication issues between the control room and the studio floor. “Thanks to the ATEM’s talkback features, I was able to route all the comms through the switcher, add a separate speaker in the studio for the guest to hear the gallery and monitor everything from the control room,” he explained.

The setup includes a second HyperDeck unit as a redundant recorder and playback source. Once recordings are complete, media is copied to the Cloud Store Mini and automatically synced to the Blackmagic Cloud for editing and distribution.

The new workflow has reportedly cut turnaround times significantly – from weeks to days – enabling the team to produce more content while supporting students and maintaining high production standards.

www.blackmagicdesign.com

Martin Professional ME and Nulty+ explore Barco

Martin Professional Middle East recently welcomed the team from lighting design firm Nulty+ for a hands-on immersive session at the manufacturer’s Dubai experience centre. The event explored topics such as projection mapping and experiential design, showcasing Barco’s projection mapping technology for largescale visual experiences.

Attendees actively participated in hands-on demonstrations, gaining practical insights into how projection technology can transform architectural spaces and enhance storytelling through light and motion. The session explored how Barco’s projection mapping systems can enhance projects for LDs and AVL

professionals, from initial concept development to final execution.

“This collaborative session truly reflected our shared commitment to creativity and innovation,” remarked Hani Al Awar, head of projects at Martin Professional Middle East. “The Nulty+ team brought invaluable perspectives from their deep expertise in lighting and architectural design, enriching our dialogue and sparking forward-thinking ideas that push the boundaries of immersive visual experiences.”

www.barco.com

www.martinpro-me.com

www.nultylighting.co.uk

SOUTH AFRICA

UAE

SOUTH AFRICA

Image courtesy of Daniel Rutland Manners

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Multi-Media upgrades with Plus Audio

Event design and production company

Multi-Media has made an investment in several multipurpose point source loudspeakers from Stage Audio Works’ Plus Audio brand. Multi-Media partners with a variety of global brands to provide technology solutions for various markets, from live concerts to corporate events.

The purchase includes 24 Plus Audio MPS12A loudspeakers for use during the company’s busy schedule of both national and international productions. Loudspeaker bags from Stage Audio Works’ Stage Plus range of protective cases were also bought, with the aim of ensuring the new kit remains intact whilst on the road.

Multi-Media noted that when deciding which system to purchase, it was torn between hiring products from other companies or buying them new and

ultimately went for the MPS12A units for their quality and value.

“This move underscores our company’s continued commitment to delivering highend technical production services across our growing international footprint,” stated technical director of Multi-Media, Jason Fritz. “The purchase aligns with our strategy to ensure consistent technical standards and creative capabilities across all locations.”

According to Stage Audio Works, the investment also marks a step forward in Plus Audio’s reputation as a manufacturer and developer of high-quality audio equipment, with its products growing in popularity for live event professionals. “Our goal with Plus Audio products is to offer our clients a problem-solving toolkit,” confirmed Gary Furman of Stage Audio Works. “Products are purpose-built, focusing on the critical features

professionals truly need, without the clutter of unnecessary extras.”

“Our design philosophy is consistent across the entire Plus Audio range, from point source and line array systems to amplifiers, microphones and other solutions,” continued Furman. “The result of our dedication is a

portfolio that combines innovation, reliability and real-world usability for today’s demanding audio professionals.”

www.multi-media.co.za

www.plus.audio

www.stageaudioworks.com

INFiLED makes an impression in Dubai

Global logistics company DP World has implemented an INFiLED LED display on the exterior of its Dubai headquarters to enhance its brand identity and provide a unique first impression for visitors. The aim for the project was to create an immersive welcome experience for VIP visitors and global partners that would reflect the company’s professionalism, innovation and brand personality.

The HQ is situated in the heart of Jebel Ali Port, posing various installation challenges due to Dubai’s harsh outdoor environment. This included potential stressed out electronic components from extreme summer temperatures, leading to overheating or thermal shutdowns. Bright sunlight could also cause glare and screen fade, as well as potentially poor visibility during daylight hours, while acute day and night temperature differentials could weaken structural materials. In addition, the area poses hazards from dust, sea mists and downpours, while cooling systems and boosting

screen brightness can cause excessive power consumption. Lastly, the company didn’t want to disrupt the busy entrance area during setup.

INFiLED was engaged to create a highperformance, energy-efficient outdoor LED display. The manufacturer modified and

built an OREZ2.6-Plus display, selected from its small-pitch, high-contrast OREZ Series of LED screens. The screen has been designed to stay low cost, low maintenance and high performance in high stress environments, with features such as a magnesium alloy build, a pixel pitch of 2.6mm and brightness of up to 4,500 nits. The display offers an IP rating of 65 to combat inclement weather and each tile weighs just 7.6kg, offering easy integration into the building’s grand entrance and ensuring minimal disruption to daily activities.

The new LED screen displays anything from real-time logistics news to heavily stylised brand visuals. INFiLED said that it was particularly proud to support the company’s commitment to costeffectiveness and energy efficiency, all while enhancing DP World’s brand identity.

www.infiled.com

AVI-SPL delivers at Heriot-Watt University

A comprehensive AV integration completed by AVI-SPL has transformed Heriot-Watt University’s Dubai campus into a technology-forward academic environment, delivering future-ready learning, teaching and collaboration spaces across the seven-storey facility in Dubai Knowledge Park. Key technology partners included Crestron, Epson, Samsung, Sennheiser, Middle Atlantic, Neat and WolfVision.

Encompassing over 20,000m2 of floor space, the new campus required the design and deployment of scalable and easy-to-use AV systems that could accommodate a range of educational formats. The scope included AV infrastructure across over 90 rooms, with each space tailored to its intended use.

Forty classrooms were delivered with flexible teaching in mind, designed to operate independently or in grouped configurations. A further 15 meeting spaces were equipped with Crestron control systems, Neat video bars and AirMedia wireless presentation systems to support academic and administrative collaboration. Ten student study rooms and 10 informal huddle spaces were also fitted out to encourage spontaneous groupwork.

Elsewhere, two collaborative lecture theatres have been configured to host between 70 and 90 participants, with interactive technologies supporting a blend of in-person and hybrid teaching. Four broadcast-ready teaching studios support new instructional formats, alongside three specialist labs and two PC-equipped teaching labs for hands-on learning. A 100-seat town hall venue now serves as the campus’s central gathering space, complete with high-resolution video displays and advanced audio systems for impactful presentations. Visitors are greeted by a striking Samsung 13.5m x 1.5m LED videowall at the main entrance, which doubles as a digital signage platform.

AVI-SPL worked closely with the university’s IT and facilities departments to ensure that all systems integrated with the existing IT infrastructure and could be operated by staff with minimal training. Heriot-Watt has since appointed AVI-SPL to lead the AV design for its forthcoming campus extension, signalling continued confidence in the integrator’s capabilities.

“The team delivered seamlessly and have provided invaluable ongoing support, making them our trusted partner as we plan our future campus expansion,” explained Anas Abu-Ghoush, head of information services, Heriot-Watt University

Dubai. “AVI-SPL’s team collaborated closely with us to design and implement tailored solutions that have genuinely enhanced how we teach and engage with our students.”

AVI-SPL BDM Ahmed Habib added: “By combining cutting-edge technology with a deep understanding of our clients’ needs, we create environments that inspire learning, collaboration and growth. As the university continues to expand, we’re proud to support their journey with solutions that are not only robust and scalable, but genuinely impactful for users.”

www.avispl.ae

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Neutrik expands GCC network Fulcrum appoints MIFA

The Neutrik Group has announced an expansion of its Neutrik brand distribution network in the GCC. Through the move, Masterpiece and Procom Middle East will join the manufacturer’s official distribution network in the region, representing the brand across Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the United Arab Emirates.

Headquartered in Dubai, Masterpiece and Procom Middle East join Neutrik Group’s established regional distributor, NMK Group, also based in the city with offices in Sharjah, Riyadh and Doha.

Commenting for Neutrik Group, regional sales manager MEAI Christoph Hellmuth stated: “We

look forward to working with Masterpiece and Procom in representing Neutrik in the GCC, as they have already proven to be the right fit for our Contrik and Rean brands. We need to expand our distribution network in preparation for the next level of opportunities in the region. In the connector business, local availability is key.”

Mark Perrins, managing director Neutrik (UK) and Neutrik France, has oversight of the GCC for the brand. “The region is rapidly establishing itself as a major growth centre for events and installations across all forms of entertainment, media and broadcast production,” said Perrins. “Whether for international sports events, concert tours and festivals, immersive AV and lighting attractions, or the increasingly advanced systems integration requirements of commercial, civil and government engineering and construction projects, high-quality and reliable signal, data and power connectivity is mission critical, often in the most demanding outdoor, harsh application environments. As the recognised world leader in providing these solutions, Neutrik needs to have the appropriate level of supply, service and infrastructure on the ground to support that growth.”

www.masterpieceproav.com www.neutrikgroup.com www.procom-me.com

Marking a significant step in its North African expansion, Fulcrum Acoustic has joined forces with MIFA Musique in Morocco. Through the partnership, the distributor will oversee Fulcrum’s sales, technical support and educational initiatives in the region.

MIFA Musique has built a solid reputation distributing AV solutions in the country, serving

Upout Outlines Turkey deal

Outline has announced the appointment of Istanbul-based Upout Teknoloji as its exclusive distributor for Turkey, representing the brand’s full product portfolio.

“Our motivation to partner with Outline stemmed from shared values, exceptional product quality and strategic alignment,” said Upout general manager Can Cankardeş “We were especially drawn to their reputation for innovation, engineering excellence and

DWR Distribution has partnered with Epson in South Africa. The appointment was finalised following a visit to the distributor’s offices by Epson’s head of sales for video projectors in the CISMETA region, Lee Harrison, alongside product manager Darren Caithness. “Partnering with DWR is a fantastic decision for Epson, particularly because of their strong access to the rental and staging market. I believe this will be a very successful collaboration,” commented Caithness. Harrison said that DWR’s strapline – “It’s all about the people” – aligns with his philosophy.

“For me, it’s about working with people who can bring our products to life – those who understand the technology, can engage with customers and end users and provide more than just competitive pricing,” he explained.

reliability – qualities that mirror our own standards.”

Cankardeş highlighted the relevance of Outline’s products for Turkey’s evolving AV sector: “The Newton processor is a gamechanger in signal management – it’s ideal for today’s complex live, touring and broadcast applications. We’re also particularly excited about the P Series, which is perfect for mobile use and flexible installations.”

Upout will provide full Outline support across Turkey, including systems design, technical consultancy, commissioning, training and after-sales care. Regular workshops and demonstrations are also planned. “Our goal is to empower users with the tools and knowledge they need to get the best from these exceptional systems,” Cankardeş concluded.

www.outline.it

systems integrators, consultants and project developers with a hands-on approach to technical service, training and support. The company operates through its own showrooms and an extensive network of authorised dealers, offering national coverage with a presence in key cities such as Casablanca, Rabat, Marrakech, Tangier and Tétouan.

“We’re glad to be working with a company that understands both the technical and business sides of the market,” said Val Gilbert, Fulcrum Acoustic’s director of business development for export. “MIFA’s strong relationships and firsthand experience with regional integration make them an ideal partner as we introduce Fulcrum technologies to Morocco.”

The alliance will focus on fixed installations in hospitality, entertainment, worship and corporate sectors, with the distributor working closely with consultants, integrators and venue owners to promote and specify Fulcrum’s solutions tailored to the Moroccan market.

“Adding Fulcrum strengthens our ability to deliver high-performance solutions for installed sound,” said Karima Khireddine, brand manager at MIFA Musique. “Their product catalogue allows us to support more complete system designs and the partnership comes at the right time as we continue to expand our capabilities in the professional audio market.”

www.fulcrum-acoustic.com www.mifamusique.com

“DWR offers knowledge, service and the ability to deliver complete solutions to our systems integrators and rental partners across the region.”

DWR’s head of sales Robert Izzett added:

“We are confident Epson will be an excellent fit for our systems integrators and will continue to be a great solution for schools, universities, churches and other sectors.”

In addition, Timothy Wilson – who was with Epson for nearly a decade and brings 24 years of industry experience – recently joined the DWR team. His appointment aims to further strengthen the support the company provides to both the systems integration market and the rental and staging industries.

www.dwrdistribution.co.za

Christoph Hellmuth

L–R: MIFA Musique’s Karima Khireddine with Val Gilbert of Fulcrum Acoustic

L–R: Upout’s Can Cankardeş and Mehmet Ali Taşkulak

L–R: DWR’s Duncan Riley and Timothy Wilson, Darren Caithness and Lee Harrison of Epson and DWR’s Robert Izzett and Dylan Jones

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Avail takes on Martin Audio and Powersoft

Avail Distribution has broadened its offering with the addition of Martin Audio and Powersoft to its portfolio. The partnership with Powersoft will cover Uzbekistan, Kazakhstan, Turkmenistan, Azerbaijan, Georgia and Armenia, while the agreement with Martin Audio will initially include Uzbekistan, Kyrgyzstan and Tajikistan, with a review further down the line.

Headquartered in Dubai, with offices in Uzbekistan and Kazakhstan, the distributor provides audio solutions for live sound, rental and installation markets. Leveraging Avail’s regional expertise, the partnership with Martin Audio aims to enhance availability of the British manufacturer’s systems –including portable, touring and installed solutions – for dealers, systems integrators and rental companies in the locales.

Pavel Shemiakin, business development manager at Avail Distribution, commented: “Our team has deep expertise with Martin Audio’s products and we’re ready to support partners at every stage – from system design to end user satisfaction – and looking forward to cooperating on some exciting projects.”

Andy Duffield, Martin Audio’s EMEA account manager, added: “Avail have proven themselves to be a dynamic and proactive business. They have a keen understanding and experience of Martin Audio in the region and are ideally placed

to demonstrate the benefits of Martin Audio’s strongest-ever lineup to customers in the territories.”

Through the alliance with Powersoft, Avail will represent and distribute the company’s full range of amplifiers in the local

markets, with the aim of fostering business opportunities and paving the way for projects powered by Powersoft solutions.

Shemiakin cited the brand’s product range for both installed and live sound applications as a valuable addition to Avail’s pro AV portfolio. “Powersoft’s amplifiers go beyond traditional amplification – they are comprehensive platforms designed to build high-quality audio systems with advanced tools for exceptional sound,” he said. “The market response has been very enthusiastic following our recent demo sessions and we look forward to a successful and productive collaboration with Powersoft.”

Simone Scaramuzza, EMEA sales manager at Powersoft, remarked: “Pavel and his team bring deep market knowledge, technical expertise and a strong network of integrators and rental companies. Their enthusiasm and early success with our demo sessions confirm the region’s readiness for highperformance, energy-efficient amplification systems. We look forward to a long and fruitful collaboration that drives growth and excellence across these dynamic markets.”

www.avail-int.com www.martin-audio.com www.powersoft.com

L–R: Simone Scaramuzza from Powersoft with Pavel Shemiakin of Avail Distribution

DTS signs with Avenger

Avenger Pro AV has added another brand to its portfolio through the signing of a new exclusive agreement with Italian manufacturer DTS Lighting. As a result, Avenger Pro AV will now supply and support the full DTS Lighting catalogue throughout the Middle East, aiming to offer regional customers more creative and reliable lighting options for a wide range of applications. The partnership was formalised during a recent visit by DTS’s Roberto Donato and Paolo Carvone.

DTS Lighting is known for designing and manufacturing all its products in-house, offering a range of high-performance solutions tailored to both the entertainment and architectural lighting sectors.

“Having worked with DTS Lighting across various projects, I’m confident that their product range – which balances European quality with economic value – will meet the growing demands of our clients in this region,”

L–R: DTS Lighting’s Paolo Carvone with Avenger Pro AV’s Joseph Rebero

said Avenger Pro AV general manager Joseph Rebero.

Through the agreement, the distributor will supply and support the full DTS Lighting catalogue, aiming to offer regional customers more creative and reliable lighting options for a wide range of applications.

www.avengerproav.com www.dts-lighting.it

Masterpiece expands Harman partnership

SAUDI ARABIA

Harman Professional Solutions has announced the expansion of its long-standing distribution partnership with Masterpiece in the Middle East. Through the new agreement, Masterpiece will offer the full Harman Professional audio brand portfolio in Saudi Arabia.

Already a distributor for the Harman audio brands in the UAE and broader GCC region, Masterpiece’s expanded role in Saudi will now include the complete professional audio lineup of AKG, BSS, Crown, dbx, JBL Professional, Lexicon and Soundcraft. The announcement reflects the manufacturer’s continued investment in strengthening channel coverage

and ensuring high-quality service and support across key markets.

“We are proud to expand our Harman distribution footprint to include the full audio portfolio in Saudi Arabia,” commented Masterpiece general manager, Simon Daniel.

“Our goal is to deliver premium solutions and responsive service to our customers across the Kingdom, building on our success in the GCC.”

Harman Professional Solutions senior commercial director, EMEA, Scott Aslett, added: “Masterpiece has been a strong

partner across the GCC and their consistent sales momentum has played a key role in our decision to expand their responsibilities to include Saudi Arabia with our full audio portfolio offering. This move supports our strategy to deepen market engagement and elevate the customer experience in one of the region’s most important growth markets.”

As a valued and experienced partner in the Kingdom, Halwani Audio Visual (HAV) will continue to distribute the Harman Professional audio portfolio in Saudi Arabia.

www.masterpieceproav.com pro.harman.com

Audac recruits British veterans

Audac has appointed two new members from the UK to bolster its growing international sales team. Serving as business development director, Andrew Loadman is joined by Graham Lawton in his role as regional manager for Europe and the Middle East.

Charged with identifying new opportunities, building strong relationships and expanding the company’s footprint across various markets, Loadman is tasked with targeting growth potential and strengthening key partnerships that will support the Belgian brand’s long-term international ambitions.

Lawton has served a prominent career to date, chiefly in the UAE with Promedia, Tannoy and Music Tribe. With a solid mix of technical expertise and commercial insight, he brings a wealth of experience across

engineering and customer-facing roles that will assist him in supporting Audac’s regional networks.

“With Andrew and Graham onboard, we’re reinforcing our commitment to sustainable

Eddie Tan joins HH

service, technical support and product training to our customers. Eddie’s understanding of each market sector will be invaluable to the company.”

HH Audio has welcomed Eddie Tan as divisional sales and tech support manager for the APAC and MEA regions.

Reporting to Ian Wright, brand director at HH, Tan will be responsible for the overall growth of the company within the locales and will also provide HH partners with technical support as well as product and systems training.

“I am looking forward to working closely with Eddie on the

Tan brings a wealth of knowledge and experience to the role, both in the professional audio and live sound and commercial audio markets. Prior to joining HH, he worked at QSC in the position of field sales manager for Malaysia, Singapore and Indonesia, and most recently as regional sales manager for Malaysia and Vietnam.

“Eddie has extensive technical qualifications, which boost the standard of the HH team as the brand continues to expand into a larger range of system solutions,” commented James Laney, HH’s CEO. “Eddie’s input to future product development will also be invaluable to the company.”

www.hhaudio.com

restructures its leadership

LYNX Technik has formed a new leadership team with the appointment of Markus Motzko as CEO, while Vincent Noyer has been elevated to the position of CTO.

Founder and longtime CEO Winfried Deckelmann will transition out of daily operations and continue as chairman of the supervisory board.

Previously serving as director of product marketing, Noyer brings over two decades of experience in the broadcast and live sports industries to his new position, while Motzko

possesses extensive experience in production processes, manufacturing optimisation and technical leadership.

“Markus and Vincent represent the perfect balance of operational excellence and visionary thinking,” said Deckelmann. “I have full confidence in their ability to guide us into our next chapter while honouring the principles that have shaped our company since the beginning.”

www.lynx-technik.com

L–R: LYNX Technik’s Vincent Noyer, Winfried Deckelmann and Markus Motzko

Andrew Loadman

Graham Lawton

Powersoft promotes Varun Jagger

Powersoft has promoted Varun Jagger to the newly created position of regional manager – distribution for Europe, the Middle East, India and Africa. Jagger, who joined the Italian manufacturer in 2018, previously served as sales manager for the EMEIA region. In his new role, he takes on a broader strategic remit of overseeing Powersoft’s distribution network across the territory and directly managing area sales managers Cosimo Cecchi and Simone Scaramuzza.

“Over the mid- to long-term, I aim to streamline the distribution network to leverage us for growth across verticals and

markets – preparing the sales team for better growth in the region and supporting our distributors and partners to translate Powersoft’s global vision at a local level,” said Jagger.

Fabrizio Romano Bolzoni, Powersoft’s global sales manager – distribution, added: “With his experience and dedication, we are confident that Varun will play a crucial role in helping our distribution partners grow their businesses while further developing Powersoft’s brand in these strategically important territories.”

www.powersoft.com

Maktabi Tech welcomes Hasan Najim

Joe Hazelwood Founder

LEA Half-Rack amps are a game changer for hospitality—ideal for small venues and multi-zone spaces like private dining rooms or entryways. They save rack space, keep project costs in check, and integrate seamlessly with LEA’s WebUI, SharkWare, and open control API. Bonus feature: mic input selection on every channel!

L–R: Banan Al Masri and Hasan Najim of Maktabi Tech

EMEIA

Mooring the mind

When he’s not overseeing global demand marketing strategy for Focusrite Group’s Audio Reproduction brands, Jamie Gomez finds calm and clarity on the UK’s inland waterways. For the past four years, his canal boat has been both home and sanctuary

What’s your role at Focusrite Group?

I’m the global demand marketing manager for the Audio Reproduction division. That includes overseeing strategic campaigns, managing our global events presence and collaborating across Martin Audio, Optimal Audio, Linea Research, TiMax and Outboard. It’s a role that keeps me on my toes. One day might be focused on lead generation strategy, the next on preparing for an event or supporting a partner with a channel activity. I get to work with some of the most knowledgeable and passionate people in the business, which is a huge privilege. And seeing our technology being used in real-world applications – whether it’s a packed arena, theatre or boutique venue – is what makes it so rewarding.

How long have you been living on a canal boat?

Just over four years now. It started as a bit of an experiment –a short-term lease to see how I got on – and I quickly ended up falling completely in love with the lifestyle. It’s not always easy, especially in winter, but it’s completely changed the way I live. I’m more present, more conscious of time and space, and a lot more connected to the environment around me.

What first drew you to life on the water?

I wanted something slower, quieter and more mindful. I’d always been curious about alternative living, and the idea of living simply but meaningfully really appealed. Being on the water gives you this constant connection to nature, even when you’re still technically in a city. I remember my very first cruise – the engine kicked in and I had this immediate mix of exhilaration and mild panic. There were definitely a few comedy moments with ropes and locks, but that sense of discovery was addictive. It felt like an adventure from day one.

Do you move around or stay put in one place?

I’m a continuous cruiser, which means I move every couple of weeks. I don’t have a permanent mooring, so I’m always exploring new stretches of the canal network. That sense of movement is part of the appeal – some weeks I’m moored in a lively urban area, and other times I’m completely surrounded by green, peaceful countryside. It’s a bit like travelling without ever leaving home. You learn to adapt, to make the most of whatever’s around you and to find comfort in change.

Any memorable mishaps or lessons learned?

Quite a few! One that stands out was trying to move the boat through a frozen canal – I’d underestimated just how solid a thin layer of ice could be. The boat made this awful grinding sound, like it was chewing through concrete. It was beautiful in a way, but also completely impractical. I take winter a lot more seriously now –you learn to pay attention to things like battery health, weather

forecasts and water levels in a way you never would in a normal house. So, for all that this can be a stress-reducing and relaxing lifestyle, it definitely does have its moments!

Is there a particular spot that feels like a sanctuary?

Definitely. Little Venice in London is somewhere I try to visit every summer. It’s remarkably quiet given how central it is, and there’s something calming about the reflections on the water and the way the light filters through the trees. I’ll usually take a bit of time off while I’m there, just to read, reset and enjoy the atmosphere. It’s become an important annual tradition, and a reminder of why I chose this way of living.

Has the lifestyle changed your relationship with time?

Massively. Everything on the boat takes longer – from filling your water tank to charging your batteries. But that’s not a bad thing. You become more conscious of how you use your time, and more appreciative of the moments when you’re not rushing. I’ve found it makes me more focused during work hours and more relaxed outside of them. It’s a balancing act, but it’s taught me that slowing down often leads to better results.

Why do you think it’s important to disconnect?

Because if you don’t, the pace of modern life will just carry you along whether you want it to or not. Especially in our industry, where the lines between personal and professional can blur so easily. Living on a boat forces a slower rhythm – you’re literally moving at four miles an hour. It’s a daily reminder that rest isn’t optional. Making space to switch off allows you to think more clearly, connect more deeply and ultimately perform better – in work, in life, in everything.

Jamie Gomez

Jamie Gomez

Mediatech Africa 2026

The exhibition organisers lay out what attendees have to look forward to when the show returns next July

AFTER A SIX-YEAR HIATUS, AFRICA’S LEADING tradeshow for professional AV, media and entertainment technology is set to return in 2026, marking a long-awaited comeback for the local industry. Mediatech – which last took place in 2019 – has been confirmed for 1–3 July next year, and the organisers are promising a refreshed approach that aims to draw both local and global exhibitors and attendees from across the African continent.

“Frankly, we’ve been taken aback by how strong the initial response has been,” explains Mediatech Africa’s Simon Robinson, who co-founded the event in 2001 and continues to oversee its development alongside sales and marketing manager Claire Robinson. “Sales only officially opened in July, and the take-up has already exceeded expectations. After six years without the show, I think there’s a real appetite in the market for it to return.”

Although conceived originally as a broadcast-centric exhibition, Mediatech Africa evolved over the years to reflect the convergence of technologies in the live production and integration markets. For the 2026 edition, a renewed focus is being placed on attracting end users from a wider range of verticals, alongside the usual mix of systems integrators, rental companies, consultants and channel partners.

“We’ll be running a very targeted marketing campaign to bring in more end users,” notes Claire. “That includes people working in the government, education and corporate sectors and the house of worship market – all of whom are increasingly making the decisions around AV and UC technology. That part of the industry has moved on so much since before the pandemic, and there’s a much bigger audience now for those types of solutions our exhibitors will be showing.”

Mediatech Africa 2026 will take place at the iconic Kyalami Grand Prix Circuit & International Convention Centre. The move follows the sale of the TicketPro Dome, which previously hosted the show. While this change wasn’t planned, the new venue offers a fresh setting and excellent infrastructure to deliver the Mediatech experience the industry expects, says Simon.

“The Dome served us well, but the new venue gives us four separate halls that we can use to segment different parts of the show. A big challenge in the past was managing the noise clash between broadcast, AV integration and pro audio exhibitors when everyone was in one giant space. Now we can group them into more appropriate areas and create a better experience for everyone.”

The pair are also keen to bring back some tried-and-tested elements that gave Mediatech its distinct identity in the first place. Among them is the fan-favourite dedicated loudspeaker demo area, which has become an increasingly rare sight at tradeshows. “Show floor lectures and presentations will also be returning, allowing guests to quickly nip in and out as time allows. We’ve always tried to offer more than just static displays,” Simon notes. “We’ve always felt that live demos and on-floor presentations are a big part of what makes the show work. We are also planning an experience zone to showcase the power of creativity through technology. People want to experience technology in action, not just look at a rack of kit.”

The importance of in-person engagement is not lost on the organisers, who believe that Mediatech has always served as a key networking hub for the continent’s fragmented AV industry. “A lot of people go to the big international shows to see what’s new, but Mediatech has always been about nurturing local connections,” says Claire. “While it was always an ‘every other year’ outing, it’s the one event where everyone in the industry – competitors, colleagues and clients – gets together and that’s something people have really missed.”

Beyond South Africa, a major ambition for the show’s return is to significantly increase participation from neighbouring African countries. And with six years having passed, the technological landscape in some of those territories has changed the game in terms of spreading awareness, thanks to improved digital marketing tools and a more coordinated outreach strategy.

“Historically, it was very difficult to reach people in the rest of the continent,” admits Simon. “Now, with social media, better language localisation and more data available through platforms like LinkedIn, we can target African markets in ways we simply couldn’t before.”

While they are cautious about over-promising, they’re both very optimistic that Mediatech’s return in 2026 could mark a turning point for the African market, particularly in the AV integration and Unified Communications space. “The AV market has matured significantly over the past few years, and we’ve already seen strong interest from suppliers and distributors booking stand space,” concludes Simon.

As for companies still weighing up their options, Claire offers this perspective: “If a distributor or brand were to choose just one Mediatech to attend in the event’s entire 25-year history, this is the one not to miss. After a six-year break, the show’s return feels like a real opportunity for the industry to come together again.”

Looking ahead, the organisers hint that 2026 is just the beginning of a new chapter for Mediatech. “We’ve got some exciting things in the pipeline,” says Simon. “The 2026 edition is about reigniting the industry, but we’re already planning for the future, including a Cape Town edition of the show in 2027.”

www.mediatech.co.za

The new Kyalami Grand Prix Circuit venue

Mediatech Africa in 2019

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Sound without compromise

Al Lailak Sound delivers a seamless audio experience for Craig David under intense time pressure

WHEN BRITISH R&B STAR CRAIG DAVID TOUCHED DOWN in Kuwait for a one-night-only performance recently, his crew had practically no time to spare. Landing in the afternoon and heading straight into a marathon four-hour soundcheck meant the touring team had to rely heavily on local production support to execute the technically demanding show. Kuwaitbased live events company Al Lailak Sound was tasked with delivering the complete audio solution – a challenge that its team embraced head-on.

“This was far beyond a typical Arabic band show,” recalls Al Lailak stage manager Shinan TMS. “We were dealing with an international touring rider, a huge number of inputs and returns, RF coordination, playback channels and monitoring. The show required serious preparation and attention to detail. But from load-in to showtime, our team made sure everything ran smoothly.”

With more than 5,000 fans in attendance at The Arena Kuwait, pressure was on to deliver premium sound coverage throughout the venue. Acoustic complexity, tight timelines and the expectations of an international artist made this one of Al Lailak’s most ambitious shows to date.

At the helm of systems engineering was Al Lailak lead technician Anil Varghese, who was responsible for designing and deploying the entire audio setup. “The venue presented a significant acoustic challenge,” he explains. “It’s a big, enclosed space with a high crowd density, so achieving clean, powerful and uniform sound across all zones required careful planning.” As a result, the design process relied heavily on L-Acoustics Soundvision software, where the team created a detailed model of the venue to determine ideal speaker placements. From there, they designed a fully redundant signal and amplification network. LA12X amplifiers powering the system were installed on top of the catwalk to reduce cable runs and ensure optimal signal integrity. Audio distribution, meanwhile, ran over a fully redundant AVB network with analogue backup paths, while Luminex GigaCore switches handled all fibre and network connections and synchronised data transmission across the system.

Each loudspeaker element was individually measured, timealigned and calibrated using Rational Acoustics’ Smaart platform, allowing the team to fine-tune phase and frequency response for maximum clarity and impact. “Despite the complexity, we achieved a coherent and powerful sound experience throughout the venue, and across all audience zones,” says Varghese. “We delivered technical excellence and by far exceeded show expectations.”

The loudspeaker deployment was comprised of left and right main line array hangs of 12 L-Acoustics K2 elements per side, each flanked by four Kara II downfills. Low-end extension was delivered by flown cardioid sub arrays comprising four KS28s per side, while additional front fill reinforcement was provided by X15HiQ loudspeakers lining the stage lip. Stage monitoring was handled using X12 wedges for the band, supplemented with IEMs for Craig David and other key performers.

Meanwhile, behind the scenes, monitor world was operating with similar precision. “I was the central point of contact for all monitor operations,” explains system technician Sangeeth Sathyan, who oversaw onstage audio. “This included building and maintaining the monitor console system, managing a very complex signal flow with lots of cross-patches and overseeing real-time troubleshooting.”

The monitor mix was run through a DiGiCo Quantum 338 console, while vocal chains were enhanced with an SSL Fusion analogue processor. “We made sure communication between stage and FOH was seamless,” Sathyan adds. “Everything from RF coordination to last-minute backline needs had to be handled quickly and cleanly. The role required high-level technical proficiency, adaptability under pressure and a deep understanding of live audio environments.”

Despite the artist’s team arriving on the day of the show, soundcheck and setup proceeded without any major issues. “They came straight from the airport and into a four-hour rehearsal,” recalls Sathyan. “It meant our patching and coordination had to be spot on. We had to be ready for anything, and I’m proud of how the team handled it. We delivered a smooth show without compromise, even with all the last-minute demands.”

flown L-Acoustics K2 line array with Kara

delivers main coverage from stage left

Feedback from Craig David’s technical team reflected the level of professionalism Al Lailak brought to the table. “They were extremely happy with the results and all the support they received,” he adds.

As Kuwait’s live events scene continues to expand, shows like this signal a new level of ambition. “This concert wasn’t only important because we had a big international artist,” adds Al Lailak co-founder Yousef Al Saedi. “It was a good demonstration of what can be achieved when local companies invest in international-grade infrastructure and talent. We’re ready for more.”

With growing demand for local support that meets global standards, Al Lailak Sound is positioning itself as the go-to provider for large-scale concerts in Kuwait and beyond.

www.allailak.com

www.l-acoustics.com

A

II downfills

A vibrant backdrop underscores a key moment of the show

The setup at front of house

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Greyville goes hybrid

Prosound delivers a scalable audio and broadcast overhaul at South Africa’s iconic racecourse

HOME TO THE COUNTRY’S FLAGSHIP HORSE RACE, the Hollywoodbets Greyville Racecourse is a key venue in South Africa’s thoroughbred horseracing tradition. Held annually on the first Saturday of said month, the Hollywoodbets Durban July is more than just a race, it is the highlight of the local social calendar – comparable to the Kentucky Derby or Melbourne Cup – drawing national broadcast coverage and international attention, blending rich tradition with modern spectacle.

As audience expectations, broadcast standards and site requirements have grown in recent years, the sprawling, mixed-use venue needed to upgrade its audio and communications systems. And just as attendees plan their designer outfits months in advance, the Greyville Racecourse engaged Prosound South Africa well in advance to deliver a comprehensive upgrade in time for the 129th running of the Durban July.

“Hollywoodbets initially approached us to assess and upgrade the overall sound system at Greyville Racecourse, and partway through the project we were also awarded the contract to supply a complete communications system for the television broadcasting department,” says broadcast systems engineer Dwaine Schreuder, who led the project for Prosound. “We took the client’s requests and combined them with Prosound’s flair and experience to design and implement a system that exceeded expectations, using our in-house brands throughout.”

Rather than introducing sweeping changes that might disrupt workflows, Prosound proposed a hybrid analogue and Dante-based solution. “We didn’t want to implement drastic changes that could confuse operators,” Schreuder explains. “So, we maintained a strong analogue backbone while integrating Dante which gave us scalability, redundancy and fantastic audio integrity across distance. We fully utilised Dante’s redundancy features to ensure seamless operation across all hardware, significantly improving system reliability.”

At the heart of the system is a Symetrix Prism 16x16 DSP selected for its flexibility and interface customisation that provides 16 mic/line inputs and 16 outputs, and a 64x64 Dante matrix. This powerful core feeds multiple amplifier racks, while simultaneously distributing signals via Dante to smaller venues and zones across the campus.

Recognising that not all users are technical operators, Schreuder’s team built a custom Graphical User Interface (GUI)

Prosound’s Dwaine Schreuder configures a Riedel Bolero wireless beltpack ahead of race day

for the Symetrix system, giving non-technical staff intuitive access for daily use. An “Event Mode” layer provides technical staff enhanced control during race days and special events.

“Each zone has source and volume controls, along with visual feedback on audio levels and system status,” furthers Schreuder. “Additionally, the interface allows remote monitoring of the amplifiers and lets us power them on or off as needed – all made possible through the Symetrix Prism DSP.”

The main control room features a Midas M32R digital mixer, giving engineers the ability to input and mix external sources for live events.

Supporting the Dante network, Prosound deployed a set of Netgear AV line switches, including the GSM4230PX, GSM4212P and GSM4248PX, to provide reliable IP-based audio transport and remote system visibility across the

network. “Everything runs on a dedicated AV network, completely separate from the client’s data infrastructure,” says Schreuder.

To ensure audio clarity throughout the large and acoustically varied facility, coverage consistency was a major concern. “The goal was to get the sound as close to the people as possible,” explains Prosound technical director Mark Malherbe, who assisted with the design. “That meant a very dense distribution of mediumpower, constant directivity loudspeakers and no central high-power clusters.” The loudspeakers and infrastructure were chosen for their durability in KwaZulu-Natal’s humid coastal climate. “Every aspect of the system was specified to accommodate the local environment,” notes Schreuder.

Prosound installed a wide range of Electro-Voice and Bosch loudspeakers tailored to different zones throughout the venue. For

Interior zones such as dining areas are equipped with compact Electro-Voice EVID loudspeakers

The packed grandstand at Greyville during the Durban July

the larger grandstand and exterior areas, 14 Electro-Voice EVC-1152-64B (60° x 40°) and 14 EVC-1152-95B (90° x 55°) 15-inch full-range weatherised speakers were hung from the stadium roof. Mid-sized zones were covered with 20 Electro-Voice EVC-1082-96B 8-inch weatherised cabinets, while indoors, the system comprises more than 145 Bosch LC1-UM12E8 12W coaxial ceiling speakers. A further 17 Electro-Voice EVID-S8.2TB and 46 EVID 4.2T compact 70V/100V speakers ensure even distribution in smaller areas. For wide-area paging, 14 Bosch LH1UC30E 30W music horns are complemented by 42 EV EVID S4.2T compact 2-way surface-mount speakers for supplementary fills. The large-format speakers are powered by Dynacord Class-D DSP amplifiers, comprising 10 C3600FDI (2x1,800W) units for highpower zones and four C2800FDI (2x1,400W) for smaller venues. Four Dante-enabled LEA Professional ConnectSeries 354D amplifiers (4x350W) were used for all the 70V/100V distributed systems. The audio refresh wasn’t limited to public address – attention was also paid to the broadcast and communication systems. “After a successful proof of concept was provided to the client, the decision to upgrade to a Riedel communication system was

A compact mobile rack fitted with Sennheiser wireless and Adastra mixer-amplifier components supports deployment for temporary or backup use

an easy one,” recalls Schreuder. “We needed something reliable, IP-ready and futureproof. Riedel’s Artist solution gives us panel flexibility, while Bolero covers all the wireless needs – and the sound quality across the board is broadcast-grade.”

The expanded system includes a Riedel Artist-1024 frame equipped with MADI and Dante interfaces. Complementing this are Riedel RSP-1232HL and RSP-1216HL SmartPanels with highresolution multi-touch screens for control. Wireless communication is handled by Bolero beltpacks and antennas deployed to cover critical areas.

“Three antennas were installed, and they give robust coverage across the entire Greyville racecourse,” Schreuder notes. “Riedel’s Bolero system uses DECT technology, which operates in a different frequency range and is far less susceptible to the interference issues commonly found in traditional RF systems. For external inputs and outputs to interface with the Artist-1024 frame, we deployed two Ferrofish A32 Pro Dante units linked via MADI.”

Multiple Glensound mic and line input/output units were deployed throughout the venue to handle various signal routing

needs for the broadcast infrastructure. Divine Dante networked loudspeakers were also deployed throughout mobile listening zones, while a Beatrice PM4 Dante-enabled talkback microphone was installed in the Venue Operations Centre (VOC) to facilitate emergency announcements with direct integration into the Dante network.

According to Prosound, futureproofing the new setup was at the core of every decision made on this project. Schreuder explains: “We always design with scalability in mind. Here, we’ve built in spare Dante channels, modular components and expansion-ready infrastructure that ensures the system will grow with the venue. And that growth has already started, as new lighting systems have started to be integrated with the audio backbone and further enhancements are underway. “We designed with flexibility up front, even before the client had fully requested integration. That’s paying off now.”

Client feedback, Schreuder notes, has been overwhelmingly positive, especially regarding usability and adaptability. “After each major event, the client has provided small requests to streamline their workflow. Thanks to the flexibility of the systems we implemented, we’ve been able to meet each request effectively.”

And while the Durban July was the project’s primary catalyst, Prosound knew that the system would need to accommodate more than just race-day needs. “Greyville has a lot of ideas for functions, and we’ve made sure the system is ready for that,” Schreuder adds. “Every zone can function independently, and that opens the door for concerts, festivals and community events.”

“With the comprehensive hybrid audio and broadcast system now in place, Hollywoodbets Greyville Racecourse is exceptionally well-positioned for future events,” Schreuder concludes. “We look forward to continuing our partnership to support Greyville’s evolving event needs and help unlock the full potential of this cutting-edge system for years to come.”

www.electrovoice.com www.prosound.co.za www.riedel.net

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The LEA amplifier rack powering Greyville’s multi-zone distributed audio system

Raising the standard

Samat Show Technic brings professional sound to the Kazakh National University of Arts

WHILE IT MAY NOT CARRY THE SAME global prestige as some of its Western counterparts, Kazakhstan’s arts education scene is rapidly earning recognition, with the Kazakh National University of Arts leading the charge. Particularly within Central Asia and parts of the former Soviet Union, Kazakhstan has built a strong and growing reputation for music, performance and cultural studies. In recent decades, the country’s leadership has made deliberate efforts to internationalise its arts education, forming partnerships with Western institutions, sending students abroad and inviting foreign expertise. As a result, competitors from Kazakhstan increasingly place highly in international music, dance and arts competitions.

Abbreviated to KazNUA, the Kazakh National University of Arts in Astana is considered the premier institution for higher education in the arts in the country, playing a leading role in training the next generation of musicians, actors, directors, visual artists and cultural managers. Boosting its credentials, it has recently completed a major renovation of its flagship concert hall, resulting in a sophisticated new audiovisual system designed to support a wide range of live performances.

Owned by the city, the hall regularly hosts both public concerts and university events.

Commissioned by the City Department of Culture under the supervision of the Office of the President of the Republic of Kazakhstan, the project aimed to transform the university’s primary venue into a flexible and high-performance space capable of meeting the demands of modern productions. Prior to the renovation, the existing infrastructure had been showing its age.

Outdated equipment resulted in inconsistent sound quality and limited technical capabilities, forcing organisers to rely heavily on hiring in temporary rental systems for concerts and musical performances, greatly adding logistical challenges and extra cost.

Local systems integrator Samat Show Technic was tasked with eliminating these problems by delivering a new audio solution capable of providing consistent sound coverage, tonal balance, simple day-to-day operation and seamless integration with the building’s unique architecture. In close collaboration with Biamp Systems’ local team in Kazakhstan, Samat’s engineers designed a system based around Community loudspeakers and driven by Biamp’s ALC series amplifiers for power and processing. The emphasis throughout the design phase was on providing uniform sound pressure levels throughout the audience area, while maintaining sonic clarity and musicality at different volume levels.

“Having extensive experience in the market of professional AV solutions, the organisation turned to us for help in developing a solution for the reconstructed concert hall,” explains Samat Show Technic systems engineer Alexey Kuznetsov. “Flexibility was crucial, as the hall needed to accommodate a variety of performance styles, from intimate classical recitals to amplified modern concerts. They particularly wanted to get a larger low-frequency contour for rock concerts but, at the same time, the system’s visual impact needed to be minimised, ensuring the technology complemented rather than dominated the aesthetic.”

The Palace of Arts “Shabyt” in Astana is the home of the Kazakh National University of Arts

The renovated concert hall’s stage, showcasing the Community IV6 loudspeaker arrays discreetly integrated

Community IV6 series loudspeakers form the core of the main system, selected for their modularity, coverage control and ability to deliver high-quality sound without requiring mechanical tilting, thanks to the system’s passive acoustic shaping and modular coverage angles. The main arrays of six cabinets per side were supported by IV6-118SW subwoofers for low-frequency extension, while IC6-2082/96B and IUB2082W loudspeakers provided additional fill coverage where needed. Amplification and signal processing were handled by Biamp’s ALC-1604D amplifiers.

“When selecting equipment, many factors were taken into account, such as price, quality, uniformity of sound pressure distribution throughout the entire area of the hall, compliance with the design of the room, flexibility of installation and adjustment, and the fast shipment of equipment,” Kuznetsov recalls. “All this came together to form a single picture, and the choice was made in favour of Biamp loudspeaker systems.”

Collaboration between Samat Show Technic and Biamp’s engineering team played a crucial role in the project’s success. Biamp field sales engineer Evgeny Ilnitskiy created the initial system design, which was then refined through close discussions with Kuznetsov. Working together throughout the summer of 2024, this was adjusted to optimise coverage and integration within the concert hall’s architecture. The Biamp team back in Oregon, US also provided technical consultations during the planning stages, helping to fine-tune simulations and ensure the chosen loudspeaker models were ideally suited to the space.

“Thanks to careful pre-planning and the modular nature of the chosen components, installation proceeded smoothly and without unexpected issues,” recalls Kuznetsov. “Our team pre-assembled many of the array elements offsite, allowing for efficient installation and precise alignment once onsite. System tuning was facilitated by the DSP capabilities of the ALC-1604D amps, with custom FIR filters applied to achieve a flat frequency response and accurate phase alignment between the arrays and subwoofers.”

Through the interface on the ALC amplifiers, operators can adjust input levels, monitor limiter behaviour and oversee system

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health without needing specialist software or complex workflows. This was an important consideration, as the university’s technical team comprises general staff rather than experienced audio professionals.

“Our design ensures that even non-specialists can operate the system confidently and effectively during live events,” Kuznetsov furthers.

With the new setup in place and now in use, the response from the client’s technical team and outside event organisers has been overwhelmingly positive.

“The university’s sound engineer was pleasantly surprised to hear the Biamp systems in operation – up until this point, only a few in the city were aware of the brand and its capabilities. He is very impressed with the system’s even coverage and neutral tone,” concludes Kuznetsov. “The noticeable improvement in audio quality has entirely eliminated the need for temporary rental systems, offering significant cost and logistical savings for future events.”

In addition to classical and modern concerts, the hall plays host to a variety of presentations, lectures and conferences, leading Samat Show Technic to also deliver a full suite of lighting and video infrastructure. The installation includes a flexible presentation system, architectural lighting, moving heads and high-definition video projection, all centrally controlled for ease of operation. The space is now capable of hosting productions at every level, from student recitals to major public performances.

For Samat Show Technic, the Kazakh National University of Arts project is a demonstration of how collaboration and careful design can combine to raise the technical standard of a performance space. With a system that balances power, clarity, flexibility and ease of use, the university is well-positioned to support the next generation of artists while providing audiences with an enhanced listening experience that meets international standards.

www.biamp.com www.samatshow.kz

Community IC6-2082 cabinets provide audience front fill

Scene change for NYU

NYU Abu Dhabi has upgraded its three main performance spaces with new lighting consoles, bringing greater flexibility to an increasingly varied production schedule

IN

THE

DECADE

SINCE ITS OPENING, THE PERFORMING arts infrastructure at NYU Abu Dhabi (NYUAD) has evolved into one of the most adaptable and technically advanced of any regional higher education institution, something that becomes immediately apparent upon stepping into any of its three main auditoriums – the Red Theater, the Black Box or the Blue Hall. All three have recently undergone a significant control system upgrade led by long-standing technology partner Oasis Enterprises. Pro AVL MEA recently took a tour with lighting manager Sabr Hemming to find out what new the new intake of students now have to look forward to.

Though originally well-equipped when the campus opened in 2014, the venue’s lighting control infrastructure had begun to show its age, particularly in comparison with the ever-diversifying types of productions the university’s Arts team was being asked

to accommodate. “We’re often working with incoming shows that bring their own control surfaces – sometimes a full desk, sometimes just a laptop and a USB-DMX adapter,” explains Sabr. “So, flexibility has always been a key requirement in all of our theatres.”

That need, combined with a desire to modernise operations and simplify programming workflows, has led NYUAD to invest in a new ETC lighting control ecosystem comprising multiple EOS Apex consoles, motorised fader and programming wings, and a mobile RPU-based backup system. “ETC has always been there for us like a warm blanket,” says Sabr, who has previously worked with the brand at both the English National Opera and the Muscat Royal Opera House. “There was never really any question of going in another direction with this upgrade – it was more about which models made the most sense for each venue.”

In the flexible Black Box theatre, which can be configured end-on, traverse, in-the-round or even diagonally depending on the show requirements, the team opted for ETC’s compact Apex 5 24k control desk boasting 24,576 outputs. “It’s the only way to go for a space like this,” explains the head of lighting. “It’s manoeuvrable, which is ideal because we reposition it regularly depending on the audience layout or performance style. Sometimes we operate from a gantry, other times from a platform built into the seating block.” The space also features a configurable Robe and Vari-Lite rig, supported by a 16-cabinet Meyer Sound Lina line array with reconfigurable audio control positions to suit a wide range of performance styles. In the Red Theater, NYUAD’s largest and most technically demanding venue, the team has opted for a new full-sized Apex 10 24k console and Apex Processor to handle its extensive rig and

The Blue Hall is located across from the Red Theater in the university’s Arts Center

Entrance to the Red Theater, one of the university’s three main performance venues

The adaptable Black Box theatre

complex programming needs. The Red Theater, which features a full moving light rig across five overhead bars, including Martin Mac Viper Performance and Wash DX Fixtures, hosts everything from student dance productions to high-profile conference events. For audio, it’s equipped with a Yamaha Rivage PM5 mixing console controlling FOH and a Meyer Sound system comprising left-right hangs of 10 Lina cabinets per side, an additional central cluster of 12 more Lina with six 900-LFC subwoofers and front fill from Meyer UPM cabinets.

The addition of the Apex 10 here has, according to Sabr, been a significant upgrade. “The increased screen space is a huge help,” he says. “With the old Gio desks we were constantly battling limited real estate, especially on complex shows. The Apex 10 feels purpose-built for the kind of work we need to do in this space.”

While the Red and Black Box theatres received significant console upgrades, the more acoustically refined Blue Hall, which

is typically used for music recitals and cinema screenings, has been equipped with a new Ion XE – which has been upgraded to boost its output capability to 12,288 – along with dual motorised fader wings, two EOS programming wings and an ETCnomad Puck that can be deployed for pop-up events. The room’s natural acoustics are complemented by a discreet Meyer Sound UPA-1 point-source speaker setup and motorised acoustic panels that adapt to different programme types. “It’s ideal for classical concerts and looks great with candlelit events too,” the head of lighting notes.

The decision to invest in the latest ETC hardware began under Sabr’s predecessor, Simon Fraulo, who led the specification and procurement process together with Oasis Enterprises’ Richard Burton. “The first piece of the puzzle is replacing the consoles,” says Sabr. “We’d worked with Richard from Oasis for years and knew exactly where our pinch points were. He helped secure a control system that gave us maximum flexibility while futureproofing for the next 10 years.”

The three venues operate independent ETC DMX Gatewaybased architecture that allows each space to patch and distribute universes of DMX as needed. “The sACN implementation from ETC is great,” says Sabr. “We’ve had touring shows come in and control our rig from their laptop, while we retain master control over certain elements from the console. For example, we’ll pre-position the moving heads and record those into cues, then route only the intensities to their system. The merging is seamless.”

In the Blue Hall, future plans may also involve upgrading to more discreet and acoustically appropriate moving lights. “We tested ETC’s Halcyon recently – Richard brought one in for us to try – and we were very impressed,” says Sabr. “It looked fantastic in the space and its silent nature makes it a strong candidate.”

In terms of usage, the venues are in near-constant demand. NYUAD’s professional arts season runs from late August to June, blending student-led theatre and music recitals with visiting productions and conference events. “We just hosted the BX Behavioural Science conference across all three venues,” says Sabr. “In the weeks before that, we hosted the Abu Dhabi Music and Arts Festival. A few weeks from now it will be a Filipino Theatre group performing a devised piece in the Black Box. We also showcase North African Filmmakers as part of our CinemaNA programme, and we play host to the Candlelight Concerts in the Blue Hall. The programming is as diverse as it gets.”

To support that variety, the infrastructure has to be responsive and robust. “Everything can now be configured from the console, including sensor racks, node behaviour and fixture settings,” says Sabr. “We’ve also got plans to integrate the console with Paradigm presets so we don’t have to trek back to the control room to change house lights.”

A view from the gantry of the Black Box, showing its flown Meyer Sound PA system and flexible seating configuration

The team has also introduced a mobile RPU backup system mounted in a flightcase alongside an Eos Programming Wing, offering resilience and portability for offsite shows and one-off campus events. “We’re doing more outdoor performances and pop-up installations, so it made sense to have a flexible, redundant system we could wheel into any venue as needed,” Sabr explains. Across all three spaces, a gradual fixture refresh is also underway. The university originally installed a significant quantity of Source Four, Lustr and ETC dimming equipment, most of which remains in use. “We’ve got hundreds of Source Four bodies,” says Sabr. “Rather than throw them out, we’re planning to convert them to LED using Source 4WRD retrofits, especially for the studio and rehearsal spaces where full-colour mixing isn’t critical.”

For NYUAD’s growing community of student interns and emerging technicians, the consistency and familiarity of ETC’s interface has also proved beneficial. “A lot of students coming in already have ETC experience from their schools,” says Sabr. “It’s great for them to see the same interface but on a more advanced console. They can build on what they already know, but now with more robust, professional-grade hardware.”

As the lighting team looks ahead to future fixture upgrades and further programming refinements, the recent control overhaul has already brought a noticeable boost in usability and day-to-day efficiency. “At the end of the day,” reflects Sabr, “the biggest win is just making our working lives easier. These are spaces that do a lot, and now we have a system that’s powerful and flexible enough to keep up.”

www.etcconnect.com

www.oasismena.com

www.publicprograms.nyuad.nyu.edu

An ETC EOS Apex 5 console in the Black Box theatre

An ETC Apex 10 console in use at the Red Theater

Geometric wooden panelling surrounds the seating area and balconies of the Red Theater, designed for both acoustic and aesthetic performance

The Blue Hall stage, with Meyer Sound speakers wallmounted and concealed within the venue’s wooden acoustic panelling

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A night to remember

an emotional stadium-scale production

WHEN JORDAN QUALIFIED FOR THE 2026 FIFA WORLD Cup, it became far more than a sporting milestone, creating a much-needed national symbol of hope, unity and pride. Football is by far the most popular sport in the country and is widely followed across all demographics, with strong grassroots interest and a growing infrastructure. Having never appeared on the sport’s biggest stage before, the national team’s 2026 qualification is nothing short of historic.

To honour the achievement, a large-scale public celebration was staged at the Amman International Stadium, transforming the venue into a sea of energy and emotion. More than 15,000 people gathered inside the stadium, joined by hundreds of thousands watching live on national television. Behind the scenes, RB Event Technology was entrusted with delivering a fully immersive AVL experience that would rise to the moment and resonate with fans.

“This wasn’t simply another technical project for us,” explains RB Event Technology’s business development and operations manager, Jeries Hawatmeh. “It was a moment of collective national pride, and we felt a real responsibility to help shape a memory that would last for years to come. That’s what made this project so special.”

From the outset, the organisers, Bidaya Marcom and the Jordan Football Association, had a bold creative vision – to turn the celebration into an emotionally charged experience that united fans across the stands and living rooms alike. RB Event Technology was engaged as both technical partner and creative collaborator, brought in to design the layout, specify and deploy the AVL systems, and manage the entire onsite execution. The production’s backbone was centred around a carefully designed L-Acoustics K2 system, paired with SB28 subwoofers to deliver strong low-end energy for music and crowd moments. With FIFA restrictions prohibiting any flown equipment, the PA was entirely ground-stacked – a challenge that required creative problem-solving from the RB team to ensure intelligibility and consistency across the venue’s multitiered and asymmetrical

RB’s technical crew at FOH during the live broadcast

layout. A full site inspection and architectural assessment guided system planning.

“To tackle those constraints, we ran detailed acoustic simulations using Soundvision and deployed the L-Acoustics P1 processor for real-time system tuning,” notes Hawatmeh. “We also created multiple delay zones using X15 enclosures to maintain sonic alignment, especially in the upper-tier seating areas. Despite the architectural quirks, we achieved full coverage without compromise.”

The groundstacked main audio system was comprised of seven arrays of eight L-Acoustics K2 cabinets each, supplemented by 11 stacks of Kara II cabinets in similar eight-box configurations for wide coverage. Twenty-four X15 enclosures were deployed to handle delay and fill zones.

Audio control came via a Yamaha CL5 digital console paired with Rio stageboxes, giving the engineers flexible routing across the show’s dynamic programme. Redundant fibre optic cabling ensured robust long-distance signal distribution across the stadium, forming the backbone of a centralised AV network powered by Luminex GigaCore 10T switches. The entire network connected audio,

Ground-stacked arrays deployed along the stadium track to deliver

video and lighting systems into a single control framework for real-time coordination between departments.

The lighting design played a crucial role in helping to shape the evening’s emotional journey. From grand entrances to intimate tributes, the RB team crafted a dynamic lighting show using a full array of high-performance moving heads, architectural fixtures and pixel-mapped LED elements, including ADJ Hydro Profile, Hydro Wash X19, Focus Profile and Prolights Stark 400. Each cue was tightly programmed to match the pace of music, crowd reactions and camera shots for the live broadcast.

“Our creative direction was guided by the colours and spirit of the national team,” recalls Hawatmeh. “We wanted the lighting to do more than just dazzle – it needed to echo the emotions of the audience, the excitement of the players and the pride of the nation.”

One of the most visually striking elements was a set of custom-built LED screen towers, designed on 14m-high scaffolding to ensure visibility from every corner of the stadium. Absen screens formed the centrepiece of the stage design and served as key visual anchors for the entire show. Due

to tight implementation timelines, RB deployed a winch-based rigging solution to accelerate the deployment without sacrificing safety. Structural engineers conducted full wind load analyses and load calculations during the design phase to ensure stability, particularly important given the open-air environment.

“Safety was non-negotiable,” confirms Hawatmeh. “We used certified equipment and an in-house engineering team to deliver on both speed and security.”

Coordination between departments was handled via a centralised control system, with constant communication and real-time responsiveness built into the workflow. Teams rehearsed extensively to ensure smooth cueing across lighting, visuals and sound. On the day, every aspect performed flawlessly, earning praise from organisers, VIPs and the wider audience. The production was broadcast live on national television and shared widely across social media, amplifying its reach to millions beyond the stadium.

Among those in attendance were His Majesty King Abdullah II and Her Majesty Queen Rania, whose presence elevated the occasion’s significance. “It definitely added another layer of responsibility for us,” says Hawatmeh. “But it also made the celebration feel even more meaningful.”

The event has served to strengthen RB Event Technology’s position as a trusted partner for highprofile, national-scale productions in the country.

“One of the proudest achievements was delivering an AVL experience that not only met international standards but captured the spirit of the moment,” Hawatmeh states. “We received personal thanks from the organisers and stakeholders, which meant a great deal to the entire team. We’re incredibly proud of what we accomplished as a team, and that was made possible by the leadership and dedication of our senior management, including CEO Emad Al Rabadi, CFO and operations director Mohannad Al Rabadi, head of sound Ramzi Al Rabadi and technical director Ahmad Alhaj, who led the project design. Their efforts helped bring this celebration to life.”

Looking back, the company credits its success to early planning, technical precision and a deep understanding of the story the event was meant to tell. “We’re not just here to deliver specs,” Hawatmeh concludes. “We’re here to help translate emotion into production – to turn vision into experience. This event reaffirmed our capability to deliver at scale and with heart.”

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Moving head fixtures prepped for showtime

Taking back control

Aesthetix delivers

the

region’s first AI-powered control room upgrade at ADNOC’s Panorama Command Centre

AS THE VOLUME AND COMPLEXITY OF OPERATIONAL data continues to grow, so too does the need for technology that can present it all with clarity, flexibility and speed. Whether in government, energy or enterprise environments, today’s missioncritical spaces increasingly rely on an intelligent AV infrastructure to support real-time decision-making and collaboration.

At the Abu Dhabi National Oil Company’s (ADNOC) headquarters, that imperative recently led to a major upgrade of its Panorama Command Centre situated on the HQ’s Level 37 – a flagship space where situational awareness and control keep the cogs of the company’s global energy operations spinning. It serves as the strategic nerve centre for ADNOC’s executive team and key operational personnel, bringing together live data streams, surveillance feeds, logistics tracking and communications under a single unified environment.

Tasked with designing and delivering the AV upgrade was UAEbased systems integrator Aesthetix, which was given a brief to deliver a future-ready AV environment with absolutely zero room for downtime.

“This is one of the most important command centres in the region,” explains Aesthetix business development manager Joumanah Harfoush. “ADNOC wanted a solution that would not only support today’s operational workflows but make a strong visual and functional impact – something that would position them at the forefront of control room capability.”

The centrepiece of the new system is a 55m x 4m (WxH) COB LED videowall from Samsung – currently one of the largest fixed COB installations in the Middle East. It replaces a 15-year-old SMD-based display that had long outlived its predicted service life. “There were clear signs of degradation and, when we removed the old screen, we discovered burnt cabling which is potentially very dangerous in a 24/7 environment,” recalls Harfoush. “As a result, we knew the refresh had to be both technically robust and also delivered at speed.”

The more modern display technology not only offers a 56% increase in resolution, but a significant improvement in thermal performance, reducing power consumption by half. To further

manage heat from round-the-clock operation, a rear ventilation system has been incorporated, with a dedicated corridor for service access. A custom steel structure was also fabricated and installed to support the upgraded format.

While the videowall provides a visual leap forward, it’s the surrounding infrastructure that enables the space to function as a true real-time decision-making hub. “Aside from the screen, everything is managed through the Q-SYS ecosystem,” says Harfoush. “That includes control, audio, video, cameras, microphones, touch panels and endpoint connectivity. It’s a single unified platform.”

The camera setup includes eight QSC PTZ units – three across the front of the room for presenter tracking driven by the Q-SYS Seervision AI engine, and five aimed at operator workstations. Unlike traditional voice-activated systems, Seervision uses advanced computer vision and machine learning to recognise unique body postures and movement, even when presenters turn away or wear masks. This allows for dynamic shot sizing and intelligent camera switching, creating smoother transitions and consistent framing.

For meetings, the system switches to audio-based tracking using eight ceiling-mounted Sennheiser TCC2 dynamic beamforming microphones. Depending on the location of the speaker, the system automatically frames and adjusts the relevant camera feed.

“The Seervision platform was ideal in this instance, as video conferencing had to feel seamless and natural rather than staged,” continues Harfoush. “The client didn’t want operators to have to think about how to be seen or heard, and this new setup we’ve designed does all the work for them.”

Customisable “trigger zones” allow camera behaviour to respond automatically depending on presenter location, while the hybrid setup means the system can operate in manual or automatic modes at the touch of a button. Zones can be defined both manually and automatically depending on the event type. During dynamic sessions involving multiple presenters, the system is capable of maintaining fluid focus through contextual analysis of behaviour and positioning.

A sweeping COB LED videowall spans the length of ADNOC’s Panorama Command Centre

ADNOC headquarters in central Abu Dhabi, home to the Panorama Command Centre

“The beauty of Seervision lies in its ability to deliver intuitive camera tracking based on body movement, which was a key requirement for ADNOC’s dynamic operational environment,” Aesthetix project manager Mohammad Najib explains. “We spent considerable time during commissioning and fine-tuning the system, defining zones and calibrating behaviours. The visual configuration tool really helped reduce programming complexity.”

Aesthetix also conducted hands-on training for ADNOC personnel, focusing on making the system as intuitive as possible. “The goal was to eliminate the need for manual camera adjustment,” says Najib. “Operators can focus entirely on their decision-making, and initial feedback has been overwhelmingly positive. They appreciate

sharing via Barco ClickShare and USB-C laptop inputs give users quick access to the videowall or specific display zones.

To manage system-wide content, Aesthetix implemented Activu’s IT and cyber monitoring platform, used widely in infrastructure and security sectors. This enables dynamic layout control, device synchronisation and automated content routing in response to real-time events. Operators can remotely interact with source content or receive alerts based on critical data thresholds. Behind the scenes, multiple Q-SYS Core 510i processors take care of the routing and processing, leaving room for future system expansion. “We chose hardware that would allow ADNOC to scale over time without requiring a complete overhaul,” notes Harfoush. Despite the scope of work, the full installation was completed in just two weeks, with engineers working around the clock in rotating shifts. “The sheer scale of the videowall replacement, the infrastructure upgrades and the need to keep ADNOC’s operations uninterrupted was a huge logistical challenge,” reflects Najib. “It was a testament to the team’s coordination and expertise.”

The success of the project was underpinned by close collaboration. ADNOC representatives visited the Aesthetix Experience Centre to preview key components, including Seervision tracking, microphone arrays and the Activu platform, enabling a streamlined approval and deployment process. Now back in full-time use, the Panorama Command Centre provides ADNOC with a future-ready platform that will continue to evolve. Aesthetix will now continue to support ADNOC under a 5-year service agreement covering maintenance and ongoing technical consultation. While the COB display is expected to remain in active use for well over a decade, updates to the control and AI systems are anticipated within the next five years, in line with ADNOC’s long-term digital strategy.

“The pace of AV innovation means control systems evolve

Each workstation is equipped with Q-SYS touch interfaces

The centre’s 55m videowall serves as a dynamic focal point for real-time visualisation and executive briefings

A subtle installation by Thomsun and Finiche Interior Design ensures pristine audio complements the ambience at Dubai’s latest luxury restaurant

NESTLED WITHIN THE HYATT PLACE HOTEL ON DUBAI’S Al Mina Road, the newly opened Viceroy’s Table has emerged as one of the city’s most distinctive fine-dining venues. Blending an opulent Anglo-Indian interior with a carefully curated menu, the restaurant invites guests on a journey through the colonial past – specifically, the era when British and Indian cultures merged. Audio plays a fundamental role in helping to shape this unique atmosphere, and understanding its importance, Janjaes Restaurants Management, which is overseeing operations at Viceroy’s Table, turned to long-time partner Thomsun. While discreet by design, the AV integration is key to setting the right ambience. Behind the scenes, a collaboration between Thomsun and interior integrator Finiche Interior Design has resulted in a compact yet effective system tailored to Viceroy’s Table’s bespoke architectural and operational needs.

“The brief was to provide high-quality background music coverage throughout the restaurant, while preserving the architectural integrity of the space,” explains Thomsun sales manager Nikil Babu, who led the project. “That meant keeping the loudspeakers as unobtrusive as possible while ensuring the sound remained consistent and intelligible across all seats.”

Viceroy’s Table, much like its sister venues Moksha Club and Bar Bar, is part of a growing portfolio of Dubai-based outlets relying on NEXO systems designed by Thomsun. At Viceroy’s, the team specified a speaker solution built around NEXO’s ultra-compact ID14 loudspeakers. Eight of these were wallmounted throughout the main dining area, chosen for their ability to deliver detailed, full-range audio in a minimal form factor. Complementing them are four IDS110 compact subwoofers, subtly integrated to provide low-frequency extension without overpowering the room’s ambience.

“We’ve worked with Thomsun for years now,” notes the venue’s operations manager, Ruchir Teraiya. “From the very beginning of

this project, we knew it would be NEXO. We trust the brand and we trust the team.”

The entire system is powered by a NEXO NXAMP4X2MKII amplifier, which combines amplification and DSP in a single rack unit. “The NXAMP provides us with very fine control over the system tuning and allows for remote monitoring using NEXO’s NeMo app,” notes Babu. “It’s ideal for a space like this where reliability and sound quality are both critical, but rack space is limited.”

Signal management is handled via a Yamaha DM3 digital mixer, offering input flexibility for background music sources and occasional live performances. A Yamaha GB1KPE baby grand piano, also supplied by Thomsun, sits near the entrance to the dining area, allowing the venue to host live sets that align with its fine-dining concept.

While the LED screen behind the piano – which is used for ambient visuals and private functions – was supplied by a different vendor, all other aspects of AV and audio were handled by Thomsun, including source control and zoning. The team also ensured that the system could accommodate additional inputs and performers in the future. “We’ve made it future-ready,” says Babu. “Whether it’s a saxophonist plugging in or changing the audio source for an event, the system is flexible enough to handle it.”

This adaptability will be important as the venue continues to evolve. With growing interest from Dubai’s luxury hospitality crowd and a steady stream of new patrons, Viceroy’s Table is already planning more themed nights and musical experiences. “The response since opening our doors has been amazing,” comments Teraiya. “People come in expecting great food, and they leave talking about the overall experience – the music, the interiors and the service. All of these elements matter.”

While the solution is certainly capable of outputting significant volume and bass, the intention at Viceroy’s Table is to keep the atmosphere intimate. During the day, a background soundtrack of

A compact Yamaha DM3 keeps the audio under control

instrumental music plays at low levels, while in the evenings, a live pianist performs every night from 7pm to midnight.

According to Nikhil Zacharia, marketing manager at Janjaes Restaurants Management, the audio quality was non-negotiable, even if it wasn’t the most visible part of the experience. “We put a lot of care into the atmosphere here,” he explains. “From the lighting and furniture to the music and acoustics, everything is curated. The sound system needed to deliver clarity and warmth at low levels, and to blend visually with the architecture.”

Beyond the audio system, the venue’s dedication to detail is evident throughout. The interiors are filled with British antiques and colonial-era touches of

Acoustically isolated subwoofers hidden out of sight provide ample low end

the design, specification and tuning, Finiche worked closely with the restaurant’s interior team to ensure a seamless installation. This included careful routing of cabling, mounting of speakers within the venue’s finishes and working to tight build schedules.

Speaker placement was carefully considered to ensure even coverage while maintaining architectural integrity. “It’s not just about hiding the equipment,” says Babu. “But integrating it so seamlessly that guests don’t even think about where the sound is coming from, they just feel the immersion. If no one notices the speakers, that means we’ve done our job right.”

Beyond the technical execution, the client was particularly appreciative of Thomsun’s after-sales support. “If we ever have any issues, I can just call Nikil directly,” Teraiya confirms. “The service is excellent, and the team are fast, knowledgeable and always available. That kind of support is critical when you’re starting a high-end venue from the

In a city full of high-end dining concepts, it takes more than culinary flair to stand out, and Viceroy’s Table doesn’t shout for attention; instead, inviting patrons into a calm, sophisticated environment. As Dubai’s dining scene continues to push for more immersive, high-design experiences, projects like this show how small-scale AV integration, when executed right, can have a big impact.

www.thomsunmusic.com/proav www.viceroystable.com

NEXO ID14s are discreetly mounted high up on the walls

Regular live music revolves heavily around the large grand piano

A letter from America

Hooray for Hollywood? Maybe not, according to Dan Daley

HOORAY FOR HOLLYWOOD. THAT WAS THE THEME song for the city, the industry and the cultural phenomenon that was cinema for the better part of a century, ever since East Coast US filmmakers left their beginnings in New Jersey and New York for sunnier climes (and away from Thomas Edison’s motion picture patents litigation) in the 1920s.

But it hasn’t been all sun and fun lately in Tinseltown. Movies and TV series have been shifting their productions from California to, well, just about everywhere else, now that US cities and states and other countries have figured out that tax and spending rebates are the way to lure those multimillion-dollar projects to their backyards. Last year was the worst on record (Covid notwithstanding) for film production in what was putatively the cinema capital of the world – none of the top 10-grossing live action films were made in Hollywood, nor was a single Oscar Best Picture nominee, the first time that has happened since 1971. This year is looking to be even worse.

Celluloid dreams aside, Hollywood has always been about the money, and some of the rebates offered can pay back as much as 30–40% of a project’s below-the-line costs. For instance, Apple’s Severance series got back a reported

US$39m from New York’s rebate programme. The trend has had the expected effect on filmmaking’s trades: audio, camera, set design, editing and the hundreds of supporting roles that crawl by during the credits are suffering from less work to go around.

If this sounds familiar, it’s worth recalling what happened to music production starting about three decades ago. After a few years of scoffing at the potential for Tascam Portastudios and open-reel 8-track decks to affect the commercial recording studios of that era of $1m signing bonuses for one-hit wonders, those technical behemoths began to watch as the technology stripped them of their moats, allowing music production to take place on a very high level in a much broader array of spaces. Changes in music culture – rap’s ascendance meant a Roland 808 and an Akai MPC were on a par with an SSL 4000 in some important ways – accelerated the process.

Technology like three-lens iPhone cameras hasn’t yet caused filmmaking to move into the spare bedroom, but it has created an economic and crafts diaspora that is irrevocably changing the movie business, and California’s late and relatively paltry new tax incentives won’t be enough to reverse that slide.

A letter from Europe

The music studios of the 1990s are mostly gone now. The ones that remain have pursued other strategies, including selling themselves to colleges and universities, as Ocean Way and Power Station have, to become both classrooms for academic production courses and lures for 19-year-olds innocent enough to believe they’ll get a four-year degree worth the $200,000 they’ll spend on tuition. Others became motherships for itinerant producers, engineers and mixers who use some of the space as their own studios adjacent to available tracking spaces. Others have gone the museum route, like Nashville’s RCA Studio B or Stax in Memphis. Yet others keep their doors open but have found alternative revenue sources as backdrops for – closing the circle here –film and TV productions. Music production has even managed to get a bit of the tax-credit largesse – Tennessee, Louisiana, Georgia and three other US states offer tax-rebate schemes to music productions, though just fractions of what films can get. Hollywood is on a precipice, in part of its own making and in part due to technology and garden-variety capitalism. Streaming might help – Apple’s F1: The Movie went to theatres first, taking the classic Hollywood route. But movies, and the magical place they used to come from, will have to get used to a new reality, just like music did.

Phil Ward remembers two iconic figures whose genius has left an indelible mark on the world of music recording

RECORD PRODUCTION IS AS IDIOSYNCRATIC AS painting. You can recognise a Picasso a mile off, a Rothko a bit closer and an Elizabethan miniature by standing right next to it. True, some productions are subtle and do not necessarily have the producer’s signature flowing through the soundwaves. But this is not the case with two of pop music’s most influential and troubled auteurs, both of whom have occupied media scrutiny in Europe over the last few weeks. They have both, incidentally, crossed my path – either directly or indirectly – in what you might say is my line of duty.

One day in the mid-1990s, when I was editing a magazine in London, my boss came up to me and said there was a gentleman in reception who had arrived unannounced. I was busy and this was a nuisance. But then he said: “It’s Emile Ford.” Firstly, I thought it was another of those industry namesakes, like Bob Charlton or Gary Cooper, but it quickly became apparent that this was the Emile Ford, as in Emile Ford and the Checkmates, who had a UK number one hit with What Do You Want to Make Those Eyes at Me For? Clearly, this was not going to be a normal Thursday afternoon.

Adjusting to the surrealism of the situation, I realised that this guy had, firstly, made a small name for himself as a sound engineer when the hits dried up and, secondly and more importantly, had co-produced that huge number one with none other than Joe Meek. Meek, of course, was the British Phil Spector: unmistakable sonic textures, independently funded, always challenging the modus operandi of the recording establishment, completely off his rocker.

Ford was attempting to use this legacy to promote a new signal processor he had developed, some sort of compressor. He will have been inspired, no doubt, by the example of Ted Fletcher, one-time session singer in Meek’s home studio and genuine audio pioneer: his brand of dynamic signal processors, actually called Joemeek, initiated the idea of classic-sound-in-a-box and was doing really well. Many fondly remember his later contribution: TFPro P8, affectionately known as “Edward the Compressor”. I cannot recall, despite this association, that anything came of Ford’s gizmo, but reading a new book called Love and Fury: The Extraordinary Life, Death and Legacy of Joe Meek by Darryl W Bullock (Omnibus Press) confirms why

some, like Fletcher and Ford, would want to attempt to keep alive something of the audio brushstrokes of this proper genius, and also why others, let’s be honest, would be glad they never met him in person. When the all-too-premature end came in 1967, a firearm was used.

Beyond Telstar, many other hits ring with his colourful treatments, as distinguishable as the soaring harmonies of Brian Wilson, who died recently aged 82. Personally, I never thought he’d reach such an age, so much damage done in the compression of his ideas. For this is the elephant in the creative room, in so many cases. Something about these pursuits bends reality around a lamppost and, when I tried to interview Wilson before the historic Smile concert at London’s Royal Festival Hall, all I got out of him was that his favourite Beatles song was Norwegian Wood. Otherwise, he was all but heartbreakingly mute.

But whether your canvas is a recording studio or, well, a canvas, the crucial thing is that you leave behind a record, an imprint of yourself. If your voice and vision are clear enough, they will be identifiable long after we’ve fired our last bullets and burned all our Norwegian Woods. Wouldn’t that be nice.

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The objectivity of interoperability

Simon Luckhurst discusses interoperability, its impact on system design and a shift towards software-based solutions with Audinate CMO Joshua Rush

ONCE A BUZZWORD THROWN AROUND IN SPEC sheets and product launches, interoperability has quietly matured into a cornerstone of modern AV system design. But as the industry’s shift to IP-based infrastructure accelerates, so too does the complexity, and necessity, of getting interoperability right.

It’s something often treated as a checkbox, a basic assurance that one product can connect to another. But in the context of today’s networked AV systems, that definition no longer holds. For integrators and consultants to OEMs and live sound professionals, the question is no longer whether systems can talk to one another, but how easily, securely and economically they do so.

“Connectivity is the base level – getting bits and bytes from point A to point B – but that’s not the full picture,” explains Rush. “Interoperability is about solving real problems for the people designing and using these systems. Can you discover devices easily? Can you route and control them without bespoke programming? Can you monitor performance and integrate them into your wider software platform? That’s become the current bar.”

Rush points to discoverability as one of the clearest examples of this shifting trend. The ability for devices to appear automatically on the network might sound like a small feature, but for installers on tight turnarounds, it provides significant

advantages. “Time is money for integrators,” he says. “Anything that gets you out the door faster improves your margin. Discoverability, routing and monitoring – these are all things that make a system easier to build and maintain. Being able to drop devices onto a network and have them appear ready to configure is not only convenient but essential to delivering jobs quickly and moving onto the next one.”

While the hardware side of AV isn’t going anywhere, much of the intelligence and functionality is shifting into ones and zeroes. Usability becomes more important as processing migrates into the software domain. Many traditional DSP and mixing console companies are introducing virtualised versions, often running on standard servers. “We’re seeing a major shift towards software-defined AV,” Rush continues. “And that makes APIs and SDKs absolutely central. If you want your signal routing and control to integrate with the wider systems, APIs are the bridge that makes it happen.”

He’s equally candid about where the industry still falls short. Despite the movement towards openness, not all claims of interoperability are created equal. “There are companies who talk about interoperability, but what they offer is often more of a curated walled garden. They integrate with a handful of devices to fill in gaps where they don’t make a product, but that’s not an open ecosystem. The interoperability is selective rather than systemic.” Even open standards aren’t immune. “There’s a perception that adopting a standard automatically guarantees interoperability,” Rush adds. “But in reality, the way those standards are implemented can vary, and those differences can lead to integration issues. You’ll often see plug fests and certifications happening behind the scenes to prove that devices truly work together. Real interoperability is much more than a science experiment; it doesn’t just come from ticking a box.”

Nowhere is that more apparent than in infrastructure design. For many years, the received wisdom was that AV should live on its own dedicated network, air-gapped from other networked services. It’s a model that persists in some quarters, but Rush says the tide is turning fast. “From the very beginning, we designed Dante to run on standard IT switches. We knew most users wouldn’t rip out their existing network just to support AV. Especially in spaces with established IT departments like higher education, corporate or hospitality, everything has to work together. AV needs to run on the same infrastructure as everything else.”

That approach is no longer theoretical. “I was recently on a university campus with 500 networked classrooms, all running AV over the main IT infrastructure,” he recalls. “No dedicated switches, just proper design. The AV and IT teams are completely integrated, and the system scales because it uses the tools and protocols that IT already supports.”

For clients who do start with a separate AV network, they often end up migrating. “We’ve worked with customers who began with standalone AV systems before eventually realising they needed to merge it all back into their core network. The air-gapped approach has other drawbacks. It limits access to cloud services – another major upcoming trend – as well as firmware upgrades, which makes management harder and increases support costs.”

Joshua Rush on the Audinate booth at InfoComm 2025

The driving force for implementing Dante Director at EIKON Studios was its API integration

Asked what integrators should look for to avoid obsolescence –often a customer’s main concern at the outset of a large technology investment – Rush offers three key pillars. “First, breadth of ecosystem. Every job is different and you want maximum choice across brands and device types. Second, API access, so you can layer on your own control or integrate with existing systems. And third, cloud-based management, which is where the entire industry is heading. If you can manage AV from anywhere, push firmware updates and receive alerts, that all creates a much better experience for the user and less hassle for the integrator.”

Remote management, predictive maintenance and cloud services are no longer just trends, they’re quickly becoming the expectation. “To do cloud management well, your AV system needs to talk to the public internet in a secure, controlled way,” Rush notes. “So you can’t just air-gap it off in a corner on a separate switch anymore. Those days are fading.”

In this new world of cloud-based control, security plays an equally important role, particularly in corporate networks and high-profile government deployments. Rush is quick to challenge the idea that interoperability and security are at odds. “When we first introduced Dante, we deliberately made everything plug-and-play. It had to be

simple, or people wouldn’t make the initial leap from analogue to networked AV. But we also recognised that certain markets –government, healthcare and financial, for example – would demand high security. So, we layered on tools like Dante Domain Manager and Dante Director to bring in user permissions, access control and eventually full media stream encryption. It’s about having the right toolkits for the application. You can run an open, accessible system for some installations, or lock it down tightly when the application demands it.”

Conversely, the same applies to less traditionally “secure” environments like houses of worship, where volunteer operators need ease of use but limited control. “You want systems that are intuitive but not vulnerable – usable, but with safeguards against accidental rerouting or shutdowns.”

As Rush sees it, the shift to networked AV is now more structural than technical. It demands that AV and IT are one, or at least are working closely together, that systems are designed for integration rather than isolation and that manufacturers adopt a networkedfirst architecture. “We’ve been working closely with a number of our larger manufacturers to help make that happen,” he says. “They’ve got products across the entire AV stack – audio, video and control – that need to talk to each other, but they also recognise the importance of supporting the broader ecosystem of devices, so by building their platform on Dante they can accomplish both.”

Circling back to the initial question of interoperability, Rush highlights the often-overlooked importance of economics to the equation. “Interoperability without economics isn’t interoperability at all. If it’s not affordable, it’s not a real solution for users,” he argues. This doesn’t just mean the price of the products, but costs in a broader sense, in programming time, cabling and infrastructure requirements and support costs. “Programming costs time, and a dedicated switch costs money. Most people in this industry aren’t building proof-of-concept demos, they’re running businesses. What makes Dante effective is that it works, and it works – and scales –without blowing the budget.”

www.audinate.com

The Dante Director interface

A century of sound

From a Chicago mail-order outfit to a global audio giant, Shure’ s 100-year journey is one of constant evolution

THERE ARE FEW CONSTANTS IN THE WORLD OF AUDIO. Formats change, technologies fade and the tastes of audiences evolve faster than the mediums that carry them. As a result, company lifespans are typically measured in years, at best in decades – almost never in centuries. It’s a privileged group that global microphone manufacturer Shure now finds itself among.

One hundred years ago in a single-room Chicago office, Sidney N Shure began assembling radio kits by hand, unaware that his name would one day be etched onto stages, studios and soundboards worldwide. The company bearing his name today is a long way from those humble roots, having evolved in tandem with the audio industry. Its century-long story is one of reinvention, resilience and, most importantly, trust.

“Reaching 100 years is rare. I had to look it up – less than half a percent of US companies make it this far,” notes Christine Schyvinck, Shure’s president and CEO. “But it’s not the age itself that defines us. It’s all the challenges we’ve faced, the changes we’ve embraced and the values we’ve carried through it all.”

From its earliest days, Shure has been at the leading edge of audio innovation. Shifting from radio parts supply to microphone manufacturing in the early 1930s with the introduction of the Model 44 condenser, Shure became one of a small handful of US microphone companies. Another early breakthrough came with the introduction of the Model 55 Unidyne microphone in 1939. Unique at the time, the single-element mic offered directional audio capture in a compact format. Instantly recognisable, it quickly became a fixture on stages and broadcast sets, earning the nickname “the Elvis mic” and helping to define how microphones looked, sounded and functioned for years after.

As the decades progressed, Shure continued to shape the industry. The Vagabond 88 hit the market in 1953 as the world’s first handheld wireless microphone system for performers. Then, in the 1960s, the infamous SM58 became a global standard for live vocal performance, while the SM57 – favoured by everyone

the form of the SM7 voiceover microphone – a product that now resides in the majority of podcasting studios throughout the world. One of the company’s defining traits in those early days was a reputation for durability, which the SM58 in particular exemplified with its rugged design, reliable performance and bulletproof construction. The phrase “you could hammer a nail with it” might be a cliché but, in the case of the SM58, it was not so far from the truth.

Durability, however, is no longer the primary reason customers favour Shure products in the 21st century, explains Schyvinck, who herself has been with the company for more than three decades. “What makes Shure special is how we’ve always listened,” she says. “We don’t just ask customers what they want – we go into their environments, observe how they work and then try to solve problems they might not even know they have. This leads to us making products that people trust.”

Today, Shure operates in more than 100 countries and serves an increasingly diversified user base, from musicians and broadcasters to content creators, IT professionals and enterprise clients. Maintaining a coherent identity across such a broad and complex organisation is no small task, but Schyvinck believes that the company’s culture is what holds it all together.

“I’m most proud that the Shure culture – our passion, our values and our care for the end user – has been successfully transplanted around the world,” she says. “Whether you’re in our office in Chicago or in Dubai or Singapore, you get the sense you’re among people who share the same mission.”

That global consistency is no accident. Shure began exporting as early as the 1930s, and by the time Schyvinck joined the company in the late 1980s, its revenue was already evenly split between the US and international markets. “That was unheard of for a company of our size back then,” she says. “It came from Sidney and Rose Shure themselves – they were very ahead of their time in their global outlook and inclusive approach to business.”

Schyvinck herself has seen Shure through many transitions, including some of its most difficult. One of the most dramatic came in the early 1980s, when the global phonograph cartridge market, then a key revenue stream, vanished virtually overnight. “It was a pretty devastating period,” she recalls. “But the company took a step back, refocused and moved into a new growth phase. That ability to pivot, to respond to external forces and come back stronger, has been one of our defining traits.” Through the 1990s and early 2000s, Shure continued to evolve alongside the industry. The launch of the UHF and SLX

Shure’s current president and CEO, Christine Schyvinck

wireless systems strengthened its live performance credentials.

Then, in 2003, it entered the high-end studio market with the KSM condenser range. And in 2016, the Axient Digital Wireless System set a new standard for large-scale wireless audio, introducing features like quadversity, real-time interference avoidance and integrated control.

The global team has weathered numerous market shifts, from the rise of wireless technology to the digitisation of sound, and most recently the global upheaval caused by the pandemic. Yet each time, it has emerged more resilient.

“When we saw conferencing and enterprise AV growing around 2016, we initially thought, ‘this isn’t really for us’ – it felt like a different world,” she says. “But then the pandemic happened. Everyone suddenly needed to work in those spaces. It accelerated everything and probably gave us a 5- to 7-year jump in how we think about flexible working and audio needs.

“Had we still been only a pro audio company in 2020, when every venue shut down, it would have been devastating,” she continues. “But we had diversified into conferencing and corporate solutions, which kept us strong. Reinvention is part of our DNA.”

In the post-pandemic years, it has been the enterprise market offering the greatest opportunity. Solutions like the Microflex Advance series, Stem Ecosystem and IntelliMix Room have become cornerstones of Shure’s corporate AV portfolio, serving everything from boardrooms to hybrid classrooms.

“Fundamentally, the need is the same whether it’s a live show or a meeting – clear, reliable audio,” she explains. “If the audio isn’t clean, communication breaks down – especially now with AI transcription tools relying on crystal-clear input. Good audio has become mission-critical for organisations, and our legacy in sound naturally gave us an edge.”

Shure’s global presence has also grown significantly with Schyvinck at the helm. In APAC and the Middle East, local offices and hybrid distribution models have allowed the brand to respond more closely to market-specific demands, combining local expertise with global resources. “You can’t serve these

markets properly from Chicago,” she notes. “Which is why we’ve built up regional hubs in places like Shanghai, Dubai and Mumbai. These aren’t just sales offices – they are our eyes and ears in the field. You need to understand each region’s unique dynamics. What works in Japan may not work in India.”

The company’s renewed regional focus came in part as a response to the counterfeiting challenges that accompanied the global popularity of the SM58. Initial efforts to combat fakes revealed a deeper opportunity to improve service and engagement. With support from regional leaders Alan Chang, Antony Lovell and Eric Ong, Shure’s presence in APAC and the Middle East has grown considerably, bringing with it a closer connection to end users and integrators.

Internally, Shure has also formalised a commitment to its people with the launch of IDEA in 2021. The acronym stands for Inclusion, Diversity, Equity and Access. “It’s not a new idea for us,” notes Schyvinck. “This is a continuation of what Mr and Mrs Shure believed in. Inclusion is part of our foundation, and we’re building structures that help everyone grow. When

you have diverse teams who feel empowered to contribute, you generate better ideas. That’s essential for staying competitive, especially in an industry moving as fast as ours.”

Even as Shure celebrates a century of achievement, Schyvinck remains focused on the future, where the company sees the convergence of AV and IT, the impact of AI and new emerging use cases for audio as being key areas for future investment. “I think about innovation every day. What’s going to be the next

game-changer?” Schyvinck asks. “For example, what happens when people start having meetings in self-driving cars? What kind of audio environment and technology will that require? We must be thinking about these things now, so we’re ready to address them when they arrive.”

Having begun her career in Shure’s manufacturing operations before rising to CEO in 2016, Schyvinck’s journey with the company has been deeply personal. But does the weight of Shure’s heritage ever feel like a burden? “How can it not?” she replies. “But I have a fantastic team, and that makes everything easier. We’re very deliberate about who we bring into the company, how we onboard them and how we maintain our culture. We know that we’re custodians of something that is much bigger than ourselves.

certainly not the same place it was when I started 36 years ago. Some things we keep constant, other things we constantly change. Understanding that I think is how we’ve made it to a century,” she smiles. “The constant is that we make products that people trust. That trust isn’t built overnight. It comes from listening, from empathy and from not cutting corners. As long as we keep doing that, then I feel very good about our future.”

www.shure.com

COMPANY MILESTONES

1925 – Company founded

Sidney N Shure founds the Shure Radio Company in Chicago, selling radio parts via mail order

1931 – First microphones introduced

Shure begins manufacturing microphones, starting with the Model 33N two-button carbon mic

1939 – Introduction of the Unidyne microphone

The Model 55 Unidyne becomes the first single-element unidirectional mic, setting a new standard in microphone design and performance

1941 – Military partnership begins

Shure becomes a key supplier of microphones and headsets to the US military during World War II, establishing a reputation for ruggedness and precision

1951 – Model 55S “Elvis Mic” popularised

The 55S gains fame through high-profile use by artists like Elvis Presley and becomes a visual icon of 20thcentury music

1959 – First wireless microphone system

Shure introduces one of the first wireless mic systems for performers, the Vagabond, enabling greater stage freedom

1965 – SM series launch: SM57 and SM58 debut

These industry-standard dynamic microphones become ubiquitous in live sound and studio recording – and remain top sellers decades later

1981 – First phono cartridge for DJs

Shure releases the M44-7, a phono cartridge designed specifically for turntablism, becoming a fixture in DJ culture

1990s – Expansion into wireless systems

Shure’s UHF and SLX series expand the company’s footprint in live performance and professional AV markets

2003 – Launch of the KSM studio microphone line

Shure enters the high-end studio market with premium condenser microphones

2015 – Introduction of Microflex Advance

Targeting the corporate AV market, this line of ceiling and table array microphones supports networked audio and scalable integration

2018 – Acquisition of Stem Audio

Shure expands its conferencing portfolio to address hybrid meeting and education environments

2020 – ADX series and ShowLink remote control

The Axient Digital platform with real-time wireless mic management becomes a go-to for demanding live broadcasts and productions

2022 – MV7+ podcast microphone released

With USB and XLR connectivity, the MV7 becomes a favourite for creators, podcasters and hybrid workers

2025 – 100-year anniversary

Shure celebrates a century of sound innovation with limited edition releases, retrospectives and a continued push into future-forward technologies including AI, spatial audio and sustainable design

Director of sales for Southeast Asia, Eric Ong

Shure MEA’s Yassine Mannai and Antony Lovell celebrating the anniversary at this year’s ISE

Model 33N

Shure’s 1950s’ logo

SM58

SM57

OLA MELZIG

PRODUCTION MANAGER

M&M PRODUCTION MANAGEMENT

I just love the new generation of the Artist user interfaces. The SmartPanel‘s intuitive workflow and its very visual layout are simply fantastic.

I can customize it in any way I need, which is absolutely crucial for the big live events I typically work on.“

ARTIST INTERCOM

Professional and reliable live communications. Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom. Easily scaling from 16 to 1024 ports with flexible licensing.

Photo by Ralph Larmann

NEWPRODUCTS

Q and answer:

Martin Audio has expanded its 25-year-old Blackline Series, with both fullrange 2-way point source systems and column speakers featuring Differential Dispersion horns

COMPRISING FOUR passive 2-way point source loudspeakers, two column speakers and three passive subwoofers, the BlacklineQ Series from Martin Audio is described as “a comprehensive reimagining” of the company’s Blackline Series of loudspeakers. The series is designed to be equally at home in portable or install applications, such as portable sound reinforcement for live sound, theatre, DJs and corporate events, as well as permanent installation in clubs, hospitality venues, conference rooms and houses of worship.

Both the full-range, 2-way point source systems and column speakers feature Differential Dispersion horns which Martin says enables wider, more consistent coverage with less energy directed to the ceiling. A cloth-backed, screw-tight steel grille provides both protection and access to the drivers, while the larger speakers feature ergonomic handles finished in recycled ABS plastic. The technology focuses the energy in the top of the waveguide into a tighter horizontal pattern

for improved projection into the far-field. At the bottom, the opening angle widens out to cover the front of the audience. In addition, a slight downward angle has been incorporated into the waveguide design to direct more of the high-frequency content down into the audience and not upwards into the surrounding walls and ceiling. The result is reportedly less energy lost into the reverberant field.

Each of the Q8, Q10, Q12 and Q15 speakers can be deployed in horizontal or vertical format with comprehensive mounting options. The 8-inch Q8, 10-inch Q10 and 12-inch Q12 all feature a 1-inch HF exit, with a 1.4-inch HF exit for the Q15. The range also marks Martin Audio’s debut in column speaker design with the 2-way passive Q44 and Q26 offering options for both portable and fixed use. Both are finished with hard-wearing black or white paint and complemented by comprehensive mounting options. The 4x4-inch Q44 has a 1-inch HF exit, a peak SPL of 119dB and 100–120° x 40° (HxV) dispersion, while the dual 6.5-inch Q26 also has a 1-inch HF

exit but comes with 125dB peak SPL and 100–120° x 40° (HxV) dispersion.

Finally, BlacklineQ includes a suite of subwoofers, comprising the Q210 dual 10-inch, Q118 single 18-inch and Q218 dual 18-inch, which extend low-frequency performance across the series. The enclosures feature slot ports for efficiency in design while reducing noise turbulence, and each includes an M20 1.4-inch pole-mount fitting for integration with all loudspeakers in the series. In addition, the link out socket is positioned at the top of the cabinet, providing a convenient and discreet solution for connecting the cable for a BlacklineQ loudspeaker on a pole. Finished in hard-wearing black paint as standard, the Q210 is also available in white to match the white BlacklineQ column loudspeakers.

BlacklineQ is supported by iKON, VIA and sister brand Linea Research amplifiers; DX4.0, DX0.5 and DX0.6 controllers; and Display 3 prediction software.

www.martin-audio.com

Q15 horn

Alcons provides power and precision

ALCONS AUDIO has released two loudspeaker models aimed at different segments of the professional audio market. The GR20 is a compact point source system designed for high SPL applications, while the MR5 is a reference monitor intended for critical listening.

Created for high-output portable or installed applications, the GR20 is a 2-way, full-range system featuring Alcons’ proprietary RBN602 6-inch pro-ribbon HF driver, paired with two 10-inch neodymium woofers that incorporate the company’s Active Coil technology. The driver

arrangement is vertically symmetrical to support consistent projection and phase coherency. The system offers a peak SPL of up to 135dB and a frequency response of 54Hz–20kHz (±3dB).

The loudspeaker’s rotatable waveguide supports either 80° x 50° or 50° x 80° dispersion, enabling flexible placement in both vertical and horizontal orientations. Designed for use with Alcons’ ALC amplified loudspeaker controllers, the GR20 benefits from integrated VHIR processing and Signal Integrity Sensing, which compensates for cable and connector losses and maintains system damping.

The MR5, by contrast, is a compact reference monitor for studio and postproduction use, built

around the RBN202 2-inch pro-ribbon HF driver and a single 5-inch woofer. It is intended for applications requiring accurate, low-distortion monitoring over extended listening periods. The system’s frequency response is rated at 45Hz–20kHz (±3dB) and it offers a nominal peak SPL of 117dB.

The MR5’s 120° x 40° dispersion is achieved through a patented HempHorn waveguide, providing wide imaging suitable for immersive and multichannel audio systems. A ScoopVent design improves low-frequency extension and transient behaviour. Like the GR20, the MR5 is designed to be driven by Alcons’ ALC controllers, which supply DSP, amplification and centralised power.

www.alconsaudio.com

A professional Forum

WITH A 2.5-way loudspeaker design, Audac’s VEXO206 is the latest addition to the Belgium speaker specialist’s range of performance loudspeakers. Incorporating dual 6.5-inch coaxial low-frequency drivers and a 1-inch compression driver, the VEXO206 delivers 250W AES continuous power handling and a maximum SPL of 119dB. Audac says its extended frequency response from 69Hz–20kHz (±3dB) ensures

articulate vocal projection and immersive music playback in any setting. Suitable for use in a range of applications, its 15mm polyurea-coated plywood enclosure includes a custom U-bracket for both vertical and horizontal mounting, while its 90° x 110° coverage pattern ensures wide and even sound dispersion.

www.audac.eu

DESIGNED FOR DJs and making its debut at

the ESD312 delivers 3-way versatility while utilising just one amplifier channel. To enhance with a dedicated vertical mounting

BOSE PROFESSIONAL’S Forum

loudspeakers are compact, full-range, point source coaxial loudspeakers available in 8- and 12-inch models. Designed for easy install in a range of commercial environments, both models feature a high-excursion coaxial driver and Beamwidth Matching Waveguide technology for consistent 110° x 60° coverage, while rotatable cabinets with square grilles adapt to flexible installation requirements. The units’ fully tuned passive crossovers mean no additional processing is required, they are

IP43-rated for indoor and protected outdoor environments, and both come with a variety of mounting options include U-bracket, surfacemount pan-and-tilt bracket, suspension rail and optional eyebolt suspension. The Forum FC108 is an 8-inch loudspeaker and has a frequency range of 53Hz–20kHz and 122dB max peak SPL. The 12-inch Forum FC112 features a frequency range of 48Hz–20kHz and 132dB max peak SPL.

www.boseprofessional.com

Climate protection

CREST AUDIO has added two coaxial enclosures to the IP56 ClimateGuard weatherresistant series. They range has been designed to protect from dust and particle ingression with the speakers reportedly capable of withstanding intense heat and extreme sun exposure, as well as driving rain and water jets.

The CG105CX is a 2-way coaxial passive speaker delivering 150W of continuous power with 600W peak. Providing both biamped and passive modes, the CG105CX uses a Beyma 5CX200Fe 5-inch coaxial woofer with 1-inch voice coil compression driver to deliver a frequency response of 96Hz–18kHz and a nominal radiation pattern of 70° conical.

The CG108CX is a 2-way coaxial passive speaker delivering 300W of continuous power with 1,200W peak. Providing both biamped and passive modes, the CG108CX uses a Beyma 8CX300Fe 8-inch coaxial woofer with a

1.75-inch voice coil compression driver to deliver a frequency response of 75Hz–18kHz and a nominal radiation pattern of 70° conical.

www.peaveycommercialaudio.com

Ibiza’s legendary Amnesia nightclub in

All packaged up

DESIGNED AS a scalable package for large venues and open-air events, the Linear 5 MK2 High Power System from Germany’s HK Audio combines key components from the company’s Linear 5 MK2 series. At the heart of the system is the Linear 5 MK2 308 LTA mid/high unit, a horn-loaded, long-throw active speaker designed for wide dispersion and deep coverage. When combined in clusters or stacks, users can benefit from preset-based configuration and horizontal coverage.

HK Audio has paired this with the Linear 5 MK2 118 Sub HPA, a subwoofer with an 18-inch woofer and bass-reflex design. Fully networked with HK Audio’s free DSP control software, the package allows full remote management, user-created presets, component grouping and firmware updates, while the system’s DSP Out functionality allows non-networked loudspeakers to be integrated and managed within the same setup. The system also features cardioid filter presets for directional bass control and upcoming Milan audio networking compatibility. Marking an evolution of its POLAR column speaker system, the POLAR MK2 series is

a portable and compact column PA solution. Available in two versions, the POLAR 10 MK2 caters to up to around 200 people as a stereo setup, while the POLAR 12 MK2 can cater to up to 250 people. Meanwhile, both can be expanded with additional subwoofers from HK Audio’s SONAR series. The lowresonance column of both models contains

six 3-inch neodymium midrange drivers and a 1-inch tweeter with a constant directivity horn. Both also achieve 120° dispersion, with an accompanying subwoofer that delivers dry, precise bass without any artificial filters. Available in black or white, they sport ergonomic handles and an optional rolling board for mobile use. An integrated mixer offers two mic/line

Double up on Dragons and Dolomites

CAPABLE OF being used as a point source speaker or as part of a line array, the Dragon-KX12 MKI is described by K-array as a “radical reinterpretation of a coaxial point source speaker”. Featuring a 12-inch woofer and a 1.7-inch compression driver, the MKI version has a compact, stainless-steel chassis and 40° x 60° (VxH) coverage that can be rotated to optimise sound dispersion. When used in an array, the speaker leverages EBS (Electronic Beam Steering) controlled emission for more precise, electronically adjustable coverage. It has a max SPL of 133dB (peak) and is 800W power rated. Meanwhile, the Dolomite-KRD202P is a portable line array system composed of four modular KDL102 units measuring 1m, with each module housing 16 2-inch woofers, two

10-inch subwoofers and two 10-inch passive radiators. Each is crafted from stainless steel and wrapped in acoustically transparent fabric and is designed to adapt to a range of

applications including clubbing, live events and hospitality. Each unit boasts a solid iron base for stability, removable handles and protective caps for outdoor-rated performance. The complete bundle comprises four KD2L102P modules and a KA104LIVE amplifier.

The manufacturer has also announced that through a software update, it has adopted the Network Device Interface (NDI) protocol across its full line of Kommander amplifiers. The integration reportedly makes K-array the first professional audio brand to natively embed the NDI protocol directly into its amplifiers. It marks a significant advancement in AVoIP integration, as no external gateways, licences or additional hardware are required.

www.k-array.com

channels with gain control, a high-impedance instrument input (Hi-Z) and an aux/Bluetooth channel, as well as switchable phantom power to enable the use of condenser microphones. They feature three selectable sound modes, while five user presets allow users to customise their sound to any room and application. The POLAR MK2 series also boasts a master EQ, system delay and limiter and can also be paired wirelessly, without the need for additional cables or mixing consoles. Finally, an integrated USB-C charging port keeps smartphones, tablets or wireless microphone systems powered during

In brief, the manufacturer has released DSP Control version 4.1. The focus is on the new Milan integration for the Linear 5 MK2 series, which further expands HK Audio’s Milancertified loudspeaker portfolio. Linear 5 MK2 loudspeakers will now indicate Milan operation by inverting the preset LED. In addition, the fan control has been further developed for optimised, quieter operation.

Getting active – and passive – in sound reinforcement

THE SR Series is a line of eight compact loudspeakers and subwoofers from Theory Professional, specifically created for sound reinforcement applications. Designed to be installed discreetly and in tighter locations, the loudspeakers include ergonomic handles, multiple fly points, industry-standard mount points and pole cups. All eight are available in black and white, and in passive or active versions depending on the installation requirements. Optional upgrades include custom paint matching and weatherising on passive versions.

The first four SR Series loudspeakers are the SR-46.2, a quad 6-inch, 2-way multi-use loudspeaker with a tall profile providing 120° conical coverage; the SR-28.2, a dual 8-inch, 2-way multi-use loudspeaker with an 80° x 60° elliptical horn; the SR-112.2, a single 12-inch, 2-way multi-use loudspeaker with an 80° x 60° elliptical horn; and the SR-212.2 full-range multi-use loudspeaker with a built-in subwoofer featuring dual 12-inch and dual 8-inch loudspeakers.

The first four SR Series subwoofers include the SR-212LF compact bass-reflex subwoofer with dual 12-inch 1,400W woofers; the SR-215LF manifold bass-reflex subwoofer with dual 15-inch 3,600W woofers; the SR-218LF manifold bassreflex subwoofer with dual 18-inch 3,600W woofers; and the SR-221LF manifold bass-reflex subwoofer with dual 21-inch 3,600W woofers. In other news, the manufacturer has partnered with Powersoft, leveraging Powersoft’s patented Class-D amplification topologies, SmartRail energy-management power supplies, Power Factor Correction and advanced DSP architecture to launch four loudspeaker controller models. Designed to integrate Theory Professional systems into large and complex installations, the PLC Series features proprietary Theory loudspeaker presets, native Dante and AES67 AoIP networking, three configurable 1Gb network ports with one PoE, an easy swap USB key amplifier restore and are fully maritime compliant.

Comprised of two 8-channel and two 4-channel models, the Theory PLC loudspeaker

controller models include the PLC-4K8 featuring eight channels x 500W per channel; the PLC-8K8 with eight channels x 1,000W per channel; the PLC-9K4 with four channels x

2,250W per channel; and the PLC-16K4 with four channels x 4,000W per channel.

SR Series

Fulcrum Acoustic unveils first non-coaxial speaker line

BASED AROUND its Passive Cardioid Technology, Fulcrum Acoustic has unveiled the CC Series, a line of constant curvature subcardioid array loudspeakers designed to deliver clarity, directional control and rapid deployment across a range of professional applications.

The system comprises two full-range loudspeakers, the CC215 and CC230, offering 100° horizontal coverage with 15° and 30° vertical dispersion, respectively. A matching CCS118 subwoofer rounds out the system. Together, they provide scalable

performance in a compact form factor, optimised for versatility in venues requiring consistent coverage and high intelligibility.

The manufacturer’s Passive Cardioid Technology is said to effectively reduce low-frequency energy behind the enclosure without the need for additional DSP, drivers or amplifier channels. This enables system designers to maintain clarity and minimise rear spill in reflective or noise-sensitive environments.

The system also introduces the Medusa Waveformer, a new waveguide that allows

F-BOXing clever

SUITABLE FOR both interior and exterior use, the F-BOX Speaker Series from TOA Electronics Europe is a range of three speakers for commercial and safety-critical applications. Available in black or white, the F-BOX sports a flat, minimalist design and a clean, architectural enclosure that TOA says has been created to blend into modern environments. The product line includes a 3.5-inch single transducer model, 5- and 8-inch 2-way models, and an 8-inch subwoofer for extended low-frequency response. All models are designed for surface mounting on walls or ceilings, and include a temporary

docking mechanism, allowing installers to pre-position the speaker before wiring. An integrated angle adjustment system ensures precise sound alignment. Each speaker is also compatible with both low-impedance (8Ω) and high-impedance (100V/70V) systems, making the F-BOX Series ideal for scalable and hybrid installations. For outdoor or safetycritical applications, a weather-protected IP65-rated version is available, certified according to EN 54-24, allowing for use in voice evacuation systems.

www.toa.eu

Single driver boosts performance

AN UPGRADED version of the company’s CDX14-3030, the 1.4-inch ferrite magnet CDX14-3035 HF compression driver from Celestion is a single-piece titanium diaphragm driver that matches the performance of the company’s CDX14-3045. It features a power handling capability of 120W (nominal) and 240W (continuous), enhanced sensitivity of 108dB and a lower crossover point of 800Hz (12dB/oct). The CDX14-3035 also has a 3-inch diameter edgewound copper clad aluminium voice coil and features an enhanced surround shape for greater linearity with a high temperature polymer clamp ring that contributes to lower distortion. Engineered to be a drop-in replacement for 12-inch mid/bass applications, the Truvox 1225 mid-bass loudspeaker is a 12-inch driver that expands the company’s Truvox line. With a continuous power handling of 600W and a

COMBINING AN amplified subwoofer and a satellite speaker, the Raptor series is a line of audio systems from Spain’s Work Pro designed to provide highly portable sound reinforcement at smaller events. The Raptor 8 consists of a dual 8-inch subwoofer and a passive satellite, while the Raptor 10 features a dual 10-inch subwoofer and an active satellite. Both have a dual 5-inch satellite speaker plus tweeter mounted on a speaker stand coming from the subwoofer for ease of transport and quick setup, and both incorporate DSP-enabled amplifiers that allow advanced signal processing and feature configurable pre-equalised settings.

The Raptor 10 has a power-rating of 1,000W for the subwoofer and 400W for the satellite, while the Raptor 8 has a total power rating of 700W. In addition, the Raptor 8’s quick connection system means the speaker stand includes the satellite audio connection to enable ultra-fast installation without the need for additional cables.

www.workpro.es

all loudspeakers in the array to behave as a single, unified source. The result is reportedly a smooth response and tonal consistency across the entire coverage zone, whether deployed in small clusters or larger arrays.

Designed with the practicalities of realworld use in mind, the CC Series features lightweight construction, fixed angles and a variety of rigging options to support fast, reliable installation.

www.fulcrum-acoustic.com

rated sensitivity of 96dB, the Truvox 1225 cone is reinforced with fibreglass to increase its durability and a triple-roll surround ensures performance stability. Its 2.5-inch voice coil is made of copper clad aluminium with a polyimide former material and the ferrite magnet assembly was designed using Celestion’s in-house Finite Element Analysis (FEA) software. This enables engineers to create a computational model of the speaker’s behaviour in order to fine-tune its design. Described as ideal for 2- and 3-way sound reinforcement systems for DIY builders or as a drop-in replacement/ upgrade to rejuvenate overworked PA setups, the Truvox 1225 has a frequency response of 50Hz–4kHz and 8W impedance, and features front and rear mounting gaskets for maximum flexibility of installation. www.celestion.com

LIBRA 8S

Pendant Passive Subwoofer

An 8’’ pendant subwoofer designed to deliver deep, articulate bass with clarity and control. With an extended frequency range from 42 Hz, it enhances both background and foreground music environments with remarkable low-end presence.

Housed in a sleek, cylindrical reflex enclosure, the Libra 8S features a down-firing custom high-excursion driver that disperses a warm, natural sound across a wide area. Crafted from premium Baltic birch plywood, this subwoofer is available in elegant black or white finishes. For projects demanding a tailored aesthetic, it can be customized in a variety of colors and fine wood textures to complement any interior space.

Perfectly matched with the Libra 5CT pendant speaker, the Libra 8S is more than just a subwoofer, it is a statement in acoustic design and architectural integration.

Examples of possible customizations according to availability

Dynaudio rolls out Core update

DYNAUDIO HAS released firmware version 1.1 for its Core reference monitor series, promising a more refined low-frequency response and improved consistency across setups. The update brings a gentle lift in the bass region, specifically enhancing output around the port tuning and baffle step. The result, says the Danish manufacturer, is greater depth and definition in the low end, helping engineers make more confident decisions in critical listening environments. Firmware 1.1 is available now

Full-range musicality

RENKUS-HEINZ HAS introduced the ICLX-48S, a high-performance column subwoofer that integrates seamlessly with the full IC Live X range of modular steerable arrays. It has been designed to match the form factor of the existing ICLX modules, allowing integrators to fly or wall-mount the sub alongside ICLX arrays in a single, cohesive column using standard hardware. The subwoofer is equipped with Renkus-Heinz transducers and a proprietary amplifier, and delivers low-frequency extension and musicality.

The manufacturer has also released the latest version of its control software, RHAON III. Described as the brain behind the entire Renkus-Heinz product ecosystem, RHAON III is built to deliver next-generation performance, scalability, usability and modularity. It integrates the manufacturer’s signature OmniBeam algorithm, while its “Snap to Audience” feature reportedly generates custom-tailored sound in seconds.

www.renkus-heinz.com

for the Core 7, Core 47, Core 59 and Core Sub, and ensures better level matching with the recently launched Core 5 and Core Sub Compact. Dynaudio recommends all units

in a multi-speaker configuration be updated for optimal system alignment. To reflect changes in input sensitivity introduced with the update, the company is also offering

www.dynaudio.com

Full control with X-NET integration

BUILDING ON the legacy of the LAs118A, the LAs118A Plus is the latest evolution of NEXT-proaudio’s active front-loaded subwoofer series. At the heart of the LAs118A Plus is a network-capable Class-D amplifier module, which features onboard 96kHz DSP managed via the X-NET control platform to deliver real-time control and monitoring across multiple units in complex environments. Through the X-NET interface, users can adjust EQ, level, phase and delay, and create unlimited control groups, all with automatic network discovery and signal redundancy between AES or Dante inputs.

It also houses an 18-inch neodymium B&C long-excursion woofer, engineered for tight low-end response and consistent output under demanding conditions. When combined with the DSP architecture and FIR filtering, NEXT-proaudio says the result is precision low-frequency reproduction

Getting down whatever the weather

ITALIAN SPEAKER specialist RCF has unveiled a brace of cabinets designed for outdoor use with the S 19 WP and S 29 WP high-power weatherproof subwoofers. Finished with a black, heavy-duty polyurea coating and protected by a powder-coated metal grille, both speakers feature an acoustically transparent, water-repellent fabric discreetly embedded within the grille assembly and IP67 Amphenol Ecomate power connectors. The S 19 WP has a 19-inch hyper-vented neodymium woofer with a 4-inch voice coil and a bass-reflex design that RCF says delivers an efficient acoustic response down to 30Hz. It can handle up to 1,500W and 139dB max SPL.

Meanwhile, the S 29 WP uses a dual 19-inch cone subwoofer and delivers power handling up to 3,000W and 143dB max SPL, while its bass-reflex design ensures an efficient

with optimal phase alignment and tonal accuracy. The LAs118A Plus can be flown alongside LA210x or SP12 loudspeakers or used in independent subwoofer clusters.

www.nextaudiogroup.com

acoustic response down to 25Hz. Both units have an M20 pole-mount adapter on top of the cabinet, with handles on both sides. The enclosure can be ground-stacked and is cardioid-arrayable for improved rear rejection.

The Italian manufacturer has also released a firmware update for the SUB 9019-AS and SUB 9029-AS. The upgrade includes full RDTap support which enables contactless programming via RDTap, a dedicated app developed for iOS and Android that allows for extensive subwoofer configuration, both as single units or as part of a grounded system (up to three SUBs). In addition, each sub has an ACE (Advanced Crossover Engine) preset bank – the new firmware fully unlocks these presets for optimal, phase-aligned matching subwoofers and one or multiple top speakers.

www.rcf.it

free rear panel stickers that indicate revised gain values for accurate SPL calibration.

Calrec releases Argo v1.4 software

Clear-Com expands Arcadia

ARCADIA VERSION 4 is the latest addition to Clear-Com’s flagship intercom platform, delivering expanded capacity, enhanced flexibility and streamlined connectivity for a wide range of professional AV applications. Arcadia’s latest firmware is said to bring even more value by introducing support for the V-Series IrisX panels. This allows users to deploy up to 32 panels with essential features via I.V. Ports, making advanced

CALREC’S V1.4 Argo software introduces a number of upgrades, including enhanced routing strip functionality that allows users to see every fader’s routing simultaneously on the touchscreen. The update also enables users to switch rows of physical controls to other strip modes such as EQ, Dyn or Pan, and enables Argo Q to support two sets of custom wild panels per section.

A new Tiles feature allows users to customise their up-stand meter layouts to add thumbnails, and Argo now supports a streamlined new workflow for Mix Minus that allows users to select any bus to send

to a channel’s mix minus output rather than just the auto-minus. It also adds the ability to select a different output when the fader is closed to when it’s open and allows users to “interrogate” the console to access routing information of busses being used for a path’s main output. The update also supports DAW control of MIDI on the Argo platform and makes improvements to NMOS Control, status updates and monitoring, and interfacing with Calrec Connect.

www.calrec.com

keypanel workflows accessible without requiring a full matrix frame. For users requiring advanced configuration, Arcadia also now introduces a flexible port

A truly portable Disguise

AVAILABLE IN a software-only format for the first time, X1 is a portable version of the Disguise Designer that requires no proprietary media servers and can run directly on a creator’s own laptop or hardware. Developed for professionals delivering small- to medium-sized live events such as concerts, theatre productions and corporate brand experiences, X1 gives users access to the same Designer tools used on large productions in a portable format to previsualise, sequence and control headline shows wherever they are.

With Disguise’s RenderStream protocol, show visuals can be imported into Designer from any real-time graphics tool, including Notch, Unreal Engine, TouchDesigner and Unity. X1 also includes a ready-to-use and ever-expanding content pack, featuring high-impact Notch and TouchDesigner effects that are created in-house by Disguise’s Creative Services team. Each look can be rendered as a high-

allocation model, allowing HelixNet and I.V. Ports to be dynamically adjusted depending on system needs. This shift gives users the ability to optimise their setup with up

to 32 I.V. connections, maximising system resources without adding hardware.

www.clearcom.com

RME enhances driver options

RME HAS announced updates to its macOS USB 3 interface lineup to provide compatibility for Apple Silicon devices. These updates include advanced driver support, firmware improvements and a simplified user experience. The manufacturer now offers three driver options for macOS with Apple Silicon and USB 3 interfaces, including the Fireface UFX III, MADIface XT II, Digiface Dante and Digiface

Ravenna: DriverKit architecture (Apple’s modern and recommended approach); Kernel Extension driver (a legacy option that currently is still functional); and Class Compliant (CC) mode (Apple’s built-in audio driver, now controlled by RME’s settings dialogue and TotalMix FX).

These latest developments make CC mode a practical fallback option for systems experiencing audio issues, while retaining the familiar RME

interface functionality. TotalMix FX became fully operational in CC mode, providing users with the flexibility and control they expect from RME interfaces. However, CC mode remains limited in features, like fixed safety offsets and no playback data visualisation in DigiCheck NG, and higher latency than RME’s own drivers. Additionally, Digiface Dante and Digiface AVB now use Apple’s native network driver for their

quality video ready for seamless playback and looping, and X1 also enables users to preview content on a 3D replica of their stage or environment. In addition, the Designer timeline enables users to schedule and edit all the visuals needed to run their show or experience live. For robust uninterrupted playback in critical live environments, users can also rely on Disguise’s critical redundancy features, with built-in 1:1 failover for added security. Each X1 licence instance enables one 4K DCI video output. This is issued to a Codemeter USB licence key to be attached to the node used for video playback. Disguise says it means users can easily take it on tour to use with a laptop. Meanwhile, if users do need more powerful hardware for a larger show, they can easily transfer show files from X1 to a Disguise server, and the same works in

internal network port, eliminating the need for third-party software and streamlining installation. Switching to CC mode for Digiface Dante and Digiface Ravenna is described as quick and easy, performed through the Mac Firmware Update Tool by selecting or deselecting the newly added CC mode option.

The latest firmware updates address key USB 3 issues and enhance stability during intensive audio, MIDI and network usage. Improved driver deinstallation further ensures a clean system environment, preventing conflicts between legacy and modern drivers.

www.rme-audio.com

Argo S

Passes for precise planning

HOME 4.0 is an update to Lawo’s scalable HOME platform the not only introduces a number of architectural enhancements, but more streamlined and transparent licensing with the introduction of HOME Passes. With native support for SMPTE ST 2110, AES67, NMOS IS-04/05, IEEE 802.1x, RADIUS and more, HOME serves as the central control layer for modern IP-based workflows. Built on cloud-native microservices, it allows users to connect, configure and control all HOME-native devices from Lawo and its ecosystem partners. Aiming to enable more precise planning and cost control, Lawo’s HOME Passes replace

all previous HOME Core licences. One HOME Pass is required per actively managed device or HOME App in the platform’s inventory, which Lawo says is beneficial in dynamic infrastructures where system size may fluctuate, resulting in the need for fewer physical devices and lowering licensing costs. As infrastructures grow, additional devices can be licensed easily and on demand. HOME Passes are available both as permanent licences and via Lawo’s FLEX subscription model using credits.

The 4.0 update also makes the HOME software available at no cost, allowing users to deploy HOME in smaller or temporary environments without any initial licensing investment. To further streamline onboarding, all newly purchased Lawo devices and HOME Apps based on HOME 4.0 or higher now include the required HOME Passes, simplifying setup and ensuring immediate compatibility within a HOME-managed IP infrastructure. Lawo has also put an upgrade path in place for existing users who wish to transition to the new version.

www.lawo.com

Studio to stage in two clicks

SPATIAL AUDIO specialist TiMax has expanded the audio capabilities of its TiMax SoundHub spatial audio platform with Scaling Surfaces, a tool that allows users to rescale a spatial show file from a studio playback environment to any auditorium with just two mouse clicks.

Scaling Surfaces enables users to rescale an entire show for a new venue by simply changing the Scaling Surface size, shape and height. TiMax says that when an object is attached to a Scaling Surface and that surface is moved, all spatial positioning and movement automation for that object, across the entire show file,

The secret ingredient

OPTIMAL AUDIO has announced the latest upgrade to WebApp, described as “the secret sauce” of its commercial audio ecosystem for small to medium-sized venues. WebApp 1.5 delivers sync speed improvements for smooth and fast operation for both systems integrators and venue staff.

Within Auto naming, WebApp will now make suggestions for the names of sources, inputs and outputs where previously a user would manually add the names. This added intelligence enables “field entries” to be named quickly and intuitively, based on options from both a library of preset names and from the zone name, routing and speaker preset. In addition, the Talk 8 digital paging station can now be integrated into a venue’s daily routines. Audio files and announcements stored in the 8-zone digital

Audinate extends configuration options

THE DANTE Device Link from Audinate is described as a new technology for manufacturers that extends device configuration options. It is an extensible connector so that parameters such as gain, equaliser settings, phantom power enablement and fault detection can be managed through Dante Director. This allows manufacturers to broaden options for device configuration, as well as meeting objectives for cloud-based management tools. As the Dante Device Link ecosystem matures, this will enable scene-based system configurations, allowing Dante rooms to be swapped between presets; configuration templates, allowing routing and AV settings to be replicated throughout common room configurations; and recovery or replacement of AV system configurations.

By utilising Dante Device Link, manufacturers can take advantage of Audinate’s investment in cloud-based AV device management. For manufacturers who may not want to build bespoke and isolated management tools, this

offers a convenient way to adopt a cloud-based strategy. For manufacturers who have already built cloud toolsets, Audinate’s cloud service features from Dante Director are easily integrated using an available API.

Manufacturers such as Audio-Technica US, Elytone, Focusrite, SoundTube, Stewart Audio, Studio Technologies and Yamaha have signed on as early adopters of this technology. Select devices from these manufacturers will be the first to support advanced control features.

Audinate has also announced that Dante Media Encryption is now supported in the latest firmware releases for the Dante Embedded Platform (DEP) and Brooklyn 3 modules. The update brings AES256 audio encryption to a wide range of Dante-enabled products, delivering secure audio transport with zero added latency. Meanwhile, Dante Director now manages encrypted media flows with a built-in Key Management System (KMS) that securely generates, distributes and rotates keys, ensuring they’re shared only between devices actively

paging station can now be assigned to a routine, such as a school bell or a marketing message in a retail store. This routine can either be triggered manually from WebApp or assigned to a time-ofday routine for automatic playout. Similarly, when using a ZonePad 4 in single zone mode, the Zone buttons 1–4 can be assigned as routines for instant message replay, along with other routine parameter changes like source and volume. The update also brings built-in presets for Optimal Audio’s latest hardware arrival, the Sub 18. As with all updates to WebApp, the companion offline tool, WebApp Desktop Demo, has also been updated so users can get familiar with all functionality of WebApp without the ned to be connected to a system.

www.optimal-audio.co.uk

moves with it. With eight drag handles and direct manipulation controls, users can resize, reshape and reposition spatial surfaces in a similar way as an image in a photo editor. Users can also distribute content without knowing the absolute scale of the playback environment or system, which provides increased flexibility. They can also utilise more than one Scaling Surface in a file – for example to cover a stage and separate auditorium area, where the two Scaling Surfaces needed to be resized separately.

www.timaxspatial.com

participating in a media flow, and reducing risk through automatic, regular rotation. Administrators gain fine-grained control over how encryption is enforced, with flexible channel-level policies that support both secure and legacy devices. This allows organisations to strengthen their security posture over time without disrupting existing deployments. It’s especially valuable in environments with heightened compliance needs – such as financial institutions, public sector networks and university IT systems – where

encrypted and unencrypted devices often need to operate together within the same system.

In Dante Controller, users can view real-time encryption status for each device in a Directormanaged site, with clear indicators for supported endpoints giving teams the clarity they need to confidently manage secure AV systems.

In brief, Dante Via v1.4 and Dante Controller v4.16 are now available.

www.getdante.com

Dante Device Link

HOME Passes

Datavideo updates the VoiceTRX100

DATAVIDEO HAS announced a firmware update for its VoiceTRX100 automated voice tracking system. Version 1.0.1 brings a suite of features that are said to streamline deployment, improve interoperability and give integrators deeper control across diverse AV environments. Included in the update are DVIP command support for loading and querying profiles remotely; sticky microphone selection in the Actions page; full factory reset via web UI for a quick reinitialisation during site changes; profile deletion directly from the management interface; expanded AI tracking controls including framing, figure size and speed parameters; and integrated tracking on/off switch within the camera UI.

Other benefits include a manual focus adjustment with narrow depth of field camera presets, an updated PTZ navigation using directional buttons in WebUI; profile import/ export for duplicating setups across multiple locations; and a built-in NDI router for more efficient signal flow over IP networks. There is a metric/imperial system toggle for Shure MXA XYZ compatibility, resizable zones in the Shure MXA UI, support for Shure MXA901 XYZ zone mapping and a streamlined zone creator UI for Sennheiser Team Connect mic arrays showing elevation.

www.datavideo.com

Up and running at speed

AIMING TO make it easier and faster to specify and integrate EAW systems, the UXA4807D is an addition to EAW’s UXA Installation Series of amplifiers and features onboard processing called Greyboxes. Preloaded with all settings needed to support EAW loudspeakers, Greyboxes can be assigned to each output from a pull-down menu, enabling users to adapt EQ, limiter/ compressor and delay settings to fine-tune the installation. Multiple input signal formats

come as standard with Dante, analogue and SPDIF signals available in the UXA4807D’s input matrix mixer. To eliminate tampering, there are no front panel controls and amplifier control is accomplished using a web browser connected to the amplifier’s integrated Wi-Fi access point or hardwired TCP/IP connection. For larger systems, multiple UXA amplifiers can be monitored and controlled with EAW’s Resolution 2 software.

www.eaw.com

Getting amped for mobile use

WITH THE integration of its amplification and processing technology into selected LD Systems ADA amplifiers, the Adam Hall Group has announced a strategic partnership with Italian sound specialist Powersoft. The partnership starts with the introduction of Powersoft’s Class-D topology, advanced DSP and network control into the ADA series of 4-channel DSP touring amplifiers with Dante integration. Designed for professional touring and installation applications, the LD Systems ADA series comprises the ADA 8 K4 and ADA 12 K4 models. Adam Hall says the leveraging of Powersoft’s advanced technologies enables the ADA series to offer adaptive voltage management with Powersoft’s Power Factor Correction for universal mains operation, as well as low idle

simplifies configuration.

www.ld-systems.com www.powersoft.com

THE COMTECH D Series from US audio specialist Crown is a flexible line of powersharing amplifiers boasting Dante I/O, built-in DSP, Lo-Z/Hi-Z switching and an accessible web configuration interface. Available in 2-, 4and 8-channel configurations, each model can deliver amplification of 125W per channel when all channels are driven equally; however, power sharing enables individual output channels to scale up or down in power, distributing the total output power of the amplifier to meet the needs

of its attached speakers for additional flexibility. Built-in DSP allows outputs to be tuned for every application and provides the ability to create custom speaker tunings. ComTech D amplifiers also include a suite of monitoring tools including a source priority mixer, input pilot tone monitoring and output load monitoring to help maintain line integrity. The GPO provides a dedicated contact closure to monitor these tools as well as amplifier health and power status. Meanwhile, a WebUI enables setup without additional software and is accessible via any web browser. The 2- and 4-channel models are 1U, ½-rack width devices, while the 8-channel model requires 1U of space.

www.crownaudio.com

OPTIMISED FOR mobile and installed applications, d&b audiotechnik has expanded its amplifier portfolio with the D25 and 25D. Boasting the same feature set as d&b’s more powerful D90, D40 and 40D amplifiers, both deliver full Milan networking to provide more streamlined configuration and enhanced interoperability for users, as well as driving wider industry adoption. Meanwhile, support for the full suite of d&b software solutions delivers features like ArrayCalc, ArrayProcessing, NoizCalc, R1 remote control and d&b HeadroomCalc. Designed for smaller applications, the units provide the optimal output voltage for mid-sized sound reinforcement requirements and provide a fully integrated d&b system when combined

with d&b loudspeakers. They both feature a 4.3-inch colour touchscreen for intuitive device configuration and real-time status monitoring, are housed in a compact 2U form factor and support up to 16 input channels, including eight Milan input channels, four analogue inputs and four

DESIGNED TO embody Adamson’s “vision for smart amplification, where power and control unite into a single intelligent system hub”, the XG Integration Amplifier line from Adamson is available in 1U and 2U models and in 4- and 8-channel configurations. Delivering up to 16kW of Class-D amplification in its 2U form factor, it combines native Milan-AVB for audio and control over a single cable. XG amplifiers also feature integrated DSP, comprehensive GPIO, interactive touch displays, open-source control protocols and integrated protection and monitoring. Crucially, the company says it enables endto-end Adamson system interoperability

AES3 channels with corresponding link outputs. The installation-focused 25D version also includes dedicated Euroblock connectors for GPIO and a fault contact, providing eight GPI and four GPO pins for additional control functionality. In other news, the manufacturer has also released Create.Control standalone software designed to enhance the creative use of the d&b Soundscape ecosystem. Available as a free download, Create.Control introduces a dedicated interface for object-based mixing, supporting offline pre-production and live show environments. Create.Control enables sound designers, engineers and creatives to plan and manage Soundscape projects independently of the main R1 control software, allowing systems engineers to maintain control of core configurations while allowing visiting engineers to access and manipulate creative content.

The software removes the need to share system interfaces, simplifying collaboration by offering compatibility with personal devices and software setups. Features include project creation, sound object management, animation, snapshots, transitions and a configurable patch panel. Create.Control integrates with the existing d&b workflow, complementing tools such as ArrayCalc, En-Scene and En-Space, and aligning with recent developments including scalable I/O options for the DS100 and DS100M, and redundancy packages.

www.dbaudio.com

for a larger portion of Adamson’s product offering.

www.adamson.ai

Levelling up the Ecosystem

AIMING TO support a range of meeting spaces with specialist conferencing equipment, Shure has announced a brace of products to further develop its Microflex Ecosystem. Firstly, Shure has made the touchpanel from its IntelliMix room kit available as a standalone base kit. The company says the IntelliMix Foundation System

high-resolution touchpanel provides intuitive meeting control. Paired with Microflex Ecosystem solutions, it can be configured using Shure Designer software and managed from anywhere via ShureCloud.

enables AV professionals to mix and match its portfolio of Microflex microphones and loudspeakers, as well as complementary third-party camera and control products.

Designed to deliver audio and video coverage for small to large meeting rooms, the IntelliMix Foundation System is certified for Microsoft Teams. It features built-in IntelliMix Room DSP that is optimised for Shure products, and its

Shure has also announced the introduction of the Microflex MXN-6 networked pendant loudspeaker. Combined with Microflex Advance array microphones and IntelliMix DSP, the PoE-powered MXN-6 fits in a Shure-networked conferencing audio system with no need for an additional amplifier. Optimised for voice

standards-based security protocols

managing access and protecting data, including 802.1X authentication and AES audio encryption. With the Designer 6 system configuration software, users can design and deploy every device within the Microflex Ecosystem signal chain and remotely manage device status through ShureCloud.

www.shure.com

Total recall with SSL Oracle

DESCRIBING THE launch as fulfilling a “decades-long dream”, Solid State Logic has unveiled its latest innovation in professional audio console technology with Oracle, a futurefocused analogue console that promises to redefine hybrid studio workflows. Blending SSL’s sonic character with instant and complete recall, Oracle introduces the manufacturer’s new ActiveAnalogue technology to the market.

Designed to meet the needs of modern producers, engineers and studio owners, Oracle combines the tactile experience and warmth of a large-format analogue console with the flexibility and speed of digital control. Available in 24 or 48

switchable E/G Series 4-band parametric EQ, integrated processing from THE BUS+ and SSL’s dynamic EQ, and an architecture that accommodates tracking, overdubbing and mix workflows. The desk also supports advanced DAW control through SSL 360 integration and dynamic automation, while immersive-ready monitoring options and assignable fader paths increase its versatility for modern production environments.

All analogue circuitry is housed in one or two 13U racks, allowing for remote or under-console installation. The accompanying O-Control app enables offline session preparation and console configuration.

mono channel configurations, Oracle delivers up to 112 inputs at mixdown, packed into a footprint similar to the manufacturer’s AWS series. At the heart of Oracle is ActiveAnalogue, a system that provides full analogue signal paths with digitally controlled recall and reset across every routing, gain and processing parameter. The system enables rapid session changeovers and workflow adjustments, removing the longstanding challenge of manual recall in analogue environments.

Feature highlights include SSL’s next-generation PureDrive mic preamps with “Drive” control,

Oracle’s sonic profile is described as “reflecting SSL’s legacy while expanding its tonal palette”. It brings together design elements from the classic E, G and J/K series with the latest developments in SuperAnalogue and driven circuit topologies.

The manufacturer has also released the System T Flypack TCA, a fully fledged, broadcastgrade, 256-path audio console in a compact package, along with a fully native ST 2110 card into its System T ecosystem.

www.solidstatelogic.com

Clarity meets Versatility

Oracle

IntelliMix Foundation System

The master of patch Tasker extends CPR-approved products

PatchMaster series, Klotz AIS has released what it believes to be the world’s first dualshielded patch cable with ultra-compact, maintenance-free connectors for studio-grade signal transmission. The space-saving and maintenance-free ¼-inch jack plug is made from impact-resistant zinc die-cast.

A specially developed extrusion machine is used in the connector’s production.

protection. Despite this complex structure, the PatchMaster cable is described as extremely flexible and easy to route thanks to its round shape. The inner conductor is made of 99.9% oxygen-free copper (OFC), and the cable boasts an ultra-low capacitance of just 8.0pF per 10cm.

www.klotz-ais.com

NEUTRIK HAS introduced its essential Data Cable series of HDMI and USB-C cable sets. The range includes both “passive” and “active” cable sets to provide connectivity over a range of distances up to several metres long. Two high-speed Cat3 cable set variants feature 48Gbps data transfer rates, providing for uncompressed HDMI 2.1b feature support for 8K/60Hz and 4K/120Hz UHD resolutions and fast refresh rates, and supporting up to 10K resolution with DSC for commercial AV and wider industrial applications.

The “passive” HDMI 2.1b cable sets are suitable for transmission lengths of 0.9–5m, while the “active” variants employ the latest AEC (Active Electrical Cable) technology and deliver the same specifications over cable runs of up to 12m. The new AEC plug-andplay technology incorporates “active” signal

WITH ITS soft-touch HTPE outer jacket and high-purity copper core, Sommer Cable’s SC-Binary 225 cable is attempting to prove that rugged doesn’t necessarily have to mean rigid. Said to be more than just a feel-good product, the AES/EBU and DMX cable has been engineered for use in demanding environments while also offering superior handling and flexibility.

Designed for use in both temporary and permanent installations, from stage setups and broadcast studios to lighting systems, the SC-Binary 225 brings a combination of durability and environmental awareness. The halogen-free, UV-resistant HTPE jacket is not only biologically

cable assembly, and provides cost and energy consumption advantages in achieving lossless high speed data rates over medium cable lengths that previously required more cost-intensive, higher energy-consuming active fibre-optic cables (AOC) technology.

The cable sets employ three different USB specifications. The USB-C 10G AEC offers data connectivity up to 10Gbps and 60W power delivery between devices over long distances, with cable lengths ranging from 1.5–5m. The USB-IF certified USB-C 40G transmits up to 40Gbps and 240W power supply between devices with a 0.8m cable length. The USB-IF certified USB-C 480M charging cables complete the lineup, offering 480Mbps low data transfer and 240W high

come with braided shielding to avoid signal interferences and include the TSK1112 CPR Cca 2x1mm², TSK1113 CPR Cca 2x1.5mm², TSK1115 CPR Cca and two other models up to

Four digital multipair cables have also been released, starting with the TSK902 CPR Cca 2x2x0.22mm². The TSK904 CPR Cca, TSK908 CPR Cca and TSK912 CPR Cca respectively have four, eight and 12 pairs. In addition, there are three digital audio models with integrated power line: the C283 CPR Cca 3x1.5mm² with one DMX and power, the C284 CPR Cca with double DMX and power and the C290 CPR Cca 3x2.5mm² with double DMX and power. Finally, the company has strengthened its broadcast range with the TSK1078 CPR Cca, TSK1079 CPR Cca and TSK1080 CPR Cca for 12G-SDI video signals at 4K resolution for distances of 60m, 80m and 100m respectively. They are also available with CPR B2ca homologation.

ranging from 0.5–3m.

www.neutrikgroup.com

featuring an aluminium-coated fleece paired with dense copper braiding delivers protection from electromagnetic interference across long distances. The inner conductors, meanwhile, use 99.99% oxygen-free copper (6N OFC), resulting in high bending resistance and an extended operational lifespan.

Available in bulk or as a preassembled connection cable, the SC-Binary 225 can be paired with HICON XLR connectors housed in a conductive metal shell. An optional version featuring an integrated Relyos chip offers smart inventory tracking capabilities.

www.sommercable.com

USB-C 40G

At the CORE of music

DPA MICROPHONES has upgraded its DPA 4099 instrument microphone with the 4099 CORE+, which claims to deliver a wider dynamic range, enhanced sonic transparency and advanced distortion-reduction technology. Aiming to retain the signature character of the 4099, the 4099 CORE+ has 10dB of added dynamic range and a higher clipping point than its predecessor.

In addition to the CORE+ upgrade, the company has also redesigned the 4099’s mounting system. DPA’s Gooseneck Mount (G-MOUNT) integrates a 2-step locking mechanism that allows for mic placement with one hand and improves vibration isolation and stability, and is backwards compatible with many existing DPA clips. Select clips, such as those for cello, piano and microphone stands,

Royer’s R-12 brings premium ribbon performance to new price points

BUILT FOR studio and stage alike, the R-12 active ribbon microphone from Royer Labs combines the brand’s well-known sonic character with practical enhancements such as onboard bass-cut and pad switches at an accessible price point, opening up pro ribbon audio capture to a broader user base.

Biamp eliminates mic hassles

ADDRESSING THE friction of traditional audio reinforcement in presentation environments, Biamp has launched Parlé Presenter Lift. Using ceiling-mounted Parlé Beamtracking microphones and enhanced signal processing in Tesira DSPs, the solution

captures and amplifies presenters’ voices from above, eliminating the need for handheld, overear or lavalier microphones. Designed for use in classrooms, lecture theatres and multipurpose spaces, the system allows presenters to move freely without compromising intelligibility. The accompanying Presentation Designer tool simplifies system configuration and optimises microphone placement across large rooms. On the software side, Biamp has expanded its cloud-based Workplace platform with four new features that support every stage of the AV lifecycle, from initial system design to deployment and troubleshooting. Location View offers visual monitoring of AV assets via interactive maps of buildings and campuses, while Workplace Designer brings cloud-based room configuration tools to any browser, complete with reusable templates. For remote diagnostics, Workplace Command allows technicians to access and control Tesira DSP functions offsite, and the new Workplace Tools mobile app delivers on-the-spot NFC-based system insights, including when devices are powered down. The company has also expanded Workplace compatibility, with Impera control processors and Apprimo touch interfaces joining the 50+ supported products across the platform. Headlining a series of conferencing updates is the Vidi Content Cam 250, a 4K whiteboard camera purpose-built for Microsoft Teams

Rooms. Supporting both wall and ceiling mounts, with coverage for whiteboards up to 3.6m wide, the camera uses translucent layering and automatic keystone correction to

ensure handwritten notes and diagrams are clearly legible to remote participants, even when someone is standing in front of the board.

The manufacturer has also introduced People Gallery Tiles and Room View for its Vidi 280 and Parlé VBC 2800 conferencing bar. Powered by AI, these features individually frame in-room participants as separate video tiles, giving each contributor an equal presence onscreen. Speaker tracking ensures the active talker remains highlighted, while Room View adds a full-room perspective for added context. Lastly, the EasyConnect MPX 250 further enhances bring-your-own-meeting (BYOM) spaces, enabling content sharing and dualdisplay video calls via a single USB-C cable. The MPX 250 supports up to 16 connected devices and integrates with Biamp Workplace for remote management. An optional extension kit simplifies cable routing and supports flexible layouts from huddle rooms to boardrooms.

www.biamp.com

The R-12 features the same 2.5-micron aluminium ribbon element found in Royer’s R-121, offering a natural, nuanced sound and the ability to handle SPLs up to 160dB. What is said to set the R-12 apart, however, is its active onboard electronics and transformer design, delivering condenser-like output levels ideal for use with vocals, acoustic instruments and quieter sources – regardless of preamp or interface.

The R-12 features the company’s proprietary onboard phantompowered electronics circuitry mated to a beefed-up transformer, which combine to deliver condenser microphone output levels suited for recording vocals, acoustic instruments and other quieter sound sources.

The R-12’s active electronics are also said to place “a perfect load” on the ribbon element at all times, enabling the microphone to deliver full sonic potential regardless of the preamplifier or DAW it’s plugged into. By engaging the R-12’s switchable –15dB pad, the mic’s output level drops to that of Royer’s non-powered R-10 ribbon mic, which is preferable for louder instruments like drums and high-volume electric guitars where more headroom is needed.

The R-12 is also outfitted with a switchable high-pass filter tuned to reduce low-end proximity buildup and rumble, making it a good choice for capturing vocal performances, close-miking instruments and loudspeaker cabinets.

Internally, the R-12 includes a shock-mounted transducer and triple-layer windscreen system to protect the ribbon from plosives, handling noise and sudden air blasts. The design ensures longterm durability while preserving sonic integrity in both live and studio environments.

www.royerlabs.com

Going solo

CATERING TO solo creators, Sennheiser has launched a lightweight and ultra-portable 1-channel version of its Profile Wireless 2.4GHz all-in-one microphone solution. Sennheiser says the 1-channel version covers typical usage scenarios of solo creators, while allowing for later expansion of the system by including the same 2-channel receiver as the Profile Wireless 2-channel system. With an operating time of up to seven hours and 16GB of memory for up to 30 hours of internal recording, the mic requires no app for setup and can be used on cameras, smartphones and computers. It can also be combined with a lavalier microphone or used as a wireless boom. The Profile Wireless 1-channel mic system comes in a pouch that includes the clip-on microphone with mini windshield

and magnetic mount, a 2-channel receiver, two USB cables, USB-C and Lightning adapters, a camera cable and a shoe mount adapter. Sennheiser says it has also addressed user requests with a 32-bit float firmware update for all Profile Wireless systems. For 32-bit float recording, Profile Wireless combines the audio signals of the two A/D converters inside the Profile Wireless mics to create a single 32-bit float audio stream. Creators who prefer 24-bit recording still have the option to deactivate 32-bit float recording and turn on the Safety Channel Mode. This will output a –6dB version of the audio in addition to the original sound level to help protect against clipping.

Vidi Content Cam 250

Riding on a wave

WILLIAMS AV has launched the Digi-Wave T410, a handheld microphone transceiver th a t delivers secure, full-duplex wireless communication, without the need for a fixed sound system. Engineered for tours, interpretation, training sessions and mobile presentations, the T410 is reportedly the first portable solution to combine the power of 2-way audio with the simplicity of a familiar microphone form factor. It provides clear, natural communication in any environment, with

Seeing in red

FOCUSRITE HAS released the RedNet TNX, a flexible Dante interface that delivers high channel counts, ultra-low latency and audio workflows to any PC or Mac with an available Thunderbolt connection. It enables users to pass audio via Dante to and from a computer without having to install a PCIe card. Designed to handle large recording sessions and postproduction work including Dolby Atmos and other immersive formats, the RedNet TNX’s combination of ultra-low round-trip latency, easy setup and scalable flexibility makes it suitable for recording studios, schools, venues and broadcast facilities.

The interface offers 128x128 channels of lowlatency, 24-bit/192kHz audio, with the optional Dante Ready payable upgrade expanding the RedNet TNX to 256x256 channels at

no speakers, amplifiers or installation required. This is the third addition to the manufacturer’s Digi-Wave product line. Full-duplex 2-way audio enables users to speak and listen simultaneously without relying on a venue’s sound system, making it suitable for multilingual interpretation, dynamic training and interactive group communication in any setting. The unit includes the full feature set of Digi-Wave’s Advanced Communication Mode (ACM) and Advanced

24-bit/96kHz. Its single-cable connectivity makes it particularly valuable for high-channelcount workflows involving multiple users.

three user access levels: Super Lock (prevents changes during handoffs), Basic Lock (shortcut access for experienced users) and Unlocked (full administrative control). The transceiver is fully compatible with all Digi-Wave 400 Series receivers and transceivers and supports both scheduled events and impromptu communication with consistent,

www.williamsav.com

desktop or laptop systems into live rigs with minimal setup. The RedNet TNX also integrates with RedNet Control, allowing unified control and monitoring of all RedNet devices via a single application.

Its built-in network interface supports both audio and control data through one rear-panel Ethernet connection, while a second RJ45 port enables switched or redundant modes for added flexibility and resilience in mission-critical environments.

For broadcasters, the RedNet TNX offers support for Dante Domain Manager and the latest AoIP standards, including AES67, as well as compliance for SMPTE ST 2110 (DDM required).

www.focusrite.com

Pliant Technologies mans the Crew V Series gets in the Zone

PLIANT TECHNOLOGIES has unveiled a series of product updates to its CrewCom wireless intercom range, debuting a Dante/ AES67 interface, a compact multi-bay battery charger and an in-ear headset aimed at professional users.

The PBT-6BAY-01 is a 6-bay battery charger tailored for the CrewCom lithium-polymer battery. Built for environments with high turnover and tight timelines, the charger enables users to power up to six batteries simultaneously, from empty to full in 2.5

Headlining the announcements is the CXD-32CF digital audio network interface, a 32x32 I/O device supporting Dante and AES67 at 48kHz. Designed to enhance routing and expansion capabilities within CrewNet infrastructures, the ½-rack unit connects via etherCon copper and dual LC fibre, and can be powered either over CrewNet or with an external 48VDC power supply. With the forthcoming release of CrewWare 2.0 software, the CXD-32CF is intended to serve as a bridge between CrewCom and other widely used digital audio network environments. It’s aimed at broadcast, live production, rental, theatre and worship markets.

hours. Measuring 17.8cm x 7.6cm x 5cm, the compact unit allows multiple chargers to be deployed in space-constrained areas such as OB trucks and backstage racks. Completing the updates, Pliant has also released its PHS-IEHU in-ear universal fit miniature headset. Designed for comfort and adaptability, the headset includes silicone concha locks and earbuds for secure wear and supports either left or right ear orientation. It is also compatible with custom ear moulds from manufacturers such as Coda Room Audio and Sensaphonics.

www.plianttechnologies.com

EXPANDING ITS V Series 2- and 4-channel power amplifier family, Dynacord has created a fully featured zone audio platform with the launch of the V Series zone audio processor, call station, wall panel and web app. The company’s V Series Zone Audio platform is designed to be an out-of-the-box solution for small to mid-sized installations to manage background music, paging and messaging across a range of commercial installations.

The VZX-8 8-Zone Audio Processor is equipped with I/O capabilities, internal storage, provides eight zone outputs and facilitates up to 20 processed input sources, including eight balanced mic/line inputs with phantom power. Allowing full matrix flexibility without the complexity of an open-architecture DSP, the VZX-8 offers both standard and advanced DSP functionality including EQs, ducking, compression, Automatic Gain Control, Noise Gate, FX, room EQ and FIR-based speaker presets. Output zone levels can be managed with Ambient Noise Compensation (ANC) to adapt automatically to ambient conditions,

while individual delay lines and subwoofer time alignments can be configured for optimal performance in larger spaces. A virtual mixer with Automixer and FX also facilitates live mixing on any zone. Two accessory ports each support up to 500m of cable and allow the connection of up to 16 accessories to offer design flexibility in large buildings.

Designed for live paging, the VCS-8 8-Zone Call Station features a condenser microphone and can also act as a system controller, triggering stored messages, muting zones and performing user-defined functions via nine programmable buttons. Meanwhile, user operation is facilitated via Dynacord’s VWP Wall Panel Controller. Featuring a colour TFT display and a push encoder for quick and easy operation, the VWP provides level, zone and source input level control as well as source selection of BGM, Zone Mix and Virtual Mixer sources. Configuration and labelling are managed via the VZX Web App.

www.dynacord.com

Visiting engineers can easily patch into a Dante network, student laptops can be hot-swapped and FOH or playback engineers can integrate

Audio-Technica team-ups pay dividends

AIMING TO streamline network configuration and control, Audio-Technica has unveiled a dedicated Q-SYS Certified plugin for its System 20 PRO digital wireless system. The development not only makes the System 20 PRO part of the Q-SYS ecosystem, but also provides it with remote monitoring and management through Q-SYS Reflect. AudioTechnica’s System 20 PRO is a self-managing, plug-and-play 2.4GHz system that is scalable to 20 channels. The company says the system overcomes challenges of conventional wireless microphones such as frequency coordination, complex intermodulation calculations and remote antenna cabling. The Q-SYS plugin can be used to set up and monitor channel parameters in the system, individually monitor each channel, control volume and AF levels, monitor RF levels, enable/disable transmitter mute and monitor battery level and charging status.

Offering more integration, the manufacturer has also announced its ATUC-50 conference

system which supports native integration with Ross Video’s Quorum software. Using Quorum with the ATUC-50 gives users access to streamlined live-meeting production by enabling automatic video switching based on microphone activity and speaker identification. The Quorum automation system controls switchers, cameras and graphics to make it easy for one operator to broadcast a meeting. Audio-Technica says the use of Quorum with the ATUC-50 reduces the need for manual switching during meetings and enables instant visual switching by linking microphone activation to the corresponding attendee. Manual, semi-automatic and full microphone modes are supported, and quick setup is offered in the Quorum system via the Microphone Systems configuration panel. Audio-Technica has also rolled out an enhanced ES954 ceiling microphone array Q-SYS plugin to include a toggle for the tabletop ES964 microphone.

www.audio-technica.com

Palmer expands Monicon range

PALMER HAS launched a new generation of its Monicon monitor controllers, delivering latency-free signal control for a variety of studio environments. The updated range consists of four models – the Monicon S, M, L and XL – each engineered to meet different monitoring requirements, from compact home workstations to professional studios.

it the suitable for minimalist desktop or media setups. Stepping up in size, the Monicon M adds XLR/TRS combo and 3.5mm jack I/O options, plus dim, mute and mono switches for greater flexibility in project studios.

The Monicon L offers a hybrid active/passive architecture with three stereo inputs – including Bluetooth streaming with independent

The fully analogue Monicon series is designed to provide musicians, producers and engineers with precise monitoring control without digital conversion. All models have been reimagined with modern aesthetics, robust construction and streamlined user interfaces that the company says results in fast, efficient operation. Each model is available in black or silver side panel finishes.

The ultra-compact Monicon S features passive volume control via RCA connections, a large rotary knob and a mono switch, making

Allen & Heath unveils six Qu mixers

BASED ON a unified platform, Allen & Heath’s six new Qu 38 inputs (32 mono/linkable, three stereo), 12 mixes, four matrices, six FX engines with dedicated stereo returns, plus SLink port for connection to the Everything I/O ecosystem of remote expanders. All models feature a 32x32 USB-C audio interface for DAW recording, 32-channel multitrack support via an SD card and simple stereo recording and playback through the USB-A port. The range comprises three frame sizes, each available with or without integrated Dante connectivity: the compact Qu-5 and Qu-5D offer 17 faders, 16 XLR inputs and 12 XLR outputs; the Qu-6 and Qu-6D expand that to 25 faders, 24 XLR inputs and 16 XLR outputs; and the larger Qu-7 and Qu-7D provide 33 faders, 32 XLR inputs and 20 XLR outputs. The three Dante variants include an integrated 16x16 48/96kHz Dante interface. The new generation expands the “walk up and mix” ethos with four custom fader

layers, more assignable SoftKeys and the option of flexible routing in addition to classic Qu 1:1 channel patching. The user interface has been refreshed with a focus on speed of navigation and ease of use, with key mixing functions either via the dedicated hands-on controls or the new touchscreen.

While the mixers retain the recognisable look and layout of the original Qu series, numerous hardware improvements have been developed. Updated mic preamps and high-performance 96kHz converters reportedly ensure pristine signal integrity from input to output. Every channel now includes a display and a chromatic meter for quick visual feedback, and the new touchscreen offers improved clarity and responsiveness.

All Qu mixers are DEEP Processing ready, with the upcoming V1.1 firmware offering a suite of optional add-ons from the dLive series. In addition, Qu now features the

volume – and two stereo outputs alongside a dedicated sub/mono output. It also includes a headphone out with its own volume control, LED status indicators, input/output selector and PFL function.

At the top of the range, the Monicon XL is aimed at larger studio environments with three monitor outputs, two independently controlled headphone outs, an LED VU meter and integrated talkback.

www.palmer-germany.com

Feedback and Gain Assistants from the CQ series to take the stress out of setup and speed up soundchecks.

Building on its V2 release, Allen & Heath has announced the latest release of its dLive firmware V2.1, featuring more powerful processing and RackUltra FX, expanded wireless integration and group-to-group routing. CompStortion is a DEEP emulation of the popular hardware compressor, while RackUltra FX card users can enjoy the addition of Rhythm Delay, a pattern-based delay engine that provides customisable repeat patterns and musical filtering.

V2.1 also expands the Actions system and means engineers can trigger an action from a scene recall or via a MIDI trigger; recall a bookmark via an action; apply relative changes to send and main levels; recall the channel processing library; and trigger actions on a dynamically selected channel or mix. dLive’s wireless integration also adds support for the Shure SLX-D wireless microphone system, and engineers can now utilise group-to-group routing to build complex processing chains and consolidate mix busses.

www.allen-heath.com

THE EX-100-IW-USBC from WyreStorm is a 100m USB 3.2 single-gang, in-wall HDBTUSB3 transmitter and receiver kit. Designed to extend USB connectivity up to 100m, the

Waves releases Cosmos V16 Transmit and

WAVES AUDIO has announced a V16 update to Cosmos Sample Finder, its AIpowered sample manager. Features include DAW Plugin and Sync so that Cosmos now functions as an insert plugin within DAWs (as well as a standalone app); sample auditioning which provides preview samples in context, adjusted to session BPM and key; auto-grouping of sonically identical audio files for streamlined management; cloud-based processing to reduce scanning duration; CPU optimisation with adjustable performance settings tailored to user preferences; and a refreshed user interface.

The Cosmos Sample Finder offers AI-powered sample categorisation, organising collections by instrument, key, BPM and tags. It supports multiple formats, including WAV, AIF, OGG and FLAC files, providing compatibility with various sample types. Users can choose between

unit has been engineered to support the latest USB 3.2 Gen 1 standard and offer rapid data transfer speeds of up to 5Gbps. Its 4-port design allows for simultaneous

connection of multiple devices. The transmitter can either be powered by the connected receiver or by the 2-pin connector on the rear of the transmitter for redundancy and ease of use. The inputs on the transmitter include one USB host (Type C), one DC in and one micro USB along with one RJ45 output, while the receiver provides one RJ45 and four USB 3.2 Type A inputs. Meanwhile, the MX-0403-H3-MST conference presentation switcher builds on the success of the MX-0402-MST by adding an HDBaseT 3.0 output for signal extension up to 100m. Designed to simplify and enhance the presentation experience, the 4x3 switcher integrates video, audio,

CP200 joins Bluesound’s touchpanel lineup

BLUESOUND PROFESSIONAL has announced the expansion of its range of wall-mount control panels with the launch of the CP200. Joining the CP100 and CP300 models, the CP200 is a compact, programmable 4-inch wall-mount full-colour control touchpanel with network connectivity including PoE power. It is fully customisable and allows any function of a Bluesound Professional product to be accessed using simple logic programming. The control interface may be fully personalised with

colours, images and logos, and the layout can be as simple or as sophisticated as desired depending on the application. The device can manage a single zone or multiple zones as needed. To avoid over-complex screens, users can create and navigate between multiple interface pages. The low-profile touchpanel comes with a mounting bracket, making it compatible with standard electrical back boxes

www.bluesoundprofessional.com

USB, control and Ethernet functionalities. With dual USB-C and dual HDMI inputs, automatic switching capabilities and advanced USB 3.2 ports, the MX-0403-H3-MST also supports dual video output via a single USB-C cable. Each input port supports cable lock connections, while the switcher offers multiple switching methods, including automatic switching, priority switching and independent USB and video switching. It also features an HDBT 3.0 output for extension to remote zones (up to 100m), enabling IP to RS-232 command routing at the display zone for controlling displays and other devices.

www.wyrestorm.com

using Cosmos as a standalone application or as a DAW-integrated plugin, adapting it to their preferred workflow. The tool also includes over 2,500 royalty-free samples.

Meanwhile, V16 is Waves’ latest plugin update. This version introduces usability enhancements that provide clearer visuals and improved control over a mix. To ensure consistent output levels and eliminate disruptive loudness jumps, V16 integrates Auto Makeup Gain into five compressors: the CLA-2A compressor/limiter, CLA-3A compressor/limiter, CLA-76 compressor/ limiter, Abbey Road RS124 compressor and V-Comp. V16 also introduces freeform corner-drag resizing across all Waves plugins, enabling users to customise plugin window sizes to suit their workspace preferences.

www.waves.com

Panel beaters

FOCUSING ON theatre, live events, broadcast operations and event management, communication system specialist PunQtum has expanded its portfolio with the Q310 wall/ desktop panel. Equipped with a built-in loudspeaker, microphone and headset connectors, the Q310 is a 2-channel intercom outstation designed to integrate seamlessly into an existing PunQtum portfolio. Features such as daisy-chaining

devices via PoE, programmable buttons for paging announcements, microphone mute and individual volume controls allow users to tailor requirements to meet real-time demands. It is powered via a PoE switch or PunQtum’s own speaker station, and includes GPIO for eventdriven actions, such as cueing lights or making remote announcements.

www.punqtum.com

Cosmos V16

RDL controls the volume

THE D-NVC2 Dante Volume Control from RDL is a rotary control that provides volume control and muting on one or two Dante/AES67 network audio channels. One or two mono audio sources or one stereo audio source may be routed to the D-NVC2, then from the D-NVC2 to a network destination, typically a power amplifier. Audio level adjustment is performed digitally in the D-NVC2. The installer has the option of setting the unit to sum the left and right channels of a stereo source with the mono sum feeding both outputs. The level of each output channel may be adjusted separately or together. If two or more user adjustment controls are desired in the same zone, an RDL D-NMC1R may be used to remote control the D-NVC2, allowing adjustment by either unit. Network bandwidth typically supports up to four remote controls per zone.

Meanwhile, the D-TPSML1A features an XLR microphone or line input. The module provides IEC P24 phantom and accepts input signals from balanced linelevel sources or from both dynamic and condenser microphones. The input signal is buffered or amplified using a studio-quality preamplifier optimised for normal operating levels. For microphone sources, the rearpanel Gain switch is normally set by the

installer for Mic Low gain. If consistently low mic levels are expected, this switch may be set to the Mic High gain position. For linelevel sources, the Gain switch is set to Line. In either Mic gain position, the phantom voltage is used to set mic phantom On or Off. Phantom voltage is not applied when the input is set to Line.

rdlnet.com

Present and correct

DELIVERING NEAR-ZERO latency presentation experiences in corporate and educational settings, audiovisual specialist Kramer has announced the official launch of its MTX3-88-PR-PRO all-in-one matrix. Designed for sharing local and remote content to meet organisations’ diverse audio and visual needs, the MTX3-88-PR-PRO is a single-box, all-in-one system that forms part of Kramer’s broader Series 3 audiovisual signal management (AVSM) portfolio. It

HDBaseT 3.0 input or output ports, eight HDMI outputs and a H.264/265 streaming output.

Kramer says that its near-latency-free scaler-based clean switching (<1s) delivers clean and instantaneous content routing for uninterrupted transitions in presentations and remote displays. Meanwhile, the system’s multi-view and videowall capabilities allow content delivery from multiple sources on individual displays with custom layouts on-

aims to simplify BYOD connectivity with dual USB device groups that enable seamless connection of DP Alt Mode-capable USB-C devices as AV and USB host sources, supporting both local and extended USB host/device configurations. Connectivity options include eight USB-C, HDMI and aircasting inputs, along with two optional USB-C ports that support multi-stream transport. It also features eight interchangeable

Visionary brings a single connection

VISIONARY HAS debuted the XB5, a USB-C conferencing bridge that enables seamless BYOD (Bring Your Own Device) integration into AV-over-IP environments. The XB5 delivers video, audio, Ethernet and charging through one USB-C connection while integrating natively into Visionary’s 1GbE AV-over-IP ecosystem.

Designed for use in conference rooms, boardrooms, classrooms and other professional audiovisual settings, the XB5 allows users to connect their personal laptops directly to the room’s audiovisual system using a single USB-C cable. The XB5 provides bidirectional 4K60 4:4:4 video and high-quality audio, wired Ethernet access and up to 100W of charging power, without requiring any software installation or driver configuration. It supports industry-standard UVC and UAC

Uno or duo

WHEATSTONE HAS launched Wheatstream Duo, a fully featured streaming appliance with the audio processing and metadata tools found in the company’s Wheatstream appliance, but for 1- or 2-channel applications. As a Linux

protocols for plug-and-play compatibility with Windows, macOS and ChromeOS devices.

For AV integrators, the XB5 eliminates the need for separate USB extenders, video switchers and audio interfaces by combining those functions into one compact device. The XB5 is compatible with Visionary’s 5-Series endpoints, allowing it to operate within a flexible, scalable AV-over-IP network using standard 1GbE switches. It provides support for AES67 and Dante audio, including embedding and de-embedding of AEC-

processed audio, making it easy to integrate with DSPs and networked audio systems. Additionally, the XB5 features PoE+ power and a fanless design, which simplifies installation and reduces points of failure.

The manufacturer has also expanded its 5 Series with three wallplate models that deliver “enhanced connectivity, seamless integration and robust performance” in a compact, in-wall form factor. The DuetE5-WP-C wallplate encoder combines USB-C and HDMI inputs into a 2-gang

the-fly or via configurable presets. For audio, Dante interfaces for mixing and processing by the integrated DSP provide clear sound distribution, with additional features including a multi-zone amplifier, built-in IP-based control capabilities and AV streaming and recording with enterprise-grade IT networking and security.

www.kramerav.com

appliance that eliminates the need for a Windows-based PC, Wheatstream Duo can be added to any analogue, digital or AoIP studio, including WheatNet IP and AES67compatible systems. Wheatstream Duo has an easy-to-navigate HTML 5 web browser

interface, is compatible with standard CDN and streaming platforms, and can adapt metadata input from most playback automation systems for one simple workflow from automation to content delivery. The unit accepts two input streams of analogue,

wallplate. It enables AV-over-IP encoding of both 4K60 4:4:4 video and USB sources from USB-C or HDMI-equipped devices, making it suitable for BYOD environments. Building on the functionality of the DuetE5-WP-C, the DuetE5-WP-C-BT model introduces integrated Bluetooth audio support, enabling users to wirelessly connect mobile devices and stream audio directly into the AV-over-IP network. Finally, the DuetD-5-WP has been designed for clean, in-wall installations. It features an HDMI output and two USB-C ports to deliver full USB-over-IP support, and allows users to receive high-quality video and interact with USB devices over IP, making it suitable for setups involving USB cameras, touchpanels and other HID peripherals in soft codec environments.

www.visionary-av.com

AES3, AES67 or native AoIP such as WheatNet IP, each capable of four output streams for a total of eight output streams. Meanwhile, the manufacturer has also released version 5.0 of Navigator software for its WheatNet IP audio network. With the latest release, WheatNet IP audio networks add new network I/O diagnostics, failover management and automatic system backup advancements, and extend logic status to third-party devices.

www.wheatstone.com

XB5

AJA VIDEO Systems has unveiled the DRM2-Plus, a high-capacity 3U frame that can house up to 24 Mini-Converters. Tailored to suit a range of pro AV, film/TV production, live production and broadcast environments, the DRM2-Plus is available in four different models that support active or passive cooling and offer single or redundant power supplies for up to 288W of power. Building on the design of the DRM2, the DRM2-Plus includes a hinged faceplate and individual carriers that allow users to access Mini-Converters for updates or to swap them in and out, without removing the frame from the rack.

The added interior space and an optional DRM2-YC Y-cable accessory enable the doublestacking of 12 smaller AJA FiDO and/or D5 Series Mini-Converters with Mini-Con-X power

connectors to support up to 24 Mini-Converters in a single frame. The device’s versatile design also allows users to rackmount up to 12 midsize Mini-Converters with built-in Mini-Con-X power connectors, or six larger Mini-Converters featuring the DANTE-12GAM’s new enclosure design, which includes an LCD display and a Mini-XLR power connector. Users can combine a mix of Mini-Con-X- and Mini-XLR-powered Mini-Converters within the DRM2-Plus using AJA adapter accessories. The DRM2-Plus also introduces the ability to internally mount a third-party USB hub for communication to installed Mini-Converters. The DRM2-Plus and applicable accessories replace the previous DRM2 products.

www.aja.com

AdVantage Telestream

TELESTREAM HAS unveiled several improvements to its flagship Vantage platform. Qualify Action QC supports on-premise, hybrid and cloud deployments. It seamlessly integrates the capabilities of both Aurora and Vidchecker to enable the full range of quality, compliance and integrity capabilities as a single Vantage action. Vantage now automates time-based metadata and summary extracts, while a new integration between DIVA and Vantage streamlines archive and discovery processes. Integration between Vantage and next-generation, cloud-centric MAM solutions like iconik enables customers to bring the latest MAM functionality to their content repository. In terms of ingest, media processing and playout, advanced GRID processing allows users to split complex transcodes across Vantage nodes. Faster task completion is said to reduce time-to-delivery while simultaneously boosting operational capacity. Meanwhile, the latest Vantage Lightspeed Servers reportedly deliver up to a 30% performance boost in media processing over the previous generation.

Purpose-built for live production, the manufacturer’s Lightspeed Live Servers for Play support SDI (3G/12G) and ST 2110 (10/25G,

SR/LR), offering configurations of up to eight channels in HD and four channels in UHD in a 1U form factor. Feature highlights include playout of any format back-to-back, AMP protocol support for std control, customisable APIs for advanced integration and a 15–30TB SSD storage range.

The SPG9000 software-defined sync pulse and test signal generator has also been upgraded to include PTP capture for debugging difficult PTP configuration issues, while secondary reference allows users to add a precision secondary reference clock to guard against loss of satellite for PTP grandmaster applications.

The manufacturer’s Argus centralised video monitoring solution for video distribution networks now includes expedited troubleshooting with new Monitoring Groups and live video, audio and caption monitoring for faulty signals. Additionally, intoPIX has announced the integration of its JPEG XS technology into Telestream’s Prism waveform monitors. This collaboration is said to enhance real-time monitoring for ST 2110-22 IP workflows, enabling broadcasters and production studios to transition smoothly from SDI to IP.

www.telestream.com

Modulo Kinetic V7 streamlines workflow

MODULO PI has released Version 7 of its Modulo Kinetic media server platform, delivering a series of enhancements aimed at streamlining AV workflows and expanding creative possibilities for projection mapping, immersive experiences and multidisplay setups.

or detach panels and organise workspaces across multiple displays. The manufacturer states that this flexibility supports more efficient workflows in complex environments.

Version 7 also introduces integration with ISAAC, a web-based AV system monitoring platform, enabling seamless media ingestion

Modulo Kinetic is a scalable, all-in-one media server that combines a real-time timeline with a 3D engine, live mixer and show control tools. The latest update introduces a reworked 3D study environment with an expanded projector database that includes 3D models of projectors and lenses, including ultra-short-throw and lens shift options, to improve the accuracy of projection simulations.

A redesigned user interface enables modular window management, allowing users to dock

and schedule updates between the two systems, thereby simplifying content and device management.

Another addition in Version7 is the 3D autocalibration module. Designed for projection mapping and immersive installations, the module uses PoE cameras and test patterns to automatically align and correct geometry across overlapping projectors, significantly reducing setup time.

www.modulo-pi.com

Long-range control

BOASTING RESPECTIVE transmission distances of up to 300m and 10km, the CE980 and CE990 USB true 4K DisplayPort/ HDMI optical KVM extenders from ATEN International are the company’s first fibre-optic KVM extenders supporting true 4K video. Both models feature a 2-in-1 DisplayPort/HDMI combo connector to allow connections to either DisplayPort or HDMI displays at both the local and remote ends, enabling users to mix or match output types. Both support the extension of keyboard/ mouse control, RS-232, USB 2.0 data,

HDR10, and both stereo and embedded audio.

Supported audio formats include LPCM 7.1CH, Dolby TrueHD, Dolby Digital Plus and DTS-HD Master Audio. Whether used to control servers in a secure data centre, operate medical equipment or manage high-resolution content in broadcast or industrial applications, ATEN says the CE980 and CE990 provide stable, interference-free transmission with built-in EMI resistance, ensuring reliable and uninterrupted performance.

Switching to seamless scaling

EXTRON IS now shipping its latest compact 4K/60 seamless scaling switchers with built-in DTP3 signal extension. The DTP3 IN2004 Series of 4-input scalers consists of three models: the DTP3 IN2004 DI/DO (with HDMI and DTP3 inputs and outputs), the DTP3 IN2004 DO (with HDMI inputs and HDMI and DTP3 outputs) and the IN2004 (all HDMI inputs and outputs).

Combining video and audio processing, signal extension and networked control, the DTP3 IN2004 Series have been designed for boardrooms, collaboration spaces, lecture halls and other professional AV presentation venues. They feature Extron Vector 4K scaling technology which provides advanced video processing for the most demanding applications. Selectable scaled output rates range from 640x480 to 4K/60 at 4:4:4 colour sampling. They are HDCP 2.3-compliant and loaded with professional capabilities, such as logo image keying and display, auto-switching between inputs and selectable seamless

switching transitions. Audio DSP functions such as mixing, ducking and filtering are described as easily accessible to enhance sound quality. Other capabilities include built-in CEC commands and stereo audio embedding and de-embedding. For added flexibility, HDR, ultra-widescreen, high frame rate and 3D video signals are all supported in scaler bypass mode.

Transmission over Extron DTP3 reportedly ensures optimal signal integrity, regardless of the resolution. For professional-quality transitions between sources, the scalers offer a range of fade and cut switching effects. In addition, a custom graphic image, such as a company or school logo, can be inserted onto the video output. Selectable Fill and Follow modes are available to set the desired video aspect ratio. Fill mode provides full screen output, while Follow mode preserves the original signal’s aspect ratio.

www.extron.com

Roland simplifies AV control

ROLAND PROFESSIONAL is aiming to make navigating complex AV setups easier with the release of its VenuSet, a customisable iPad control app designed to offer a simplified interface for non-technical users. VenuSet gives operators access to key functions across a range of Roland video products, including switching, audio levels, scene recall and graphics.

Suited for systems integrators and event professionals alike, the app supports remote control of the company’s V-8HD, V-80HD, V-160HD, VR-6HD and VR-120HD products. Desktop versions for Windows and macOS are due later this year.

In addition to the iPad control app, Roland has also introduced deeper system integration for several of its existing hardware solutions. When paired with the VC-100UHD 4K scaler,

its V-160HD video switcher can now control Region of Interest (ROI) windows across the network, enabling producers to generate multiple shots from a single 4K source and reduce the number of physical cameras required. In addition to this, the P-20HD Instant Video Replayer now offers remote playback functionality over LAN and RS-232 when connected to compatible Roland switchers, opening up more advanced workflow options for live production and sports replay scenarios. Lastly, Roland has expanded its Graphics Presenter content library with over 40 new templates, including sports overlays, general event graphics and countdown timers –bringing the total number of pre-designed assets to more than 170.

www.proav.roland.com/global

TASCAM’S MP-800U DAB is a multi-format media player designed for commercial environments. With support for SD cards, USB drives and Bluetooth (via an optional AK-BT2 adapter), and featuring a USB D/A converter and a built-in DAB/FM tuner, the MP-800U DAB boasts a range of playback features. It plays WAV, MP3 and AAC formats from its front-panel SD and USB ports, and features USB DAC functionality for direct playback from USB-C devices like laptops and smartphones, while Bluetooth connectivity allows for wireless streaming.

The MP-800U DAB includes XLR and RCA outputs, plus dedicated RCA tuner outputs.

Extending its reach with 30x zoom

DESIGNED TO achieve the tightest framing over long distances, Lumens’ BC-602 box camera is equipped with a 30x lens, a high-sensitivity HD sensor that captures 1080 video at up to 60fps and flexible connectivity that makes it suitable for integration into HDMI workflows or installation on SDI or IP networks. The BC-602 encodes video to a variety of H.264/HEVC codec formats including SRT, RTSP, RTMPS and MPEG-TS, which Lumens says makes it suitable for use in broadcast and professional AV the camera’s support for VISCA, VISCA-IP and ONVIF control protocols and inclusion of Power over Ethernet give installers maximum versatility. Meanwhile, its triple stream functionality enables the camera to encode three individual channels of video at different bitrates. This provides users with the flexibility to stream live to the

monitor a low-resolution feed via a network video app.

Meanwhile, the manufacturer has also expanded its professional camera portfolio with the VC-TR61N, a 4K PTZ model featuring NDI HX3 and motion tracking capabilities over extended distances. Designed for larger venues such as conference halls, theatres

Bolin rolls with the times

PTZ CAMERA manufacturer Bolin Technology has announced that four of its outdoor PTZ cameras – the SD530NX, SD530H, EX1030NX and EX1030H – now offer a Roll Axis feature for enhanced creative flexibility and installation ease. Additionally, the SD530NX and EX1030NX also feature support for NDI HX3.

Traditionally, PTZ cameras offer pan, tilt and zoom functionality. With the addition of the Roll Axis feature, operators can now rotate the camera’s image block up to 15° left or right. This capability not only simplifies correcting for uneven mounting surfaces but reportedly opens the door to unconventional camera angles previously unachievable in

installed camera environments. The Roll Axis position can be easily controlled via Bolin’s KBD-1020N joystick controller, which enables smooth roll adjustments in real time.

In addition to the Roll Axis feature, both the SD530NX and EX1030NX are equipped with NDI’s Embedded Bridge functionality, allowing remote connections to studio facilities without the need for a dedicated PC. Now, operators can input NDI Bridge details directly into the camera, streamlining remote capture setups for everything from live events to hybrid productions.

and houses of worship, the VC-TR61N combines a 30x optical zoom with AI-driven tracking to follow presenters from more than 18m away.

With dual-camera architecture, the VC-TR61N pairs a robotic PTZ lens with a secondary panoramic sensor to deliver two simultaneous video streams. These can be output independently to production equipment or combined in-camera for picture-in-picture compositions, enabling multi-angle capture from a single device.

The inclusion of NDI HX3 allows for integration into IP-based workflows, offering low-latency streaming, remote configuration, PoE and full compatibility with both Lumens’ control panels and third-party software. Video output is supported via SDI, HDMI, USB and IP, giving integrators a range of options for connectivity and deployment.

Suitable for both upright and inverted mounting, the VC-TR61N is designed to offer versatility in installation. Its flexible control

Additional features include Auto Cue, Auto Ready and Pitch Control, while Ethernet-based remote control provides enhanced playback flexibility and system integration. It also features power-on play, incremental playback, fade in/out, direct track search and a panel lock function. Users can control the unit via a free mobile app or the optional RC-20 remote control. Fader start/ stop compatibility is provided via connectors on the rear panel, and a headphone output with independent level control allows for monitoring. With the release of firmware Version 2.2.0, the manufacturer has significantly expanded the functionality of its Sonicview 16 and 24 digital mixing consoles, introducing new control options, streamlined signal management and enhanced integration for live sound, broadcast and installed AV environments. At the heart of the 2.2.0 update is a redesigned routing matrix, giving users a clear graphical interface to manage input and output assignments across the console. This improvement is aimed at speeding up configuration and offering greater visibility during setup and operation.

www.tascam.eu

protocols, quad video outputs and support for multiple streaming formats ensure it can adapt to needs in a variety of professional settings.

www.mylumens.com

BC-602

VC-TR61N

Blackmagic doubles up on space-saving products

BLACKMAGIC DESIGN has introduced a suite of products designed to help broadcasters who are pushed for space. Claiming to be the world’s smallest rack-mount 12G-SDI router, the Videohub Mini 12G is a family of compact Videohub 12G routers designed for customers working in limited spaces. Available in three models, the Videohub Mini 12G family includes a ⅓ -rack width 4x2 model, a ½-rack width 6x2 model and a ⅔ -rack width 8x4 model. In addition to adding extra inputs to SDI broadcast equipment, all models feature 12G-SDI connections that work in SD, HD and Ultra HD video standards and a clean switch that is selected on the video outputs rather than being locked into the inputs. Featuring dedicated buttons for outputs and inputs, the front panel also has emergency 12G-SDI video connections and a USB webcam video output.

The routers work with Videohub Master Control Pro and Videohub Smart Control Pro control panels and support Videohub Software Control for Mac, Windows and iPad. All models feature built-in SDI re-clocking on every 12G-SDI input to ensure optimal video quality and prevent SDI data errors, and control is flexible; Videohub routers can be remotely controlled, and there are two types of

Datapath adds Windows 11 compatibility across VSN

DATAPATH HAS announced full Windows 11 compatibility for its VSN Series videowall controllers and graphics products, offering customers more flexibility when specifying hardware for multi-source, multi-endpoint installations. Available at no additional cost, the update includes a new graphics driver optimised for improved performance and enhanced support for demanding applications such as 3D rendering and complex web displays

across sectors including aerospace, healthcare, robotics and manufacturing.

As well as benefitting from Windows 11’s embedded security features such as Secure Boot and TPM 2.0, Datapath users retain access to the company’s own Transport Layer Security encryption, providing extra protection for missioncritical control environments.

www.datapath.co.uk

DEVELOPED IN partnership with referees and other sports industry stakeholders, RefSuite is a managed technology suite from Riedel that combines hardware, software, cloud services and 24/7 remote operations. Tailored to professional sports workflows, RefSuite brings together RefCam, RefBox, RefComms, CoachComms and RefCloud into one coherent ecosystem. From head-mounted referee cameras and FIFA Quality-certified Video Assistant Referee (VAR) systems to Bolero S-based wireless comms and cloudbased media management, the company says RefSuite represents a move away from fragmented solutions to deliver a cohesive, future-ready platform that empowers officiating, coaching and broadcast teams alike. Deployable in a range of environments, RefSuite’s modular design adapts to each client’s requirements and scale. RefCam delivers stabilised, broadcast-grade referee POV video, while the RefBox VAR review system offers synchronous control of all video sources for instant analysis, playback and clip export. RefComms and CoachComms provide encrypted,

compatible hardware panels in the Videohub Master Control Pro and the Videohub Smart Control Pro.

Meanwhile, Blackmagic’s 2110 IP UpDownCross 12G is a rack-mounted standards converter designed to integrate SDI equipment into 2110 IP broadcast systems. It lets customers convert between any SD, HD or Ultra HD video

format via 12G-SDI, HDMI and SMPTE 2110 IP video connections, and has multi-rate 12G-SDI connections that work with video formats up to 2160p60, as well as Level A and B devices. It features one 12G-SDI input with a loop output that bypasses all processing, an HDMI 2.0 input, reference in, two 12G-SDI outputs and an HDMI 2.0 output. The 12G-SDI connections have built-in re-sync so all conversions match the reference input video timing signal and audio is automatically delayed and embedded back into the signal so it also stays synchronised. Meanwhile, its front panel LCD can be used for video and audio monitoring and also gives access to set the video standard. The USB port on the front panel works as an HD webcam, and the unit has a reference input for large broadcast systems.

www.blackmagicdesign.com

Barco controls the room

BARCO HAS announced the introduction of the NT-I series LED videowall platform. Available in 0.9mm, 1.2mm and 1.5mm pixel pitches, the platform offers high brightness, low power consumption and reduced heat output. It features flip-chip and common cathode technology for enhanced contrast and deep black levels. The range is TAA and BAA compliant and powered by the Infinipix Gen2 image processor, making it suitable for critical control room environments.

Barco has also introduced a redesigned wall mount for the UniSee II LCD videowall. The mount features a minimal visual footprint, tailored for corporate settings, while retaining the core benefits of the original UniSee mount.

www.barco.com

low-latency referee and team communication, while the RefCloud media cloud acts as a central hub for secure media storage, review and collaboration. The ecosystem can be extended with Riedel’s Easy5G Private 5G network, offering high-speed, secure data transmission for fullpitch RefCam video streaming or remote RefBox review workflows.

Riedel’s “Flex” licensing model enables users to tailor their production environments to meet their specific operational and financial needs, whether on-premises, remote or in the cloud. Users can choose from a range of hardware options and deployment models, benefitting from a cost structure that supports CapEx, OpEx or hybrid investment strategies.

Meanwhile, SimplyLive RiView is a video review package designed for officiating, coaching and analysis that is built on Riedel’s SimplyLive RefBox software. Expanding its live replay offerings, SimplyLive RiMotion R16 and R166 provide up to 16 HD or six UHD channels, with clip management, SSM support and flexible operator configurations, while SimplyLive Venue Gateway 1612 Advanced is a highdensity signal transport that introduces 16 bidirectional SDI channels, enhanced audio processing and support for HDR workflows. Riedel says this makes it ideal for large-scale productions requiring robust IP contribution capabilities.

Finally, SimplyLive Connect is a REST-based API designed to streamline integration and automation across the SimplyLive ecosystem. It enables third-party systems to monitor, control and configure SimplyLive products, as well as support modern deployment models across COTS hardware and public or private cloud infrastructures.

www.riedel.net

Life’s a game

RefSuite

Videohub Mini 12G

AIMING TO streamline the installation of flat-to-wall and corner dvLED videowalls, AV solutions specialist Peerless-AV has slimmed down for its Seamless Connect Universal range. Adopting a fundamentally different design process from previous models, the Seamless Connect Universal dvLED mounting system sits at the heart of the range. Compatible with most latching dvLED cabinets, it can scale to any size or configuration,

corner-wrapping displays, without any size limitation. With a minimal 40mm depth, it also delivers a discreet wall profile which PeerlessAV says makes it ideal for deployments that require ADA compliance.

Christie expands LED lineup

MARKING THE expansion of Christie’s direct-view LED portfolio, Christie Vivia is a range of LED videowall solutions available in a Surface-Mounted Device (SMD) variant. Featuring an ADA-compliant design with SNMP-based monitoring capabilities, Christie Vivia SMD is designed for a range of applications such as digital signage, auditoriums, operations centres and corporate environments. It is available in pixel pitches from 0.9–2.5mm, has a 10,000:1 contrast ratio and a 3,840Hz refresh rate.

Christie also offers the Lumia Series, a range of Chip-on-Board (COB)-based LED videowall solutions featuring optional touch interactivity and available in fine pixel pitches from 0.7–1.5mm. It too integrates with Christie’s videowall solutions and includes an IP2x rating and a protective front LED coating that the company says enhances durability and simplifies maintenance.

www.christiedigital.com

Meanwhile, 40mm of Z-Axis (depth) adjustment and a gear mechanism offering greater control of in/out adjustments mean integrators can overcome wall irregularities over

a bigger surface area, while the wall plate also includes a 13mm height adjustment to enable spacing corrections. Strength and total load capacity have also increased, with a quickconnect clamp now made of cast aluminium. The company says this means installers can skip rows of extrusion to minimise hardware and reduce installation time. A jacking screw also allows adjustment of up to 6mm for cabinetto-cabinet alignment. For applications where mounting directly to a wall is not an option, the Seamless Connect Universal range also includes a line of substructure categories, including floorto-wall, floor-to-ceiling, bolt down, mobile cart and freestanding, to support the total load of a dvLED videowall or all-in-one display.

www.peerless-av.com

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Matrox Video updates Mura DVW

MURA DVW 1.1 is the latest release of Matrox’s IP-based distributed videowall appliance. Features include MuraControl Web, a fully browser-based videowall management tool which is now built in, enabling users to build, select and control layouts more easily and enhanced web source support so that customers can display dashboards directly on the videowall using only the DVW appliance without requiring any external media servers; and expanded IP decoding capability with improved support for H.264 and H.265 streams.

Meanwhile, the manufacturer has also announced that Pixotope has integrated its DSX LE5 network interface cards (NICs) to enable SMPTE ST 2110 support across its XR, VS/AR and CG graphics licences. The integration allows Pixotope customers to add support for the protocol to existing or new solutions, enabling broadcast CG, virtual studio and augmented reality workflows over an IP infrastructure.

Similarly, Matrox Video has deepened its relationship with intoPIX to drive the future of ST 2110 and IPMX workflows. The Matrox ConvertIP series, already leveraging intoPIX’s JPEG XS, now interfaces with intoPIX’s TitaniumShow and TitaniumViewer software apps, reinforcing the central role of JPEG XS in high-performance IP video workflows.

The manufacturer has also announced Unreal Engine plugin support for its DSX LE5, DSX LE6 and X.mio5 12G-SDI and ST 2110 network interface cards. The update enables OEMs and systems integrators to build high-resolution, broadcast-grade virtual production workflows using Unreal Engine 5.5.

With the release of the Matrox LUMA Pro A380 Octal, the manufacturer is aiming to make high-performance videowall deployments more efficient. The professional graphics card drives four 8K displays or up to eight 5K displays from a single slot. It has been designed to help OEMs, systems integrators, AV installers and

5K

LIGHTWARE HAS announced that the most recent firmware update for the MX2 matrix switcher has unlocked 5K resolution support, with no hardware modifications required. Said to represent a practical response to the growing number of AV environments demanding 21:9 ultrawide aspect ratios, the switchers can now support significantly more screen real estate and sharper visuals. The update –becoming Lightware’s first product line to offer 5K switching – also enables MX2 devices to handle 5120x2160 resolution via HDMI 2.0 (30Hz 4:4:4 or 60Hz 4:2:0) and DisplayPort 1.2 (30Hz 4:4:4). For existing customers, MX2 units already in the field are instantly compatible. The added resolution support is said to be especially beneficial for collaborative spaces where parallel

workflows, real-time monitoring and layered visuals are standard. This provides extra screen space without trading off signal quality or introducing delay.

Meanwhile, the manufacturer’s Cable-PopUp has been developed for managing cables in conference rooms and workspaces, particularly in environments where BYOD devices need to be connected temporarily. This built-in cable management tool reportedly provides an organised way to access connections when needed and hide them away when not in use, with an easy-to-use “Push to Open” mechanism. Caps labelled USB-C, HDMI and Ethernet are provided, along with an additional blank cap which can be customised.

www.lightware.com

MA LIGHTING has announced that its grandMA3 Nodes portfolio is now presented in a new shape. The former portfolio with a variety of product options has been reduced to just five remaining models that fulfil the needs of all different applications. The technical specifications stay exactly the same. The grandMA3 2Port Node, grandMA3 4Port Node and grandMA3 8Port Node are coming directly with PoE and onPC parameters, while the grandMA3 I/O Node also includes the PoE option

system complexity.

Users can now drive more displays per system and free up PCIe slots for other essential components like capture cards, storage or networking. Traditional multi-display setups often rely on several quad-output cards, each consuming a full slot. The LUMA Pro A380 Octal offers a compact alternative that reportedly makes it easier to build systems using standard workstations.

Leveraging Intel Arc GPU media engines and Matrox Mura software libraries, the LUMA Pro A380 Octal delivers high-density IP stream decoding, supporting up to four 8K60, 16 4K60, 40 1080p60 or 64 1080p30 H.265/H.264 streams from a single card. The card also supports advanced HEVC 4:4:4 decoding, enabling

full-colour fidelity at low bitrates. According to the manufacturer, the high output density of LUMA Pro A380 Octal makes it especially well-suited for control rooms, digital signage networks and large-scale display walls where maximising display capabilities while minimising system footprint and PCIe slot usage are essential.

The LUMA Pro Series product line is further enhanced by the Mura C4K capture card, which supports up to four 4Kp60 sources from a singleslot card. When paired with the LUMA Pro Series, the Mura C4K enables integrators to capture and display HDCP-protected content across videowalls and operator workstations, offering a space-saving solution for high-performance AV installations.

www.matrox.com

Update delivers real-time integration

DESIGNED TO integrate seamlessly into the Martin P3 ecosystem, Martin has introduced a third-party 3D Visualizer Protocol into its P3 System Controller Software with its v6.2.0 update. Allowing lighting designers, programmers and systems technicians to integrate third-party 3D visualisation software with the Martin P3 System Controller, the P3 Visualizer Protocol enables real-time sharing of fixture data to replicate real-world fixtures, whether driven by a lighting console, videomapped through the P3 System Controller or both simultaneously. With connectivity over a single cable, the software’s plug-and-play

functionality simplifies setup and delivers immediate integration with compatible visualisation tools. Martin says that visualisation software provider Capture has already incorporated the open protocol into its Capture 2025 software.

The free update extends compatibility to the entire range of Martin’s P3 System Controllers, including the P3-050, P3-150, P3-175, P3-275 and P3-300. It is also available as free P3-PC System Controller software to provide access without any additional hardware investment.

www.martin.com

by default. Finally, the grandMA3 4Port Node DIN-Rail remains as the “workhorse” in all fixed installations, particularly if users need a direct PCB connection or an easy-to-mount DIN-Rail housing.

The onPC 2Port Node 2k, onPC 4Port Node 4k, onPC 8Port Node 4k and I/O Node, all including PoE, along with the 4Port Node DIN-Rail have been reduced.

www.malighting.com

LightShark unveils the X-Series

SPAIN’S LIGHTSHARK has unveiled the X-Series, a line of DMX/RDM control devices designed for demanding lighting applications. The NODE 6X and NODE 12X offer six and 12 DMX universes respectively, with full support for RDM E1.20, Art-Net and sACN, and allow users to adjust the DMX refresh rate from 15–44Hz. Each port can be independently configured as an input or output, enabling bidirectional conversion between Ethernet and DMX, as well as flexible routing of DMX512 signals to Art-Net or sACN.

Both units offer Power over Ethernet (PoE, 802.3af, modes A and B) and a direct power input of 100–277 VAC, 50/60Hz via a TrueOne connector. For long-distance applications, the NODE 6X and 12X feature

fibre-optic connectivity via LC duplex connectors. The local user interface includes an LCD screen, rotary encoder and escape

Punching above its weight

ASTERA HAD added to its Quik series with the QuikPunch, which delivers high-quality light via its Fresnel lens. The luminaire features a 13–60° zoom with no stray light and 8,000 lux at 3m. It is optimised for fast setup and practical operation, and comes complete with a battery-driven PrepBox and ChargingPlate. Like its predecessor the QuikSpot, the QuikPunch adds OutputGain for deeper colour saturates.

Consuming just 75W and producing an output equivalent to a 200W LED PAR for stage and event use, the QuikPunch comes with 4.5 hours of runtime (at full intensity) and a sharper and easier-to-control optical footprint. It outputs an accurate zero-spill beam just like a theatrical PC fixture but it can also be the equivalent to a traditional 650W Fresnel luminaire.

The 60° beam angle makes it suitable for evenly illuminating large surfaces like cycs or set pieces. Unlike conventional Fresnels, the light can be accurately shaped and controlled

via a set of 8-way barndoors. Even at 45°, it reportedly produces a sharp and controlled beam. The barndoor benefits from the QuikPunch’s accurate Fresnel-based beam performance, even when the zoom is not in the flood position. The zoom is adjusted simply by turning the QuikTurn barrel of the fixture and stops at 30° indicating the centre of the zoom range.

The QuikPunch is designed to hold all existing Astera AX9 PowerPAR filters and front attachments. It works particularly well with the rotatable 17° x 46° elliptical filter which widens the beam coverage on both vertical and horizontal axes. The EdgeSoftener filter can be used when a frost effect is needed for producing a better in-camera wrap, or to slightly soften the cut in the background, emulating the softer, warmer retro look of classic tungsten Fresnels, without adding light spill.

www.astera-led.com

button with lock option, and can also be managed remotely via an integrated web server. Advanced network configuration is

supported, including customisable IP, subnet mask and gateway, with 10/100/1000 Base-TX and DHCP compatibility. Key features include internal DMX recorder with capacity for five scenes; trigger port with five GPI inputs for scene/preset activation; and HTP, LTP, Backup and Switch merge modes. LightShark has also introduced an RDM X splitter, as well as the RDM4, a compact 4-port DMX splitter built in the same chassis as the popular NODE 1, 2 and 4 devices. Finally, the NODE 1, 2 and 4 models have been updated with a reinforced chassis, clamp mount, a Kensington Lock, a revamped web configuration server and support for custom subnet masks.

www.lightshark.es

Chauvet expands its lighting toolkit

CHAUVET PROFESSIONAL continues to broaden its offering for high-end production and broadcast environments with the release of three new fixtures, the COLORado Solo Batten 4 and the Maverick Silens 1X and 2X Profile moving heads. Designed with professional users in mind, the latest additions are said to deliver precise, flicker-free output, flexible creative control and virtually silent operation, “even in the most acoustically sensitive venues”.

The COLORado Solo Batten 4 is a rugged IP65-rated linear fixture powered by 16 RGBWL LED engines. Equally suited to indoor studio sets or all-weather outdoor events, it offers uniform colour blending across the full length of the bar without distracting hotspots or “circle-in-a-square” beam artefacts.

Bar 4 remains flicker-free in camera-critical environments.

Alongside the Solo Bar, Chauvet’s Maverick Silens range has been designed from the ground up for silent operation. Both the 1X Profile and higher-output 2X Profile are convection-cooled, with no fans or motor noise, making them an ideal solution for TV studios, concert halls, theatres and any application where noise is unsuitable.

Users can access a full range of white temperatures from 2,800–8,000K, along with green adjustment and an emulated red-shift mode for incandescent-style dimming. Onboard control options include DMX, RDM, CRMX, Art-Net and sACN, with up to 259 channel personalities allowing for granular control over individual cells. Mechanical touches like sliding mounting brackets, alignment guide pins and a stowable glare shield improve handling and positioning onstage, while interchangeable filters – including Cyc, Stealth and Half Diffusion – further expand the creative possibilities. A choice of selectable PWM frequencies up to 25kHz ensure the Solo

The Maverick Silens 1X is driven by a 430W LED engine with a CRI of 97 and output reaching 6,000 lumens. It offers a 6–56° motorised zoom, full CMY+CTO colour mixing, an animation wheel, prism, iris, frost and both rotating and framing shutter systems – all controlled via DMX, Art-Net, CRMX or RDM protocols. With 16-bit dimming, selectable red shift and adjustable PWM up to 40kHz, it maintains smooth fades and crisp output under all conditions.

Building on this, the Maverick Silens 2X Profile steps up to a 760W LED source with a CRI of 94 and delivers over 12,000 lumens of output. The larger fixture features both rotating and static gobo wheels – with interchangeable gobos between them – plus enhanced beam control with a 5.5–57.9° zoom range, 15-leaf motorised iris, variable frost and a high-contrast framing shutter module with 60° rotation. It ships with four DMX mode options ranging from 32–42 channels. Both Silens models are housed in lightweight, flame-retardant polymer enclosures and ship with Omega brackets and gel frame accessories as standard.

www.chauvetprofessional.com

NODE 6X

Maverick Silens 2X Profile

Moving objects

Phil Ward tests the water for spatial audio’s deep dive into live touring

IT’S COME A LONG WAY ALREADY. NOT THAT LONG AGO, object-based audio was an obscure theory – something to do with wave field synthesis, hinted at in tradeshow demo rooms that needed strong aircon and even stronger coffee. It appeared there was a way of releasing audio from its stereo straitjacket, which, if true, was going to overturn that paradigm after 80-plus years. Nobody took much notice.

Then, two European manufacturers began to change the world. L-Acoustics in France and d&b audiotechnik in Germany came up with differing, but parallel, systems that promised to introduce exactly this type of innovation. And they did it from positions of authority: both makers of high-end loudspeakers for live and installed sound, they had taken over the tour riders long dominated by the rock-and-roll elite such as JBL, Martin Audio and Turbosound. This qualified them to call the shots, and call them they did: L-ISA Immersive Hyperreal Technology by L-Acoustics and Soundscape by d&b, each staked a claim for object-based audio not only to be the new norm for auditoriums around the world, but also to be a realistic possibility for transportation and rigging on a nightly basis.

Meanwhile, more regular practice is demonstrated in theatre, concert halls and opera houses.

Munster at the helm. Remember Astro Spatial Audio? That was Van Munster.

Moreover, there is real, touch-it-feel-it product from NEXO. The DME10 is a collaboration with sister company Steinberg and parent company Yamaha and, being a 2U rackmount unit, is perfectly tour-ready. Dante-equipped, it uses two elements of Yamaha’s Active Field Control (AFC): AFC Image for objectbased mixing and AFC Design Assistant for its configuration and simulation software.

If you then add Meyer Sound’s Spacemap Go – deliberately renamed with the “Go” suffix to promote its portability and versatility – and Adamson Systems Engineering’s FletcherMachine, you have three direct competitors for L-ISA and Soundscape, even before any announcements by Martin Audio or JBL.

This has proved to be the trickiest proposal. Essentially, spatial audio systems need more boxes to work, and this has led to accusations of disingenuous sales expansion, unnecessary and unwelcome freight and other criticisms. Even today, the FOH engineer on Robbie Williams’ current Britpop tour, Joe Harling, can confidently say “it’s not that kind of show” when faced with the suggestion of spatial audio, and it’s hard to argue: this sell-out cornucopia of nineties’ nostalgia looks and sounds perfectly fit-for-purpose. And it’s true: dip your litmus paper in the riders this year and the majority will register conventional stereo, L-C-R or even mono. The spatial audio tours are still outriders, test cases and proofof-concept statements like the dates strung together by Groove Armada, Robb Allen and the d&b Soundscape team back in 2023 –at the end of which, the takeaway quote from Mike Case, VP then artist relations for d&b audiotechnik, was: “We’re still at the beginning of [Soundscape’s] journey and have no idea how people may end up using it in the future.”

Where these venues can be analogous with cinema, the rapid progress of Dolby Atmos has blazed a trail and opened rights-holders’ ears to the creative possibilities of more focused sound – especially when the upgrade is site-specific and permanent. If it doesn’t spoil the view, it might just be worth it. The greatest number of live performance showcases for spatial audio right now are in the West End and on Broadway.

But that hasn’t stopped a significant number of manufacturers –particularly loudspeaker manufacturers – from entering the arena during the last year, in one way or another. To begin with, when Focusrite Group announced its acquisition of both TiMax and panLab – the former a high-end pioneer of spatial audio processing, the latter a nimble startup – it placed both systems alongside Martin Audio in the portfolio. If Multi-cellular Loudspeaker Array (MLA) was Martin Audio’s last word in granular control, the next must surely reflect this partnership. Similarly, Harman Pro’s ingestion of the SPAT Revolution “object and perceptual immersive mixing tool” by French pacemaker FLUX:: Immersive pitches this

Or EAW: renowned FOH engineer Robert Scovill has joined the Massachusetts-based mainstay with the express intention of making spatial audio part of EAW’s self-proclaimed “Era of Resurgence” following its acquisition by RCF. “They have to be in this game, no question,” he says, “but the core business will remain and will get stronger on the back of more choice and more engagement. It’s not a binary proposition: stereo or immersive. We need both, and they can coexist.”

A useful, but not exact, comparison can be made with the mixing console market of 20 years ago. Before DiGiCo, there were two missionaries converting the natives from analogue to digital: Yamaha and InnovaSon. After DiGiCo, they fell like dominoes: Soundcraft, Allen & Heath, Avid and, eventually, Midas. Once “Big” Mick Hughes was happy to use digital EQ for Metallica, the argument was over. Thanks to increased competition, the market had reached a critical mass. And, as director of product management – solutions at L-Acoustics, Scott Sugden, points out, “that happened even though audiences cannot hear the difference. With spatial audio, they can.”

“Did we really need it?” asks NEXO’s R&D engineer Didier Isambard regarding digital mixing. “Did it catch on? History shows that the successful engineers were the ones who embraced the new technology and adapted.”

So, yes, it’s come a long way. And it’s got a long way to go. But you get the feeling that it’s time to board the right train.

Groove Armada embraced d&b audiotechnik’s Soundscape spatial audio system in 2023

Johnny Marr at London’s EartH with L-ISA

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