Sound & Video Contractor - July 2025

Public Spaces

Large format digital signage

ON THE CIRCUIT

CYNTHIA WISEHART

Editor SVC

Going way back in the domed video world, planetariums were the top of the pyramid. Then domed attractions and IMAX (and Iwerks) attractions started to turn up as centerpieces at world’s fairs. There was the domed IMAX Solido, an immersive 3D wraparound I saw at the Seville World’s Fair in 1992. The IMAX Magic Carpet was a novelty that projected onto the floor to extend the screen image underneath the viewers’ feet—I saw it at Futurescope in France in 1994. By 1999, with the opening of the groundbreaking domed Spiderman attraction at Universal Studios, it was clear that domed and immersive screens would dominate the future of screen experiences and so it came to pass. An essential arms race unfolded for on-screen canvases and the content world found ways to bend computer graphics into big immersive images.

As this trend built towards the current apotheosis at the Sphere, there was always talk of building standalone immersive theaters.— like IMAX or planetariums, but multipurpose spaces where concerts, sports, and new forms of movie entertainment could attract daily visitors in city center locations.

Of course, Sphere became that idea writ literally large. But what about more local theaters? What about a kind of a Sphere-like option that could be everywhere, or at least one in every city?

Given my background, I was interested to learn more about Cosm. The company is a fascinating collaboration. It encompasses two of the most esteemed companies of domed projection and computer graphics—Spitz and Evans & Sutherland with pedigrees that go back over 70 years. Merge this with cutting edge capture, replay, and immersive entities, and put this under the direction of executives with deep, relationships in professional sports out of Fox. Add venture capital. And architects.

Cosm works across the world providing technology and content for partners in planetariums and other immersive domed theaters. But most interesting to me are the company’s purpose-built venues, so far one in the stadium district near Hollywood Park in LA, and the other outside Dallas, both designed by HKS Architects. There are reportedly two more on the way in Atlanta and Detroit from architects Rossetti and Gensler. Cosm fills the buildings with marquee sports events drawing on relationships with top-ofthe-line sports entities, as well as custom created shows, a partnership with Warner Bros. on an immersive version of The Matrix and with Cirque du Soleil on an immersive O.

The mainstream press has found these venues, describing the experience as immersive stadium meets sports bar. I’ve not been, but the pictures look dramatic and do seem a worthy cousin to the spectacular Sphere. But what of the business case? That’s the part that I’ll be most interested to see play out.

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Content Director Cynthia Wisehart, cynthia.wisehart@futurenet.com

Associate Content Director Derek Wiley, derek.wiley@futurenet.com

Contributors Bennett Liles

Art Editor Rob Crossland, Sam Richwood Production Managers

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In my career, the first Spiderman ride was an inflection point that fueled decades of innovation in immersive experiences. Sphere will be the same seminal moment for this generation. But will Sphere and Cosm realize the out of home potential? Cosm came together at the very start of Covid, and then succeeded in opening two compelling venues. So if the team could do that, will they finally crack the code of local standalone immersive experiences?

ATEM Television Studio 4K8 is a professional live production switcher built into a broadcast control panel so it can be used for high end work while being extremely portable. You get a powerful switcher with 8 x 12G-SDI standards converted inputs, 10 x 12G-SDI aux outputs, 4 chroma keyers, 2 downstream keyers, SuperSource, 2 media players and lots of transitions!

Easy to Use and Fast to Learn!

There’s never been a switcher that’s easier to use, as you simply press any of the program row buttons on the front panel to cut between video sources. You can select from exciting transitions such as dissolve, or more dramatic effects such as dip to color, DVE squeeze and DVE push. You can even add a DVE for picture in picture effects with customized graphics. Then you can live stream the results!

Self Contained Broadcast Quality Switcher

The ATEM Television Studio 4K8 combines a switcher and control panel into the same unit, so it’s extremely portable. The front panel includes buttons for selecting sources, triggering transitions and setting up video effects. You also get a built in t-bar for manual transition control! The front panel even has an innovative audio mixer control area with live metering on a dedicated LCD.

Powerful SuperSource Processing!

In addition to the DVE in the ATEM Television Studio 4K8, there is also a powerful SuperSource multi layer processor! Any video input can be used as sources for each DVE, then it’s all layered together over a media pool custom background or live video. SuperSource is perfect for interviews because you can set up the effect so the viewer can see each person being interviewed all within a stylish graphic.

Built In Fairlight Audio Mixer

With a built in Fairlight audio mixer, ATEM Television Studio 4K8 makes it possible to do complex live sound mixing. The internal mixer features enough channels for all SDI inputs, as well as extra channels for the XLR, RCA and MADI inputs! Each input channel features the highest quality 6 band parametric EQ, compressor, limiter, expander and noise gate as well as level and pan controls.

Disney is opening its seventh theme park – in Abu Dhabi

1Last month, the Walt Disney Company announced that it would be opening up its seventh global theme park to Abu Dhabi. Currently known as Disneyland Abu Dhabi, the upcoming park’s concept art includes a spiral-shaped castle as the area’s centerpiece. The waterfront resort and park will be located on Yas Island, a region that has grown exponentially over the last two decades to become a resort and entertainment district that currently includes several other theme parks.

Disney says that it has partnered with UAE-based company Miral, which it callsAbu Dhabi’s leading creator of immersive destinations and experiences,″ to oversee development, construction, and operations of the resort. “Disney and its legendary Imagineers will lead creative design and operational oversight to provide a world-class experience,″ says Disney. https://tinyurl.com/z58r63p7

Pro AV Today Most Read Stories

3-in-1 attachment quadruples your laptop’s screen real estate

For those who need maximum screen real estate, even while on the go, Aura Displays has introduced a fold-out attachment that adds three 14″ screens to a traditional laptop. The Triple Boost 14″ Pro outfits a laptop with three 1080p displays–one on either side of the laptop’s screens, and one that folds out above the screen. Each display runs at a refresh rate of 60Hz and is anti-glare, and all three are powered by a single USB-C cable. All three displays can also be folded all the way out to allow users to share their screens with those sitting around them.

Additional technical specs provided by Aura Displays include a color palette of over 16 million colors and a brightness of 300-nits. The Triple Boost 14″ Pro weighs 4.7 lbs in total, and folds down into a portable slab that can slide into a laptop bag.

South Korean clothing stores begin utilizing virtual hologram models

3We’ve previously featured stories about how Proto, the self-described ‘world’s first holographic communications platform’, utilized its technology to enhance communication for people with hearing impairments, and even facilitate remote consultations with cancer specialists. Now the hologram company is lending its tech towards a new cause: fashion. South Korean fashion retailer Matin Kim has announced that it has installed Proto hologram displays at five of its Matin Kim and Hago Haus locations.

According to Matin Kim, customers can prompt the 3D ‘models’ to turn 360-degrees to show off a variety of outfits. Customers can interact with hologram booths via integrated speakers, microphones, and cameras, and touchscreens. Proto says that the displays feature the Proto AI platform, which allows the virtual models to answer customer questions about any products in realtime. The hologram content was produced by Proto’s exclusive content solution partner in South Korea, Creative Mut. In addition to virtual models, Matin Kim states that intends to use the Proto displays to ‘beam in’ live special guests to its stores, who could then virtually interact with shoppers in real-time.

https://tinyurl.com/wwrxmr3b

This Star Wars-themed cargo robot will carry your tools for you

4

Robotics manufacturer Piaggio Fast Forward has released a new spin on its compact cargo carrier just in time for Star Wars day. Designed in collaboration with Lucasfilm, G1T4-M1N1 is a new Star Wars-themed special edition of Piaggio’s Gitamini, which itself is a smaller version of its Gita robot. The Gitamini already looks like something out of a sci-fi universe, using several integrated cameras and sensors to avoid obstacles and follow its owner around on its two prominent wheels.

In addition to a Star Wars-inspired look and name, the G1T4-M1N1 comes with a custom sound bank, meaning audio notifications and alerts will come in the form of beeps

L-Acoustics secures important victories against European counterfeiters

5In a significant achievement for both consumer safety and intellectual property rights, L-Acoustics has successfully won legal judgments against two European counterfeiters of its professional audio equipment. These legal actions underscore the company’s unwavering commitment to ensuring audience safety and protecting the market for legitimate partners.

Working through its dedicated Anti-Counterfeiting Task Force, L-Acoustics pursued legal action in both Germany and Norway against companies that were acquiring and renting fake L-Acoustics products, including loudspeakers and electronics. Initial analysis of the seized counterfeit products revealed alarming safety concerns, including metal components only half the required strength of authentic L-Acoustics specifications—resulting in a 48% decrease in safety factor.

In Germany, the court ruled against a rental company utilizing counterfeit Kara loudspeakers, rejecting their defense that they were not liable as they were only renting the equipment rather than selling it. The tribunal recognized the products as counterfeit, prohibiting the company from using other fake products. Critically, the court also mandated the disclosure of information regarding the origin of the counterfeit products, enabling L-Acoustics to investigate potential larger distribution networks. https://tinyurl.com/3rfwumkn

Samsung claims that we see OLED displays as brighter than equivalent LCD screens

6Samsung has made a bold claim that may change the way we think about display brightness. According to Samsung, the difference in contrast ratio between OLED and LCD displays makes us perceive brightness differently. More specifically, Samsung asserts that OLED displays are perceived to be around 1.5 times brighter than an equally bright LCD display. What’s more, Samsung commissioned the testing laboratories at UL Solutions, a global private safety company, to see if this theory had any merit. Here’s what UL Solutions had to say:

“UL Solutions evaluated fifteen of Samsung Display’s OLEDs for laptops, tablets, and automobiles, and seven of its QD-OLEDs for monitors and TVs. UL Solutions verified Samsung Display’s claim that its OLEDs and QD-OLEDs provide an average 1.5 times greater perceived brightness than LCDs of the same PCL score. According to assessments by UL Solutions, Samsung Display’s 300-nit OLEDs have the same perceived brightness as 510-nit LCDs, and its 500-nit QD-OLEDs have the same perceived brightness as 767-nit LCDs.″

https://tinyurl.com/5n8wxvd7

Spatial Reality

Sony has demonstrated its “groundbreaking” Spatial Reality Display (SRD) integrated with partner Ameria’s AI-powered Touchfree Interaction Technology, to deliver a “new level of immersive and personalized” in-store experiences.

The Sony and Ameria collaboration offers customers the ability to interact with and personalize products in a compact and spatial 3D environment—all without the need for wearables or touchscreens. Retailers can now provide dynamic, intuitive experiences that enable shoppers to visualize customizations, explore product options, and engage with brands.

The system leverages Sony’s state-of-the-art Spatial Reality Display to create life-like, three-dimensional visuals that “float in space”, while Ameria’s Touchfree technology detects gestures, gaze, and proximity to enable natural, fluid interactions. This fusion of technologies is said to offer a “seamless, contactless journey” from product exploration to customization.

Sony’s SRD reduces in-store stocking needs by allowing product variations to be presented virtually through immersive, gesture-controlled 3D interaction—to reduce the physical inventory required. Retailers can operate in smaller spaces while still offering a broad product range. Additionally, high-value items like jewelry can be showcased in a captivating, risk-free way—eliminating concerns about theft or damage while maintaining the premium experience that luxury entails.

“We believe that the future of retail lies in immersive, intuitive customer journeys,” said Matsumura Motoki, marketing director, PDS, Sony Europe. “By combining our Spatial Reality Display with Ameria’s groundbreaking AI technology, we are enabling retailers to offer truly interactive, Touchfree experiences that were previously unimaginable.”

Albrecht Metter, founder and CEO at Ameria, added: “Our partnership with Sony showcases the power of combining advanced visual technology with AI-driven interactivity.”

At the same time, Sony has expanded the capabilities of its Spatial Reality SDK with the release of version 2.5.0. This SDK version enhances support for OpenXR and introduces new features, improving compatibility with the latest versions of various game engines. The newly developed adjustment tool, OpenXR Control Panel, enhances options for adjusting viewpoint movement, depth, and three-dimensionality within applications developed by OpenXR-compatible software. It also simplifies the process of saving and loading settings, improving overall usability. The new release also adds support for High Dynamic Range (HDR) and DIZCOM formats (for medical). A new facial position correction algorithm enhances the tracking performance of the gaze recognition sensor, resulting in improved 3D rendering quality.

Eye Response

Sony has debuted the world’s first dynamic eye-responsive advertising display powered by the company’s AITRIOS edge AI technology. Utilized on professional BRAVIA displays, it’s capable of creating responsive, targeted content based on where a viewer looks on the screen.

Sony’s AITRIOS technology provides the world’s first intelligent vision sensor—IMX500—with AI processing capability and AI management software on a single platform, empowering teams of all skill levels to build, deploy, and manage vision AI retail solutions. AITRIOS allows retailers to boost revenue by leveraging gaze detection and behavior analytics to justify premium shelf placements and tailored marketing packages. The GDPR compliant platform, thanks to its unique in-sensor processing of AI, should, says Sony, enhance customer engagement and support performance-based pricing models—ultimately leading to increased sales with more targeted, real-time advertising and delivering measurable value to retailers and their brand partners.

Highlighting how its CMS-agnostic AITRIOS Edge AI solution can be utilized, Sony used their booth at Digital Signage Summit Europe to showcase two different applications: gaze detection and the resulting analytics with partner

AISS; and intelligent object detection with partner ScreenManager. The two different set ups interpret viewers’ gaze or detect objects to trigger real-time, tailored content, allowing retailers to better engage and target customers inside their stores.

The combination of BRAVIA, CMS and the AITRIOS platform is said to form an “efficient and intelligent Vision AI”, making every retail customer interaction more relevant, personalized, and impactful. The BRAVIA displays’ system on chip (SoC) enable any CMS partners’ signage applications to run smoothly without a separate media player.

“Our BRAVIA Professional Displays are designed to offer maximum customer engagement in store and we’re always looking for new ways for screens to present relevant, timely and crystal-clear information in their environment,” said Matsumura Motoki, marketing director, PDS, Sony Europe. “Our CMS partners for DSSE, AISS and Screen Manager, have integrated the AITRIOS solutions into their CMS to showcase gaze detection analytics and dynamic signage based on object detection. By combining BRAVIA, CMS and AITRIOS, we are offering retailers class leading displays in terms of image quality and cost of ownership and exciting new way to deliver hyper-targeted, meaningful messages to their audiences.”

At the Zoo

Chicago’s Lincoln Park Zoo was founded in 1868 and has always focused on preserving wildlife while enhancing the visitor experience. As with many historic sites, Lincoln Park Zoo faced the challenge of modernizing its infrastructure without sacrificing the integrity of the location or overwhelming the natural environment. The zoo had relied on traditional, static signage for wayfinding, events, and educational content, but as the guest experience continued to evolve, the need for a more adaptable, engaging, and informative digital solution became clear.

Additionally, given Chicago’s extreme weather conditions—ranging from frigid winters to humid summers—the zoo required a weather-resistant signage solution that was durable enough to withstand these environmental challenges.

The zoo received a grant, including funding for the installation of digital signage technology that would optimize the communication of venue and programming information across the zoo via digital signage. Peerless-AV implemented outdoor kiosks and indoor display mounts across the zoo’s high-traffic areas.

Working closely with Lincoln Park Zoo and the team at CDW, Peerless-AV provided a comprehensive range of solutions to address the zoo’s needs.

The indoor Searle Visitor Center installation included four 75-inch Samsung landscape displays with Peerless-AV SmartMount Universal Flat Wall Mounts and a 55-inch Samsung display with a Peerless-AV SmartMount Universal Flat Wall Mount. The outdoor East Gate area installation included three PeerlessAV Smart City Kiosks with 55-inch Xtreme High Bright Outdoor Displays fixed to concrete pedestals, each equipped with a Wi-Fi antenna and a BrightSign media player and two Peerless-AV 75-inch Xtreme High Bright Outdoor Displays (XHB754) and Outdoor Flat Wall Mounts with corrosion resistant coating and stainless-steel hardware.

The design had to communicate to guests, without disrupting the natural lighting patterns of animal enclosures to avoid impacting the well-being of the animals.

The zoo’s IT team was also involved in the planning, ensuring the existing Wi-Fi infrastructure was robust enough to support the content management system (CMS). Peerless-AV worked with the zoo to ensure the system was easy to update remotely, facilitating quicker adjustments to content, event promotions, and other important messaging.

Peerless-AV worked hand-in-hand with the zoo’s project managers, providing technical assistance, engineering expertise, and on-site support during installation.

The digital signage has not only transformed the visitor experience at Lincoln Park Zoo, but it has increased revenue opportunities by promoting multiple types of content, encouraging greater participation in zoo activities, and growth in on-site spending. Thanks to the centralized CMS, communication has become streamlined for quick content updates, reducing the time and resources spent managing static signage.

Sky Dome

Since 1966, The North Face has been the definitive outfitter for explorers and adventurers worldwide. Beyond providing premium gear for backpacking, expeditions, and outdoor pursuits, the brand has consistently pushed boundaries in both performance and retail innovation.

Following sustained growth at its Regent Street location in London, The North Face seized the opportunity to reimagine its retail presence, expanding its flagship store by 33% to create a 10,000 sq ft immersive space across two floors.

Through strategic collaboration, Mood Media and The North Face developed an innovative retail environment that seamlessly integrates digital technology with tactile experiences. The result is a pioneering space that engages all senses and is intended to redefine experiential retail.

At the heart of the store sits a custom-engineered 360-degree projection dome that serves as an immersive basecamp. This installation, only the second of its kind worldwide, transforms a The North Face tent into an extraordinary digital canvas.

Five synchronized Optoma projectors utilizing advanced Vioso projection technology create an immersive experience through AI-generated content that flows through day-to-night transitions and seasonal changes. The 30-minute visual journey, enhanced by nature soundscapes and custom scenting, transports visitors from the city streets to remote wilderness locations.

The store’s olfactory experience centers around “White Pepperwood” — a custom-developed fragrance that enhances the immersive journey. This sophisticated scent profile combines top notes of Green Citrus and Bergamot

to capture the freshness of outdoor air, middle notes of Lily and Rose for natural warmth, and base notes of Cedarwood, Patchouli, Musk, and Amber to ground the experience in earthen elements.

The outdoors zone features a striking 12.75-square-meter LED wall that serves as a dynamic canvas for brand storytelling. With high-precision 2.5-pixel pitch display technology, the wall delivers sharp, vivid imagery that complements the store’s atmosphere. The content blends brand narrative with product storytelling, creating an engaging visual experience that draws visitors through the space.

The North Face’s commitment to exploration is represented in the store’s dedicated sustainability corner. Moving beyond mere display, this area celebrates the brand’s dedication to environmental stewardship through dynamic digital content. The corner’s displays mirror the textures and colors of nature while educating visitors about The North Face’s initiatives in recyclable product design and wilderness preservation. Interactive elements encourage customers to engage with the brand’s reuse, refill, and repair programs, making sustainability tangible and actionable.

The North Face’s curated playlists blend genres traditionally associated with nature-based activities — indie rock and energetic electronic music — with metropolitan styles like nu-soul, nu-funk, and contemporary forward-thinking pop. A sophisticated peak and off-peak playlist structure ensures the energy matches the store’s rhythm throughout the day. This immersive soundscape, delivered through a Q-SYS audio and control system, creates a cohesive atmosphere.

Power Amplifiers

Versatility and reliability have leapt forward in modern power amps. Multi-channel capability allows maximum space efficiency in the rack room, while advances in DSP and output efficiency have opened a new dimension in both brain and brawn. These modern units are largely self-sufficient in their automatic cutoffs and other safety features. The models included here typify this evolution and the ways in which specific manufacturers have responded to market demand and implemented new technology.

plugins, Crestron modules, and HTTP API.

Writer

BENNETT LILES

Contributing Editor

Announced in May and set to ship this summer, the L-Acoustics LA1.16i is an ultra-compact 16-channel amplified controller specifically engineered for the installation market. This latest innovation delivers unmatched channel density in a space-saving 1U format, making premium L-Acoustics sound accessible for a wider range of venues and short-throw applications where higher sound pressure levels aren’t the priority. Like its predecessor, the LA1.16i incorporates L-SMART, L-Acoustics’ patented power management technology. Milan-certified, it supports Milan-AVB and AES67, alongside AES/EBU and analog inputs. Installation-friendly features include terminal block connectors for all audio outputs, GPIOs for third-party control system integration, and a 24V DC backup power input for the DSP card. The LA1.16i is remotely configurable, monitored using L-Acoustics LA Network Manager software, and offers integration with popular media control systems through Q-SYS

Holding a prominent place in the CA Line of multi-channel amps, the Class-D Ashley

Audio CA-504 is a rack mount, 4-channel amplifier 2RU high and ready for installation or road use. Each channel is equipped with indicators for temp, current, input signal (-45dB), and clip/mute. Two power modes, full-ON and Standby, are separately indicated by LEDs on the front panel. This model is capable of driving up to 500W at 2 or 4 Ohms per channel and 250W at 8 Ohms per channel.

Another very capable 4-channel amp is the AtlasIED CLA804 with 800W power capacity. This versatile design can operate in 25V/70.7V/100V distributed power systems or in low impedance installations such as 2, 4, and 8 ohms. The unit’s switch-mode, global auto-sensing power section recognizes different national power standards and adjusts itself automatically. Each channel’s Power Share level and speaker load are configured with rear panel switches. Each model in the CLA Series includes a unique output stage with a low-resistance, direct-coupled thermal transfer design.

At the top of the SMA Series line is the Audac SMA750 Class-D model with WaveDynamics audio processing technology and 750W output through two channels. This is set up for remote control via RS-232. The Dante/AES67 expansion port is featured along with XLR terminal/linkthrough, advanced DSP/ loudspeaker management, and a 2.5in. LCD display for front panel performance monitoring and configuration. Maximum power can be configured individually on each channel. Full system configurations can be selected from a library and uploaded with a USB flash drive.

A significant trend in power amps has been larger performance in smaller packages and the Aurora Multimedia DTX-AMP25-M, a Dante 25-Watt PoE+ amplifier, illustrates how far each trend can go. This unit can be mounted under a table or behind a display while offering both analog and Dante amplification. It also features an OLED display with selection buttons for status information, a USB device port, RS-232 control, 4/8-ohm output, and power/status indicators. All this fits into a package measuring 3.28 x 1 x 4.47in.

AtlasEID CLA804

Ashley Audio CA-504

Audac

SMA750

Combined with its BluOS-enabled network music player, thermostatic fan cooling, and high-Z/ low-Z performance, the Bluesound Professional B170S networked streaming stereo amplifier simultaneously handles the functions formerly done by many separate components. The versatility is complemented by a small form factor that allows the B170S to be mounted under tables or on walls. With the optional RM160 rack mounting shelf, as many as six B170S units can be mounted side-by-side in a 3U space in a rack.

Enjoying substantial success at the level where reliable performance is essential, the Biamp Systems Voltera A Series consists of the Voltera A 300.2, Voltera A 300.4, Voltera A 600.2, and the Voltera A 600.4 with its 4 channels putting out a total power of 600W. All models fit into a half rack space, and all can interface with either low impedance or 70/100V sound systems. The internal fans on each model are thermally controlled and support whisper mode for normal operation. There is manual configuration for each channel with mode switches for Lo/Hi-Z, high-pass filter, and gain trim options. Gain trim can boost both the gain and the power by up to 3dB.

The Blaze Audio PowerZone Connect 1008D is a 1000W DSP-enabled Class-D amplifier with 8 channels and Dante in a

A perfect example of the progress toward more power and more channels with a smaller footprint is the Extron XPA U 4004 FX 4-channel configurable output audio power amp with its ability to operate in low impedance and 70/100V systems. This device can run on low power standby until its InstaWake+ feature exits auto-standby mode in under 5 milliseconds. Standard output is 400W per channel but this fan-cooled design can be configured to output 800W into a single channel, and it all fits into a single rack space.

single RU form factor. A built-in PowerZone Control web app facilitates amp DSP functions, multi-zone setup, input mixing, priority and ducking, restriction, input and output EQ, S/PDIF output routing, highpass filter, speaker presets, and delay. The app can also configure the Wall-S1 controller and sine generator. Its output, at up to 1000W, uses automatic power-sharing technology for proportional distribution in both Lo-Z and Hi-Z modes.

Working especially well for installations, the Bogen M600 is equipped with slots for two custom-selected input modules, and has outputs of both 70V mono and low impedance stereo. An especially handy feature is the set of ports for pre- and post-outboard signal processing. Also on the rear panel is a channel balance knob that operates in dual mono mode to allow one channel’s output to be higher than the other. The effects loop RCA terminals offer an insert point for outboard signal processing, then the amp is in 70V mono or dual mono mode. In sound system environments that require a high number of constant voltage, 70V or 100V amplifier channels, the Peavey MediaMatrix sPower 3008 Class D amplifier can feed a variety of different zones. In this 8-channel output system, each pair of channels has a 10k-ohm balanced input, high-pass filter for each channel in the pair, an external redundant channel input, and a high-Z output. The amp can be controlled remotely via

Bluesound Professional B170S

Biamp Systems Voltera A Series

Blaze Audio PowerZone Connect 1008D

Bogen M600

TECH SHOWCASE Power Amplifiers

Series amps provide protection against overheating, shorted or overloaded speaker lines, and excessive signal levels.

Flexibility in output power, channel count, and speaker load flexibility are primary features of the Crown Audio DCi 4|1250DA along with its use of proprietary DriveCore technology. This line of amps has sophisticated DSP, network control/monitoring, and the ability to drive 2/4/8/16 ohm, 70V, and 100V speaker loads. Its support for Dante Domain Manager allows this model to slide seamlessly into a Dante network environment. The 1250DA can output 1250W into four channels in dual mode and 2500W in bridged mono.

For stereo music inputs with 100W mono output and gain-controlled paging microphone capability, the Denon Professional DN-280 fits the task in a half-rack space. There is a 1/8in. aux input on the front panel and stereo RCA inputs on the back, which are summed to the mono output. This model Class D amp is designed to work with a 4-ohm load or with a 70/100V sound system. It is also equipped with short circuit protection. Among the front panel LED indicator lights are those for signal presence, clipping status, and thermal interruption. The amp’s output is on a Euroblock connector.

switches. In addition, there is a termination switch and a 70V/100V output selector switch.

The Crestron AMP-8150 takes multizone coverage to the maximum with eight output channels in a single RU design that supports bridging, Lo-Z, and Hi-Z applications. This model

family of digital signal processors and it can be controlled through the Crestron Avia Audio Tool software, a Crestron control system, or Crestron Fusion. In bridged mode, two channels can be combined to provide a single channel delivering 300 watts into 8 ohms. All of the AMP-8000

The Dynacord TGX20 is capable of working in big shows using its 5000W output power into 4 channels with DSP functions on each. Featuring 96 kHz processing and FIR Drive technology, the TGX20 includes OMNEO integration for seamless compatibility with Dante and OCA. The 2RU chassis has analog audio input and loopthrough, AES input, and a Dante interface. The fullcolor front panel touch screen allows the operator to use one factory and 20 user-defined DSP presets, 30 speaker settings, source supervision, and switchover to alternative source selection. At the top of the UXA line of rugged and powerful amps is the EAW UXA4416, featuring four output channels at 4000W each. Configured with standard analog and AES digital inputs along with primary and secondary Dante network connections, this power amp can use EAW’s Resolution 2 software for quick setup and monitoring of large

Crest

Crestron AMP-8150

Dynacord TGX20

Crown

Denon Professional DN-280

EAW UXA4416

architecture, and customizable presets. Unica’s onboard audio) and failover support.

sound systems. Alternatively, the UXA4416 can be addressed and configured using the 4.3in. front panel touch screen interface. All of this runs on the Universal PFC power supply, which is globally power-compatible.

Pushing power density to even higher output at 4800W, highest in the IPX line, the Lab.Gruppen IPX 4800 also features a DSP

slope parametric EQs along with adjustable gain, input/output delay, and adjustable highpass and low-pass filters. Operators can use the

speaker systems with the softwarecontrolled Speaker Protect Limiter. DSP features and limiter settings

Lab Gruppen

TECH SHOWCASE Power Amplifiers

on the front panel are configured with front panel navigation buttons.

The LEA Professional CS1504D is a networkcontrolled, high-power IoT-enabled smart amp operating with low impedance and 70/100V sound systems. The D version is the analog/AES/Dante connected model

and the AES 67 inputs are configurable via the Dante Controller Software. There is also a routable matrix that connects any input to any output with primary and secondary input priority. The web browser user interface enables control and system monitoring from any remote location to handle the amp’s 1500W output on each channel.

Another big job handler with immense power in a 2RU frame is the Martin Audio VIA5004 , an advanced 4-channel power amplifier putting 1250W into each channel at 2 ohms. It can also be configured for 3-channel operation, for compatibility with the Martin Audio TH Series 3-way systems. Temperature is handled through a variable-speed cooling fan with front-to-back airflow.

Showing the versatility that multi-zone amps require is the 8-channel QSC CX-Q 8K8 that features custom power output loading for each channel, up to a total of 8000W for live shows, venue installations, and touring. This is a twin network port unit that adds eight bi-directional GPIO connections, touch-proof Euroblock loudspeaker connections, a PowerLight universal switchmode power supply, and automatic energy-saving modes. Each input is mic/line with 12V phantom power. Configuration is done by simple drag-and-drop integration into a Q-SYS design.

The RCF UP 2321 commercial power amp has features for background music and paging, including an analog mic/line input and an auxiliary input on RCA connectors to project a summed stereo sound source. The Class D amp can work in low impedance or 70/100V installations. There is a master volume control on the front panel, while the aux input has its own volume and tone controls on the back. The main input on the 320W amp has a presence control and a high-pass filter for best speech intelligibility.

It is typically difficult to find a very small amplifier with big amp features, but the RDL HD-MA35UA has a surprising array of these. Easily mounted in a small space, the 4-input mixer amp is mic/line switchable on input 1 for a paging source, and when that is active, inputs 2, 3, and 4 can be adjusted to duck to a specific level. A rear-panel trimmer allows the following fade-up time to be adjusted. Inputs 3 and 4 each

RCF UP 2321

Martin Audio VIA5004

QSC CX-Q 8K8

provide unbalanced stereo RCA input jacks, summed to mono. The unit is also equipped with a master VCA for remote adjustment of the Zone 1 amplifier output.

Designed to maximize performance when using any combination of the company’s speaker models, the Renkus-Heins SA Series amplifiers provide RHAON II network control and monitoring as well as a choice of analog, AES/EBU, or Dante inputs. These features are centered on three product versions. The SA-625 amplifier has 500W + 125W output; the SA-1250 provides 1000W + 250W in two-way configuration and 500W + 500W + 250W in three-way mode. The third model is the SA2000, which can be configured for single channel with 2000W into 4 ohm, or 2 channels of 1000W each into 8 ohm, or 3 channels with 1000W, 500W, and 250W.

For installations that require paging with a wide variety of other inputs, the Speco Technologies PBM240A is at the top of the line in output power. It has five zoned 70/100V outputs and a non-zoned 4/8-ohm output. There

is phantom power on all mic inputs, and mic input 1 features selectable priority paging. Each input has its own level control along with a master on the front panel. Control is conveyed through an IR remote or via RS-232. This mixer-amp includes a telephone paging input and a music-on-hold output.

Another widely used amp in the background music and paging market is the TOA Electronics A-2240 which is equipped with two aux inputs and a recording output, all on RCA connectors. The amp is output compatible with 4-ohm, 70V, or 100V sound systems. There are also two microphone inputs, and phantom power is available on Mic 1. Bass and treble controls on the back panel allow up to +/- 10dB for each.

The Yamaha PC406-D goes far beyond just being a power amp largely through the addition of its 20x8 input matrix capability

and 16-channel Dante I/O. Its speaker processors can operate seamlessly with ProVisionaire Touch and ProVisionaire Control, Yamaha’s sound system control software, while providing 6-band PEQ, crossover, filters, delay, and limiting. Custom layouts are easily created on the apps. The output is 600W on each of its four channels at 8 ohms.

Yamaha PC406-D

Speco Technologies PBM240A

TOA Electronics A-2240

RenkusHeinz SA Series

Installed Speakers

The Meyer Sound ULTRA-X80 is now shipping. It is a versatile point source loudspeaker that draws on both the acoustic lineage of the ULTRA family, including the ULTRA-X40 and ULTRA-X20, and technology innovations behind the flagship PANTHER large-format linear line array loudspeaker for a powerful, compact, simple-to-deploy package. It pairs seamlessly with the products in the Meyer ecosystem. ULTRA-X80 is an evolution of the ULTRA family’s innovative concentric-driver design, which couples two 12-inch neodymium-magnet cone drivers to a rotatable 95 x 40-degree waveguide coupled to a 4-inch high-frequency compression driver. The ULTRA-X80 and ULTRA-X82 offer analog and MILAN connectivity as standard; together, the ULTRA family, PANTHER, 2100-LFC, and the USW subwoofer family make up the most comprehensive range of MILAN-equipped loudspeakers on the market — all compatible with Meyer’s Nebra integrated software platform. The ULTRA-X80 leverages Meyer Sound’s ultralight Class D amplifier technology to deliver a total linear peak output of 141 dB SPL in a cabinet weighing just 130 lb (59 kg). The ULTRA-X82 variant offers a more tightly focused 50 x 40-degree dispersion pattern at a total linear peak output of 142 dB SPL.

Writer CYNTHIA WISEHART

Chief editor

Former theme park designer

April brought the debut of the US-manufactured Dante/ AES67 IP-enabled PoE SoundTube IPD-CM62-BGM-II-US ceiling speakers. Now shipping, they mark a milestone in the company’s commitment to domestic manufacturing and networked audio. This new model, part of the CM-BGMII-US series announced at InfoComm last June, represents SoundTube’s dedication to meeting the requirements of the Buy American Act (BAA) and Trade Agreements Act (TAA). The speaker features a 6.5” coaxial woofer with a 1” silk dome tweeter. It features BroadBeam Ring technology and a tuned port on the baffle provides smooth off-axis performance, mid-range clarity and bass response to 60 Hz (-10 dB). Low latency digital audio, power, and control are delivered to the speaker via standard category cable.

In February, Extron announced two new models in the popular CA Series

Four Driver Column Array Speaker. These new models offer new smaller size options for a broader range of sound reinforcement applications where speech intelligibility is needed, especially in reverberant environments, and where flexible installation options are helpful. The CA 83T and CA 43T can be used either as standalone or as supplemental speakers alongside the CA 163. Their matched 3” (76.2 mm) drivers ensure consistent voicing throughout the entire series, making them ideal as fill speakers in multispeaker applications. Two mounting systems are available to accommodate different room layouts and sizes. PT models include a pan and tilt mount for maximum speaker aiming flexibility, while LP models include a lowprofile mount for minimal protrusion from the wall. The CA Series is available in black or white paintable enclosures.

Also in February, the JBL Professional SRX900 Series of powered loudspeakers expanded with the addition of new 15-inch and 18-inch subwoofer models that can be flown and configured with SRX900 line arrays and rigging accessories. Both subwoofers feature dual voice coil, Differential Drive woofers, as well as a large low-frequency port and a reinforced 18mm birch plywood cabinet. Both subwoofers feature the same amplifier module as the existing SRX900 subwoofers, offering users a plug-and-play experience. At the same time, JBL Pro debuted a new set of SRX900 Series accessories to help expand system configuration options and transportation capabilities for those using the speakers in production environments. Models include new vertical transport carts for stacking and transporting up to three subwoofers and matching covers. A new pole mount accessory offers a more cost-effective option for pole-mounting SRX906LA products.

Meyer Sound ULTRA-X80

JBL Professional SRX900

Extron CA Series

The new K-array Dolomite KRD202P is a fullrange tower loudspeaker, featuring built-in 10-inch subwoofers and twelve 2-inch drivers. The new tower is envisioned for high-end hospitality venues, premium events, and residential applications. The speaker carries twelve 2-inch drivers utilizing K-array’s signature Pure Array Technology (PAT), four 10-inch subwoofers, and four 10-inch passive radiators within each unit. Its modern design integrates easily into upscale environments. Sold in a kit, including both left and right loudspeakers with an amplifier, each KRD202P unit measures just over three feet in height and comes with a ground-

Installed Speakers TECH SHOWCASE

At CinemaCon 2025, Meyer Sound introduced the Meyer Sound ASTRYA, a new flagship cinema screen channel loudspeaker series. ASTRYA leverages Meyer Sound’s self-powered loudspeaker innovations and DSP technologies to deliver reference-quality sound optimized with built-in processing, system monitoring, and networking capabilities. The first product in the series, ASTRYA-140, delivers reference-level sonic performance, free from power compression or distortion, for rooms measuring up to 140 feet from the screen to the back wall. Its digital input removes a digital-to-analog conversion stage, ensuring a low noise floor.

amplifier, such as the Martin Audio VIA2502 or VIA5004. A80T also incorporates a high-quality transformer for 70V/100V line operation, with transformer taps selected by a rotary switch, and can be powered by the VIA 5002. For full bandwidth protection, the low and high-frequency sections are individually protected against overload.

The new Martin Audio A80T is a two-way passive speaker with an elegant design intended for architectural environments that require an unobtrusive, compact enclosure. Its Martin Audio signature sound characteristic also provides a seamless sonic transition within a multi-zoned complex using larger Martin Audio systems such as CDD or BlacklineX. Comprising an 8” (203mm) LF driver and a 1” (25mm) polymer dome HF compression driver on a 90° x 50° horn, it handles 200W AES, 800W peak and can produce 120dB peak output at 1 meter; bass reproduction that extends down to 63Hz. With a nominal impedance of 8 ohms, multiple speakers can be driven in parallel from a single channel of a low impedance

The new NEXO Alpha + is a hybrid source sound reinforcement system that draws on the spirit of its Alpha forerunner while applying new technologies for a range of settings from live music and clubs to theatres and other venues. Alpha + is a stackable three-box system comprising M210 Main, B218 Bass and L20 Sub-bass modules. The M210 is a horn-loaded 2 x 10” with 4 x 3” HF compression drivers, the B218 a horn-loaded 2 x 18” and the L20 a band-pass 1 x 20” taken from the existing P+ Series range. With a comprehensive range of hardware available, stacked and installed systems of various sizes can be configured with Main and Bass modules typically used together in a ratio of 1:1. The continuously varying horizontal directivity from 60° at the top of the M210 Main Module to 120° at the bottom can be modified to 90°/120° or 60°/60° using flanges, and the waveguide block can be ‘unlocked’ and its articulation changed from Narrow vertical coverage (0°/-20°) to Wide/ Standard (+20°/-20°). Such control over dispersion

K-array Dolomite KRD202P

Martin Audio A80T

TECH SHOWCASE Installed Speakers

loss 60W transformer, ideal for 70V or 100V distributed applications. The wattage tap selection and low impedance bypass can be easily adjusted via a rear-mounted slide selector switch, which includes a security cover for added safety.

The d&b xS-Series provides a variety of sizes, output power and dispersion patterns to satisfy the exact demands of a permanent application and is the ideal solution for installation. With their unobtrusive cabinet design the xS loudspeakers are ideally positioned within a variety of venues including restaurants, bars, lounges, conference and meeting facilities, assembly halls, lecture theatres, as well as clubs, houses of worship or multipurpose venues. For added flexibility, rotatable horns enable the loudspeakers to be deployed in either orientation, while the cardioid subwoofer technology delivers low frequencies exactly where needed and not behind the system. All xS cabinets are available matched to any RAL color, while a Weather Resistant option provides an IP54 rating for protection against adverse weather conditions. Furthermore, 10S / 10S-D, 12S / 12S-D and 24S / 24S-D loudspeaker enclosures are Ball Impact Resistant according

to DIN 18032-3 for sports and multipurpose venues. The loudspeaker cabinet and most accessories are also available with the Special Color (SC) option that can be executed in all RAL colors.

The Adamson IS-Series weatherized installation speakers are built to withstand the most extreme climates in the world.

smooth finish that provides a water-resistant seal and allows for easy cleaning and removal of dirt, grime, salt water or sand.

Weatherized enclosures are ideal for marine and coastal venues, outdoor stadiums, open air performance spaces, and other permanent outdoor installations. IS-Series Weatherized models have an IP55 rating without sacrificing performance or aesthetics. All structural steel elements of the IS-Series Weatherized cabinets are made

The Atlas Aimline column array loudspeakers with digitally steerable and passive models are suited for environments where traditional speakers may not provide optimal coverage, including auditoriums, churches, airports, and other venues where precise control over the directionality of sound is essential. The series is crafted to maintain

Adamson IS-Series

Atlas Aimline

surfaces such as glass, marble, and stone. The first two Aimline speakers include the Aimline ALXD and ALXP, which include enhanced grille design and feature updated drivers. The digitally steerable ALXD column array loudspeaker with Dante includes built-in amplifiers and signal processing; the seven-model lineup is ideal for applications requiring precise control over sound direction. The ALXD comprises seven models and sizes, and each is named based on the number of transducers, including the ALXD 4, 8, 24, 32, 40, and 48 models. With Dante built-in, venues can manage the ALXDs and other Dante-enabled hardware as part of a network for easier maintenance and control. The ALXD and ALXP Series can cascade vertically with the same model to build arrays in various lengths.

AUDAC’s flagship AUDAC ATEO loudspeaker series is available in all-weather resistant models. The ATEO series is designed for fixed install indoor and outdoor applications. Thanks to the patented CleverMount+ mounting technology, these loudspeakers have the advantage of making the speaker cabinet flow together with the mounting bracket, providing great ease for installing the loudspeaker in one good-looking entity. A safe installation of the loudspeaker is acquired thanks to the separate bracket base. AUDAC has now optimized the loudspeaker by introducing an aluminum grille with hydrophobic mesh behind it to achieve an IP65 rating.

The Biamp Desono C-IC6LP and DX-IC6LP profile, high-efficiency ceiling-mount loudspeakers debuted for conference rooms, and a range of affordable commercial loudspeakers compatible

Installed Speakers TECH SHOWCASE

with the Vocia line of voice communication solutions, all of which are now available globally. The Desono C-IC6LP and DX-IC6LP offer the shallowest, low-profile ceiling loudspeaker form factors on the market with just a 4” (10 cm) mounting depth. Optimized for speech reproduction in conferencing environments, the C-IC6LP is a two-way 6.5” (16.5 cm) passive coaxial loudspeaker with either standard category cable or traditional speaker cable installation connection. The C-IC6 includes RJ45 jacks (for connection to the Biamp AMP-450BP) and is lowimpedance only (no transformer). The DXIC6LP includes a switchable 60W transformer and low-z tap and omits the RJ45 jacks. Biamp also introduced the Biamp DC220T, a 2’ x 2’ (61 cm x 61 cm) lay-in tile ceiling loudspeaker that provides wide coverage and higher output, ideal for high ceiling applications. The new Biamp CM10TB is a one-way 5.5” (14 cm) in-ceiling back-can loudspeaker that delivers clear audio for speech reinforcement applications

The Biamp CCA-80 is designed to solve the acoustical challenges presented by long aisles and concourses found in

warehouses, sports complexes, shopping malls, hotels, themed entertainment venues, and more. The constant coverage asymmetrical loudspeaker minimizes reverberation and enhances intelligibility for applications that require clear paging and quality background music. Offering an industryfirst asymmetric, rectangular coverage footprint with a longer throw distance, the CCA-80 minimizes necessary loudspeaker count.

The Bose Professional EdgeMax EM90-LP and EM180-LP expand the EdgeMax line of in-ceiling directional loudspeakers. The LP models are designed for smaller rooms and spaces where they can work together with the original line of loudspeakers. The new LP models have been specifically designed for rooms with lower ceilings and challenging installation requirements; they have a 4-inch backcan depth that makes them 60 percent shallower than the original models. The new additions also sport an 80-degree vertical coverage angle intended for conference rooms and workspaces with lower ceilings. Comparatively, the original EdgeMax loudspeakers feature a 9-inch backcan and 75-degree vertical

AUDAC

ATEO

Biamp Desono

Biamp CCA-80

Bose EdgeMax

Installed Speakers

and greater SPL in bigger spaces with higher ceilings. All of the models feature dual-drivers and patented PhaseGuide technology for projecting sound asymmetrically into a room. EdgeMax loudspeakers are purposebuilt for specific horizontal coverage—90 degrees for corner placement or a wider 180 degrees for near-field and wide coverage.

At InfoComm last year, Electro-Voice launched the next generation of its successful EVID series ceiling speakers. The standard Electro-Voice EVID-C-G2 series includes seven models and replaces the existing C series; the addition of five Electro-Voice EVID-EC entry-level models further expands the previous product lineup. Collectively, the 12 new models provide mix-andmatch price/performance options that can be selected to precisely address the distributed audio requirements of different areas in an installation. Configurations range from 3” full-range to 8” two-way and subwoofer models, and include dedicated models for specific applications, such as low-profile, highceiling/high-performance, UL 1480,

for high humidity spaces and is IP45 rated. All C-G2 and EC models are UL 1480A and UL 2043 certified. The newer options are acoustically compatible with existing EVID ceiling speakers.

The Holosonics Audio Spotlight AS24i offers the strongest output and deepest low-frequency response of the company’s highly directional models. It is designed to compete with noisier environments or areas requiring more coverage, making it great for museums, trade shows, supermarkets, outdoor applications, and many retail environments. It easily replaces standard 2x2ft. ceiling tile with no additional hardware. It includes a built-in microSD player, and balanced and unbalanced audio inputs are standard. Bluetooth and motion sensor options are available, and it has a standard VESA100 mounting pattern.

The L-Acoustics Xi Series, an extension to the popular X Series of coaxial speakers featuring the X8i and X6i models is designed to meet the demands of every type of integration project that requires powerful, premium sound in a discrete format that can seamlessly blend into any room architecture. The Xi Series offers a range of installation-focused coaxial enclosures with distinct formats, bandwidth, and SPL specifically tailored for short throw applications.

tonal balance over distance. This technology ensures smooth coverage for off-axis audiences, eliminates the need for a minimum listening distance, and provides high feedback rejection. With an exceptional bandwidth-to-size ratio, the Xi Series incorporates L-Vents to deliver clear low-frequency power and features a weatherresistant IP55 rating, making it suitable for indoor and outdoor installations.

The “zerobezel” version of the 4-inch and 6-inch Q-SYS AcousticDesign (AD) Series ceiling loudspeakers includes the ADC4T-ZB, AD-C4T-LPZB, AD-C6T-ZB, and ADC6T-LPZB. They feature a white grille without a bezel, designed to meet the architectural needs of modern applications while preserving the premium acoustics that the AD Series is known for. Additionally, retrofit accessories are available to add the new grille to recent Q-SYS loudspeaker models (NL-C4, AD-C6T-HC, AD-C6T-HP), and black grilles are also available separately for all models.

Holosonics AS24i.

L-Acoustics Xi

Speaker, the most compact model in RCF’s NXL Active Column Speaker Series. It features a dual 6-inch woofer configuration and a 1.75-inch PKX driver on a rotatable TRW waveguide, powered by a 2100W amplifier, and is available in black or white. This speaker is ideal for both portable and fixed installations.

Suitable for high, open-structure and sloped ceilings, the Yamaha VXH series comprises two models, the VXH6 and VXH8, engineered for optimum background music and voice reproduction. Featuring a 120-degree dispersion pattern, the 6.5in VXH6 has a peak power handling of 300W and is designed for use where the speakers are to be suspended at a relatively low level. The 8in VXH8 has a narrower dispersion pattern of 75-degrees and a higher peak power output of 360W for higher suspended positions. Installers can mix and match both models, as well as with other speakers in the comprehensive Yamaha range. Weighing just 5.7kg and 7.2kg respectively, The VXH6 and VXH8 support high and low impedance connections, while the speaker wattage can be easily switched even after installation, thanks to the straightforward tap selector. VXH series speakers are IP45-rated and are supplied with a Gripple suspension hardware and wire kit for easy, safe height adjustment during installation.

Installed Speakers TECH SHOWCASE

In April, the EAW NT206L debuted as the first in the NT Series from the company, aimed at simplifying audio setup and operation for production events. Though not pitched for installed applications, this new EAW Premier Class (P-Class) offering marks the first product conceived and designed entirely at EAW’s new facility in Franklin, MA, and may foreshadow future installed products. The compact, self-powered line array is designed for production companies and system integrators needing cost efficiency in a lightweight design. Among other benefits, it features adjustable horizontal horn dispersion in an enclosure made of both wood and metal. The NT206L features two 6.5-inch low-frequency drivers with 2-inch voice coils and a 1.75-inch high-frequency driver, with 1500 watts of onboard power. A newly patented EAW waveguide leverages EAW’s Focusing technology for high-frequency response. NT206L also debuts a new EAW Core Technology called Adjustable Horizontal Directivity

Utilizing the same complex steering algorithms as Renkus-Heinz’s flagship ICONYX columns, the UBX Series’ new Passive UniBeam Technology delivers with minimal distortions or side lobe artifacts. The UBX Series hardware addresses each transducer with specially designed allpass filter networks, gain shading and frequency filtering in order to generate a downward steered asymmetrical

— all

a sleek, unobtrusive cabinet that can be surface-mounted plumb to the wall to ensure minimal architectural intrusion in any space.

The Pioneer Pro Audio CM series offers a more discreetly sized range of options alongside the company’s flagship XY series, while also drawing on the company’s club-based heritage. These uniquely shaped speakers—neither square nor round—suit nightclubs, bars, shops, offices, hotels, and restaurants, and in tight areas such as corridors, bathrooms, and VIP zones. Newer additions to the range include the affordable two-way CM-S54T, CM-S56T, and CM-S58T, and the Kelton-configured CM-510ST sub, all with installation-friendly transformer taps.

UBX16

UBX Series models feature

RenkusHeinz UBX

Pioneer CM series

PUBLIC SPACES

Large format digital signage for art and commerce

As people move through public spaces, the experience is increasingly defined by LED signage on an unprecedented scale. Innovations in canvas and content have finally started to point in a direction that serves marketing but can also be public art. It’s not a new trend; museums and theme parks have created dazzling large format visual experiences for decades. But recent installations suggest that technical and content creatives are finding the ways that public signage and art can uniquely bring life to our travels.

Since the original main terminal opened in 1958, Portland International Airport (PDX) has undergone numerous updates and expansions, but none rival the $2.15 billion expansion of the terminal core. It’s the fifth and final project in the Port of Portland’s transformative initiative to modernize the airport’s facilities, doubling capacity and elevating the travel experience for millions of passengers in the years to come. The project introduces a reimagined main terminal inspired by the natural beauty of the region. ZGF Architects designed the new terminal with biophilic elements, evoking the feeling of walking through a Pacific Northwest forest. The expansive space features more than 5,000 plants — including 72 live trees — and a striking 9-acre mass timber roof made entirely from Douglas fir, sourced from forests in Oregon and Washington. Display technology from Planar plays an integral role in the redesigned terminal. Travelers begin their experience at the upgraded PDX Main Terminal with an enhanced check-in experience featuring Planar LED displays installed at new airline check-in counters. Eight Planar DirectLight Pro Series LED video wall banners, each in an 83-foot-wide by 3-foot-high (42x3) array heighten the check-in experience by providing essential travel communications.

“The traveler journey was central to every design decision for the new PDX, and these dynamic displays behind at the airline ticket counters were another opportunity for us to streamline that experience,” said Michael Croston, Senior Manager of Aviation Program Delivery at the Port of Portland. After exiting the check-in area, travelers are dazzled by twin 120-foot-long by 25-foot-high Planar LED video walls located above North and South security checkpoints. The Planar CarbonLight CLI Series LED video walls with 5.2mm pixel pitches are seamlessly integrated with the terminal’s design and include

doorway cutouts to allow entry into the upper space. Wooden slats are mounted in front of the Planar CarbonLight CLI Series displays in a style that complements the undulating timber roof.

The video walls provide a vast digital canvas for generative art that brings Oregon landscapes to life. The artwork, “Extraordinary Windows,” was developed by Half Sisters Studios in collaboration with design agency dotdotdash, both based in Portland, and combine data-influenced imagery of Oregon-inspired scenes with creative content from digital storytellers. Using Unreal Engine, the 24-hour cinematographic piece dynamically adjusts to reflect the time of day, changes in the weather and how many travelers are passing through the airport. “We wanted to provide a unique lens on our region and celebrate our region’s diversity, both in terms of nature but also perspectives,” said Martha Almy, founding partner of Half Sisters Studios. In terms of how travelers experience Extraordinary Windows, dotdotdash Creative Director Fernanda Navilli hopes it will bring them a moment of pause, where they can stop the turbulence of traveling and feel really

present for a few moments. “If I were to hope for a lasting impact, it would be for people to feel how big and how diverse nature is here,” Navilli said. “Working with Planar provided us valuable local support, and we’ve also been able to consolidate our maintenance functions by using their displays in multiple areas of the terminal,” said Michael Croston, Senior Manager of Aviation Program Delivery at the Port of Portland.

SNA Displays built a high-profile, multi-screen video façade that allows advertisers to dominate an iconic corner in Midtown Manhattan. The massive, uniquely designed video display system, totaling more than 10,000 square feet, was added to the 37-story office tower at 5 Times Square, jointly developed and managed by real estate investment companies SL Green Realty, RXR, and Apollo Global Management.

Located at the southeast corner of 7th Ave. and 42nd St. directly behind One Times Square— and across from the busiest subway station in New York City —the six-piece LED spectacular at

5 Times Square reaches hundreds of thousands of tourists, locals, and commuters per day. Outof-home (OOH) media company New Tradition manages the digital advertising platform. Owner representative Sensory Interactive provided technology selection and design services.

The centerpiece of the LED spectacular is an 83-foot-tall display that wraps the corner at 7th and 42nd. SNA Displays manufactured custom elements to give the main screen a characteristic peak, mimicking the shape of the 5 Times Square skyscraper. At 65 feet wide, the corner-wrapping display alone contains more than 7.8 million pixels (3,150 x 2,480) and 5,000 square feet of display canvas.

Media company New Tradition manages advertising on the LED display system. Owner representative Sensory Interactive provided technology selection and design services. All six LED screens employ SNA Displays’ EMPIRE Exterior video technology in 8 mm pixel pitch.

The centerpiece of the LED spectacular is an 82’8” tall corner-wrap display facing 7th Ave and 42nd. The side facing 7th Ave is 24’8” wide while

the side facing 42nd is 40’5” wide. The vertically oriented display’s slanted top edge comes to a point to match the 5 Times Square skyscraper’s unique architecture.

The main face of the second-largest screen is 36’3” x 55’1” (1,380 x 2,100 pixels) with a 14foot return to allow extended view times for northbound traffic along 7th Ave. The other two LED screens face 42nd and measure 33’10” x 48’3” (1,290 x 1,840) and 33’10” x 33’7” (1,290 x 1,280), respectively.

The entire digital out-of-home (DOOH) platform is comprised of 15.5 million pixels and almost 11,000 square feet of LED video canvas. North Shore Neon provided LED installation services.

Up the coast, SNA Displays manufactured and installed a corner-wrap LED display for Boston’s District Hall. The vertically oriented display system is comprised of two 10 mm EMPIRE Exterior screens whose total display surface is 22’10” high x 25’2” wide (696 x 768 pixels). Orange Barrel Media owns and operates the digital-out-ofhome (DOOH) platform.

District Hall in Boston was created as part of a public-private collaboration located in the city’s Innovation District. Conceived as a space for innovators and entrepreneurs to exchange ideas and host events, the space has become a multi-purpose community center. Included in the original design of the hall was a unique exterior LED display system.

SNA Displays first installed the LED display technology at Boston District Hall in 2014 and was asked to again provide its display products in 2025. For the upgrade, newer diodes and a tighter pixel pitch increased the corner-wrap display’s resolution and image clarity. The serviceability was also upgraded to be front- and rear-accessible to streamline maintenance.

The corner-wrap’s resolution and image clarity were improved, as the display’s pixel pitch went from 12 mm to 10 mm. Additionally, the display system is now both front- and rear-serviceable to streamline maintenance. The total display surface is 22’10” high and 25’2” wide (696 x 768 pixels).

ID Signs removed the old displays and installed the new LED sign.

Massive Mobile

Our own industry walked the talk at ISE 2025. The world’s largest mobile LED screen, Photonics’ JUMBO162 display, comprises 374 INFiLED AR3.9 LED panels and was deployed outside the Fira de Barcelona during ISE 2025. INFiLED’s lightweight, high-brightness AR Series LED panels powered the screen, which was developed by Belgian company Photonics. The JUMBO162 is a 162sqm, 17,000mm × 9,500mm 4K display comprising incorporating INFiLED’s INFINITE COLORS technology. Its 3.9mm pixel pitch and peak brightness of 4,500 nits are designed for clarity in even the most challenging outdoor environments. The JUMBO162 stands at 13m high and can withstand wind speeds of up to 7 on the Beaufort scale (50-61 km/h). The display may also be reconfigured into the more compact JUMBO100HD, a 97.5sqm screen with HD+ resolution for applications requiring a smaller format. This ISE moment comes ten years after Photonics set a similar milestone in 2014 with the JUMBO162’s predecessor, the 100sqm JUMBO100.

Can This Be Fixed?

The architect and integrator divide

Writer

ERIC WENOCUR

Ihave always liked architecture, but I’ve come to dislike architects. Not the people themselves, but the AEC (architecture/engineering/construction) industry, because of how it handles technology—specifically our technology. By that, I mean audio, video, networking, communication, acoustics, and the work that enables them.

Every industry, profession, and academic area of study has its own history, vocabulary, standards, and practices, and those are hard to change. Unfortunately, the development of, and desire for, technology (beyond power and telephones) has moved faster than the AEC industry can adapt, leading to constant friction and often poor outcomes.

It is established practice for MEP (mechanical/electrical/ plumbing) to be handled by consultant companies allied

with the architects. That process is well understood, but the specialized requirements of AV and media systems don’t fall neatly into MEP. The result is a certain kind of chaos that seems to haunt these projects.

Much of my work begins with a request from a client who does broadcast or media production, and I may do both the technical design and installation of their facility. In those cases, I am usually involved early, am regarded as a “subject matter expert” by the AEC participants, and can usually oversee the technical aspects (and how they interact with everything else). I call this role the “technical lead” and it requires knowing a fair bit about architecture, construction, and their trades, in addition to the AV technology involved.

But many projects don’t work that way. Sometimes I’m

brought in very late. Sometimes my best efforts are thwarted by the construction and contracting process. Sometimes it takes time to build trust with the right people, and for them to realize that they don’t know what they don’t know! Below are a few examples from actual jobs.

Video Studio for a University

This project unfolded pretty much in my “ideal” way. I was engaged by the people who wanted the studio built, was able to really understand their needs, and connected with the (in-house) architect from the start. The MEP engineering was also handled by the in-house staff of the school, so I could communicate directly with everyone fairly easily. In fact, they were surprisingly deferential to me, probably recognizing that this project was outside their norm (and they didn’t want responsibility for mistakes). At the same time, I want to be deferential to the experts in their areas, but it can be a delicate balance because I need to push back when something is not right.

As is typical, the construction was bid out and a general contractor was hired. On the whole, construction went well, despite a few unexpected changes due to on-site realities. Where I became concerned was with the sub and sub-sub contractors, and the loss of information down the chain.

One example is with sound-rated acoustical door assemblies (or adding seal kits to standard doors to reduce sound transmission). In both cases, I may suggest appropriate products, and the general contractor either buys and installs them or subs to a door vendor. I always warn the GC that installing these correctly is critical for good results, to follow the manufacturers’ instructions and proceed carefully. I almost never get a perfect outcome.

In practice, the workers installing the doors might work for the GC, might be subs, or subsubs, and my warnings rarely make it to the end person. That is one reason I visit sites regularly during construction! In this particular case, the GC’s foreman was pretty clear on the aim and did some of the work himself, so I’d say we got to 80% on the doors, which is quite good.

Actually, this scenario applies to anything involving acoustics, especially isolation. Few architects know the principles or methods, and often the people doing the work are not accustomed to the level of care required for the best result. I sometimes find that simply explaining the end goal can help to get that extra attention.

A bigger worry arose with the studio lighting grid, which is a unique item that is often installed by a specialty company (though that’s not really necessary). I specified what was needed and tried to make clear that it could be built on site since it is nothing but 2” steel pipes. I suggested a couple vendors who sell the special hardware used to attach and suspend the pipes. In this case, the GC let the drywall contractor handle it, and they chose to purchase the entire grid, pipes and all, from one of the vendors located across the country.

This caused several issues. First it delayed installation of the grid because the vendor needed many weeks to put it all together. Second, it meant another link in the chain, with more submittals and shop drawings that had to be approved. Third, the pipes had to be cut into smaller segments for shipping, so the grid needed a lot of couplers (which get in the way of lights). In

“It seemed crazy that the GC would let a sub who had never installed a lighting grid be responsible for a real safety issue.”

the end, some pipes were cut on site anyway to fit the conditions, so it would have made more sense to buy 20ft lengths locally. I tried to get this across multiple times, but to no avail.

Most importantly, it was unclear to me if anyone was accounting for the hanging load of the grid and all the lights (over 1000 lbs total). The vendor made specific recommendations for how many concrete anchors to use, but they had no knowledge of the actual conditions. I brought this up with the architect and the GC, neither of whom seemed concerned. I got the sense that they were willing to kick responsibility down to the sub-contractor.

Did this require input from a structural engineer? Maybe not, and perhaps I was being overly anxious. But it seemed crazy that the GC was willing to let a sub who had never installed a

lighting grid before, and was buying the assembly from a third party, be responsible for a real safety issue. What would happen if something fell?

Relocating a Studio for a Different University

Here we have an existing video production studio that I had installed in 2013. At the time, it was included in the renovation of an office building to house a new branch of the school. The person who wanted it built had a background in television, so they brought me in, along with a lighting company and set designer with extensive broadcast backgrounds. What we built was a small but showy professional studio (with an unfortunately undersized and noisy control room) that became quite busy over ten years.

Forward to 2023, there’s talk about relocating to a new campus and “moving” the studio. Since I was still working with this client, I began asking if I should be involved in any discussions. The answer was something along the lines of, “Not yet, they’re still figuring out space planning for the new building.” Needless to say, that is precisely when I should have gotten on board! This continued for a while, and at some point, the people who ran the studio (my clients) did talk with the “design team,” but without me.

Eventually they started getting requests from the design team for things like lists of equipment, power and heat loads, etc. At this point I’m getting worried because I’m quite sure that whoever is asking does not have any experience with video studios. So I provided the full set of documentation from the original build, hoping it would “shock” them into realizing this is a complex undertaking. I also kept stressing that the design team should visit the existing studio so I could show them the special aspects!

Finally someone realized they needed help, and I was asked to join officially as the “studio designer.” Then I got a set of architectural drawings that showed a nice large studio, but a control room, green room, and equipment room layout that made little sense. I responded with some revised floor plan suggestions and notes regarding electrical, HVAC, and other requirements for the technical systems.

I was told that it might not be possible to make those changes because the permit set had already gone out. My response was that nothing has been built yet, it’s just a CAD drawing, and do they really want a facility that is less than adequate for the next 10 or 20 years?

A Bit of Help, Maybe

Back in 2017, I even had the idea to start a consulting business for helping architects and their kin better understand and incorporate the new technologies in their projects (what I call MEP+T). After a few meetings, I found that architects knew there was a real problem, but didn’t seem interested or able to find a solution. One reason I heard was that there’s no “line item” to pay someone for technical oversight on projects. The best advice I got was to propose my ideas to owners (or owner reps), not architects. I started down that road but ran out of steam. Can this be fixed? I’m still wondering how to get AEC to recognize that extensive technology is now integral and expected in the built environment. Rather than an added feature, it’s more like a fourth utility, and should be handled as such.

Maybe we can have a big conference, with workshops and lots of coffee! No, sorry, a lot has to happen before MEP+T has any traction. The industry is huge and deeply invested in their way of working. The best I have right now are some strategies that I’ve been learning the hard way:

1

One of the problems that comes with separating design from installation, using niche consultants, and using sub-contractors, is that people may only be told about what “their part” entails. It’s worth trying to share more information, to clue in everybody about the complexities of the project. People who understand their role tend to be more invested in the work, and everyone appreciates knowing why all the fuss matters.

2

Conversely, I often wish I had known about something that

might seem out of my area, but is actually pertinent. It doesn’t hurt to ask for more documentation, clarification, or whatever is needed to make sure your part will work.

3

When dealing with a specialized system or facility, show examples to illuminate abstract concepts. Use past project docs, equipment cut sheets, Google Images... If possible, take critical participants to see actual examples.

4

Don’t assume that the architect, or really any one entity, is the boss of the project. Try to find out who will make and approve decisions that involve the AV systems, or how that gets done. If there is no technical lead (in my sense), the answer might be hard to pin down.

5

Don’t be ambiguous or give too many options. I have a tendency to say things like, “We could get this type of fixture, or others are acceptable,” but have come to believe that architects and general contractors usually don’t want choices, they want a clear directive. Or, at worst, To Be Determined.

6

Avoid overload. I like to be clear and provide plenty of information, especially when things are truly not simple. But our systems require so much extra attention as it is, the AEC people may not have the bandwidth for a total data dump.

7 When you can, safeguard the user experience. The architects have other things on their minds, and the owner reps don’t have the expertise. The unsung heroes of these projects are the engineers and project managers who push back when decisions along the chain will ultimately fail the end user.

Fortunately this did not fall entirely on deaf ears because the owner’s rep was sympathetic. But the lead project manager, the design team, and “upper management” at the school still did not seem to understand what rebuilding this studio would entail.

I’m convinced that nobody ever went to see it, or certainly did not perceive the details. If they had, they would understand why just moving everything between two locations is overly simplistic. They would know that the existing (rather expensive) control room desk would not fit in the new room; that there are connector panels and cabling to account for; and that the existing set consists of several very large LCD displays mounted on steel armatures, with a background “skin” and lots of in-set LED lighting under plexi panels. Not only is it custom to the space, but it includes big, heavy pieces that cannot just be unplugged and rolled away. Plus, the displays themselves are still working, but arguably due for replacement.

On top of architectural issues, I was asked about what equipment could be retained to minimize cost. In truth, many major pieces are still appropriate and working fine, but some definitely need a refresh, and this is a good time. For some reason, they were under the gun to provide budget numbers, so I estimated what I could based on updating the existing design.

Forward to Fall 2024, and the project manager organized a review meeting at which we were able to discuss my suggestions with the architects, owner rep, and the foremen who are actually at the building site (now in full construction mode).

To my surprise, parties were amenable to some important changes—as long as they did not slow down construction, because management wants the studio functional by Fall 2025.

We also discussed studio ceiling height, which varies across space, and the intention to hang a drywall ceiling over the studio, which is rather unorthodox. That came courtesy of the architects’ acoustical consultant because of potential noise from above. Okay, nothing to be done about that. But the height variance made me change the orientation of the set, which has other ramifications. I sent back more updated drawings.

As I write this, I am waiting to see whether my suggestions will be incorporated, whether there will be a sufficient equipment budget, the status of construction, etc. The good part is that I have a contract in place for consulting, and for the technical de-installation and reinstallation of the

facility, which is how it should be. I plan to hire the original scenic company to move and rebuild the set.

I must admit, at several junctures, I was ready to either give someone holy hell or just walk away. Neither were great ideas, but the level of chaos was unusually high. Part of the reason, I suspect, is that this studio had no actual “owner” initially. That is, for the last 10 years it had operated under the auspices of building services, but was used by several departments. When the new campus started to become a reality, there was nobody with authority to lead the studio project. It had operators, but no true advocate.

Missed Opportunity

The last example is a bit different because my role was only as a consultant to help the client specifically with a media storage system for their production work. I was not involved in any aspect of their new facility, but the media storage involved several large servers, 10Gb network connections to one room, and Wi-Fi connectivity for another. So I had to make sure the proposed IDF room was large enough and cool enough, and the power and network were done correctly.

The nature of this client and the way their move to a new facility was structured meant that the architects were driving the bus and, as usual, brought in an AV consultant because the client had a range of AV needs. They would have a video shooting studio (which was meant to double as a multi-purpose space with projection and audio playback), classrooms with AV systems, meeting rooms with AV, ancillary spaces with AV, an audio/podcast booth, and an office for several video editing systems. There was a different contractor for network cabling. But there was no “technical lead” to oversee all the pieces.

Relatively late in the game, I got the architectural docs and saw that someone had specified lots of cable tray across the space, which was good. It appeared that the IDF room would be okay, but it was not clear how equipment racks and power would work—particularly for the servers I would put in. A discussion with the architects ensued in which I sent some drawings of how I thought the room should be laid out, the power requirements, etc.

Several months later... The facility is finally nearing completion and I went in to start planning my work. Of course, the IDF room was not outfitted as I had requested, there was a dropceiling where I thought it would be open, power

had not been run, etc. I had also mentioned to the client several times that we would need a full-depth (broadcast/AV) rack for the servers, but apparently nobody was supplying that; the IT contractor had brought in a couple two-post racks. Plus, by this time there was an additional company hired to connect and manage the network and computers. As it happened these were people I knew and who are also familiar with media servers, so we could talk the same language.

A quick on-site meeting was called with all the participants to get the IDF room settled. This did result in getting (mostly) what I had requested, and I happened to have a full-depth rack in storage, so I was able to install the servers a few weeks later.

Then I came back to do the network connections, turn everything on, and start configuration. At that point, the client was moving into the new facility and beginning to discover what met their expectations and what didn’t. The studio was a particular sore point because the projection and audio reinforcement was nothing like what they wanted, and there was an AV rack taking up space where it didn’t need to be. It seems there was a disconnect between the client, architect, and AV consultant about how this space should be outfitted, and fixing it was going to cost money. I also provided some advice about acoustic treatment, particularly for an editing room that was highly reverberant due to being small and entirely hard surfaces, with no ceiling.

So here was a case where a “technical lead” would have been a huge benefit. If only I had been involved from the start! Unfortunately, the client’s naivete led them to trust the process without realizing where the architects were out of their depth, and where using sub-contractors without general tech oversight would cause trouble. Truth is, even if I had known this client earlier, and had suggested being their tech consultant, that would have meant convincing them of a need that they probably did not perceive, as is often the case.

A Summary of Folly

I’m sure many readers will recognize parts of these stories, and I’m aware of some moves by integrators and manufacturers to build bridges and raise awareness with the architecture community. That’s great, but it can only touch a tiny fraction of the need (and is often in service of

selling products). It seems like the methodology I’ve observed in AEC encourages keeping the status quo, which includes:

1a) The use of consultants for anything the architecture firm does not handle in-house or understand, many of whom operate as a kind of “side show” that does not connect with the client (as in the third example above). And there seems to be a perception, among architects and owner reps, that every specialty area needs a different consultant or installer, which may not be the case.

1b) The apparent belief that architect + consultants = good outcome. For AV systems, technical oversight and coordination is usually needed, but the idea of a “technical lead” doesn’t fit in the current process.

2) The passing on of responsibility—and then liability—to consultants and sub-contractors. Sometimes it seems as though the architects and GCs would rather have someone to blame than to have the job done right in the first place.

3) The potential for loss of information as work passes from architect to GC to subcontractor to sub-sub-contractor(s). I’m not confident that what I tell the architect or GC will be followed—even if it’s in the drawings.

4) Using different companies for design and installation of AV systems. I am not a fan of a common model that says essentially: If the designer can make the specs tight enough, whoever gets hired for the next stage will have to get it right (and if they don’t, they’ll be held responsible). Not only does that put the installer in a difficult position, but it leaves nobody responsible for the quality of the end-user experience

5) An AEC community that is not prepared for the amount of detail and time required to incorporate AV systems. Compared to office space, it takes a lot more work per square foot to design and build a tech-heavy conference room, and even more for a video or audio studio. Nor are they aware of concerns and interactions that are unique to AV (ie, “If you move those conduits we’ll have to move the displays, which means moving the speakers, but now they’re pointing right at the lectern mic...”).

6) Chaos.

Technical Interior Design

Integrating Architecture, Acoustics, and Technology

WSDG Partner, Art Director With

At Walter Storyk Design Group (WSDG), the team works in close collaboration with valued architect and design partners to integrate architecture, acoustics, and technology into a cohesive design strategy to achieve architectural excellence.

What is Technical Interior Design? One of the driving principles of interior design is the relationship between its aesthetic qualities – the design, colors, lighting, etc. – and its emotional impact on people. The concept of comfort, coziness, and balance is what really draws people into a space and makes them feel emotionally connected. Technical Interior Design [TID] is taking these visual and emotional concerns and balancing them with the technical aspects of a modern integrated space.

Why is Technical Interior Design important in modern project planning? In the modern world, every space has a relationship with acoustics and technology. Oftentimes, however, the acoustic, technological, and design elements of rooms are not considered together, which results in a disjointed relationship between them and can adversely affect the function and experience of these spaces. Uniting the disciplines of architecture, acoustics, and technology in the design process and balancing them thoughtfully creates exciting, meaningful spaces that resonate deeply with those who experience them.

When should Technical Interior Design enter the process when considering a project? Architectural firms can benefit greatly from integrating TID into the project planning process from the very beginning to ensure optimal results. Not considering the acoustic and technical properties of a room until later in the project can hurt project planning, costs, and

SILVIA MOLHO

construction. When WSDG is brought into these projects by partner firms, our role is to bring this understanding to the design process and advise on the positive impacts it can have on every aspect – from project planning and cost, to design, integration, and construction.

How can Technical Interior Design impact the design process? For WSDG, the first step is always understanding the needs of our design partners and educating them on these concepts as the vision for the project begins to take shape. When partnered with an architectural firm, we assemble a technical interior design package that provides architects and designers with insights into how their design choices impact the acoustics, technological integration, and functional immersion of a space. It encompasses every detail of the project, offering realistic renderings of the final results and specifying elements like engineered wooden floors for durability and flexibility, or anti-static carpets to eliminate the risk of electro-static interference, as well as how best to incorporate IAT – Invisible Acoustics and Technology, into the design process. If we are fully responsible for the design of a space, all of these considerations are made internally in our design recommendations.

Project: La Cigale Sky View and Madison Piano Bar Architect: Batimat

This was a case where the technology was deliberately visible, while the acoustics were rendered invisible. The interior design featured complex ribbed shapes and lighting arrangements, seamlessly integrating acoustic materials behind the scenes. In addition to being chosen for aesthetic reasons, the ribs and curves also incorporate specialized acoustic treatments to ensure a high-quality auditory experience in a large-volume space.

Adjacent to a large convention center, Doha’s La Cigale, this luxury hotel presents guests with a wealth of color, textures and creature comforts. Specifically, the hotel’s sleek Piano Bar provides the ultimate listening (and speaking) environment. With interiors graced by Murano chandeliers and furnishings courtesy of Edra, Philippe Starck , and Carlos Cruz-Díez , the 189 rooms, 36 suites, fitness center spa, indoor pool, restaurants, and related accouterments, this is a one-of-a kind showplace. Views from the top floors of the nineteen-story building, sweep the cobalt day and nighttime star field sky above the desert surrounding this oil-rich city.

The hotel’s only wrinkle was discovered in the sophisticated Madison Piano Bar and rooftop Sky View Terrace. Just prior to its formal opening, guests invited to a preview performance were rattled by a harsh acoustic anomaly. While no expense had been spared to ensure the most tasteful and attractive surroundings, the contractor engaged to build the room was alarmingly lacking in acoustic expertise. As the performance began, the installed sound system immersed the room with music so abrasively loud that the walls began vibrating, and the guests were driven out by an intense dB tsunami. A similar problem was discovered at the Sky View venue. Because this club was set in an open-air rooftop environment, the reverberation issues were not as severe, but the inappropriate systems installation needed to be replaced, and additional acoustic treatments were required.

Having resolved previous acoustic complications for Doha-based clients, WSDG dispatched a team of acousticians to investigate the cause and ameliorate the problems. Engaging sophisticated structural, acoustic, and sound isolation programs, the acousticians discovered a perfect storm environment. Issues included a compromised electroacoustic design scheme; an unsuitable sound system selection and installation; highly reflective surfaces; and a resounding lack of interior ceiling wall and floor isolation.

WSDG’s comprehensive analysis recommendation was for the complete reconstruction of the Madison Piano Bar. This new “room-within-room” design stipulated ‘recording studio-level’ acoustic isolation treatments. The solutions included floating floor and decoupled wall and ceiling construction, which effectively contain nightclub-level loudness within the club and eliminate sound leakage to adjacent rooms. NC at the Apartments / VIP suites was above NC 55, with an average FSTC of 45, which was insufficient to contain the 110 dB of the sound system of the piano bar. WSDG achieved NC 28 (the number is also related to the HVAC noise), and most importantly, eliminated low-frequency leakage after the isolation solution. (FSTC +>70!) Similar isolation and electroacoustic levels were established for the Sky View. Thanks to precise placements of acoustic treatments and a professionally installed and tuned replacement sound system, club-goers at both venues can now enjoy music and converse at comfortable levels, and guests in neighboring suites can sleep without audible intrusion.

International School of Panama Performing Arts Center

Architect: Mallol & Mallol

The International School of Panama’s Performing Arts Center is a 550 seat multinational theater that represents the most advanced and best-equipped venue of its kind in the country. Approached through a large entrance square, with separate areas designated for outdoor activities and performances, the theater was created to serve a number of diverse purposes, which range from music and dance to theatrical productions, films, political speeches, and (having been funded by Proctor & Gamble), corporate meetings and presentations.

All back-of-house facilities are accessible through a central corridor, connecting the various classrooms with the rehearsal rooms, dressing rooms, storage, and loading areas. An internal loading dock provides direct access to the stage. The classrooms are fully equipped for the school’s extensive art program. Soundproof rehearsal rooms, a music room, a black room, theater room, multinational art room, and a green room (which also functions as a lounge during regular school hours) are equally important facets of the complex. Audio, video, and lighting are all coordinated from a state-of-

the-art control room at the rear of the theater. The spacious, double-height lobby is crowned by a large cantilevered roof. In addition to its designation as the first floor reception area, it has also been designed as a well-lit gallery to showcase student work. Designed as a warm, inviting auditorium the theater is distinguished by colorful, plush red seats. The ceiling of this ‘boxwithin-a-box’ theater features six suspended ‘room-wide’ horizontal acoustic ‘clouds,’ which also serve as dramatic lighting fixtures. The walls are outfitted with angled vertical acoustic paneling and trimmed with handsome wood finishes. Concentrically orientated towards the stage with 2 vertical angles, the theater provides optimal viewing (and listening) from literally every seat.

Final Thoughts

As the world continues to evolve technologically, so too must the processes of architecture and design to incorporate it into the spaces that we live, work, and create in. The art and craft of technical interior design allows us to connect all of the elements in a beautiful, harmonious way, resulting in environments that flow and function seamlessly. Technical interior design has become a foundational approach that continues to reveal new and exciting ways for the worlds of technology and design to connect.

CANVAS & CONTENT

NASCAR The Wall

In January, Samsung became a NASCAR Technology Partner and will provide digital displays to elevate the NASCAR fan experience, racing operations, and enterprise processes. The multi-year partnership will begin with the introduction of Samsung’s displays and monitors for NASCAR Productions’ newly launched remote race control room.

Housed in NASCAR’s 58,000 square-foot production facility in Concord, N.C., the state-of-the-art control room features Samsung’s The Wall as its centerpiece, allowing officials to review comprehensive, real-time video, audio and data from the track and remotely officiate races. The installation of The Wall spans a noteworthy 32 feet wide and nine feet high.

The new control room sets the stage for NASCAR to remotely execute officiating in a precise and data-driven approach for large-scale races nationwide. During races, up to 24 officials in the room will use The Wall as their primary screen to access replays from the SBG Sports Software system, capable of aggregating up to 200 camera angles, all driver audio and voice-to-text transcription of team radio transmissions. The Wall’s true-to-life picture quality will deliver the footage and data with the finest level of detail, equipping remote officials with crisp and clear information to confidently make decisions on penalties and race results.

Remote officials in Concord, N.C., will remain fully immersed in the racing action via live feeds and intercom communications to consult with their

counterparts at the track. The Wall’s large-scale display provides the officials with a real-time view of information as drivers make their laps and pit stops. The screen will showcase a variety of data, including feeds from onboard cameras, Engine Control Units (ECUs), optical tracking cameras, Pit Road Officiating (PRO) systems and official cameras positioned at the pit, start and finish lines, restart zones and other key locations.

Officials will use a range of Samsung monitors to gather and analyze insights, including 25 models of the 27-inch ViewFinity S6 high resolution monitor and seven models of the 490-inch Odyssey G9 monitor. The ultrawide, curved Odyssey G9 monitors offer extensive screen real estate for officials to simultaneously view and assess multiple data sources, enhancing their ability to efficiently support track operations.

“Remote Race Control will give NASCAR officials unparalleled views of more than 200 camera angles with multiple data points from every car that were previously not available,” said Steve Stum, NASCAR Vice President of Operations and Technical Production. “It will also allow us to make competition calls faster and more accurately than ever before to ultimately help improve the product.”

The remote race control room was fully operational and debuted to support the 2025 NASCAR Cup Series that kicked off with the Cook Out Clash at Bowman Gray Stadium in February.

Big Sports

OmShera Holdings, a prominent hospitality group, sought to revolutionize the guest experience at their Blinders Sports Lounge in Charlotte, NC. Their vision: to create an immersive, high-quality AV extravaganza with the energy and scale of Las Vegas sportsbooks. To bring this bold concept to life, OmShera enlisted the joint expertise of experiential design specialists, DCBolt Productions, and Peerless-AV.

The project, initiated in March 2024 and set for a March 2025 opening, included a cutting-edge 14K 850-square-foot dvLED video wall, a bespoke speaker system, and an integrated AV solution.

Peerless-AV and DCBolt recommended a 57” wide custom-built dvLED video wall to meet the unique design and technical requirements of the space. The video wall, measuring 57’ wide by 22’ high, was mounted using a SEAMLESS Bespoke Floor-to-Wall mounting structure.

The dvLED video wall’s pixel pitch of 1.8mm was chosen to optimize viewing from the Lounge area, where patrons would be seated at varying distances. The video wall was designed with a unique 10-degree forward tilt to ensure an optimal viewing experience for guests seated in the lounge booths, which were recessed to further enhance viewing angles.

For audio, DCBolt engineered a premium 50,000 watt VOID Acoustics sound system. Nexus 6 arrays and Airten horns are strategically placed around

the venue, including the DJ booth, while multiple Arcline and Venue series subwoofers are hidden. To match the lavish 1920s-inspired vibe, custom 24k gold-plated Cyclone 55s reside above the main bar.

The structural design of the dvLED video wall went through several iterations before final approval, with all teams working closely with the general contractor and interior designers to accommodate structural constraints, cooling needs, and guest viewing angles.

As part of the first stage of installation, the dvLED video wall was assembled in December 2024. By early February 2025, the installation team began stage two, which involved populating the video wall with the 175 1.8mm dvLED cabinets.

With the structural and video wall assembly completed by February 28th, 2025, the installation team proceeded with stage three to check and program the Crestron controllers, ensuring that the content management system (CMS) would allow for easy adjustments to the layout and content of the screens. The final stage and checks were completed on March 10th, 2025, with the audio levels tuned and verified by VOID Acoustics.

The result of this collaboration is a state-of-the-art sports lounge and entertainment venue that can also be transformed into a high-end night club environment at the push of a button.

Shared Reality

What is Cosm?

Writer CYNTHIA WISEHART Chief editor

Former theme park designer

Designers in the themed entertainment industry have long envisioned standalone theaters that would bring the kind of high impact video experiences seen at world’s fair or in theme parks to a local city block.

It’s not a surprise that such a breakthrough would come from a company with a pedigree in planetariums, deep relationships in the sports world, and venture capital backing. These players came together in an unlikely time, starting in 2020 to investment in immersive extended reality buildings that would bring marquee sports and other out of home events to a larger-than-life canvas.

But the roots of Cosm go much farther back in large format and immersive video through the threads of its seed companies, especially Spitz and Evans & Sutherland.

In 1947, Armand Spitz built his first opto-mechanical star projector. The unique dodecahedron-shaped star projector became a mainstay in planetariums for many decades, with hundreds of installations in US schools during the space race of the ‘60s and ‘70s.

In 1963, graphics pioneer Ivan Sutherland invented his groundbreaking “Sketchpad” an artistic computer graphics tool. Five years later, he built the first VR headset, “Sword of Damocles”, paving the way for virtual technologies. Dave Evans & Ivan Sutherland founded the Computer Science School at the University of Utah and formed Evans & Sutherland in Salt Lake City. This became the nexus for computer graphics innovation for decades and many great innovators got their start here.

In 1981, E&S brought its history of flight simulation to an idea they called Digistar that would revolutionize planetarium shows

TECHNOLOGY AT WORK High Impact Video Display

to this day. They used calligraphic projectors, designed to recreate runway lights, pointed them up at a projection surface, and created the world’s first digital 3D planetarium. Digistar 7 is the latest version of this software and was released in 2020.

In 2006, Spitz and E&S came together as a single company to further the art and science of dome engineering, software, and real-time rendering.

Meanwhile, on a separate track, another team of industry leaders with deep experience in sports and live immersive broadcast out of Fox Sports and LiveLikeVR became Cosm Immersive. This team produced Super Bowl LI and Fifa World Cup 2018 among others.

In 2020 all these threads came together, as Evans & Sutherland/Spitz and Cosm Immersive becamse Cosm Inc, as an affiliate of Mirasol Capital.

Armed with decades of broad expertise, industry relationships, and investment resources, the team took their big out of home plans and headed into Covid. In 2022, NBC tapped Cosm to provide ultra-high resolution immersive 8K streaming feeds for its virtual reality coverage of the XXIV Olympic Winter Games, from Beijing, China, that February. In November 2022 for the FIFA World Cup, Cosm Immersive produced and distributed a Semifinal and the Final for Pico/ ByteDance in live, immersive 8K.

In 2023, Cosm acquired immersive sports and broadcasting company C360, and in 2024, Cosm debuted their first large format purpose-built shared reality venues in Hollywood, between SoFi Stadium and Intuit Dome and at Grandscape, in The Colony, outside of Dallas, TX. Plans are underway for venues in Atlanta and Detroit.

Today, the company still makes its mark on planetariums, and partners with the biggest leagues in sports including the NBA, NFL, NHL, UFC, WWE, PGA, PBR bull riding, pro surfing, and more, presenting out-of-home interactive fan experiences in “shared reality.” In March, a partnership with Warner Bros. brought The Matrix to life in an immersive experience that the press described as a mini-Sphere, after it’s resemblance to the Las Vegas Sphere. Cirque du Soleil’s “O” gets the immersive treatment

In what Cosm called a ‘shared reality,’ the matches, games, and films are shown on an 87foot LED screen. It looks and feels as if you are at the stadium watching the event. And these are no cheap seats, you are field side, behind the net or in the end zone. The technology is known as “the dome” and is powered by Pro AV tech like the Unreal Engine on a 9,600-square-foot fine-pitch display that wraps completely around the audience from the ceiling to the floor. Cosm has its own cameras at the events as well.

The Technology

Cosm’s CX System is an end-to-end LED dome display, software, and content solution, available in a vertical, partial dome, overhead, or tilted dome. The company describes these as the “world’s first true black domes”. Its matte-black surface minimizes cross-reflections, enhancing realism and making audiences feel fully present.

This advanced LED dome ensures exceptional resolution, brightness, and contrast, offering long-lasting reliability for your content. Cosm’s Shared Reality software enables you to design and manage a range of immersive experiences, from live, interactive events to complex scientific simulations. CX Engine is a versatile tool for creating interactive experiences. It integrates multichannel video, Unreal Engine, and realtime content, to smoothly manage multichannel

Shared reality is designed as a collective, communal experience, rather than just individual VR or AR experiences.

immersive video. For applications that use Digistar, its Unreal Engine integration can transport audiences to historical landmarks, engage them with interactive content, and deliver dynamic educational experiences. This integration leverages Digistar’s top-tier synchronization and distributed computing power for smooth playback of complex Unreal projects. A rich library of media is available from astronomical models and datasets sourced from throughout the Digistar community, to a catalog of immersive films, shows, and customizable templated content. Cosm also does original content.

The company’s Digistar technology supports 72-bit processing. NanoSeam screens have no overlaps or crimps and have color-matched rivets.

The Media

Cosm Media comprises Cosm Studios, Cosm Immersive, and C360. Cosm Studios provides full dome films and custom content. Cosm Immersive partners with broadcasters on major events to deliver live and on-demand videos that transport viewers as if they were physically present. Cosm’s immersive content production and distribution division blends the virtual and physical worlds into ‘Shared Reality’ experiences. Cosm Immersive does fixed installations designed for leagues and teams. These installations empower our partners to provide customized live and replay controls. C360 brings sports moments to life with 10.5K ultra-high resolution video capture technology. Powered by Emmy-nominated technology, C360 transforms how content is captured and delivered. Built for the pace of live production, it delivers immersive live coverage, cinematic replays, and game-defining moments.

High Impact Video Display TECHNOLOGY

The Venues

In addition to their work for planetariums and other venues across the world, Cosm has two purpose-built immersive venues and two more on the way. All venues show regularly scheduled sports, arts, and entertainment, have bar facilities, and are available to rent.

Los Angeles

Cosm Los Angeles is a 1500-seat venue located in Inglewood, which has become an experiential hub with iconic destinations such as SoFi Stadium, Kia Forum and Intuit Dome. Programming has included interactive NBA Finals and NHL Stanley Cup Finals, and immersive rendition of The Matrix and Cirque du Soleil’s “O”, UFC, WWE, and Bo Bridges’ big wave surfer movie spectacular.

The Venues

Dallas

Cosm Dallas is located at Grandscape in The Colony. Like the Los Angeles Cosm it was designed by HKS Architects, to encompass a dome theater, a sports bar, and an observation deck. It shows similar programming to Los Angeles. Recent programming includes an opportunity to get close to the action of professional bull riding.

Atlanta

Cosm’s third venue at Centennial Yards will encompass 70,000 square feet and feature the company’s proprietary technology throughout, including an 87-foot diameter 12K+ LED dome. Working with awardwinning architecture firm Gensler, the venue will expand on the foundational design of Cosm’s first and second venues in Los Angeles and Dallas, respectively, and ensure its values and iconic features are embodied while still incorporating unique characteristics that reflect Centennial Yards and the Atlanta community at large.

Detroit

For the development of its fourth venue, Cosm has hired ROSSETTI, local multi-disciplinary architecture firm with roots in Detroit. Like its other venues, Cosm Detroit will feature its world-class design and proprietary technology, including a 26.6m 12K LED dome and an adjacent hi-resolution LED wall similar to the 150 ft long display at the Cosm in Hollywood Park.

High Impact Video Display TECHNOLOGY AT WORK

Peerless-AV Xtreme High Bright Outdoor Display

The Peerless-AV Xtreme High Bright display features a fully sealed, IP66 Rated design and a patented thermal exhaust system. Xtreme High Bright outdoor displays are fully protected against water, dust, moisture, and even insects. The display’s cover glass is optically bonded, which increases the perceived contrast ratio and cuts down on glare, providing amazing picture quality even in direct sunlight. With an operating temperature range of -31 degrees F to 140 degrees F, Xtreme Displays are designed to thrive year-round outside, without worry of extreme hot or cold temperature waves. This High Bright line of commercial displays offer 2500 nits of light output to combat high ambient lighting conditions, while the ambient light sensor automatically adjusts the display’s brightness to optimize the power consumption and enhance the viewing experience.

Absen KLCOB V2 Series

Absen’s KLCOB V2 Series 0.7mm pixel pitch displays leverage Micro LED technology and offer exceptional black consistency and a contrast ratio of up to 15000:1. The KLCOB V2 Series features high dynamic range, 600nits brightness, 3840Hz refresh rate, DCI-P3 cinema-level color gamut, and 2FPS low latency. Absen’s integration of Micro LED and HBB common cathode technologies enables the KLCOB V2 Series to remain cool under pressure, providing a seamless and vibrant visual experience. Designed for control rooms, the KLCOB V2 Series’ Micro LED technology offers comprehensive, 360-degree protection against external impacts.

Sharp LD-AF Series All-in-one FHD LED

Sharp’s LD-AF Series of direct view LED displays offer a streamlined, userfriendly solution that features built-in speakers, remote control functionality, and an interface for easy setup and operation. Designed for simplicity and convenience, these displays provide a unified user experience across Sharp’s line of system-on-chip (SoC) displays, and a streamlined installation process. Available in 138-inch and 165-inch diagonal sizes, they deliver Full HD (1920x1080) imagery, making them perfect for environments like conference rooms and meeting spaces that need a high-quality, hassle-free display. It offers system-on-chip design for versatile functionality powered by Android 13 with a high-end integrated media player, as well as support for third-party applications as needed. The integrated USB-C connection not only allows for DP-Alt mode, but also upstream capabilities for controlling peripherals through the separate USB-A downstream connection. It is fully compatible with Crestron Connected software, as well as Crestron XiO Cloud Service.

Absen Pixel Reality Series

This volume LED with Deepsky Processing integration is targeted for virtual production. Deepsky is an LED processing solution that is purely softwareand GPU-based. All pixel processing is handled entirely within the screen controller, eliminating the need for processing at the receiver-card level. The PR Series offers pixel pitches of 1.5-5.2mm tailored for various virtual production subspecialties. They support HDR, 99.9% DCI-P3 color gamut, frame multiplication, adjustable scanning frequency, and high frame rates up to 251Hz.

TECHNOLOGY AT WORK High Impact Video Display

Planar DirectLight Essential Series

The Planar DirectLight Essential Series is a line of fine pixel pitch LED video walls for indoor environments with abundant ambient light. The Planar DirectLight Essential Series offers 27-inch cabinets available in 0.7-, 0.9-, 1.2-, and 1.5-mm pixel pitches and presents deeper blacks and sharper visuals with a 30,000:1 contrast ratio and high refresh rate of 3840 Hz. It is compatible with both the Planar WallDirector Video Controller and LED controllers from ColorLight. Designed with Chip-on-Board (COB) LED technology, Planar DirectLight Essential Series video wall displays offer high pixel density, energy efficiency, and durability — making it ideal for high-traffic environments such as lobbies, retail spaces, hospitality venues, conference rooms, classrooms, and regional broadcast studios

Planar DirectLight Slim Series

Planar’s DirectLight Slim Series MicroLED video wall displays feature an ultra-thin, narrow-width form factor. The new fine pixel pitch accommodates curved and space-constrained applications that benefit from its unique form factor. Planar DirectLight Slim Series offers an installation depth of less than two inches and is ideal for tightly curved video walls with the solution’s reduced width delivering minimal color shift compared to other LED displays. It also includes pixel-level monitoring, offering more detailed insight into display health and performance by allowing users to identify when service or repair is needed. The latest improvements to the Planar DirectLight family also add pixel-level monitoring and MicroLED technology to the Planar DirectLight Pro Series introducing improved brightness, power consumption, and overall video performance.

Peerless-AV SEAMLESS Connect Universal

At the heart of the Peerless-AV SEAMLESS Connect Universal range is the SEAMLESS Connect Universal dvLED Mounting System, engineered with an entirely new specification to address evolving customer parameters and further extend dvLED integration boundaries. With its enhanced technical functionality and flexibility, this system enables a faster and streamlined installation of flat-to-wall and corner dvLED video walls. Furthermore, the range also includes an adaptable lineup of substructures designed for scenarios where direct wall-mounting is not feasible. The system is compatible with most latching dvLED cabinets and can scale to any size or configuration, including large-scale and inside/outside corner-wrapping displays, without any size limitation. With a minimal 40mm depth, this mount is currently the slimmest on the market, delivering the most discreet wall profile available, making it ideal for deployments that require ADA compliance. Now, with 1.6-inch (40mm) of Z-Axis (depth) adjustment, integrators can overcome wall irregularities for a precise fit over a bigger surface area with a new gear mechanism that offers greater control of in/out adjustments. The wall plate also includes a 13mm height adjustment to enable quick spacing corrections.

Sharp MultiSync PN-ME Series

The Sharp MultiSync ME Series display product line features an enhanced system-on-chip design that includes the PN-ME432, PN-ME502, PN-ME552 and PNME652. The displays are equipped with an advanced feature-set for clear and bright usage as a presentation device or large-scale messaging device. The MExx2 Series lineup is ideal for use in retail, restaurant, theater, houses of worship, and corporate settings. This product line features an updated internal operating system by moving to a system-on-chip architecture that allows for improved flexibility and functionality along with an updated OSD design. This display lineup also has focused on updated connectivity to better reflect the newest standards of what is most used and current in the marketplace. The new series also integrates high-end media player functionality along with a newly created platform that allows for CMS integration. With on-board media playback through internal storage or USB and a platform that allows for content management integration, the new MultiSync MExx2 product lineup delivers the ultimate solution for digital signage applications.

Claypaky Fixtures

The finale of the New Music Competition was held at the Nokia Arena in Tampere, Finland when broadcaster Yle treated viewers to six performances to determine who would represent Finland at Eurovision in Basel, Switzerland. Lighting Designer Pekka Martti and Ari Levela, Creative Director/Founder of MOBB Helsinki Oy, designed the stage; Martti chose 68 Claypaky Sharpys and 46 Tambora Batten squares to light the two-hour show.

“Sharpys were used as audience ‘extras,’ for songs with 360° shots and

when performers went out on the catwalk,” explains Martti. “Sharpys still give punch for those big aerial flyout effects and reverse shots.”

He chose the Tambora Battens largely for one performance featuring semi-transparent drapes. “We used them to project dancers’ shadows and some fast-running chases for that song,” he says. “Tambora Battens with the square lens create really sharp and punchy shadows, even with one pixel. We also used them in every song, sometimes [acting as a] sharp light bar with chases, sometimes acting as a strobe.”

Ralph Larmann