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President Trump’s tariff-based reorganisation of the established global trade order is causing jitters not just in the money and bond markets, but across business as a whole – and AV isn’t immune, as a recent bulletin from Futuresource Consulting attests.
As ever, history's lessons don’t appear to have been learned: anybody with access to Google can find out in seconds how the Tariff Act of 1930, also known as the Smoot-Hawley Tariff Act, deepened the Great Depression following the Wall Street Crash of 1929. Indeed, many commentators opine that the Great Depression would likely have not occurred had the Tariff Act not been passed into law…
President Herbert Hoover signed the bill against the advice of many senior economists, yielding to pressure from his party and some business leaders. Sound familiar? Intended to bolster employment and manufacturing in the US, the tariffs instead deepened the Depression because America’s trading partners retaliated with tariffs of their own, leading to US exports and global trade plummeting. Again, sound familiar?
At least nearly 100 years on from what was clearly a huge economic policy misstep, some have learned history’s lessons – hence the reluctance by many countries not to retaliate to Trump’s trade war. Regardless, recession is certainly reported as a certainty if America’s self-appointed ‘king’ continues down this road, with the IMF warning of a $1trn hit to global output. Let’s at least hope that a depression can be avoided.
So what of our beloved industry? Well, one thing’s for sure, battening down the hatches is commercial suicide. We all know how it goes: as soon as there are serious headwinds, the financial helm is handed to the bean counters, with advertising the first to be tossed overboard. And this, of course, is in spite of business leaders being well aware of another salient lesson from history: brands that maintain or increase advertising spend in recessions often experience better long-term growth and market share –reportedly as much as 256 percent for spenders in the early 80s recession! But don't take my word for it: Google can tell you all you need to know!
In this issue... 20
THE EUROPEAN-STYLE AMERICAN L-ACOUSTICS’ CEO FOR THE AMERICAS INTERVIEWED!
REGULARS
6 Install insights
The best of the latest installations, including Sennheiser Spectera firing up a Danish dance duo, INFiLED LED powering MJ The Musical, Powersoft tech simulating a moon journey, and more!
12 Interview: The European-style American
Bryan Bradley, who was recently appointed as L-Acoustics CEO Americas, tells David W. Smith about the special challenges of his new role and his philosophy of leadership throughout his varied career
16 In focus: AV return on investment
Nathan Firesheets, director of technology and innovation for AV Tech Media Solutions, on the key ways to maximise AV ROI
18 Gazing into the crystal ball: A networked future
Jim Kidwell, Audinate’s principal product marketing manager, discusses staying abreast of tech advances, and ‘single panes of glass’ for AV and IT management
40 Movers & shakers
Appointments and promotions for Listen Technologies, Stage Precision, Disguise, Black Box, Christie, NEXO, VIOSO and PPDS
50 Inside Track
Lightware director of enterprise sales, EMEA, Craig McQueen, talks about pledging never to get into sales, the daily rollercoaster of emotions, and his boxing sessions
VISIONARY DISPLAYS IN FOCUS HOW AV VENDORS CONTINUE TO INNOVATE VISUAL TECH
THE ULTIMATE AV INSTALLATIONS OUR REGULAR ROUNDUP OF THE LATEST CASE STUDIES
GODLIKE SOUND & VISION TECH HOW HOUSES OF WORSHIP ARE KEEPING THE AV FAITH
FEATURES
20 COVER STORY Visionary displays in focus
Continued innovation around LED displays, and the emergence of a new generation of projectors to support ambitious creative and commercial environments – confirmation that visual pro AV remains highly dynamic, says David Davies
28 Big audio dynamite
With the festival, arena and stadium touring season nearly upon us, both manufacturers and hire companies are gearing up for a busy schedule with the latest large loudspeaker technology – in the form of the line array – now standard for high-profile productions, as Kevin Hilton discovers
34 Spreading the word in sound and vision
The house of worship market has become one of the most technologically aware sectors in AV. Kevin Hilton talks to leading manufacturers and systems integrators about the latest sound and vision developments and how streaming is here to stay
INSTALL INSIGHTS
Installation content writer David W. Smith rounds up the best of the latest installations, including Sennheiser Spectera firing up a Danish dance duo, INFiLED LED powering MJ The Musical, Powersoft tech simulating a moon journey ….. and loads more
Sennheiser’s Spectera fires up Danish dance music duo Infernal
Sennheiser’s Spectera, a bidirectional wideband solution, recently powered the shows of Infernal, a Danish electronic dance music duo, at Copenhagen’s number one nightclub venue VEGA.
The pair’s monitor engineer, Christian Almer, works for Sennheiser as a technical application engineer and he brought along a Spectera system to try out for their wireless monitoring. The Spectera technology is currently only available to selected customers under Sennheiser’s ‘Pioneer Programme’, which launched in December of last year.
Almer employed Spectera as an in-ear monitoring system and, in addition to the shows at VEGA, he also tested it at eight private events. For all concerts, he connected one or two antennas to the base station, with the antennas placed near the stage in order to compare all range tests directly against Infernal’s current set-up.
He said: “As part of the Pioneer Programme, I wanted to
test everything. During my frequency coordination I often deliberately found two TV channels with very strong signals and placed my wideband channel right between them.”
Infernal used four channels of Sennheiser Digital 6000 for vocals, two main and two backup. They also used six channels of Sennheiser’s EW-DX for acoustic guitar, electric guitar, bagpipes, a hockey helmet with a built-in mic for a vocoder, a marching drum, and a harmonica.
Eight channels of Sennheiser ew G4 IEMs were used for the band, monitor cue, and communication with the tour manager. The crew used a separate system with four channels of ew 300 G3 microphones with PTT switch for intercom, as well as an ew 300 G3 IEM transmitter with multiple in-ear packs for the music mix and crew communication.
Due to the visual concept Infernal wanted to achieve at the VEGA, all equipment was hidden behind the large LED screen that served as the show’s backdrop.
Photo Credit: Tobias Bro Klindt
Christie’s immersive technology brings ‘Ballad of Chu’ to life in Wuhan
Over 50 Christie 1DLP laser projectors are powering the “Ballad of Chu”, a large-scale immersive theatrical performance that blends history and technology, in Wuhan, in the Hubei province, China.
The 14,000sqm venue comprises multiple performance spaces, including the third-floor theatre, the second-floor “Zhaojun Goes to the Frontier” performance, and the “Battle of Red Cliffs” projection zone. Integrator Jianye Display played a pivotal role in the projection design, installation, and systems integration for the installations, completed in January of this year.
The expansive third-floor theatre, equipped with 360-degree rotating seats, employs 36 Christie laser projectors to create a four-sided immersive stage. On the second floor, the “Zhaojun Goes to the Frontier” performance uses six Captiva DWU500S projectors with customised electric gauze screens to achieve a dreamlike, soft-focus effect.
Meanwhile, the “Battle of Red Cliffs” projection zone utilises three Inspire Series DWU860-iS projectors and gauze screens to bring ancient warfare to life with dynamic wall and floor projections.
The installations have large projection surfaces such as the 9.6m by 6m (31.5ft by 19.7ft) flying screen and the 10.6m by 6m (34.5ft by 19.7ft) projection wall featuring 4K13-HS projectors in the third-floor theatre. Additional projector models used for this spectacle include the DWU1612-HS, DWU8902-GS, DWU1100-GS, and DWU760-iS.
Ke Zhou, regional manager of Hubei district, Jianye Display, said: “Christie’s 1DLP laser projectors were chosen for their high performance, colour accuracy, and reliability, which are essential for delivering high-impact visuals in immersive environments. This project blends tradition with cutting-edge technology.”
INFiLED LED screens power MJ The Musical in Hamburg
INFiLED LED screens have been installed to power the Tony Award-winning MJ The Musical during its tenure at the Stage Theater an der Elbe, in Hamburg, Germany. The musical explores Michael Jackson’s creative process leading up to his Dangerous World Tour in 1992.
In partnership with Blue-i Group, a leading supplier of event theatre technology, INFiLED’s long-time partner Stage Entertainment provided a large-scale LED screen featuring panels from its AR Series with a 3.9mm pixel pitch.
A successful demo led to the installation of 250 panels for the ongoing Hamburg performances. The visual design was critical to delivering an immersive experience. Vibrant, concert-style animations had to transition into intimate, dramatic scenes, providing context for key moments in Michael Jackson’s life and career.
This required dynamic LED screens that could work in harmony with projection mapping while integrating digital content with real-time physical scenery. The production also demanded precise synchronisation and vivid rendering.
INFiLED says that AR3.9 panels are delivering 5000nit brightness, ensuring every detail is visible, even under stage lighting. The AR3.9 are designed to mirror intricate details, such as a moving bridge on stage. The panels also work in harmony with Brompton Technology’s processors and Disguise media servers, enabling smooth workflows that support the show’s technical demands.
Ethan Forde, European sales director at Blue-i Group, explained: “Because this is a long-running production, with 8 performances each week, we needed LED panels that were highly reliable. The screens had to perform consistently without the need for frequent maintenance or servicing.”
Forde added: “For productions like this, the right screen is crucial. INFiLED’s AR3.9 LED screens delivered exceptional brightness and colour accuracy. Integration with Brompton and Disguise was also key to a flawless production.”
Daktronics
video walls animate esports for Syracuse University students
Syracuse University selected Daktronics, in conjunction with AV integrator Horizon AVL, to deliver multiple direct-view LED (dvLED) video walls for the recently opened Gaming & Esports Center, inside the Schine Student Center, on campus in Syracuse, New York.
The installation, designed for students on the Esports and Communications Management BS programme, received its grand opening in January 2025.
Behind the varsity players’ seating area is the largest display measuring 6.5ft high by 45ft wide and featuring 1.8mm pixel spacing. It is used as a consistent backdrop with Syracuse branding for its esports teams. Above the seating area, another COB LED video wall measures 3.5ft high by 41ft wide and features 1.2mm pixel spacing. It is used to show camera views of the players’ faces during matches, as well as the in-game broadcast view for spectators. These video walls are both capable of variable content zoning meaning they can show one large image or multiple zones of content to meet the needs of any match or special event.
Outside the Gaming & Esports Center, two displays come together to form the look of a continuous ribbon-style display. The vertical display measures 8ft high by 2ft wide while the horizontal display measures 1ft high by 85ft wide and makes two 90-degree corners to follow the architecture of the venue. Both displays feature 1.8mm pixels spacing designed to deliver clear imagery.
KV2 audio kickstarts events for 80th anniversary of Thai boxing stadium
KV2 audio has been installed to power the 80th anniversary celebrations in 2025 at Bangkok’s Rajadamnern Stadium, Thailand’s oldest Muay Thai (Thai boxing) stadium.
The circular venue enlisted production specialist Andrei Mazuruc of ShowOne Productions in Canada to lead the project. Rajadamnern and Mazuruc chose to work with KV2 Audio audio, supplied by KV2’s distributor, Audio Gears, in Bangkok.
The design saw the dome as a giant screen, like a planetarium, A total of 24 KV2 EX28s were used: a pair of loudspeakers mounted on custom poles at each corner of the ring combined with a further 16 EX28s distributed around the perimeter.
Eight KV2 VHD 2.18J subwoofers provide high-energy low frequency reinforcement and the system is driven by eight KV2 VHD 3200 amplifiers. For control and distribution, Audio Gears installed four NST Audio VMX88 processors alongside two Netgear M4250 12M2XF network switches and a Drawmer DA6 distribution amplifier. The stadium’s existing Midas M32 Live digital console was equipped with a DN32 Dante expansion card.
Alfalite LED wall installed in Walmart’s new TV studio
Walmart has launched its Walmart TV Studio within its expansive, new Home Office campus in Bentonville, Arkansas, featuring a high-performance curved LED wall from Alfalite.
The installation consists of a 10x4m (13ft x32ft) Alfalite ModularPix Pro 1.5 ORIM 1/16 VP XR LED screen, equipped with Brompton processing, and serves as the dynamic centrepiece of the studio’s virtual production environment.
The 160-panel Alfalite LED wall is designed for integration into extended reality (XR) and virtual production workflows, allowing Walmart TV to create immersive video content. The curved screen delivers 6400×2560 pixels and benefits from Alfalite’s ORIM tech, which is designed to enhance durability and improve viewing angles.
Alfalite says the brightness and colorimetry of the panels mean the videowall is XR-capable. The wall displays virtual environments or changing scenes in real-time, allowing presenters and cameras to interact with digital content.
L-Acoustics upgrades audio at prestigious Helsinki Music Centre
Helsinki Music Centre, home to Finland’s two most prestigious orchestras, has completed a technical renovation featuring an L-Acoustics L Series loudspeaker system. The 1,700-seat concert hal required a solution for its unusual 360-degree seating configuration.
The installation was executed by L-Acoustics certified provider Intersonic, who repurposed the previous L-Acoustics systems. The existing Kara system was repositioned to manage rear coverage. And the venue’s original Kiva system, which predated the Kara installation, was redistributed to improve coverage in the balcony areas. The comprehensive solution now features 22 discrete loudspeaker arrays.
Eye-popping installations
VIOSO makes waves for Dutch ocean simulator
VIOSO has ushered in a sea change in maritime research and training at the Seven Oceans Simulator Centre (SOSc) in the Netherlands, where its advanced projection technology is helping to recreate the high seas in immersive, lifelike detail.
Located at the world-renowned Maritime Research Institute Netherlands (MARIN), the SOSc facility boasts two simulators –the Large Motion Simulator (LMS) and Full Mission Bridge (FMB).
Powersoft technology used to simulate Moon journey
STYLY Inc., provider of the STYLY spatial layer platform. deployed Powersoft equipment to help create THE MOON CRUISE at Tokyo Dome City’s Space Travelium. The permanent installation is a free-roaming VR experience in a new purpose-built space experience facility. Visitors get a view of Earth from space when they walk on the lunar surface. They can take photos to download as souvenirs.
STYLY deployed Powersoft’s compact Mover, a lowfrequency direct-drive/tactile transducer that lets audiences feel sound through haptic perception by vibrating the surrounding environment. The Mover transducers are powered by Quattrocanali 1204 DSP and Duecanali 804 DSP amplifiers.
JBL Professional solutions has provided the audio system for 1118 AutoSpa, the largest indoor car wash in the Philippines, in Paranaque city.
The project was completed by Lyric Piano and Organ Corporation, which served as both the distributor and integrator. Each section has been optimised with JBL’s audio technology, including weather-resistant JBL Control 25-1 speakers for the wash and JBL Control 18 C/T ceiling speakers for more releaxing audio in the lounge area.
Extron has installed its NAV Pro AV over IP system at Mt. San Antonio College (Mt. SAC), which ranks as a top community college in California.
At 421 acres, this 75-year-old college is one of the largest in the state, and it continues to expand to meet a burgeoning student enrolment.
As part of the recent campus expansion, Mt. SAC built a modern gymnasium and aquatics complex with innovative technology. Content is available for selectable distribution to the many displays and 13 videowalls located throughout the 145,000sqft complex.
Mt. SAC selected the Extron NAV Pro AV over IP system, along with NAV scaling decoders and Extron control systems. The gym and aquatic complex’s NAV system consists of 93 endpoints and is expandable.
The European-style American
Bryan Bradley, who was recently appointed as L-Acoustics CEO Americas, tells David W. Smith about the special challenges of his new role and his philosophy of leadership throughout his varied career
Bryan Bradley, the new CEO Americas at L-Acoustics, has a taste for long-term strategic thinking, which he categorises as a more European style of doing business. He contrasts this slower, more thoughtful approach with what he calls a “shoot-from-the-hip” American style. L-Acoustics, as a French company, fits the European mould.
“I find I really enjoy working for European companies. I understand the mentality. And I find I have a skill for matching a more American mentality to European strategy… Let’s be a little slower, a bit more thought out. And I think that’s why I’m here today,” he says. “Typically a European company like L-Acoustics really thinks about possible outcomes before launching a strategy. As it’s been well thought out, it tends to be well-executed.”
American companies, in his experience, tend to want to move faster, which can make them dynamically responsive to markets. “Sometimes the American way is best – shooting from the hip and adapting strategy on the fly. It’s always going to be one or the other way and it depends on the moment. It’s just that, personally, I enjoy the strategic mentality more.”
Bradley might be a lover of European style, but he can’t escape his roots and turns to American Football for an analogy that describes his leadership style. “I like to tell my people, look, I'm not the quarterback. I'm one of the guys on the offensive line. You're going to make the touchdowns and score the points. You're going to tell me, ‘hey, if you get that problem out of my way, then I can score’. I prefer the type of management style that is about getting out in front, solving problems and letting the team be successful.”
As a young man, the corporate lifestyle was a world away for Bradley. Passionate about music, TV and film, his ambition was to be a creative artist. He worked as a freelancer for
Colombia Television, writing music and editing music. For a while he served as the music director on popular soap opera TheYoungandtheRestless. But such freelance jobs didn't carry health insurance, or pension payments. For years, it didn’t matter as his wife’s job as a teacher came with insurance and a solid retirement plan.
But when the couple had children, it changed Bradley’s priorities. Being creative didn’t always pay the bills, and raising a family without financial stability and regular employment was not an option for him. “Once we had kids, my wife stopped working and I remember thinking ‘I’ll do the creative stuff until I’m 30 years old. I’ll consider that a success’. And I left and took my first corporate job one month before my 30th birthday. I took it right to the edge,” he says.
CORPORATE LIFE
Fortunately, he’d had the foresight to study for a master’s degree in business during those ‘creative’ years. With his qualification and passion for music, he was in demand. He started working for Guitar Center in its corporate office in Westlike Village, a Los Angeles suburb not far from where he lived. (Westlike is also the home for L-Acoustics, where he works today.) At Guitar Center, he was responsible for the pro audio buying and merchandising. He gradually rose up the ranks, and when the company started its GC Pro business, he was part of the founding team.
Following his entry into the AV world, Bradley held a series of high-profile roles. Most recently, he spent six years serving as the president of Group One, the New York-based US distributor for British company Audiotonix, which owns DiGiCo, Calrec, Solid State Logic, Sound Devices, and several other leading pro audio and lighting manufacturers. “Working for Group One
was a very similar role to L-Acoustics," he says. "Instead of mixing consoles, we’re doing speakers and amplifiers. But if you compare DiGiCo and L-Acoustics, they’re both the top brands in the space.”
Prior to Group One, Bradley held multiple executive management positions at Harman Professional Solutions, most recently as senior vice president and general manager of the Americas. His expansive role involved managing retail, live performance, large venue, hospitality and enterprise channels for JBL Professional, AKG, AMX, Crown, dbx, Lexicon, Soundcraft and Martin, among other Harman brands, across the American continents. Bradley has also been COO for Alfred Music, the world’s largest educational music publisher. He believes that experiencing such a variety of positions has helped develop his career: “I’d advise anyone wanting to get into the pro audio industry to take on as many different roles as possible. Learn what you like and what you don’t, what you’re good at and what you’re not. And it will help sculpt your career to be a successful one. I would say it’s all about momentum and every job will make you better at future ones."
UNIQUE CHALLENGES
Despite similarities with these previous jobs, a unique challenge at L-Acoustics is the speed of growth. The company has seen a 40 percent increase in its workforce over the past two years and added its 1000th team member at the close of 2024, with 20 percent overall dedicated to design and R&D. The company also announced that it will open its US headquarters at Nashville Yards in summer 2025, the major operations and creative hub for the Americas, joining global hubs in Paris, Los Angeles, London, and Singapore.
“One thousand employees is a huge number and my biggest challenge is helping to make sure that the growth is managed to the best possible outcome," explains Bradley. "As a company gets to that size, a lot more structure is required to make sure everyone is focused on moving in the same direction. But L-Acoustics is no different to any other company going through those changes, where they have to be a little more focused on process.”
Heading up the Americas market also comes with additional responsibilities. Global markets, with the possible exception of Europe, like to emulate what happens in the Americas. “We tend to be the tip of the spear in markets. So there's a challenge to make sure that we're doing it right, because it's going to be replicated,” he adds.
As a California native, Bradley has never had to move far from the suburbs of LA for work, and he still lives 20 miles from where he was born. “I’ve nothing against moving," he says. "It just so happens that every job I’ve ended up doing was based here, one of the focal points of the music industry, although when the Nashville office opens I’ll be splitting my time half and half between there and here.” A short commute takes him to the L-Acoustics office in LA, and he makes the trip every day, believing he works more effectively in the office than remotely.
Bradley has three children, aged 24, 22 and 18. His middle son even beat him to a role at L-Acoustics, landing a six-month
L-Acoustics’newHQfortheAmericaswillopensummer2025
internship after university. “He’d left before I arrived. So, technically I was only the second person in the family to work here,” he says.
In his spare time, Bradley enjoys the Southern California outdoor lifestyle, based around proximity to the sea and mountains. He plays a lot of golf, surfs at nearby beaches and skis in the mountains, where the family condo is a four-hour drive away. He also still plays the guitar and piano, and jams with friends; his favourite group is Van Halen.
SPECIAL SECTOR
Bradley feels fortunate to work in a sector he’s passionate about. He loves nothing more than experiencing the sense of community in the crowd at a concert, or a show. Knowing that L-Acoustics’ technology is helping to make it happen makes it all the more special, he says. “Think of the first concert you saw and the massive difference now in the quality of the sound and the lights. Any company that’s making people enjoy those experiences more is worth investing my time in. L-Acoustics is a phenomenal brand and if you get a chance to work for a company like that, you’ll take it,” he adds.
The future of pro audio over the next few years will be driven by audiences demanding a better and better experience, he believes. As the desire for immersive experiences has driven change in movie theatres, it will increasingly “trickle across all of the industry”.
Despite uncertainty in the political scene in the US, and around the world, Bradley remains optimistic about the future of the industry: “The logistics of business will always have challenges. We’re living through a time of instability with unpredictable tariffs and shipping issues. But as long as people are passionate about live performances, we’ll never be in jeopardy. I don’t think we’re ever going to lose demand.”
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Image
Credit: Gresham Smith
In focus: AV return on investment
Nathan Firesheets, director of technology and innovation for AV-Tech Media Solutions, on the key ways to maximise AV ROI
AV professionals are used to addressing concerns about whether or not the end result of a project is truly worth the price. But the single biggest impediment to clients maximising their ROI is themselves: not spending the time or money to do it right the first time. As a result, they either struggle with ineffective systems or end up spending even more to fix problems later.
In essence, the five key ways to maximise ROI are: do it right the first time, do it right the first time, do it right the first time, do it right the first time, and – most importantly – do it right the first time. But what does that look like in practice?
USER EXPERIENCE
The first step is defining what your AV system needs to accomplish. Are you building out an 18-person Microsoft Teams Room? Or a big three-way divisible training room? Maybe just a BYOD-only huddle space, a classroom, or a large auditorium designed to have a live operator? In any case, it’s critical to identify what kind of end-user experience you’re trying to achieve.
At some point you’ll need to dig into the details of sources and destinations, audio and camera requirements, and whether the system design needs to be informed by some existing technology standards. It’s also critical to identify how your users expect the system to behave. The more you can define your objectives up front, the more successful your deployment will be.
That said, determining these needs can be daunting — especially when vendors claim their solutions can do it all. Remember that manufacturers and vendors are always aiming to sell their products and services. While they rarely outright misrepresent their offerings, more often than not
they frame their capabilities in ways that may not match realworld performance.
LIMITED SCOPE
AV professionals see this kind of issue a lot with enterprises who have been led to believe they can meet all of their conference room AV needs with a “room kit-in-a-box” solution from one vendor or another. These kits are marketed as easy, plug-and-play setups that eliminate the need for an AV integrator, and while they can work great for many room types, it’s easy to push beyond their limits.
For instance, someone might install a soundbar that boasts an incredible 30-foot pickup range in a large boardroom, only to find that the audio is unintelligible in an actual meeting once the room is full of people.
Those solutions can and do work well for certain environments, but how do you know when a solution is the right fit for your needs?
TRUSTED PARTNERS
AV integrators work for companies like yours, with products like these, daily. They know firsthand what does and doesn’t work for specific room types or desired experiences, which manufacturers are honest and which overhype their products, and whether or not solutions are reliable and well-supported.
It’s very easy to find vendors who will sell you whatever list of equipment you’ve requested – with no accountability down the line if it doesn’t meet expectations. A trusted integration partner, however, will guide you through the process of identifying your needs and finding the right AV solution to match them.
How do you know if an integrator can be that trusted partner for you? Engage with them and see what kinds of questions they ask. Are they constantly trying to upsell and push unnecessary upgrades, or are they focused on understanding your requirements and explaining how different solutions could work for you?
When making a major change to system standards, deploying a pilot room (or rooms) is a chance to make sure you’re getting the performance you want – and need – before going all-in.
This may reveal that you don’t like a feature, or you’d like to add or remove some functionality. It helps to ensure you’re confident in your design and integration partner and it’s a great opportunity to work through hurdles with other teams (such as networking).
The pilot phase also provides an opportunity to work through potential challenges, so that the design and implementation process runs smoothly once full deployment begins.
SUPPORT PLAN
No matter how well an AV system is designed, things will inevitably go wrong. They always do, of course! But how will you identify and resolve problems? Here are some things to consider:
• How are you finding out about issues? Calls, emails, support tickets?
• Do you have a cloud monitoring tool with alerts?
• Once you know about the issue(s), are you and your
team equipped to troubleshoot and resolve it?
• If you can’t solve it quickly, what’s your escalation path?
• Does your integrator have a responsive service department?
• Does your facility need full-time on-site AV support? Whether or not you have answered all these questions, you need some sort of support plan in place. Without one, you risk starting a Monday morning with every conference room offline, frustrated executives, and no clear plan for how to fix the problem.
BOTTOM LINE
The bottom line? If you fail to plan, you plan to fail. And you certainly won’t see ROI on your AV investment if your rooms are down and no one can get any work done.
It’s true that the upfront investment of doing it right the first time may not seem worth it. But the alternative – the wasted time, frustration, and costly fixes of dealing with broken or ineffective systems – is far more expensive in the long run. You’ll quickly find that it’s much more productive, and much less frustrating, to make that proper investment on the front end.
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Jabra's PanaCast 50 video conference bar providescameraand audio for Teams meetings
Gazing into the crystal ball: Why the future depends on networking
Jim Kidwell, Audinate’s principal product marketing manager, discusses staying abreast of tech advances, and 'single panes of glass' for AV and IT management
There has never been a greater need for crystal ball gazing in AV than there is now. The time-to-market for technology advancements like AI and PoE++ is rapidly decreasing, so it can be difficult for integrators to stay abreast of developments and make informed choices about which technologies to embrace moving forward.
One thing that’s clear, though: it’s all going to be networked. If a device has an electric plug, it’s likely to have an Ethernet connection. If it’s battery-driven, then wireless connectivity is the name of the game. And that’s just for your appliances, let alone pro AV devices.
The pursuit of a 'single pane of glass' for AV and IT management represents the industry's ambition to provide a unified interface where administrators can monitor, control, and troubleshoot all systems seamlessly. As AV and IT continue to converge, the need for a centralised platform to oversee devices, networks, and applications becomes increasingly critical. Such a solution would simplify complex workflows, reduce response times for technical issues, and provide actionable insights through analytics and automation. For AV integrators and IT professionals alike, the ability to manage diverse endpoints – ranging from displays and speakers to servers and switches – through one intuitive dashboard could drastically enhance efficiency and operational visibility.
However, achieving this unified platform is a complex challenge. The diversity of devices, protocols, and manufacturers within the AV and IT ecosystem makes interoperability a key obstacle. Proprietary systems and siloed software often limit integration, requiring middleware or custom solutions to bridge the gaps. Moreover, as organisations expand their deployments across
on-premises, cloud, and hybrid environments, a single pane of glass must adapt to handle distributed infrastructure. Security is also a concern, as centralised management platforms could become prime targets for cyberattacks. Despite these challenges, advancements in APIs, open standards, and AI-driven automation are driving progress toward this goal. The realisation of a truly unified management system would represent a significant leap forward, empowering organisations to maintain cohesive oversight while maximising the value of their AV and IT investments.
PLATFORM POWER
Using an AV platform provides organisations with a centralised and streamlined approach to managing their audiovisual systems, resulting in significant operational and strategic benefits. One of the key advantages is efficiency: an AV platform consolidates control over multiple devices, systems and tech into a single interface. This eliminates the need for separate management tools, reduces complexity for administrators, and enables faster deployment and troubleshooting. With integrated scheduling, monitoring, and reporting features, AV platforms save time and enhance productivity, particularly in environments like corporate offices, educational institutions, and large venues where multiple AV systems must operate in harmony.
Another major benefit of AV platforms is their scalability and future-proofing. These platforms are designed to accommodate evolving needs, whether integrating new devices, expanding system capacity, or adapting to emerging technologies like AV-over-IP. With modular and often cloud-
Aidan Williams, Audinate'sCEO,CTO and co-founder, speakingatISE2025
based architectures, these platforms allow organisations to grow their AV infrastructure without significant overhauls. Additionally, AV platforms enhance user experiences by offering consistent and intuitive interfaces, reducing the learning curve for end-users and enabling them to focus on their tasks rather than grappling with complicated technology.
ENHANCED PLATFORMS
Security and reliability are also enhanced with an AV platform. By centralising control, administrators can enforce consistent security protocols, perform updates across the network, and quickly respond to vulnerabilities. Many platforms include monitoring and diagnostic tools that provide real-time insights into system performance, helping to preempt failures and minimise downtime. Furthermore, with built-in analytics, AV platforms deliver valuable data on usage patterns and system efficiency, empowering organisations to make informed decisions that improve ROI and optimise resource allocation. Overall, an AV platform acts as a powerful enabler, aligning AV capabilities with organisational goals while simplifying day-to-day management.
Future AV racks will likely consist primarily of power supplies, switches, and patch panels. This shift, driven by the increasing adoption of cloud-based processing, networked AV solutions, and decentralised system architectures, will see the decline of traditional, hardware-intensive setups. Instead, we can look forward to compact, efficient configurations that prioritise connectivity and scalability. By leveraging network-based solutions like AV-over-IP, these new configurations will offload processing tasks to cloud or edge computing platforms, reducing physical hardware requirements. This not only simplifies rack installations but
also promises greater flexibility for remote management, future expansion, and integration with smart building systems. It's an exciting future that aligns with the industry's emphasis on efficiency and sustainability.
TOMORROW’S TECH
No one truly knows what tomorrow’s technology will look like. For example, PoE+++ could be right around the corner or never appear. It’s also unclear how Wi-Fi 6, 7, or 8 will impact pro AV, if at all. However, it's important to stay informed about these developments as they could potentially revolutionise the way we think about wireless connectivity in the pro AV industry. What is clear, though, is that pro AV is clearly embracing cloud-based solutions, with no signs of stopping. Pro AV technology is poised to be more dynamic, immersive, and connected than ever before. As advancements in AI, IoT, and virtualisation continue to integrate into the pro AV ecosystem, we can expect unprecedented levels of automation, personalisation, and interactivity.
Furthermore, the push for sustainability and energyefficient systems will shape product design and implementation. As pro AV evolves, it will not only enhance how we communicate and engage but also open new possibilities for creativity and innovation, empowering industries to reimagine their potential and making it critical for integrators and manufacturers alike to stay informed about new technologies and technology standards.
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VISIONARY DISPLAYS IN FOCUS HOW VENDORS TAKE TECH TO ITS LIMITS
Continued innovation around LED displays, and the emergence of a new generation of projectors to support ambitious creative and commercial environments... Confirmation that visual pro AV remains highly dynamic, says David Davies
In a world where it feels increasingly unwise to take anything for granted, it was reassuring recently to encounter research indicating that demand for professional displays and projectors remains very robust. While LCD displays continue to perform well, sales of LED displays are growing as costs begin to decrease. Meanwhile, the installation and large venue segment “remains resilient” for front projection, according to Futuresource Consulting lead market analyst David Thompson.
“There is still a clear demand for high-quality projection solutions in immersive experiences and other specialised applications,” he says. “Projection technology continues to deliver unparalleled benefits in areas where other formats cannot compete, particularly in high-demand creative fields.”
There’s much more on projector market developments in our special focus boxout (page 27), but the dynamism of the display market – especially around LED-related developments – means that it’s the main focus of our coverage this time. Following on from an ISE show rich in innovative products in this field, we’ll examine the design drivers and growth applications for pro displays; the factors, such as versatility and cost-efficiency, that are driving customer choices; and the newer trends, including increased expectations around sustainability, that are destined to shape the market over the next few years.
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Dubai's Atlantis TheRoyalhotel features Samsung’s 146in modular Micro LED display,TheWall
Below: SharpNEC retaildisplay installation
As a company active in both displays and projectors, Sharp NEC Display Solutions is ideally positioned to identify some of key design drivers in 2025. Senior product manager Gerd Kaiser remarks: “Both LCD large format displays and laser projection are already well established and at a very highperformance level, making them hard to improve upon. The innovation taking place in these categories focuses on further enhancements to the user experience and improving energy efficiency. DVLED is becoming more accessible for budget-conscious applications and is now a genuine alternative for mainstream installations demanding large surface visualisation in areas of bright ambient light.”
Dean Tsai, general manager of the projector & LED display Business Unit at ViewSonic, delineates a whole series of innovations, including “growing attention to COB (Chip-on-Board) technology, offering finer pixel pitch for superior image clarity in LED displays, as well as increasing demand for 4K resolutions in large-format visual solutions, enhancing detail, contrast and colour accuracy".
Tsai also highlights some other, longer-term trends that continue to impact pro display developments, including a need for smaller, lighter and more compact solutions: “Customers increasingly prefer LED solutions in easier adoptable forms like all-in-one designs, including for reasons of easy installation, operation and maintenance.”
Smooth running post-installation is another consideration as customers seek intuitive operation and management: “More displays offer instant access via remote control, LAN connection, and centralised system platforms as preferred.”
But while all of these factors feed into the mix, a review of some of the ISE 2025 launches suggests
that energy efficiency is on its way to becoming priority number one for many customers. This is not hard to understand: energy prices remain extremely turbulent, and will probably become even more so in a world growing more unstable every week, while many organisations are now working to satisfy rigorous sustainability strategies. Hence there will be further refinements to various technologies underpinning LED.
SUSTAINABLE INSIGHTS
For ViewSonic, this trend towards organisations having improved sustainability goals is leading to a demand for several specific technologies and features, says Tsai: “Advanced energy-saving ICs that significantly reduce power consumption; adaptive brightness control and power management optimising energy use and ensuring efficiency without compromising visual performance; and increased use of recyclable materials in packaging.”
Many eminent manufacturers placed an emphasis on energy efficiency with regard to their display technology presence at ISE this year –Christie among them. The company offered a chance for attendees to experience its MicroTiles LED technology with a video wall showcasing four pixel pitch options, ranging from 0.75mm to 1.5mm, in a single display. In addition, noted the manufacturer, “the latest advancements to MicroTiles LED cut power consumption by 40 percent”, while lower power consumption was also cited in reference to Core Series III.
Installation suggests to Christie Digital Systems’ director of product management, Joel St-Denis, that customers are increasingly prioritising power consumption: “Absolutely. It’s one of the biggest growing demands that’s happened in both projection and the LED space.”
For Sharp NEC, Kaiser draws attention to a display at ISE of Sharp LD-FE123 1.2mm fine pixel pitch models as part of an 8K, 3-segment LED installation. The deployment also demonstrated the energy-saving capabilities of Flip-Chip SMD (surface mount device) technology, wherein electrical components are mounted directly onto the surface of printed circuit boards.
“In the pro AV sector, sustainability is a significant purchasing criteria and this will become more and more prevalent; we are seeing large tenders requiring evidence of sustainable practices,” confirms Kaiser. “Companies are increasingly prioritising energy efficiency, to conserve energy and also to reduce operating costs. This is driving innovation, resulting in next-generation tech which delivers improved efficiencies, such as new Flip-Chip SMD, which reduces power consumption and heat emission by up to 60 percent compared to conventional LED tech, as showcased at ISE.”
Above: SharpNEC booth at ISE 2025
Below:
ViewSonic 263in
LDC Series LED displayatGlobal TechCompany
With Flip-Chip SMD, notes Sharp NEC on its website, energy savings can be expected not only from the display itself, but also from the “reduced requirement for air conditioning since the display is not emitting high levels of heat – the LED surface is cool to the touch".
Kaiser also highlights a noticeable increase in demand for the use of DVLED displays – which use arrays of micro-pixels emitting light and colour directly, circumventing the requirement for a backlight – across application areas. There is significant growth for DVLED technology, he says, especially in flagship retail, transportation, and premium meeting and reception spaces where, although constrained by budgetary factors, it is proving to offer "an impressive TCO" thanks to its extremely long-life cycle and impressive energy efficiency.
Meanwhile, the reach of LED per se continues to expand. Tsai confirms that as the cost base comes down, there has been an increased appetite for LED products due to their “brighter visuals, better scalability, and seamless large-scale imagery". Hence demand is strong in corporate (“increased adoption in lobbies, receptions, and conference rooms for enhanced brand presence”), education (“growing use in auditoriums and lecture halls for improved engagement and visibility”) and retail outlets and shopping malls
(“for high-impact digital signage and advertising”).
LG Electronics’ display presence at ISE also evinced a strong level of demand across applications, with dedicated zones for business sectors including retail, corporate, education, transportation and hospitality. Noting its ability to meet “the diverse needs of B2B clients and enhance and expand the customer experience”, LG showcased its Kinetic LED display with AI technology; the LG MAGNIT micro LED displays, upgraded to improve “ease of installation, content compatibility and energy efficiency”; new highbrightness outdoor signage solutions featuring LG’s Anti-Discoloration technology; and a host of solutions for retail, corporate and education.
Park Hyoung-sei, president of the LG Media Entertainment Solution Company, remarked: “As a leader in the B2B market, our goal is to deliver innovative solutions that elevate the value of commercial, public and educational spaces, while also enabling transformative customer experiences and supporting the growth and success of our clients.”
BIG THINGS
Inevitably, our interviewees posited a host of predictions regarding the future of pro display technology – ranging from continued refinement of what we might term core principles, to increased efficiencies and entirely new approaches.
“Enhancements to the user experience will continue, pushing to achieve greater efficiencies will continue, but in terms of the next BIG thing, we should highlight an entirely new genre of energy efficient display technology – ePaper,” says Kaiser. “At zero energy consumption, ePaper is truly groundbreaking."
Opposite page: DigitalProjection booth at ISE 2025
Above right: LGLEDsignage conceptimage shows the format's flexibility Below: SharpePaper A0displayis suitable for outdoorsignage usage
At ISE, Sharp/NEC introduced new larger sizes and an outdoor compatible solution for DOOH environments, where ePaper offers "exceptional potential" for the carbon neutral future of digital signage. "For static signage that changes frequently, ePaper is especially effective in high ambient light, making it the ideal replacement for paper posters, yet with all the benefits of digital signage,” adds Kaiser.
For ViewSonic, Tsai nominates three "next big things", beginning with COX (Chip-on-Anything) technology. “COX technology enables flexible, ultrathin, and transparent LED panels, with variants like COP, which uses flexible plastic for rollable and foldable panels, and COG, which incorporates glass for ultra-fine pixels and transparency," he says. "These advancements unlock new possibilities for creative applications and immersive environments.”
AI POWER
Tsai is not alone in indicating that there will be more AI integration with display solutions as the various technologies stabilise. “AI-powered software enhances real-time image optimisation, refining colour, contrast, and brightness based on changing environmental conditions," he says. "Automated content management dynamically adjusts visuals for advertising and presentations, creating interactive or more personalised experiences, while AI-driven predictive maintenance detects issues early, minimising downtime and ensuring long-term reliability.”
There is also an expectation of increased demand at some point for 8K, although at present adoption is being somewhat stymied by a dearth of native content. “Currently, demand is driven by broadcasting and high-end production, but as content availability grows and manufacturing costs decrease, wider adoption is expected,” says Tsai.
Of course, for all the refinements and diversification in LED technologies, there’s no doubt
that the expense of implementing an LED wall can still be significantly higher than that of a projectorbased installation, so it seems almost certain that the pressure on cost – especially at the lower end of the market – will intensify.
Christie's Joel St-Denis observes: “Getting things that are good quality but less expensive is something I think will continue to trend up. Also, it’s a supply and demand thing. The more people you have wanting a smaller pixel pitch, for example, the more you’re going to have companies that are designing these new pixel pitches, which will drive more demand for LED manufacturers and the whole economy of scale will will end up trending the price down.”
AI POWER
As in every area of pro AV, innovation in display and projector technology has always had to be balanced out with an adherence to cost-effectiveness that is particularly essential in sectors such as retail. Right now, however, it appears that a pleasing sweet spot has occurred where the trajectories towards innovation and a more accessible cost-base have collided, allowing customers – regardless of sector and budget – to benefit from the latest advances in display technologies.
PROJECTOR SPOTLIGHT: PRODUCT INNOVATION DRIVEN BY COST, COLOUR REPRODUCTION AND VERSATILITY
While demand for display walls is seeing projector demand slip in some mature markets, Futuresource Consulting data confirms that it is still growing strongly in certain regions, such as Eastern Europe, Indonesia, Pakistan, Magreb and parts of the Middle East. In these areas, the price-per-inch benefit of projection technology is frequently continuing to drive purchases of projectors over LCD or LED, according to Futuresource lead market analyst David Thompson,
Hence it’s no surprise to find that there was still an abundance of new projector launches at ISE 2025, or that projection technologies themselves continue to evolve and become more versatile and efficient. In particular, versatility, image quality and price/performance ratios are key priorities, while technology for projection mapping is a particular source of growth – and R&D-related excitement.
Holger Gräff is GM EMEA for Delta Display Solutions, parent company of Digital Projection, which presented its new 1-chip projectors – incorporating Texas Instruments’ High-EfficiencyPixel (HEP) DMD for “never-before-seen colour accuracy and native contrast” – at ISE. “The pro projector sector is currently in a major phase of transformation, driven by customer demand for higher performance, increased efficiency and more sustainable solutions," he says. "While the core projection principles remain constant, we’re seeing significant advancements in light source technology, form factor, colour reproduction and energy efficiency.”
Gräff adds: “A key example is the transition from traditional lamp-based projectors to solid-state laser illumination. RGB laser projectors, once reserved for only the most high-end applications, are becoming more accessible, offering a broader colour gamut, longer lifespans and lower total cost of ownership. Software innovation is also making a mark, with powerful on-board warping and blending tools that reduce reliance on external image generators.
“At the same time, the industry is embracing modular and flexible design, with technologies such Digital Projection’s Satellite Modular Laser System (MLS) making it possible to
install high-lumen projectors in challenging or spaceconstrained environments. These types of developments demonstrate a shift towards not only higher performance but also greater flexibility and efficiency.”
Meanwhile, Christie made a new hybrid projector, the Sapphire 4K40-RGBH, one of its star attractions at ISE 2025. With the starting point of “creating a hybrid product of two major projection technologies,” notes director of product management Joel St-Denis, Sapphire combines solid-state RGB pure laser illumination with a dual laser phosphor system into what Christie describes as the world’s first high-brightness hybrid RGB laser projector. Sharp NEC also put an emphasis on high brightness laser projection at ISE, with its P601Q projector. “For large venues, requiring larger image areas, high brightness projectors offer the best price/performance and versatility, with the lowest cost per square inch of image,” comments Gerd Kaiser. “In this category there is a clear trend toward 4K resolutions as new shifting technology is now available at lower cost, enhancing image clarity for detail-rich content, comparable to LCD large format display technology.”
At ISE Sharp also highlighted its use of RB tech – wherein a blue laser is used to create the blue colour and a red laser is used to create the red colour in the final image – with the LCD Sharp A201U. The company also showcased models featuring IP6X-rated dust protection needed in challenging environments, as seen in the 4K+ 1DLP Sharp X171Q.
Sharp NEC senior product manager Gerd Kaiser: “Across both DLP and LCD laser technology there are significant enhancements in the colour space. With the addition of red laser, red is enhanced in 1DLP technology, and the already wide colour space of LCD can be further enhanced to almost P3 Digital Cinema colour standards; this has been achieved with the Sharp A201U model.”
As to the future of pro projection, Holger Gräff predicts marked developments in hardware and software. “The next significant leap in professional projector technology is likely to be the widespread adoption of advanced electronics platforms that allow for automatic projector calibration in the projector hardware, without the need for third-party apps or technology," he believes. "For example, Digital Projection’s new tech stack, powered by our next-generation Nexus electronics platform, offers users unprecedented precision and control over projector installations, simplifying complex setups by enabling the design and implementation of an installation entirely within the projector ecosystem.”
Along with “software intelligence” – for planning, managing and expanding projectors’ capabilities – market-watchers can also expect the continued adoption of RGB laser technology and a broader shift towards modularisation. “In combination, these technologies will enable projection systems to become smarter, more automated and better integrated into wider AV ecosystems,” affirms Gräff.
BIG AUDIO DYNAMITE
With the festival, arena and stadium touring season nearly upon us, both manufacturers and hire companies are gearing up for a busy schedule with the latest large loudspeaker technology – in the form of the line array – now standard for high-profile productions, as Kevin Hilton discovers
MeyerSound's PANTHERlinearraysat
Ed Sheeran's Mumbai showaspartofhis Mathematics tour
Big loudspeakers and the big audio systems made up of them are synonymous with music festivals and concerts arenas and stadiums. This has been the norm since the early 1970s, when band touring came into its own and the biggest acts played major venues globally, often pummelling their audiences with sound courtesy of the new breed of loudspeaker rigs designed specially for the purpose rather than relying on their backline amps.
The underlying technology – drivers, amplifiers and the cabinets themselves – has developed considerably over the last 50-plus years, with the massive bin and horn systems eventually giving way to the now ubiquitous line array. But the aim remains the same: to accurately cover the ever-growing outdoor spaces and indoor areas played by bands with consistent, high-quality sound.
As Ed Jackson, senior technical sales manager for HARMAN Professional, which includes loudspeaker brand JBL in its portfolio, says, current technologies – both line arrays and the resurgent point source systems – have advanced significantly over the past decade. "Line arrays have become the go-to solution for large audiences," he says. "They have advantages in providing even horizontal coverage, vertical control, ease of rigging and minimal sight-line obstruction, which makes them the right choice for big productions. But in a comprehensive stadium set-up, a combination of line array and point source speakers is often necessary, with the point source boxes covering difficult-to-reach areas."
VENUE FOCUS
Among the venues using HARMAN systems are: the SoFi Stadium and Intuit Dome and UBS arenas in the US; and Twickenham and Tottenham Hotspur stadiums in the UK, respectively the headquarters of English rugby and the home of the Premier League football club, both of whom host concerts and entertainment. Jackson comments that touring acts will typically bring in their own sound systems, preferring a blank canvas in a venue.
But, he adds, many arenas are now investing in high-end sound systems to stage smaller shows by artists who are performing only a few regional dates without a full touring package. "These must meet the standards for regular tours and be designed for flexibility, allowing them to be repositioned as needed within the venue," he states. "We're also seeing the integration of venue and touring systems becoming more common, with the in-house rig providing additional 'delay' speakers for higher balconies and hard-to-reach areas."
JBL is a historical name in the big loudspeaker market and continues to do well in the US. The choice of system, which is predominantly down to the front-of-house engineer, has changed, influenced
by which brands 'in' The current leaders are generally agreed to be d&b audiotechnik and L-Acoustics, with Clair Global's proprietary Cohesion system also a mainstay due to the hire giant's dominance of the touring market.
LOCAL LOYALTY
There is also a degree of local loyalty, with manufacturers doing well in their home markets. Because of this, comments Andy Plunkett, UK sales manager for pro audio solutions at distribution and integration company POLAR, Martin Audio is prevalent in Britain, alongside d&b and L-Acoustics. "These brands have built a reputation through technology development and superior marketing, which has led to them being termed 'rider friendly'," he says. "This means touring acts feature them on the lists of equipment requested for festival shows, for example. As a result, brands that may perform equally well but which do not appear on the list find it very difficult to make their way into the mainstream."
Plunkett agrees that line array systems dominate the large-scale loudspeaker market but says two brands that POLAR represents, Turbosound and HK Audio, are seeing success with powerful point source systems. "These can have advantages in terms of space and rigging simplicity," he explains. "In general terms, though, point source is mainly used to fill in areas which the line array may not practically cover, which is usually close to the stage."
Most manufacturers, including d&b and L-Acoustics, produce both line arrays and point source systems. These are used for touring and installations, with, as Steve Jones, head of education and application support for EMEA at d&b audiotechnik, observes, increasingly more venues to work in. "We're seeing new arenas being built, such as Co-op Live in Manchester, and more stadiums," he says. "Larger venues such as stadiums have a desire to hold more concerts, so large capacity events seem to be doing well."
EMOTIONAL DECISION
As for the choice of loudspeaker system, Jones observes that while some rental companies might stock a selection of brands, many are primarily linked to a single name. "It can be an irrational, emotional decision because it's identity linked," he says, "but it is also about technology. And for us right now, it's all about our cardioid technology. It's the ability to put the sound where we want it to go and stop it from spilling into unwanted areas."
From its first foray into loudspeakers that include the ability to control all frequences with the largeform GSL system, d&b has produced a progression of cardioid-based cabinets, each more compact than its predecessor. "Noise propagation is becoming more of an issue, particularly at outdoor festivals,"
Jones says. "The number one goal for us has been to control every frequency and put it exactly where it should be – containing the sound where it matters. Since launching GSL people asked if we could make it smaller and more accessible. We did and at the start of this year we launched CCL, a system with which we've worked out how to manipulate the laws of physics to allow small format speakers to control the largest wavelengths and lowest frequencies."
Another company using cardioid technology is Canadian manufacturer Adamson, which does well in its home North American market and is also used widely in France. Last year it introduced the largeformat line array VGt, the first product in the new Vergence Group, which can be configured with both cardioid and non-cardioid technologies.
Business development strategist Pieter van Hoogdalem describes VGt as a "fairly big speaker" that is also very powerful. "It's got two 13in subwoofers, two mid drivers and two high-frequency
L-Acoustics K Serieslinearrays at a Sam Fender concert,St James'Park, Newcastle,UK
Above:
drivers," he says. "On the sides there are 10in woofers deployed for cardioid operation, which is an important aspect of the speakers. In the future we will expand this technology to other products."
The VGt also features AVB Milan signal distribution and networking capability, which van Hoogdalem views as a technological breakthrough: "It gives us redundant connectivity, which we are taking full advantage of for both VGt and the accompanying subwoofer. We refer to our speakers, which are powered, as being intelligent because as well as AVB Milan connectivity they are loaded with DSP calculating power and have proprietary control software. It is also changing how people work in both live touring and installs because the rigging [system] is different and more efficient."
The practical aspects of loudspeaker systems for large-scale touring have also been addressed by Meyer Sound, which introduced its latest big linear line array, PANTHER, in 2022. "We've seen a
tremendous demand for large-format loudspeakers, which ties in with what bands or promoters are asking for," comments senior director of product management, Andy Davies. "We focused on the largest venue performance metric but in a package that has a size and weight to make transportation and set-up efficient and green. When hire companies are transporting a lot of gear to site, if they can reduce that by a truck it makes a big difference to what they can quote compared to their competitors."
COMPLEMENTARY TECHNOLOGIES
While Meyer believes line array is still the right choice for the largest venues, Davies says, it is now shipping the ULTRA-X80 large format point source speaker. "There is absolutely a need for both," he confirms. "They fulfil different needs, although we don't see the days of the old point source clusters coming back. Point source fills a different role now, particularly if it has the size and power to replace multiple small line arrays. Where you have short hangs, sometimes doing delays on festival sites, instead of hanging four or five small line arrays, a single point source can be much more flexible."
Another new point source system was launched earlier this year by Nexo. The Alpha+ is described as 'hybrid source' and is based on the original Alpha point source series introduced by the French manufacturer in the 1990s. Sales and marketing director Gareth Collyer explains that the hybrid aspect comes from being "point source at its heart" but with line array technology for the HF. He adds that the Alpha+ is aimed at small- to mid-sized venues requiring a high SPL, rather than top-end festivals and arena/stadium tours. "If you're talking about the large festival, stadium and arena markets, line array is still the king," he says. "It's by far the most consistent technology for delivering a solid result with even dispersion over long distance."
As Collyer says, the concept for line arrays goes back to the 1960s and most commonly featured in column loudspeakers for churches and PA in public spaces. "The idea hasn't changed," he explains. "Equal distance spacing of drives producing a coherent sound wave over a distance. That technology isn't new, it's just been adapted for much larger rock and roll systems. What people have to think about is how many speakers can they afford."
Alessandro Manini, director of R&D at RCF, agrees that line arrays continue to dominate large venues. He also observes that a notable trend is the replacement of aging systems, typically those that have been in service for ten to 15 years. "Those are now being replaced with modern solutions that offer enhanced sound quality, reliability, durability and fast set-up processes," he says.
In response to this trend, RCF introduced the TT+ Audio brand in 2023, with two line arrays as part of
Photo Credit: Steve Sroka
the GTX range. Manini comments that these have featured on tours in the US and Europe, as well as being installed in UEFA football stadia and being used for Olympic events. The RCF Arena, claimed to be Europe's largest outdoor music venue – with a capacity of up to 100,000 – is located near the manufacturer's factory in Reggio Emilia, Italy and features a permanent installation of 250 GTX line array boxes. "Our infrastructure allows visiting productions to integrate their main systems with our fixed arrays, enhancing coverage and ensuring uniform sound quality throughout the venue," Manini says.
Sports stadiums and arenas have always featured a sound system of some description, but this would have been primarily for public address (PA) announcements and voice alarm (VA) use. Increasingly today these installed systems are based on – or feature – pro audio equipment, with the implication being they could be used for entertainment and live music performances.
"There are a few stadiums where maybe you can use the house system for delays but maybe not as many as people would think," says Andy Dockerty, founder and director of Adlib, the biggest independent rental company in the UK. "Some promoters will tend to want to use the delays that are in, for argument's sake, the O2 Arena, but that's an exception as opposed to the norm. When Sam Fender played St James' Park [home ground of Newcastle United football club] in 2023, we had to put in all the ring delays. It was the same for the Burna Boy gig the following year at London Stadium [West Ham United's ground]."
Adlib supplied L-Acoustics systems for both Fender and Burna Boy but also provides d&b rigs and is a UK distributor for CODA Audio, which has featured on
some tours. "For stadiums your main PA hangs are going to be either L-Acoustics K Series or d&b GSLs," Dockerty says. "You might find more Clair boxes in Europe but it's still predominantly L-Acoustics and d&b. CODA sounds amazing and what we've found is that during the autumn touring season there'll be none of it left in the building. But when the summer tours and festivals come round, all the L-Acoustics is out and there might be some CODA left here. As a brand it does have a bit of a journey to go on but it is a phenomenal product."
LOCAL CHOICE
Britannia Row is part of the Clair Global group and, like other companies under that umbrella, stocks Cohesion, L-Acoustics and d&b, along with Adamson. "It used to be the case that bands would carry their entire PA from territory to territory but now they will often just have the control and monitor packages and pick up speaker systems locally," says Bryan Grant, a non-executive director of Britannia Row. "This is especially true of Clair customers because we can supply any of the main loudspeaker brands globally or the entire system if that is required."
Grant observes that loudspeakers have far more efficient in terms of power and dispersion over the past 50 years, as well as smaller, more 'truck pack friendly' and quicker to install. When it comes to audio systems that go with the main rig, he says some bands, particularly those in the heavy rock genre, prefer a mixture of in-ear monitors (IEMs), stage monitor wedges and side fills. "Obviously a total IEM stage is the FoH [front
Above: L-Acoustics K Serieslinearrays at the TRNSMT Festival, Glasgow,UK Left: A Clair Cohesion rigforatourby the alt-rock duoTwenty One Pilots
Photo Credit: Andrew Andreolli
of house] engineer's favourite because a quieter stage causes less colouration to the house mix," he adds.
TREMENDOUS DEMAND
While IEMs have given artists a clear, clean feed of the monitor mix straight into their ears, they have also led to there being less sound on stage due to the reduction in the number of monitors. But, as Gareth Collyer at Nexo comments, this has made the humble side-fill a more important component of the overall sound set-up.
"Stage monitoring still happens but it has been overtaken by IEM," he explains. "In order to get direct energy on to the stage, we're now seeing much bigger use of quite high power side-fills. Performing artists need to feel that energy when they are on stage. That's particularly true for DJs playing big arena or stadium gigs and festivals. Very large fill systems are being specified for these, which we jokingly call DJ headphones. All that seems to be driving the side-fill market."
Andy Dockerty at Adlib observes that DJ monitoring "has always been ridiculously over the top", but confirms that side-fill systems are becoming larger and more powerful. "A conventional side-fill stack would have probably been something like a double 18 with a couple of point source boxes on top," he remarks. "Now you're seeing mini line array boxes, which is completely the wrong box for that job but the DJs like it."
Which just goes to show how much the line array has become such a vital part of today's large-scale performance sound market. While point source clearly has its place, line arrays will continue to be the main choice for festivals, arenas and stadiums, with the technology only set to develop and evolve in the coming years.
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Photo Credit: Steve Sroka
SPREADING THE WORD IN SOUND AND VISION
The house of worship (HoW) market has become one of the most technologically aware sectors in AV. Kevin Hilton talks to leading manufacturers and systems integrators in the field about the latest sound and vision developments and how streaming is here to stay
Houses of worship of all denominations and faiths have long used technology to engage congregations and better communicate their message.
Sound reinforcement systems began to be used for church services from the late 1940s into the early 1950s, since when audio, and other AV equipment, has become familiar and almost standard in churches, temples, synagogues and mosques.
The technology used in HoW has broadened, from sound systems to projection screens into, more recently, LED walls and digital signage for song or hymn lyrics and passages from religious texts. The focus has also widened, with recordings of services, weddings and baptisms – on both audio and video formats enabling engagement and distribution beyond the physical confines of the HoW.
COVID FACTOR
This went further still during the Covid period, when the HoW sector fully embraced streaming and social media to carry on with services when people were confined to home. Jeremy Morris, senior pre-sales consultant at Vizrt, says this trend has continued.
“Prior to Covid, some churches were doing it and there was some online presence but not a great deal,” he says. “Most people thought of social media as something they would post later. Covid really brought a lot of the technology to the forefront.”
In addition to his work with Vizrt, Morris also supervises the audio for the streaming platform at his local church in Georgia. Vizrt initially moved into HoW through the TriCaster range of video production
systems and the NDI (network device interface) protocol. Latterly, its graphics packages, including Trio and Artist, have been used by churches for video production and, more recently, live streams. “Online engagement has exploded and we can provide the interactivity necessary between congregants in the church and those who are housebound or travelling or for family members who live somewhere else and want to see a baptism or a relative singing,” he says.
Darren Gosney, product specialist manager at Blackmagic Design EMEA, observes that virtual services are not going away. “It’s less about necessity now and more about inclusivity, keeping connected with those who can’t attend in person,” he says. “What's changed is the expectation of quality. A single camera and laptop worked before but now congregations are looking for multi-camera setups, better audio and graphics integration.”
From the perspective of UK systems integration company RG Jones, streaming continues to be a key requirement. Jon Berry of the sales and installations department, says: “A significant proportion of our clients still live stream services, as this also provides accessibility for other services such as weddings and funerals to overseas members of family.”
At fellow integrators, Noise Boys Technologies, director Phill Beynon confirms the continuing popularity of live streams but comments that there are two schools of thought post-Covid. “Some churches have decided it was right for a time and stopped as they gathered again in person,” he says.
“Others have decided it’s a valuable part of their offer and want to step up what they hurriedly started
Above top: An AudioTechnica System20PRO wireless mic
Above & right: Bose Professional Panaray MSA12X speakers, Cathedral Basilica of Christ theKing,Ontario
Below: Blackmagic Designtechat the International Christian Fellowship Church,Zurich
out of necessity. So we’re offering better, more broadcast-quality cameras and mixing systems such as vMix, as well as support for mixing live music. This includes ‘template mix’ packages for livestreams, which are becoming increasingly popular for programmes such as Logic and Pro Tools. We’re also seeing live software mixing engines such as Waves being used for live tuning, compression, effects and a generally smoother ‘produced’ mix online.”
HYBRID SHIFT
From the US integrator perspective, Evan Hamilton, design engineer at E2idesign, says hybrid and digital worship formats are still the main influences on equipment choice. Virtual services are here to stay, he says. “This shift has required better production quality, more robust streaming infrastructure and integration between live and digital environments. Many churches are now designing hybrid-first, rather than in-person first.”
Ian Cookson, technical content specialist at Audio-Technica, which is also UK distributor for Allen & Heath (A&H) consoles, observes that many scenarios, both pre- and post-pandemic, have relied on virtual technologies. “These range from live streaming services to people’s homes to large churches sharing services with satellite churches,” he explains. “From an audio standpoint this cafor the signal to be converted so it can be received by a computer. The simplest way could either be via a USB output from a digital desk or over Dante if using an IP-networked solution.”
When it comes to sound in HoW as a whole, Cookson confirms a general demand for better quality for words and music but with a high degree of usability. “There’s often a need to balance complex feature sets with ease-of-use, because many HoW rely on volunteer, non-professional staff to operate sound systems during services,” he says.
“As a result even sophisticated equipment, including A&H’s dLive, Avantis, SQ and Qu digital
mixers, are trending towards increasing userfriendliness, with programmability and preconfiguration being really important in this market. On the microphone side, handheld, head-worn, lavalier and gooseneck mics mounted on lecterns all have their place. Wireless technology is also increasingly found in HoW and there’s a wide variety of options for different situations, from simple, licence-free plug-and-play 2.4GHz systems to largescale, multi-channel networked solutions.”
MULTIPLE OPTIONS
Radio microphones are now familiar in HoW but, says Chris Phillips, technical applications engineer at Sennheiser, these are not the only wireless carriers in a modern worship environment. “As well as microphones there can also be in-ear monitors, intercom, wireless video and wireless lighting control,” he comments.
“It is easy to get into a situation where these devices start to interfere with each other. On top of this, you also need to plan around the digital TV signals and emergency services in your area. Researching what spectrum is available in your location will help you to select the right equipment for this crowded spectrum.”
The other near-ubiquitous item of AV equipment in HoW these days is the loudspeaker. This ranges from columns right up to full concert rigs. The trend is for steerable set-ups, both column and line arrays. As Antonio Ferrari, director of the engineering support group at RCF, observes, this level of
directional control delivers the intelligibility necessary in ancient and modern churches.
“Many worship venues present architectural challenges, such as large volumes and highly reflective surfaces,” he says. “An example of this is the 11th century St Paul Ripa d’Arno church in Pisa, Italy, where our active VSA steerable column arrays were used to improve intelligibility. Large-scale installations in modern spaces require a different approach, such as the contemporary, lessreverberant 3,000-seat Cottonwood Creek Church in Allen, Texas, which features a high-power TT+ Audio GTX line array system.”
Ferrari adds that speech clarity is paramount in worship spaces, with the critical factor being to design and install systems that evenly distribute sound without creating dead zones, while also avoiding reflections. “For this there are column arrays, line arrays and cardioid loudspeakers,” he says – designed for precise control over sound dispersion. "Large high-frequency transducers also contribute to this effect,” he adds.
Xzavia Killikelly, business development manager for Bose Professional, agrees that the demand for higher audio intelligibility has increased. “There have been countless times I have visited a church out of state, only to find poor audio was a major issue,” he says. “It affects the ability of the pastor to connect with the congregation, because someone speaking can ‘touch’ you, which is why many churches prioritise clear, intelligible sound.”
and placement, with Bose producing the MSA12X and ShowMatch steerable column and line arrays. “Supplemental ‘pew-back’ systems can also greatly enhance vocal clarity,” he says.
When it comes to larger loudspeaker rigs for musical performances, Killikelly agrees that this was originally something found almost exclusively in evangelical churches, starting in the 1960s and 1970s, but that has changed now: “I believe live music’s expansion beyond evangelical circles reflects a broader cultural and technological shift. PA systems are now serving as both an enabler and a symbol of modernisation.”
Evan Hamilton at E2idesign confirms that other denominations are now recognising the power of music to engage with congregations. “As a result, churches are investing in more musical and acoustically transparent PA systems that allow for dynamic worship without compromising speech clarity,” he opines. “Systems are being designed for both energy and intelligibility, with loudspeaker designs often customised to fit architectural aesthetics and acoustic needs.”
IMMERSIVE TREND
A growing trend, at least in American churches, is the use of immersive/spatial audio, Hamilton believes. Systems such as d&b Soundscape are being used not only for music but, he explains, “to envelop congregants in the entire worship experience, to create a deeper emotional and spiritual connection”.
Nick Malgieri, director of immersive enablement for d&b Soundscape, confirms that “contemporary HoW applications” are now the second roll-out of spatial installations, particularly in North America, following the first implementation in Broadway and West End theatres. “HoW want to create a better connection to spoken word and a larger-than-life sound for a more emotional connection,” he states. “But it doesn’t have to be spatial all the time. Maybe it’s mixed stereo most of the time until you get to the big Christmas Show, which has the resources for more time, energy and rehearsal. You can implement object-based mixing for that show only.”
For the UK, Phill Beynon at NoiseBoys Technologies does not think the market is big enough to support the technology. “Most churches would struggle to see – or hear – the benefits, especially given the likely costs and skill levels of the volunteers who mix every week,” he comments. Jon Berry at RG Jones agrees, saying immersive audio is not prevalent in British HoW right now. But what has become established in the UK, as in the US, are dedicated controllers that enable the priest to run the audio, video and lighting from a central point.
These have become known as ‘pulpit control’ systems, with Renewed Vision’s ProPresenter the best known in American HoW, although this software
Previous page: An Audio Technica System20PRO wireless mic systempowers St John's Cathedral, Portsmouth,UK
Right: Bose Professional speakersin Connect Church,New Jersey
package, which supports HD video playback and multi-camera streaming and recording, is also used in the UK. “It’s commonplace for our clients, if there is a non-technical operator involved, to use software such as ProPresenter to run the services,” says Berry. “But it can be a steep learning curve for people inexperienced in this work.”
According to Jeremy Morris at Vizrt, ProPresenter dominates the market when it comes to in-service graphic content and is able to connect to other systems because it has an NDI output. “From that I can take the same file that’s being utilised inside the sanctuary [the area in US churches where the altar is located] and make it a keyable lower third [a graphic overlay such as text or a logo] inside the TriCaster or even go into our Virtual Studio Go products for an augmented reality aspect," he says.
“Some of the large mega-churches are running with either Viz Artist [real-time graphics], Viz Trio [data character generator and graphics playout control app] or simplify it with Viz Flowics [HTML5 cloud platform]. But we could take Adobe Photoshop files and use that as a lower third already in the Tricaster with our live graphic plug-in. There are several different ways we can deal with this.”
A CuA control system that is now being used for HoW in both the UK and US is TSL’s TMVP (TallyMan Virtual Panels), which provides customisable user interfaces to run routers, tally activation (notification of what camera is live) and command triggers to third party devices. “Modern pulpit control systems let pastors easily trigger presentations, adjust lighting and manage audio from a touchscreen or tablet interface,” comments Jeremy Bourque, senior solutions engineer at TSL. “These systems, like our TMVP, are intuitive enough for non-technical users.”
LED LEANINGS
Also playing a major role in HoW now are LED video walls and displays, which can provide a good view of the minister, as well as musicians, for those further back in the church. “Large-format LED screens and projection mapping help create engaging and immersive worship experiences,” says Bourque. “Churches are increasingly investing in flexible, centralised control solutions to manage these displays efficiently. The First Baptist Church of Jacksonville used TSL’s control system to integrate both legacy and modern video equipment, allowing them to manage multiple video sources across their campuses without complex technical expertise.”
Today, video walls are not just used in the main
worship space but in and around other areas of religious buildings. As Sara Grofcsik, head of sales Samsung Electronics America display division, comments, LED systems such as The Wall indoor display (also see page 20) are used to create "immersive religious experiences”, but they can also be installed in lobbies, overflow rooms and other auxiliary spaces. “This allows worshippers who may not have a direct view of the main service area to engage, creating a more inclusive and cohesive experience for everyone,” she says.
“LED displays have become an essential tool for enhancing community communication and engagement outside HoW as well," she continues. "Outdoor LED displays are commonly used to advertise services, programmes, upcoming events and other important information, allowing houses of worship to reach more community members. St Peter’s Square in Vatican City uses Samsung outdoor LED screens to broadcast live ceremonies.”
As well as video walls, LED plays an important role in lighting. Evan Hamilton describes it as a tool that can create “immersive and emotionally resonant” environments. “It helps guide attention and reinforce mood shifts in worship. Projection mapping and video walls allow for creative storytelling, scripture visuals and worship lyrics. They’re also used as scenic design elements, blending form and function.”
From the mid-20th century onwards, religions have had to compete with the entertainment technologies of the secular world in bringing people to worship. Today they are using all the modern techniques available to compete on a level playing field and spread their message.
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MOVERS & SHAKERS
LISTEN TECHNOLOGIES HIRES SALES MANAGER FOR EASTERN US
Listen Technologies, a provider of advanced wireless listening solutions for 26 years, has appointed a new Eastern regional sales manager for the US, Stephen Robinson.
Robinson will work with Listen Technologies’ channel partners, consultants, and endusers throughout the region. He reports to Mikey Shaffer, senior sales director at Listen Technologies. Robinson has spent his career in AV, including working as a consultant.
Robinson will lead the Eastern US team selling Listen Technologies’ full suite of solutions, including ListenWIFI, ListenRF, ListenIR, ListenTALK and Auri. He will also represent Ampetronic and sell its hearing loop systems in the region as part of Listen Technologies’ partnership with Ampetronic and the two companies’ creation of a single source for audio solutions.
DISGUISE NAMES NEW VICE PRESIDENT OF CREATIVE SERVICES
Disguise, a platform and solutions provider, has named Brian Allen as its vice president of creative services. In this role, Allen is tasked with leading the growth of Disguise’s creative services division, which delivers content solutions for virtual production, broadcast, and immersive installations.
Bringing over a decade of experience in the sector, his past work includes immersive art venue Illuminarium, the AMEX UNSTAGED: Taylor Swift Experience and National Geographic’s Genius: Studio.
Beginning his career at RadicalMedia, Allen has worked on Emmy and Cannes Lions award-winning projects across augmented and virtual reality, LED displays and interactive projections. Later, as co-founder of Illuminarium, Allen spearheaded the creation of multisensory venues.
STAGE PRECISION APPOINTS CHIEF COMMERCIAL OFFICER
Stage Precision, a software and hardware platform developer active in pro AV, has appointed Sarah Cox as chief commercial officer. Cox is the founder of the consultancy Neutral Human and a well-known thought leader in the AV industry.
Cox’s role as CCO will focus on driving SP’s commercial direction under Michael Giegerich, CEO, as well as overseeing brand, marketing and customer experience strategies. With SP V1 having exited Beta two years ago, the company says this next phase is focused on scaling SP Grid, a connected devices platform, across multiple markets.
As a thought leader and advocate for converging technologies, Cox has spoken at industry events and contributed to panel talks with the likes of ISE, AVIXA, Peerless-AV, BFI, Midwich and Samsung.
BLACK BOX ADDS CHIEF REVENUE OFFICER IN THE AMERICAS
Black Box, a leading digital infrastructure solution provider in AV and other sectors, has announced Jai Venkat as the company’s chief revenue officer in the Americas.
Venkat is tasked with leading revenue strategy and execution, driving growth and bolstering account management across all industry verticals and horizontal practices. He will report directly to Black Box CEO Sanjeev Verma.
Venkat joins Black Box with more than three decades of experience, leading sales, services and transformation initiatives at global technology firms. Prior to joining Black Box, he held senior executive leadership roles at Allied Digital, Zones, DXC Technology, HP Enterprise, Cognizant, Capgemini and Infosys.
Venkat said: “I’m excited to be part of the outstanding Black Box team.”
Stay in the loop with the latest appointments, top hires, and promotions from across the AV industry…
CHRISTIE HIRES NEW CHIEF FINANCIAL OFFICER
Christie has named Hideaki Takizawa as the new chief financial officer of Christie Digital System and its subsidiaries.
Reporting to Michael Phipps, president and chief operating officer, Takizawa is tasked with aligning Christie’s financial strategy with its overall goals, managing internal controls, and supporting growth and innovation.
Takizawa succeeds Michael Phipps, who transitioned to president and chief operating officer in November 2024 while maintaining his CFO role. He brings more than 34 years of experience working at Ushio and a wealth of expertise in business management and finance.
Before joining Christie, Takizawa served as general manager of Ushio Group’s business management division, overseeing three departments: accounting, finance, and legal.
NEXO APPOINTS ITALIAN SALES MANAGER
NEXO, the Italian audio brand, has appointed Andrea Fantini as Italian sales manager. He has taken over the role from his father Gianni Fantini who left the company on April 1.
Like his father, Andrea Fantini joins NEXO from Joint Rent, an AV equipment supplier in Italy, which Gianni Fantini co-founded in 1990. During his 17-year stint with the AV technology and production services specialists, Andrea Fantini gained extensive front-line experience in the sales, rental and deployment of NEXO systems.
He said: “I’m excited to take on this new role and draw on my experience to help grow NEXO’s business in Italy. It’s not the first time I’ve succeeded my father – I also took his place at Joint Rent when he joined NEXO. I look forward to building on his achievements, bringing a new perspective while also honouring his accomplishments.”
VIOSO ANNOUNCES CHIEF MARKETING OFFICER
VIOSO has appointed Mark Wadsworth as chief marketing officer. He is the latest hire in an extensive recruitment programme, centred on growing the brand and focusing efforts on VIOSO’s three core pillars of software, servers and services for system integrators.
In the newly created role, Wadsworth will be tasked with further developing the visibility and growth of the VIOSO brand and its strategic direction across global vertical markets. Reporting to Benjamin Fritsch, VIOSO co-founder and CEO, Wadsworth will play a key role in identifying market opportunities for VIOSO’s product line-up and launching new technology.
Wadsworth said: “I was drawn to VIOSO because of its ability to push the boundaries of development, delivering cutting-edge hardware and software solutions that are always at the forefront of the industry.”
PPDS NAMES NEW INTERNATIONAL AV SALES DIRECTOR
PPDS, the exclusive global provider of Philips Professional Displays and complementary solutions, has appointed a new international AV sales director, Fabrice Penhoat, to spearhead sales in its French and African markets.
With an AV career spanning over two decades – 13 years of which have been devoted exclusively to Philips Professional Displays – Penhoat takes the newly created position of business director Philips signage and DVLED for France, the French overseas territories (Dom Tom), and Africa.
His previous roles at PPDS include sales director (France) and, most recently, key account and business development manager (France, Dom Tom and Africa).
Based in Paris he will be responsible for the implementation and execution of PPDS’ accelerated sales and growth strategy in the region.
INSIDE TRACK
Lightware director of enterprise sales, EMEA, Craig McQueen, talks about pledging never to get into sales, the daily rollercoaster of emotions, and his boxing sessions
Where are you originally from, and where do you currently reside?
Originally from Gloucester and now live just outside of Portsmouth.
What do you enjoy doing in your free time? Any favourite sports or hobbies?
Most of my time now is spent with the family or in the gym. Still do the odd bit of running and boxing when I need to burn some AV stress, which is most days.
How did you get into the AV industry, and what was your journey to your current role?
I started straight out of school in October 1996 at the all-knowing age of 17. I joined an AV integrator called Reflex (now Aura) as an installation assistant. It basically meant crawling in floor voids, lifting projectors with a rope and constantly burning the ends of my fingers with a soldering iron. It was also here that I learned how to wire a plug, paint floors, wallpaper walls and put up shelves. As Jim Hardwood said to me back in the day, this is all good “character building”! After a couple of years in installation and service, I took my first step into sales as an internal salesperson, selling portable projectors. This was never actually a goal or ambition for me as I always said I never wanted to be a salesperson. However, people I worked with convinced me to give it a try and without doubt it was the best guidance I was given. Sure, sales is hard and you are constantly on the rollercoaster of highs and lows but I wouldn’t have it any other way.
What are your thoughts on the future of the industry?
How is your company addressing potential challenges?
The AV industry is shifting towards open standards like IPMX and evolving protocols, which bring both opportunities and challenges. Ensuring seamless interoperability and long-term adaptability is crucial as technology advances. At Lightware, we are committed to future-proofing our solutions by prioritising open standards, flexible architectures, and deep integration. Our AV-over-IP products, including Gemini GVN, and UBEX, support both 10G and 1G Ethernet networks, allowing businesses to adapt as protocols evolve. By embracing software-defined upgrades, cross-platform compatibility, and dual Ethernet interfaces, we help our customers scale efficiently while maintaining reliability in an ever-changing AV landscape.
What excites you most about working in AV every day?
I still remember my introduction to AV. A button was pressed, the lights dimmed, curtains opened, a projector turned on and the guitar intro to a Dire Straits song started blaring out of speakers as smoke came up from the floor. Geeky maybe, but it was the coolest thing a 17-year-old has ever seen, and the memory still gives me goosebumps. Nearly 30 years on, we are a necessity in business, which is proven by the continued growth, even after people said the office was dead. We change, we adapt, we keep moving forward.
What’s the most valuable leadership lesson you’ve learned during your career in AV?
“There is never a problem, only a challenge” which was a lesson from a previous managing director, Roland Dreesden. In the tech world, things don’t always go as planned. When they don’t, take a step back, review the challenge, ask for help and then communicate. No one person can do this alone so surround yourself with good like-minded people and you will continue to grow and move forward.
What advice would you give to someone looking to build a successful career in pro AV?
Accept there are no short cuts or quick ways to get to the top. We are in a world where social media sets people’s expectations of what they want in their personal and professional life. This can be a great way to create ambition and focus, but only once you realise that the only way you can get there is through hard work and perseverance.
If you had to predict one major shift in the AV industry over the next decade, what would it be?
For me the interesting development is how AI can be used to help enhance the user experience in the meeting rooms. If we take the base principle that AI is designed to improve our productivity and functionality then it should be an exciting new approach to product development.
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