ProAVLMEA September–October 2026 MDDI (P) 036/04/2026
LIVE SOUND LIGHTING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION September–October 2026
DOUBLE IDENTITY
Levels AV transforms KIRA & LITT into two distinct venues
CFC’S CONNECTED CONGREGATION
MEDIATECH SHOW REPORT
IPMX MISCONCEPTIONS
SARA PROFILE
www.proavl-mea.com
Singapore: MDDI (P) 036/04/2026
Spectera
The future of wireless pro audio is here The world's first wideband, bidirectional wireless ecosystem
www.Sennheiser.com/Spectera
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SOUND CHANGES EVERYTHING
A single, pivotal moment can change the entire trajectory of a band, brand or business. Yamaha’s new DXR mk3 powered loudspeakers and DXS mk3 powered subwoofers - along with their CXR/CXS mk3 unpowered counterparts are designed to ensure audiences experience the full range of expression and passion of performance, giving users the confidence they need for those crucial moments when high quality sound makes all the difference. From live music venues, DJs and touring systems through to corporate events, installations and fixed systems, the expanded lineup of powered and unpowered loudspeakers and subwoofers, combined with advanced DSP, robust enclosures and flexible mounting options, allows users to configure an exceptionally reliable, high performance sound system tailored to a wide variety of environments and applications.
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SETTING A NEW STANDARD FOR YAMAHA LOUDSPEAKERS AND SUBWOOFERS 26/08/2026 10:48
Contents
Volume 23 Issue Five
September–October 2026
Editor’s Letter
NEWS 4 News 26 Distribution 30 Appointments
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32 REPORT: Closer to the action 34 REPORT: Keeping business moving
Those of us who attend tradeshows regularly could perhaps be accused of taking them for granted. After all, we’re rarely more than a month or two away from the next one. But when several years pass without a central fixture bringing the industry together, it is surprising how quickly relationships can loosen and conversations become fragmented. That made the return of Mediatech Africa especially significant – and my visit to South Africa a personal highlight. As a member of the trade press, I often arrive at an exhibition having already seen the announcements, read the press releases and spoken to many of the companies involved. Inevitably, there’s sometimes a small part of me that wonders what more being there in person will add. Mediatech was a
great illustration of why we do it all. It was evident in the conversations that continued after interviews had finished, the enthusiasm surrounding the show’s return and the warmth, humour and unmistakable personality and hospitality of the South African industry. None of that can be communicated properly in a press release or experienced through a screen. Reading the newspaper on the flight home, I encountered a staggering statistic: bots now reportedly account for almost 65% of internet traffic. Against a backdrop of AI-generated content and automated online activity, the value of genuine human contact experience at the show struck a real chord. Perhaps the more digital our lives become, the more we will seek out experiences that are unmistakably real.
Email: sluckhurst@proavl-mea.com
FEATURES 36 IMPX misconceptions 38 Against the grain at Gate Two 40 COVER: KIRA & LITT’s double identity
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42 CFC’s connected congregation 44 A clear direction at Aspire BUSINESS 46 Letters 48 SARA – one for the road 50 Mediatech 2026 show report 52 Powersoft’s transducer technology 54 Montarbo company profile 58 JBL company profile
48
50
NEW PRODUCTS 61 The industry’s most
comprehensive product news
Follow us on social media @ProAVLCentral
POWERING DOWN 86 A coustic Arts’ Sunny Chhibber hits the road
61
Contact us Richard Lawn
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LICENCES: Singapore: MDDI (P) 036/04/2026; Malaysia PPS 1604/05/2013 (022953) All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.
PRINTING: Times Printers Singapore
COVER: Kira & Litt’s double identity
September–October 2026 PRO AVL MEA 3
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NEWS
Bose Professional acquires Fulcrum Acoustic L–R: John Maier of Bose Professional and Fulcrum Acoustic’s Stephen Siegel and Dave Gunness
WORLD
Bose Professional has acquired Massachusetts-based loudspeaker manufacturer Fulcrum Acoustic, adding the company’s portfolio of loudspeakers, amplifiers, immersive audio and active acoustics technologies to its professional audio offering. Founded in 2008 by Stephen Siegel, Dave Gunness and Chris Alfiero, Fulcrum Acoustic is known for integrating digital signal processing into loudspeaker design from the earliest stages of product development. Its portfolio includes around 130 products, featuring technologies such as Passive Cardioid Technology and Temporal Equalization (TQ), which are designed to improve directivity, low-frequency control and transient response.
Fulcrum Acoustic systems have been deployed in a range of venues including stadiums, theatres, performing arts centres, houses of worship and nightclubs. The company supplied more than 1,000 loudspeakers for Houston’s NRG Stadium during the 2026 FIFA World Cup, while its systems are also installed at the Rose Bowl. Under the acquisition, Fulcrum Acoustic will continue to operate as a standalone brand. Its engineering, manufacturing and project support operations will remain in Whitinsville, Massachusetts, while gaining access to Bose Professional’s global resources and distribution network. “We’ve admired Fulcrum for years – the products of course, but also the way their
team approaches the customer experience,” said John Maier, CEO of Bose Professional. “They’ve earned one of the most respected names in performance audio the honest way: great engineering and a habit of showing up for their customers. Our job now is to protect what makes Fulcrum special and put our full scale behind it, so more people around the world get to hear what this team can do.” Siegel, cofounder and president of Fulcrum Acoustic, commented: “From our first conversations, it was clear Bose Professional understood what Fulcrum is and why it works. Our customers choose Fulcrum for the engineering, the craft and the way we stand behind our work – none of that changes. Now we get to bring that work to a global audience
at a much faster pace than we could on our own.” Gunness added: “I’ve spent my career chasing the same problem: making loudspeakers behave the way physics says they shouldn’t. That work continues in Whitinsville. And a few ideas that have been waiting in my notebook for years just became possible.” The acquisition is Bose Professional’s first since becoming an independent company in 2023. Furthermore, the news follows the brand’s recent announcement confirming its plans to rebrand as 802 LABS early next year. www.boseprofessional.com www.fulcrum-acoustic.com
Mackie and Watts launch M&W Pro Audio WORLD
A new professional audio manufacturer has entered the market with the launch of M&W Pro Audio, a company founded by industry veterans Greg Mackie and British audio engineer Peter Watts. The brand made its industry debut at InfoComm 2026 in Las Vegas, where it unveiled its first products, the D24 and D32 digital mixing consoles. Headquartered in Seattle, M&W Pro Audio brings together strategist and company founder Mackie’s long-standing experience in developing professional audio products with British audio engineer, programmer and company cofounder Watts’ background in analogue and digital console design. Watts began his career at Trident Consoles in London and later became head of research and development at Trident Audio Developments, a position he held from 1976–1995. According to the company, the launch follows five years of development work focused on creating a new generation of digital mixing systems built around advanced DSP processing, touchscreen operation and proprietary microphone preamp technology.
L–R: Jay Schlabs, Ron Koliha, Peter Watts and Phil Bunch of M&W Pro Audio The company’s first products, the D24 and D32, are aimed at live sound applications including houses of worship, theatres, concert touring, corporate AV and nightclub installations. Both mixers employ large-format touchscreens in place of many traditional hardware controls, providing direct access to channel processing, routing and system management functions. M&W Pro Audio says the touchscreen-based architecture is intended to improve workflow,
increase operational flexibility and provide greater visual feedback compared to conventional digital mixing consoles. The software-driven platform has also been designed to support ongoing feature development and updates throughout the life of the products. “I’ve never stopped gathering ideas about how to make live mixing easier,” said Mackie. “The D24 and D32 are the culmination of
decades of sound experience and four solid years of translating my ideas into a more intuitive, easier workflow. My goal was to create a touchscreen mixer ‘done right’. We believe we have accomplished this, but it took years of design, review, redesign and final design. The electronic control surfaces found on the D24 and D32 gave us opportunities that are simply not possible with physical faders or designs that employ small display screens.” Watts added: “I am excited to rejoin Greg Mackie as his partner in this promising new venture. It has given me a chance to unveil a microphone preamp design that I feel is a step above any currently incorporated in other mixers. I also believe that our collaboration on the D24 and D32 GUI and workflow has set a new standard for ease of use that, I’m confident, will open numerous creative opportunities for our clientele.” The D24 and D32 digital mixers are expected to become available in late 2026, marking the first commercial products from M&W Pro Audio as it enters the global professional audio market. www.mwproaudio.com
4 PRO AVL MEA September–October 2026
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The world’s most powerful broadcast audio mixer designed for a SMPTE-2110 future! Upper Deck Function Buttons
Fairlight Live audio panels are the mixing control center of your live production! Designed to integrate with Fairlight Live software, the world’s most powerful audio mixer, you can manage unlimited channels and complex mixes with subtle adjustments using precision faders and knobs. Real-time visual feedback is provided by LCD displays. USB-C and SMPTE 2110 network integration ensures seamless compatibility with ATEM switchers.
The function buttons allow fast access to channel processing and routing tools including EQ, dynamics, plugins, panning, and bus assignments. When you select a function, the menu buttons, encoders, and touchscreen automatically adapt to show relevant controls and parameters. Function buttons work with soft menu buttons to navigate parameter pages, keeping advanced mixer functions organized and accessible.
Customizable Channel Strips
Tools for Live Production
Fairlight Live audio panels feature customizable channel strips which include a motorized fader, solo, mute, and select buttons, plus a rotary encoder for fast access to channel functions. The bright LCD touch screen display keeps channel status and identification clear. Assign any strip to any track or bus, plus a single strip can control multiple tracks or buses simultaneously.
The most important live production functions are grouped so you can move quickly between rehearsal, playback, cue execution, and show automation. Player recorder lets you record and play back virtual sound checks. Cue player gives instant access to audio and MIDI cues for jingles, stingers, and effects. Snapshot controls enable fast preview, recall, update, and creation of snapshots for seamless show transitions.
LCD Touchscreen Display Each group of 10 channel strips has a dedicated LCD touchscreen, giving you a comprehensive graphical display of your audio mix including channel VU meters and mixer status. Adjust plugins, assign channels to busses, manage monitoring, configure layers, and set spill zones via the touchscreen. You can control complex live mixing in one place without navigating to separate menus during live production.
www.blackmagicdesign.com/ae SRP excludes duties, shipping and sales tax.
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27/08/2026 15:36
NEWS
Shure and Planetworld showcase Axient Digital SOUTH AFRICA
Shure and its South African distribution partner Planetworld staged a live wireless demonstration at Johannesburg’s DP World Wanderers Stadium during Mediatech Africa 2026. The event showcased the performance of the Axient Digital wireless microphone and Axient Digital PSM in-ear monitoring system as a complete wireless ecosystem by maintaining uninterrupted audio over a record-breaking distance of 559m with the system standard 40mW of RF power. The Beyond the Boundary event brought together local rental companies, systems integrators and audio professionals from across South Africa.
Rather than relying on controlled laboratory testing, Shure used the stadium environment to put both Axient Digital wireless microphones and the Axient Digital PSM in-ear monitoring system through a series of deliberately challenging RF scenarios. The presentation began with an explanation that the test had been designed to showcase the resilience of the Axient Digital ecosystem rather than represent recommended RF deployment practices. To underline the challenge, the directional antennas were intentionally positioned on the steel exit stairs and facing away from the initial demonstration area and behind concrete walls, while Wireless Workbench
continued to provide real-time telemetry, including RF quality, signal-to-noise ratio, battery status and overall system monitoring. Shure MEA associate market development manager Barry Kassab began the test by walking in the opposite direction of the antenna positions and through steel structures before extending the route to almost 180m across the stadium. For the second challenge, the engineers used Shure Wireless Workbench and ShowLink to monitor RF quality, battery status and other system telemetry while remotely controlling both the wireless microphone and in-ear monitoring systems. During the walk test,
engineers changed Kassab’s in-ear receiver (ADXR) frequency instantly at almost 278m from the control position, demonstrating how adjustments can be made during a live production without interrupting audio. The final challenge was then extended further, with Shure MEA market development manager Vasily Ermachkov continuing the route to a total distance of 559m while maintaining uninterrupted audio, despite the directional antennas remaining aimed away by 70° from the demonstration area. Eventually the system covered 739m calculating the initial challenge and the final. Yassine Mannai, associate sales director for Middle East and Africa at Shure, said the objective was to demonstrate reliability under the kinds of conditions encountered in major live productions. “We wanted to show in real life how reliable Shure wireless solutions are despite the challenges related to deployment, installation or the field. In stadiums, churches, parades and live events there is no room for mistakes.” Mannai added that the demonstration reflected the growing demand for dependable wireless systems as the Middle East and Africa region prepares to host an increasing number of large-scale sporting and entertainment events over the coming decade. www.planetworld.co.za www.shure.com/en-mea
NMoQ upgrades with Panasonic and Hive QATAR
The National Museum of Qatar (NMoQ) is upgrading its immersive AV infrastructure with 128 Panasonic PT-RQ25K 3-chip DLP laser projectors and a Hive media server platform. The move is designed to improve operational efficiency, sustainability and long-term visitor experiences. Delivered in partnership with Secuoya QFC and BGL audiovisual, the installation features 172 Hive Beeblade media engines driving projection mapping and synchronised playback across 10 galleries. The system processes more than 21 billion pixels of visual content every second, supporting immersive storytelling throughout the museum. Designed by architect Jean Nouvel, the National Museum of Qatar combines large-scale projection, exhibition design and artefacts to tell the story of the country’s history, culture and future development. As part of the upgrade, all 128 projectors are being replaced with Panasonic’s PT-RQ25K 20,000-lumen 4K laser models. Each projector incorporates Hive’s embedded technology via the Intel SDM slot, eliminating the need for external media servers and reducing cabling, installation complexity and potential points of failure. The distributed playback system comprises 150 Beeblade Pluto media engines, 30 Beeblade Minima media engines and 14 Beehive enclosures, delivering 8K 10-bit HEVC playback, projection mapping and
Image courtesy of Antonio Pagano
site-wide scheduling. Projection alignment and edge blending are managed using VIOSO software, while Hive provides centralised monitoring, reporting and control. “Hive’s media servers proved to be an outstanding solution for a project of this scale and complexity,” said Pedro Jiménez Train, operations manager at Secuoya QFC and BGL audiovisual. “The platform is intuitive to operate, integrates seamlessly with the wider AV architecture and delivered
significant rack space and installation efficiencies. What stood out most was Hive’s collaborative, solutions-driven approach. Large-scale permanent projection environments inevitably present technical challenges and the team consistently worked alongside us to find practical and reliable solutions throughout the project.” Anthony Molloy, division head MEA at Panasonic Projector & Display, added: “The National Museum of Qatar remains one of
the pioneering examples of how technology and storytelling can be combined at scale. Specifically, the upgrade to PT-RQ25K projectors provides significantly greater brightness than the projectors they are replacing. This improves energy efficiency, reduces operational demands and helps extend the lifespan of the installation. Combined with Hive’s distributed media architecture, which simplifies content management, monitoring and control across the entire site, the result is a highly efficient and future-ready platform for immersive storytelling.” For Hive, the project represents a major milestone and a reference for immersive cultural installations worldwide. “One of the biggest achievements of the project was simplifying what had previously been an extremely complex projection environment,” added Mark Calvert, CEO of Hive. “From the visitor’s perspective the experience is visually richer than ever, but behind the scenes the system is now far easier to operate, maintain and scale long term. The National Museum of Qatar stands as a benchmark for immersive cultural experiences worldwide and we’re proud that Hive technology plays such a central role in bringing that vision to life.” eu.connect.panasonic.com www.hive.run www.secuoyacontentgroup.com
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NEWS
XSL debuts at Jordan Independence Day JORDAN
TriTec AV has deployed its d&b audiotechnik XSL system for the first time in Jordan, supporting the country’s official 80th Independence Day celebrations in Amman. The event featured live orchestral music, choir performances, playback video content and a keynote address from His Majesty King Abdullah II, requiring a sound system capable of delivering clear speech, consistent coverage and reliable performance in a live broadcast environment. TriTec AV supplied an L-R main PA comprising 10 XSL8 loudspeakers per side, supported by four flown XSL-SUBs behind each array, while XSL12s provided coverage for the front row and central audience areas. Marwan R Abujaber, CEO and owner at TriTec AV, commented: “Introducing the d&b XSL System to Jordan at such an important national event allowed us to demonstrate the system’s power, clarity and control in a truly meaningful setting. The cardioid performance made a major difference onstage, especially
with the orchestra and choir, while the system delivered the speech intelligibility and musical quality required for an event of this importance.” Sound engineer and systems designer Najib AlBakhit utilised the XSL System’s cardioid
Auditoria navigates complex festival audio MOROCCO
Auditoria delivered audio engineering services for two sold-out performances by Sami Yusuf and the Fons Sophiae Collective at the 29th Fès Festival of World Sacred Music, overcoming a series of technical challenges posed by the historic Moroccan venue and the programme’s diverse instrumentation. Held at Bab al Makina in Fès, the performances welcomed audiences of more than 5,000 people per night and featured
appearances from Moroccan artists Nabyla Maan and Sidi Ismael Bouja. The production combined sacred, Andalusian and traditional musical styles, requiring an audio approach capable of preserving the character of numerous acoustic instruments while providing consistent coverage across the outdoor venue. Rather than travelling with a full touring audio package, the production utilised equipment supplied locally by Moroccan provider Kilmi. Auditoria adapted its workflow around the available infrastructure, deploying Yamaha CL5 consoles and RIO stageracks alongside a travelling package of recording, show control and specialist microphone systems.
capabilities to reduce sound energy onstage and minimise spill into open microphones. AlBakhit said this improved microphone stability contributed to greater clarity across both the musical performances and spoken word elements of the ceremony.
To achieve even coverage throughout the audience area, d&b ArrayProcessing was employed to help maintain consistent sound distribution, tonal balance and high-frequency coverage across the venue. During the keynote address by King Abdullah II, the system was used to provide vocal intelligibility while supporting the broader production requirements of the event. The setup was complemented by T-Series loudspeakers for side fills, while six M2 stage monitors were deployed for performers and dancers. The system was powered by D80 amplifiers, with Dante networking. “It’s great to see TriTec AV putting their new XSL System to such a prestigious first use,” said Brad Maiden, general manager, d&b Middle East. “We’re delighted to see them expand their inventory and we look forward to them delivering many more events such as this.” www.dbaudio.com www.tritecav.com
Harmonic completes sale of its video business WORLD
The team also worked within the constraints of the festival’s fixed venue design and existing Adamson E15 loudspeaker system, focusing on optimisation and tuning rather than altering the physical deployment. Attention was paid to the reinforcement of traditional instruments, many of which were never designed for amplified performance. A combination of bespoke microphone selections, contact microphones and Bricasti
M7 reverbs was used to maintain natural tonal characteristics while ensuring intelligibility and consistency throughout the venue. “One of the most interesting aspects of working with Sami Yusuf is that so many of the instruments were never intended to be amplified,” said Ethan Curry, audio consultant at Auditoria. “The challenge is always finding the best way to preserve the natural sound and character of each instrument while ensuring it translates effectively to the audience.” www.adamson.ai auditoria.systems
Harmonic has completed the sale of its video business to MediaKind for US$145mn in cash, marking a significant step in the company’s transition to a pure-play broadband technology provider. The transaction sees MediaKind acquire Harmonic’s video operations as the latter sharpens its focus on its virtualised broadband portfolio. The
focus and capital towards broadband, where our established footprint with the world’s largest operators positions us as a leader in the industry’s shift to virtualised software-defined broadband networks powered by intelligence capabilities.” The move concludes a strategic shift for Harmonic, which has increasingly focused on broadband infrastructure
purchase price remains subject to net working capital and other customary post-closing adjustments. According to Harmonic, the divestiture will allow the company to concentrate resources and investment on its broadband business, which has reportedly become the fastest-growing
technologies in recent years. The company’s cOS platform is deployed by service providers worldwide and currently supports broadband services delivered to nearly 46 million customer premises equipment (CPE) devices across North America, Europe, Latin America and Asia.
segment within its portfolio. The deal also strengthens Harmonic’s balance sheet and provides additional capital to support future innovation and expansion. “The completion of this transaction is a pivotal moment for Harmonic,” said Nimrod Ben-Natan, president and CEO of Harmonic. “We now turn our full
Harmonic cited its position in cable broadband equipment, virtual CMTS and distributed access architecture (DAA) markets as key factors underpinning its growth strategy moving forwards. www.harmonicinc.com www.mediakind.com
www.yamaha.com/2/proaudio
8 PRO AVL MEA September–October 2026
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SCALABLE NETWORKING SIMPLIFIED.
Whether deploying a redundant or primary-only network topology, the MS8.2 Milan network switch is perfectly suited to simplify mobile, installed systems and spatial audio applications.
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NEWS
D
AV Company expands Robe inventory
SO
SOUTH AFRICA
South African production specialist AV Company has expanded its Robe lighting inventory with additional ESPRITE moving lights and LEDBeam 350 fixtures, supporting a growing programme of corporate events, concerts and live productions across the country. Headquartered in Durban, with additional operations in Johannesburg and Cape Town, AV Company provides lighting, audio, LED screens, staging, rigging and power for corporate events, live entertainment and touring productions. The company took delivery of its first eight ESPRITE fixtures from South African distributor DWR at the beginning of 2025. Following their deployment across multiple productions, AV Company has since added four more ESPRITE luminaires and a further 16 LEDBeam 350
fixtures, bringing its total LEDBeam 350 inventory to 32 units. The company now owns more than 80 Robe moving lights, with equipment shared between its three branches as required. The investment has already been utilised on several high-profile projects. The ESPRITE fixtures were recently specified for the South African Medical Association (SAMA) Health Summit at the Southern Sun Elangeni & Maharani hotel in Durban, where they were used for conference lighting requiring high output and precise shutter control. The fixtures also formed part of the lighting rig for singer-songwriter Lloyiso’s Elephant in the Room concert at Moses Mabhida Stadium in Durban, a stop on the artist’s national tour. Designed by Keegan Adams, the lighting system
Image courtesy of Louise Stickland
L–R: Craig Browning, Thabiso and Yan Margestein of AV Company incorporated 16 ESPRITE fixtures alongside 36 LEDBeam 350s, 24 LEDBeam 150s, 12 Pointes and LEDWash 600 luminaires. AV Company also supplied an L-Acoustics sound system for the event. Craig Browning, co-owner of AV Company, said the ESPRITE fixtures had proved well-suited to both corporate and concert applications,
while the LEDBeam 350’s compact size, zoom capability and low power consumption made it particularly effective for conference work and other indoor events. www.avcompany.co.za www.dwrdistribution.co.za www.robe.cz
MultiDyne obtains MRMC assets WORLD
MultiDyne Video & Fiber Optic Systems has acquired the assets of Mark Roberts Motion Control (MRMC). As part of the transaction, the former has established MultiDyne Robotics and Motion Control, a new company that will maintain the MRMC brand. The acquisition brings MRMC’s core technologies, intellectual property, manufacturing capabilities and key engineering expertise into the MultiDyne organisation, creating a combination of complementary technologies that extend MultiDyne’s reach to the beginning of the content creation chain. “This acquisition represents a natural and highly strategic extension of our business,” said Frank Jachetta, CEO of MultiDyne. “MultiDyne has long been focused on the transport, processing and management of video, audio and data signals. MRMC places us at the point of image acquisition itself, allowing us to participate in a much broader portion of the production workflow. Together, our technologies create
Frank Jachetta of MultiDyne a powerful end-to-end ecosystem for content creators, broadcasters and live production professionals worldwide.” Unlike many industry acquisitions, the MultiDyne and MRMC product portfolios have
virtually no overlap. Instead, the two companies serve many of the same customers, channel partners and markets with complementary technologies. MultiDyne’s fibre-optic transport, camera interface and signal processing solutions
are widely used throughout professional production environments to move video, audio and data across complex infrastructures. MRMC’s robotic camera systems, tracking solutions, motion control rigs and automated production technologies complement those workflows by controlling the physical movement, positioning and automation of the cameras themselves. Neil Maycock, a member of the MultiDyne leadership team, will run MRMC as managing director. “Our priority is ensuring continuity for customers, partners and ongoing projects while creating a strong foundation for future growth,” he said. “We see tremendous opportunities to expand the reach of MRMC technologies through MultiDyne’s global sales channels, customer relationships and long-term investment strategy.” www.mrmoco.com www.multidyne.com
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Thomsun hosts Crestron training UAE
Thomsun Trading Establishment recently hosted a Crestron training session at its Learning & Experience Centre in Al Quoz, Dubai, bringing together systems integrators and AV consultants for technical updates on the manufacturer’s latest collaboration, control and AV-over-IP technologies. The event formed part of Thomsun’s ongoing programme of technical education, which is designed to support partners across the UAE through regular workshops, product demonstrations and hands-on training. The session covered a broad range of Crestron systems, including DM NVX AV-over-IP, DM Essentials, collaboration and video conferencing platforms, intelligent video and audio, room scheduling, control systems, cloud management, and lighting and shading technologies. Live demonstrations and practical exercises gave attendees the opportunity to explore system configuration, control workflows and integration techniques in a real-world
environment, while discussing project requirements directly with the technical team. Particular attention was given to Crestron’s collaboration technologies, including Collab Compute and Intelligent Video, reflecting growing
demand for meeting spaces that incorporate advanced camera tracking, intelligent framing and integrated conferencing platforms. Thomsun’s dedicated Learning & Experience Centre serves as a hub for product
demonstrations, partner education and technical support. The company regularly hosts similar sessions both at the facility and at customer sites as part of its wider technical engagement programme.
10 PRO AVL MEA September–October 2026
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NEWS
Dr Victor chooses L-Acoustics for touring SOUTH AFRICA
South African musician Dr Victor Khojane, frontman of Dr Victor & The Rasta Rebels, has upgraded the band’s touring audio system with an L-Acoustics setup supplied by DWR Distribution, replacing a PA that had been in service for almost two decades. The investment includes A15 Focus loudspeakers, KS21 subwoofers, LA4X amplified controllers, A-TILT accessories and KS21PLA dollies, alongside cabling, cases, bags and stage decks. Khojane said the decision followed years of working with L-Acoustics systems at events across South Africa: “I fell in love with the L-Acoustics system when I heard Fourplay at Carnival City’s Big Top Arena almost 15 years ago. The band was good, but the sound was amazing.” According to the musician, the brand’s previous PA had served them well for many years but was slowly ageing and starting to lack power and clarity. “We do a lot of gigs on various L-Acoustics models across the country, from corporates to festivals, and we are always in awe of the sound of the L-Acoustics system,” he added. “Our sound engineer, Brent Moses, is a huge fan of the brand, especially with its deceivingly small size but powerful output, which is perfect for our crew. The A15s and KS21s are perfect for our gigs, from school halls, parties to corporates.” The system will primarily support performances in Gauteng and destinations within a five-hour drive of Johannesburg. “It’s very important that the speakers sound musical to me and we get just that with the A15 and KS21 combination,” Khojane said. “L-Acoustics is a respected brand and
we get a lot of compliments from our clients and fans.” Reflecting on a career spanning more than four decades, Khojane said keeping the band’s live show fresh has been key to its longevity: “I try to record new material whenever I can and keep rehearsing to keep the band tight. Also, we’re a hybrid band that always tries to keep up with the latest trending musical styles at our gigs. You have to keep it interesting for the fans. Music is a beautiful thing. I’m so grateful for the gift of music.” www.dwrdistribution.co.za www.l-acoustics.com
As Crestron’s portfolio continues to expand, the training was intended to help partners stay current with product capabilities, deployment practices and system integration techniques. The event also highlighted the role of distributor-led education in supporting the region’s AV market, with Thomsun combining product supply with technical training, commissioning support and solution development for integrators throughout the UAE. By continuing to invest in practical training initiatives, Thomsun aims to equip partners with the knowledge required to design, deploy and support increasingly connected AV environments using Crestron’s latest technologies.
sts www.crestron.com www.thomsun.com/ electronicsdistribution
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NEWS
Elation illuminates Morocco’s DGSN anniversary MOROCCO
Elation lighting fixtures played a key role in the production of Morocco’s 70th anniversary celebrations for the General Directorate of National Security (DGSN) in Rabat which was attended by thousands of guests and broadcast to wider audiences. Taking place on the Atlantic coastline, the large-scale outdoor event combined ceremonial and parade elements with a contemporary show production approach, transforming the annual celebration into a broadcast-ready spectacle. Lighting design was handled by Concept K, led by lighting, set and multimedia designer Frédéric “Aldo” Fayard, working alongside artistic director Stéphane Thiodat of SC Production. To deliver the production, Concept K utilised an extensive Elation lighting package supplied by Novelty/Dushow Group, including 155 Proteus Maximus fixtures, 78 Proteus Hybrid luminaires and 160 SŌL I Blinders. Concept K was responsible for the lighting design, programming and deployment, as well as laser and fountain effects. The production site incorporated a main stage, six towers and a large guest tent, supporting a parade featuring police units, vehicles, mounted divisions and canine teams. According to Fayard, the first challenge was the sheer scale of the show: “We had to illuminate an area equivalent to two football fields filled with people, vehicles, horses and military equipment. At the same time,
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we needed to provide sufficient brightness for the thousands of VIP guests and meet the requirements of the broadcast team and their cameras. It was essential to highlight and enhance the police forces during this important 70th anniversary celebration.” Due to its proximity to the ocean, the outdoor location presented additional challenges such as exposing equipment to dust and moisture. To combat this, weatherproof fixtures formed a key part of the specification. “We needed fixtures that were completely dust-tight and waterproof,” Fayard
confirmed. “For key and side lighting, we were looking for a very powerful fixture with a narrow zoom capable of covering long distances.” Fayard added that the Proteus Maximus fixtures met the project’s requirements for output, coverage and environmental protection, while the Proteus Hybrid luminaires provided beam and spot effects across the site. “We’ve worked with the Proteus Hybrid many times before,” Fayard noted. “Its IP65 rating and true hybrid functionality were its key criteria. There are very few fixtures capable of delivering
both beam and spot performance while also offering the reliability needed for outdoor events.” The production also made extensive use of 160 SŌL I Blinders for backlighting, effects, colour rendering and visual accents throughout the show. “It’s lightweight, easy to rig, efficient, RGBLAW, offers a wide beam angle, carries an IP65 rating and delivers exceptional value,” Fayard noted. “The SŌL I is a true multitool – we love it.” www.ckv2.com
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www.elationlighting.com www.groupe-novelty.com
DiGiCo takes Gorillaz up the mountain
MIDDLE EAST
Gorillaz has taken its Mountain World Tour through Türkiye, Central Asia and India, with the production team relying on a pair of DiGiCo Quantum852 consoles to manage what has been described as one of the most complex live audio workflows currently on the road. The tour featured shows in Istanbul, a performance in Kazakhstan and the band’s first-ever performances in India. Supplied by rental specialist Entec Sound and Light, the audio system centres on DiGiCo
Quantum852 consoles at both front of house and monitor positions, supporting a production that combines the Gorillaz live band with a rotating roster of guest performers at each show. Front of house engineer Matt Butcher and monitor engineer Dave Guerin are managing significant channel counts throughout the tour, with a minimum of 165 inputs at front of house and up to 290 inputs and 130 outputs at monitors. “There are lots of reasons to use a DiGiCo, but we use the Quantum852 for Gorillaz
because no other manufacturer makes a console that can do what a DiGiCo does,” said Butcher. “We can edit really quickly on the Q852, it has the redundancy we need and we can cater for any type of record or broadcast feed request.” The audio system also includes a Quantum326 for playback, while Butcher is using a Fourier transform.engine alongside a small selection of external effects processors. “The Fourier works well,” he noted. “We have
a lot going on with multiple Optocore loops and huge channel counts, and it’s solid throughout.” At monitors, Guerin has developed a suite of custom applications designed to streamline control of the production. The apps allow musicians and technicians to manage their own mixes via iPads while providing flexible routing options across the audio system. “I’ve created multiple apps now: Faders, Doris, Changes and SetList,” explained Guerin. “Each one has a different purpose, so because DiGiCo consoles only connect to a single external app, I designed Router which enables all the apps to connect to the console via a single application.” With a large live band, guest artists and choir performances featured throughout the tour, both engineers cited workflow efficiency and reliability among the key reasons for selecting the Quantum platform. “The DiGiCo ecosystem is rock solid and works very conveniently for rack sharing and multiple inputs,” explained Butcher. “The high input count works well. It serves our purposes and sounds great.” Guerin also highlighted the support provided by both DiGiCo and Entec Sound and Light as an important factor in the tour’s continued operation, noting the availability of technical assistance both on the road and from the manufacturers’ support teams. www.digico.biz www.enteclive.com
12 PRO AVL MEA September–October 2026
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KLSTR and Golden Sea join forces WORLD
KLSTR Technologies has signed a technology cooperation agreement with Golden Sea, Guangzhou Haoyang Electronic – the publicly listed parent company of Ayrton, SGM, Terbly and GS ARC – to develop intelligent networking technologies for professional lighting. The agreement was signed during a ceremony at Golden Sea’s headquarters in Guangzhou, China, with senior representatives from both companies in attendance.
well as how they are commissioned and managed throughout their entire lifecycle. We believe intelligent networking will become a fundamental part of the next generation of professional lighting products.” Gordon Huang, R&D director at Golden Sea, added: “Golden Sea has been at the forefront of innovation in our industry for many years. This is therefore a natural fit. We are excited to be working alongside KLSTR and look
The partnership builds on an existing collaboration between KLSTR and Ayrton and expands the scope of cooperation across the wider Golden Sea group. The companies said they will explore technology integration opportunities and collaborate on future development projects. Golden Sea manufactures professional entertainment lighting products for the touring, live events, broadcast, theatre and architectural sectors. KLSTR has developed a networking platform that enables lighting fixtures to function as intelligent network devices with features including automatic discovery, remote configuration, topology mapping and real-time diagnostics. “This agreement represents an important milestone for KLSTR,” said Roel Apers, founder of KLSTR. “Golden Sea has built one of the strongest manufacturing groups in our industry. Together, we can redefine how lighting fixtures communicate, as
forward to deploying this ground-breaking technology for the benefit of all our partners.” According to the companies, the agreement establishes a framework for engineering collaboration, product evaluation and future technology development. Additional announcements covering product integrations and joint initiatives are expected as development programmes progress. Both parties believe that the partnership reflects growing interest in connected lighting infrastructure, with manufacturers increasingly integrating networking capabilities into fixtures to support remote monitoring, diagnostics and predictive maintenance. The companies said these developments have the potential to simplify deployment and maintenance while improving operational reliability for rental providers, production companies and end users.
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Redge enhances World Cup coverage ISRAEL
Redge Technologies expanded its digital broadcasting platform for the Israeli Public Broadcasting Corporation (IPBC) for the 2026 FIFA World Cup, adding sports-focused features for live and on-demand viewing. The project built on Redge’s partnership with KAN and local technology partner AVCOM. KAN broadcast the tournament in 4K, with Redge developing features for large-scale live sports coverage. EnhancedLIVE provided an interactive match timeline, allowing viewers to jump to goals, penalties and cards, using event data from WSC Sports. Redge also introduced vertical video highlights and a Moments feed, while Match Detail pages consolidated
streams, highlights, interviews and statistics. Statscore supplied match data, while content recommendations surfaced related programming across KAN’s digital ecosystem during coverage. www.redge.com
September–October 2026 PRO AVL MEA 13
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NEWS
Aura Vision enhances PMU SAUDI ARABIA
Aura Vision has completed a series of LED display installations at Prince Mohammad Bin Fahd University (PMU) in Saudi Arabia, supplying display technology for teaching spaces, digital signage and the university’s Security Command Centre. Working with systems integration partner Enpro and distributor Venuetech, the European LED display manufacturer delivered a range of solutions tailored to different applications across the campus. The university’s two main lecture theatres have been equipped with COMET-C 0.9 fine-pitch LED displays measuring 4.88m x 2.75m. The screens provide presentation and teaching platforms for lectures and academic
events, with pixel-to-pixel colour calibration and reduced blue light technology designed to improve viewing comfort during extended sessions. Elsewhere on campus, COMET-G LED banner displays have been installed in circulation areas and outside classrooms to provide digital signage for timetables, announcements and campus information. Aura Vision also supplied a custom curved
COMET-C 1.2 videowall for the university’s Security Command Centre, enabling operators to monitor CCTV feeds and manage campus security. The installation incorporates a curved support structure and flip-chip COB technology to provide consistent viewing angles across the control room. “At PMU, each space had its own operational requirements, so we selected technology that reflected how it would be used from teaching and communication through to continuous security monitoring,” explained Ricardo Teixeira, technical director, Aura Vision. Ali Saab, video division manager at Venuetech added: “One of the strengths of the project was being able to use Aura Vision’s
LED portfolio across different environments while selecting the most appropriate solution for each application. Having confidence in the performance of the product range meant we could focus on specifying the right solution for each space.” www.auravision.es itd.enpro.com.sa www.venuetech.ae
Hippotizer powers Glory in Giza EGYPT
Green Hippo’s Hippotizer media servers were used to deliver synchronised multiscreen video playback for Glory in Giza, a boxing event staged against the backdrop of Egypt’s Great Pyramids. HiLights Group was responsible for the event’s technical production, creating a visual experience designed for both the live audience and global broadcast viewers. The event featured unified heavyweight champion Oleksandr Usyk facing kickboxing champion Rico Verhoeven, with Usyk emerging victorious. The production integrated Hippotizer media servers with a video processor to drive a network of high-resolution Visiotek PH3.9 outdoor LED displays spanning hundreds of square metres across the venue. The platform enabled synchronised playback of live camera feeds, graphics and pre-produced content across the site’s multiple display surfaces. For Ahmed Mohsen, head of video at HiLights Group, the production centred on making the venue itself part of the visual narrative. “The creative and technical brief was centred around a singular, monumental objective – to elevate the Great Pyramids of Giza not merely as a passive backdrop, but
as the primary, living architectural protagonist of the entire spectacle.” The deployment utilised Hippotizer’s ZooKeeper software to monitor and control primary and backup media servers from a central location, while Mix Presets allowed operators to instantly recall complete visual states during the live production. Pin Bridge technology synchronised the media servers with the lighting and show control systems. According to Mohsen, “a true standout moment for the video department was the execution of the high-energy, theatrical fighter walkouts. Video content was distributed across vertical LED screens, large-scale display walls and LED floor surfaces, creating distinct visual identities for each athlete as they approached the ring.” Leveraging Hippotizer’s multicontroller and multimix architecture, the production team programmed separate media timelines, effects and output mappings across multiple display surfaces, all triggered simultaneously from a single cue. Integration via Pin Bridge ensured video, lighting and audio operated in synchronisation throughout the event. www.green-hippo.com www.hilightsgroup.me
CTME delivers President’s Cup production UAE
Creative Technology Middle East (CTME) delivered the lighting, video, projection, audio and show control infrastructure for the 2026 President’s Cup Final in Abu Dhabi, supporting both the football match and its opening and closing ceremonies. Working with LD Roland Greil of 360 Degree Collective, CTME installed a stadium-wide lighting system using fixtures from Robe, Elation and Ayrton, including Robe iFORTE, iFORTE LTX, iESPRITE LTL and Proteus Excalibur luminaires. Lighting control was managed via three MA Lighting grandMA3 full-size consoles and two grandMA2 light consoles operating on a fully redundant MA Lighting network over a Luminex backbone. The production also incorporated four Robe RoboSpot remote followspot systems with FS camera tracking on iFORTE LTX fixtures, enabling operators to provide key lighting while maintaining clear sightlines throughout the stadium. A key element of the lighting design saw Astera Titan Tubes integrated directly into the Disguise media server environment as
video outputs, allowing lighting effects to synchronise with projected and LED content. DMX data was routed through Luminex Luminode processors before being distributed wirelessly using LumenRadio Aurora CRMX transmitters.
The visual system included a 200m2 ROE Visual Vanish 8T LED screen alongside 24 Panasonic PT-RZ31K laser projectors used for large-scale projection mapping across the pitch. “Together, the LED and projection systems formed a unified visual environment capable
of delivering impactful content across multiple surfaces while maintaining complete synchronisation throughout the show,” said Carlos Aguilar, head of video at CTME. At the heart of the show control system were dual Disguise VX4 media servers handling content playback and synchronised outputs across the LED screen and projection system, supported by redundant fibre transport and video routing infrastructure. For audio, CTME deployed d&b audiotechnik XSL, V-Series, AL-Series, T10, Y-Series and SL-Series loudspeakers throughout the venue, complemented by a DiGiCo Quantum 225 Pulse, DirectOut Prodigy MP playback system and Shure Axient wireless platform. The wider production was supported by a redundant IP network, Riedel intercom systems and broadcast-grade wireless communications, providing resilient connectivity for event operations, production teams and broadcast throughout the venue. www.ct-group.com/me
14 PRO AVL MEA September–October 2026
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NEWS
GudSound invests in d&b V-Series SOUTH AFRICA
Stage Audio Works (SAW) has supplied Durban-based technical provider GudSound with a d&b audiotechnik V-Series line array system, marking the company’s first investment in the German manufacturer’s technology. The system comprises 20 V8 and four V12 line array elements, 16 B22 subwoofers and eight D40 amplifiers. Stage Plus cabling, flight cases and integrated power distribution have also been supplied to support transport and deployment. “For us at GudSound, investing in a d&b audiotechnik sound system through Stage Audio Works is about much more than just adding new equipment to our inventory,” said Leepy Shabangu, CEO at GudSound. “It represents the next step in our journey as a company and our commitment to raising
the standard of production we deliver to our clients.” According to GudSound, the investment was driven by growing demand for globally specified systems on technical riders, alongside a requirement for greater consistency and control across different event formats. The combination of V8 and V12 elements provides flexibility when configuring arrays for different audience geometries, while the D40 amplifiers provide system processing and load monitoring. The V-Series system can be scaled for large outdoor events and indoor productions. www.dbaudio.com www.gudsound.co.za
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Staras makes major Martin Pro purchase MIDDLE EAST
Staras Electronic Equipment Rental has expanded its rental inventory with an investment of more than 400 Martin Professional lighting fixtures, strengthening its capabilities for live events, touring productions, corporate events and entertainment projects across the UAE and the wider Middle East. The order includes MAC One and MAC One Beam fixtures, alongside MAC Aura PXL wash lights and Atomic 3000 LED fixtures. The investment builds on the long-standing relationship between Staras and Martin Professional Middle East, with the two companies citing ongoing technical collaboration and product support as key factors behind the agreement.
“This investment says a great deal about the strength of the relationship and the shared belief in the future of our industry,” said Bilal Assidi, regional sales director, Martin Professional Middle East. “Their willingness to invest now demonstrates confidence in the future of the UAE events market and a determination to be ready to support customers at the highest level when activity returns at full pace. This investment reinforces our shared belief in the resilience of the UAE, the strength of its leadership and the long-term future of the live events and entertainment industry.” www.martinpro-me.com www.staras.com
16 PRO AVL MEA September–October 2026
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NEWS
AVIXA partners with SynAudCon on market research WORLD
AVIXA has partnered with SynAudCon to offer a series of online professional audio training courses, expanding access to technical education for AV professionals worldwide. Available through AVIXA, the programme includes four self-paced courses covering sound system fundamentals, audio principles, transformer distributed loudspeaker systems and digital signal processing (DSP). The courses are designed for professionals at different stages of their careers, from those new to audio through to experienced practitioners looking to strengthen their technical knowledge.
The courses use animations, demonstrations, interactive calculators and practical examples to explain core audio concepts and their real-world applications. Each course also includes 90 days of on-demand access, allowing participants to complete the material at their own pace.
Pat Brown, president of SynAudCon, added: “This partnership harnesses AVIXA’s extensive experience for providing training for the pro AV industry with our courses that cover the fundamental principles that all audio technologies are built upon.” In addition to the online training, each purchase includes a one-year membership to SynAudCon’s online forums, where audio professionals can discuss technical topics and share industry knowledge.
Pam Taggart, vice president of content creation at AVIXA, said: “This agreement creates a seamless pathway to professional audio education and helps build stronger technical foundations, supporting talent development across the pro AV industry.”
www.avixa.org www.prosoundtraining.com
MORE INFO
Riedel announces SKAARHOJ integration WORLD
Riedel Communications has introduced official support for SKAARHOJ control panels in SimplyLive production workflows through the latest SimplyLive 2.1 software release.
The integration adds hardware-based control to SimplyLive, complementing the platform’s touchscreen interface and existing RCU-based workflows. It enables operators to control functions including source and programme switching, transitions, auxiliary outputs, keying, graphics and macros using SKAARHOJ panels.
According to Riedel, the addition responds to demand for dedicated hardware control in live production environments, particularly where operators require the familiarity and speed of a traditional switcher panel.
“SKAARHOJ was the obvious partner for this integration because of their strong reputation for high-quality products designed with the user in mind,” said Paul Macklin, senior product manager, SimplyLive at Riedel Communications. “Their collaborative approach allowed us to tailor the solution
around the specific needs of SimplyLive operators.” The companies have also developed a preconfigured starting setup designed to simplify deployment while allowing users to adapt the system to their production requirements. Kasper Skårhøj, CEO at SKAARHOJ, added: “Having previously integrated with Riedel SmartPanels and MediorNet, this is another great example of how our technologies can come together to create new and flexible workflows. While the solution is tailored for the Master Key 48, users can choose any SKAARHOJ panel that best fits their production needs.” www.riedel.net www.skaarhoj.com
September–October 2026 PRO AVL MEA 17
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NEWS
Unilumin partners with Abay University KAZAKHSTAN
Unilumin has signed a Memorandum of Understanding (MoU) with Kazakhstan’s Abay University to collaborate on smart education initiatives, joint research laboratories and talent development, supporting the country’s wider digital transformation agenda. The agreement aligns with Kazakhstan’s designation of 2026 as the “Year of Digitalization and Artificial Intelligence” and supports Abay University’s efforts to accelerate digital education while strengthening collaboration between academia, research institutions and industry. Established as Kazakhstan’s first university, Abay University is one of the country’s leading teacher training institutions and is recognised for its role in educational development. The signing ceremony was moderated by Banu Narbekova, vice-rector for academic affairs at Abay University, with representatives from both organisations discussing educational innovation,
L–R: Banu Narbekova and Breeze Ho collaborative research, talent cultivation and university-industry cooperation. University representatives also highlighted Abay University’s recent achievements in
institutional development, academic disciplines and international rankings. Attendees included Ertai Sultan, vice-rector for research and innovation; Nurken Musabayev, vice-rector for
digital transformation; Karim Baigutov, dean of the faculty of arts; professor Liu Wenbin; and members of the university’s International Cooperation Department. The Unilumin delegation was led by Breeze Ho, GM of the company’s international sales and service centre, who outlined the manufacturer’s research and development capabilities, technology portfolio and global operations, which span more than 160 countries and regions. Ho said Unilumin would leverage its technological expertise, industrial capabilities and global resources to provide university students with internship, practical training and employment opportunities. The company also plans to offer selected opportunities at its manufacturing facilities in China and support the development of joint university-industry education programmes. www.unilumin.com
Absen deployed for Kiss LEA drives learning at Kiss Festival GEMS Dubai SOUTH AFRICA
Cape Town’s Castle of Good Hope provided the backdrop for this year’s Kiss Kiss Festival, where Ultra Event Technical Solutions supplied a large-format Absen LED display as part of the technical production for the music event. Working alongside production company Golden Circle, Ultra Events installed 120m² of Absen NT3.9W V2 lightweight outdoor LED panels to create the festival’s main visual backdrop. Headlined by UK electronic duo
technical and production companies, like Golden Circle, it always hits home why we do what we do,” commented Costa Champanis, founder of Ultra Events. “Seeing people enjoy the beautiful weather, good food, music and the spirit of being together is incredibly rewarding. I am really proud of the Ultra technical team. With an event like this, there is definitely a strong sense of camaraderie amongst everyone. They set up the LED display in
UAE
Basement Jaxx, the festival also featured performances from Mr Cutts, Internet Girl, Mafikizolo, DJ Ready D plus Desmond and the Tutus. First launched by Cape Town venue Blondie in November 2025, the Kiss Kiss Festival has established itself as a culture-focused event, bringing together live music, food and production technology in the city’s historic centre. This year’s edition was themed “Where’s Your Head At” – the title of Basement Jaxx’s hit song. “When we have the privilege of working on events like these, alongside other tremendous
just one day. The units are lightweight and user-friendly but, more importantly, they have creatively changed the way events are brought together.” Video content for the display was created by Bad Weather, while Golden Circle managed the event’s technical production, sound and lighting. The lighting system featured fixtures from Robe Lighting and ADJ, controlled by Matthew Mitchell using an MA Lighting grandMA3 lighting console. www.absen.com www.ultraevents.co.za
LEA Professional has supplied amplification for specialist learning environments at GEMS School of Research and Innovation in Dubai, with systems integrated by Granteq to support collaborative and immersive education. The project saw Granteq deploy the manufacturer’s Connect Series 352 (CS352) amplifiers across the school’s STEM Lab, Reading Lounge and Immersive Room, where each space required different audio capabilities to support teaching, presentations and interactive learning. The installation formed part of the development of the Dubai campus, which combines technology enabled classrooms with dedicated learning environments designed for a range of educational activities. “The school wanted a reliable, high-performance AV system that could support a modern education environment where technology is part of everyday learning,” said Girish Narayanan, managing director at Granteq. “The challenge was to make the technology powerful enough for each space while keeping it simple and dependable for daily use by teachers and staff. We chose LEA amplifiers because in an education environment, the system has to work every time.”
Granteq installed multiple Connect Series 352 amplifiers to power the three learning spaces. The 2-channel amplifier delivers 350W per channel and supports both Hi-Z (70V/100V) and Lo-Z operation on a per-channel basis, allowing different loudspeaker types to be used without separate amplifier platforms. The Connect Series also includes integrated 96kHz DSP. The amplifiers feature LEA Cloud remote management, enabling system monitoring and control over a network without subscription fees and allowing integrators to manage installed systems remotely. According to LEA Professional, the audio systems are used to support presentations, demonstrations, collaborative learning sessions and immersive educational experiences across the campus. “With more than 20 years of experience in the AV industry, we continuously evaluate technologies based on reliability, network capability, DSP features, ease of configuration and long-term support,” said Narayanan. “LEA was a strong fit for the modern, networked AV environments required at GEMS School and we look forward to using them again in future projects.” www.granteq.com www.leaprofessional.com
18 PRO AVL MEA September–October 2026
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GO FAR BEYOND STANDARD CABINET PROTECTION. SHADOW 142L, 108CT, 112CT, 112HC/HCT, and 114S/ST rely on an advanced multi-layer weatherproofing system engineered directly into the cabinet design. From an outer hydrophobic water-stop grille that repels water without dampening acoustic performance, to internal moisture barriers, waterproofed driver cones, and UV-resistant rotomolded enclosures, moisture never gets a chance to touch critical components. This robust IP55-rated protection system ensures that whether you are specifying point-source models like the 108CT, 112CT and 112HC/HCT, line array modules like the 142L, or low-end reinforcement with the 114S/ST subwoofer, your installation delivers high speech intelligibility and long-term reliability in stadiums, theme parks, cruise ships, or indoor pools. No matter what nature throws at it.
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NEWS
PRG bolsters EMEA inventory EMEA
PRG has expanded its production technology inventory across EMEA with investments in audio, video, lighting and supporting infrastructure, strengthening its ability to support productions across its regional network. According to PRG, the expansion comes as the company responds to growing demand across its global markets, and it also broadens the technology available to PRG’s teams and clients across the wider EMEA region.
In audio, PRG has added Adamson’s Vergence Group VGt and VGx loudspeaker systems to its inventory, while increased numbers of Yamaha DM7 consoles, CTL-DM7 controllers and Rio-D3 stageboxes will also be available across EMEA. The company’s video investments include adding AURA LED to its long-term inventory following demand from corporate, exhibition and broadcast projects. The company has also expanded its lighting stock with GLP TWYN, JDC Burst 1 and impression X5 IP Maxx fixtures, alongside Ayrton EagleStrike units. The company has additionally invested in data and power management infrastructure, casing and delivery systems across its network. “As demand continues to grow across our global markets, we remain focused on investing in the latest technologies and equipment our clients need both today and in the future,” said Gary Boyd, COO EMEA and APAC at PRG. “We’re excited to continue investing in technologies that help our clients deliver exceptional experiences and stay ahead of evolving production demands. At the same time, these investments strengthen our ability to support a wide range of productions and deliver the consistent excellence our clients expect across our global network.” www.prg.com
INFiLED supports Saudi Ministry of Culture HQ SAUDI ARABIA
Visitors entering Saudi Arabia’s Ministry of Culture headquarters in Diriyah are now greeted by a large-format INFiLED LED display. The installation was part of a visual communications upgrade delivered through a collaboration between local systems integrator Tera Systems which worked alongside INFiLED throughout the design, installation and commissioning phases of the project. The Ministry of Culture, established as part of Saudi Vision 2030, required a modern communications environment that complemented the new headquarters, located within the historic Diriyah District, while supporting day-to-day operations. The project saw the companies design, engineer and install two LED display systems tailored to different applications within the HQ. For the reception area, the integration team installed a 6m x 5.74m LED wall using the brand’s WK Series panels. Designed as a focal point for visitors, the display is used to showcase cultural content, achievements and ministry information. In the boardroom, the team specified a 2.4m x 1.35m LED display built from the manufacturer’s WP Series panels. The screen delivers Full HD – 1920x1080 – resolution with a brightness of 800 nits, providing clear visuals for presentations and meetings under varying lighting conditions. According to the companies, the project required careful consideration of viewing distances, ease of maintenance, thermal management, energy efficiency and visual comfort. The WP Series’ front-serviceable
design allows maintenance from the front of the display, while its fanless operation reduces noise and heat generation in meeting spaces. Ahmed Soliman, sales manager at Tera Systems, commented: “We have built strong trust in INFiLED through several successful
projects. The collaboration has always been smooth and professional, and their team consistently delivers reliable, high-quality solutions.” www.infiled.com www.teraksa.com
IPS completes AV design hackathon SAUDI ARABIA
Saudi distributor Innovative Platform Solutions (IPS) has completed what it describes as the MENA region’s first AV design hackathon, bringing together more than 100 AV professionals from across Saudi Arabia and the UAE to tackle a series of live system design challenges. Held over four days, with three days in Riyadh followed by one in Dubai, the event attracted representatives from more than 80 companies, including systems integrators, pre-sales engineers and AV decision-makers. Organised in partnership with AVIXA, participants were tasked with designing complete AV solutions for
real-world project scenarios, producing full bills of quantities before presenting their proposals to a judging panel. Rather than testing product knowledge alone, the competition assessed participants on their ability to specify practical, cost-effective AV systems that met the functional requirements of different environments. Teams comprising engineers with varying levels of experience worked together to develop solutions, encouraging collaboration and knowledge sharing. “Systems integrators in the region need initiatives like this so they can develop their
knowledge,” explained Nouf Al-Saab, senior AV marketing associate at IPS. “Saudi Arabia’s Vision 2030 is driving an unprecedented pipeline of giga-projects and infrastructure investment across every sector, from smart cities and hospitality to healthcare and government. Integrators need to know how to design AV ecosystems intelligently for each of these environments, because the right solution for an NOC command centre is not necessarily the right solution for a hospitality lobby or a boardroom.” In addition, attendees received technical sessions from six global AV brands – Canon Middle East, Dahua Technology, Mersive, Tricolor, Navori and LC Acoustics – covering technologies including PTZ cameras, LED displays, wireless collaboration, command and control, AI-powered digital signage and immersive audio. AVIXA also delivered a presentation exploring the role of artificial intelligence in professional AV. According to IPS, the hackathon attracted 101 attendees across the two countries, including more than 40 senior decision-makers in Saudi Arabia, with winners receiving AVIXA CTS preparation courses. The distributor intends to make the event an annual fixture as part of its ongoing technical education programme. www.ipsmena.co
20 PRO AVL MEA September–October 2026
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Aurras adds to its Ayrton arsenal SOUTH AFRICA
Justin Heyman with Aurras Group’s new Ayrton fixtures
Aurras Group has expanded its inventory of Ayrton lighting fixtures, adding Stradale Profiles and increasing its stock of Nando 502 Wash fixtures to support a wider range of productions across South Africa. The investment builds on the company’s existing inventory of Rivale Profiles and brings its total Ayrton fleet to 120 fixtures, making it reportedly the largest Ayrton rental inventory in South Africa. Formed in 2023 through the merger of TechX and OutputAV, Aurras Group supplies lighting, audio, video, staging and power systems for live events, theatre, festivals, conferences and installations. The company worked closely with Ayrton’s South African distributor, Planetworld, on the expansion. Planetworld’s pro live BDM, Mike Summerfield, originally introduced the company to Ayrton. “The nature of the South African market demands a lot of flexibility, so we knew Ayrton would be a perfect match for Aurras,” he noted.
Justin Heyman, cofounder of Aurras Group, commented on the new investment: “We were very excited and very impressed with what we saw – with Stradale we now have 24 smaller units that can basically deliver a similar output and features as Rivale.” The fixtures have already been deployed on a variety of corporate, theatre and festival productions, including for the main stage at Rocking the Daisies in Cape Town where Aurras provided 24 Rivale Profiles, 10 Stradale Profiles and 34 Nando 502 LED Wash fixtures. “We’ve had amazing support from Planetworld,” concluded Heyman. “The fixtures have shown excellent performance with minimal issues, reinforcing our decision to invest in additional units. They’re total workhorses and we’re finding the build quality of the units excellent.” www.aurrasgroup.co.za www.ayrton.eu www.planetworld.co.za
ARRI divests rental business WORLD
ARRI is restructuring its business to focus more heavily on technology development after announcing plans to divest its international rental operations through a management buyout backed by H2 Equity Partners. The move marks the latest stage in the company’s transformation under new owner Thomas Riedel and will see ARRI concentrate its resources on developing cameras, lighting and media technologies while its rental business continues as an independent company. Although the transaction covers only ARRI Rental operations in Europe, the UK and
North America, the company said the decision is intended to strengthen its position as a global technology partner by removing the perceived conflict of interest of supplying products to rental companies while also operating its own rental business.
“This transaction is a milestone in ARRI’s strategic transformation and future positioning,” said Thomas Riedel, owner of ARRI and founder of Riedel Communications and the Riedel Group. “It enables us to direct our investments even more specifically towards the further development of our technologies and new growth areas. At the same time, it allows the rental business to continue to develop independently and to unlock additional market potential.” ARRI says that the separation will allow both businesses to pursue their own strategies while maintaining a close relationship. “ARRI Rental has built an exceptional reputation
over the last 28 years by supporting filmmakers, broadcasters and content creators on productions of every scale,” said ARRI Rental’s Dana Harrison. “As an independent business, we will have greater flexibility to invest in our services, expand our capabilities and continue delivering the expertise and support our customers rely on.” The divestment follows Riedel’s acquisition of ARRI earlier this year and reflects the company’s wider strategy to focus on product development while strengthening relationships with rental partners worldwide. www.arri.com
Sennheiser named Formula E sound provider WORLD
Formula E has announced a multiyear partnership with Sennheiser, which will become the ABB FIA Formula E World Championship’s official sound provider. The collaboration will see Sennheiser’s professional audio solutions and Ambeo immersive audio technology integrated across the global electric racing series, with a focus on developing more immersive broadcast and fan experiences. The partnership will explore advanced audio capture and encoding workflows for viewers watching Formula E on different devices, while also supporting the capture of the soundscapes associated with the championship’s GEN4 era. The agreement also covers onsite fan zones and VIP hospitality areas. “Sennheiser is the perfect partner to help us redefine the audio landscape of our championship,” commented Dan Cherowbrier, CTO, Formula E. “Their professional audio technologies and workflows, particularly the Ambeo immersive
ecosystem, provide a uniquely dynamic setting to explore the future of sound in racing. This collaboration is a vital proof
The technical partnership will extend across Formula E’s broadcast and trackside operations, with Ambeo providing the main
point in how we connect real-world audio innovation with practical application, bringing fans closer to the action through natural, three-dimensional sound.”
platform for immersive audio development. The technology is designed to support the capture, processing and reproduction of three-dimensional sound.
“At Sennheiser, we are driven by the ambition to bring advanced audio technologies into real-world applications and this collaboration gives us an exciting opportunity to rethink the role sound can play in electric racing,” said Andreas Sennheiser, CEO of the Sennheiser Group. “Great visuals deserve equally compelling sound and we see real potential to define the sport’s unique acoustic character through dynamic in-car and trackside soundscapes. Ultimately, this partnership is about learning, exploring and helping to shape the future of how live sport is experienced.” Kai Detlefsen, manager of Ambeo at Sennheiser, concluded: “Ambeo enables the capture, processing and reproduction of natural, three-dimensional sound, supporting more immersive and emotionally engaging listening experiences. Within Formula E, Ambeo solutions will allow viewers at home to feel more closely connected to the dynamic racing environment and to their favourite teams.” www.sennheiser.com
22 PRO AVL MEA September–October 2026
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NEWS
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NMK Academy Invests in You UAE
NMK Academy has launched a new education initiative aimed at expanding access to manufacturer-certified training for AV professionals across the Middle East. Named Invests in You, the programme has been introduced to sponsor selected training courses, helping to remove financial barriers to professional development while reinforcing NMK Electronics’ long-standing focus on technical education. The initiative was launched through a complimentary L-Acoustics System & Workflow certification course held during NMK Beyond, where UAE-based audio professionals received a full day of manufacturer-certified training. Although the course typically carries a value of AED650 per participant, every place was fully sponsored by NMK. According to the company, the launch builds on the activities of NMK Academy, which has spent years delivering manufacturer-certified training, technical workshops, hands-on demonstrations and professional development programmes across the GCC. This includes more than 140 training sessions across the GCC in 2025 alone, providing technical education to more than 4,000 AV professionals across audio, video, unified communications, networking, lighting and broadcast technologies. “At a time when the Middle East pro AV community faces one of its most challenging periods, it takes market leaders to set the standards and create the conditions that enable the audiovisual industry to continue to prosper,” said Alex Kemanes, regional managing director, NMK Electronics. “NMK remains committed to giving back to our AV community and elevating the skills of audio engineers.” The inaugural course received positive feedback from attendees, with participants highlighting both the opportunity to gain L-Acoustics certification and the wider value of continued professional development. The event combined classroom learning, practical discussions and networking sessions for engineers from across the UAE. “It’s amazing to see NMK doing something like this,” commented attendee Hussain Lokhandwala, head of the audio department at GDL. “L-Acoustics training is rarely offered complimentary and initiatives like this help professionals continue learning and developing their skills.”
Another attendee, freelance audio engineer Tim Molodkin, shared: “This was my first official L-Acoustics certification and I’m extremely happy to have had the opportunity. NMK Academy encouraged me to continue my learning journey.” NMK said that the Invests in You initiative will continue to support AV professionals through sponsored training opportunities as part of its wider commitment to education and skills development across the region. www.nmkelectronics.com
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Content. Collaboration. Control. All brand names, product names, and trademarks are the property of their respective owners. Certain trademarks, registered trademarks, and trade names may be used in this document to refer to either the entities claiming the marks and names or their products. Crestron disclaims any proprietary interest in the marks and names of others. Crestron is not responsible for errors in typography or photography. ©2026 Crestron Electronics, Inc.
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NEWS
Gqeberha church upgrades with Plus Audio SOUTH AFRICA
Father’s House Church in Gqeberha, South Africa, has upgraded its sanctuary sound system with a distributed Plus Audio deployment designed to address low ceilings, polished concrete floors and a wide seating layout. The project was delivered by long-time integration partner Stage Audio Works (SAW), with the system configured to provide consistent coverage for both contemporary worship and spoken-word applications. Rather than relying on a conventional FOH array to cover the full room, SAW adopted a decentralised point-source approach. By positioning loudspeakers closer to the congregation, the system reduces the acoustic energy travelling across the reflective space while maintaining coverage throughout the sanctuary. “In spaces with reflective concrete floors and low head height, pushing sound across long distances usually backfires, creating a wash of room reflections that buries the vocals,”
explained Kieren Hempel of SAW. “By distributing Plus Audio point-source cabinets in localised zones, we keep direct acoustic energy focused right where the congregation is sitting. It delivers dynamic worship impact and vocal precision without forcing FOH to fight the building.” The system uses Plus Audio CPH212 and CPH210 point-source loudspeakers for the main and delay coverage, complemented by CPU105 front fills and ET218B subwoofers. Networked AC415 and AC420 Dante amplifiers provide system drive, with onboard DSP and FIR filtering used for signal processing and time alignment across the different zones. According to SAW, the distributed configuration also provides a more consistent listening experience for the church’s production team, reducing volume variations and uneven frequency response between the sound desk, rear seats and side areas.
“The SAW team understood our vision from the very beginning,” commented Vincent Swanepoel of Father’s House Church. “They presented us with clear, well-considered design approaches tailored specifically to our space, making it easy for leadership to approve a system that
serves our entire congregation every Sunday. The collaboration felt natural and the final result speaks for itself.” www.plus.audio www.stageaudioworks.com
RCF and TT+ Audio deliver Riyadh showcase SAUDI ARABIA
Radio Tzafon goes live with DHD ISRAEL
Radio Tzafon has completed an upgrade of its broadcast facilities in Galilee, Israel, deploying DHD audio mixing technology across its production studios and master control room. The station, which broadcasts two FM channels featuring news, interviews, music, sports and entertainment programming, worked with Jerusalem-based Broadcast Design on the system design, supply, integration and configuration. The project was delivered in two phases, with the first including the installation of a 16-fader DHD SX2 modular console in Studio 1 and a DHD TX2 touchscreen mixer in the master control room. Following the deployment, Radio Tzafon expanded the upgrade to a second studio, adding a 10-fader SX2 console and an additional TX2 producer’s panel. “They were so pleased with the ease of operation, versatility, high sound quality and desktop space efficiency of the DHD equipment that they decided to update
another studio with a 10-fader SX2 plus a TX2 producer’s panel,” said Micha Blum, CEO of Broadcast Design. “Each phase included full Dante audio-over-IP. All four mixing panels connect to a DHD XC3 core processor.” The installation incorporates Dante audio networking throughout and integrates with AVT telephone hybrid systems. The producer’s TX2 panels provide operational control, while the system also supports talkback between studios, shared codecs and other common resources, along with remote monitoring and control capabilities. Radio Tzafon operates in cooperation with Radio 103FM, allowing offsite technical support through DHD’s Assist App and Views App. At the core of the installation is a XC3 IP processing engine, which supports the station’s networked audio infrastructure and provides connectivity between the consoles, control surfaces and I/O devices.
RCF and TT+ Audio recently showcased their professional audio solutions at an event in Riyadh, marking the introduction of Innovative Audio Solutions as the exclusive distributor for both brands in Saudi Arabia. Held at Hyatt Place Riyadh Al Sulaimania, the event brought together around 60 attendees from the region’s professional audio, AV integration and rental sectors. The programme opened with Ragesh C, manager at Thomsun Trading, who introduced Innovative Audio Solutions and outlined its role as the exclusive Saudi distributor for the Italian brands. Luca Ombrati, international sales manager at RCF, then presented an overview of the company’s engineering, manufacturing capabilities and professional audio portfolio, while Yannick Dahms, RCF Middle East technical business developer, demonstrated products and technologies for live sound, fixed installation, rental and professional AV applications. “We are proud to represent RCF and TT+ Audio in the Kingdom of Saudi Arabia,” said Ragesh C. “The Riyadh event was a valuable opportunity to connect with the local professional audio community and introduce
the strength of both brands. With Innovative Audio Solutions’ local presence and technical support, we are ready to help customers across live sound, installation, rental and professional AV applications.” Innovative Audio Solutions is a distributor within the Thomsun Group, which was established in the UAE in 1977. The company operates offices in Dubai, Abu Dhabi, Muscat, Doha and Riyadh, providing design, consultation, project support, implementation and after-sales services for AV projects. “With Innovative Audio Solutions’ local expertise and the technical strength of RCF and TT+ Audio, this partnership is designed to support the continued growth of professional audio across the Kingdom of Saudi Arabia,” commented Ombrati. “The event also reflects RCF’s commitment to the Saudi market and to supporting our partners with reliable products, technical knowledge and long-term cooperation.” www.innovativeaudiosolutions.com www.rcf.it www.thomsun.com www.ttaudio.com
dhd.audio
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FESTIVALS MOVE FAST
...YOUR CONSOLE SHOULD TOO!
www.digico.biz DiGiCo, No.5 The Distillery, Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845 600
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NEWS: DISTRIBUTION
Digital Projection appoints Axion Displays EMEA
Digital Projection has appointed Axion Displays as its dedicated sales and support partner in EMEA. The partnership will cover the Middle East and North Africa, as well as territories in Europe. The collaboration is designed to provide local markets with enhanced access to the manufacturer’s projectors, backed by Axion Displays’ regional expertise and service infrastructure. Bringing together former key members of the Digital Projection EMEA team, the new setup will provide an understanding of the product range and technical expertise. Backed by a strong relationship with Digital Projection’s parent company Delta, the Axion Displays team aims to provide customers with a seamless end-to-end experience of the sales cycle. “Strengthening regional customer engagement and technical expertise is an important part of Digital Projection’s long-term
display solutions strategy,” said John Liu, group head of the Display Solution Business Unit (DSBU) at Delta Electronics. “The Axion team has a long history of championing the Digital Projection brand. With their deep level of technical expertise and familiarity with our technology, we are confident they will harmonise and further develop the sales and service function, ensuring customers benefit from exceptional local support and specialised application expertise.” Dirk Siedle, general manager at Axion Displays, added: “By combining world-class projection technology with Axion Displays’ comprehensive market knowledge and service excellence, we are ensuring that customers and users in these regions receive the highest level of support and innovation.” www.axiondisplays.com www.digitalprojection.com
The Digital Projection and Axion Displays teams thumbs up the deal
L–R: Fabian Braun of Joyned, Venuetech’s Alice Macaluso and Christian G Frandsen from Joyned
Joyned and Venuetech unite GCC
Joyned has strengthened its presence across the GCC region by appointing Venuetech as its distribution partner for the United Arab Emirates, Saudi Arabia, Qatar, Bahrain, Oman and Kuwait. The agreement will see the Dubai-based distributor represent the manufacturer’s portfolio of professional audio networking products, while providing regional sales support, technical guidance and product demonstrations. Joyned develops networking solutions based on the Milan audio networking standard, designed for use across professional audio applications. Its portfolio includes the MU16 Milan USB interface, enabling macOS, Windows and iOS devices to connect to Milan networks, alongside Dash, the company’s Milan control and management software. The partnership is intended to support customers working across live sound, systems integration, recording, systems tuning and immersive audio projects, with Venuetech planning regional marketing initiatives, technical education programmes and product demonstrations for consultants, systems integrators and audio professionals.
“Joyned is an exciting and highly relevant addition to our professional audio portfolio as open, networked workflows continue to gain momentum across the industry,” commented Alice Macaluso, brand manager for Joyned at Venuetech. “Its solutions address practical requirements across live sound, systems integration, recording and system tuning. Through Venuetech’s regional presence and technical capabilities, we look forward to introducing the technology and helping our customers explore its potential through local support and hands-on demonstrations.” “Venuetech’s established presence, technical expertise and strong relationships within the professional AV community make the company an excellent partner for Joyned,” commented Fabian Braun, founder and CEO at Joyned. “Together, we aim to make Milan-based audio networking more accessible to customers across these markets and provide them with the knowledge and support needed to confidently adopt open, interoperable workflows.” www.joyned.io www.venuetech.ae
AV Core expands software portfolio SOUTH AFRICA
AV Core Distribution South Africa has expanded its technology portfolio through two new partnerships with Spantrek and UK-based software developer Future Software, adding smart space management, command and control, collaboration, digital signage and broadcast solutions to its offering for the South African market. Through its agreement with Spantrek, AV Core becomes the AI-powered smart space management software’s authorised distribution partner in South Africa. The platform provides workplace and facility intelligence capabilities, addressing areas including space utilisation, fragmented systems and facility management. “Expanding our distribution network into Southern Africa is a natural next step as Spantrek grows internationally,”
commented Charbel Aoun, cofounder and CEO of Spantrek. “AV Core Distribution brings the regional depth, partner infrastructure and go-to-market capability that we need to ensure our platform lands and scales effectively in these markets. We are building a long-term partnership,
not just a distribution arrangement, and we are excited about what this means for the organisations in these regions that are ready to modernise how they manage their spaces.” The Future Software agreement adds software for command and control, collaboration, digital signage and broadcast environments. With more than 20 years of experience, the UK developer produces solutions across IoT, mobile, desktop, cloud and server platforms, including PiPView, Collin ID, Collin Solo and Collin Table. “This partnership marks the beginning of something significant for our region,” said Chantal Groeneveld, managing director of AV Core Distribution South Africa. “Future Software addresses a critical challenge that modern enterprises and mission-critical
operations face daily: the need to bridge the gap between complex hardware ecosystems and intelligent, real-time software layers. By combining advanced multisource processing tools like PiPView with dedicated collaborative solutions like Collin ID, Collin Solo and Collin Table, we are now able to offer a complete ecosystem.” AV Core said both partnerships will complement its existing professional AV and ICT portfolio, with the solutions being brought to market through its systems integration partners across corporate, education, broadcast and mission-critical sectors. www.av-core.com www.future-software.co.uk www.spantrek.com
26 PRO AVL MEA September–October 2026
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GTX 7C | GTS 16C CARDIOID LINE ARRAY SYSTEM
The GTX 7C pushes cardioid performance into a new class of precision. Its front and rear transducers are independently driven and DSP-shaped via the XPS platform, creating a controlled, broadband frontal radiation that stays clean and predictable in real venues, making it perfect for theaters, auditoriums, and acoustically challenging venues. Rear energy drops by an average of 22 dB, preserving clarity on stage and unlocking higher usable headroom in any venue. Add the GTS 16C subwoofer for a full-range cardioid system with uniform directionality from top to bottom.
ttaudio.com
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Discover the system at Prolight + Sound Bangkok Sept 30 – Oct 2
26/08/2026 11:32
NEWS: DISTRIBUTION
Audio-Technica unveils GCC partners GCC
Audio-Technica has appointed AVenger Electronics and FVC as official wholesale partners for its commercial audio portfolio across the GCC region, expanding the company’s distribution network in the Middle East. Through the partnership, both distributors will supply the brand’s commercial product range, including conferencing systems, wireless microphone technologies, installed sound products, networked audio solutions and commercial audio accessories. The collaboration will also provide channel partners across the GCC with access to technical support, training resources and Audio-Technica’s commercial audio portfolio. Audio-Technica said that the appointments are intended to strengthen product availability and support for systems integrators, consultants, resellers and end users across the GCC through the distributors’ established channel networks and technical expertise. According to Akhil Raphael, sales director at Audio-Technica Middle East, the GCC region continues to be a key growth market for the
L–R: Rajan Nair of FVC, Audio-Technica’s John Dodson and Stephan Grawe, Hitender Gupta and Christo Varghese of FVC and Akhil Raphael from Audio-Technica manufacturer’s commercial solutions, driven by increasing investments in corporate, education, hospitality, government and entertainment sectors. “We are delighted to welcome AVenger Electronics and FVC as our wholesale
partners,” said Raphael. “Both organisations bring strong market knowledge, established channel relationships and a shared commitment to delivering value to customers. Together, we are well-positioned to expand access to Audio-Technica’s innovative
commercial audio solutions across the region.” Joseph Rebero, general manager at AVenger Electronics, added: “Audio-Technica is a globally respected brand with a rich heritage in commercial audio. We are proud to be appointed as a wholesale partner for the region and look forward to leveraging our distribution expertise, technical capabilities and partner ecosystem to make Audio-Technica’s commercial solutions more accessible to the market.” Cristo Varghese, business unit head – pro AV at FVC, concluded: “Audio-Technica’s reputation for quality, innovation and reliability aligns perfectly with our mission to deliver best-in-class technology solutions to our channel partners. We look forward to supporting the growth of the brand across the GCC and helping customers create exceptional communication and collaboration experiences.”
www.avengerproav.com www.fvc.com
SOUTH AFRICA
Under the partnership, Vutec will serve as the primary commercial and technical point of contact for customers, consultants and systems
Africa, strengthening local access to the companies’ control room technologies. The agreement covers G&D’s KVM-over-IP infrastructure and VuWall’s visualisation platforms, which are deployed in sectors including mining, utilities, transportation, public safety, industrial automation and corporate security.
integrators across South Africa. The company will provide local sales support, technical demonstrations, pre-sales services, partner enablement programmes and project assistance.
The move is intended to simplify procurement and deployment for regional customers by enabling local transactions and support while reducing logistical complexity. “We are excited to bring the combined strengths of G&D and VuWall to the South African market through a dedicated local presence,” said Johan Pretorius, managing director of Vutec. “Our goal is to provide customers and partners with the technical expertise, support and responsiveness needed to successfully deploy and operate world-class control room solutions.” According to G&D and VuWall, expanding their presence in South Africa has been a strategic priority as demand grows for advanced control room and visualisation technologies across critical infrastructure sectors.
Mirko Aubel, EVP sales EMEA at G&D and VuWall, added: “The Southern African market presents a significant opportunity across mining, utilities and public safety – verticals where our visualisation platform is well-proven. Having a dedicated, experienced local partner changes what we can deliver for integrators and end users in the region.” It was noted that existing VuWall reseller partners will retain their current commercial arrangements and partner status as the companies transition to the new local distribution model. www.gdsys.com www.vutec.co.za www.vuwall.com
HK Audio welcomes TR Electro Stereo ISRAEL
HK Audio has appointed TR Electro Stereo as its new distribution partner for Israel, expanding the German manufacturer’s presence in the Middle East through the Tel Aviv-based distributor. Founded in 1986, TR Electro Stereo distributes sound systems, smart home and DJ equipment across the Israeli market. Through the partnership, the company will be responsible for distributing and supporting HK Audio’s professional audio portfolio in the region, supplying dealers, integrators and end users with the brand’s sound reinforcement solutions alongside technical support and customer service. “We’re delighted to welcome Bar, Kobi and the entire team at TR Electro Stereo as HK Audio’s new distribution partner in Israel,” said Isabelle Wear, head of sales MEA and APAC, HK Audio. “Their market expertise,
technical knowledge and customer-focused approach make them an excellent fit for our brand and our ambitions in the region. “We would also like to thank Shalmon Music for their dedication and commitment in representing HK Audio over the past years. Looking ahead, we are excited to work alongside TR Electro Stereo to further strengthen HK Audio’s presence and deliver even greater value to customers and partners.” TR Electro Stereo said the agreement would strengthen its professional audio offering and expand the availability of HK Audio products across the country. “We are proud to become HK Audio’s official distribution partner in Israel,” said Bar Ben Yehoshua, vice president of TR Electro Stereo. “HK Audio’s reputation for innovation, performance and reliability makes it a natural addition to our professional audio portfolio. We see significant opportunities
The TR Electro Stereo team flank HK Audio’s Isabelle Wear for HK Audio in the Israeli market and look forward to expanding the brand’s presence across the professional audio, installation and live sound sectors and are confident this partnership will create new opportunities and
deliver exceptional solutions for our dealers, integrators and customers.” www.hkaudio.com www.tres.co.il
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www.audio-technica.com
Vutec takes on G&D and VuWall G&D and VuWall have appointed Vutec as the exclusive distributor for their KVM and videowall management solutions in South
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NEWS: DISTRIBUTION
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To support customers and partners across Türkiye, Shure has appointed HecPro as its fulfilment partner for the region. Through the agreement, the former will help ensure product availability and provide operational support to
UAE
closely with HecPro while accelerating the introduction of our latest innovations.” Aytuğ Ozan, chairman of HecPro, added: “We consider this partnership a new chapter in the Turkish market. Shure’s technological leadership and innovation
Williams AV partners with Audiosure SOUTH AFRICA
Williams AV has expanded its international network with the appointment of South African distributor Audiosure, strengthening the company’s presence across the local market. The partnership will see Audiosure supply Williams AV’s wireless audio and assistive
inclusion in public spaces,” said Per Persson, vice president of international sales and product management, Williams AV. “Audiosure has a strong reputation in the AV industry and brings valuable local expertise and technical knowledge to this partnership. We’re excited to work together to help
communication solutions to systems integrators throughout South Africa, with the aim of supporting deployments in venues seeking to improve hearing and language accessibility. The agreement also extends support to neighbouring markets. The manufacturer said that the appointment comes as demand grows for assistive listening technologies in public venues, particularly in regions with diverse language requirements. “South Africa is an exciting market with 12 official languages and growing awareness around hearing accessibility, creating meaningful opportunities to improve
venues across South Africa and neighbouring countries deliver more accessible and inclusive audio experiences.” Alison Taman, operations executive at Audiosure, added: “We are excited to partner with Williams AV and work with the whole team in the years ahead. Their innovative assistive communication systems perfectly complement our current portfolio and we look forward to helping venues remove communication barriers with their audiences.”
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Shure customers throughout the country, strengthening business continuity across the install, retail and live event sectors. “The appointment of a fulfilment partner in Türkiye is an important step in ensuring business continuity and delivering the support our customers require,” said Yassine Mannai, associate sales director, Shure MEA. “We look forward to working
strength make this a strategically important collaboration, and we are committed to increasing accessibility, supporting channel partners and enhancing the overall user experience across Türkiye.” www.hecpro.net www.shure.com
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NEWS: APPOINTMENTS
Sonic Electronics M&W Pro Audio expands regional builds leadership force team MIDDLE EAST
Listen Technologies and Ampetronic have elevated Kevin Jewkes to senior VP of global revenue
Broadcast Electronics welcomes Kyle Dibbin as director of international sales, with responsibility for EMEA
Rafael A Nevares serves as president for Pro Audio Technology and Theory Audio Design
Sonic Electronics has made two appointments across its Middle East operations, naming Syed Shahul Basha as manager – design and technical in Saudi Arabia and Sajil Basheer as business development manager for the UAE.
WORLD
general manager – KSA at Sonic Electronics. “His appointment reinforces our commitment to strengthening our engineering capabilities and design excellence.” Basheer brings experience in AV channel sales and business development. He will be responsible for identifying opportunities, developing partnerships and expanding Sonic Electronics’ presence across the UAE, while supporting customers and partners with AV projects and requirements. “I look forward to contributing my experience in the AV industry, building strong partnerships and working together
Syed Shahul Basha Basha joins the Saudi operation from Consolidated Technology Systems (CTech), where he held a technical leadership position and worked on AV system design and integrated technology projects. His experience includes large-scale AV deployments, systems engineering and technical consultancy. In his new role, Basha will lead Sonic Electronics’ design and technical division in Saudi Arabia, overseeing AV solutions for enterprise, commercial, education, hospitality and government projects. He will also support pre-sales and project execution teams and develop engineering processes and design standards. “Syed Shahul Basha brings a strong blend of technical expertise and practical experience in delivering complex AV solutions,” said Jamshid Hameed,
Sajil Basheer with the team to achieve new milestones,” he commented. Girish Nair, general manager at Sonic Electronics, added: “Sajil’s experience in the AV industry, combined with his understanding of customer engagement and business development, will be a valuable addition as we continue to strengthen our presence in our regions.”
Phil Bunch
M&W Pro Audio has appointed Phil Bunch as chief executive officer and Jay Schlabs as chief revenue officer as the professional audio manufacturer builds its leadership team following its global debut at InfoComm 2026. Bunch brings more than three decades of experience in professional audio manufacturing, operations and global supply chain management. He previously served as vice president of global operations at Tectonic Audio Labs and president of Phase Group, with earlier roles at Eastech and Esoteric Audio covering engineering, product development, manufacturing and supply chain operations. “When Greg reached out and asked me to take the lead at M&W Pro Audio, it was an opportunity I simply couldn’t pass up,” said Bunch. “Building a company alongside
Greg Mackie, Peter Watts, Jay Schlabs and the outstanding team already in place is both professionally exciting and personally rewarding.” Schlabs has more than 20 years of experience in professional audio sales and channel development. He previously held sales and marketing roles at Mackie Designs and inMusic brands, followed by nine years as senior director of e-commerce at PetSafe Brands.
Jay Schlabs “M&W Pro Audio is being built by some of the most respected names in the industry and the opportunity to help shape a new company from the ground up is incredibly compelling,” said Schlabs. “I am excited to join the team and help build strong relationships with our customers, channel partners and distributors as we introduce M&W Pro Audio to the market.” www.mwproaudio.com
www.sonicelec.com
WORLD
Optocore has named Tine Helmle as managing director
Proel has appointed Alessio Foti as co-CEO and a member of its board of directors, joining existing CEO Giacomo Sorbi as the manufacturer enters its next phase of development. Foti joins Proel from the Adam Hall Group, where he spent nine years as global BDM before becoming VP of international sales. “As co-CEO, my goal is to lead global sales, both directly and together with our team, to bring the company into the MI and pro world. The global market demands fast, intelligent responses; we are ready to provide them,” commented Foti.
The appointment forms part of the company’s next phase of growth, centred around product development and international expansion, with Proel planning further investment in research and development, and products and technologies developed in-house due to be introduced in the coming months. “I firmly believe that leadership has real value when it is capable of sharing responsibility, expertise and vision,” said Sorbi. “From today, a new version of Proel begins. Renewed leadership. A bolder strategy. A new energy.” L–R: Giacomo Sorbi welcomes Alessio Foti
www.proelworld.com
30 PRO AVL MEA September–October 2026
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Proel appoints Foti as co-CEO Han Dohmen joins PSNI Global Alliance as director of global vendor partnerships
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NEWS: APPOINTMENTS
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Ayrton reshapes global leadership team WORLD
Ayrton has announced a series of leadership changes, with Michael Althaus promoted from global sales director to CEO as the stage lighting manufacturer restructures its management team. Althaus, who took on the CEO role in September 2025, has led Ayrton’s global sales operations since 2017 and has been with the company for more than a decade. “It’s a great honour to step into the role of CEO at such an important moment in Ayrton’s journey,” commented Althaus. “Knowing Ayrton now for 25 years and having grown with this company over more than a decade, I’ve seen firsthand what makes Ayrton exceptional – the passion of our people, the strength of our culture and our relentless drive for innovation. My focus will be on building on this legacy while shaping
L–R: Massimo Bolandrina, Chris Ferrante and Michael Althaus the next chapter of growth together with our teams and partners worldwide.” Massimo Bolandrina has been appointed global sales director, following 15 years in
nd
www.ayrton.eu
Chyron welcomes Ahmed Magd
Simon Godfrey returns to IAG
Chyron has appointed Ahmed Magd as sales director for the Middle East. He brings almost two decades of experience in broadcast and media technology, including senior roles at Riedel Communications, Clear-Com and Al Masa IT Distribution. His background features distributor and reseller management, business development and customer relationships across the Middle East. At Chyron, Magd will drive the company’s regional growth strategy, develop customer and partner relationships, and support broadcasters deploying its graphics, newsroom, sports production and live content creation solutions. “We are pleased to have Ahmed join our growing team,” said Alain Polgar, SVP of sales, EMEA and APAC. “With deep expertise in broadcast operations and production workflows,
Industry veteran Simon Godfrey has returned to IAG Group as global sales director for the company’s professional audio division. Working alongside business development director Danny Clarke, Godfrey will focus on building strong relationships with customers and ensuring continued business growth. IAG Group said that his return strengthens the group’s leadership team for both the Wharfedale Pro and QUAD Industrial brands. “It’s great to have Simon back,” commented Tony Wen, IAG Group managing director. “He knows the business inside out, has a passion for our brands and his return is a major boost for us. By having Simon step into this role, it frees Danny Clarke up to focus on wider business expansion. Simon has a real gift
MIDDLE EAST
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sales-focused roles at ClayPaky. In addition, Matt Hallard’s position as European sales director has also expanded to cover additional territories in Europe and North Africa.
Ayrton founder Yvan Peard continues in his role as CTO, overseeing product development. Meanwhile, Christopher Agius Ferrante, Ayrton’s CEO since 2017 and VP of Golden Sea, has moved to lead Golden Sea Holdings, which oversees Golden Sea’s foreign brands. “This is an enormously exciting time at Golden Sea and Ayrton,” said Ferrante. “I’ve loved being part of the daily fabric at Ayrton. While I’ll certainly miss that, it’s essential we implement a structure capable of delivering strategic planning, seamless integration with our mother company and results through the collective strengths of the group. This new structure will make that possible.” Joining Ferrante at Golden Sea Holdings from Ayrton are Chunyan Hou as integration and legal director, Xulin Liang as corporate strategy and operations specialist, and Muzi Lui as ESG analyst.
Magd takes a consultative approach to guide media organisations as they adopt innovative technologies.” www.chyron.com
WORLD
for getting the best out of people and we’re thrilled to have that contagious energy back in the office.” www.iaggroup.com
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Outdoor audio solutions for hospitality projects For integrators and project partners in the Middle East Discuss your next outdoor project
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September–October 2026 PRO AVL MEA 31
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NEWS: SPECIAL REPORT
The Lootah Lemmens UAE factory
Closer to the action
As the Middle East’s live entertainment sector continues to expand, local service and certification are becoming as important as access to the equipment itself LOOK BEYOND THE CURRENT TURMOIL and the Middle East’s appetite for live entertainment has never been greater. New arenas, theatres, exhibition centres and cultural destinations continue to emerge across the GCC, while an increasingly busy calendar of concerts, festivals, sporting events and corporate productions is creating sustained demand for professional production equipment. Much of the industry’s attention naturally falls on the headline technologies. Loudspeaker systems, LED displays, lighting fixtures and media servers tend to dominate conversations surrounding major productions. Yet behind every stage hangs another category of equipment that rarely attracts the same fanfare despite playing a critical role in ensuring productions can be delivered safely and efficiently. Entertainment hoists sit at the heart of modern production, lifting everything from trusses and LED walls to loudspeaker arrays and stage scenery. As productions become larger and more technically ambitious, demand for lifting systems designed specifically for entertainment applications has continued to grow. Until recently, however, customers across much of the GCC have often relied on overseas service channels for maintenance, repairs, inspections and certification. While purchasing equipment has become relatively straightforward, supporting it throughout its working life has frequently proved more complicated. Lootah Lemmens believes this is beginning to change. Following its appointment as an official dealer for Verlinde’s STAGEMAKER entertainment hoists last year, the company has spent the past 12 months developing its UAE operation into a regional service and support hub for customers throughout the GCC. Instead of focusing solely on equipment sales, the
company is positioning its Dubai workshop around the wider lifecycle of entertainment lifting equipment. From the facility, customers can access the full gamut of technical support services for STAGEMAKER electric chain hoists used across rental fleets, touring productions and permanent installations. “For STAGEMAKER users in the GCC, the biggest change is local confidence,” explains Mitchel Lemmens from Lootah Lemmens. “Customers now have access to professional entertainment hoists, spare parts, technical advice, inspection, maintenance, load testing and certification from within the region instead of depending entirely on overseas channels. That means faster response, less downtime and better long-term support for rental companies, venues and production suppliers.” The practical benefits are particularly significant for businesses operating in the live events sector, where equipment downtime can have immediate commercial consequences. Entertainment hoists are frequently deployed in time-critical applications, so waiting for spare parts or certified inspections from overseas can delay projects and increase operating costs. By providing inspection, maintenance and certification locally, Lootah Lemmens believes it can help customers reduce transport costs, minimise downtime and keep equipment compliant while maintaining greater confidence in the availability of their systems. The new Dubai facility supports customers across the UAE, Saudi Arabia, Qatar, Oman, Kuwait and Bahrain, with particular demand coming from markets investing heavily in entertainment infrastructure. Rental companies, production suppliers, AV
Verlinde STAGEMAKER SL Series hoists integrators, theatres, concert halls, exhibition venues and event contractors all form part of the company’s target customer base as investment across the region continues to accelerate. This wider market growth is also changing expectations around safety and compliance. While industrial lifting equipment has long been supported by established service networks, entertainment applications present a different set of operational requirements. Equipment operating above performers and audiences requires regular inspection, testing and maintenance throughout its operational life, placing increasing importance on specialist local expertise.
“The GCC entertainment market is becoming more professional and more technically demanding,” furthers Lemmens. “Larger events, new venues and more complex productions all require lifting solutions that are designed specifically for entertainment use. Our role is to support that growth with the right equipment, proper technical guidance and long-term local after-sales support.” For the wider entertainment industry, developments such as these represent another sign of a maturing regional ecosystem. As investment in venues and productions continues, the supporting infrastructure also needs to evolve alongside it. Local expertise, faster service response and easier access to inspection and certification may not generate the same attention as the latest lighting fixture or loudspeaker system, but they play an equally important role in keeping productions moving safely and reliably. For rental companies and production suppliers, the ability to inspect, maintain and certify equipment within the region is rapidly becoming less of a competitive advantage and more of an industry expectation. “Downtime is the enemy in this industry – a hoist waiting on overseas parts can mean a production that doesn’t go up on time,” concludes Lemmens. “Our goal is to make sure nobody in the GCC has to think twice about where their equipment is certified. If customers trust it’s properly maintained, they can focus on the show.” www.lootahlemmens.com
32 PRO AVL MEA September–October 2026
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NEWS: SPECIAL REPORT
Keeping business moving
With Kramer recently increasing inventory and announcing a price freeze across most of its portfolio, Pro AVL MEA spoke to Kramer EMEA president Jesse Gadon about the effects of these pressures on the region, the practical implications of the initiative and his outlook for the AV market IN LIGHT OF THE GEOPOLITICAL challenges present throughout 2026, Kramer has committed to maintaining prices across the majority of its product portfolio until the end of the year, while increasing inventory across key product families. The manufacturer says the measures are designed to give distributors, systems integrators and end users greater certainty as rising costs and supply chain disruption continue to affect the global AV industry.
What particular effects are rising costs and supply chain disruption having on the AV market in MEA? The challenges affecting the AV industry are global, but they manifest differently across regions. In MEA, many projects are tied to public-sector investment, large enterprises, education and hospitality, where budgets are often approved well in advance. When costs increase unexpectedly, it becomes much more difficult for customers and integrators to keep projects on track.
What prompted Kramer to introduce the price freeze now? Are customers delaying or redesigning projects because of pricing and availability? We’ve been listening closely to our customers and partners. Many told us they’re working with budgets that were approved months ago, while market conditions continue to evolve. Even where projects aren’t cancelled, uncertainty makes planning much harder. Rather than waiting for the market to stabilise, we decided to act. Maintaining price stability across the vast
majority of our portfolio and investing in greater product availability gives our partners more confidence when quoting and delivering projects. PC-based products, including VIA collaboration devices, Control Brains and Management devices, however, are excluded from the price commitment due to volatility in processor, memory and operating-system costs.
MEA encompasses many different markets. Where are you seeing the strongest demand? MEA is an incredibly diverse region, so it’s difficult to generalise. We continue to see strong demand in countries investing heavily in infrastructure, smart buildings, education and corporate collaboration spaces, particularly across the Gulf. At the same time, economic conditions vary from country to country, and customers everywhere are placing greater emphasis on value, reliability and long-term support. Our focus is on providing consistency and helping customers plan with confidence, regardless of market conditions.
How will the price commitment and increased inventory benefit distributors, integrators and end users in MEA? For distributors, it provides greater forecasting confidence and helps simplify inventory planning. For systems integrators, it reduces uncertainty when preparing quotations and managing project budgets. For end users, it helps ensure projects can move forwards with fewer unexpected cost changes and improved product availability.
Ultimately, our goal is simple: to help our partners quote with confidence, deliver projects on time and keep business moving.
Which products will be prioritised, and when should customers see improved availability? We’re increasing inventory across key, high-demand product families globally, while continuously evaluating regional demand to position inventory where it’s needed most. Rather than focusing on a single product category, we’re prioritising products that support the majority of customer projects and have the greatest impact on project continuity. Customers should begin seeing the benefits throughout the remainder of 2026 as inventory levels continue to improve.
What other support is Kramer providing to its partners in MEA? Our commitment goes far beyond pricing. We continue to invest in technical support, pre-sales consulting, solution-design assistance, training and close collaboration with our channel partners. Technology alone isn’t enough. Helping partners succeed requires strong local relationships, responsive support and the ability to solve challenges together. MEA remains a strategic growth region for Kramer. We’re continuing to strengthen relationships with distributors, systems integrators and consultants while investing in partner enablement through training, technical expertise and marketing support. Our objective isn’t simply to sell more products; it’s to become the preferred technology partner for AV professionals across the region.
Jesse Gadon
Kramer expects disruption to continue for at least another year. What could improve or worsen that outlook? The AV industry depends on the broader semiconductor ecosystem. Demand driven by AI infrastructure, cloud computing and data centre expansion continues to put pressure on component availability across multiple industries. We expect conditions to improve gradually as manufacturing capacity increases, but geopolitical developments, logistics challenges and continued demand could all influence the pace of recovery. Rather than trying to predict every change, our focus is on building resilience.
Where do you expect Kramer and the wider AV market to be by the end of 2027? I believe the market will continue to grow, driven by increasing demand for hybrid collaboration, AV-over-IP, intelligent management platforms and integrated workplace technologies. For Kramer, the opportunity lies in helping customers manage these increasingly connected AV environments. Our strategy goes beyond individual products. We’re building a complete ecosystem – spanning signal management, AV-over-IP, collaboration, audio and management platforms such as Panta Rhei – to help customers deploy, monitor and manage AV systems more efficiently. www.kramerav.com
34 PRO AVL MEA September–October 2026
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THE LOW END YOUR SYSTEM NEEDS Introducing the ShowTime STS118E Outdoor Subwoofer
ShowTime STS118E is an installation-grade 18-inch subwoofer designed to match the scale and voicing of high-output Bose Professional systems. Combining performance-level low-frequency capability with streamlined installation features, STS118E makes it easy to deliver controlled, impactful bass for music-forward and high-energy applications in permanent indoor and outdoor environments. 18-inch low-frequency driver delivers high-output bass for performance-driven installed sound systems Installation-grade enclosure optimized for ground-stacked or permanent suspended installations Outdoor-rated IP55 construction for indoor and outdoor environments Integrated suspension points enable flexible mounting to accommodate layout and sightline requirements Universal pole cup supports both 35 mm poles and M20-threaded poles for secure loudspeaker mounting Seamless integration with AMU, AMM, and Forum systems
Learn more at BoseProfessional.com/STS118E © 2026 Transom Post OpCo LLC. All rights reserved. ShowTime is a trademark of Transom Post OpCo LLC. Bose is a trademark of Bose Corporation. All other trademarks are the property of their respective owners.
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FEATURES: Q&A
IPMX: separating myth from reality
That throu enviro IT and future
Som stan con sim
As certified IPMX products begin reaching the market, discussion is shifting from what the open standard promises to how it will be deployed in real-world AV systems. Despite growing momentum, misconceptions remain around interoperability, complexity and where IPMX fits alongside proprietary AV-over-IP platforms. Johnny Hickman and Rob Moodey from Matrox Video discuss the myths they encounter most often and why they believe the conversation is changing
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In your conversations across the Middle East, what are the biggest misconceptions you hear about IPMX? JH: The misconception we hear most often is that IPMX is overly complex and mainly intended for broadcasters. In reality, consultants and integrators across the Middle East and Africa are looking for exactly what IPMX was designed to provide: genuine multi-vendor interoperability, straightforward integration into existing IT networks and the ability to transport high-quality 4K 4:4:4 over 1GbE using JPEG XS. Much of that interest comes from customers wanting to avoid long-term dependence on closed, single-vendor ecosystems. Another misconception is that IPMX itself automatically makes everything interoperable. It doesn’t. Codecs such as H.264 and H.265 remain incompatible regardless of how they are transported. What IPMX does provide is confidence that manufacturers implementing a particular profile, such as JPEG XS, do so consistently. That makes conversion gateways between different ecosystems far more valuable.
Is there one myth about IPMX that you wish would disappear because it is slowing adoption? JH: A persistent myth is that IPMX is designed to replace proprietary AV-over-IP systems. That’s simply not the goal. As customers become more aware of the risks of vendor lock-in, many are looking for greater flexibility. IPMX allows manufacturers to interoperate within a broader ecosystem while
continuing to offer their own solutions, giving customers more choice when designing systems.
Some people still see IPMX as “something for the future”. Is that a fair assessment, or is the technology already ready for realworld deployments? RM: It’s ready today. After several years of development, the major turning point came through rigorous multi-vendor plugfests and formal third-party certification testing, showcased at events including ISE. That process has helped bridge the gap between broadcast-grade engineering and everyday corporate, education and pro AV deployments. With more than 50 certified products now available, IPMX has clearly moved beyond theory. Protocols such as SMPTE ST 2110, AES67, NDI and IPMX are mature. The remaining
challenges are less about the transport technology itself and more about infrastructure, including EDID and HDCP handling, VLAN design, QoS, PoE, multicast and switch configuration. IPMX helps simplify multi-vendor deployments, while switch manufacturers are increasingly introducing IPMX-aware configuration profiles to make installations more repeatable.
Do customers often assume IPMX requires a complete replacement of existing AV-over-IP infrastructure? How do you respond? JH: Yes, that assumption still comes up regularly. The reality is that migration doesn’t have to be all or nothing. IP gateways can bring existing HDMI, SDI or NDI sources into an IPMX network, allowing organisations to transition at their own pace while protecting existing investments. Products such as Matrox ConvertIP and Vion are examples of that approach.
Is there a misconception that IPMX is only relevant for very large enterprise or broadcast projects? Which applications are the best fit today? JH: Definitely. The strongest opportunities we see today are in control rooms, live event production and collaboration spaces. These environments benefit because consultants and end users increasingly want secure, manageable and genuinely interoperable systems rather than being tied to a single ecosystem.
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FEATURES: Q&A That ranges from traffic and security control rooms through to large event venues and corporate collaboration environments, where standards-based AV-over-IP gives both IT and AV teams greater confidence in long-term support and future expansion.
Some integrators worry that open standards mean more complicated configuration. In practice, does IPMX simplify or complicate deployments? RM: It depends on experience. Integrators coming from room-based, point-to-point AV projects may initially find any AV-over-IP deployment more complex, including IPMX. Those already familiar with networked AV often find the move to an open standard refreshing. Using NMOS, devices from different manufacturers discover each other and communicate using the same framework, reducing the amount of custom integration required. Combined with centralised management software, IPMX can simplify the monitoring and management of multi-vendor systems. Real‑world feedback from integrators is that early planning and documentation make a huge difference. IPMX is still subject to the same AV‑over‑IP realities around network configuration, IT and security integration, project planning and ongoing management, but the standard helps to simplify many of those multi‑vendor aspects.
An example of an IPMX certificate for the Matrox Video ConvertIP-DSH2 The Mediasys experience centre in Dubai is one such local place where users can get better acquainted with the world of IPMX rather than aspirational. Certification has also helped people understand that IPMX isn’t only about uncompressed video. Many were surprised to discover it also includes a 1Gbps profile.
What practical steps should a systems Certification has now become a reality. Has integrator in the Middle East take over the that noticeably changed conversations with next 12 months if they’re interested in IPMX? customers compared with a year ago? JH: Absolutely. A year ago, many discussions were still centred on what manufacturers hoped IPMX would become. Today, certified products are available and consultants, integrators and end users are much more confident specifying IPMX for real projects. Features such as consistent device discovery and simplified HDCP handling provide reassurance that multi-vendor deployments are practical
JH: The industry is cautiously optimistic. Certification has given people confidence, but there are still understandable concerns around skills, network configuration and interoperability. The best way to address those concerns is through practical experience. Buy or borrow a small number of certified devices, recreate typical customer scenarios in a workshop or lab and become familiar with the workflows. Take advantage of AIMS training,
An interesting approach implemented by AIMS is to move away from the practice of listing companies that simply adopt a standard and to instead maintain an open registry of shipping products. This online listing can be filtered to show “IPMX-certified products only”. Users, integrators and consultants can see exactly which models are certified, what profiles and capabilities they are certified for, and when they were certified.
join webinars and work with manufacturers that actively support integrators in the region. Once you are involved in IPMX projects, it becomes genuinely exciting. The technology opens up new possibilities for flexible, futureproof systems and the integrators who will succeed in the Middle East and Africa market the most will be the ones who can operate confidently in both open standards and proprietary ecosystems. video.matrox.com
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FEATURES: HOSPITALITY
The compact lighting rig delivers impactful beam effects above the dancefloor while maintaining the intimate atmosphere that sits at the heart of Gate Two’s concept
Against the grain Cyclops PixiTube Opaque fixtures are integrated into the venue’s false warehouse-style windows
Rejecting many of the conventions that define Dubai nightlife, Gate Two heads underground to create an intimate, music-first club inspired by Europe’s nightlife scene GATE TWO WAS NEVER INTENDED TO BECOME ANOTHER typical Dubai nightclub. Built within the Club Iris complex, the venue rejects many of the conventions associated with the city’s hospitality scene. Mobile phone cameras are covered on entry, capacities are deliberately limited and exposed concrete replaces polished luxury. Rather than becoming the visual centrepiece, the lighting was designed to reinforce an atmosphere where the music and the venue itself remained the focus. “The vision from the beginning wasn’t to create another typical Dubai club,” explains lighting designer Alex Douglas. “The owners wanted somewhere people could lose themselves in the music. Everything we did with the lighting had to support that idea rather than distract from it.” Unlike Douglas’ neighbouring Club Iris project, which centred on transforming an existing venue through integrated lighting, Gate Two offered the opportunity to develop a visual language alongside a well-defined architectural concept from the outset. With the industrial aesthetic already established, the lighting became less about transforming the room and more about reinforcing the atmosphere the operators wanted guests to experience. “The architecture already had its own personality,” Douglas says. “I wasn’t trying to compete with it. The lighting needed to feel like it belonged there.” This philosophy shaped every technical decision. Rather than filling the relatively compact room with a large inventory of fixtures, Douglas deliberately kept the system restrained. Thirteen Cyclops PixiTube Opaque fixtures were arranged in four hangs of three tubes from the ceiling, with the final fixture placed above the DJ for key light. Originally intended as individually addressable elements, the concept was ultimately simplified into four controllable lighting zones, striking a balance between creative flexibility and practical operation. Eight Cyclops Strobe 400 fixtures introduce movement and rhythm throughout the room without dominating the audience, while four Cyclops Sparkly 480 SBW hybrid fixtures positioned in the corners provide aerial beam effects above the dancefloor.
Cyclops Strobe 400 fixtures add subtle movement and texture without dominating the space Integrated behind a series of false industrial windows running around the upper perimeter of the venue, further illumination constructed from standard RGBW LED strips on a DMX encoder serves to reinforce the venue’s industrial aesthetic. Control is handled via an Avolites T3 lighting console, allowing the various fixture types to operate as a cohesive whole. According to Douglas, the specification supplied by Procom Middle East closely matched the design brief from the outset. “The eight strobe fixtures were the main workhorse for effects,” explains Douglas. “I placed them just above the head height of the guests on the two sides of the room for an intimate experience rather than where they are typically placed in the roof above. This meant that the guests could feel and see the effects of the pixels while also not being blinded by the heavy white strobes on those impactful moments.” For Douglas, the deliberately modest fixture count was central to the concept rather than a limitation. “I didn’t want to throw technology at the room just because we could,” he explains. “The venue already had a strong identity. The lighting’s job was to reinforce that, not overwhelm it.”
Programming plays an equally important role. Rather than chasing constant visual impact, the lighting evolves gradually alongside the evening itself, creating a venue capable of shifting from understated ambience to a high-energy dancefloor without guests necessarily noticing the transition. “At the beginning of the night the lighting is very understated,” Douglas says. “People are arriving, talking and settling into the space. As the music develops, the lighting develops along with it. By the end of the night the room feels completely different, but you haven’t noticed exactly when that transition happened.” Similar thinking extends to atmospheric effects. An Antari M-11 smoke machine and Antari F-4 Fazer provide the haze needed to reveal the lighting, although Douglas says restraint proved just as important as the equipment itself. “My initial instinct was to make it much smokier. That’s what I was used to. But they wanted people to still see each other. It wasn’t about recreating a warehouse rave, but about finding a balance between atmosphere and comfort.” The compromise illustrates the wider approach taken throughout the project. Rather than attempting to recreate Berlin inside Dubai, Douglas instead sought to capture elements of the underground club experience while recognising the expectations of the local market. The result is a venue that feels immersive without becoming theatrical, allowing the lighting to evolve naturally alongside the energy of the room. Having delivered nightclub projects throughout his career, Douglas believes Gate Two stands apart because it deliberately avoids using technology as the headline attraction. Instead, the project demonstrates how a carefully considered design can reinforce an architectural concept without overwhelming it. “In some venues the lighting is the show,” he reflects. “Here, if people leave talking about the music, the atmosphere and the night they had, then we’ve done our job.” www.irisharbour.com
38 PRO AVL MEA September–October 2026
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FEATURES: HOSPITALITY
Double identity
Combining fine dining and late-night entertainment within an integrated AV environment, KIRA & LITT tasked Levels AV with creating two distinct experiences beneath a five-star hotel
The X Series system was designed to deliver clarity while integrating discreetly with KIRA’s elaborate interior LOCATED AT MARSA AL ARAB IN DUBAI, KIRA & LITT brings together two contrasting hospitality concepts. KIRA combines a high-end restaurant with outdoor terraces, while LITT transforms the destination into a premium nightclub after dark. Venue operator Alpha Mind therefore required an AV system capable of supporting two distinct experiences while operating as one integrated ecosystem. “The client’s vision was to create a world-class hospitality and entertainment destination combining exceptional dining, immersive experiences and a premium AV environment,” explains Levels AV’s Sardor Rashidov. “As it was a completely new build, every part of the entertainment system could be designed and engineered from the ground up.” Selected on the strength of its experience in Dubai’s hospitality and entertainment sectors, Levels AV assumed responsibility for the complete audiovisual delivery, its scope encompassing systems design, engineering, equipment selection, integration, programming, commissioning and optimisation, including audio, DSP processing and networking. The overall sound design was developed by Bryan McLean of Dirt Sound in collaboration with Levels CEO Daniel Ball. Rashidov and Bonny Augustine subsequently led the programming, technical implementation, commissioning and final optimisation. “The project was highly collaborative,” says Rashidov. “Bryan and Daniel developed the overall audio system design, combining specialist sound design principles with our engineering and project delivery experience. Bonny and I were then responsible for transforming that concept into a fully operational system through detailed configuration, tuning and performance verification.” One of the principal challenges was delivering the SPL expected in LITT without sacrificing clarity or allowing excessive energy to escape from the venue. The development sits beneath a five-star hotel, making the comfort of the residents above a significant consideration. To address this, Levels combined acoustic panels and wall-barrier treatments with isolated loudspeaker and subwoofer mounts to limit structural vibration. Beneath the DJ booth, compact subwoofers deployed in a cardioid arrangement help direct low-frequency energy towards the audience, supplemented by DSP and notch filtering, directivity control and phase optimisation. Following Smaart-based alignment, Levels measured approximately 103dB SPL in the venue and 45dB in the hotel rooms above.
KIRA combines a high-end restaurant with adjoining outdoor terraces
L-Acoustics A Series arrays flank the DJ booth in LITT, supported by X Series elements and SB15 and SB18 subwoofers
LITT’ high-
In KIRA, two ceiling-mounted L-Acoustics X12 loudspeakers serve the DJ booth, with 17 X8i enclosures distributed throughout the dining area, eight X6i units covering the bar and 32 pole-mounted X4i loudspeakers providing even coverage across the terraces. Eight SB15M subwoofers are flown within the ceiling structure, while the indoor enclosures are concealed behind custom acoustic rattan to preserve the interior aesthetic. LITT’s main system in contrast uses four A10i Focus and four A10i Wide enclosures flown in the four corners of the dancefloor. Six SB15M subwoofers sit beneath the DJ booth in acoustic bunkers, with four facing forwards and two in a cardioid configuration. Two X12 loudspeakers cover the VIP tables behind the booth and five wall-mounted X8s fill in the mid/high frequencies above other tables. DJs are served by two X12 monitors paired with two SB18 subwoofers. “We selected L-Acoustics for its output, precise coverage, reliability and consistent sound quality,” explains Rashidov. “The X Series gives KIRA the clarity and control required for dining, while the combination of A Series, X Series and
that p analo 16 dig AES67 appro The assist enabl before availa “The excep beta fi wider FR1-D LA7.1 to kee comp The KIRA &
subwoofers in LITT creates the power and energy of a nightclub while maintaining the tonal balance expected in a luxury venue.” The systems were modelled in the French manufacturer’s Soundvision platform, allowing Levels to predict coverage, directivity and SPL distribution. “Soundvision allowed us to understand how the systems would behave before anything was installed,” adds Rashidov. “That was especially important because we needed to focus the energy very carefully. We then used Smaart during commissioning to make sure that the timing, phase and overall system performance were correct.” A further challenge emerged during the amplifier selection process. The original proposal required multiple 4-channel amplified controllers, increasing both rack space and cost. The newly introduced 16-channel L-Acoustics LA7.16i offered a more efficient option, but its available input formats did not initially match the Levels signal architecture. “The LA7.16i gave us a way to reduce the amplifier count, but it was a brand-new platform,” recalls Rashidov. “At
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sharing an integrated technical backbone. Sources, levels and operating parameters can be adapted to the requirements of each venue without affecting the other. “An important engineering challenge was creating a single AV ecosystem for two completely different identities,” notes Rashidov. “The flexibility of the Xilica platform allows the environments to operate separately while remaining fully integrated.” In addition to providing audio coverage throughout, Levels designed, fabricated and integrated LITT’s bespoke circular LED installation. The system comprises 19 displays using 2.5mm pixel pitch LED technology – 12 measuring 1m in diameter and seven measuring 1.5m. Their forms echo the venue’s decorative ceiling elements and house light fixtures, allowing them to read as part of the architecture rather than conventional screens. NovaStar technology provides the LED processing, while content is controlled using Resolume. “The circular screens have become a key part of LITT’s identity,” explains Rashidov. “They add energy to the room and allow the visual content to work with the performances. Because of the way they have been integrated into the architecture, they do not feel like conventional screens.” The resulting installation allows KIRA to retain the controlled atmosphere required for luxury dining while LITT delivers considerably greater
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Back on stage. More than ever. Nettuno L28 marks Montarbo’s comeback to the stage with a newly designed, compact linearray. LITT’s loudspeakers are integrated among the sculptural ceiling features to provide high-output, controlled coverage across the nightclub that point, it supported AVB together with limited analogue and AES inputs. We needed to send 16 digital input signals from the Xilica DSP using AES67, so we either had to change the system approach or find a way to integrate the amplifier.” The team approached L-Acoustics for assistance and was provided with beta firmware enabling AES67 compatibility on the LA7.16i before the functionality became generally available. “The support from L-Acoustics was exceptional,” says Rashidov. “They gave us beta firmware before it had been released to the wider AV industry, and it allowed the Xilica Solaro FR1-D to send all 16 channels directly to the LA7.16i over AES67. This meant we were able to keep the system design we wanted, reduce complexity and remain within the project budget.” The Xilica processing platform also allows KIRA & LITT to function independently despite
output and low-frequency impact after dark. That contrast, achieved within one integrated AV ecosystem and directly beneath a five-star hotel, became the project’s defining feature. Detailed modelling, architectural isolation, DSP control and system optimisation have helped Levels reconcile the two identities while protecting the accommodation above. “The greatest achievement was seeing all the elements work together as one complete experience,” concludes Rashidov. “The high-performance audio, flexible DSP control and immersive LED technology all support the original vision. Since opening, the feedback from the client, guests and industry professionals has been extremely positive.”
Modular and versatile, it delivers professional performance for both touring and installed applications. Through scalable design, 135.5 dB SPL and perfectly balanced coverage, Nettuno L28 integrates effortlessly into any space, delivering sound that embraces every listener. Adaptive headroom goes beyond expectations, while onboard presets simplify the system by reducing the need for external processing.
montarbo.com
www.l-acoustics.com www.levelsav.com www.xilica.com
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FEATURES: WORSHIP
The connected congregation Built from the ground up, Christian Family Church South has been designed to do more than host services of its own, operating as part of a single live service shared with the church’s main home several kilometres away AV TECHNOLOGY HAS MADE WORSHIP MORE accessible than ever, allowing individuals to tune into weekly services from their own homes. It is communal in theory, and enables more people to take part in proceedings they otherwise could not, but is it truly collaborative? This question was front and centre when Christian Family Church set out to construct a new satellite campus in South Johannesburg. The objective was not simply to reproduce a service taking place elsewhere, but to create a live, bidirectional connection through which pastors, worship leaders and production teams could participate from either location. A speaker could address both congregations from one campus during the first morning service, travel to the second and reverse the arrangement for the next. Musicians at one site could perform with feeds originating at the other, while camera feeds allow each congregation to see the worship taking place across the link.
L–R: SAW’s Pieter Van Hoogdalem and Kieran Hempel outside Christian Family Church South
Q-SYS audio and control extend beyond the auditorium into the foyer and other shared spaces
The blank canvas provided a rare opportunity to approach the entire project as a single ecosystem encompassing the 750-seat auditorium, production facilities, foyer, multipurpose rooms and children’s spaces. The process began with a competitive tender issued to several of South Africa’s major distributors and integrators. Each submitted a proposal before being invited to demonstrate its proposed sound system in one of the church’s existing venues. Stage Audio Works (SAW) ultimately came out on top. “The process was incredibly fair and well thought out,” recalls SAW’s Kieran Hempel. “It gave everyone an equal opportunity to represent themselves as well as the products they were putting together. It also gave some life to the numbers and names on a piece of paper.” For the church, two requirements stood above the rest: audio quality inside the auditorium and the ability to deliver a point-topoint livestreaming system. The latter represented a significant
departure from its previous approach. Although services had been streamed online, this would be its first dedicated link created to exchange live production feeds between campuses. As discussions expanded into lighting, video distribution, room control and the outlying spaces, it was determined that appointing separate contractors for each discipline risked producing a collection of individual systems rather than a unified environment. “The church was keen to appoint one person to do a turnkey solution rather than have lighting from one and audio from another,” says Hempel. “The goal was to create a cohesive system that could all be brought into one, whether that was through a touchpanel, a sound desk or Q-SYS.” With initial conversations taking place approximately 12–13 months before the campus opened, the original scope remained largely intact. The main challenge was coordinating the many direct contractors working towards the same opening date, each with a different route to completion. Early involvement nevertheless allowed the integrator to coordinate the underlying infrastructure while the building itself was taking shape. At the heart of the project is the link between Christian Family Church South and the main campus. Matrox Monarch Edge E4 encoders and Monarch Edge D4 decoders at both locations carry four discrete video channels and 16 channels of audio over a Layer 2 connection, with network routers installed at either end. The main campus also upgraded its production switching as part of the project to a Blackmagic Design ATEM Constellation 4 M/E. The church specifically wanted a low-latency live link rather than a scheduled or time-shifted programme. The system therefore needed to support interaction within a service, not merely deliver a recording from elsewhere. SAW worked closely with the internet provider early in the project to make this happen. For worship, individual console buses including drums, tracks, click, guide and lead vocal can be passed between sites. The remote lead and supporting feeds are brought into one campus, where local musicians and vocalists perform alongside them. The arrangement remains directional during each segment, avoiding a return loop that would compound latency. The same video infrastructure enables a worship leader at one location to appear on the screens at the other. Teams can choose from local cameras and incoming shots, placing a remote worship leader on the auditorium screen while the singers onstage provide backing vocals. Wide views of the congregation can also travel in either direction, letting
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FEATURES: WORSHIP
The auditorium uses a distributed d&b point-source system rather than a conventional line array worshippers see the service taking place at the other location. Behind these public-facing elements, Hollyland 4-wire interfaces feed production comms into the Matrox link so that service producers can coordinate in real time. “Having real comms between campuses was a big thing,” says Hempel. “It keeps the communication flowing, allowing better coordination of the cross-site video/audio transition.” The church’s service workflow begins well before Sunday morning. Teams rehearse across the connection on Wednesday evenings, providing both a creative run-through and a test of the complete path. Tracks, remote camera sources and inter-campus communications must all meet at the correct point in the service, yet much of this complexity has been kept behind the interfaces presented to operators. This is particularly important where experienced technicians work alongside volunteers still developing their production skills. “What jumps out for me is that technology now allows something technically complex to be managed easily and intuitively through interfaces like Companion/Stream Deck and Q-SYS,” says Hempel. SAW spent time onsite during commissioning and returned for follow-up training once the team began using the equipment in live services. “You only find out what you don’t know when you start operating the equipment, even after you have gone for training,” he acknowledges. Simplicity did not mean delivering part of the system and promising to finish it later. Hempel is emphatic that there should be no “phase two” for essential coverage or functionality, as new demands quickly begin competing for funding once a church opens. “Whatever part of the audio, video or lighting we are doing, it has to be complete,” he says. “On opening Sunday, you can’t have part of the congregation sitting in a shaded area, audio-wise.” This philosophy is encapsulated in SAW’s internal motto: “Everyone can see and everyone can hear.” If a premium solution cannot be deployed completely, Hempel would rather specify a more economical system that covers the entire requirement than preserve a prestigious name on only part of the project. The auditorium PA provides a clear example. Rather than follow the widespread preference for compact line arrays in contemporary worship spaces, where the ceiling doesn’t allow for a long enough array length, SAW proposed a distributed d&b point-source design. The church imposed no preferred format, but required every supplier to demonstrate its proposed system. The final design uses four Vi7P point-source loudspeakers, supplemented by six discreet 44S frontfills and a central pair of B22 subwoofers. On paper, the deployment appears relatively straightforward. Hempel argues, however, that the engineering and pattern control behind the Vi7Ps are more important than
A Waves eMotion LV1 Classic at FOH overlooks the 750-seat auditorium
A discreet d&b frontfill is integrated into the stage edge beneath the LED wall the visual complexity of the array. “There is much better control from a very well-engineered point source than from a poorly specified line array,” he says. “The gain before feedback onstage is phenomenal.” The shape and scale of the auditorium suited the point-source approach, while the loudspeakers’ controlled dispersion helped SAW address the proximity of neighbouring properties behind the venue. “We’re big on choosing the right box for the space,” Hempel continues. “The PA system and the room are synonymous with each other; they interact with each other.” From the church’s perspective, this was supported by the demonstration process. Rather than approving a system from drawings and hearing it only after installation, leaders could compare the proposed solutions in a familiar environment. The result is an audio system selected for the room and its operating requirements rather than for fashion or appearance. Acoustic treatment has created a controlled but not excessively dead room, while SAW also supplied the backline, including an electronic drum kit chosen to manage stage volume. Mixing is performed on a Waves eMotion LV1 Classic, with Sennheiser EW-D digital wireless microphones forming part of the stage package. The auditorium’s visual focus is an 18m x 4m (WxH) PixelPlus LED wall boasting a 2.6mm pixel pitch. Rather than install separate IMAG displays either side of a central graphics screen, the team chose one continuous surface with a gentle curve towards its outer edges. Live cameras can appear as picture-in-picture windows at the upper corners, or a remote presenter can occupy a large central 16:9 frame with scripture and graphics around the image. Resolume runs on a custom PC with an Nvidia GPU, feeding the wall through two synchronised 4K outputs, forming a single LED screen canvas.
Lighting carries the visual treatment into the room. Front lighting is provided by Plus Lighting SP350 Fresnels, with eight ACME Voltkas used for wash and strobe effects alongside 16 ACME Pixel IP pixel bars and eight ACME Willow 500 moving fixtures. The Plus Lighting RGBW house lights are also integrated into the system, with all lighting controlled from an MA Lighting Command Wing. Beyond the auditorium, a Q-SYS Core 24f processor distributes audio and control throughout the foyer, children’s areas, reception and multipurpose room. Audio in these spaces is reinforced from a selection of wall-mounted Audac cabinets. A wall-mounted interface in the foyer can control sources and dim the lighting, while the multipurpose room can operate independently or receive a feed from the auditorium. Dante networking replaces traditional analogue consoles and multicore cabling in secondary spaces via Plus Audio Dante-to-analogue converters.
Audio is distributed outside the auditorium via Audac wall-mounted cabinets The intention is not to expose every technical possibility to every user. Each area instead receives the controls needed for its purpose. That simplicity depended on early coordination. Infrastructure spanning lighting, networking, video, audio and control cannot easily be added at the eleventh hour without compromise; here, the new-build programme allowed the relevant pathways and interfaces to be considered from the outset. Christian Family Church South may be a brand-new building, but its real achievement lies in making it part of a much larger whole. By treating networking, communications, production and worship as one ecosystem rather than separate disciplines, SAW has delivered a campus designed not simply to host services, but to erase the boundaries between them. www.christianfamilychurch.co.za www.stageaudioworks.com
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FEATURES: WORSHIP
A clear direction
Darwish has upgraded the sound at Doha’s Al Kuwari Mosque, improving speech intelligibility while respecting the venue’s striking architecture LOCATED NEAR KHALIFA INTERNATIONAL STADIUM within Doha’s Aspire Zone development, the modern, architecturally striking Al Kuwari Mosque has been serving as the central place of worship for visitors and the surrounding community since its construction in 2006. As part of a recent audio upgrade, Qatarbased systems integrator Darwish Technology was tasked with improving speech clarity and overall audio performance while working within the limitations of an already operational building. Darwish handled the full project lifecycle internally, including systems design, integration, testing and final commissioning. “The mosque plays an important role as a central spiritual hub within this prominent development,” notes Darwish operations manager Ahmed Dabberni. “For Darwish, this project was significant as it reinforced our capability to deliver high-quality AV solutions in prestigious and community-critical environments.” The primary objective of the project was to ensure clear and intelligible reproduction of prayers and announcements across all
Eight Bose Professional MA12 modular column loudspeakers have been distributed along the walls
areas of the mosque. While the venue’s acoustics were described as generally acceptable, the integrator explains that one of the main challenges came from the inability to make civil modifications to the structure itself. “Optimising loudspeaker placement within an operational mosque where civil modifications were not permitted became the core focus,” recalls Dabberni. “Instead of altering the architecture, our team relied on modelling and system optimisation to improve coverage and intelligibility while preserving the visual appearance of the worship space.” The audio refresh centres around a Bose Professional audio system, with eight MA12 modular column loudspeakers distributed along the walls of the main prayer hall. Designed to provide controlled vertical coverage and consistent speech reproduction, the MA12 was selected to help improve intelligibility within the reverberant environment while minimising visual intrusion within the interior. Darwish utilised the manufacturer’s Modeler simulation software during the design phase to analyse the space and determine ideal loudspeaker positioning. According to the company, this process helped identify the most suitable loudspeaker types and coverage strategy for the mosque while maintaining what it describes as a “natural and balanced sound profile”. Additional coverage for exterior spaces is provided by Bose Professional’s DesignMax DM6SE surface-mount loudspeakers installed on the outside mosque walls, while amplification duties are handled via PowerShare amplification, including the P2600A and P4300A models. The system also incorporates a Yamaha processing and control infrastructure, including a Yamaha MTX3 matrix mixer and signal processor alongside a wall-mounted Yamaha MCP1 controller positioned near the Mihrab, providing straightforward day-to-day operation for mosque personnel. The minaret systems operate independently and are activated specifically during the Adhan prayer call process. Monitoring within the system is handled through a Yamaha MSP3 powered reference speaker. Microphone provision includes a Sennheiser MEG14-40-L-II gooseneck for the Imam position, alongside Sennheiser e835 handheld microphones and an MEB 114-S boundary model for supplementary speech reinforcement and announcements. With speech intelligibility forming a key part of the project brief, the commissioning process included extensive use of NTi measurement tools to validate system performance and confirm the required clarity levels had been achieved, with intelligibility and consistency across the prayer space prioritised throughout the tuning process. Onsite coordination was handled directly with the Aspire Zone team,
The microphone inventory includes Sennheiser gooseneck, handheld and boundary microphones which acted as both end user and primary stakeholder. This close cooperation was said to greatly simplify decision-making during the project. The overall delivery timeline was relatively compact. According to the integrator, the design phase was completed within a week, followed by another week of integration work, while procurement took approximately four weeks. Despite the relatively straightforward deployment, the project is notable for reflecting a broader challenge increasingly faced within worship environments: improving intelligibility and coverage within architecturally sensitive spaces where structural intervention is either undesirable or prohibited altogether. In this case, Darwish’s approach centred less on large-scale acoustic treatment or architectural modification and more on careful loudspeaker selection, simulation and positioning. For the integrator, the project also represented an opportunity to reinforce its capabilities within large-scale public and community-focused environments in Qatar. “We take pride in successfully delivering every project, particularly in meeting client expectations and achieving positive acceptance,” Dabberni states. “This project reflects our commitment to quality and reliability in critical environments.” www.darwishholding.com
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Basilica S.Maria Maggiore - Roma (Italy)
Kobra-KK52 I
Large worship spaces and historic halls often present complex acoustic challenges: long reverberation times, uneven sound dispersion, and reduced speech intelligibility. The Kobra-KK52 I is designed to deliver clear, natural, and evenly distributed sound while blending seamlessly into the architecture. Featuring 8 × 2” neodymium woofers, selectable 16 Ω / 64 Ω impedance, and controlled vertical
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dispersion, the KK52 I ensures precise coverage and exceptional intelligibility for speech, music, and multimedia applications — all within an elegant stainless-steel design with minimal visual impact.
www.k-array.com
26/08/2026 11:36
BUSINESS: COMMENT
A letter from America
The technology enabling one-person performances has never been more powerful, but Dan Daley argues that the inherent legal risks are growing just as quickly
THE ARRAY OF TECHNOLOGY PLATFORMS THAT CAN turn a single musician into an entire orchestra is remarkable. From looper pedals that can act as robotic sidemen, playing parts the lone leader taps out onsite, to the kind of SMPTEled backing tracks once reserved for the highest echelon of global touring shows, anyone can now closely emulate the godfather of that unique category, Ed Sheeran. However, while you pack your kit with the requisite gear that now powers one-man bands, best to read the fine print on some of it, lest some copyright holder’s barrister deposits a subpoena instead of a fiver into your busker’s hat. That’s the message found on the advertisements for some of that gear now. For instance, JBL’s rather spectacular Bandbox, which adds features like integrated AI-powered stem separation to the ability to set up and be heard on any street corner or city park, carries a cautionary caveat. “For non-commercial use only,” it begins, ominously. “It is your responsibility to know and abide by copyright laws in your country, and your use may require permission from the copyright holder(s). Review terms associated with use of prerecorded or licensed music and streaming services, before using Bandbox.” It’s that stem-splitting capability, what reviewer Paul White in Sound On Sound called “a real winner for those who use
backing tracks”, that likely prompted the advertisement’s caution, as it allows digital surgery on prerecorded content that could create IP infringements IRL. That’s not a new problem – the capacity to mess with a music artist’s work has been available ever since nonlinear audio has been around, and the arrival of AI has taken both that capability and the pushback against it to new heights. However, the imbroglio is migrating from the studio to the street corner. Technically, buskers playing cover songs for money are infringing on copyright if they do not have a public performance licence, which virtually none of the many who do this bother to secure, if they’re even aware of it. That’s because it’s a largely overlooked transgression, by the performing rights organisations that control those licences, the copyright holders themselves and pretty much everyone else. In fact, in the US, busking is often even protected as free speech. However, those ad hoc street performances often wind up distributed online before the last notes fade away, opening a door that any lawyer would notice. Like mid-century American bank robber Willie Sutton, widely quoted as saying he robbed banks “because that’s where the money is”, lawyers as a class tend to do the same, looking at the top end of any civil litigation with the intent of scoring the
greatest payday. In various verticals they will eventually run out of targets, but music remains a fecund field, one where massive lawsuits by major labels against AI companies Suno and Udio for training on copyrighted works, and a US$322mn judgement against Anna’s Archive for data scraping, which awaits almost certain legal appeals (if they could ever find the defendant) have pushed settlements into the billions of dollars. Digital originality in the park could create a trail that leads from a cool toy in Guitar Center back to a deep-pocketed multinational on the other side of the world. Music-related lawsuits have always been around, but the digitally enhanced litigious waters around copyrights have become more shark-infested than ever. Finding and identifying infringements has taken on the patina of a television crime procedural, data detectives combing the internet for evidence. It’s clear that the barristers vetting JBL’s advertising are aware of the potentially dire possibilities more technologically advanced busking can create. Their language is intended to keep the imaginations of their colleagues at bay, or at least keep the legal responsibility for any infringements on the user, not the tools the performer uses. For now, you should still be safe playing at home. But keep your mobiles muted. You never know who’s listening.
A letter from Europe
Phil Ward compares the latest trend of technology-free, acoustic gigs to the rise in technology that doesn’t require artists to be present at their own concerts THE LAST THING THE PROFESSIONAL AV INDUSTRY needs right now is a craze for candlelit, acoustic concerts. Can you imagine: “Oh, leave all the gear on the truck, Dave, it’s one of those new-age gigs.” They may be light as a feather on Mother Earth. But they render all of us redundant. And yet, here they are. “Candlelight” is a trademarked event promoter operated by New York-based Fever, a specialist in “curated private events and customised group experiences”, with a smartphone travel recommendation platform called Secret Media Network as a side hustle. All over the world, from intimate hideaways to UNESCO World Heritage Sites, these guys are sneaking in and planting thousands, I mean thousands, of candles to cast an eery illumination over a series of irredeemably quiet musical performances. Lumos is another culprit, having cornered a market in mainly the house of worship sector in the UK and the Netherlands, although at least they have the decency to attach a few piezo microphones to a violin or two. Where they hide the speakers in St Mary’s Parish Church, Ross-on-Wye is probably an ecclesiastical matter.
The typical package is a string quartet, acoustic guitar or piano, tickling out cover versions of anything from Coldplay to the soundtrack of The Lord of the Rings, making the most of natural amphitheatres and atmospheric locations. You may spot the odd microphone and – safety officers take note – the candles are battery-powered LEDs, not naked flames. But, on the whole, they remove the need for most of the stuff on full display at InfoComm in Las Vegas during June. Well, if some people are going to ditch the technology in favour of the artists and their vibrations, the least we can do is ditch the artists in favour of the technology. The trend for giant screens began as a necessity when stadium, arena and festival dates grew so big that a solution was needed to prove you were at the right concert. And it’s already 20 years since Associated Press reported on the rapid growth of simulcast concerts, with a host of names including the Rolling Stones, Bon Jovi and Green Day transmitting shows to up to 850 cinemas in one evening while they thrashed it out somewhere else. “Fans can gather together to see them nationally, but in a very local and personal way,” said
Dan Diamond, VP of Digital Programming for Big Screen Concerts. But over the years it has become clearer that there is a logical conclusion to the use of sophisticated video, one that makes its own contribution to the environment as well as answering one previously unthinkable question: how can we perpetuate the biggest acts beyond the grave? It’s not a matter of how “virtual’ bands like Gorillaz, or the existentially ambivalent K-pop phantoms, project themselves into the venue. It’s a matter of how ageing icons like Abba – and now Kiss – get to establish a legacy that keeps them forever young and available to sell tickets. The answer, which is to don a motion-capture suit and run through the set for the sensors so that your 3D digital replacement can be painted onto them, seems now to be a late career option. Ozzie Osbourne went for it, just in time. Once completed, you can perform all over the globe, night after night, without even breaking into perspiration. Rings of Power, indeed. Some of this was supposed to be a way out of Covid. Instead, people are gathering together to dim the lights. Fair enough, but if they ever try it with Kraftwerk there’ll be trouble.
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BUSINESS: PROFILE
One for the road
L–R: Multi-Grammy award-winning bassist
Bakithi
Driven by the vision of its founder, Freddie Nyathela, the South African Roadies Association (SARA) has spent more than three decades professionalising what was once an almost entirely informal workforce THE PROFESSIONAL AV INDUSTRY HAS NEVER LACKED technology. Every year brings more powerful loudspeakers, brighter LED displays, faster networks and increasingly sophisticated production tools. But these technologies do not run themselves, and with every year that goes by, there seems to be a shrinking pool of enthusiastic young students looking to take over the reins. Finding the people capable of designing, deploying and operating them is becoming a serious challenge worldwide. Freddie Nyathela has been grappling with exactly that challenge in South Africa for more than three decades. At the outset of his career, the country’s live events sector had no formal pathway into technical production. If you wanted to work backstage, you learnt on the job. And if you didn’t know somebody already working in the industry, getting started was practically impossible. “There was only one way you could get into the industry in those years, it was a case of who you know,” Nyathela recalls. “It was difficult for outsiders who wanted to get into the industry to find a way to be involved.” Today, that observation feels remarkably familiar. Across the Middle East and Africa, manufacturers, rental companies, systems integrators and production providers all speak about the shortage of skilled technicians entering the industry. Nyathela recognised the problem long before workforce development became a regular topic of conversation. Rather than accepting that reality, he set out to change it. Born out of Nyathela’s own struggle to gain a foothold in the industry and founded in 1992, the South African Roadies Association (SARA) is a unique and dynamic non-profit training organisation dedicated to empowering young people with much-needed live event technical production skills. The organisation was responsible for hosting Africa’s first-ever Live Event Technical & Production Conference (LETPC) from 2015–2019, as well as the Live Tech Edu Summit in 2023 in Parktown, Johannesburg, with international speakers from the UK, Germany, Australia, Denmark, the USA, Ghana and Kenya. Nyathela’s introduction to live production came during the early 1980s as a roadie with Harari and South African singer-songwriter Sipho “Hotstix” Mabuse. Harari was one of the first black South African bands to own their own professional technical production equipment. Touring throughout South Africa and neighbouring countries
SARA
SARA president Freddie Nyathela (centre) at the International Event Safety & Security Conference, representing South Africa exposed him to every aspect of live production while also revealing how fragile the industry’s skills pipeline really was. The creation of SARA was never simply about training roadies. It was an attempt to create a structured route into an industry that had largely depended on experience, word of mouth and opportunity. More importantly, it sought to open technical careers to young South Africans who had previously been excluded from them. The country’s technical education at the time focused largely on traditional studio sound engineering, while the live events industry itself remained relatively small. Rental companies were few in number and there was little recognition that the specialist skills required to stage concerts, festivals and major events deserved their own structured training. “Because of apartheid, black people like myself were not allowed to acquire technical skills,” says Nyathela. “This kind of training never existed in South Africa and there was a lot of resistance. If not for our international community, SARA wouldn’t be where it is today.” Rather than abandoning the idea, Nyathela looked beyond South Africa’s borders. The first breakthrough came through Ireland. Working with the Irish government’s Agency for Personal Service Overseas (APSO), the body invited an experienced industry professional to assess both the organisation and its status in the
Students getting acquainted with a new MA Lighting dot2 XL-F console South African live entertainment sector. His recommendation was straightforward: find an experienced trainer from Ireland to deliver an intensive six-month live sound production course. That programme launched in 1997 and became the foundation on which everything else was built. What began as a single training initiative evolved into an international network of expertise. An unexpected meeting with an
48 PRO AVL MEA September–October 2026
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Bakithi Kumalo visits SARA House
“The only existing training programme was focused on studio sound engineering,” recalls Nyathela. “SARA’s training is broad. We have sound technicians, lighting technicians, audiovisual technicians… the list goes on.” Nyathela is equally adamant that technical education cannot remain confined to the classroom. Students need to make mistakes, solve problems and build confidence using the same equipment they’ll encounter onsite and in the global market. Over the years, SARA has steadily invested in professional production infrastructure, from NEXO loudspeaker systems to LED displays and trussing. “These are toys that students need to have access to and be able to play with to properly understand,” he says. One of Nyathela’s greatest rewards has been watching former students build successful careers and travel the world. Today, SARA has trained more than 2,000 students, with graduates working for equipment hire and production companies, broadcasters, churches, conference centres and the film industry, while others have built careers overseas or established production companies of their own. Many remain active throughout South Africa’s live events industry. The organisation’s growing reputation was perhaps best demonstrated in 2010, when SARA supplied 140 technical and production crew
SARA students at a recent DWR exhibition adviser to the director-general of the Dutch Ministry of Education, Culture and Science in 1997 opened another door. While the Dutch Ministry provided the financial backing, the trainers themselves came from leading Dutch promoter Mojo Concerts, owners of the North Sea Jazz and Lowlands festivals, delivering specialist live production management training. The French Institute subsequently supported an annual lighting course, while the British Council supported backline training and the Norwegians stage management courses. Partnerships with Denmark’s Roskilde Festival, the North Sea Jazz and Lowlands festivals in the Netherlands, and Norway’s Hove and Quart Festival later enabled SARA students to gain valuable on-the-job experience alongside professional international production crews. Since 2002, the organisation has also been sending students to work with Atlanta-based Universoul Circus, exposing them to different working practices, technologies and large-scale productions that were largely unavailable in South Africa at the time. Each partnership has contributed another piece of the puzzle. Rather than concentrating on a single discipline, SARA gradually assembled a programme that reflected how live productions actually operate. Students weren’t simply taught sound. They were introduced to live sound, lighting, audiovisual systems, staging, backline, stage management and production techniques, developing an understanding of how every department contributes to the success of a live production.
members for the opening and closing ceremonies of the FIFA Confederations Cup and FIFA World Cup. Just as importantly, many of its former students have returned as guest lecturers and mentors, helping prepare the next generation for careers they themselves entered through the organisation. That cycle of learning has become self-sustaining, and the organisation’s ambitions now extend far beyond South Africa. Working with the UK’s Academy of Live Technology, SARA hopes to introduce higher-level qualifications while pursuing an even bigger goal: establishing a purpose-built Backstage Academy South Africa training centre to serve students from African countries including Ghana, Nigeria, Botswana and Zimbabwe. More than 30 years after identifying a gap in South Africa’s live production industry, Nyathela’s ambitions remain firmly focused on young people. Technology will continue to evolve, productions will become more sophisticated and new opportunities will emerge, but without a steady pipeline of skilled technicians, none of it is possible. He hopes SARA will take that message directly into schools through a programme of roadshows, inspiring students to consider careers in live event production much earlier in their education. As SARA looks towards training the next generation of live production professionals from across the African continent, the organisation’s founding mission remains unchanged: creating opportunities for people who might otherwise never have found their way backstage. www.saroadies.co.za
September–October 2026 PRO AVL MEA 49
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BUSINESS: SHOW REVIEW
Mediatech Africa makes a confident return
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Seven years away is a long time in any industry, but the return of Mediatech was worth the wait
The move to the Kyalami Grand Prix Circuit & International Convention Centre appeared to benefit exhibitors. Compared with previous editions, the venue provided greater flexibility for larger stand designs and demonstration areas, while the additional outdoor space allowed manufacturers to showcase products that would have been difficult to demonstrate elsewhere. The result was a noticeably different visitor experience. Rather than everyone being contained beneath a single roof, the exhibition benefitted from a more open layout, with indoor and outdoor spaces encouraging visitors to explore the wider site. For many long-time exhibitors, this felt like a natural progression rather than simply a replacement for the previous home. International participation also remained encouraging. Manufacturers from Europe, North America and Asia were well represented, largely through their South African partners. While attracting greater numbers of visitors from elsewhere on the African continent remains an ambition for future editions, the show nevertheless drew attendees from neighbouring WHEN MEDIATECH AFRICA LAST TOOK PLACE IN 2019, artificial intelligence had yet to enter the mainstream, virtual production was still in its infancy and few could have predicted the disruption that would follow. The pandemic forced an extended pause for exhibitions around the world, while South Africa’s flagship professional AV gathering disappeared from the calendar altogether. Its return therefore carried an unusual amount of expectation. Questions surrounded almost every aspect of the exhibition. Would visitors return after such a lengthy absence? Could the event establish itself at a new venue after leaving the familiar surroundings of the Ticketpro Dome? Would manufacturers still see value in exhibiting? Adding further uncertainty, nationwide protests planned for the opening day threatened to dampen attendance before the doors had even opened, leaving some exhibitors wondering whether visitors would choose to sit the first day out entirely. But by the end of the first morning, most of those concerns had already begun to disappear. Rather than quiet aisles and cautious optimism, exhibitors found consistently busy stands, full demonstration theatres and a level of visitor engagement that exceeded many hopes. Throughout the three-day event, conversations rarely centred on disappointing footfall. Instead, discussions focused on new products, customer meetings and the simple fact that South Africa’s AV industry had its exhibition back. Perhaps more importantly, Mediatech once again demonstrated why regional exhibitions continue to play an important role within an increasingly global industry. International events such as ISE and InfoComm continue to grow in both scale and influence, attracting visitors from every corner of the world. Yet there remains something fundamentally different about a local tradeshow. Rather than attempting to compete on size, they succeed by serving the specific needs of the market. Distributors, consultants, rental companies, systems integrators, broadcasters, production professionals and end users all meet under one roof, creating an environment that feels more like a community gathering than a conventional trade exhibition. Throughout the event, exhibitors repeatedly remarked on how much the industry had missed having a dedicated national gathering. There was a genuine sense that everyone wanted the show’s return to succeed. Established South African distributors occupied prominent positions across the show floor, using the opportunity to reconnect with customers while introducing technologies that
many visitors had previously only encountered online. After years in which product launches increasingly took place through webinars and livestreams, Mediatech reminded attendees that professional AV remains a business built around demonstration and experience. This was particularly noticeable within the audio sector. Rather than relying solely on spec sheets and marketing presentations, several exhibitors created opportunities for visitors to hear systems in realistic conditions. To cater to this appetite, Stage Audio Works laid on dedicated Soundscape presentations led by d&b’s Steve Jones, alongside worship technology seminars. The return of an outdoor loudspeaker shootout proved especially popular and served as a reminder of an exhibition tradition that has sadly become uncommon at international events. Inside the halls, visitors also experienced immersive audio demonstrations, while the L-Acoustics booth within the DWR Village showcased real-time AI-powered noise separation technology capable of delivering some genuinely remarkable results.
Spectators enjoying the outdoor shootout Lighting manufacturers adopted a similarly practical approach. Large fixture counts, programmed demonstrations and integrated control systems transformed several stands into miniature show environments, enabling visitors to evaluate products within something much closer to a live production than a static exhibition display. DWR embraced the concept with multiple daily productions of “Tungsten and LED”, which saw the booth transformed into a full show complete with ceiling-hung portable staging for the performers.
DWR’s impromptu production of Tungsten and LED drew large crowds at each showing countries and reinforced Johannesburg’s position as the region’s principal technology hub. Beyond the technology, the exhibition highlighted the continued importance of local distribution. Mediatech places considerable emphasis on the relationships between global brands and the companies responsible for supporting them within the region. Technical training, product demonstrations, after-sales support and long-term customer relationships remain central to the African market, giving distributors a particularly prominent role throughout the event. The exhibition also reflected the diversity of the modern AV industry. Alongside pro audio, lighting and staging technologies sat broadcast production, LED displays, control systems, conferencing solutions, networking infrastructure and content creation tools – basically a one-stop show of AV. As these sectors continue to converge, Mediatech increasingly mirrors the wider evolution of the industry itself, bringing together technologies that would once have been showcased at separate specialist events. Visitor numbers may grab the headlines, but the quality of conversations, strength of commercial relationships and opportunities created in the months that follow are what ultimately define a successful tradeshow. By that measure, Mediatech Africa 2026 appears to have achieved exactly what the industry had hoped for. After a seven-year absence, it returned not just as a nostalgic reminder of what once was, but as a confident statement that the African industry once again remains eager to meet, collaborate and invest in its future.
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BUSINESS: SHOW REVIEW
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Simon Robinson, organiser: “Bringing Mediatech Africa back
Travis Vermeulen, Planetworld SA: “We’ve got five stand spaces across the show, representing brands including JBL, Shure, Ayrton, SGM, Leyard, PixelHue and FLUX::. One of the highlights is our immersive audio demonstration featuring JBL’s VTX A6, while we’re also running scheduled demonstrations every 45 minutes, for which the response has been extremely encouraging. The atmosphere has been very positive and we’ve been really pleased with the level of interest.”
Tiaan Hogstad, Alpha Technologies: “We came in with fairly open expectations. There were concerns that the protests might affect attendance, but we’ve been pleasantly surprised. For us, Mediatech has always been about strengthening relationships with existing customers as much as meeting new ones. We know a large proportion of the market already, so it’s an opportunity to show them what’s new and reinforce those connections. That’s where the real value lies.”
after such a long break has been incredibly rewarding. It has taken a huge amount of work from both ourselves and the exhibitors, who really embraced the opportunity and created an outstanding event together. What has been particularly encouraging is seeing a new generation discover the show for the first time, alongside so many end users engaging directly with the technology. We’ve also welcomed more international manufacturers than ever before, giving visitors the chance to meet the brands face to face. The response from across the industry has been overwhelmingly positive.”
Koy Neminathan, Obsidian: “What makes Mediatech special is the relationships. It gives local companies a platform to showcase what they’re capable of and demonstrate just how professional this market has become. The standard of work here is outstanding and the industry is developing incredibly quickly. What always stands out for me is the hospitality. As soon as you arrive, you’re treated like part of the family, and that creates an environment where manufacturers, distributors and customers work together to find the right solutions for the market. That’s something you don’t experience at every tradeshow.”
Alex Bryan, Fenix: “I’ve been attending Mediatech since 2014, so I’ve seen how the exhibition has evolved, but I still didn’t expect such a strong return after a seven-year break. The halls have been busy throughout the show and we’ve welcomed everyone from students to experienced professionals, not only from South Africa but also neighbouring countries including Namibia, Zimbabwe and Mauritius. I also think the new venue is a significant improvement. There’s more space, it’s better organised and the outdoor demonstration areas create new opportunities for manufacturers to showcase their products.”
Peter Berry, StageOne: “I’ll be honest, I had my reservations right up until the first day. It’s been a long time since we’ve had a Mediatech, and moving to a new venue always brings uncertainty. But I’ve been pleasantly surprised. I genuinely think it’s the best exhibition our industry has had in South Africa. The organisers have done a tremendous job and the atmosphere has been fantastic. For me, exhibiting isn’t about making sales on the stand, it’s about visibility. You need to be here. If you’re absent, people notice, and that’s far more damaging than the cost of exhibiting.”
Rudy Velders, beamZ: “I was a little sceptical before the show because moving to a new venue is always a risk, but I’ve been pleasantly surprised. The organisers have done a tremendous job and, despite concerns about the protests, the exhibition has been busy from the start. We’re very happy with the outcome so far. We’d always like to see more visitors from elsewhere in Africa, but that’s something we can continue to build through StageOne’s showroom in Johannesburg. For beamZ, the important thing is that the market is engaged, and that’s exactly what we’ve experienced over the first two days.”
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September–October 2026 PRO AVL MEA 51
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BUSINESS: TECHNOLOGY
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Audio amplifiers have evolved greatly, while transducers really haven’t – Powersoft sees this as an opportunity to close this gap FOR MOST OF THE PROFESSIONAL AUDIO INDUSTRY, the transition to Class-D amplification has already happened. Racks that once upon a time demanded huge amounts of space, weight and power consumption have steadily shrunk into compact, efficient platforms capable of delivering enormous output with relatively modest electrical and thermal demands. Such innovation is actually quite rare in an industry where many of the core technological developments remain practically unchanged since their century-old inception. But one major part of the professional audio chain in particular has remained surprisingly resistant to change, explains Powersoft co-founder Claudio Lastrucci. “On the one side, you have amplifiers that are now approaching 95% efficiency,” he says. “On the other side, you have a
products represent further attempts by Powersoft to rethink how loudspeakers behave when designed specifically around the capabilities of Class-D amplification, DSP and control systems rather than the assumptions of legacy analogue architectures. From Lastrucci’s perspective, it’s not an idea that has emerged overnight. Even before M-Force, Powersoft was already questioning whether conventional moving-coil loudspeaker designs were still the best match for increasingly sophisticated Class-D amplifier platforms. “IPAL [Integrated Powered Adaptive Loudspeaker] was our first attempt to make a conventional moving-coil transducer more appropriate for use with a Class-D amplifier, while still using conventional transducer technology,” he recalls.
MM-Force has been released following more than two decades of research and development transducer that, if you are lucky, may reach around 3%. The bottleneck today is no longer the amplifier; it is the loudspeaker.” Such was the rationale that initially prompted the Italian manufacturer towards the creation of the moving magnet technology that made its initial loudspeaker offering, M-Force, possible. Now, further evolution and refinement of the ethos is forming the basis of MM-Force and Spixel, two new transducer technologies now emerging following more than two decades of research and development by the Powersoft team in Scandicci. Debuting publicly for the first time at the recent InfoComm 2026 in Las Vegas, the
That eventually led to M-Force, an earlier Moving Magnet transducer technology based on a push–pull motor architecture that attracted considerable industry attention for its low-frequency performance. Although commercially niche, the project established many of the concepts that would later evolve into MM-Force. “M-Force received very positive attention, although it was not a huge commercial success as it was quite extreme in terms of size, performance, weight and even acoustic output,” Lastrucci admits. “But the core concept, matching new amplification technology with a new type of transducer, was something we were keen to pursue, optimise and refine.”
Powersoft split that research into two separate development paths around seven years ago – one focused on low-frequency applications through MM-Force and the other concentrated on high-efficiency mid-high reproduction with Spixel, both connected by a common engineering principle: High Motor Strength. For MM-Force, the objective was not simply to make a louder subwoofer. The company instead focused on several increasingly interconnected challenges facing modern AV deployments: reducing cabinet size, improving efficiency and cancelling vibration while maintaining meaningful low-frequency output. With hospitality, residential, retail and corporate environments demanding increasingly discreet audio systems, physical integration has arguably become as important as SPL. Conventional compact subwoofers often create a difficult compromise between output, cabinet stability and installation flexibility, particularly when mounted inside walls, ceilings or architecturally sensitive spaces. “When you design for very small cabinets with high acoustic output, the transducer and the cabinet can also be subjected to very high stress in terms of vibration and system stability,” Lastrucci furthers. “One of the requirements for a new low-frequency transducer was that it had to be fully balanced, avoiding the propagation of vibration into the cabinet and the surrounding installation environment.” MM-Force solves this challenge using a balanced mechanical architecture in which moving elements counteract each other internally, significantly reducing transferred vibration. At the same time, the configuration allows the transducer to remain unusually low profile for its size, permitting integration into applications that would normally struggle to accommodate conventional low-frequency systems. “It can fit into walls, ceilings and designs that must remain within reduced-depth wall- or flush-mount constraints,” explains Lastrucci. “For the same amount of SPL, we can achieve a cabinet design that is roughly a quarter of the volume.” The reduction in cabinet size has implications extending beyond simple aesthetics. Smaller enclosures affect logistics, transportation, rigging, installation flexibility and architectural integration, with all areas becoming increasingly important as AV systems move further into multipurpose commercial and lifestyle
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BUSINESS: TECHNOLOGY environments. “In touring, for example, nobody wants to move 500 boxes around the world if the same result can be achieved with fewer boxes,” Lastrucci notes. “Logistics are a major issue.” The brand-new MM-Force transducer platform will initially launch in balanced 8- and 10-inch variants, with the manufacturer positioning the technology as a scalable low-frequency building block for third-party speaker manufacturers. “It can be considered as a platform, not just a single transducer,” explains Powersoft global marketing and communication manager Francesco Fanicchi. “Manufacturers can integrate MM-Force into multiple product formats and design
the MM-Force design requires dramatically lower quantities of rare-earth materials than comparable conventional low-frequency systems. “For the same performance, it uses about 1/10 of the rare-earth materials,” says Lastrucci. “These are materials that are expensive, complex to produce, associated with environmental concerns and vulnerable to supply constraints.” Joining MM-Force across the rest of the sonic spectrum, Spixel explores many of the same ideas via a very different type of transducer. Designed as a highly efficient 2.5-inch mid-/high-frequency driver operating from 100Hz up, the device combines unique moving-coil topology with extensive
Spixel is a 2.5-inch mid-/high-frequency driver operating from 100Hz up cabinets according to their acoustic targets. They can use two units, four units, six units or more depending on the application.” Having been incorporated into the Powersoft Group last year, K-array looks set to become one of the first manufacturers to commercialise the MM-Force technology and the Spixel transducer with the release of the Keystone-KST110 and Dragon-KX2. Powersoft stresses, however, that the technology is not intended as a proprietary ecosystem limited to certain partners. Beyond performance gains, increased sustainability was another key engineering consideration for the team, which claims that
amplifier-side optimisation and system intelligence. Lastrucci claims the technology can achieve around 10 times the efficiency of comparable conventional transducers, largely because the loudspeaker and amplifier are designed to operate as a tightly integrated system rather than as isolated components connected by a signal cable. “This goes far beyond conventional equalisation,” notes Lastrucci. “It is about the amplifier knowing precisely what is happening in the transducer domain.” Embedded electronics inside Spixel communicate information about the transducer directly to the amplifier, allowing the system to automatically optimise its behaviour according to the device
connected. Spixel also incorporates integrated optical technology, reinforcing Powersoft’s wider ambition to make loudspeaker systems increasingly aware, communicative and responsive within larger AV environments. “The amplifier recognises the transducer, asks what it needs in order to perform at its best and then drives it accordingly,” Lastrucci continues. “The goal for the system eventually is to be complex under the hood, but simpler for the user to operate and easier to get the best performance from.” This “systems-level” thinking increasingly appears to define Powersoft’s current broader direction. Beyond amplification and transducer design, the company has also been investing heavily in sensing and environmental monitoring technologies such as its patented AnyMATE, which was introduced at ISE earlier this year. The concept allows distributed sensors throughout an installation to continuously monitor deployed system behaviour and environmental conditions in real time, then feed the information back to the audio system. “Systems today still do not generally have much knowledge of what is happening in the room, venue or environment,” says Lastrucci. “With distributed sensing, you can have continuous, real-time measurements of the deployed system performance and potentially optimise it over time.” Taken together, the introduction of MM-Force and Spixel suggests that Powersoft sees the future of professional audio less as a collection of separate components and more as an interconnected ecosystem in which transducers, amplification, DSP and sensing technologies continuously inform and optimise one another. Whether the technologies achieve widespread adoption remains up to the market, but the company is convinced that the next major leap in professional audio performance will come not from amplifiers alone, but from rethinking the entire system surrounding them. Moreover, as per its innovative DNA, Powersoft plans to lead such a transition from the front. www.powersoft.com
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September–October 2026 PRO AVL MEA 53
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BUSINESS: COMPANY PROFILE
Sales
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Revitalising an Italian icon L–R: team Montarbo – Gianluca Di Stefano, Salvatore Curcio, Letizia Buti, Federica Pederzoli, Vincenzo Manuel Gismondi and Leonardo D’Andrea
Richard Lawn visits Italian pro audio manufacturer Montarbo which, with a history spanning more than six decades, has embarked on a new, dynamic era SINCE ITS FOUNDATION IN 1962, MONTARBO’S direction has meandered. Old and new users from varying cultural backgrounds all have their own opinions on who and what Montarbo is, but applications engineer Vincenzo Manuel Gismondi sums it up succinctly. “Essentially, we are a startup with over 60 years of experience,” he says. The chapter currently being written in the company’s extensive chronicles dates to the final month of the last decade, when the RCF Group acquired its fellow Italian pro audio manufacturer. In addition to the enormous potential for raising the brand’s profile, the RCF Group CEO Arturo Vicari attached a great sentimental value to the transaction. “It’s a historic brand that has contributed to the evolution of the music and professional audio industry in Italy and around the world,” he said at the time. “For anyone who, like me, has followed the development of this market over the years, elite brands such as Montarbo have a special significance and therefore represent a wonderful opportunity for us to increase the value of our group.” Having built amplification systems as Super MB, Elettronica Montarbo was founded by Sergio Montanari in 1962. In a short space of time, the then-revolutionary products helped to transform the electronic music scene in Italy and beyond. A flood of bold designs broke out of the company’s Bologna industrial unit during the 1960s and 1970s including a 6-channel powered mixer housing a 100W power amplifier within its portable metal case. Devoid of mechanical friction, the integrated magnetic memory
Leonardo D’Andrea returned to the Montarbo fold in 2026
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BUSINESS: COMPANY PROFILE
Sales and marketing director Salvatore Curcio echo unit required no cleaning or maintenance. With the lid doors doubling as supports when opened, Montarbo raised the standard for decades to come. With the rise of electronic rock and roll, concerts and venues demanded increasingly powerful sound reinforcement systems to cater for increased audience sizes. Unveiling the world’s first active loudspeaker in 1965, Montarbo then added quadraphonic mixers and bass amplifiers with separate head units. During the 1980s, the company became one of the first developers of software-assisted effects processors. Keeping it in the family, Sergio increasingly handed responsibilities to the next generation of Montanaris including daughter Maria and son Maurizio. Having been based in Bologna for 50 years, the headquarters of Elettronica Montarbo relocated to Recanati in the Marche region
in 2013, with R&D and assembly remaining in Bologna. The surprising sale of the company to musical instrument distributor EKO Music Group proved to be nothing more than a six-year punctuation mark in Montarbo’s history. Now operated and managed by AEB Industriale, part of the RCF Group, Montarbo has assembled a small but highly capable team that is charting an upwardly mobile course. “Acquiring Montarbo was never simply about preserving a historic name,” says AEB Industriale general manager, Giovanni Barbieri. “With a thorough understanding of the legacy and long-established brand values of Montarbo, several senior members of the current team pertain to the EKO Music Group and Electronica Montarbo eras. It was about creating the conditions for the brand to thrive again by combining its heritage with AEB’s
engineering expertise, product development capabilities and long-term industrial vision. Every investment we have made, from people and technology to international expansion, reflects our commitment to making Montarbo a competitive player in today’s professional audio market.” Born in Germany to Sicilian parents and a resident of the Marche region, global sales leader Salvatore Curcio has worked with Montarbo since the EKO Music acquisition. With over 20 years’ experience in international sales and marketing of consumer electronics, musical instruments and professional audio, Curcio is leading a highly organised team into battle. “Having supported technicians and musicians for over 60 years, Montarbo remains a pioneering pro audio brand, which gives a value to what we are doing now,” states Curcio, who is charged with locating distributors and sales partners to help build the brand. “The solid foundation of Montarbo’s heritage is our engineering. Our product designs are determined by professional users deploying our technology for their everyday, real-world applications. We created a rich legacy based on reliable mixers and innovative active speakers long before our competitors emerged. Rather than promote this history, we are determined to make the brand relevant again with new solutions that provide our customers with real value. By levelling up with our customers, we will grow together.” Having also joined Montarbo when the brand transitioned to the Marche under EKO Music, Vincenzo Manuel Gismondi’s determination to drive the brand is matched by long working hours and a steely resilience. After his Montarbo career was temporarily derailed during the pandemic, Curcio discovered him working as FOH engineer for an Italian rental company in 2024, and he rejoined Montarbo two months later, having finished the tour he was committed to. “I’m determined that Montarbo returns to its rightful place in the market,” states Gismondi. “It is challenging and it pushes me to my limits but, during the past two years, our R&D engineers have created 20 new models.” Gismondi is proving to be the vital connection between Montarbo’s customers and the design
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September–October 2026 PRO AVL MEA 55
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BUSINESS: COMPANY PROFILE engineering team. The catalyst in the next round of software and hardware product development is sparked by Montarbo’s users across a wide range of disciplines, who provide daily feedback. Monthly meetings with the R&D team assess current product development and evaluate future opportunities. “Because all our development is retained in house, we have a licence to re-engineer new ideas,” Gismondi continues. “When they work, we deploy them in the real world, where they take on a new persona. Salvatore has done an incredible job at uniting the entire team as one tight unit which works 24/7 when required. During some weekends, for example, I will send a text to Salvatore with an idea, and he will text me back with his thoughts. This is the new mentality of Montarbo, and this is how we develop new products. These texts led to the birth of the Nettuno and MiniBO series.” Signifying the onset of Montarbo’s new professional era, the Nettuno series has laid down a significant marker in modularity. Capable of building an entire product structure, the current Nettuno 10, 20 and 50 loudspeakers are complete PA systems composed of multiple cabinets. “Whether it’s a setup for one, two or theoretically an infinite number of speakers, our customers have multiple options with Nettuno,” explains Gismondi. The system has further evolved with the creation of a double 18-inch subwoofer. “Nettuno tailors for those rental companies wishing to make full use of one cabinet, regardless of scale or whether their customers want a line array, point source speaker or wedge monitor,” he adds. “We want to offer rental companies 100% Montarbo-branded loudspeaker systems for various staging requirements.”
The Nettuno L28 is Montarbo’s first active line array system
then developed. That question is often a catalyst, after which we channel time and resources.” Following a distinguished career at General Music, industry veteran and area sales manager Leonardo D’Andrea was part of the Montarbo team from 2005–2010. “The brand was highly regarded by the market, and I learnt so much from working under Maurizio at the time,” he recalls. An approach by Curcio in 2025 witnessed D’Andrea returning to the Montarbo fold at ISE 2026. “The opportunity was too good to ignore and it’s like being reunited with an old friend,” he says. “AEB has made great investments in research, product development, new technology and recruitment, so my focus is to introduce the brand in the correct manner to the global market.” With the brand renowned in some parts of the world for its iconic mixing consoles, D’Andrea reveals that some customers still request a Montarbo rather than a mixer. “Montarbo is synonymous with sound quality, reliability and best-in-class product design, but the times are changing and technology is moving,” he asserts. “Approaching the pro audio market with the Montarbo brand name requires our business partners to possess a similar passion as ourselves. Ultimately, if you’re not convinced by what you are doing, you cannot convince others.” Currently enjoying healthy team collaborations, D’Andrea is actively travelling to transform the brand’s export fortunes. “Italian musicians and orchestras playing concerts in the Middle East back in the 1960s and 1970s often toured with Montarbo, and the region became one of our biggest markets,” he explains. “When AEB Industriale acquired the brand, up to 40% of Montarbo’s exports were shipped there, but this
A Montarbo Nettuno wedge monitor in use at the Ancona Jazz Summer Festival 2026 The MiniBO-5M is a hybrid loudspeaker with Bluetooth and wireless stereo playback capabilities that can be used for conferences or in fixed installations courtesy of its multiple mounting options. Gismondi is excited by this smaller-format polypropylene enclosure weighing just 4.4kg. “It is only the beginning for this point source family but, by introducing active speakers into the fixed installation market, the 5.25-inch 2-way model will change mindsets. Our customer feedback ensures that this is the start of its journey.” As Montarbo’s first-ever active line array system, the Nettuno L28 is Gismondi’s proudest development to date. “With my background in rental, a lot of my knowledge and experience has been poured into what will be the new flagship in Montarbo’s portfolio,” he claims. “We stood outside on freezing winter days listening to prototypes of these speakers before tuning them to our taste. During the spring and summer, we have been actively demonstrating the L28 at concerts throughout Italy including DJ events and jazz festivals.” From MI to live professional audio and fixed installations, Montarbo is creating a complete portfolio. With a nod to its established MI heritage, the company has developed the B and R Series, while the Creator Series of studio, reference and multimedia monitors has been specifically developed for content creators and DJs who rely on audio interfaces. “Striking a balance between in-house engineering, myself and external user feedback really starts as a question,” reveals Gismondi. “We always ask how we can engineer a speaker to become a sellable product. By starting with a dialogue, we remain challenged and motivated. From a question from an inspired customer or one of our own R&D team, products are
A Nettuno L28 flown system at a DJ festival in Tenuta Moroder, Italy is changing and we are increasing our market share in Asia and Europe. With a powerful blend of youthful energy and experience in the company, we are well-poised to expand.” Montarbo’s current catalogue has been completely updated under the stewardship of AEB Industriale. “A rich history ultimately counts for little because if you don’t have the right products, you cannot go forwards,” says Curcio. “That is why our R&D expertise is a very valuable commodity. Likewise, the Made in Italy logo is an important legacy, but I don’t think it necessarily adds value like it did in the past. The value comes from the design and how that product is perceived by a customer. Rather than focus on the aesthetics or the technology, we carefully assess how it will assist professionals in their daily work. Ultimately, whether you’re a rental company, a TV broadcast studio or a venue, everyone is running a business, and we are obliged to deliver for their businesses.” Renowned for innovation and quality, the Montarbo brand will always have the support and dedication of an older generation of nostalgic customers. Following a recent L28 demonstration in Rimini, however, Gismondi is firmly looking towards the future. “My heart lifted as I overheard comments from different generations remarking how good the system sounded,” he says. As the link between the market and the in-house designers, Gismondi and his colleagues have made that vital connection between Montarbo past, present and future. Montarbo’s MiniBO-5M was a good fit for Carnesa in Rome
www.montarbo.com
56 PRO AVL MEA September–October 2026
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See us at IBC booth 10.A31
I‘M AN ARTIST
BERNHARD POPOVIC QUICK REACTION FILM www.quickreaction.film
"
On set, losing comms means losing sight of the production – that’s why my Riedel headset is always on. With Artist and Bolero intercom, I can truly focus on getting the shot – knowing that every department is in sync when it matters most.“
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.
Become an ARTIST www.riedel.net Photo by Stefan Klinge
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BUSINESS: COMPANY PROFILE
Built to last
James B Lansing (front centre) with the Lansing Manufacturing workforce
JBL’s VerTec line array system defines its commitment to live sound
JBL has spent eight decades shaping the way the world hears sound. Richard Lawn looks at the milestones, innovations and personalities behind the iconic brand BORN JAMES MARTINI IN 1902 TO AN ILLINOIS COAL mining engineer, James Bullough Lansing was one of 13 offspring, developing a fascination for all things electrical and mechanical at an early age. Before reaching his teens, James had built a small radio transmitter from scratch, the signals it emitted strong enough to alert naval personnel at the Great Lakes Naval Station. Having established James B Lansing Sound in the aftermath of World War II, its founder sadly passed away just three years later, leaving a debt of some US$20,000. New owner William Thomas secured the brand’s future courtesy of a company life policy. Marketing its loudspeakers with “Jim Lansing Signature Sound” emblazoned boldly on the pot structures, the James B Lansing Sound company became a significant force in the marketplace, eventually leading to a rebranding using Lansing’s initials, JBL, whose orange logo has been synonymous with audio ever since. As the consumer hi-fi movement got under way in the mid-1950s, industrial designer Robert Hartsfield created the JBL Paragon, which would stay in production for almost three decades. Meanwhile, pioneering work on theatre systems provided the basis for a thrust into the professional sound business. JBL’s rise in the professional market can be largely attributed to an astute observance of market changes combined with the ability to capitalise on them with innovative products. The rise of the electric guitar in the 1960s generated significant demand from musicians demanding individual loudspeaker components, including the D Series of extended range drivers. With Sidney Harman’s 1969 acquisition of JBL, Harman Professional would assume the role of brand custodian for almost 50 years. Harman’s recognition of potential vertical markets including broadcasting, recording, cinema, touring and installed sound contributed to its success as it differentiated itself from the competition, sowing seeds that would allow it to become a market leader over the next three decades. In addition to pioneering studio monitor systems, JBL targeted tour sound loudspeaker development for large-scale arena and stadium concerts with the 375 compression driver and next-generation MI drivers with 4-inch coils. Together with high-strength epoxy adhesives and Kapton coil formers, JBL raised output and power handling to new levels, becoming the dominant supplier of tour sound companies. The fact that leading global
the introduction and evolution of the VerTec and VTX line array systems that continue to define JBL’s commitment to live sound. But perhaps the most significant rise in all JBL’s five market segments has been in installed sound. From the Control Contractor Series to the Precision Directivity Series, the company’s design philosophy appeals not only to architects and consultants whose main criteria include ergonomics and aesthetics, but also to installers who appreciate the ease of integration and resultant cost savings. Globally, JBL enclosures deliver uniform coverage and intelligible announcements to shopping malls, airports, motels and convention centres. The brand’s dominance isn’t restricted to voids in niches, walls and ceilings – this family of loudspeakers extends onto dance floors, houses of worship, theatres and stadiums too.
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Harman Professional president, Brian Divine touring companies continue to rely on JBL transducers and woofers to meet their current touring standards is a testimony to this engineering excellence. The Cabaret Series, credited as the first full line of PA systems for musicians, helped establish the portable sector as the largest of JBL’s five product divisions over two decades. These were replaced by the SR and MR Series, offering a more pro audio and portable approach, which in turn gave rise to the SRX and VRX Series. The advent of the polypropylene EON Series in the mid-1990s continues three decades on. Revolutionising the plug-and-play concept and arguably setting a new benchmark in portable sound, EON incorporates built-in amplification, patented Differential Drive woofers, titanium diaphragms, neodymium magnets and toroidal transformers. JBL continues to supply touring production companies with industry-standard components and to appear on technical riders. The Bi-Radial horns and bass bins, together with the Concert Series of the 1980s, gave rise to the Horn Loaded Array (HLA) 3-way system in the mid-1990s. However, it’s been
JBL AWC159 outdoor loudspeakers installed on the exterior of
58 PRO AVL MEA September–October 2026
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BUSINESS: COMPANY PROFILE
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It’s a pity that the rise of JBL wasn’t witnessed by James Bullough Lansing. However, the unswerving passion, commitment to excellence and the legacy he left in place for William Thomas, Sidney Harman and, most recently, Samsung Electronics to develop the brand has been bolstered by subsequent generations of R&D engineers and technicians employed in the Northridge, California headquarters and Harman-owned factories around the world. Since acquiring Harman International Industries in March 2017, Samsung has allowed Harman to function as an independent subsidiary by focusing on hi-fi, car and professional audio. As the anchor brand of Harman Professional, JBL continues to dominate the retail, touring rental, portable installation, live and cinema verticals. Elevated to president of Harman Professional Solutions strategic business unit in 2020, Brian Divine has been exposed
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to some of the most turbulent economic years in the brand’s history. Rather than succumbing to the weight of JBL’s legacy, Divine is enjoying overseeing a team dedicated to creating new opportunities. “We all respect the brand at this 80-year milestone because JBL continues to design and manufacture transducers and pioneer acoustic designs,” says Divine, who commenced his pro audio career with Crown amplifiers in 2002. “To survive and go forwards, we need to keep innovating. We may do things differently at Harman Pro, but the Samsung acquisition reaffirms how audio remains a staple of what we’re known for and what we care about. Audio is at the core of the DNA at Harman Professional and I don’t see that changing.”
JBL EON700 are popular choices for smaller live performanes three decades after launch The company’s Northridge headquarters, where JBL manufacturing continued into the mid-1970s, clocks up 50 years this year. Experiencing a devastating 6.7 magnitude earthquake in 1994, the site has also experienced a series of positive seismic changes over the half-century. With JBL manufacturing taking place in plants around the world today, the campus remains Harman’s Global Center of Acoustic Excellence – a hub for the management teams, R&D and engineering labs facilitating rapid prototyping and reliability testing. Besides seven anechoic chambers, Klippel testing labs and listening rooms, a 1,400m2 experience centre showcases JBL and other Harman innovations. The formal atmosphere of the pre-Samsung era has also been toned down. “Contrary to popular belief, we function more like a small boutique company with fewer layers of management these days,” explains Divine. Joining the JBL family in 2021, APAC sales director Nick Screen agrees. “Having worked for SME companies in the past, coming to JBL was a massive change initially. Like most people, I always considered Harman as a corporate entity but, when you peek behind the veil, JBL is equally, if not more, passionate about innovation.” According to Divine the R&D teams and manufacturing plants work more closely together than ever before. “By designing everything in-house, we maintain quality control and design for manufacturing. For example, if we didn’t custom design and build the VTX transducers ourselves, we couldn’t develop the VTX speakers. This the core of the brand and we’re going to
bring more development in-house, including some of the highly specialised metal rigging parts.” JBL’s close working relationships with Harman Professional stablemates Crown amplification and BSS signal processing has seen the technologies of both incorporated into its housings. Accordingly, software development has taken control and monitoring out of the cabinets and onto the PC screen. With the live production and touring verticals of JBL’s business “doing better than ever”, Divine is a staunch believer in continued investment: “Rather than vying one brand against the other, product development continues to embrace system design. The brands remain iconic and continue to retain great value, but traditional brand boundary restrictions have been removed because only one team is required to develop the electronics when developing solutions.” Software development continues to take increasing priority to enhance the user experience. In recent years, Harman Professional’s software engineers have focused on application-specific, workflow-based software solutions including the Venue Synthesis and Performance Manager software for the rental production verticals. “We cannot manufacture every component for a venue, but we can create one cohesive interface by designing natively with third parties and integrating other technologies within platforms such as BSS Soundweb Omni,” continues Divine. “Ease-of-use familiarity has become a central focus. If you don’t understand how a product operates, you won’t invest in it. Similarly, if a product or technology is difficult to adopt or integrate, you will hit resistance owing to lost time and revenue.” Looking to the future, Divine is optimistic as he witnesses a larger investment in audio by operators and venues that traditionally placed a precedent on video and lighting. “The audio experience can transport a patron beyond their seat, and our customers are increasingly aware of how an experience becomes lopsided without the correct audio setup,” he says. “It is very satisfying to witness audio designers demanding our tools, including Flux:: immersive technology.” With the latest wave of portable JBL loudspeakers incorporating consumer technologies, some observers have speculated that the simplification of engineering may have come at the detriment of audio quality. “We all use consumer products in the home or car, where we enjoy a simplified experience,” comments Andy Flint, SVP of global product, engineering and strategy for Harman Professional. “Apps, Bluetooth connectivity and similar technologies bleed into the professional industry, so the challenge for JBL is how to adopt these for a room of 500 people using their mobile phones. That simplified experience is something we want to provide as a value-added service, but it requires added technological investment if it is to work in a professional environment.” Outside the Northridge headquarters, Divine enjoys the arts, theatre and sporting events. Witnessing the enjoyment that JBL loudspeakers give both patrons and artists naturally makes him feel proud. “Knowing you have played a small part behind the scenes adds a sense of excitement to any event for me.” Signals transmitted, emotions received. www.jblpro.com
September–October 2026 PRO AVL MEA 59
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NEW EVENTT30A
The EVENT-30A is a compact, high-performance, self-powered line array system designed for professional environments where power and precision are essential. Delivering 2000 W peak power and up to 138 dB SPL, it combines a lightweight, robust design with Smart Self-Tuning technology that automatically identifies each cabinet’s position in the array and loads the correct preset, reducing setup time and configuration errors. Its 24-bit DSP with FIR processing ensures exceptional clarity and phase coherence, while the built-in Wi-Fi chip allows easy firmware updates via a web-based interface, keeping the system always up to date. More info at www.dasaudio.com Measured Maximum Linear SPL at 1m according to AES75 standard using 18dB crest factor M-Noise.
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NEWPRODUCTS
INSTALLATION • AV • LIVE SOUND • BROADCAST • POSTPRODUCTION • RECORDING • LIGHTING A–ZCONTENTS
Reliable transmission KLOTZ AIS focuses on flexibility, robustness and versatility with several additions to its portfolio KLOTZ AIS has released the CP7ERER1P, described as a flexible yet robust Cat7 patch cable, designed to ensure reliable signal transmission in demanding outdoor and live environments. Equipped with the Neutrik etherCON TOP IP65 Cat6a RJ45 connector (NE8MXRB-TOP), the CP7ERER1P can be flexibly configured for both standard RJ45 and etherCON connections by simply sliding back the etherCON housing. This makes it suitable for use as either an etherCON or standard RJ45 cable, ensuring reliable signal transmission even in different patch panel and network environments under harsh live conditions. Thanks to its abrasion-resistant, chemically resistant and low-temperature flexible PUR outer jacket (down to –40°C), the cable is suited for professional touring and event applications. It supports analogue and digital signal transmission up to 600MHz and complies with Cat7 according to ISO/IEC 61156-6. It is suitable for bandwidths up to 10Gbit/s and Class-D, -E, -EA and -F applications – including 10Base-T, 100Base-T, 1000Base-T, 10GBase-T, Token Ring, FDDI, ISDN and ATM, as well as audio and lighting networks such as EtherSound and DMX control systems. It is available in a wide range of practical lengths and can therefore be used both as a compact patch cable and as a standard connection cable.
Meanwhile, the HD01PC25 hybrid cable has been specially developed for mobile use. It features a robust, flexible soft PVC outer jacket, making it suitable for connecting active speakers, dimmers, colour changers and scanners – both in demanding live settings and fixed installations. This hybrid cable enables the transmission of audio or lighting control signals and the required power supply through a single cable. With an impedance of 110Ω, the double-shielded signal line is suitable for transmitting analogue audio signals as well as digital AES/EBU and DMX signals. Thanks to its effective shielding made of aluminium foil and dense copper braid, along with a conductor cross-section of 2x0.22mm², the cable can provide interference-free transmission over long distances, even in environments with electromagnetic interference. A drain wire for ground connection also makes it easier to assemble with XLR or TRS connectors.
The RC5HH High Flex is a durable Cat5e network cable designed specifically for mobile applications. The reelable cable comes with an H-Series RJ45 connector, while its stainless-steel housing provides protection against mechanical stress. When used with the supplied silicone rubber protective caps – or when mated with compatible connectors – the system achieves an IP65 protection rating, making it suitable for dusty, damp and demanding outdoor environments. The H-Series RJ45 connector is fully compatible with standard RJ45 chassis connectors, allowing seamless integration into existing network and audio infrastructures.
1 Sound Exterior wood finishes Adamson VGx / VGd / VGo Advatek PixLite Mk3 v3.14.0 AJA Video Systems Io Xpand Analog Way CorePlay Tetra / Aquilon Cmini APEX CloudPower v2.0 ARRI ALEXA 35 Live Xtreme Astera QuikBeam 8-Unit QuikCase Kit AtlasIED FP-4T / FP-6T / FP-8T Atomos Sumo PRO-19 Audinate Dante AVIO Install 4-Ch Analog Input Audio-Technica D50 / ATSP-30DP Avolites Prism Barco I65 Biamp Devio UCX Blackmagic Design Media Dock Ultra Bolin Technology R9-L420N / KBD Plus Bose Professional ShowTime STS118E BSS Omni 600, 300 and 200 Series Calrec ImPulseV update Cameo OPUS H6 IP / OPUS SP6 IP Celestion PXT6000 Christie XP Series LED / Spyder-S 6.1 Clear-Com Avalon DAS Audio MIA Series DHD audio DHD Discovery Dynacord SONICUE v1.6 EAW NT208L / NT116S ETC Foundry DIN Relay 12 Extron TLS 835M / TLS 1035M FaitalPRO HF1440 Fulcrum Acoustic Fulcrum One update Genelec 9402A / Aural ID 2.1 Gravity SP 5322 B HK Audio POLAR 8 MK2 JBL VTX B35 / VTX B35G K-array Keystone KST110 KLANG:technologies KOS 6 KLOTZ AIS CP7ERER1P / HD01PC25 Kramer MTX3-44-PR-PRO KV2 Audio ESD Series certified IP55 L-Acoustics Digital Construction Lightware GVN-HC-TX220AP / GPIO-Button-10S Logic System AT Series Lumens VC-R32 MA Lighting grandMA3 onPC DMX-key starter Magewell Director Plus 4K Matrox Video Maevex MGX Series Montarbo Nettuno T12 / Nettuno T15 Optimal Audio Column Series Outline ISAAC update Palmer spree Pliant Technologies CrewCom Flex Powersoft MM-Force / Spixel PTZOptics Horizon Hub Q-SYS Q-SYS RoomSuite Collaboration Bar RDL RU-BTLA / RU-RN44 RME ADI-2 Pro EX RØDE Sonaura / RØDELink II Roland VC-1SC-4K Sennheiser TCC M Plus / DeviceHub update Shure MXA925 / MXA901 v6.9 Sommer Cable Mercator Cat.6a (C6AFU) Symetrix C20 Tasker C402 series / C302 series Theory Professional SR-221.3 TT+ Audio GTX 7CP Violet Audio dMix 128 Vitec Diamond-IP OG Vizrt AI Keyer Waves Audio Hear Technologies Dante-WSG XS Wheatstone VMX Williams AV Infinium Flex Bundle Wisycom PFL Portable RFoF Box Xilica Dynamic Voice Lift / Designer v4.12
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www.klotz-ais.com
ANALOG AES72 STAGEBOXES
®
The NA-4I4O-AES72 is a 4-channel (4I/4O) stagebox for transmitting microphone levels, analog line levels, AES3, DMX or even intercom via one single CAT cable. The device has male and female XLRs in the same housing and can be used directly as a splitter for monitoring. An additional etherCON serves as feedthrough and allows further looping of the signals to other devices. A ground lift at each input prevents possible ground loops. In addition, each input connector offers the possibility to invert the signal.
Email: info@nmkelectronics.com | T: +971 4 266 5244 Website: www.nmkelectronics.com |
NMKelectronics
September–October 2026 PRO AVL MEA 61
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PRODUCTS
Tasker pairs up IN THE fast-paced world of live production, where reliability and speed are critical, multipair cables remain an essential backbone for audio and lighting distribution. A key distinction in analogue multipair designs lies in the shielding. Cables built with individually shielded pairs using red copper spiral shielding provide protection against crosstalk and electromagnetic interference. These constructions are available in configurations ranging from two to 52 channels, with a conductor cross-section of 0.22mm2. Within this category, Tasker offers the C402 series, without an overall shield, designed to maximise flexibility and ease of handling for mobile applications, and the C302 series, with an additional overall braided copper shield, suitable for enhanced noise immunity in more demanding environments. Entry-level digital multipair cables, like the TSK802 series, feature 0.14mm² conductors and aluminium foil shielding on each pair, providing a lightweight and cost-effective solution for DMX and AES/EBU applications, supporting up to 24 channels. However, more advanced solutions are now gaining attention. The TSK702 multipair cables feature individually shielded pairs with copper foil and larger 0.22mm² conductors. These designs combine
improved electrical performance with enhanced mechanical robustness, while maintaining flexibility thanks to soft PVC outer jackets. These solutions are particularly suited for pre-made systems and touring applications, where repeated handling and coiling demand superior durability. Further up the range, high-performance digital multipair cables, such as the C802 series, incorporate red copper spiral shielding on each pair, providing signal integrity without the need for an overall shield. These cables are ideal for complex stage environments where multiple digital signals must coexist without interference. For fixed installations, compliance with fire safety standards becomes a critical requirement. The TSK902 series is CPR-rated, Cca class and specifically engineered for permanent installation in public venues. These designs typically feature solid conductors with larger cross-sections, aluminium foil shielding on each pair and an overall tinned copper braid. Combined with LSZH (low smoke zero halogen) outer jackets, they provide enhanced fire performance, low smoke emission and suitability for both indoor and outdoor use. www.tasker.it
Sommer retains its shape BOASTING A tight bending radius of less than 20mm, Sommer Cable’s Mercator Cat.6a (C6AFU) high-flex patch cable has been designed for flexible, highperformance connections in Gb and 10Gb environments, including narrow patch panels, data cabinets and touring racks. Measuring 6mm in
diameter including a PVC jacket, the braided shield S/FTP construction and AL/PT foil shielding for each pair provide shielding of all wire pairs to ensure a bandwidth of up to 500MHz. Equipped with compact 25mm RJ45 connectors and a transparent 50mm heat-shrink tubing for individual labelling, the cable offers an optional retrofit with a Neutrik etherCON cable connector guard. Complementing the German manufacturer’s existing network product line, the Cat.6a S/FTP high-flex patch cable is available in various lengths and is complemented with a durable PUR jacket.
Integrating eight conductors within one durable jacket, the manufacturer has also released the SC-Octave Tube stereo microphone cable. Ensuring a linear
C6AFU
transmission with added flexibility, the four audio conductors for the stereo pair each consist of 72 super-fine wires. Meeting complex studio demands, each stereo pair is supplemented by two control conductors, one anode wire and one heating voltage wire. A full shielding made of spiral copper braid plus AL foil protects the signals from electromagnetic interference. Measuring 6.5mm in diameter, the PVC jacket is said to be durable and flexible. The SC-Octave Tube is available by the metre or as a ready-made connection cable. www.sommercable.com
SC-Octave Tube
Audinate increases channel density for AVIO Install AUDINATE HAS expanded its Dante AVIO Install family with three analogue adaptors designed to simplify Dante integration in installed audio environments. The additions comprise Dante AVIO Install 4-Ch Analog Input, 4-Ch Analog Output and 2-Ch In/2-Ch Out Analog models, providing higher channel counts for connecting amplifiers, DSPs, line mixers and other analogue equipment to Dante networks. A key feature of the new adaptors is the inclusion of dual switched Ethernet ports, allowing up to four units to share a single network connection through daisy-chaining. The approach is intended to reduce switch port requirements, minimise cable runs and lower network infrastructure costs in larger installations. Designed specifically for fixed installations, the adaptors utilise Euroblock connectors for permanent wiring and include mounting hardware alongside the Dante AVIO ClickGrid system, enabling installation beneath shelves, on rack rails or attached to structural elements. As part of the wider Dante ecosystem, configuration and routing are handled through Dante Controller, while integration with Dante Director and Dante Domain Manager provides additional capabilities including remote monitoring, access management and system
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diagnostics. According to Audinate, the new models are suited to applications ranging from meeting rooms and classrooms through to campus-wide audio distribution systems. The manufacturer has also announced new OEM partnerships with Angekis and Bolin to bring native Iris technology directly into the firmware of select PTZ camera models from the two brands. With a simple free upgrade to the latest firmware on the Angekis Saber X and Bolin B2 camera lines, customers can instantly link their now Iris-enabled cameras to the Iris platform. This unlocks a suite of features accessible through a single browser or app window with no additional hardware required. www.getdante.com
62 PRO AVL MEA September–October 2026
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PRODUCTS
Hear Technologies simplifies connection to SoundGrid
Williams AV expands Infinium platform
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DESCRIBED AS an affordable way to connect Dante audio networks directly to Waves SoundGrid systems, Waves has announced the Hear Technologies Dante-WSG XS, a compact Dante-to-SoundGrid bridge that brings the technology to a smaller form factor and lower price point. Designed for live sound, broadcast and installed audio applications, the device supports 64 channels of bidirectional audio between Dante and SoundGrid at 44.1kHz and 48kHz sample rates, or 32 channels at 88.2kHz and 96kHz. For Waves LV1 Classic users, the Dante-WSG XS provides a compact option for expanding into Dante-based workflows, while also offering Dante connectivity for wider SoundGrid deployments including LV1 and SuperRack systems. The half-rack unit is aimed at applications where space is limited, including flypacks, portable production systems, houses of worship, touring rigs and compact installations. Measuring 220mm x 42mm x 227mm (WxHxD), the Dante-WSG XS weighs 1.36kg and can be mounted on a rack shelf or installed using optional rackmount accessories. Control of Waves plugins directly from a Midas HD96 console is now possible
following the addition of ProLink support to Waves SuperRack SoundGrid and SuperRack Performer. The integration establishes a direct connection between the HD96 and SuperRack, allowing engineers to manage selected plugin parameters using the console’s Touch and Turn encoder rather than relying on an external keyboard and mouse. Among the new capabilities is snapshot synchronisation, enabling console snapshots to automatically recall corresponding SuperRack snapshots. Session management is also integrated, allowing show files loaded on the HD96 to automatically load the associated SuperRack session. Additional enhancements include automatic plugin rack focus when channels are soloed, helping engineers quickly access the relevant processing chain. Time-based Waves plugins, including delays and tremolos, can also synchronise automatically with the console’s global tempo. According to Waves and Midas, the integration is intended to reduce the need to switch between control surfaces and screens during live productions, creating a more unified workflow. www.waves.com
RME adopts a new look RME HAS added the ADI-2 Pro EX to its portfolio, a reference AD/DA converter, USB interface and headphone amplifier that builds on the design of the ADI-2 Pro FS R Black Edition. Offering the same functionality as the previous model, the ADI-2 Pro EX all-inone converter sports a redesigned chassis and offers enhanced output performance and additional comprehensive hardware protection. Like the ADI-2 Pro, the ADI-2 Pro EX combines a high-end, studio-quality AD/DA converter, a dual headphone amplifier, a multi-format converter (AES, SPDIF, ADAT) with monitoring features, a DSD recording and
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playback converter in addition to an AD/DA front end for audio measurements with up to 768kHz sample frequency. Matching the ADI-2/4 Pro look, the larger chassis includes improved cooling efficiency, and is further distinguished by chrome feet. Other features include a lockable USB-C connection, TS trigger output for synchronised power control of external equipment or amplifiers, and channel-independent DC circuit protection. Preventing wrong polarity and overvoltage condition, the advanced PSU protection features fuseless active circuitry. www.rme-audio.com
THE INFINIUM Flex Bundle combines FM, Wi-Fi and Auracast broadcast audio technologies in a single solution, helping venues support more listeners without choosing a single listening platform. By pairing the Infinium controller and FM+ transmitter in a single rackmounted package, the bundle delivers FM, Wi-Fi and Auracast audio streams that enable assistive listening, language interpretation, audio description and other guestlistening applications. Guests can listen using hearing aids, cochlear implants, smartphones, Auracast-compatible devices or venue-provided receivers. The Infinium T1 Transmitter with Outdoor Enclosure extends Auracast broadcast audio beyond a building’s walls, enabling delivery of assistive listening, language interpretation, audio description and other audio services in outdoor environments. The package includes an Infinium T1 Transmitter and an IP66-rated enclosure designed to protect against dust and high-pressure water exposure while maintaining the same low-latency audio performance used throughout the Infinium platform. It is suitable for stadiums, outdoor performance venues, transit stations, campuses, theme parks and other large outdoor venues that require accessible audio. The transmitter is also available in black. The Auracast Headphone Receiver (BA-HR1) provides a simple way for venues to offer Auracast audio to guests without compatible personal devices. Designed to deliver the volume and intelligibility required for assistive listening compliance, it supports inclusive listening for all guests. Unlike many Auracast listening solutions, the receiver connects directly to Auracast broadcasts without requiring a smartphone, app, assistant device or complicated setup process. It automatically discovers nearby channels and allows guests to quickly select and listen to their preferred audio stream, providing a dedicated listening option for venues that supply devices to their guests. Infinium’s Enhanced Scale & Management (ESM) features expand the platform’s ability to support large and complex Auracast
SP-5000 deployments. ESM allows integrators to organise transmitters into arrays, apply settings across multiple transmitters simultaneously and manage deployments through a centralised web-based interface. The system reportedly supports virtually unlimited transmitter expansion across rooms, zones and facilities. Finally, the TeachLogic SP-5000 is a vertical line speaker array that brings large-venue sound technology into the classroom. Using two speakers where traditional classroom audio installations often require four or more, the SP-5000 is said to deliver clear, intelligible speech and a more uniform sound field throughout the room. Wide horizontal audio dispersion helps ensure every seat receives consistent audio coverage without gaps or hot spots, helping students hear instruction more clearly, regardless of where they sit. www.williamsav.com
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Violet Audio unveils dMix 128 VIOLET AUDIO has announced the addition of full SMPTE ST 2110-30 audio-over-IP support and key AMWA NMOS standards, bringing broadcast network audio workflows to the dMix 128 digital mixer platform. Beyond modern television facilities, broadcast centres, esports venues and large-scale AV systems, SMPTE ST 2110 and NMOS workflows traditionally required broadcasting infrastructure investments. With this latest update, Violet Audio has integrated the same capabilities available within a compact, affordable digital mixing platform. Designed for live production, broadcast, streaming, installed sound and hybrid production environments, the dMix 128 software includes support for SMPTE ST 2110-30 (professional uncompressed PCM audio-over-IP), NMOS IS-04 (device and stream discovery), NMOS IS-05 (for connection management) and NMOS IS-08 (audio channel mapping). To support these new capabilities, Violet Audio has developed a dedicated Streams management interface that allows users to receive, transmit, clock, discover, connect and
manage network audio streams directly from the mixer’s browser-based control environment. As broadcasters, production companies and systems integrators continue transitioning from traditional point-to-point audio architectures to flexible IP-based infrastructures, the addition of SMPTE ST 2110-30 and NMOS enables the dMix 128 to integrate seamlessly into contemporary production ecosystems. With the addition of SMPTE ST 2110-30 and NMOS, the feature set of the dMix 128 includes 32 mic/line in, 24 line out, MADI I/O, 128 mixing channels, dual redundant PSU, 0.3ms latency, over 300 channels of redundant AES67 networking, 64x64 CoreAudio/ASIO drivers, FPGA-based signal processing, advanced matrixing, integrated effects and browser-based control. The Streams interface presents the receiving and transmitting of streams, clocking information, stream status, channel counts, sample rates, PTP synchronisation status and routing information. www.violetaudio.com
Calrec broadens ImPulseV options CALREC HAS expanded its ImPulseV virtualised audio mixing platform with new DSP configurations and licensing options aimed at broadcasters adopting cloud-based and distributed production workflows. The company has introduced 96- and 140-path DSP packages alongside the existing 256-path version, providing additional deployment options for smaller productions while retaining the same feature set across all configurations. Each supports full processing on every path, dynamic allocation of DSP resources and immersive audio formats up to 7.1.4. Alongside the new processing options, Calrec has added shorter licensing terms of one year, 12 weeks and four weeks. The
move is designed to give broadcasters greater flexibility to scale resources for temporary projects, seasonal events or changing production requirements without committing to longer-term infrastructure investments. ImPulseV forms part of Calrec’s wider virtualisation strategy, supporting remote, distributed and hybrid production environments that combine on-premises and cloud-based resources. According to Calrec, the new options are intended to reduce barriers to adopting virtualised workflows while allowing broadcasters to match processing capacity more closely to operational requirements.
DESIGNED AS a bridge between USBequipped devices and IP networks, the Symetrix C20 Smart Processor combines DSP, audio transport and control within a single platform for meeting spaces, classrooms and other AV installations. The device supports 64 Dante transmit and 64 Dante receive channels alongside eight channels of acoustic echo cancellation, 32 playback channels and eight recording channels, with processing up to 96kHz. An 8x8 USB-C audio bridge with HID synchronisation enables straightforward integration with conferencing and computing devices, while media playback and recording are supported via a USB-A port. Designed around Symetrix’s Cognio platform, the processor incorporates an integrated web server that enables system
control from personal devices, while compatibility with TC Series touchscreens, WC Series remotes and third-party control systems extends deployment flexibility. Support is also provided for JSON-RPC, Lua scripting and an extensive driver library for external device integration. Additionally, the processor features dual 1Gb Ethernet ports, supports multiple independent Signal Flow Spaces on a single system and can be mounted on a surface, under a table or in an equipment rack. Typical applications include conference rooms, educational facilities and government installations requiring audio routing, acoustic echo cancellation, playback, recording and device control from a single processor. www.symetrix.co
Wisycom extends RF-over-fibre range WISYCOM HAS begun shipping the PFL Portable RFoF Box, a compact RF-over-fibre solution designed for broadcast, OB, location sound and live production applications requiring remote antenna deployment and flexible network connectivity. According to the manufacturer, the system extends antenna
and incorporates Ethernet connectivity for remote control and Dante workflows via a Neutrik opticalCON DUO interface. The unit can be powered from either mains or a V-lock battery, allowing deployment in fixed installations or portable production environments.
placement from around 100m to several kilometres over fibre, while simultaneously carrying additional data including Gigabit Ethernet, Dante, Shure ShowLink and Sound Devices NexLink return-channel information. The RF-over-fibre platform is also compatible with most third-party wireless microphone systems. Built around a dual-converter architecture, the PFL provides true diversity over fibre
The enclosure features dual N-connectors, integrated power management, temperature-controlled cooling and protected I/O designed for field operation. Three versions are available, including two models for wireless microphone diversity reception and one dedicated to IEM and IFB applications.
www.calrec.com
www.wisycom.com
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PRODUCTS
Cruising down the spree PALMER HAS expanded its River Series with the spree, an active USB-C stereo DI box that converts digital audio signals from laptops, smartphones and tablets into high-quality balanced analogue signals via USB-C. Designed for use onstage, in the studio and on the move, the spree enables the reliable and interferencefree integration of modern USB-C playback devices into professional audio environments. The Palmer spree converts the audio signal from a USB-C device into two balanced XLR outputs and, thanks to galvanic isolation, effectively suppresses ground loops and noise. High-quality digital-to-analogue conversion with a resolution of up to 32-bit and 192kHz provides detailed audio reproduction, making the spree suitable for both demanding live applications and studio use. The DI box features a switchable mic/ line output level, allowing it to be adapted to different mixing consoles, stageboxes or audio interfaces. A ground lift switch offers additional options for eliminating unwanted interference in complex setups. The features are complemented by a 6.3mm headphone output, which can be used for both direct
monitoring and as an additional analogue output. LEDs for Signal, Sync and Power provide a quick status overview at all times. The spree can be powered either directly via the connected USB-C device or via the supplied external mains adaptor. When running on bus power alone, it draws its power from the connected laptop, smartphone or tablet, meaning it is ready for immediate use even in locations without an additional power supply. If, on the other hand, the external mains adaptor is used, the integrated USB-C Power Pass-Through function allows the connected device to be charged simultaneously. This ensures the player remains reliably powered and ready for use, even during longer events. In addition to classic playback applications onstage, the spree is also suitable for content creators where it can function as a compact USB-C D/A interface. In combination with the integrated headphone output, it enables straightforward, high-quality audio output, without the need for additional drivers or complex hardware.
Clear-Com targets IP-only productions with Avalon REMOVING THE need for analogue connectivity, Avalon, a 1U intercom platform from Clear-Com, has been launched specifically for IP-based production environments. Developed for broadcast, live events and production applications, Avalon supports FreeSpeak wireless beltpacks, HelixNet digital partyline, V-Series user panels and I.V. Direct connectivity within a compact rack-mounted platform. Unlike systems designed to accommodate both analogue and IP workflows, Avalon focuses exclusively on networked deployments, providing a streamlined option for facilities operating solely over modern IP infrastructures. The platform employs a scalable licensed-port architecture, allowing users to activate capacity as required and expand systems over time without replacing hardware.
Support for AES67, Dante and Clear-Com’s I.V. Direct technology enables integration with a range of local and remote communication workflows. According to the manufacturer, the design is intended to reduce system complexity while maintaining the flexibility required for larger productions and installations. Expanded IP capacity and networking options are aimed at users operating across converged network environments. Avalon joins the company’s existing intercom portfolio alongside Arcadia Central Station, which continues to address applications requiring hybrid analogue and IP connectivity, front-panel control and support for legacy systems. www.clearcom.com
www.palmer-germany.com
Pliant adds frameless matrix IP intercom WITH THE introduction of CrewCom Flex, Pliant Technologies has released a complete matrix IP-based intercom solution. Freed from the limitations of traditional matrix hardware
frames, CrewCom Flex converges wired, wireless and virtual voice communication on a standards-based AES67/SMPTE ST 2110 backbone. For deployment in cloud-native or local infrastructures, the CrewCom wireless intercom system unites wired panels, desktop panels, wired beltpacks and browser- or app-based virtual intercom panels. CrewCom Flex includes ST 2022-7 redundancy compliance and has been designed for demanding productions and critical communication environments. It delivers a
complete communications ecosystem built for hybrid, remote, distributed and highly scalable workflows. At the core of the CrewCom Flex platform, the CrewCom CKP-16 Flex Main Panel and CDP-16 Desktop Panel combine the familiarity of traditional hardware with the flexibility and advantages of frameless distributed IP communications. Expansion panels can be added to create customisable user stations, and each panel or desktop panel functions as its own intelligent distributed matrix. Featuring integrated microphones and speakers, bypassing the requirement to communicate without a headset, CrewCom Flex beltpacks are available in 2-channel CBP-2 and 4-channel CBP-24 versions. The platform also includes the CrewCom
Flex Virtual Intercom browser-based VoIP communications solution. Available in 4-, 8-, 16- and 36-key virtual user configurations, the Flex Virtual Intercom can operate either as a standalone communications system or it can integrate within larger CrewCom Flex deployments. Accessible from PCs, Macs, tablets and mobile devices, it can be used by remote and distributed production teams. The latest platform integrates directly with existing CrewCom wireless intercom systems through CrewCom’s CXD-32CF 32x32 Dante/AES67 digital audio network interface. Featuring drag-and-drop tools, the CrewWare 2.0 software platform handles system configuration and management. www.plianttechnologies.com
RDL broadens connectivity portfolio PROFESSIONAL BLUETOOTH audio, Dante network interfaces and network-based volume control are among the latest additions to the RDL portfolio. The company has introduced its RU-BTLA Bluetooth Line-Level Audio & Format-A Interface alongside four Rack-Up Dante interfaces. Now in production and available to order, the RU-BTLA supports both Bluetooth LE Audio and Bluetooth Classic, offering wireless audio transmission at distances of up to 100m under ideal conditions. Designed for commercial AV installations, the interface provides balanced XLR, unbalanced RCA and Format-A outputs,
while supporting stereo or mono operation, remote pairing and configurable pairing settings. RDL has also expanded its Dante portfolio with four new Rack-Up interfaces. The RU-RN44 and RU-RN22 provide bidirectional mic/line-toDante connectivity in 4x4 and 2x2 configurations respectively, while the RU-RN40 converts four mic/line inputs to Dante channels and the RU-RN04 converts Dante channels to analogue outputs. Features include software-selectable gain, phantom power, filtering, compression and attenuation. www.rdlnet.com
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PRODUCTS
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Sennheiser tightens Q-SYS integration CONFIGURING CEILING microphones directly inside Q-SYS Designer Software is now possible with the introduction of Sennheiser’s TeamConnect Ceiling M Plus, a microphone designed to reduce deployment complexity in larger collaboration environments. The TCC M Plus introduces PartnerLink, a new integration technology that allows supported AV platforms to configure and manage the microphone natively within their own workflows. Developed in collaboration with Q-SYS, the first implementation enables system designers to handle audio configuration, control and automation from within the Q-SYS environment rather than relying on separate setup processes. While the Q-SYS integration is the launch focus, Sennheiser says that PartnerLink will expand to additional platforms over time. The microphone also continues the company’s open ecosystem approach, supporting Dante and a range of existing third-party integrations. Designed for meeting rooms, classrooms and divisible spaces, the TCC M Plus combines dynamic beamforming with enhanced exclusion zones intended to improve speech intelligibility and camera tracking performance in more
challenging environments. The system is designed to adapt to changing room layouts and participant positions while simplifying zone configuration for integrators. Furthermore, the microphone integrates with Sennheiser’s cloud-based DeviceHub platform, providing centralised monitoring, configuration and diagnostics across multiple rooms, buildings and locations. The combination of simplified commissioning, flexible integration and remote management is intended to support organisations deploying collaboration technology at scale. The manufacturer has also provided further details of DeviceBridge, a local application that is intended to bring existing Sennheiser devices into DeviceHub environments. Installed on a local server, DeviceBridge is designed to expand compatibility for products that were not originally developed for DeviceHub while also simplifying cloud connectivity management. Initial DeviceBridge support is planned for TeamConnect Ceiling 2 and TCC M, with future compatibility expected to extend to additional products including SpeechLine Digital Wireless and EW-DX. www.sennheiser.com
DESIGNED FOR high-density RF environments, Audio-Technica has released the D50 digital UHF Wireless System. Featuring up to 224MHz of tuning bandwidth, depending on the region, the D50 enables flexible channel planning in complex RF conditions. Switchable antenna combining diversity and maximal ratio combining (MRC) true diversity modes reportedly improve signal reliability, while highdensity mode allows up to 63 simultaneous frequencies within a single 8MHz TV channel. A compact half-rack receiver is available in either a 2-channel (Audio-Technica Link) or 4-channel (Dante-enabled) version, supporting 96kHz audio, redundancy and PoE+ power. Transmitters in the form of handhelds with interchangeable Artist Elite capsule options, together with goosenecks and bodypacks, can operate for 9.5–17.5 hours on a single battery charge. Additional features include onboard spectrum analysis, AES256 encryption, integrated DSP and Wireless Manager software for monitoring and control. The ATSP-30DP builds on the recently introduced ATSP-30 ceiling speaker by adding Dante networking for integration with compatible devices, including the brand’s ATDM-1012DAN Digital SmartMixer. Supplied as an active/passive pair, the speakers are designed for small and medium meeting rooms and feature a 140° coverage angle for speech reinforcement, background music and video playback. The system supports discrete audio routing for zone-based applications, while onboard DSP settings – including 4-band EQ, delay, phase adjustment and sound presets – can be configured through the ATDM mixer’s Web Remote. The speaker is also compatible with AFMG’s EASE acoustic
modelling software and Audio-Technica’s Speaker Layout Tool for system design. Alongside the commercial audio release, the manufacturer has unveiled the 20 Series Control Application, a Stream Deck plugin that provides direct control of compatible USB microphones from Elgato Stream Deck devices. Compatible with the AT2020USB-X, AT2020USB-XP and AT2040USB microphones, the application enables users to mute or unmute microphones, adjust input gain and, for the AT2020USB-XP, control Automatic Gain Control (AGC) and Noise Reduction settings. Controls can be assigned to Stream Deck keys, dials or foot pedals using drag-and-drop configuration. Designed for streamers, podcasters, gamers and content creators, the software aims to simplify microphone control during live production and recording workflows, while complementing Audio-Technica’s existing USB microphone range. www.audio-technica.com
Shure brings AI processing to Microflex Advance
RØDE looks to the future
INTRODUCED AS the latest flagship model in the company’s Microflex Advance portfolio, Shure’s MXA925 Ceiling Array Microphone puts AI-enhanced audio processing at its heart. Designed for conferencing and collaboration environments, the MXA925 features a new processing platform with onboard IntelliMix DSP, including AI Acoustic Echo Cancellation, AI Denoiser and AI Deverb technologies. The system is intended to improve speech intelligibility in acoustically challenging spaces, helping to reduce the impact of room reverberation, background noise and changing speaker positions while requiring less manual tuning. The microphone also incorporates dual RJ45 network connectivity, remote monitoring and management through ShureCloud, and certification for Microsoft Teams and Zoom environments. Alongside the MXA925 launch, Shure has released firmware version 6.9 for the MXA901 Ceiling Array Microphone. The update expands support for voice-lift applications through discrete outputs in Steerable Coverage mode, while also introducing enhanced camera tracking via the Optimize Tracking feature.
SONAURA FROM RØDE is a studio-grade MEMS (Micro-Electro-Mechanical Systems) microphone technology resulting from a fiveyear collaboration with Infineon Technologies, a specialist in MEMS microphone technology. Available in a compact 4mm x 5mm form factor, Sonaura has a signal-to-noise ratio of 83dB and a self-noise measurement of 11dBA. Built on a newly developed low-noise ASIC, Sonaura reportedly offers robust SPL handling, high immunity to RF interference and a flat frequency response. It features Infineon’s Sealed Dual Membrane design which combines ultra-low self-noise with enhanced environmental robustness and reduces sensitivity to physical shock compared to conventional microphones. RØDELink II has been built for filmmakers, broadcasters and content creators, and draws on decades of UHF experience from Lectrosonics. It includes two
Additional improvements include new Automixer and Speech Gating Threshold controls, plus a fully flexible Automatic Coverage zone designed to support a wider range of room layouts and application requirements. Existing MXA901 installations can access the new functionality through firmware without requiring additional hardware. The manufacturer is also extending its IntelliMix Collaboration Portfolio by offering the IntelliMix Room Kits and IntelliMix Foundation System for Zoom Rooms. The update provides customers with consistent, high-quality audio capture to support more accurate inputs in Zoom AI. www.shure.com
transmitters and a single receiver, offering dual-channel operation for recording multiple sound sources at once. Each transmitter is paired with a broadcast-grade lavalier microphone featuring locking connectors. RØDELink II comes with 32-bit float onboard recording, allowing users to capture clear audio directly to a microSD card. A dedicated timecode I/O port makes it easier to accurately align audio and video, removing the need for complex postproduction adjustments. It features a rugged metal body designed to withstand the rigours of location recording, along with three removable lithium-ion batteries that deliver extended operating time in demanding environments. Complementing RØDELink II are a range of timecode and audio cables. These include the 3.5mm TRS to 5-pin and 3.5mm TRS to BNC timecode cables, both featuring locking connectors, professional-grade construction and right-angle designs for a compact, secure setup. Additionally, the 3.5mm TRS to XLRM and XLRM Splitter can be used for connecting microphones and audio sources to professional recording devices, with options for summing stereo channels or splitting them into separate XLR outputs. www.rode.com
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Biamp joins MDEP platform BIAMP HAS joined the Microsoft Device Ecosystem Platform (MDEP) programme, the standardised Android platform for enterprise collaboration devices from Microsoft. The announcement reportedly establishes Biamp as the first MDEP partner to bring a native professional DSP, with automated acoustic tuning and commissioning. The first Biamp product built on MDEP is an Android-based UC compute platform. Designed for hosting in Microsoft Teams Rooms or Zoom Rooms, the Devio UCX features three UC compute tiers and comes with integrated DSP. Offering enterprise-grade security with remote management capabilities through Biamp Workplace, the Devio UCX serves as the hub for the full Biamp peripheral ecosystem. Purpose-built for specific room requirements, the Devio UCX is a meeting room hub.
The Devio UCX 1000 is ideal for huddle spaces where a connected conferencing bar is required, while the Devio UCX 2000 is designed for larger rooms requiring microphone connectivity and a conferencing bar. For the most performance-driven spaces, the Devio UCX 3000 enables dual display support, enhanced processing power and advanced AI feature readiness. Available in tabletop or wall-mounted models, each Devio UCX system is equipped with a 10.1-inch Apprimo Touch 10 UCX Series panel that auto-pairs the moment it’s connected. The room automatically wakes when someone walks in. The Devio UCX provides device charging and switches instantly between a UC meeting and a laptop via USB-C. Allowing IT teams to plan room configurations before deployment, it is included in Biamp Workplace
Network discovery
Designer. When rooms go live, Biamp Workplace provides remote monitoring and management, including real-time device health monitoring, over-the-air firmware management and access to Biamp Launch report cards. With Workplace Control, Biamp has introduced the Unified AV Automation Platform. Built on the Biamp Workplace platform and running natively on TesiraFORTÉ X Series DSP hardware, Workplace Control can create event-driven automation without complex programming. Designers can discover Biamp devices, drag and drop them into a design with simple panel layouts and generate a complete control configuration in minutes. Transforming
architectural complexity of the venue, and the L-Acoustics team works with each client to set a realistic timeline before work begins. Digital Construction strengthens the first step of every design by making sure the model reflects the real room before any loudspeaker is specified. It works alongside the Soundvision tools and Architectural Drafting services
A single click opens the device’s web apps. Everything can then be seen at a glance: a local dashboard with IP, firmware, serial and connection status, plus favourites, search, filters and manual entries for other subnets. Any device’s web apps can be inspected straight from the tray or the dashboard without the need to type IP addresses into the browser. The display includes colour-coded status dots, optional auto-start and automatic updates. www.dhd.audio
Virtual mixing
WHEATSTONE HAS released its VMX virtual mixing platform, a server-based and web browser accessible for mixing in any environment on a
www.biamp.com
Capturing the building L-ACOUSTICS HAS released Digital Construction, a service that captures a venue exactly as it is built and delivers a verified geometric model ready for use in Soundvision. Digital Construction includes an onsite scan carried out by an expert L-Acoustics application engineer that includes stage areas, balconies and the spaces that connect them, using handheld LiDAR. The method records the room in
DHD HAS released DHD Discovery, designed to increase the efficiency of the manufacturer’s audio mixing systems during initial installation and subsequent configuration. The tray app runs quietly in the background using the Multicast DNS decentralised networking protocol to watch the network and show every DHD device the moment it comes online. This includes DHD cores, RM1 broadcast-from-anywhere interfaces and audio-over-IP devices connected via AES67/Ravenna or Dante.
AV systems into intelligent, automated environments, the no-code design workflow resembles the Tesira Flow Layout. Workplace Control includes a complete range of Apprimo Touch interfaces with 4-, 7-, 8- and 10-inch panels for in-room control. Biamp devices are automatically discovered through Workplace, and their control elements are directly imported into the Workplace Control Designer app. The app provides an integrated design environment for user interface design, programming and deployment.
A Soundvision view of a stage variety of devices, from recessed touchscreens in the studio to tablets in the ballpark. VMX can be installed on an existing server or a dedicated appliance and offers a selection of tiles, including basic utility mixers, a simple virtual mixing interface and complete virtual broadcast consoles. Virtual consoles are accessible through a web browser, making VMX suitable for quickly adding newsrooms, control rooms, voice track booths and remote mixing instances on demand, complete with backup mirroring synchronised in real time for instantaneous failover. The platform is AES67 compliant with an easy-to-install setup wizard. It forms part of Wheatstone’s Layers software-based broadcast suite for virtualising studio functions as an extension of the WheatNet IP audio network.
high resolution far faster than manual measurement and captures detail that less advanced methods like hand drafting or a P2P laser can miss. It is built for the scale of professional venues, where the short-range scanners found in consumer devices, limited to roughly 5m, cannot cover the space. The result is said to be a true-to-life record of the room as it actually stands. Each scan is verified and processed through a standardised workflow with quality checks at every stage. Clients receive two deliverables: a detailed point-cloud file of the venue for their own reference, and a simplified, Soundvision-ready model for acoustic simulation and system design. Post-processing scales with the size and
that L-Acoustics’ teams and partners already use, giving Certified Providers, AV consultants and venue owners an accurate as-built reference. The benefit is clearest in renovations, older buildings and venues without reliable documentation, where verified geometry reduces the risk of late surprises, such as unexpected ceiling structures, rigging constraints or sightline conflicts. An accurate model of a venue also outlives a single project. The same as-built data supports future upgrades, clearer communication between stakeholders and the growth of the L-Acoustics venue database that designers draw on worldwide. www.l-acoustics.com
www.wheatstone.com
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PROS
mix here 92% of exhibitors connect with their target audience. Every January, the people who make music happen pack the Anaheim Convention Center to geek out, connect and do a whole lot of business. It’s the one week where the whole industry shows up. Are you in? Audience
60,000+ show attendees $9.8+ Billion in buying power 122 countries represented 1,650+ exhibiting companies NAMM is THE place in the world to connect, reconnect and cultivate relationships in our industry. Without NAMM, progress would be tougher, slower and less effective.
The NAMM Show continues to be a fantastic opportunity to connect face-to-face with current customers and potential customers from all over the U.S. and the world.
Michael Gilreath, Fishman
Pat Redd, CMO Goldtop Marketing + Strategy
January 26–30, 2027
Anaheim Convention Center · Southern California · Exhibits Jan 28–30
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Reaching its peak APEX HAS released a firmware and software update for its CloudPower installation amplifier range. V2.0 introduces support for multiple user profiles with
configurable access rights for administrators. The number of groups available across a CloudPower network has been increased to 36, enabling additional zoning and system management options. Speaker preset functionality has been updated to allow multiple amplifier channels to be included within a single preset, allowing settings for multi-driver loudspeaker systems to be stored and recalled together. Standby
mode has been revised to reduce power consumption and provide a 3s startup time. V2.0 also enables Bluetooth functionality for ACW series remote controllers connected to a
Outline’s ISAAC gets an upgrade OUTLINE HAS updated its ISAAC multiplatform control application, which introduces enhancements to the EQ filters section, including new filter types, improved graphical representation and a zoom function for more detailed adjustments. Dialogue functions have been added to the Input and Output Patch assignment sections, providing feedback following user actions. A “ripple” feature has also been introduced, allowing multiple channel elements to be cascaded recursively. Users can now report Newton-related issues
directly from within ISAAC through a dedicated form on Outline’s website. A Newton “status dump” function has also been added, allowing users to export device parameters to a file for troubleshooting. The latest update provides a summary of key changes to the software’s “About” box. Users can view recent updates directly within the application without needing to access separate versions of log files released alongside software updates.
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CloudPower network, allowing audio streaming from compatible devices. According to APEX, the update includes a restructured codebase intended to improve performance. The release also adds several requested features, including revised rotary encoder response and the ability to adjust input sensitivity. www.apex-audio.be
Fulcrum Acoustic enhances Fulcrum One FULCRUM ACOUSTIC is expanding the capabilities of its Fulcrum One software platform with new acoustic simulation and auralisation features designed to help users evaluate system performance before deployment. The release adds expanded acoustic mapping and analysis tools alongside binaural auralisation capabilities that allow users to preview loudspeaker system designs and immersive audio mixes over headphones. Room Auralisation mode enables users to listen to a loudspeaker design from any position within a virtual model, using environmental data to simulate performance within the acoustic space.
Mix Auralisation mode allows object-based mixing projects and Fulcrum’s active acoustics technology to be auditioned over headphones
before entering a live venue environment. Processing takes place locally on the user’s computer and does not require dedicated
hardware, while compatible head-tracking headphones can be used to enhance immersion. The update builds on Fulcrum One’s role as a unified workflow platform, enabling users to model environments, design systems, evaluate performance, optimise designs and manage supported hardware from a single application. According to Fulcrum Acoustic, the new tools provide integrators, consultants and system designers with improved visibility of coverage, speech intelligibility, time alignment and overall listening experience before installation. www.fulcrum-one.com
KLANG expands console integration with KOS 6
Xilica adds Dynamic Voice Lift to Designer v4.12
DIRECT CONTROL from SSL Live consoles is the standout addition in KOS 6, the latest operating system update for KLANG’s immersive in-ear mixing platform. The free firmware release expands integration options across the KLANG ecosystem, adding native SSL Live support that allows engineers to access immersive mixing functions directly from the console surface. The integration also enables routing configuration, personal mixing management and per-channel EQ control from within the SSL environment. KOS 6 additionally introduces ADM-OSC support, enabling external immersive audio systems and compatible mixing consoles to communicate directly with KLANG processors through standardised spatial audio control protocols. The update also brings support for the recently launched KLANG:1 and KLANG:1pro immersive processors. For KLANG:1pro users, Dante patching to third-party devices can now be handled directly within KLANG:app, removing the need to switch between separate software environments. Workflow improvements include new Action Buttons that provide one-touch access to commonly used functions such as snapshot recall, mix loading and show preparation tasks.
XILICA HAS announced the release of Dynamic Voice Lift, a feature in Xilica Designer v4.12 that brings adaptive speech reinforcement to large meeting spaces, classrooms and auditoriums. Traditionally, voice lift systems rely on fixed speaking positions or multi-zone microphone outputs to deliver consistent audio reinforcement. With Dynamic Voice Lift, Xilica systems automatically adapt in real time to the position of the active speaker, enabling clear, balanced speech reinforcement across the room, even when using single-output ceiling microphones such as the Sennheiser TeamConnect Ceiling Medium and Sennheiser TeamConnect Ceiling 2.
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Dynamic Voice Lift supports environments where conversations move naturally around the room, including large boardrooms with distributed seating, classrooms with both instructor-led and student participation and flexible spaces used for presentations, discussions and workshops. Key benefits include consistent intelligibility regardless of speaker location, more inclusive communication with every participant heard equally, no need to stand in specific locations or switch presets, and greater room flexibility with one setup supporting multiple use cases. www.xilica.com
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A redesigned settings interface consolidates device configuration into a single view, while Batch Snapshot Editing allows parameters including gain, panning, mute states and Tone Filters to be adjusted across multiple snapshots simultaneously. Also new is compatibility with Bitfocus Companion, allowing KLANG processors and KLANG:app to be controlled from Stream Deck devices and other control surfaces. www.klang.com
70 PRO AVL MEA September–October 2026
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V1.6 expands SONICUE control and DSP capabilities VERSION 1.6 of Dynacord’s SONICUE sound system software introduces Automixer and Ducker functionality for IX Series networked DSP amplifiers, bringing processing features previously associated with the company’s MXE5-64 Matrix Mix Engine directly into the amplifier platform.
allowing audio and video systems to be managed through a common interface. SONICUE Control has also gained native support for Android hardware, allowing customised control panels to run directly on Android tablets and touchpanels. Separate versions are available for fixed-installation
LUNAR POWERFUL PERFORMANCE MADE EASY
POWERFUL SOUND
32-bit DSP with FIR filter – precise sound reproduction
PLUG & PLAY
4 on-board presets: Music, Monitor, Voice, Ext. Sub
The Automixer uses a gain-sharing algorithm with adjustable response characteristics, while the Ducker automatically attenuates background sources in response to microphone activity. The update also broadens integration capabilities through new TCP, UDP, WebSocket and PJLink protocol blocks within the TaskEngine environment. This enables direct communication with a wider range of third-party devices, including projectors and Visionary Solutions AV-over-IP products,
control surfaces and mobile devices, providing an alternative to dedicated hardware controllers. Additional improvements include the ability to change loudspeaker modes without disconnecting amplifiers, enhanced drag-anddrop functionality within Panel Designer and TaskEngine, and the addition of new demonstration projects for system design and programming. www.dynacord.com
Celestion tackles directivity trade-offs with PXT6000
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CONTROLLED DIRECTIVITY and smooth frequency response have traditionally involved a compromise for loudspeaker designers; however, Celestion claims to have eliminated that trade-off with the introduction of its PXT6000 compression driver. The driver is built around the company’s new patented Planar eXit Technology (PXT), a wave-shaping approach developed using advanced mathematical modelling, which is said to deliver a highly coherent rectangular
pressure wave that enables both precise directivity control and an exceptionally smooth frequency response from the same device. The design is based around a deep-drawn titanium diaphragm and has been engineered to reduce throat resonances that can colour the sound of conventional compression drivers. Celestion also states that the coherent wavefront improves efficiency and intelligibility when multiple devices are arrayed together by reducing interference effects and power loss. Alongside the new wave-shaping technology, the PXT6000 features a compact cast-aluminium waveshaper with a rectangular 165mm x 20mm exit intended to improve loading and off-axis performance. The driver utilises a neodymium magnet assembly and a 3-inch edgewound copper clad aluminium voice coil. Specified at 240W continuous power handling, with a nominal rating of 120W and an impedance of 8Ω, the PXT6000 covers a frequency range from 500Hz–20kHz and is aimed at high-end professional sound reinforcement array applications.
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PRODUCTS
Controlled behaviour THE HF1440 from FaitalPRO combines a 1.4-inch exit with an 86mm voice coil, an annular Ketone Polymer diaphragm and a neodymium magnetic circuit capable of generating a flux density of 2.2 Tesla. The result is described as a compact large-format compression driver delivering 120W AES power handling, 109dB sensitivity and an operating bandwidth extending from 700Hz–20kHz. Engineered as a complete system rather than as a collection of individual components, the large annular Ketone Polymer diaphragm was selected to combine stiffness with controlled internal damping, providing fast transient response while maintaining smooth behaviour across the
M Atlas+Fyne IsoFlare Series driver’s operating range. The large 86mm voice coil increases thermal capacity and long-term power handling, while the optimised neodymium magnetic circuit provides control of diaphragm movement, even under sustained high-power operation. Covering frequencies up to 20kHz, the HF1440 combines high-frequency detail with the authority expected from a large-format compression driver, offering a balanced solution for applications where both output capability and sound quality are equally important. www.faital.com
Adamson unveils VGx DESCRIBED AS the largest and most powerful full-range addition to the Vergence Group, Adamson has announced the arrival of the VGx. Capitalising on the transducer, wave-shaping and amplification technology first introduced with the VGt, the VGx uses three M140 midrange transducers and three NH3-V-16 high-frequency compression
VGd drivers on a newly designed 3° coaxial mid-high assembly, resulting in 1.5dB extra headroom per element, compared with the VGt. A new 18-inch driver with a dual wound voice coil provides low end, while the ND13-S used in the VGt now provides low-end support and directionality as a sidefiring driver in the VGx.
The VGx exhibits 22dB of rear rejection across its entire bandwidth. Omni presets are also available. A new Class-D amplifier module powers the VGx, with two full bridge channels devoted to the low-frequency section, and four half-bridge channels powering the remaining devices, ensuring plenty of headroom across the board. The manufacturer is also releasing two new subwoofers. The VGd is a large-format subwoofer enclosure and the largest subwoofer enclosure in the Vergence Group. Designed to keep up with the high-output capabilities of the full-range products, the VGd is a dedicated cardioid subwoofer and comes with two SD21.5 transducers front-loaded, as well as two SD18 transducers rear-loaded. To complement the VGd, the VGo uses the same technology and transducers but in a single-driver format. Both subs include onboard Class-D amplification, have built-in rigging and can reproduce audio to 27Hz.
ATLASIED HAS added to its Atlas+Fyne IsoFlare Series. Featuring low-insertionloss transformers suitable for 70V or 100V applications, the models come with a weather-resistant, IP44-rated enclosure. The additions include 4-, 6- and 8-inch models, along with a separate 8-inch model with narrow dispersion, specifically for higher ceilings, and an 8-inch subwoofer model for extended bass performance. Available in black and white, the series now includes the FP-4T 4-inch Premium IsoFlare pendant, FP-6T 6-inch Premium IsoFlare pendant, FP-8T 8-inch Premium IsoFlare pendant, FP-8THC 8-inch Premium IsoFlare pendant for high ceilings and FP-8ST 8-inch Premium IsoFlare pendant subwoofer. The company has also announced the expansion of its Atmosphere digital audio platform with the introduction of the Atmosphere AZP amplifier series. The models feature onboard DSP with integrated speaker tunings,
flexible matrix mixing and loudspeaker management tools, including EQ, crossovers and limiters. A built-in message player further enhances system functionality for paging and announcements. Power share technology allows total amplifier power to be allocated across channels in 5W increments, extending system design options. Dual network ports provide flexible deployment options for control, monitoring and Dante audio, while streamlining system integration and configuration. The AZP series also includes full sound-masking capabilities, with onboard signal generation, scheduling and commissioning tools, along with Cat-based speaker connectivity for simplified installation of AtlasIED sound-masking loudspeakers. Available in a 1U form factor, the 4- and 8-channel configurations are available in 150W or 300W (selectable Lo-Z or Hi-Z) per channel. www.atlasied.com
DAS unveils MIA platform MIA-S110
term durability. The company said all of its loudspeakers can now be customised for both indoor and outdoor applications, with typical lead times of 3–4 weeks. The expanded offering provides additional finish options for projects where loudspeakers are required to complement architectural aesthetics while being installed in outdoor environments. www.1-sound.com
DAS AUDIO has introduced the MIA Series, an installation platform comprising loudspeakers, amplification, processing and control tools designed to operate within a single environment. The range includes seven passive coaxial point source loudspeakers and two low-profile subwoofers. Models span 5- to 12-inch formats, with varying output levels and coverage patterns for applications ranging from distributed audio to installations requiring greater output and directivity control. The MIA-X5 and MIA-X6 provide 120° conical coverage, while the MIA-X8 offers 110°. The MIA-X10 and MIA-X12 are available with 70° x 50° or 110° x 60° coverage patterns via rotatable waveguides that can be adjusted to suit installation requirements. The MIA-X5 and MIA-X6 feature a nominal impedance of 16Ω, allowing up to eight loudspeakers to be connected per channel when used with the recommended INTEGRAL-MA matrices. Low-frequency support is provided by the MIA-S110 and MIA-S115 subwoofers. Their low-profile band-pass enclosures can be installed horizontally or vertically, while the
MIA-S110 also supports wall mounting via an optional accessory. The accompanying INTEGRAL-MA range comprises six amplified matrices with 2- and 4-channel configurations, delivering between 250W and 750W per channel at 4Ω. Each unit combines Class-D amplification, DSP, an audio matrix and 4x4 Dante/AES67 connectivity, enabling signal routing, zoning, priority management and output processing from a single platform. Factory presets incorporating FIR filters and limiters have been developed for each MIA model, enabling different loudspeakers from the series to be combined within the same installation. System configuration, control and monitoring are managed through ALMA software. The INTEGRAL-MA1002, MA1502, MA2004 and MA3004 also feature an integrated web server with ALMAweb for browser-based management. The matrices support low-impedance, 70V and 100V systems and can be integrated with third-party platforms via OSC and GPIO. www.dasaudio.com
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1 Sound adds outdoor wood finish option
EXTERIOR WOOD finishes are now available across the entire 1 Sound loudspeaker range through the company’s Custom Shop programme. The new finish option is designed for permanent outdoor installations, allowing integrators to specify wood finished loudspeakers for projects exposed to the elements. According to 1 Sound, the exterior wood treatment draws on traditional structural building techniques from countries including Japan and Norway, with a focus on long-
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PRODUCTS
HK Audio announces POLAR expansion
Montarbo says it’s time for “T” SUITED FOR a wide range of professional applications, Montarbo’s Nettuno T12 and T15 loudspeakers can be deployed as small PA systems for DJs, corporate events, conferences and compact live shows, or as a fill reinforcement element for larger productions. In addition, its footprint and voicing promote its use for stage monitoring. The Nettuno T12 active 2-way point source enclosure incorporates a 12-inch ferrite woofer with a 3-inch voice coil and a neodymium compression driver with a 1-inch exit and 1.75 -inch voice coil. Driven by a 1,000W RMS Class-D amplifier with integrated DSP, the full-range
model delivers controlled output to a maximum of 134dB SPL, while its 60° x 40° dispersion reportedly provides focused coverage and consistent clarity. Allowing quick adaptation to different stage layouts, eight DSP presets – including FIR processing and tuned waveguiding – facilitate ease-ofuse setup as a main PA, front fill, out fill or stage monitor. Incorporating the same design features as the T12, the T15 is a 15 -inch higher-powered speaker. Operating within a frequency response range of 55Hz–17.2kHz (–6dB), the T15 can produce a maximum SPL of 135dB. www.montarbo.com
HK AUDIO is expanding the POLAR MK2 series with its most compact model to date. The POLAR 8 MK2 portable all-in-one column system has been designed specifically for smaller applications, including rehearsal rooms and conferences. Inside the column element, six 2.5-inch neodymium midrange drivers operate in a specially developed Curved Column arrangement. This design reportedly combines even sound distribution with
Nettuno T12
Leading the line EXTENDING THE Newport Series, EAW has added the NT208L line array and NT116S subwoofer for touring, live production, installation and outdoor festival applications. Removing the need for external amplifier racks, the Newport Series combines integrated Class-D amplification within a lightweight enclosure. The NT208L is a dual 8-inch active line array delivering a maximum SPL of 141dB and low-frequency extension to 50Hz. It incorporates a 2,000W Class-D amplifier and a field-adjustable horn offering 80°, 95° or 110° coverage. Providing a selection of four horizontal coverage profiles through tool-free adjustments, the NT208L enclosure features EAW’s Adjustable Horizontal Directivity (AHD). The NT116S 16-inch subwoofer reportedly provides 50% greater air displacement than
NT208L a 15-inch driver and includes 4,000W of peak onboard power. An optional rigging accessory enables the NT116S to be flown with the NT206L line array or deployed as a standalone low-frequency solution. Accessible via the rear panel, the subwoofer features a selectable Cardioid Mode, which directs low-frequency energy towards the audience area while reducing energy onstage.
The enclosures are constructed from Baltic birch, steel and aluminium. Dedicated rain shields are available to protect the amplifier and input sections during outdoor deployment. In addition to the new OAA software, the Newport Series products are included in EAW’s Resolution software libraries for professional 3D SPL modelling and detailed room optimisation. www.eaw.com
Genelec expands UNIO monitoring ecosystem WITH THE introduction of the 9402A system management device for audio-over-IP networking, Genelec has expanded its UNIO monitoring ecosystem. Complementing the existing 9401A model – which already supports Ravenna, ST 2110 and AES67 protocols – the 9402A provides Dante and AES67 compatibility for Genelec’s range of Smart Active Monitors and subwoofers. Compatible with all formats from stereo to 9.1.6, the 9402A promotes flexible, scalable and futureproof monitoring solutions. Providing a bridge between traditional AES/ EBU signal paths and fully networked AoIP infrastructures, the 9402A supports up to 16 channels of digital audio via a DB25 connector. With additional dedicated AES/EBU outputs on XLR for subwoofer integration and auxiliary stereo monitoring, the 9402A enables flexible routing and monitoring via in-room loudspeakers and professional headphones. The 9402A supports high-resolution audio with sample rates up to 192kHz and bit depths up to 32-bit within the digital domain, without any loss of quality during the conversion process. Through its tight integration with Genelec Loudspeaker Manager (GLM) software, the
9402A allows entire system calibration, including subwoofer alignment and support for bass management. Increasing the low-frequency SPL
output, the subwoofer output enables Smart Active Subwoofers to be chained. Providing compatibility with 22.2 and other high-channelcount immersive formats, channel capacity can be expanded with the addition of 9402A devices. Supporting modern streaming control integration, the 9402A deploys Gigabit Ethernet low-latency operation and support for broadcast-grade redundant network connectivity. Additional data security is enabled by Dante Media Encryption, using AES 256-bit key-protected audio transport to the 9402A. Enabling routing across IP subnets, between buildings or wide-area networks, the audio is transported between AoIP and AES/ EBU formats using low-latency OSI Layer 3 technologies. The compact 1U rackmount 9402A format is further enhanced with Genelec’s proprietary Intelligent Signal Sensing (ISS) technology, which minimises power consumption during idle periods. Aural ID 2.1 brings a series of usability and performance improvements to Genelec’s binaural headphone monitoring application, while Smart IP Controller 2.0 is a redesigned mobile app for controlling Smart IP loudspeaker systems.
wide dispersion angles of 120° x 45° (HxV), creating a uniform sound coverage in acoustically challenging environments. Minimising unwanted vibrations, the metal-reinforced 8-inch Birch plywood subwoofer is fitted with a low-resonance plastic enclosure. The integrated 1,200W Class-D amplifier offers high power reserves. Promoting individual sound preferences, the developed CONTOUR control provides audio parameter adjustments between the DJ, Music and Voice presets. Internal 24-bit DSP is complemented by a multiband limiter that intervenes specifically in critical frequency ranges. As a result, the overall sound is said to remain stable at maximum volume. Integrating two mic/line inputs and aux/ Bluetooth 5.0 audio streaming, external audio sources can be directly connected. Using True Wireless Stereo (TWS), two POLAR 8 MK2 units can be paired wirelessly and operated as a true stereo setup without any additional cables. A carry bag for the column elements and a transport case for the subwoofer are included as part of the package. www.hkaudio.com
www.genelec.com
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PRODUCTS
K-array debuts Keystone and Dragon BORNE OUT of the innovations in Powersoft’s new MM-Force and Spixel technologies, K-array is bringing them to market in the form of the Keystone KST110 architectural subwoofer and Dragon KX2.
Keystone KST110 The Keystone KST110 is aimed at hospitality, corporate and marine projects where conventional low-frequency systems are too large or visually intrusive. Available in both on-wall and in-wall versions, the ultra-slim design employs MM-Force moving magnet technology, which uses an inertially balanced architecture to minimise vibration transfer into surrounding structures. Despite weighing just 6.6kg, the KST110 delivers up to 119dB peak SPL with a frequency response extending down to 40Hz. An aluminium chassis, black and
white finishes, custom RAL options and an optional marine-grade version further position the product for design-sensitive installations. Joining the subwoofer is the Dragon KX2, the most compact loudspeaker in K-array’s Dragon family. Designed to blend into architectural environments with minimal visual impact, the loudspeaker is built around Spixel driver technology, combining a 2.5-inch full-range driver with dual passive radiators in an enclosure weighing less than 1kg. The IP65-rated loudspeaker delivers a peak SPL of 116dB and frequency response down to 110Hz, while a 100° x 100° conical dispersion pattern is intended to provide consistent coverage across hospitality and corporate and residential applications. Weather resistance also allows deployment in covered outdoor environments. The Koral KO102 combines line array directivity and point source performance within a single enclosure, providing flexibility for system designers and installers across a range of applications. The loudspeaker is equipped with six 3.15-inch woofers and a 1.1-inch tweeter, delivering a frequency response of 125Hz–18kHz, a peak SPL of 128dB and a rated power handling of 360W. In line array mode, the KO102 provides 10° x 90° (VxH) coverage, while point source mode expands coverage to 60° x 90° (VxH). A dedicated switch manages the contribution of the system’s components according to the selected configuration, allowing Koral
to adapt its acoustic behaviour and deliver a more open and evenly distributed sound field. Constructed from stainless steel, the enclosure features a fully flush grille and supports both on-wall and recessed mounting options, enabling integration into architecturally sensitive environments. The KO102 is suitable for hospitality and corporate installations, including centre-channel applications. Its outdoor-rated, stainless-steel construction also allows deployment in exterior environments where durability and discreet installation are required. www.k-array.com
The return of Logic System FOLLOWING THE relaunch of Logic System, Chris Scott and Jason Baird have unveiled the first product offerings. Designed as high-output, 2-way point source loudspeakers, the AT Series currently consists of 15- and 12-inch models. Loaded with a 15-inch ferrite LF woofer with a 3.5-inch voice coil with a 1.4-inch exit, the AT15 enclosure marries a titanium diaphragm ferrite compression driver onto a diecast 80° x 60° (HxV) HF horn that maintains pattern control down to below the 1.2kHz crossover point. The rotatable horns allow the AT15 to be deployed in either portrait or landscape orientation. Housed in an 18mm Baltic birch ply cabinet and finished in a dark grey polyurea coating, flexibility of use is enhanced with 12 M10 inserts, a pole mount and pocket handles. Modelled on a contemporary industrial design, the AT12 distinguishes itself with a 12-inch ferrite woofer with a 3-inch voice
Dragon KX2
Powersoft unveils MM-Force and Spixel POWERSOFT HAS expanded its audio technology portfolio with two OEM technologies. MM-Force is a balanced, ultra-low-profile moving magnet lowfrequency driver available in 8- and 10-inch formats, while Spixel is a compact 2.5-inch high-efficiency full-range driver. Both solutions have been designed to provide OEM partners with access to a complete audio technology ecosystem rather than individual components. MM-Force combines motor strength with an ultra-shallow physical footprint of under 80mm in depth. This profile fits within installation standards that would ordinarily rule out subwoofer integration. The 8- and 10-inch driver features a dual coil configuration, a square carbon fibre reinforced polymer piston that maximises radiating area within its footprint and a robust design rated for operation in harsh environments and demanding conditions. The driver’s moving parts are engineered to offset one another dynamically, achieving vibrationless operation at the transducer level. This means that even a single-driver enclosure operates without the mechanical vibration that would ordinarily require additional structural reinforcement or dampening. The combination of moving magnet topology with high motor strength design reportedly
Integrated into the driver is Powersoft’s AnyMATE technology, enabling onboard speaker identification, real-time monitoring and visual diagnostics via an LED indicator coupled with a translucent dustcap. As a result, loudspeaker manufacturers integrating Spixel can reportedly offer their customers an increased level of system
MM-Force delivers significant advantages in power efficiency and material economy compared to conventional moving coil approaches. Spixel takes the high motor strength philosophy underpinning Powersoft’s IPAL technology, which was originally developed for high-efficiency, low-frequency reproduction, and extends it to the full frequency range in a compact format. The driver achieves a low-frequency limit of 100Hz, an extended bass response, which enables direct coupling with subwoofers at a single, low crossover point and materially simplifies overall system design for loudspeaker manufacturers.
Spixel intelligence and in-field serviceability compared with conventional transducers. The native AnyMATE/SpeakerMATE integration brings this capability without increasing system complexity.
AT15 coil, and an annular diaphragm neodymium compression driver mounted onto a 90° x 60° (HxV) rotatable elliptical HF horn that maintains pattern control down to the 2.2kHz crossover point. Combining 18mm and 15mm Baltic birch plywood, the AT12 features 12 M10 inserts, pole mount and pocket handles. A passive crossover and 8Ω nominal impedance allow two AT15s or AT12s to be driven by one channel of an LS8Q or LS12Q 4-channel amplifier, which also comes pre-loaded with EQ presets and limiter settings. Low-frequency extension is provided by a choice of two direct-radiating subwoofers. Both models incorporate 18-inch direct radiating woofers with 4-inch long-excursion voice coils, demodulation rings and vented ferrite motors. Both the AS218 dual 18-inch and AS18 single 18-inch models record a frequency response of –3dB @ 35Hz. Housed in 18mm Baltic birch plywood enclosures, both subwoofers are finished in a polyurea coating. www.logicsystem.co.uk
www.powersoft.com
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Pro Audio meets PoE
The sound quality of professional loudspeaker systems. Now with a single network cable.
Designed for IT-friendly installations, Fohhn‘s Dante PoE platform combines native Dante audio networking, Power over Ethernet, DSP control and monitoring. The product family ranges from ceiling solutions to full-range speakers, subwoofers and a system with Fohhn Beam Steering Technology. Elevating PoE with the performance, design and customizing options that define Fohhn.
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With DNA from our renowned DP series amplifiers, our DP-i models deliver the essential hardware features for fixed installation. They provide reliable, multi-channel amplification solutions ensuring performance, flexibility, and ease of integration across a wide range of installation projects. GPIO connections
DP-4035i 4 x 450 W at 8 Ω 4 x 765 W at 2-4 Ω 2 Ohm stability
2 Ohm stability 8 x 150 W at 2-8 Ω Advanced GPIO Features Comprehensive system protection 1.8” colour LCD display
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PRODUCTS
TT+ extends coverage DESIGNED FOR applications requiring tighter horizontal coverage and enhanced long-throw performance, the GTX 7CP from TT+ Audio extends the GTX 7C platform with a narrower linear resistive waveguide while maintaining the same active cardioid architecture, highoutput capability and DSP-driven directivity management. By concentrating high-frequency energy into an 80° horizontal angle, the GTX 7CP delivers higher SPL over distance than the standard 120° GTX 7C configuration. While combining GTX 7C and GTX 7CP modules can be recommended for specific venue geometries, arrays composed entirely of GTX 7CP modules are suitable when wide
horizontal coverage is not required, helping reduce unwanted reflections from side walls, nearby boundaries and reflective architectural surfaces. The GTX 7CP has been designed to give system engineers a more focused coverage option within the compact GTX cardioid family. The 80° waveguide helps project sound further while limiting excess energy outside the audience area. Combined with active cardioid technology, it reportedly minimises rear spill towards the stage, backstage areas and surrounding environments. The enclosure provides 140dB max SPL, 80° x 10° linear resistive waveguide, 22dB
Theory Professional reveals “Rock Concert-in-a-Box”
THE SR-221.3 from Theory Professional has been designed to provide highoutput and high-fidelity sound in midsized performance venues using a single loudspeaker. Dubbed the “Rock Concertin-a-Box”, it is the latest addition to Theory’s built-to-order SR Series of sound reinforcement loudspeakers and manifold subwoofers. The SR-221.3 integrates dual 21-inch, 3,600W low-frequency drivers, four 10-inch carbon fibre, high-output midrange drivers and a 5-inch-wide band ring radiator compression driver mounted on an axi-periodic horn. Capable of producing
a maximum SPL of 140dB and operating within a bandwidth of 27Hz–20kHz (–3dB), the SR-221.3 covers 170° x 60°. The unit comes in a compact form factor, with optional upgrades including custom paint finishes and weatherising on the passive units. Flexibility has been added in the form of ergonomic handles, multiple fly points, mount points, pole cups and a suite of accessories including SplitYoke multipurpose mounting brackets, caster kits and a dolly board. www.theoryprofessional.com
JB VT
average rear attenuation along with FiRPHASE and BMC processing. It comes with two 7-inch front and two 5.5-inch rear neodymium woofers and a 3-inch titanium dome neodymium compression driver. The speaker has been
designed to operate with XPS 16K amplifiers and is compatible with the GTS 16C cardioid subwoofer. www.ttaudio.com
Optimal Audio extends ecosystem with Column Series A COMPLETE installation kit in every box is one of the headline features of Optimal Audio’s Column Series, a pair of passive loudspeakers developed for commercial audio applications where speed of deployment and consistent results are key considerations. The range comprises the eight-driver Column 8 and 16-driver Column 16, both designed for environments including houses of worship, conference venues, hospitality spaces and concourses. Each model ships with a panand-tilt wall bracket, metal safety strap, rear panel connector cover and spare grille cloth for projects where the loudspeaker needs to be painted to match its surroundings. The Column 8 employs eight 2.2-inch full-range drivers within a 610mm enclosure, delivering 150° x 7° (HxV) dispersion. The larger Column 16 doubles the driver count in a 1.1m cabinet and narrows vertical coverage to 5°, providing greater control in larger and more acoustically challenging spaces. Both models are passive 8Ω designs with integrated 70V and 100V transformer taps and achieve an IP54 rating when fitted with the supplied rear connector cover, making them suitable for both indoor and sheltered outdoor installations. Black and white versions are available, with both cabinets designed to be paintable. The Column Series also integrates with the wider Optimal Audio ecosystem. Created to support SmartAmp-based system installs, SmartAmp Custom Configurator is a free desktop application (macOS or Windows) that opens up full DSP configuration for every SmartAmp installation. SmartAmp Custom Configurator 3.0 replaces the manufacturer’s previous configuration tool with a single application that manages firmware updates and gives installers full per-output control over routing,
Column Series
speaker presets, impedance, EQ, crossover, delay and limiter. Any input can route to any output, while each output can be assigned its own speaker preset, either from Optimal Audio and Martin Audio libraries or built for third-party loudspeakers. Meanwhile, the ZonePad VL1 is a passive wall-mounted volume controller that plugs straight into the SmartAmp GPIO port. It’s built from painted steel with a clear zone label area, and ships in two variants from launch. Customers can pair two VL1s with a SmartAmp 20 or 30 to get independent volume control across two zones, enough to handle basic multi-zone installations without a dedicated zone processor.
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hard coat for long-term durability. The grille features acoustically transparent, liquid-repellent fabric to block water and debris without affecting frequency response, while conformal-coated circuit boards help seal electronics against dust and moisture. The ESD Series is available in two protection variants, both carrying the IP55 rating. The Weather-Proof (WP) variant uses steel metalwork with KTL cataphoretic anti-corrosion treatment, while the Marine-Grade (MG) variant specifies stainless steel hardware throughout. www.kv2audio.com
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www.optimal-audio.co.uk
76 PRO AVL MEA September–October 2026
PAME Pg60-85 Products.indd 76
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KV2’s ESD Series certified IP55 THE ESD Series loudspeakers from KV2 Audio have been formally certified to IEC 60 529 – the international standard defining the degree of protection provided by mechanical casings and electrical enclosures. Following rigorous laboratory testing, KV2’s ESD Series has been certified to IP55. The enclosures are dust-protected, preventing harmful deposits from reaching internal components, and can withstand water jets projected from any direction without harmful effect. Built from Baltic birch plywood bonded with exterior-grade adhesive, the cabinets are finished with an abrasion-resistant, UV-stable polyurea
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PRODUCTS
JBL Professional extends VTX appeal WITH THE introduction of the VTX B35 and VTX B35G compact single-enclosure subwoofers, JBL Professional has added directional low-frequency control to touring and installed versions of the VTX Series. With an ability to be flown directly above VTX A12 arrays, the VTX B35 enables clean mixed-array configurations
arranged in a front-rear configuration, with two forward-facing drivers and one rear-facing driver. Resulting in predictable cardioid directivity, each section of the VTX is powered independently via dedicated Crown I-Tech HD amplifier channels. Bypassing the requirement for additional subwoofer cabinets, optimised presets
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particularly in applications where space for ground-stacked subwoofers is limited or unavailable. Reducing rearward energy while keeping low-frequency coverage focused on the audience, the VTX B35 integrates cardioid behaviour within a single-enclosure design. By eliminating the need for additional rear-facing cabinets, complex array spacing or field-built subwoofer configurations, the VTX B35 simplifies deployment. The VTX A12 can be suspended directly below the B35 without the requirement for adaptor frames. Supporting flown, standalone and hybrid deployment configurations across touring and installed applications, the B35 also integrates with A12 rigging accessories, including the A12 Array Frame and current A12 Suspension Bar. The interior design comprises three JBL Differential Drive 15-inch woofers
Cranking up GRAVITY HAS expanded its portfolio with the SP 5322 B speaker stand designed for sound and lighting applications. It features a built-in crank mechanism and automatic LockPin locking system for height adjustment. The stand supports equipment weighing up to 60kg, enabling controlled raising and lowering. The collapsible crank remains attached for setup adjustments. The LockPin system is designed to prevent uncontrolled movement and maintain the selected height position, while an additional locking screw secures the stand tube. An M10 threaded insert allows the SP 5322 B to be used as either a speaker or lighting stand, supporting mobile sound systems and medium-sized event productions. The stand has a foldable, double-braced construction with a zinc die-cast foot mount. Height adjustment ranges from 133–210cm.
create predictable rear rejection and forward-focused, low-frequency energy. Extending the LF down to 32Hz, the VTX B35 includes full touring-style rigging, while the B35G includes 16 M10 Quick Link eyebolts for fixed installations and ground-stacked applications. Both models share the same acoustic design, amplifier presets, performance characteristics and NL4 wiring. The VTX B35 Series also integrates with the complete JBL Professional software ecosystem, including Venue Synthesis, Array Link and Performance Manager. Constructed from outdoor-grade Baltic birch plywood, the units are finished with JBL’s impact-resistant DuraFlex coating, stainless-steel grilles, corrosion-resistant hardware and an IP55 rating. www.jblpro.com
It’s showtime BOSE PROFESSIONAL has released the ShowTime STS118E, an installation-grade 18-inch subwoofer designed to deliver deep, immersive bass for the manufacturer’s systems in indoor or outdoor environments. Built for permanent installations and performance-driven spaces, the ShowTime STS118E has been designed to provide the low-frequency impact required for musicforward and high-energy applications. Designed to match the voicing of high-output Bose Professional loudspeaker systems such as AMU, AMM and Forum, the ShowTime STS118E provides the controlled low end required to expand system capability without adding complexity. From venues that need more impact to outdoor spaces that demand reliability, the subwoofer integrates naturally with Bose Professional platforms, allowing designers to maintain control, consistency and predictability.
The 18-inch low-frequency driver delivers high-output bass, while the installation-grade enclosure supports both ground-stacked and suspended deployment. Integrated suspension points and removable feet provide flexibility to accommodate layout, sightlines and mounting requirements. A universal pole cup accepts both 35mm poles and M20-threaded poles for secure top-box mounting when needed. Designed with indoor and outdoor deployment in mind, the ShowTime STS118E features IP55 outdoor-rated construction for use in exposed and partially exposed environments. Available in black or white finish options, the enclosure integrates into a wide range of architectural and performance spaces. www.boseprofessional.com
AJA extends Kona and Corvid workflows with Io Xpand DESCRIBED AS a Thunderbolt 5-enabled PCIe expansion chassis designed to bring Kona and Corvid video and audio I/O cards to Thunderbolt-equipped laptops, AJA Video Systems has introduced Io Xpand. Targeting applications where portability and space efficiency are important, the chassis allows users to combine a Thunderbolt 5 computer with Kona 1, 4 or 5 cards to create a compact workstation for video capture and playback. Support is also provided for most Corvid I/O cards, enabling developers to build smaller-footprint systems around AJA’s PCIe hardware. Compatible with Thunderbolt 3, 4 and 5, as well as USB4, Io Xpand supports
Windows, macOS and Linux operating systems. The chassis accommodates full-height, half-length PCIe cards, including double-width cards and cards fitted with daughter boards. The chassis delivers up to 6,000MB/s of bidirectional PCIe bandwidth to the installed card. Additional features include Thunderbolt daisy-chaining via a second Thunderbolt port, a temperature-controlled cooling fan and a lightweight aluminium enclosure designed for portable deployment. Io Xpand will be available as a standalone chassis or bundled with Kona I/O cards. www.aja.com
www.gravitystands.com
September–October 2026 PRO AVL MEA 77
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BSS unveils Omni 600, 300 and 200 Series MARKING THE introduction of video Designed for bandwidth-efficient AV capabilities within the BSS Soundweb distribution over shared LANs or WANs, Omni platform, BSS has added three the Omni 300 Series uses H.264 or H.265 scalable families of networked AV compression, and streams 4K60 4:4:4 solutions. Engineered to address specific video while simultaneously generating a application requirements, from low-latency secondary 1080p H.264 or H.265 video video to bandwidth-efficient streaming stream for third-party platforms. USB-C and network-routable USB connectivity, connectivity on both the encoder and the Omni 600, decoder supports USB video 300 and and audio for recording 200 Series and collaboration currently workflows, with make up conversion the Omni between Networked Dante audio AV portfolio. and USB AV All products (UAC and are configured, UVC). With managed and support for monitored through Dante AVH Harman’s AVX Suite interoperability software platform. and centralised Supporting 4K60 management through AVX Suite, Omni 200 Series the Omni 300 Series is suited 4:4:4 video, audio, control and USB 2.0 over Gigabit Ethernet, for meeting spaces, hospitality the Omni 600 Series delivers AV-over-IP in venues, retail environments and hybrid performance-critical applications. Featuring classrooms. Motion Wavelet Compression, the series Built around Virtual Network USB 2.0 Hub preserves image quality for fastmotion technology, the Omni 200 Series allows a video and detailed visual content with PC to communicate with USB devices at ultra-low, end-to-end latency. Virtual up to four remote endpoints over standard Network USB 2.0 Hub technology enables Gigabit Ethernet, supporting data rates up a single USB host to connect to devices to 480Mbps. Integrating with Omni 600 at up to four remote Omni 600 or 200 systems and supporting PoE+ powering, endpoints. Native support for Dante AVA the Omni 200 Series provides 2-channel and Dante audio, together with seamless Dante audio input and output at the switching, videowall processing, an open USB host endpoint to enable USB audio control API and enterprise-grade security, conversion (UAC) for conferencing and the series provides flexible system design, collaboration workflows. professional-quality AV presentations and www.bssaudio.com third-party integration.
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Lightware brings fully featured USB-C to Gemini GVN THE INTRODUCTION of the GVN-HCTX220AP expands Lightware’s Gemini GVN AV-over-IP range with a transmitter that combines video, USB 2.0, audio, Ethernet and up to 100W power delivery over a single USB-C connection. A secondary HDMI and USB-C host path is also provided for rooms that require support for multiple local sources, while configurable auto-switching allows the system to change between USB-C and HDMI inputs automatically based on signal presence or predefined priorities. Designed for 1G AV-over-IP deployments, the transmitter supports 4K60 4:4:4 video transmission with 3ms latency. Alongside USB-over-IP support for devices including webcams, microphones, speakerphones and HID peripherals, the unit also incorporates bidirectional USB audio connectivity. Additional features include an HDMI loop-through output for local monitoring, a stereo analogue audio port that can operate as either an input or output, dual RJ45 ports and an SFP cage for copper and fibre connectivity. For applications requiring audio networking, the GVN-HC-TX220AP-DNT variant adds bidirectional Dante connectivity for routing audio between USB, HDMI, analogue and Dante domains. The transmitter integrates with Lightware’s GVN Matrix Management Unit for centralised configuration, monitoring and
device management, and can be powered via PoE or PoE+. Designed to address the gap in hardware control interfaces, the GPIO-Button-10S is a dedicated tactile control interface that can be connected to any Lightware device equipped with GPIO ports and used as an input to trigger predefined control actions. Bypassing the requirement for a separate processor, the low-latency GPIO-Button-10S provides local control for simple, yet precise workflows. Up to two GPIO Buttons can be connected to six GPIO Lightware devices, including Taurus and MMX2 units. Each button uses one GPIO channel for the button press and two GPIO channels to drive the feedback LED, providing clear visual confirmation of activation. Enabling integrators to provide clear status feedback, the LEDs can display red, green or blue, with selectable continuous, slow blink or fast blink light patterns. Once installed, the buttons can be fully configured using Lightware’s LARA or Event Manager software, to support single, double or long presses when triggering distinct actions or sequences. Measuring 20.8mm in diameter, a single press of the button can start the projector, switch audio or activate preset lighting, without touching software menus. www.lightware.com
Analog Way expands CorePlay and Aquilon offerings ANALOG WAY has introduced CorePlay Tetra, a quad-output media server designed to simplify multi-output productions and help users deliver more from a single system. Built around an operator-focused workflow, CorePlay Tetra is intended for applications ranging from breakout rooms and multi-screen environments to large digital canvases. The media server combines quad-output playback capabilities with an emphasis
on operational simplicity and production efficiency. The manufacturer has also unveiled the Aquilon Cmini as the latest addition to the Aquilon range. Designed for live events and fixed installations, the compact processor brings the image quality, flexibility and reliability of the wider Aquilon platform into a smaller form factor. CorePlay Tetra
www.analogway.com
ALEXA to the Xtreme ARRI HAS unveiled the ALEXA 35 Live Xtreme, a camera that reportedly brings high frame rate output of up to 8x to live productions using traditional SDI workflows. Together with ARRI’s Live Production System LPS-1, the camera has been designed to enhance the creative options for producers and directors. The ALEXA 35 Live Xtreme comes permanently pre-installed with the existing High Speed License for ALEXA 35 and a
new High Frame Rate SDI License. When combined with the ARRI LPS-1 Fiber Camera Adapter and Fiber Base Station (and a standard slow-motion playout server such as SimplyLive or EVS), the camera outputs HFR at up to 8x in HD or 2x in UHD. Up to 4x HFR can be output via a single SDI connector, and higher speeds are split across both SDI outputs. Frame rates up to 330fps use the camera’s full dynamic range of 17 stops,
while a Sensor Overdrive mode enables frame rates up to 480fps at a dynamic range of 11 stops. Whatever frame rate is chosen for the slow-motion feed, the system simultaneously outputs a live feed for broadcast, allowing operators to switch between the programme frame rate and HFR in real time. A phase-blending feature provides control over motion blur and shutter effects in the live feed. www.arri.com
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EQUIPPED WITH the same high-speed media modules as Blackmagic URSA Cine cameras, the Blackmagic Media Dock Ultra provides high-performance storage that can be instantly removed. Created for editing media from URSA Cine cameras directly from the modules without copying files, in addition to recording from the HyperDeck ISO Recorder 100G, the media module can
include dual redundant power supplies. A single local cache of media can be shared and uploaded instantly to the Blackmagic Cloud without needing to be downloaded. Designed to bridge low-cost single link 10G Ethernet SMPTE-2110 connections into high-end redundant 100G Ethernet-based systems, the Blackmagic StudioBridge 10G PWR converter can connect and power up to eight 10G Ethernet 2110 IP channels. If the 10G Ethernet products use a single connection, then the Blackmagic StudioBridge 10G PWR will also bridge into the two 100G Ethernet connections for a redundant broadcast system. With four internal power supplies, it can provide each of the 10G Ethernet connections with 90W PoE++ power over managed IP broadcast networks. Building on the digital film features of the URSA Cine 12K LF, including the large-format
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Media Dock Ultra be unplugged when a live production ends. Capable of syncing to Blackmagic Cloud, one model features four 10G Ethernet connections and another incorporates two separate 100G Ethernet connections. The rack-mount design holds up to three Blackmagic Media Modules for network sharing. Marked by illuminated LED rings, each module has four M.2 flash memory cards in RAID 0. Featuring faster network speeds, front-to-back cooling and multiple fans for redundancy and quiet operation, all models
StudioBridge 10G PWR
RGBW 36mm x 24mm sensor, the URSA Cine 12K LF 100G adds faster networking for cinematic live production workflows. With 100G Ethernet for SMPTE-2110 live production high frame rate output up to 440fps, the camera can be transformed into a live studio camera when the SMPTE-2110 Live has been set in the menu. The URSA Cine Immersive 100G has been designed for live production with Apple Immersive Video. Featuring dual 8Kx8K RGBW sensors with 16 stops of dynamic range, the URSA Cine Immersive 100G uses 100G Ethernet to deliver the bandwidth needed to output live immersive video. Meanwhile, the URSA Live Encoder is a live processor module that compresses live immersive video into Apple ProRes for output as SMPTE-2110-22 IP video, allowing customers to combine the stereo, high frame rate image streams into a single 100G Ethernet connection. www.blackmagicdesign.com
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September–October 2026 PRO AVL MEA 79
PAME Pg60-85 Products.indd 79
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PRODUCTS
Zoom in with Lumens
Bolin adds more PTZ options
DELIVERING 1080P video up to 60fps, 12x optical zoom and simultaneous HDMI, USB 3.0 and IP output, the VC-R32 HD IP PTZ by Lumens offers a video solution for meeting rooms, classrooms, courtrooms, podcast studios and houses of worship. The model adds RS-422 control as well as RS-232 over IP. The VC-R32 is equipped with a 1/2.8-inch image sensor and a 72.5° horizontal field of view. Its wide-angle lens captures groups and room layouts, while the 12x optical zoom enables users to frame presenters and other subjects. Built-in Auto Framing automatically composes a balanced view of participants. Integrated with the Lumens CamConnect voice tracking solution, the camera is designed to provide a wide field of view while aiming to deliver a quiet and responsive PTZ movement.
BOLIN HAS expanded its PTZ production portfolio with the introduction of the R9-L420N camera and KBD Plus controller. Designed for live production environments, the camera combines a 1-inch sensor with advanced image processing to deliver 4K60 video and up to 20x zoom. It also supports 1080p capture at up to 120fps for productions requiring high-framerate recording. Hybrid autofocus combines phase-detection and contrast-based technologies to help maintain focus accuracy during live operation, while adjustable cropped outputs allow alternative framing options to be generated from a single camera image. For multi-camera productions, the R9-L420N supports LTC timecode and Genlock synchronisation. Built-in ND filters assist with exposure control, while connectivity options include dual 12G-SDI, HDMI 2.0, optical SDI and IP outputs. Support is provided for NDI High Bandwidth, NDI HX3, SRT, RTMP, RTSP, ONVIF and MPEG-TS workflows. Also joining the range is the KBD Plus PTZ controller, which combines camera control, monitoring and automation tools within a single interface. Built-in decoding allows operators to monitor up to four IP camera sources simultaneously, while low-latency video output is available via HDMI 2.0 and USB-C.
The camera delivers video simultaneously over HDMI, USB 3.0 and Ethernet, giving system designers the flexibility to support video conferencing, local display, recording and livestreaming within the same installation. Its IP output supports triple streaming as well as RTSP, RTMP, RTMPS and SRT protocols for integration with a wide range of production and distribution workflows. Users can store up to 256 preset positions for quick recall of frequently used viewpoints, while its Ethernet connection supports power, video, audio and control over a single network cable. The camera can be installed upright or inverted and is available in black or white to suit different room designs. www.mylumens.com
R9-L420N The controller features a 4-inch LCD touchscreen, a redesigned precision joystick and user-programmable buttons for customised operation. Support is provided for VISCA over IP, VISCA over serial, NDI, ONVIF and selected Panasonic and Canon control protocols. A future software update will introduce AI-based subject tracking, enabling compatible PTZ cameras without native tracking functionality to gain automated tracking capabilities through the controller. www.bolintechnology.com
Extron streamlines scheduling Barco expands I-series
THE I65 from Barco is a smartline projection platform built to bring reliable 4K UHD performance to a broader range of applications. Combining image quality with flexibility and ease of use, the I65 expands Barco’s I-series portfolio, offering a complementary solution alongside the I600. The manufacturer reports that while the I600 remains the go-to choice for multichannel applications, the I65 complements the portfolio by addressing more budget-conscious use cases. All I-series projectors support ILD lens compatibility which offers a complete interchangeable lens range, from ultra-short-throw to long-throw applications. A newly developed 0.35 snorkel ultra-short-throw lens extends the
platform’s capabilities, offering customers new possibilities in space-constrained environments. This reportedly allows users to standardise on one lens series across multiple setups, helping simplify logistics while optimising long-term value. The I65 comes with a compact and lightweight form factor which supports straightforward transport and installation, even with limited staff. Barco Pulse Lite software provides intuitive setup and control, while Barco Auto-alignment capabilities help ensure precise image positioning with minimal effort. Designed for use in museums, houses of worship, educational institutions, corporate meeting rooms and rental workflows, the I65 enables customers to deliver engaging visual experiences while keeping operational complexity and costs under control. The projector comes with integrated Intel Smart Display Module (SDM) and includes the ability to leverage IPMX (Internet Protocol Media Experience) in projection environments.
THE TLS 835M and TLS 1035M scheduling panels from Extron have been designed to offer a streamlined solution for smarter workspace management and complete the Extron scheduling system range. Working alongside Extron Wayfinding, status indicators and control systems users can book, check in, release or extend meetings from the touchpanel while viewing and scheduling meetings up to one week in advance. They integrate with calendar systems, support viewing and booking spaces and require no ongoing fees. The TLS 835M and TLS 1035M are reportedly simple to install and are designed for enterprise-grade security and performance. They feature capacitive IPS touchscreens with optically bonded Gorilla Glass and integrated red and green LED room-status indicators. The 8-inch TLS 835M provides a resolution of 1280x800p, 420 nits brightness and viewing angles of ±80° horizontally and vertically. The 10.1-inch TLS 1035M offers the same resolution and viewing angles, with 370 nits brightness. Both displays support 24-bit colour, LED backlighting with automatic brightness control
and Power over Ethernet (PoE) connectivity for power and data over a single cable. The manufacturer has also released version 1.8 of its EMS Quantum Ultra software alongside Quantum Ultra firmware 6.03, introducing live content preview, expanded videowall management and support for the latest Quantum IN4DTP3 and OUT4DTP3 cards. The update enables operators to view both live and static source content directly within the EMS interface while designing and recalling presets. Live preview is available on Quantum Ultra II systems equipped with IN4HDMI 4K Plus, IN4FOX3 and IN4DTP3 input cards, while both Quantum Ultra and Quantum Ultra II processors support picture file previews. Finally, the DTP3 T 322 D is a 2-input wallplate transmitter that extends USB-C and HDMI video, USB data, embedded audio, power and control signals up to 100m over shielded Cat6a cable. When paired with the Extron UPI 100 Power Inserter, it can deliver up to 100W of USB-C power delivery to charge connected devices.
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80 PRO AVL MEA September–October 2026
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ROLAND PROFESSIONAL A/V has added the VC-1SC-4K 4K 60p video converter/scaler to its portfolio to help streamline 4K video conversion and simplify screen setup of LED displays. Designed to match video sources to different screen resolutions with flexible size and position control, the VC-1SC-4K provides 4:4:4 10-bit processing and 12G-SDI/HDMI 2.0 support for cross-format conversion between HD and 4K sources. Housed in a compact metal chassis, the distribution amplifier offers simultaneous output from two SDI and two HDMI signal ports. Audio embedding and de-embedding with XLR balanced I/O is also supported. A dedicated multi-platform control app enables quick adjustment of screen resolution, aspect ratio and ROI (region
of interest) cropping. The signal monitoring feature shows the status of video and audio signals, and test pattern generators aid in configuration and troubleshooting. With the library function, setups can be stored and recalled offline and onsite, and data can be shared with installation team members. A dedicated control and monitoring app for iOS, iPadOS, Android, macOS and Windows is available. proav.roland.com
Christie goes on a mission THE XP Series LED display platform from Christie has been designed for mission-critical government installations, immersive entertainment venues and other professional applications. The models support P3 colour reproduction and come with a refresh rate of 7,680Hz. Built using flip-chip LED technology, the platform is designed to reduce energy consumption. Christie’s VividLife technology supports lowbrightness rendering, grayscale control and colour, and brightness uniformity across the display in both bright and low-light environments.
pixels without changes to the software environment. Two new frames expand connectivity options: a DisplayPort 1.4 Frame supporting background inputs up to 7,680x2,160 at 60Hz and an SFP Frame supporting 12G-SDI and HDMI 2.0 connectivity, with fibre support for long-distance signal transmission. The update also introduces a Configuration Manager, additional internal and external control options, testing tools, source monitoring for backgrounds and mix effects, and safeguards for live switching operations. The software enables background inputs to
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The range includes pixel pitches from 0.9–3.8mm and supports both flat and curved installations. The TAA-compliant platform is designed to meet procurement requirements for government and other regulated environments. Christie has also released Spyder-S 6.1, the latest version of its Spyder-S video processing platform. Spyder-S is available in configurations ranging from a single 1U frame to 16 linked frames, supporting canvases of more than 200 million
be rendered without consuming layers, while source mixing can be performed using a single layer. Built on FPGA technology and dedicated hardware, Spyder-S is designed for low-latency operation in applications including rental and staging, fixed installations, corporate events, broadcast environments, sports venues and large-scale entertainment productions. www.christiedigital.com
ATOMOS HAS released the Sumo PRO-19, a 19-inch 4K HDR monitor-recorderswitcher designed for on-set production. Combining HDR DCI-P3 monitoring, recording, camera control, switching and network connectivity in a single device, the Sumo PRO-19 supports EL Zone exposure monitoring. It records in Apple ProRes, ProRes RAW, Avid DNx and H.265 formats from SDI and HDMI sources, supporting up to 8Kp30 recording with 10-bit 4:2:2 capture. Connectivity includes two 12G-SDI inputs, two 3G-SDI inputs, a 12G-SDI output and HDMI I/O. Media can be recorded internally to CFexpress cards or externally via USB-C storage. The unit also offers touchscreen camera control for supported devices, including start/ stop, ISO, shutter, aperture, white balance and touch-to-focus functions. The device supports camera-to-cloud services including ATOMOSphere, Frame.io and Dropbox. Atomos’s AirGlu technology provides RF and Bluetooth timecode synchronisation between cameras and production devices. Recording up to four isolated camera feeds alongside a fifth programme output,
the device supports quad-view monitoring for multi-camera productions. The system also supports NDI HX3 transmission and reception over Wi-Fi and Ethernet for the transport of video, audio and metadata across networked production environments. Monitoring tools include EL Zone false colour, focus peaking, waveform, Log-toLUT viewing, frame guides, safe areas, anamorphic de-squeeze and HDR-toRec.709 conversion. Frequently used functions can be assigned to front-panel buttons. Audio features include dual XLR inputs with 48V phantom power, audio metering, gain control and frame-accurate audio delay. www.atomos.com
Magewell levels up WITH THE unveiling of its Director Plus 4K production and presentation system, Magewell has expanded its HDMI and IP input capabilities, 4K recording and streaming at up to 60fps, and enhanced connectivity options. Designed for portability in addition to end-to-end workflows, the broadcast-grade 4K production and presentation system ingests live AV feeds and media assets from a range of devices, networks and software platforms. Production tools include source switching, compositing, telestration and instant replay. The Director Plus 4K features four HDMI inputs, two USB inputs and support for up to 10 live IP sources, including SRT, RTMP, RTSP, NDI High Bandwidth and NDI HX3 streams. The platform can simultaneously process up to six 4K sources, comprising two HDMI, one USB and three IP inputs, or up to 16 1080p60 sources, consisting of four HDMI, two USB and 10 IP inputs. Output options include two HDMI interfaces, one USB-C connection, NDI HX3 and streaming formats. Enabling the transmission and reception of multiple network streams, connectivity options include 5G cellular, Wi-Fi and 2.5Gbps Ethernet. Supported by the Director Utility mobile application, plugins and API integration for third-party control systems,
the compact unit also incorporates a 7-inch touchscreen for local operation. www.magewell.com
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Vitec targets IP efficiency with Diamond-IP OG VITEC HAS introduced the Diamond-IP OG, an openGear-compatible encoder designed to support the transition from SDI to IP workflows while increasing channel density and reducing bandwidth requirements. Built for broadcast, production and enterprise video environments, the encoder can transport multiple HD signals or a single 4K stream over IP. By leveraging HEVC (H.265) compression, Diamond-IP OG is reportedly capable of reducing bandwidth consumption by up to 50% compared with traditional approaches, helping organisations maximise existing network resources.
where reliability and low latency are essential. Support for IP transport protocols is designed to improve resilience when delivering video across constrained or unmanaged networks, helping maintain reliable contribution feeds in demanding environments. Vitec noted that, as broadcasters and enterprise users continue to increase channel counts and migrate towards IP production, solutions that improve efficiency while reducing infrastructure demands are becoming increasingly important. The manufacturer positions the Diamond-IP OG as a tool to help
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Q-SYS expands collaboration portfolio QSC HAS unveiled the Q-SYS RoomSuite Collaboration Bar and Q-SYS Scheduling Panel, as well as announcing that Q-SYS now integrates into Microsoft Places as a data integration partner. The Q-SYS RoomSuite Collaboration Bar is a Windows-based device for Microsoft Teams Rooms, designed for simple configuration and deployment across common, repeatable collaboration spaces. This all-in-one solution, currently in the process of achieving Microsoft Teams certification, features four high-resolution 50MP cameras, a 16-element microphone array and integrated loudspeakers for fully integrated audio and video. It ships with a dedicated 10.9-inch touchscreen for meeting and device control out of the box. It supports up to four Q-SYS RoomSuite Table Microphone accessories, expanding audio coverage for larger or more flexible meeting environments and enabling participants to mute the call with a single button.
Built on the Microsoft Device Ecosystem Platform, the Q-SYS Scheduling panel (QSP-11) is certified for Teams and designed to make room scheduling and booking simple and intuitive. It integrates with any Q-SYS system through Q-SYS Reflect and can be easily installed on conference room exteriors, walls or glass surfaces. The Microsoft Places Data Integration partnership will accelerate integration between Q-SYS cloud-enabled solutions and Microsoft Places, with Q-SYS Reflect acting as a connective highway for data-rich insights from both native Q-SYS devices and verified assets from the Q-SYS Partner Ecosystem into the Microsoft Places environment, supporting insights into booking, space planning and workplace optimisation.
MTX3
The platform combines high-density encoding with native SMPTE ST 2110 support, enabling broadcasters and media organisations to integrate IP-based workflows without expanding rack space or network infrastructure. The openGear form factor allows users to increase channel capacity within existing deployments, addressing common space and scalability constraints in production facilities and broadcast operations. The Diamond-IP OG has been developed for live and mission-critical applications
engineering teams scale IP video workflows while maintaining image quality, operational flexibility and network efficiency. www.vitec.com
www.qsys.com
Matrox gets IPMX-ready THE MAEVEX MGX Series from Matrox Video is a lineup of IPMX-ready video encoders and decoders with USB support that is engineered to deliver 4K60 AV-over-IP distribution at a reported one-twentieth the bitrate of virtually all other pro AV codecs, significantly reducing network complexity and cost. The series enables organisations to achieve image quality and ultra-lowlatency performance while using far less bandwidth. This helps reduce network congestion, simplifies infrastructure and enables 20x the streaming capacity on the same network. Designed for control rooms, enterprise video distribution, medical environments and unified communication and collaboration environments where
performance, efficiency and interoperability are critical, the models are said to bring a high degree of flexibility to AV-over-IP deployments. They support both IPMX and Matrox IQ Mode, which can be used independently or simultaneously to meet different workflow requirements. When used between compatible Matrox Video devices, Matrox IQ Mode enables latency as low as one frame.
With Maevex MGX, a single input can be streamed simultaneously to multiple outputs and formats, including IPMX, RTSP, MPEG-TS and SRT. Single- and dual-channel models, including the Maevex MGX E1 and E2 encoders and Maevex MGX D1 and D2 decoders, provide deployment flexibility. Multiview and compositing capabilities are available on the Maevex MGX E2, D1 and D2, enabling users to combine and manage
multiple sources on both the encoding and decoding sides. The series supports H.265 4:4:4 for high-fidelity 4K60 video with accurate colour reproduction and fine detail, while also supporting H.265 4:2:0 and H.264 4:2:0 to accommodate a broad range of AV-over-IP workflows and network requirements. Integrated USB support for keyboard, mouse and webcam connectivity extends the MGX Series beyond traditional streaming. It enables remote workstation access, desktop capture and interactive collaboration workflows, allowing users to not only distribute content but also interact with it in real time. www.matrox.com
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Kramer advances its ecosystem THE MTX3-44-PR-PRO presentation matrix from Kramer combines video switching, USB routing, DSP, Dante audio networking, amplification, multiview, videowall processing and H.264/H.265 streaming within a single platform. Joining the MTX388-PR-PRO, the solution has been designed to deliver hybrid-ready AV management for advanced presentation environments. The manufacturer has also expanded its KDS-17 ecosystem with the KDS-17 Lite, which enables organisations to deploy Kramer’s AVoIP platform in more cost-sensitive spaces while maintaining interoperability with the broader KDS-17 ecosystem. The manufacturer hopes this will help customers standardise AV-over-IP infrastructures more efficiently across enterprise, education and multi-room deployments.
MTX3-44-PR-PRO
Meanwhile, Kramer has added DAPI (Dante API Integration) to its Panta Rhei device-agnostic, IT-ready platform. DAPI allows customers to manage Dante audio workflows through integration with control systems. By allowing Panta Rhei Site Agent to function as a Dante Gateway, the capability automatically discovers Dante devices and exposes standardised APIs that simplify Dante routing, management and end user audio control across distributed AV environments. This integration enables organisations to more easily incorporate Dante devices into broader room automation and control workflows while simplifying centralised management and operational consistency across multiple spaces. www.kramerav.com
Avolites expands media control AVOLITES HAS introduced Prism, a media control platform designed to simplify the creation and management of dynamic visuals for lighting and video applications. Prism aims to provide an intuitive visual workflow that enables users to control media without requiring advanced programming knowledge. The platform is intended for productions where lighting, video and pixel mapping are increasingly integrated, but dedicated media specialists may not be available. Prism integrates with the manufacturer’s Titan lighting control platform through Synergy, allowing media and lighting to operate within a unified workflow. It can also function as a standalone media control system for live events, touring productions, theatres, clubs, museums, galleries, attractions and permanent installations. Key features include pixel mapping tools, timecode triggering, a Media Manager
supporting formats including HAP, NotchLC and DXV, AiM encoding for high-resolution playback, 10-bit colour support, adaptable surfaces, layers and regions, 17 blend modes, and output options including physical outputs, NDI and RTSP. Access to Prism is provided through the updated AvoKey Collection and Travel Collection, available in A1+, A2+, A3+, T1+, T2+ and T3 Bundle configurations. Depending on the licence, users can unlock one, two or three display outputs. Avolites announced that, later this year, Prism is also expected to add DMX pixel support, offering up to 1,024, 2,048 or 4,096 pixels depending on the licence tier. Pixels can be configured between one and four DMX channels, supporting applications ranging from intensity control to full RGBW operation. www.avolites.com
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September–October 2026 PRO AVL MEA 83
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PRODUCTS
Vizrt keys into AI production EXPANDING ITS AI-driven production portfolio, Vizrt has launched AI Keyer – a software-based system designed to create virtual and augmented reality (AR) environments without the need for traditional green screen workflows. The technology uses AI models trained on a wide range of real-world footage and lighting conditions to identify and separate foreground subjects from their surroundings. This enables presenters and talent to be placed within virtual environments while maintaining natural movement, whether productions take place indoors or outdoors.
By removing the requirement for green screens, dedicated studio spaces and complex chroma keying setups, AI Keyer aims to simplify the creation of virtual sets and AR-enhanced productions. The system can also be used to insert AR graphics and virtual elements into live environments. Potential use cases include virtual backdrops for news and corporate presentations, remote participant integration for live events and town hall meetings, and the insertion of branded virtual graphics during sports interviews and coverage. www.vizrt.com
PTZOptics expands the Horizon platform
PTZOPTICS HAS expanded its Horizon camera control platform with a suite of tools designed to deliver unified management, tracking and control across its camera portfolio. At the centre of the development is Horizon Hub, a desktop application launcher that extends Horizon software capabilities beyond PTZOptics’ 4K camera range to support all PTZOptics cameras. The platform brings together camera control, voice tracking and device management functions within a single software environment.
A key component is Device Manager, which is designed to simplify camera discovery, configuration, monitoring and management across installations. The tool aims to streamline deployment and maintenance workflows, supporting environments ranging from single-room systems to larger multicamera installations. The expanded Horizon ecosystem also incorporates AI-assisted tracking technologies, including interactive auto-tracking workflows that enable operators to direct camera movements using natural language prompts. PTZOptics has also continued development of its voice-tracking capabilities, allowing camera positioning to respond to active speakers within a space. The platform integrates with a range of third-party audio systems, including solutions from Audio-Technica and Sennheiser, enabling audio-driven camera control for live production applications. Beyond automation features, the Horizon platform also provides centralised camera control for a variety of production and presentation environments. The software expansion reflects a broader industry trend towards integrated video ecosystems that combine camera hardware, automation, management and control tools within a single workflow. By extending Horizon functionality across its camera range, PTZOptics is positioning the platform as a unified solution for organisations seeking to scale video production and collaboration systems while reducing operational complexity. www.ptzoptics.com
Colour me purple!
ASTE lightin
ADVATEK HAS released firmware v3.14.0 for its PixLite Mk3 pixel controllers, introducing Color Intensity Scaling, a pixeltuning feature that provides independent brightness adjustment for individual colour channels. The feature allows brightness scaling at the pixel output level, enabling users to balance white points and improve colour consistency across different LED types. Unlike Digital Current Control, which adjusts current at the pixel level when supported by the selected protocol, Color Intensity Scaling digitally scales pixel data before it is transmitted to the LEDs and can be used regardless of protocol support. When a colour channel is scaled, its maximum available output is reduced proportionally. For example, scaling a channel to 50% reduces the maximum output value available to that channel. This can be used to correct channels
that appear visually stronger than others, although it also reduces the number of available output levels for that channel. Firmware v3.14.0 also reorganises colour-related settings into a dedicated Pixel Color Tuning page. Advatek recommends using Digital Current Control first where supported, followed by Color Intensity Scaling for additional channel balancing. Gamma Correction can then be applied to refine mid-level colour performance and fades, while Dithering can be used to improve visible smoothness on lower-resolution outputs. The company suggests keeping at least one colour channel at full scale where possible and reducing stronger channels to match, helping to maintain the widest available output range while improving colour balance.
for schools, universities and other educational facilities. A lockable USB-C connector helps secure connections, while the aluminium
housing aids its durability. Anti-slip strips on the base keep the device stable on work surfaces, while integrated guide rails with a matching screw set enable mounting in racks or cases. The DMX-key starter completes MA Lighting’s “MA Starter Pack”, which also includes MA StartShow and a comprehensive e-learning programme designed to help users get started with grandMA3.
www.advateklighting.com
www.malighting.com
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MA Lighting goes PC THE GRANDMA3 onPC DMX-key starter is aimed at the next generation of lighting designers and programmers. The USB device unlocks grandMA3 onPC software, providing access to 1,024 parameters via two DMX outputs. Compatible with PCs and laptops, the DMX-key starter connects via USB-C, allowing users to launch the grandMA3 onPC software and begin working without additional setup, configuration or networking knowledge. It is intended as an accessible entry point
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ETC expands control options WIRELESS FIXTURE connectivity and distributed power control are addressed in two additions to ETC’s portfolio, with support for both entertainment and architectural lighting applications. The Foundry DIN Relay 12 is a standalone DIN-rail switching solution designed for work lights, house lighting, architectural loads and LED installations. The unit provides 12 independently switched channels with integrated DMX control and NFC-based configuration, allowing settings to be adjusted without applied power. Local override switches are included for commissioning and maintenance tasks. Built around standard DIN-rail architecture, the relay module can
be integrated into off-the-shelf enclosures or custom control cabinets. It uses the same relay engine found in ETC’s Foundry Switch
ASTERA HAS expanded its QuikBeam lighting range with the introduction of the
QuikBeam 8-Unit QuikCase Kit, a portable package designed to simplify deployment
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Astera doubles QuikBeam capacity
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For automated lighting users, select High End Systems fixtures can now be fitted with City Theatrical’s Multiverse Connect Module, bringing wireless DMX and RDM connectivity to Lonestar Prime, MegaPix and GigaPix fixtures. The compact module connects through the fixtures’ Universal Connect Module interface and enables wireless operation via the 2.4GHz Multiverse platform. RDM configuration can be handled directly through the fixture interface, while the IP64-rated module and mounting kit maintain suitability for outdoor use.
for live events, broadcast and film productions. Building on the QuikBeam luminaire introduced earlier this year, the new kit combines eight QuikBeam fixtures, eight PowerFlow AC power modules, 16 swappable QuikBrick batteries and two ChargingDocks in a single QuikCase. Despite doubling the fixture capacity, the case retains the same footprint as the brand’s existing 4-Unit PrepCase Kit. The package is intended to support both wired and wireless operation while streamlining transport, setup and battery management. It joins the manufacturer’s existing QuikBeam accessory options, including the 4-Unit PrepCase Kit and the 2-Unit BackPack Kit, while the QuikCase is also available separately for users wishing to reconfigure existing QuikBeam inventories. QuikBeam features a compact Fresnel design with a 13–60° QuikTurn zoom, the Titan LED
Engine and OutputGain technology. The fixture can operate using either a QuikBrick battery or the PowerFlow AC module, allowing users to switch between wireless and mains-powered operation. PowerFlow supports daisy-chaining multiple fixtures from a single power run using IP65-rated AC cables, reducing cabling requirements and enabling continuous operation at full output. QuikBrick batteries are hot swappable and can be charged via ChargingDock, USB-C or PoE, with integrated Ethernet support for sACN and Art-Net connectivity. According to Astera, the 8-Unit QuikCase Kit was developed in response to customer feedback following the launch of QuikBeam, with a focus on improving workflow for rental companies and production teams operating on tight turnaround schedules. www.astera-led.com
Cameo expands OPUS series WITH THE OPUS H6 IP hybrid moving head and the OPUS SP6 IP spot profile moving head, Cameo has extended its OPUS series to include a new performance class. The 600W, IP65-certified moving heads are aimed at rental, dry-hire and production companies seeking compact, high-performance and fully outdoor-ready spotlights. The OPUS H6 IP has been specifically developed for applications where a single fixture needs to handle as many tasks as possible. According to Cameo, this makes the model particularly suitable for dry-hire and rental stocks that need to be deployed economically and flexibly across a wide variety of productions. With its 600W LED white light engine delivering 22,000 lumens of light output, the OPUS H6 IP covers a wide range of applications thanks to its large zoom range of 1.8–53°. The continuous pan rotation enables dynamic movements and rapid position. With four prisms on two levels, the moving head can be used to create striking aerial effects and complex beam structures. Weighing approximately 30kg, the model also remains compact and easy to handle.
The OPUS SP6 IP also features a 600W LED white light engine with 22,000 lumens, but its primary emphasis is on precise lighting design in outdoor settings. Created to produce defined projections and controlled illumination, even under changing production conditions, the model comes with a fully lockable framing system with ±87° rotation to enable precise beam shaping, while the large zoom range of 3.5–53° makes both narrow, clearly defined spots and wide areas of light possible. The continuous pan rotation is said to expand creative freedom in terms of positioning and movement. It has a 165mm front lens, compact housing and a low weight of 31.5kg. Both new OPUS models are NFC-ready and compatible with the Cameo CONNECT app. This allows users to carry out configurations as well as service and maintenance processes in one place, reportedly offering a significant workflow advantage for productions with tight schedules, frequently changing setups and large equipment inventories. Both fixtures are supplied with a matching flightcase insert. www.cameolight.com
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POWERING DOWN
On the road Siddharth Chhibber
Track riding is one of three disciplines that Chhibber enjoys
Siddharth “Sunny” Chhibber of Delhi-based, pan-Indian distribution company Acoustic Arts tells Caroline Moss about his passion for the different disciplines of motorcycle riding What’s your role in the audio industry?
dramatic and spectacular landscape in the world. I love the cool, fresh mountain air, the blue skies and the winding roads that can take you up to altitudes of almost 6,000m. Whether it’s Uttarakhand, Himachal Pradesh, Jammu and Kashmir or Ladakh, every journey into the Himalayas is a humbling experience for me and brings a quiet reset. There’s a clarity and scale to these rides that stays with you for a very long time.
I am the founder and MD of Acoustic Arts which was set up in 1999. What began as a personal pursuit for exceptional sound has grown into a company that distributes cutting-edge AV equipment from some of the world’s most iconic brands, including Audix, Biamp, Cloud Electronics, GoldenEar, JL Audio, Powersoft and Void Acoustics. At its heart, our work is about delivering experiences. Great sound has the ability to transform how people connect – with music, with spaces and with each other. That idea continues to be the foundation of everything we do.
How do you prepare for a major ride? Each type of riding demands a different kind of readiness. Track days require intense physical conditioning and a finely tuned motorcycle, while long-distance touring is built entirely on reliability and attention to detail. Before any significant ride, I go through a meticulous inspection – tyres, brakes, suspension, fluids, battery and all critical systems. When you’re hundreds of kilometres from the nearest workshop, poor preparation can leave you stranded in the middle of nowhere.
What inspired you to get into motorcycle riding? I’ve been attracted to motorcycles for as long as I can remember. At 16, I got my first bike – a two-stroke Yamaha RD350 – and that really ignited my passion and love for bikes. I’ve ridden across the Himalayas in India and Nepal in a very different era – no smartphones, no GPS, just instinct, paper maps and a willingness to figure things out as they came. I think those journeys shaped me deeply. They taught me self-reliance, adaptability and the simple truth that life’s most meaningful experiences rarely unfold according to plan.
How does riding complement your professional life? Business demands long-term thinking: strategies that stretch months and even years into the future. Riding demands the opposite: being completely in the present moment. On a motorcycle, only the next corner, the next input and the next moment matter. Drifting into thoughts can leave you on the tarmac or in the gravel. That level of focus is almost meditative and incredibly cleansing. It strips away mental clutter and often returns a sharper, more grounded perspective when I step back into the office.
What type of riding do you enjoy, and what motorcycles do you own? My riding spans track, off-road and touring – three disciplines that challenge and reward in very different ways. Track riding refines precision and discipline. Off-road riding builds control, resilience and instinct. Touring, on the other hand, brings you back to the essence of why you ride in the first place. My bikes reflect that same philosophy of variety and purpose. They include three Ducatis, two Suzukis and motorcycles from Yamaha, Moto Guzzi, Triumph, KTM, Kawasaki, BMW and Aprilia. Each machine has its own character, and each one serves a distinct purpose.
Why is it important to have a passion outside of work?
Where do you enjoy riding the most? Without hesitation, the Himalayas. The Himalayan foothills begin about 250km from Delhi, opening up into some of the most
Chhibber with one of his three Ducatis
For me, motorcycling isn’t just a hobby, it’s a way of life. It keeps me physically active and fit, mentally clear and focused, emotionally balanced and positive. It teaches discipline without rigidity, freedom without chaos and focus without pressure. I couldn’t imagine a life without motorcycles. Above all, it serves as a reminder that the journey itself is the reward!
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